Annabella Sciorra Quotes

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

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.

We did many of our own stunts. We had our hands full. In fact, the roles were physically demanding.

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.

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.

Since very early in my career, I have always did my own stunt fighting.

The funny thing is, I've never really hurt myself in an action movie. I've done 'Wanted,' 'X-Men,' 'Welcome To The Punch,' even 'Trance' to a certain extent has little bits of action and stuff, but I've never really hurt myself at all - not even like a sprained ankle.

In the stunt world, fights and vehicles are often two different disciplines.

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

When you do an action movie, you've got to come prepared to do an action movie.

I want to be able to do more of my own stunts and really be proficient with my weapons.

Timing is a big part of stunt work and fighting scenes. It's something you learn in WWE, especially when they are really character-driven fights.

I insist on doing all my own film stunts, although they are often worked out in advance by a stunt man who then advises me on the best and safest method of performing it.

Fight scenes are hard, no matter what you do. You're trying to make it look like you're hurting someone without hurting them. It doesn't matter how big and strong the guy is that you're fighting or how small and feeble someone is that you're fighting. You don't want to hurt them. You're working with them.

Everyone realizes when it comes to fight scenes, that's gonna be my wheelhouse.

As a stunt guy, you become a mini-director. You're talking to actors about performance.

As much as possible, I try to encourage people to use stunt men because that is really their job.

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.

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

For me the stunts are so cool, they're one of my favourite things when we're doing the film.

If I'm going to fly for more than twenty feet it's generally a good idea to get a stunt guy.

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.

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

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!

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.