Why Every Action Movie Looks Like This Now
Summary
TLDRThis video script explores the evolution of action cinema, noting a shift towards greater visual clarity and legibility in modern action scenes. It discusses the prevalence of long takes and wide angles that celebrate stunt work, reflecting an industry-wide convergence on what constitutes 'good action.' However, it also raises concerns about the potential loss of narrative diversity and the separation of action from storytelling. The script argues that truly effective action should serve the story, using examples from various films to illustrate how different approaches to action can enhance narrative impact.
Takeaways
- đĽ The evolution of action cinema has led to a new standard of quality with films like the John Wick saga, raising the bar for fight sequences and visual storytelling.
- đ There's a convergence in the aesthetic of modern action scenes, with many films adopting a similar visual language characterized by wider angles, longer shots, and a focus on clarity and legibility.
- đ¤ The author expresses concern over the trend towards a singular aesthetic in action scenes, which may be divorcing the action from the broader narrative context of the films.
- đŹ The prevalence of 'oner' or long take action sequences is highlighted, noting their impact on audience perception and the potential for these to be disconnected from the film's narrative.
- đĽ The role of second unit directors, often stuntmen turned directors, is emphasized in shaping the look and feel of action scenes across different productions.
- đ The script discusses how action scenes in big studio productions are sometimes pre-visualized by external companies, which can impact the integration of action with the rest of the film's story.
- đ The author suggests that the pursuit of 'good action' has become somewhat formulaic, with a focus on techniques that emphasize visual clarity over narrative coherence.
- đ The importance of action serving the story is underscored, with examples given where action scenes are most effective when they are in harmony with the film's narrative.
- đ The role of sound in creating visceral action experiences is highlighted, suggesting that sensory impact is as important as visual clarity.
- đ The author argues that 'good action' is not one-size-fits-all but should be tailored to the specific needs of the story and the emotional response it aims to elicit from the audience.
- đ The script concludes by emphasizing the importance of anticipation and narrative build-up in making action scenes impactful, suggesting that the best action is deeply connected to the story's tension and stakes.
Q & A
What has changed in the quality standards of action movies over time?
-The quality standards of action movies have improved significantly with advancements in filming techniques such as the use of wider angles, longer shots, and better lighting, which have replaced the previously common shaky cams and poor lighting.
What is the concern about the convergence of aesthetics in modern action cinema?
-The concern is that the distinct look and set of principles shaping modern action scenes may be leading to a blending of styles, making different movies and scenes seem increasingly similar and potentially losing their unique identities.
What does the script suggest about the importance of 'legibility' in modern action scenes?
-The script suggests that 'legibility', or greater visual clarity, is a key aspect of modern action scenes, with a preference for wider angles and longer shots that clearly show the stunt work and action, rather than hiding it through quick cuts and close-ups.
How does the script relate the evolution of action scenes to Chinese filmmakers?
-The script points out that Hollywood has come to understand and adopt a principle that Chinese filmmakers had already embraced decades ago: the importance of showing the action clearly so audiences can appreciate the effort, danger, and artistry involved.
What is the potential downside of the singular aesthetic developing in action scenes, as discussed in the script?
-The potential downside is that this singular aesthetic might lead to a loss of diversity in action scene presentation, creating an almost objective ideal of what 'good action' is, which could become disconnected from the broader narrative and storytelling of the movies.
Why have long take action scenes become popular in modern cinema?
-Long take action scenes have become popular because they offer a seamless and immersive experience, showing that the action was not cheated and allowing audiences to feel as if they are part of the struggle, thus enhancing the sense of realism and engagement.
What is the role of second unit directors in the creation of action scenes?
-Second unit directors are responsible for directing parts of a movie that the main director may not be interested in or capable of doing, often including action scenes. This allows the main director to focus on other aspects of the film while ensuring the action scenes are handled by specialists.
How does the script discuss the impact of digital previsualization on action scenes?
-The script discusses that digital previsualization, which are low-quality computer-generated mock-ups of scenes, can sometimes be created before the script is finished or even before a director is attached to the project, potentially leading to a disconnect between the action scenes and the overall narrative.
