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We want to shoot very fast, and change set-ups very quickly because Keanu and the other actors want to keep the momentum of the scene going.” “The actors have spent months rehearsing before we come on set but once we’re there we have to know what we’re doing. It’s not just the action of the actors and stunt team that needs choreographing but the position of the camera operators too. When you have a pretty steady camera and you can see what’s happening.” So, we keep the camera fluid or with as minimal movement as possible. He continues, “If you move the camera too much, or you make too many cuts in the edit, it can interfere with the audience’s view of the action. It’s much better than shooting green screen. I feel very strongly that you should shoot as much as you can in the camera on the day. “We want to shoot the sequences as wide as possible, because we want the audience to feel that the actors actually are performing the stunts themselves.
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“Chad comes from a stunt background, so he really is a master when it comes to knowing how to choreograph action,” Lauststen says. “Chad told me he wanted to make the Bertolucci of action films”
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The basic camera rules for the series are shoot wide, shoot steady and shoot fast. “Chad told me he wanted to make the Bertolucci of action films,” Laustsen says, referring to the stunning cinematography of Vittorio Storaro in Bernardo Bertolucci classics like The Conformist and The Last Emperor. While the first film in 2014 established a narratively sleek template for eponymous uber-assassin (Reeves) exacting revenge on innumerable bad guys with a cocktail of martial arts and gun fighting, the second ‘chapter’, unusually for this type of movie, managed to improve the high-octane formula.įormer stuntman Stahelski (who doubled for Reeves in The Matrix) and cinematographer Jonathan Sela had established how the fights were shot for John Wick but Laustsen added further sheen, painting the action to resemble an artwork. John Wick certainly isn’t running out of steam. The film’s gothic-noir New York exteriors recall scenes from the original Blade Runner but John Wick 3 is altogether slicker and filmed using digital cameras and LED lights, two tools not available to Ridley Scott and DP Jordan Cronenweth in 1982. It brings a third dimension to the look of the film.” “It’s difficult enough anyway in New York when you need to block streets but bringing in lots of cherry pickers, cranes and rain towers and rigs for back lighting was a challenge.” We discussed creating atmospheres with smoke and steam but we’re filming in the summertime and the steam would have disappeared too quickly. “I knew how to work with rain but it’s incredibly complicated trying to do this in New York. For John Wick: Chapter 3 - Parabellum, the ultra-stylish sequel to the ultra-stylish ‘gun fu’ action franchise starring Keanu Reeves, rain afforded the opportunity to play with neon lights and headlamps reflected off dark streets, cars, motorbike helmets and windows. The Dane has worked with sea water-soaked imagery on The Shape of Water, winning a best cinematography nomination for Guillermo del Toro’s film. “It brings a third dimension to the look of the film.” New York has been photographed thousands of times before so when the city is the main location for your story how do you make it look different? The answer, for director Chad Stahelski and Dan Laustsen ASC, DFF, was to make it rain. Laustsen: “Rain brings a third dimension”