David Leitch Quotes

The most important thing for me in an action sequence is, you understand the characters' intention and the challenges the characters are going to have to face: what the character story is within the action sequence.

I still don't understand why the tag of 'action hero' follows me. My films have all these elements - romance, action and comedy. None of the fight sequences of my character is an act of randomness. There's a reason to action in my films.

If I ever wrote a script myself, it would be strongly emotional material.

Good guy' or 'bad guy', hero or anti hero; doesn't matter to me, what role I play, only the character have something magical.

Any show I'm working on, I want the stories to always be about something, and to have the potential to be emotional. That's the kind of story that I like.

You can't think that you're playing a villain, or you'll end up with a cartoon. You have to think about him as a person and a hero.

What can I say: I'm a writer - I enjoy forcing pain and suffering on my characters!

In 'Cavalry,' I had one scene where I was playing a pretty awful character.

'Ender's Game' has fabulous opportunities for spectacle, where appropriate, but there's also a tremendous central character. It's a balance.

I prefer drama; I think character-driven drama is my favorite kind of stuff to go watch, and I like being challenged by that kind of stuff in that way.

With action films, it's great if it's not just driven by action, but by a good story and interesting characters, as well. Though, there's nothin' like kicking butt!

One of the challenges is creating characters. I am trying to compose my sentences to express epic events happening to ordinary people.

I find the constraints of drama actually freeing: It brings everything down to character and action.

The two things that matter the most to me: emotional resonance and rocket launchers. Party of Five, a brilliant show, and often made me cry uncontrollably, suffered ultimately from a lack of rocket launchers.

You always start a fight scene or an action scene with, 'What are we learning about this character at the moment, and how are we gonna arc him or her in the next three minutes,' and it's no different with 'Deadpool' or 'Atomic Blonde' or 'John Wick.'

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

I love playing a character who has an adversary she can go one-on-one with.

A story isn't interesting unless a character has real challenges to deal with.

I think plot is very overrated. Plot is obviously necessary, but what I really care about is emotionally affecting the audience. Having a thought myself and then an emotional experience myself, somehow transferring that to the audience.

I don't write fight scenes in comics all that well. I think they're a waste of space unless they can move a story forward in some compelling fashion. You've only got twenty-two pages to work with. Why throw that away on a set of meaningless punches?

We figured the audience would want good stories, great art, wonderful characters, people you could fall in love with that we would immediately put through hell.

A lot of readers and a lot of editors had a story problem with Oracle, in that she made for such an easy, convenient story accelerator, that we missed the sense of having characters have to struggle to discover, to solve mysteries. Famously, it helped make Batman less of a detective and more of a monster hunter.

Dialogues and emotion based movies don't always work.

If the crew is hit by the situation that we're trying to portray, I think we get a real and a stronger moment with the camerawork and the actors.

One of the challenges assembling the film was that gun fight went on for three and a half hours and we obviously couldn't spend three and a half hours of the film with one gun fight. It was trying to figure out the balance of how much an audience could take before they either became repulsed or desensitized or bored or just overwhelmed.