What is the script's stance on the importance of narrative in relation to 'good action'?
-The script argues that 'good action' is not just about visual clarity and impressive stunts, but also about how well the action serves the story. It suggests that action scenes should be integrated with the narrative to create a more impactful and meaningful experience for the audience.
What examples does the script provide to illustrate the point about the importance of narrative in action scenes?
-The script provides examples such as the fight scene from David Fincher's 'The Killer' and Ridley Scott's 'Gladiator' to illustrate how narrative purpose and the intended audience response can shape the style and impact of action scenes.
How does the script suggest that the anticipation of action can enhance its effectiveness?
-The script uses the example of 'Taken' to show how the story builds anticipation for the action scenes, making them more effective when they finally occur. This is achieved through the setup of the scenario, the establishment of stakes, and the tension created before the confrontation.
Outlines
đĽ The Evolution of Modern Action Cinema
This paragraph discusses the transformation in the quality of action movies over time, with a focus on the increased standard of visual clarity and legibility in action scenes. It reflects on the convergence towards a common aesthetic in action cinema, where wider angles and longer shots are favored to showcase stunt work and artistry. The paragraph also raises concerns about the potential homogenization of action scenes and the risk of divorcing them from the broader narrative of the films they are part of.
đ The Impact of Previsualization and Second Unit Directing
The second paragraph delves into the behind-the-scenes aspects of action filmmaking, particularly the use of digital previsualization and the role of second unit directors. It highlights how action scenes are sometimes developed separately from the main narrative and directed by specialized individuals, which can lead to a lack of narrative cohesion. The paragraph also mentions specific industry professionals known for their work in second unit directing and the potential influence they have on the genre.
đ¤ The Influence of Stuntman-Turned-Directors
This section examines the trend of stunt performers transitioning into roles as directors or second unit directors, bringing their unique perspective on action to numerous films. It discusses the potential for a limited set of creative voices to shape the look and feel of action across the industry, while also acknowledging the skill and demand for these directors. The paragraph suggests that the uniformity in action scenes may be a result of industry and audience preferences rather than a single vision.
đ The Narrative Versus Aesthetic in Action Scenes
The fourth paragraph contrasts the narrative purpose of action scenes with their aesthetic presentation, using examples from films like 'The Killer', 'Gladiator', and 'The Raid'. It argues that while visual clarity is important, the visceral impact and sensory experience of action are equally, if not more, crucial. The paragraph emphasizes that 'good action' should serve the story and that different films may require different stylistic approaches to action to achieve their narrative goals.
đ The Power of Storytelling in Elevating Action
In this paragraph, the importance of storytelling in enhancing action scenes is underscored. It discusses how the build-up, anticipation, and narrative context can amplify the impact of action sequences. Using 'Taken' as an example, the paragraph illustrates how a well-crafted story can make action scenes more engaging and satisfying. It concludes by advocating for a multifaceted approach to evaluating cinema and media, sponsored by Ground News, which aims to provide a balanced view of news stories by revealing their political bias and sources.
đ Ground News: Unveiling Media Bias in Cinema Discussions
The final paragraph introduces Ground News, a platform designed to reveal media bias in news reporting. It discusses the features of Ground News, such as the visual breakdown of political bias, factuality, and ownership of news sources, and how it can help users identify and navigate ideological bubbles. The paragraph promotes the use of Ground News to gain a more balanced and informed perspective on media content, including discussions on cinema and cultural topics.
Mindmap
Keywords
đĄAction Movies
đĄLegibility
đĄLong Take
đĄSecond Unit Directing
đĄConvergent Aesthetic
đĄVisual Clarity
đĄVisceral Experience
đĄNarrative Considerations
đĄStunt Work
đĄMedia Bias
Highlights
The evolution of action movie quality with the advent of modern cinematic techniques.
The blending of action sequences in modern cinema, indicating a convergent aesthetic.
The pursuit of legibility and visual clarity in modern action scenes.
The celebration of stunt work and its foregrounding in contemporary action cinema.
