John Glen Quotes

Definitely it is difficult to maintain the Hollywood stylized action that we had in 'Kick.'

Sometimes there are people who don't know how to make action movies - and that situation isn't a good one.

I love action, so I would really love to get into doing more action movies.

The action pictures I've been typically involved with, when somebody gets punched, you really feel the punching, and when somebody gets shot, you really feel the shot.

As far as action is concerned, our films have been coming up with some great sequences. In fact, I think Hollywood is copying Bollywood by getting their heroes to bash up 15 guys at a time.

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!

'Speed' and 'Point Break' were a lot of running and jumping, and then 'The Matrix Trilogy' had a lot of fights and wire work and green screen elements.

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

It takes years of building that experience as a filmmaker, as well as physically. You have to have a high level understanding of martial arts.

What really helps a guy to become an action hero today is the directing of the movie. All those fast cuts.

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.

Justin Lin has just been exceptional with what he does with that vehicular action.

I love the action movies. I would love to be part of those.

I couldn't do what I did in 'Deadpool' without 'Transporter,' categorically.

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.

I love watching action films, and especially the little moments of wit and humor in the choreography in a lot of them. The editing of an action sequence often has great moments of comic timing.

In feature films, unless there was a body count, they weren't hiring me to direct it.

You'll go see a movie like 'Matrix 2,' and the car chase goes on and on and on and on. They had all the money in the world and all the time in the world. It doesn't make it an any better action sequence.

I really like photography, and I'd like to do more of that kind of thing. If I had to choose a different job within the industry and do it well, I would love to do cinematography.

The first set I remember was 'Ghostbusters.' It was a scene in which the street erupted. I remember even at seven years old thinking, 'Wow, if you direct a movie, you can break the streets of New York.'

The size of a studio film lets you see technology in a way that you wouldn't on an independent film, like the gadgets and the angles and all that.

I worked for Sam Peckinpah on quite a bit of action in his films, and he got excited once in a while.

My friend James Cameron and I made three films together - True Lies, The Terminator and Terminator 2. Of course, that was during his early, low-budget, art-house period.

I don't remember anything anybody said in any Jack Ford picture. Nothing happens except action.