David Leitch Quotes

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As a stunt guy, you become a mini-director. You're talking to actors about performance.

The way you present a stunt is tied in to the way you photograph it, so you're hanging out with the cinematographer.

You learn tricks to make action look more dynamic - having the fight come toward you or shooting on a longer lens to compress the speed.

While filming 'The Matrix,' we studied how a Chinese fight-choreography team trains actors before production starts so that they can participate in action sequences in a more dynamic way.

People have given their lives to this industry to make movies compelling.

Film is a collaborative art form. I don't know why you wouldn't recognize the stunt performers.

Stunt coordinating is a good training ground for directing because you have exposure to all the departments in film.

There's a lot of directing within the stunt coordinator's job.

If you have John Goodman in your movie, you want to use him as much as possible.

If you're trying to get to the underworld of Berlin, it's not suits and ties; it's rock and roll.

Spies go undercover. They take on different personas.

Great actors can transform, but sometimes there's just this person who speaks right to the role. When they walk in the room, you know they're that character. That is something you can't teach an actor; that's something that's luck and chance.

Take up martial arts and get proficient. Take a sword-fighting class. Dive in and immerse yourself in it as you would any other acting class, so when the opportunity comes, that skill can be really utilized, and it's not half-baked.

You have to make bold choices to be noticed.

Some actors have an affinity for dance, and they should explore it, train in it, and get good.

'Atomic Blonde' is about the characters' bigger existential crisis and their world. It's not so much the conceit of the spy game; it's more that being a spy sucks. But we're going to make it fun to watch.

Coming from an action background, I always approach the action sequences in any script as kind of placeholders.

In the stunt world, fights and vehicles are often two different disciplines.

The vehicle-stunt world is so specialized. But when you spend so long in it as a stunt coordinator, you're exposed to all the disciplines, so it's always fun to combine the two ideas - a car chase and a fight scene - and make something more dynamic.

I look at the action scenes as placeholders when I arrive on a script, knowing that I'm going to expand on them when I understand the constraints of the movie, the locations of where we're shooting, the abilities of the actors, and where we want to go with the characters.

Every movie you attack has its challenges, and I was excited about the challenges presented by 'Deadpool.' I was a huge fan of the original, and I think, as a director, you have to put the script first.

As a director, just to be able to jump in to do something that's different, and to explore comedy and be challenged by that, is great. Some directors never get that opportunity.

Fight choreography has far more in common with dance choreography than it does with actual martial arts. You learn martial arts techniques, but those are just the movements for the choreography. You're working with a partner in choreography. You're working on timing.

Even when you're being safe, eight hours of choreography makes you look like you've been through a war. It's hard. It's like playing hockey for eight hours.

Choreographing a fight scene is telling a little story. You learn a lot about the characters involved.

Part of the problem is that many directors treat female characters too often as precious. Or they want to live in a fantasy world where they just do spinning hook kicks and knock out guys who are six foot four, and that doesn't work either.

I find fight scenes actually more interesting, in a way, than chase scenes because you're watching your character go through this problem-solving process and fight the antagonist mano-a-mano. It's more powerful, more emotional.

There are a lot of big action movies that we've worked on where the attitude has been, 'Let's just get through this scene.' Then you get those jumpy, what-were-they-thinking action sequences.

Shooting a fight is like shooting any other scene. You have to tell a story using a very specific choreography.

The completely irreverent tone was the thing that won me over about the first 'Deadpool' movie.

The thing that I like about action sequences is that if they're done well, you get to know more about the character in those few minutes than you do through 10 minutes of exposition.

Selling art is a lot different than making it.

Music emotionally and psychologically transports you immediately.

The DNA of 'Deadpool' shouldn't change.

It's called 'John Wick' - it's really about this guy's very simple journey. We just didn't want to clutter it. It's gratifying it in its own right, in its simplicity.

As a filmmaker, I'm a collaborator first.

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