The influence of Chinese filmmakers on Hollywood's understanding of 'good action'.
The hesitancy towards a singular aesthetic in action scenes and its impact on storytelling.
The prevalence of unbroken takes in action scenes and their narrative implications.
The role of digital previsualization in shaping action scenes independent of directors' vision.
The phenomenon of second unit directing and its contribution to similar action styles across movies.
The dominance of a few creative voices in action movie directing and its potential drawbacks.
The importance of narrative purpose in shaping the style and impact of action scenes.
The argument that 'good action' is not solely about visual clarity but also viscerality.
The sensory approach to action in David Fincher's 'The Killer' as a counterexample to standard 'good action'.
The significance of sound design in creating a visceral response in action scenes.
The idea that 'good action' serves the story and enhances the overall narrative experience.
The importance of setting up anticipation and tension to make action scenes more impactful.
The role of Ground News in providing a media bias breakdown for a more transparent news landscape.
Transcripts
It is a great time to be a fan of action movies. Where once we had to settle for shaky cams, Â
poor lighting, and of course⌠Now we can pretty much pick any action movie or TV show at random, Â
and be treated to⌠But at the same time, the standard for quality has been raised Â
for quite a while now. We have 4 entries in the John Wick saga, I donât even know how many of Â
those long take fight sequences, and I canât help but feel itâs all blending together a little bit, Â
sometimes literally so as the later entries in this new wave of action cinema already seem to be Â
circling back to the early ones. Thereâs an easy way to demonstrate this by just taking a bunch of Â
action clips and editing them together as if they are all from the same sequence. Besides being a Â
fun exercise, itâs quite telling just how seamless you can weave a lot of these together, with only Â
marginal differences in the ways that they were shot. It clearly reveals the sort of convergent Â
aesthetic, the distinct look that seems to have emerged from a new cinematic language, a new set Â
of principles and goals that more and more action scenes seem to strive towards, and that now, for Â
better or worse, is shaping the way we perceive and talk about the meaning of âgood actionâ.Â
So, what is it that modern action scenes have been doing, what have they been striving towards? The Â
key word here, I think, is legibility, and more specifically, the movement towards greater visual Â
clarity. If youâre a fan of action, you already know what this means; instead of close-ups and Â
quick cuts, we now tend to see wider angles and longer shots. Instead of hiding the stunt work, Â
it is now celebrated and put to the foreground as the main reason why we go see these movies in the Â
first place. In other words, it seems Hollywood has finally come to understand what Chinese Â
filmmakers had already figured out decades ago; we want to see whatâs going on, we want to see the Â
effort, the danger, the artistry. That is âgood actionâ, right? Thatâs what we mean when we tell Â
our friends they should watch The Raid movies, or Extraction or John Wick. Thatâs why we keep Â
raving about that hallway sequence from Oldboy. Thatâs the one scene from Kingsman we still talk Â
about. But the thing is, while I still enjoy these movies as much as the next guy, and will Â
probably continue to do so when new ones come out â man, that Monkey Man trailer looks absolutely Â
insane â I do have some hesitations about this development towards a more singular aesthetic, Â
mostly with the way we seem to have created this almost objective ideal of what âgood actionâ is, Â
and probably more importantly, with the way this ideal has become somewhat divorced Â
from the general language of storytelling. To explain what I mean, consider those many, Â
many action scenes that are presented as one unbroken take. You can often tell pretty quickly Â
when youâre about to see one; as a movie that up until that point may have been shot in one Â
way will suddenly look like this, you know, that camera-man look where you really feel Â
the physical presence of the camera moving around the characters. Often a wider angle, Â
shot hand-held and over the shoulder, which allows for quick pans but which also repositions slowly. Â
The long take has become quite ubiquitous in action movies and beyond because, well, Â
it is really cool. Itâs perhaps the ultimate way of showing that none of the action was cheated, Â
even though nowadays most of these long takes are digitally stitched together and therefore arenât Â
truly continuous, which as a side note, has come to distract me to no end as I canât help but look Â
