As a film enthusiast who has had the privilege of witnessing the evolution of action cinema, I must say that Chad Stahelski and David Leitch have truly paved the way for a new generation of action directors. Their humble beginnings as stuntmen, working their way up to the director’s chair, is a testament to the power of determination and perseverance in the face of adversity.
For a full decade now, Keanu Reeves’ character John Wick has captivated moviegoers with his gun-slinging exploits, and Lionsgate is going all out to honor this beloved franchise appropriately. ComingSoon had the chance to chat with directors Chad Stahelski and David Leitch about the film’s production, its re-release in theaters, and its enduring impact on action cinema.
2014’s original film is set to return to movie theaters on November 3 and 6, offering fans a chance to watch it in its authentic environment for the first time. On November 5, it will receive an Amazon-exclusive Titans of Cult SteelBook release, complete with various collectibles and debuting as its first Dolby Vision presentation. Additionally, The John Wick Experience is due to launch later this year in Las Vegas, combining immersive escape adventures and intricately designed cinematic surroundings to create an interactive journey that surpasses reality.
“I want to make an action movie that you want to see it in a theater.”
We managed to produce something truly captivating, and ten years later, here we are with four films! It’s astonishing. Director Chad has done an amazing job in continuing this franchise, and I’m thrilled for those who haven’t seen it yet to experience it on the big screen. I’m also glad that Lionsgate took the time to honor this achievement,” said Leitch, feeling both humbled and grateful to see the film back in theaters.
For Stahelski, the theatrical vision is important as it was at the core of the series.
I’m quite fond of theater, especially when it comes to action movies or those with stunning visuals and captivating music. For me, nothing beats watching them on the big screen. This was exactly what Keanu aimed for. One of the first things he told me was, ‘I want to create an action movie that you’ll want to watch in a theater.’ I’ve met many industry figures, but Keanu stands out as one of the strongest advocates for cinematic releases I’ve encountered. Despite being quite private and introspective, he appreciates the communal experience of watching a movie in a crowd.
Setting the tone with a home invasion
Both Leitch and Stahelski continue to hold a fondness for the break-in sequence, which initially presented the unique style of action that later made John Wick renowned among film audiences.
Leitch found the initial home invasion scene particularly captivating. You know, it’s the one where the characters secretly enter the house, and for the very first time, we witness an impressive display of gun-based martial arts. I still recall the excitement at Fantastic Fest when that choreography was unveiled for the first time; people were genuinely thrilled, and it was a truly exhilarating experience.
That scene also features one of Stahelski’s favorite kills in the first Wick movie.
“The scene I particularly enjoyed in that fight was when Danny Hernandez, who happened to be our friend, pushed a knife down into someone. I thought it was an exciting and entertaining moment. As for my favorite kill, it would have to be the one where I shot a guy off the roof of a car as he fell. It’s always thrilling.
Keanu Reeves is more than the Baba Yaga
From the stoic delivery to the incredible action scenes, John Wick is one of the greatest film characters to be created in the 2000s. He’s also the latest iconic character for Reeves, who has been an action star for decades and constantly found ways to reinvent his career and be more than just “Neo” or “Ted.”
As avid admirers of Keanu Reeves’ talent, we had the privilege of collaborating with him in various capacities – as stunt performers, choreographers, and even second unit directors. So when we discovered he was involved in this project while reading the script, it was electrifying! We knew his abilities and what he could contribute physically, which made us eager to work together.
During filming, Reeves’ expertise as an action star and his professional approach enabled him to pull off the intricately planned scenes, but it wasn’t a walk in the park. Leitch pointed out that there were two particularly challenging scenes to capture, one of which was the final sequence.
At the finale, the heavy rain sequence was remarkably intense since we couldn’t warm up the raindrops – it was chilly indeed! Both Keanu and Michael [Nyqvist] were carrying out most of their action during that time, and they were literally freezing. That scene was particularly difficult to pull off.
Another day arrived, and on a production like this, there’s no halting the action due to the lack of a major studio that could call for extra days or insurance coverage. This is an independent film, so we had another day where Keanu was battling a severe flu. We were in the club scene, and he was as sick as can be. He persevered through the choreography. I’m still amazed at how he managed it. What a trooper! It’s mind-blowing.
In the same vein as his legendary portrayal of Baba Yaga, Reeves’ delivery of lines is just as renowned as the “fight choreography” he showcased in combat sequences. According to Stahelski, they aimed for a fusion of the action style found in Japanese samurai films like Zatoichi and Akira Kurosawa’s works, combined with the quiet, stoic heroism reminiscent of Western actors such as Clint Eastwood.
