David Bianculli

You're doing fight scenes, you're getting whiplash from doing reactions, and you're smashing through breakaway tables, or you're getting thrown out a window, and you just... Part of it is like the ability to be a little bit tough and have some pain tolerance and know that you're OK, that they're just bruises. But, you know, you get back up.

You're doing fight scenes, you're getting whiplash from doing reactions, and you're smashing through breakaway tables, or you're getting thrown out a window, and you just... Part of it is like the ability to be a little bit tough and have some pain tolerance and know that you're OK, that they're just bruises. But, you know, you get back up.

You're doing fight scenes, you're getting whiplash from doing reactions, and you're smashing through breakaway tables, or you're getting thrown out a window, and you just... Part of it is like the ability to be a little bit tough and have some pain tolerance and know that you're OK, that they're just bruises. But, you know, you get back up.

You hate it, but you're stoic about it and it is sort of the contract that you sign in the sense of the unwritten contract that you sign. If you can get up, you should be going again. And the stunt coordinator expects you to do that too because he's hired you and he doesn't want you to not make him look good in front of the director. I think for myself now being in the director chair,

You hate it, but you're stoic about it and it is sort of the contract that you sign in the sense of the unwritten contract that you sign. If you can get up, you should be going again. And the stunt coordinator expects you to do that too because he's hired you and he doesn't want you to not make him look good in front of the director. I think for myself now being in the director chair,

You hate it, but you're stoic about it and it is sort of the contract that you sign in the sense of the unwritten contract that you sign. If you can get up, you should be going again. And the stunt coordinator expects you to do that too because he's hired you and he doesn't want you to not make him look good in front of the director. I think for myself now being in the director chair,

I have a lot more appreciation for the performers. It's really like if we get it on one take, why not check the gate? Why are we doing it again? There's a great story from Fight Club, and this is not to throw David Fincher under the bus, who's one of my mentors who I love, but we did that stair fall 12 times. 12, 12 takes. And I think the stunt double for Edward Norton was in boxer shorts.

I have a lot more appreciation for the performers. It's really like if we get it on one take, why not check the gate? Why are we doing it again? There's a great story from Fight Club, and this is not to throw David Fincher under the bus, who's one of my mentors who I love, but we did that stair fall 12 times. 12, 12 takes. And I think the stunt double for Edward Norton was in boxer shorts.

I have a lot more appreciation for the performers. It's really like if we get it on one take, why not check the gate? Why are we doing it again? There's a great story from Fight Club, and this is not to throw David Fincher under the bus, who's one of my mentors who I love, but we did that stair fall 12 times. 12, 12 takes. And I think the stunt double for Edward Norton was in boxer shorts.

And, you know, we had figured out a way to pad the stairs and, you know, the art department had faux painted. It looked like concrete. There were some safety things, but it's still launching yourself down a set of stairs. And it's like, I don't want to ask him to this day, like, David, which one did you use? And he's like, oh, take two.

And, you know, we had figured out a way to pad the stairs and, you know, the art department had faux painted. It looked like concrete. There were some safety things, but it's still launching yourself down a set of stairs. And it's like, I don't want to ask him to this day, like, David, which one did you use? And he's like, oh, take two.

And, you know, we had figured out a way to pad the stairs and, you know, the art department had faux painted. It looked like concrete. There were some safety things, but it's still launching yourself down a set of stairs. And it's like, I don't want to ask him to this day, like, David, which one did you use? And he's like, oh, take two.

Yeah. Like, what were you looking for? And again, like, I just know as a stunt performer, like, if it looks like a wreck and it was really compelling and painful and you got it on film, why are we going again? Like, you know, it's only going to get, you know, the stunt performer only gets more cautious and tries to protect themselves even more. I mean, it's just instinct at that point.

Yeah. Like, what were you looking for? And again, like, I just know as a stunt performer, like, if it looks like a wreck and it was really compelling and painful and you got it on film, why are we going again? Like, you know, it's only going to get, you know, the stunt performer only gets more cautious and tries to protect themselves even more. I mean, it's just instinct at that point.

Yeah. Like, what were you looking for? And again, like, I just know as a stunt performer, like, if it looks like a wreck and it was really compelling and painful and you got it on film, why are we going again? Like, you know, it's only going to get, you know, the stunt performer only gets more cautious and tries to protect themselves even more. I mean, it's just instinct at that point.

It's less about making them more grounded, in my opinion. I think it was more about figuring out a way to bring that martial arts feeling and integrate it into Hollywood cinema. I think for a long time... I was a fan of a lot of different Asian cinema, Korean and Chinese, Japanese cinema that had martial arts. And the lead characters, everyone just knew how to fight.

It's less about making them more grounded, in my opinion. I think it was more about figuring out a way to bring that martial arts feeling and integrate it into Hollywood cinema. I think for a long time... I was a fan of a lot of different Asian cinema, Korean and Chinese, Japanese cinema that had martial arts. And the lead characters, everyone just knew how to fight.

It's less about making them more grounded, in my opinion. I think it was more about figuring out a way to bring that martial arts feeling and integrate it into Hollywood cinema. I think for a long time... I was a fan of a lot of different Asian cinema, Korean and Chinese, Japanese cinema that had martial arts. And the lead characters, everyone just knew how to fight.

And they could fight with a martial arts style. And whether it was a police drama or a heightened sci-fi thing, every character knew how to fight. And it wasn't until... The Matrix movies where the Wachowskis had sort of like, hey, we want to have that same vibe in Western cinema.

And they could fight with a martial arts style. And whether it was a police drama or a heightened sci-fi thing, every character knew how to fight. And it wasn't until... The Matrix movies where the Wachowskis had sort of like, hey, we want to have that same vibe in Western cinema.