for all the hidden cuts, you know, like that one. Or, here. Nevertheless, a good oner never fails to Â
get a positive reaction from audiences. But itâs interesting to stop for a minute and think about Â
the meaning and implications of its usage. For the long take is not just a mechanical Â
feature, itâs also a narrative tool that can serve to deepen the experience of a story. It Â
can create a more gritty experience by putting us in the middle of a conflict, making us part Â
of the struggle that the characters are going through as if we are right there with them. Or Â
it can emphasize a more otherworldly feeling by turning us into more of a detached spectator, Â
creating that sensation of floating through some sort of dream. Point is, the usage of long takes Â
can be an integral part of a story. But in many of these action scenes, it doesnât really feel like Â
this is the case. They feel more like momentary deviations, like they were created separately Â
from the rest of the movie. And to be clear, this is not to say a movie has to be 100% consistent Â
in its presentation or that it cannot have any sequences that take a different approach from the Â
rest of the story to emphasize certain impactful or important moments, Iâm just using the long take Â
here as an example of this wider development in which the form and content of action sequences Â
seems less informed by narrative considerations, and more so by these broader principles of what is Â
deemed to be âgood action,â as if the two have come to exist independently from each other.Â
As for why, well, thereâs a few things we have to talk about, the first being that Â
on some productions nowadays, action scenes felt like they were created separately from Â
the story because they literally were. Have you ever seen one of these digital previsualizations Â
for big budget action sequences? They are these low-quality computer generated mock-ups of what a Â
scene is going to look like. Itâs basically the evolved version of what directors like Robert Â
Rodriguez and Gareth Evans have done in the past, which is to film cheap versions of their action Â
scenes during pre-production so they would have a better idea of what itâs going to look like when Â
they do it for real, which in turn I guess is the evolved version of drawing storyboards. Anyways, Â
the idea here is that you give yourself a low stakes opportunity to play around with Â
different angels, different edits, different stunts, and so on, so that you can get a sense Â
of what works and what doesnât. And so, when the actual day of shooting then comes around, youâre Â
prepared as best as possible. Virtually every action movie has some form of previsualization, Â
and thatâs not the issue here. The issue is that, especially with the bigger studio productions, Â
these previsualized action scenes arenât made by the directors themselves, but by companies Â
specialized in digital previsualization, and they can sometimes already be in place before the Â
script is finished or before the movie even has a director. When Lucrecia Martel for example was in Â
talks to direct Marvelâs Black Widow, she was told not to worry about the action scenes and that the Â
studio has already taken care of them, after which she promptly walked away from the entire project.Â
But even if she had stayed on, itâs not just that the pre-visualization was already locked in place, Â
from what I found, this is actually a pretty rare occurrence outside major studio productions, Â
but more so that, and this brings us to the second and as far as I can tell the more common issue, Â
that even with a template to follow, she still wouldnât be the one directing the action. For you Â
see, much of the action we see today isnât shot by the actual director of the movie, Â
itâs shot by these guys; Chad Stahelski and David Leitch. And thatâs not true, itâs not just them, Â
but they are good examples of a behind the scenes phenomenon that I think has contributed to action Â
scenes feeling increasingly similar and divorced from the stories they take place in, and thatâs Â
second unit directing. So, Chad Stahelski and David Leitch are generally known as the stuntmen Â
turned directors who created the original John Wick. Stahelski then went on to do the sequels Â
while Leitch moved on to other projects such as Atomic Blonde, Bullet Train and the upcoming The Â
Fall Guy. But before that, aside from doing stunt work, they also worked as second unit directors Â
on, among other things, some Jason Statham movies, The Wolverine, Hitman: Agent 47, The Hunger Games, Â
Captain America: Civil War and Birds of Prey. Now, a second unit director directs parts of a Â
movie that the main director isnât interested in or capable of doing. On bigger productions, Â
especially nowadays, that often means action scenes. The benefit of this is that studios can Â
