You always hear frustrated filmmakers who don’t have enough time or money to make the movie they want. You rarely (if any) hear the opposite: a studio brings more time and more money to filmmakers to make the movie better than before. But that’s what happened Ballet dancerthe latest movie John Wick Franchise.
Ballet dancer (Official title From John Wick’s World: Ballerina) was released for the first time last year. But, after success John Wick: Chapter 4 It’s a comprehensive franchise that shows it’s a comprehensive franchise, the team went back and added more action to the movie to keep it in line with the rest of the series. This means that viewers will have to wait a year to see Ana de Armas as the latest killer assassin, but hopefully it’s worth it.
Whether it’s worth it or not, you’ll find when it will open on Friday. Before that, this is our chat with film director Len Wiseman. Wiseman hell series. Here, though, we talk about returning to the movies with more money and time, what roles are the franchise co-creator Chad Stahelski owned by Wick– Style action scenes, and whether to reshoot Keanu Reeves added to the movie, or whether it was there all the time.
Germain Lussier of IO9: So this movie was supposed to be released last year, but Lionsgate is very excited about it and they want to give you more time to add more action and stuff. Can you take me through this process? What it feels like to make a movie and then make the studio feel like, “Oh no, that’s more money, do more things.” Because I don’t think it’s too often.
Len Wiseman: I mean, this doesn’t happen often. Of course, this is great. You go, “Well, I really want to do some sequences, we don’t have the ability to do the planning, budget.” So, it’s exciting. Furthermore, recombination of drawing these sequences is related to the entire team recombination. Like a director, it’s good. I think they should do all of this movies. In your time you have a good rest time, you can focus on building other sequences now. But no man, I really feel the support of Lionsgate saying, “Look, we know this is the first in this character, but we love it. We really believe in it. Let’s shoot more.” It’s great. This is a gift.
IO9: What is Chad Stahelski’s role in it? Because obviously he is the godfather of this franchise. How did he make a movie and shape it into something?
Wiseman: We’re just about Wick world. Its tone. He is one of the most creative directors of action and how his thoughts work. And one of them [reasons] Why do I want to do it Ballet dancer It’s because I share the same details and just look for cleverness and wit in action. I think you can shoot a sequence with a lot of action, but if there isn’t a clever idea behind it, it’s action. It just went past and you went, “Yes, it’s big. It’s cool. It’s fun.” But that’s where I really responded to Chad and his team’s development at 87 Eleven. They searched: What is the cleverness of choreography? Wisdom, that kind of fun. It’s such a violent and cruel action, you smile in it and laugh at it because it’s strangely charming about cruelty and violence.
IO9: There are many in this movie. So, please tell me more about the process. I want to ask specifically about the flame athletes in one second, but what is the process of a arrival in a gunpowder battle, or are we going to use a grenade? Is it inherent, or will there be more action meetings in the future?
Wiseman: For me, my process, I really like developing these sequences. This is something I like to do. I start with props. I am a prop builder. I always have to create and build and see it. So I will build these sets in my garage. Just like a grenade sequence, watching what you can do in close range grenade battles. We’ve seen grenades, but what would the grenade fight look like if it was essentially a snowball battle? How cool is that? Even use ice skates. Maybe very cheesy! So I left, I bought the skates, got some blood, bleed on it, and shot it in slow motion. Well, how will it be tied to my hands? How can you actually use it? Grab these two gloves? I’ll shoot these videos and I go, “Okay, so cool. Looks cool.” That’s different. Then I will start building a sequence based on this. So for me, if I could, I would build as many concepts for myself. That’s my way.
IO9: Great. I like its touch. But obviously, you can’t do this with the Burner. I don’t want to be too big of a Burner because it’s a big finale, but how many of them are real and how many of them are CGI? Because all this looks incredible. And I’m sure it’s true, because this is the DNA of the series. But it’s just one of the craziest things I’ve seen in such a long time.
Wiseman: no. This is actually practical. We have done some enhancements in some areas, but it is actually practical. It’s really hot. This can be very dangerous. Therefore, all security measures and everything are extreme. But that’s the case there too. We saw the gunpowder here and there in the movie [but] I don’t think you can say a movie where there is a flame against the flames, like a gunfight. That’s why I’ve been working on it and why I really like what Chad has built in this world, and the idea is that if it sounds ridiculous, but it’s actually stripped down and feels like you can do it, then you have a really cool sequence. I found that if an idea’s initial tone, like when I put skates on, I’m like, “Okay, she’s going to fight on her hands with skates.” That’s really stupid. That’s really stupid. Then I had to see it and build it. But if you delete it correctly, execution is everything. So if something sounds stupid but does it well, then you think you have something. That’s unique.
IO9: Yes, it makes a lot of sense. Is Keanu a John Wick who was always part of the film early on, or was his character added or expanded with other photography?
Wiseman: The extra photography has nothing to do with Keanu. That’s just that they do more action. I filmed everything Keanu in the first round. About eight days. Did he become part of the project from the beginning? No. Because we are developing it. This is also because it has been going on for a while, so I don’t know what happened at the end John Wick 4. So, a lot of things, the time I talked about with Keanu is the timeline. So he is largely involved in how it works as a parallel experience [John Wick: Chapter 3] To the core Rather than more sequel characters.
IO9: One of the reasons John Wick The movie worked, we liked them because they were real and cruel, but they had to have some doubt. You’re a little tip-fitting. So, what is it like to make sure these characters are superheroes instead of superheroes?
Wiseman: This is a good question, and it’s something I’m very concerned about. I love action movies. I also think people might fall into certain traps. To me, I think you can say “top”, but I think “the action is more realistic”. So, I think this is also vulnerability. In the pain you see the actors go through. I think one of the important things that makes it relevant to superheroes is that they kick the donkey and you get pain. No pose after performing the action sequence. If you see a character that performs amazing sequence of actions, it really bothers me, and in the end, if they feel like “Yes, I’m a little bad guy”, then I don’t think you’re a bad guy. I think you are a tool. You are showing off. Therefore, this is also very important. Not Posey.
Just watch, even if John WickWhat I really like is that I also think Keanu has gone through this amazing sequence and brought these guys out, without a performance on his face: “Yes, that’s cool.” He’s just exhausted. On the next thing, I couldn’t breathe and picked up the gun. I think this is weird. So, I mean, there are many levels. I can keep moving forward because it’s important to me. The tone of the action, even if it is enhanced, even if it is enhanced, but one practical, two, how is the performance, what do you see the actors going through?
See when Ana de Arams, Keanu Reeves, etc. to Friday Ballet dancer Go to the theater.
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