[Wick] rarely speaks, and that’s very much like Keanu,” Stahelski commented. “He contributed significantly to this by minimizing his lines or rephrasing them for maximum efficiency. Additionally, the type of hero we aimed to portray was not common in cinema at the time, so we wanted a more stoic, seventies-style vibe, similar to actors like Lee Marvin, Charles Bronson, and Clint Eastwood. We discussed this with Keanu, and he delivered perfectly.
“Yeah, I’m thinking I’m back”
In the initial movie, one unforgettable scene is when John Wick appears bound to a chair, leading spectators to believe he’s been killed by Michael Nyqvist’s character Viggo. Yet, John manages to summon the strength to keep living and battle back, delivering an astonishing speech. In this moment, Reeves exclaims, “Everyone’s been wondering if I’m back, but I haven’t really known what to say. But now, I think I can honestly say… yes, I believe I’m back!
Although the sequence is remarkably done, it wasn’t exactly the directors’ original vision for the scene as it was portrayed.
Originally, we harbored a grander plan for that project, but alas, resources were dwindling both in terms of time and money. We stumbled upon an old bank situated outside New York City, which was undergoing renovation. In the midst of this ongoing construction, we found ourselves captivated by its charm. With no opportunity to prepare the site, we decided to transform it into a construction zone on the spot. Plastic sheets were hastily laid down. Our cinematographer at the time, Jon Sela, added some striking lighting effects to the scene, as described by Stahelski.
In our original scenario, we hadn’t gotten much practice with Michael Nyqvist and Keanu Reeves both restrained in a chair. Since Willem Defoe wasn’t present that day, we had to devise a solution for his character to rescue the situation. So, we planned it as a sniper shot. As we progressed, we had nearly completed 8-10 takes. Dave and I were contemplating, and it sounded more like, ‘I think I’m back. Let me go.’
In simpler terms, “We were almost done when Keanu paused and asked, ‘What?’ We replied, ‘Well, I guess we need another one.’ He agreed and asked what he should do. We said, ‘Could you just act out again?’ He inquired if we wanted him to go all out. We responded, ‘Yeah, really give it your best.’ He confirmed, ‘You want me to go all the way?’ We said, ‘Yes, let loose.’ He agreed and said, ‘I’m going to go all out.’ That take ended up in the movie. He went wild, much more so than the previous take, and we, along with the producer, knew immediately that it was perfect. We even used it in the trailer.
That pivotal John Wick scene has become a favorite online, as both a reaction gif and for memes. “[The reaction] was great. It was surprising,” said Leitch of Wick’s permanence online. “I think we were both shocked. We knew we’d put our heart and soul into this and we’d thought we created something that people would enjoy. But I don’t know if we ever thought we created, together, all of us, and I think Keanu included, that we created an iconic character. It’s still a little bit mind blowing that he exists now in sort of pop culture as a common thing.”
John Wick’s early cuts weren’t well received
A decade has passed, and the John Wick franchise has solidified its unique identity. Watching all four films consecutively, you’ll notice a striking consistency in tone. Despite having a clear vision, the directing duo faced challenges in executing this vision during their initial directorial ventures.
In simpler terms, Stahelski shared that they’re extremely pleased with the final result, but didn’t quite plan for the specific tone they achieved. They aimed for a blend of anime-inspired reality and hyper-realism, but weren’t certain how to achieve it. They found that having Keanu Reeves, who portrays a somewhat stoic character, helped them get closer to their intended tone. Coming from a background in second-unit filmmaking, they often notice issues with films, like pacing or tone, but by the time they addressed these problems, it was already the tone they were seeking.
As a devoted admirer, I’ve often observed that you’re on a quest to strike the right balance between pace and tone, with elements of logical flow thrown in. However, it became evident that the tone was the dominant factor. This is why some films leave me feeling like I’m watching three distinct movies sewn together. Aware of this challenge, we made every effort to avoid repeating the same mistake, yet we still stumbled. In post-production, I found myself questioning, “Is this a suspenseful thriller? Is it an adrenaline-pumping action movie? Or is this a surreal anime with its share of absurdity? The hero is clutching a lifeless toy puppy, executing 80 people. We’ve possibly gone too far.” In retrospect, I believe we may have jumped the proverbial shark.
Initially, our initial showing to friends and family didn’t go as planned. Many of our friends would pat us on the back and say, “Yeah… Good job.” However, it didn’t resonate well with the audience. It wasn’t until midway through editing that we began significantly trimming down the content. One day, we added the appropriate music and found the perfect tone. We made some adjustments, streamlined the opening, and concentrated more on Keanu’s role. With these changes, the tone seemed to click better, making it a more successful showing.
