YTread Logo
YTread Logo

Aquaman’s Director Breaks Down Jason Momoa's Fight Scene | Vanity Fair

Jun 02, 2021
Hi, I'm James Wan and we're about to take notes on a

scene

and this is the

scene

from my latest movie Aquaman and let's do it, let's get into it. We follow Arthur and Mara through their travels across the seven seas during At one point in the film, we pull a reef out of the ocean and come ashore and here we are about to enter one of our big action scenes where They face Black Manta and these Atlantean commandos who are chasing them. I love to string my action together, so if I have characters that are doing things you know in a location and there's something else nearby that I like, I like to find ways that my camera allows me to set up if I plug them in. together they shoot me Jason double stuns here in the foreground being thrown to the roof and breaking the tiles, he comes this way while the camera is on a crane pushing him, we connect to another shooting element that is happening in the background here with Mara and in this shot it allows me to move from one character to the next using a crane and a detected camera to connect the two separate locations into one and then obviously using visual effects that ultimately allow them to be brought together.
aquaman s director breaks down jason momoa s fight scene vanity fair
What I'm looking for here is an action scene that may seem somewhat familiar, but it's taken up a notch and connects to create a fun action scene that we've never seen before and that's our philosophy from day one. create things that we hadn't seen before, so one of the things I wanted to do with this was and you want it to be like a classic foot chase sequence across the rooftop, but I want to feel like mix it up a little bit, so it came up the idea that maybe it's a foot chase sequence that happens on two levels during the first part of the chase.
aquaman s director breaks down jason momoa s fight scene vanity fair

More Interesting Facts About,

aquaman s director breaks down jason momoa s fight scene vanity fair...

I can follow the bad guy, I thought it would be really fun to see a jumping character here, but On the wall we find someone shaving in the shower and then if we continue we see that we go out into someone's living room and someone's kitchen and The concept is that we continue the chase and we don't do it without a cut. and we let it take us to the next moment, so when we redo the second tape we try to keep the appearance roughly, so we keep the other side, it's broken, you know, so the doors and the walls are kind of broken and kind of tattered and we just make fun of it so that the stuntman can have something physical to hit with and then what we do is we use visual effects that go in and out of the wall or the door and make it look new.
aquaman s director breaks down jason momoa s fight scene vanity fair
Another thing I want to talk about is the photography of this shot, the camera itself is hooked to a line. because the camera is quite heavy and you know, we reduced it to two Tremecs as compact as possible, but it still has a lot of weight and the guy who is technically filming the shot at the moment is also a stuntman, so he jumps. he walks off the balcony and lands, and although the camera follows him very smoothly through the camera operators, he also has a hooked toe harness, when he jumps you know he lands perfectly with the stuntman, that's the only way to get a shot like this. don't put your camera operator there, put someone who really understands stunt movement.
aquaman s director breaks down jason momoa s fight scene vanity fair
That first half of that shot ends with our camera operator basically walking out the hallway window and that's really all we've built up, which is like the section. that we know we need to photograph and when the camera leaves the hallway through the window, we practically enter as if nothing had happened. If you look at what's out there, you'll literally see that it's the parking lot where we filmed the sequence. Obviously, then you know I used visual effects to then connect us to the next section of the shot and in the next section of the shot, we build the rooftop right where the actor or stuntman will run when everything is on scaffolding.
They're actually just two or three feet off the ground in the parking lot, I don't want to give it away, but that's how we did it and then the visual effects come in and add to the whole environment around it to make it look like. it's all the way up there and to complete the wall we're about to move into the third part of this shot so one thing I want to point out here at some point during this horizontal chase sequence we did what we called At the Texas Turnaround, you got two people as if they're playing the same character and you literally have them go after something and then the other person comes out the other side, so in this case we used a very similar approach where we performed stunts. with number one she is running and then she goes behind that pillar and once we go behind that pillar now this is done by making number two take over the rest of the race.
The reason we did that is because she was running vertically in this direction. and his character is attached to a safety line so we can't let go of it and now we need to take the running action he needs to run towards us and that's why this particular person needs to be attached to the safety line so that They can then run towards us as we walk away from her. In this sequence, we have another set built in a different location. The camera starts on the other side through the bell tower window and shoots like a blue screen and then the camera. back up and you time it perfectly with Jason's action and he moves out of the way as the explosion happens and again you know that this particular bell tower was built in a parking lot and basically it was just rigged to explode and then of course this guy in particular.
There's no real person here, it's a digital version of Jason, the explosion itself is real and that's how I like to do most of my stunt sequences. I love trying to film as much live action as possible on camera. and ultimately I usually use visual effects that help me tie moments together, put elements together to create the final shot. The more hands-on you can shoot, the better and more real it will look, so this shot here, you know, we have a digital double. flying into the foreground and then at some point that's when it becomes a real stuntman, so the flying twisted camera is a digital double, but then the risk of this action of this guy cutting the edge of this rooftop he's a real specialist and That way we can get the shingles to interact correctly when he hits them and then he's actually on a dowel that, as you know, is safe and rotates around him so when he trims it he can't. unroll and in a roundabout way and to make what you know give it a really interesting look for when he finally hits the ground, we basically put a punching bag right in front of this young guy. and then the specialist basically runs around and his friend checks the body bag and then what we did was we just replaced the body with this giant digital.
This shot here was done with a cable camera or a came spider where the camera stops on the ground and then the camera moves up to then connect, you know, with the action that's happening above it and again, already You know, going back to my philosophy of loving, is to unite my characters well with what the camera worked. it always lets you know where everyone is and ultimately just gives you a better geographical view of the environment, so in the meantime the Yammer keys are down there chasing her before this particular shot, this shot took a long time to do it right as you can imagine because when she jumps and then he comes running and jumps from the balcony to the other building, it also took a long time right, you know they are on different planes, literally, like she is on top of it and he is there.
Below there is a downward flow and then on top of that we have the difficulty of trying to sync the camera with the action as well, so we zoom in as the action happens and then the camera has to pan with the action below. as it progresses. he zooms out and that kind of thing takes a lot of work to do right and you know, and you just keep taking to take, you get it right, so we have multiple cameras on at the same time, as you can imagine. and in this sequence, he literally has our stuntwoman with the safety wire around her looking around her body so that when she goes flying, she spins in the air and, like I like, the blast through her goes through the air , you are wearing the cable around your body. pulling her like a top, if you can imagine a top, and that is, tell me how we get her to spin through one, so again the trick is real, she flies through the air of Israel and ultimately what What happens here is that he lands right on a safety pad so he doesn't fall through the ceiling at that moment and then we go to the next take when we do action scenes like this, you know it's very complicated and it's great to have these actors so excited.
We want you to do it and do it well and really get into it. We were very passionate when we made this movie and I think you know you see that love and passion that you know in every frame of this movie.

If you have any copyright issue, please Contact