David Leitch

You always start a fight scene or an action scene with, 'What are we learning about this character at the moment, and how are we gonna arc him or her in the next three minutes,' and it's no different with 'Deadpool' or 'Atomic Blonde' or 'John Wick.'

I think the biggest thing you take from the stunt world is your understanding of the filmmaking process. For years, you've worked with every other department closely. You know hair, makeup, wardrobe, special effects, and you know what everybody's needs are and their expectations. You also know how to collaborate with them.

I've been really fortunate in my career to do budgets at all different levels.

There's a lot of directing within the stunt coordinator's job.

As a stunt guy, you become a mini-director. You're talking to actors about performance.

I think in the 'Deadpool' franchise, the writers are really good at distilling the good stuff and applying that to the material in this universe.

We don't want John Wick to retire again; we're glad he's back in the game. We want a sequel or a prequel. There's a lot of fertile ground to cover.

I think what's really important is to challenge yourself. You can very easily fall into the rut of, 'We know it works! We'll use that old chestnut.'

Every movie you attack has its challenges, and I was excited about the challenges presented by 'Deadpool.' I was a huge fan of the original, and I think, as a director, you have to put the script first.

Selling art is a lot different than making it.

In the stunt world, fights and vehicles are often two different disciplines.

Spies go undercover. They take on different personas.