Initially, our journey wasn’t as straightforward as it might seem. Rather than having a clear vision from the outset, we stumbled around in the dark, experimenting with various editorial approaches, and constantly seeking the specific tone that resonated with us. Unfortunately, we lacked the formal education and technical prowess to easily find this elusive tone. Eventually, through some combination of luck, skill, or serendipity, we discovered the tone we had envisioned, and it proved to be successful.
Leitch shared that the post-production phase was an enlightening experience for both him and Chad. He explained that despite having worked on numerous big movies, they had never really delved into the intricacies of editing and making crucial decisions about performances. Typically, as second-unit directors, they would hand over the action footage to the first-unit director, leaving them without much involvement in the post-production process. This time, however, it was different. They were responsible for everything, which proved to be a significant learning experience.
Elísabet Ronaldsdóttir served as our editor, and her extensive experience was invaluable. She stepped in, guiding us with decisions, encouraging us to question our choices as directors, suggesting ‘Perhaps this scene isn’t necessary. This alternative might work better. Sometimes simplicity adds power.’ As we refined the film and she trimmed it down, we discovered the core essence.
“He’s killing 80 people. I think we jumped the shark.”
Leitch also credits the script written by Derek Kolstad for helping guide the minimalist nature.
In discussing our preferred films, such as westerns or a Sergio Leone Western, Leitch noted that they are simple in structure yet carry immense depth. We aimed to emulate this simplicity with our project, drawing inspiration from the script’s refined, minimalist style. Derek’s script offered us an opportunity to add our unique touch. Additionally, our collaboration with cinematographer Jonathan Sela was crucial, as he grasped our vision and assisted in creating a visual narrative that speaks volumes without the need for excessive dialogue. The first act of our production, with limited dialogues, effectively establishes the character’s background, giving viewers all the necessary information.
We’re emotionally engaging our audience through the story of the dog, the letter from the wife, and the funeral – all vivid visual elements. This scenario, restricted by the box, mirrors our own experiences working on various sets under different directors, with guidance from many talented individuals. We recognized that our proposed price might be tough, but it also provided us a chance to create something reminiscent of contemporary Westerns.
Making magic with great actors
The script served as a foundation for Stahelski and Leitch, but numerous key scenes and subtle details were conceived by the movie’s gifted performers. Leitch admired collaborating with Willem Dafoe because he discovered that talented actors often bring a wealth of creative ideas to the table.
In simpler terms, Leitch acknowledged that the actor (Dafoe) was handling his character’s care with a level of detail and depth that might be challenging for a director. He brought unique character concepts to the role, and watching him perform was impressive, almost like being in an acting class. Leitch specifically recalled a scene where Dafoe requested to be in his bathrobe and have a juice instead of their original plan for breakfast. These additional character touches made by Dafoe were always captivating.
Directed by Chad Stahelski, the late Lance Reddick was among the initial cast members for the John Wick series, joining Keanu Reeves as one of its early stars.
As a fan, I found myself in New York City when [Reddick] was there. Eagerly, I reached out to him for a conversation. We made a brief initial contact over the phone. To my delight, he graciously accepted and showed up. With a twinkle in his eye, he shared his vision, “I’ve got a brown suit, a blue suit… I feel this character calls for both. Oh, by the way, I’m going to adopt a Senegalese accent from Africa for this role. This is my character. His background story is intricate…” He had it all planned out, and I couldn’t help but be excited about it! Stahelski shared his enthusiasm in his words.
Explaining our movie idea to other actors proved a bit challenging. If I were explaining it to you, it goes like this: ‘Imagine an action film featuring Keanu Reeves. He’s compelled to kill 80 people due to a lost puppy, and there’s this peculiar underworld reminiscent of Greek mythology.’ With two novice directors, it wasn’t the easiest pitch. Some people grasped it quickly, while others were less receptive. Interestingly, those who joined the cast immediately understood it. Lance, for instance, didn’t even hesitate; he simply said, ‘Yeah, I get it. I’m Charon, the ferryman from mythology. I’m the gatekeeper. I understand.’ This made us realize how straightforward and intuitive his response was.
“That’s why he is in every movie. He was our first anchor to it, and then Ian McShane, Willem Dafoe, and all the cast that we had put together since. Plus the gentlest guy you’ll ever wanna meet. Professional, always on time, always got the scene. It’s funny, him and Ian McShane together, whenever they were working, they’d always be on set. They never went. They stayed on set the entire day, talked to the crew, knew everybody’s name. They wanted to see the making of it, whether they’re in the scene or not. They enjoyed watching us make John Wicks. So, if you want to have a good day on set, invite Lance and McShane, and you had a really good day on set. There’s just a good vibe when the cast is into it, and it’s not just a job, it’s not a gig, it is an experience that they don’t wanna miss out on. You’re making magic at that point.”
