Bradley Walsh Quotes

Making the unbelievable believable is different on a set with 'Fantastic Four,' where it's like, 'Wind machines! Because the airship is coming in and you're pretending to be afraid!'

You have to realize I like doing big movies that appear on a big screen. So the visuals and the audio have to be of a certain quality before I start to get excited about the thing.

You know, there was not much wire work for any of us actors to do because the extent of what they did was so huge. I mean, they wouldn't just throw you from this table to that wall.

In an action film, you think of things that are almost impossible to do and yet you have to manage to show them as being possible on film.

Frankly, you cannot match the action in a Bond or a Bourne film. Forget budgets, it needs an expertise which I probably lacked.

Being on set and seeing all that green screen, and how it activated my imagination, was amazing to me. I fell into that world very easily, and it was incredible to be a part of.

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.'

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

Film is a collaborative art form. I don't know why you wouldn't recognize the stunt performers.

It's harder for me to work on a Forrest Gump kind of movie, where everything is invisible.

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.

Movies started out as an extension of a magic trick, so making a spectacle is part of the game.

In movies, you shoot out of sequence, so the issue of reality is really taken out of it.

I had no special effects, no monsters running around, nothing blew up; those things are all things I've done so many times that they lose their allure after a while.

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.

I wouldn't want to do a whole movie with effects.

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.

When I was doing a movie called 'The Seeker,' I was fortunate enough to be able to do a lot of my own stunts.

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.

Every movie presents unusual challenges, and I like solving the problems with a combination of artwork and engineering.

Car chases are as painstaking to make as they are fun to watch. They take a lot of time, and you have to keep the energy up.

Sometimes you see films, not just science fiction films, where you get the sense that if the camera were to pan just to the left or the right, all of a sudden you'd be seeing light stands and crew standing around. But with 'Blade Runner,' the beauty of it is that it felt like a real, breathing city.

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.

The wonderful thing about cinema is you can bring a 3D world to life.