hire directors who arenât necessarily experienced with grand-scale action, but who are very good Â
at all the other stuff. And so combining those with second unit directors who are specialized Â
in action can definitely result in a win-win. But if you look more closely at whoâs getting Â
all these second unit directing jobs, you will start to see some interesting connections. For Â
Atomic Blonde for example, David Leitch worked with Sam Hargrave, another veteran stunt guy who Â
also did second unit directing on Suicide Squad, The Accountant, Deadpool 2, Avengers Infinity War Â
and Avengers Endgame. Heâs also the guy who went on to make the Extraction movies. And on Â
Captain America: Civil War, Leitch and Stahelski also worked with Spiro Razatos, also a veteran Â
stunt guy, also a second unit director. He did the action for movies such as Captain America: Â
The Winter Soldier, The Fast and the Furious movies, Venom and The Gray Man. Actually, Â
Captain America: Civil War had a fourth second unit director, Darrin Prescott. He worked with Â
Stahelski on the John Wick movies, and directed action scenes for Baby Driver, the Black Panther Â
movies, Deadpool 2 and Black Widow. I could go on as this list goes much further, but you can Â
probably already see what Iâm getting at here, thatâs a lot of action movies that are influenced Â
by a relatively small amount of creative voices. However, I do want to add some nuance here. Â
Because the issue is not as simple as âsame guy directs all the action and thatâs why it all Â
feels the same.â Second unit directors generally follow the main director, and therefore have to Â
be like chameleons who are constantly adapting to their desired vision, not unlike the way a Â
cinematographer can come up with a completely different presentation depending on what a Â
director asks of them. For example, I still canât quite believe that Hoyte van Hoytema, the gritty, Â
grand-scale IMAX cinematographer of Nolanâs most recent movies, also created that warm, Â
comfort-blanket look for Spike Jonzeâs Her. But sometimes a cinematographerâs style can carry over Â
from one director to another, think of Emmanuel Lubezki for example whose presence is clearly Â
recognizable in the work of Terrence Malick and Alejandro Iùårritu. And when this happens, Â
itâs usually because a director specifically desired that style and wanted to utilize it for Â
themselves. And I think thatâs what might have been happening with stunt work too; Â
itâs not that these handful of guys are just imposing their own view of what âgood actionâ is, Â
itâs simply that they are really good at doing their kind of action and it just so happens to Â
be that that is what a lot of the industry and the audiences seem to desire right now. And so, Â
the reason why the action in Casino Royale for example feels so reminiscent of that in the Jason Â
Bourne movies is not so much because they both had the same second unit director for the action, Â
that being Alexander Witt, but probably more so because the creative team behind James Bond wanted Â
to create a more gritty version of the character and therefore sought out someone who was known for Â
being really good at gritty action. By the way, Alexander Witt also went on to work on Fast Five, Â
Skyfall, Spectre, Avengers Infinity War; No Time to Die and Fast X, these guys really Â
have impressive resumes. But again, all that is perfectly fine, Iâm definitely not blaming these Â
individuals for being really good at their job and being in high demand because of it. Â
As Iâve mentioned earlier, I enjoy these action movies as much as everyone else does and deeply Â
respect the skill and the effort that goes into creating these sequences. But the whole thing does Â
give us some insight in how we got to this more singular perspective of what âgood actionâ is, Â
and it does make me wonder what we are missing out on by not having more diversity here.Â
My favorite fight scene of last year wasnât actually from John Wick 4 or Extraction 2, Â
it wasnât from an action movie at all. It was this one from David Fincherâs The Killer, which I found Â
quite surprising because on the surface, it looks like itâs breaking all the rules of âgood actionâ, Â
with the shaky cam, quick cutting and dim lighting obscuring much of what we generally claim we want Â
from a scene like this. And yet, clearly, it goes hard, I mean, Jesus Christ. It made me realize, Â
for one, that we might have been misinterpreting the exact properties that define âgood action,â Â
that even though the wide angles and the Steadicam and the long takes are all really nice, Â
itâs not the visual clarity that necessarily makes for âgood action.â No, for me at least, Â
itâs just as much, if not more so, that sense of âviscerality,â for lack of a better term. Â
Itâs not that we can see whatâs going on, itâs that we can feel it, and this takes more than Â
