Ballerina’s Flamethrower Fight Explained By Director [Exclusive Interview]

Man, I love that grenade attack so much. How many variations of choreography do guys go through when you live “okay, we only use grenades”? You have, for example, limited: “What can I actually do where my protagonist won’t be destroyed?” So how many different variations did you end up there?

I mean, one, it was fun to build so dynamic because they are grenades, so even a series and setting, steel doors, it is built, it’s all rock-based underground bunker. So you start from where you can really protect yourself right behind the door. But I just went to such nuts to lobbing, almost a hot potato -type sequence. So the series ourselves, we built a lot – because [we also have] Lots of constant grip, so there were a lot of trap doors in the series. So when the guy is pushed behind the door, we don’t cut. Ana pushes the door closed, and she passes through a small magic trap door immediately before the explosion goes out because it is a real explosion. So it’s a bit, I felt like it was almost like small theaters tricks that we would do as we blow people.

It’s really cool. So there are several other expanded battle sequences here, which I think -junkies just really enjoyed and wanted to go through a few of them in the form of a lightning round and see if you could just tell me about stories about the series or moments that you found during the editing or whatever that jumps on you. So there is this hard battleground that happens in the ice club that was something I have never seen again. So what do you remember about it?

I mean it was something about the use of existing elements, what would be in the ice club? Some of it is just grabbing weapons because when he comes in, he cannot have the right weapon, so he has to use rubber sources. So it was also a unique idea to take something again, saying he had a gun. Say he had a gun in the club. It seems like something we’ve seen before, outside the ice club [aspect]But using the use of rubber slats founded this idea of ​​metal detectors, you just can’t go there. So what do we do? So using the rubber bones, what he practiced in the Ruska roman, which becomes a different sequence. So it’s almost like hitting the bullets. Just driving and just pop, pop, pop, you have to drive them back as if you hit them. So it became a new thing. “What if we hit bullets, what does it look like?”

It’s great. And then there is also this scene that happens in such a Lodge environment we have never seen before in John Wick. What do you remember about it?

We had fun with it, and I really wanted this, I had this picture at an early stage silhouette samurai, just a wild ana, a wild eeve, just letting all his anger in one table going to the city. So using a fire in particular – when the grenade is turned off, but then it rolls next to the fireplace, so I needed a place to fire, mainly because I wanted to shoot that silhouette. So it’s how you go through it. You have these ideas, I’m going, “Okay, so the cottage has to be on fire because I want a shot in this table.”