![]() ![]() Spielberg then asked him how he made the shot in Rumble in the Bronx where he jumpet across an alley from one ceiling to a balcony on the other side.The films rights were acquired in Feb. ![]() Having heard how they made the dinosaurs jump after the actors using computers. Which brings me to my favorite quote as he's recounting his meating with his idol, Stephen Spielberg. This is a guy who shot a good portion of Rumble in the Bronx with a broken foot. And he budgets his movies with expected visits to medical infirmaries. ok, he could have probably easily faked that one. ![]() You need to show Jackie eat blazing hot peppers, spit them out on his knuckles and punch his opponents with secondary pain inducers then. TWICE! Because he'a perfectionist and wasn't happy with the first one where he almost crushed his back. You need a shot where Jackie falls through 3-5 stories of curtains onto the ground? Then he does it. You need a shot where Jackie skates under a rushing truck? Then Jackie skates under a rushing truck. You need a shot of Jackie flipping over a spinning saw-blade? Then Jackie flips over a spinning saw-blade. Resulting in often very real and dangerous feats for the cameras to pick up. Getting his film-schooling in an era long before effective digital wire and rig-removal and most of the time doing spectacular death-defying stunts on (in American standards) indie-budgets. Noone in their right mind would insure a Jackie-Chan film. Or, as I've said for some time now: "Americans cut to hide things, Asians cut to show things"Īnd one other reason why almost noone in Hollywood shoots action like Jackie is his complete disregard for his own personal safety. This is NOT just good advice on how to make a Jackie Chan movie, it's good advice on how to make stellar action. I guess the difference is that when you have full contact fighting (like Jackie does), you don't have to "fake" your way past a slow feint.Īnd the american scenes singled out in the video were really illustrative of how inert Hollywood fight scenes can sometimes get. One thing I found fascinating in the video was Jackie's editing tip of repeating a blow to accent it, instead of the by now common practice of dropping a few frames out to speed up the moment of impact (a tip I've seen in many online tutorials, Film Riot for instance). with very measured camera work and modest editing. The Coen brothers make us feel completely the layout of the space, the plan of attack, where the people are in relation to one another, etc. I think Renée's takeaway from this, to simply slow down the editing, is a little too general a conclusion, sidestepping the point a bit, which is: make the audience belief the action is real by not creating it with editing (wide angle, no cuts) and by orienting the viewer within the space (same, as well as using the location).Īnd that's not specific to martial arts fights - take, for instance, those intense cat-and-mouse chase sequences/shoot-outs from No Country For Old Men. He is simply the best there has ever been (for my money, better than his own Idol Buster Keaton). While a Jackie Chan movie is rarely inspired in all of it's elements (the writing often relies on overly familiar beats and the acting is inconsistent) the sheer ingenuity and exhilaration of those action sequences, wether fights or stunts, is second to none. That was a total nostalgia bomb for me - there is nothing like a Jackie Chan fight scene. I think I've made my point - don't do away with chaos editing, but make sure the choice to use it is intentional, so it's not getting in the way of your story.Īlso, I do have to disagree with Tony Zhou (and probably a huge number of you) on one thing and say that this is the best death scene ever. Does your heart flutter every time Jackie Chan pulls off some incredibly intricate and creative stunt? Does it really matter that it happened in 20 edits instead of 7 trillion? Seriously, are you less awestruck watching Bruce Lee spar with a gang of villains just because there's less editing - and zero death metal track? No, dare I say you're more awestruck, because of his incredible physical prowess. I mean, I love the seizure-inducing editing of chaos cinema as much as the next adrenaline junkie, but there's something beautiful and nostalgic and honest and good about hitting the breaks a little bit, slowing things down, and letting action unfold rather than explode. One point I couldn't agree more with is the idea of lingering on shots a little longer. There's a lot of good advice in there - stuff you can use in pretty much any film project you try to tackle regardless of genre (though a few are genre-specific). In editing, two good hits = one great hit.Zhou broke down the principles thusly on Twitter: ![]()
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