just getting all the action clearly into frame. Just pay attention to how important sound is in Â
this scene, both the sound effects... as well as the music... Itâs a beautifully vicious symphony Â
that takes a more sensory approach to action. Are you not entertained? Are you not entertained?Â
We can see something similar in Ridley Scottâs Gladiator, who also isnât particularly concerned Â
with showing off the action, but rather with eliciting a specific response in the audience. Â
He does this, in part, by cutting to these close up inserts of the wounds that are being inflicted. Â
They are these blink and you miss it shots, but combined with the sound design, theyâre enough to Â
make you flinch. And I think this is also the real reason we speak so highly of movies like Â
The Raid and John Wick; itâs because they used visual clarity not so much as an end in itself, Â
but rather as a means, as just their way of delivering those sheer gut punch moments. And Â
I guess thatâs the real point here, that there is more than one way to achieve these moments, Â
that when it comes to creating âgood action,â there is no one method or filmmaking Â
philosophy that should be treated as sacred. The second realization I had watching that Â
brutal fight scene in The Killer is simply that, at the end of the day, âgood actionâ is whatever Â
best serves the story. Because even though Iâve just been arguing how âgood actionâ is actually Â
about viscerality, it is also very much true that thatâs just what it needed to be in that Â
particular movie. The Killer is about a guy who thinks he is on the top of his game while in Â
actuality heâs making one mistake after another, and what better way to show this visually than by Â
letting him engage in his first actual fight and having him being absolutely mauled like DiCaprio Â
in The Revenant? With Gladiator too, Ridley Scottâs gritty, visceral action had a clear Â
narrative purpose as it served to emphasize the tension between the spectacle of violence and Â
the reality of combat. But when it comes to other movies, action may take on completely Â
different stylistic forms, invoke completely different sensations and feelings, in order to Â
serve completely different narrative purposes. But what is perhaps the most important thing Â
about this is that if action and story are more in sync, if they operate in unity with one another, Â
it creates this sort of positive feedback loop that doesnât just make the overall story better, Â
but that also specifically elevates the action itself. Or to put it like this, âgood actionâ is Â
made greater by the storytelling that surrounds it. I think one reason why the first Taken movie Â
was such a surprise hit wasnât just because it had cool action scenes, but because of how the Â
story created such anticipation towards them. Take this scene for example, probably my favorite one. Â
To recap the story in one sentence, Taken is about a father, played by Liam Neeson, Â
who has to find his kidnapped daughter. He has one clue, two words spoken at the end of Â
that now iconic phone call â good luck â which eventually brings him here, to this criminal Â
hideout of sorts. But instead of just barging in and rushing to the action, the movie takes its Â
time as Neeson pretends to be a crooked cop trying to extort the criminals. He drinks their coffee, Â
hurls a few insults, you know, the stuff youâd expect an overly confident crooked cop to do.Â
Your arrogance offens me, and for that the rate just went up 10%Â
At the same time, however, if you pay close attention, youâll also notice Â
heâs trying to get each one of them to say something, trying to find the same voice Â
that spoke those two words to him earlier. How do you say 'sugar' in your language?Â
One by one, he crosses them off, until he reaches the last one-Â
A friend gave this to me, it's Albanian, would you mind translating it?Â
At this point, you know he just has to take the bait, and- Good luck.Â
oh, yeah there we go⌠You don't remember Â
me? I told you I would find you. Man, thatâs⌠thatâs how you earn an action scene.
Enlisting great stuntmen, coming up with cool set pieces, choreographies, Â
and with the best ways to film them, they can all result in action that is impressive, Â
damn impressive even. But without story, itâs just mechanics. âGood actionâ is legibility, clarity, Â
viscerality, but itâs also setting up heroes and villains, setting those high stakes that Â
draw us in, that make us care. Itâs establishing rivalries, promises, that sense of impending Â
doom. Itâs everything that creates the tension before the confrontation, that turns the entire Â
experience into a rubber band that stretches and stretches, that gets you on the edge of your seat Â
and builds that nail-biting anticipation to its absolute peak until it finallyâŚÂ
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