Liam Neeson Quotes

As much as you do get beat-up doing even small action sequences, it's incredibly fun.

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

But I loved doing the physical stuff for 'Dredd.' I have to give a shout-out to the stunt team that I worked with.

As a second unit director, you're entrusted to shoot the action sequences. On every movie, it's slightly different.

Climax shoot for 'Dabangg3' has been very hectic yet a great experience.

To shoot a decent fight, you need to cover all the different angles, and it ends up eating a lot of days.

Just movies in general. It's such a wonderful business as much as you feel, you are fine tuning your craft, every movie is a completely different challenge. Every fight sequence is different. Every action set piece. I enjoy that.

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 art of stunt-making is not about falling down; it's about getting the shot. Creating stunts is creating heroes.

I like to give dimension to shots inside action scenes. It's demanding because you have to rehearse a lot of things happening at the same time and frame all those things in a shot. But I feel like when you accomplish that then you've got a cool action scene.

I don't look at rushes, or I don't go to the dailies. I don't even really look at playback... unless it's an action scene or a move that I need to do better, something like that.

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

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.

On 'Death Valley,' I fought this werewolf, and he was picking me up and slamming me down. They put padding down in the garbage so he could really slam me down. They're flying around and I'm doing these jumping flying triangles pulling the guy down. It's just fun.

Planet of the Apes was a gigantic challenge, making the clothes work so people could do stunts and action in the clothes. I really learned a lot about that in that movie.

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

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

I haven't done a lot of action movies, so it's kind of fun to get to do a lot of stunt work.

Actors say they do their own stunts for the integrity of the film but I did them because they looked like a lot of fun.

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.

I remember my first taste of American big movies was 'Ghost Rider.' I'm in two little scenes. But for those two little scenes they had 400 extras, upside-down stunt cars, and a fire brigade.

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

Stunts have to be meticulously arranged. Choreographed. You could take a fight scene and set it to music.