Two timeless moments in different settings feature professional wrestler Kevin Nash and established actor Thomas Sadoski. Notably, Nash, having a connection with one of the producers, proved an excellent fit for portraying a former friend of Wick’s Russian bodyguard.
In a straightforward manner, director Stahelski commented on Kevin’s performance, saying it was overly dry and gave off an unintentional tough vibe. He added that Kevin, being a large and intimidating figure, had a unique habit of swallowing before addressing John Wick (Keanu Reeves), saying “Oh, Mr. Wick. Thank you, Mr. Wick.” This line delivery was significantly improved when Keanu and Kevin rewrote the scene, trimming it down to a concise few lines. The revised scene was quickly shot in an hour, with the sun rising over New York City as their backdrop.
Among Stahlenski’s preferred scenes is one featuring Sadoski, whom he admired from The Newsroom. Interestingly, the dynamics between Sadoski and Reeves exceeded directors’ expectations as Sadoski’s character, Jimmy the cop, unexpectedly responded to a disturbance call following Wick’s house encountering a gunfight.
Initially, I had an idea about how he’d approach the scene. Meanwhile, the night was progressing, and I was trying to manage my day-to-day tasks. During rehearsal, as we were staging the scene, Keanu unexpectedly appeared at the door. We anticipated that Keanu might deliver his lines differently. However, Keanu approached the door with a completely serious demeanor. He simply asked, “Hey, Jimmy. Noise complaint?” Kudos to Tom for staying in character on the spot. His response was equally understated, saying, “Noise complaint.” Our reaction was, “Alright, let’s stop filming.
That was awesome. It was one of those sweet little scenes that in a script it reads like it’s a throwaway. It almost reads like you just gotta get it to get [on with the story]. Instead, it became the pivotal moment where we shift worlds. That’s the scene where we have our cinematographer switch lenses, switch lighting, and switch all that stuff. So now you’re going into the John Wick world now. We’ve changed complete palettes. That became our light switch. So I always remember Jimmy as he’s the guardian of the Wick world.
Paving the way for action directors
Through their success, directors Leitch and Stahelski have opened up opportunities for more stuntmen in Hollywood, including J.J. Perry, director of The Killer’s Game. Having been a stunt player on John Wick alongside them since the 90s, Perry sees this as merely the beginning for the stunt community.
Perry expressed how he feels incredibly proud seeing his two fellow students, Chad Stahelski among them, achieve success, as it was Stahelski who helped him direct his first movie. He’s deeply grateful for their support and can’t wait to see what they accomplish next. Perry believes that the barrier for action directors is about to be broken due to the rising talent of many young men and women from similar backgrounds, just like Stahelski was in the early days of visual effects directors.
In paying tribute to the stuntmen who paved the way for success behind the camera, the directors of the John Wick series ensured they recognized their predecessors in the action genre.
Essentially, Leitch expressed that it’s gratifying to witness the stunt community being recognized as talented storytellers, a role that has been historically filled by figures such as Jackie Chan and Hal Needham. In the past, pioneers like Charlie Chaplin, Harold Lloyd, and Buster Keaton, who were all stunt performers, also became renowned directors. It’s exciting to see this new generation stepping up and being acknowledged for their storytelling abilities.
Stahelski continues to improve
Stahelski reflects fondly on the initial John Wick film, yet acknowledges that his meticulous nature would lead him to approach things differently if given a second chance today.
Stahelski acknowledged, “If I had the chance to re-shoot half of this movie with all I’ve learned about lenses, lighting, and adjustments, I would. But upon reflection, I stand behind it. In retrospect, I believe we did our best at that time, given our resources. We didn’t give up, and the effort, stress, and time we invested were significant. Considering our circumstances, I think we were given a fair opportunity to excel. Compared to what we know now, I feel we couldn’t have done better under those conditions.
In simpler terms, “I really enjoyed the first John Wick film, and I hope that when you watch John Wick and John Wick 4, you’ll notice that the character has grown or improved. I aim to infuse more depth, style, or color into these films, creating a harmonious theme that enhances them. I wouldn’t want you to watch the same storyline repeated; instead, I hope for each subsequent film, including John Wick 1, 2, 3, 4, and future installments, to build upon the previous ones in a beneficial way.
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2024-10-25 01:41