Jon M. Chu Quotes

An action choreographer is kind of like a dance choreographer. You choreograph the moves and you let the director, cinematographer take into positioning their cameras.

In Hong Kong, particularly, we craft this art for decades. The action choreographer actually is the action director. He takes over and he choreographs with - by himself or with his team, and place the camera where he feels cinematic effect to bring out that choreography.

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

I enjoy fighting scenes. I like fighting in film. I like pretending to fight in films.

Fight scenes are like learning a dance. You learn it move by move, and then you put it all together and it looks awesome when you edit it together. It's great!

Sword fighting in film is not about how good the fighter is, but how good the actor receiving the blows is.

Doing fight scenes in movies is a lot different than in WWE, but it was still relatively easy.

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

I have stage combat training from college, which is drastically different than fighting for the screen, but I do enjoy that kind of stuff.

In certain fight scenes in 'Raging Bull' - for example, the shorter ones - I literally just took the head and tail of the shot and put it together, and it all worked beautifully.

I always loved stage combat at drama school so I can't wait to get on set and kick some evil monsters into the next dimension!

Action scenes are not that different from other scenes.

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.

On 'Angel' I got to work a lot with Mike Massa, who was David Boreanaz' stunt double, and Mike would let me do most of my stuff by myself. I did almost all my fight scenes by myself.

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

The fight scenes in 'The World's End' have a certain balletic quality to them.

I don't do my own stunts, but I do my own fighting. I don't consider fighting to be a stunt.

Angelina wanted to make sure that any fighting in the movie would be comparable to any male actor. Everything from stick fighting to horse riding was real to her.

A good choreographer is one that's going to collaborate, teach, guide - everything. The wonderful thing on 'Brotherhood of the Wolf' was that we had Philip Kwok - he choreographed John Woo's 'Hard Boiled,' and in the '70s, he was a martial arts actor, stunt man, fighter, choreographer in Hong Kong.

I admit that I've been beaten up so many times in films, but we do not fake it - we actually have to fight when we shoot to make it real and to save film and time. Even the props that are not real, like the bats are plastic, but they're still very hard, so it still hurts.

You really get to direct the movie three times when it comes to the action sequences and the set pieces.

I personally think a fight scene is the most cinematic thing you can witness because all the elements of filmmaking come together, you know, with the camera speed changes, editing, make up effects and general smoke and mirrors of trying to make it look like you are hitting someone when you're not. It's filmmaking in it's purest form, I think.

I'm a physical type of actor and love projects in which I can get physical. The more action, the better.

I like doing fight scenes. I always have, and I insist on doing as much of that action as they'll let me do. I think that's easy for me.

I've done a lot of fight scenes, and I always find that it's better that they be meticulously choreographed. You want them to look as real as possible, but you don't want anyone to get hurt. So I believe in really working it out in rehearsal, and when you get to the set, just go for it 100 percent.