Action directors are always asked, ‘But can you do dialogue?’ and it’s never looked at the other way around. “As a stunt guy, I’ve worked on many big movies where the action was a secondary thought. “Action has never been so popular because of the superhero genre, but it’s also never been so fragmented,” says Stahelski. Chad Stahelski (right) and David Leitch on the set of ‘John Wick: Chapter 2’ with Keanu Reeves It’s a dizzyingly high standard for fight choreography – one achieved by Stahelski’s stuntman philosophy that action is as important as story. Or an early scene in John Wick: Chapter 2, in which the same rhythm is applied to cars to a Warriors-style montage of New York assassins to a knife fight on the subway to a brawl in a hall of mirrors, a homage to Bruce Lee’s Enter the Dragon. Take the scene in which Wick must fight his way through a nightclub: a sequence with an almost frantic, thrilling rhythm, with henchman after henchman falling in time to the beat, with each ruthless headshot landing like notes. Action directors are always asked, ‘But can you do dialogue?’ and it’s never looked at the other way aroundīut, just like music, it’s been composed in a fresh new way. I’ve worked on many big movies where the action was a secondary thought. It then found itself popularised in the West with Keanu Reeves’ break-out hit The Matrix, which both Stahelski and his co-directing partner, David Leitch, worked on as stunt men.
It has its roots in the Hong Kong cinema of John Woo films such as Hard Boiled, which combined the balletic elegance of kung-fu with the brutality of gangster movies. Gun-fu, a style of martial arts played out with bullets instead of fists, is not new. It’s a gag that’s opened up further in the sequel, where Wick must navigate the murky world of Rome – complete with its own hitman hotel, which allows guests to order weapons at the bar.īut John Wick is a film of many different stars, and the world, and the joke, and the perfect blankness of Reeves’ performance would mean nothing if they were not aligned with a genuinely inventive approach to action one driven by the hyper-real art of gun-fu. John Wick sketched a surreal, comic-book world: an underground society of contract killers, bound by their own codes and currency a ridiculous, bombastic world that, much like Wick himself, is treated with utmost reverence. Just stay with the guy, open up the mythology, push the action even further.’”
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“In the end me and Keanu talked and we said, ‘What do we like about the first one? We like the guy, we like the world, we like that it’s a fun action movie that goes to extremes.
We said, ‘What do we like about the first one? We like the guy, we like the world, we like that it’s a fun action movie that goes to extremes.
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