For me, I’m crystal clear on what I would do. You keep your eyes and ears open, in the spirit of constantly improving. I’ve learned so much from Cameron Diaz and Drew Barrymore. What was it like to work on 3 Days to Kill with someone like Kevin Costner, who has the directing background that he does, and then produce Chris Evans’ directorial debut, 1:30 Train? Do you like learning from both ends of the spectrum, like that? But, I wanted this film to be decidedly in-camera and grounded because, to me, that’s a metaphor for the character. Charlie’s Angels had a lot of that going on. Obviously, Terminator was a big visual effects extravaganza. When you see the cars in the streets of Paris and they’re banging into each other, it’s got a little bit of bite and a little bit of grit that I think is complimentary to who Kevin is. You know what something is going to do, so if it’s a drawing, you know it looks a little bit off. I think people are very accustomed to looking at physics. It just starts to feel animated, a little bit. I just think that we’re at a place where there’s some blowback, in regard to the over-saturation of CG. I hope we achieved that on this.įor someone who’s been very afraid to fly, what was it like to shoot this in Paris? Did you have any hesitant, in regard to that aspect?Īs somebody who likes to do the stunts as practically as possible, what are the biggest challenges with that? I aspire to make movies that are dimensionalized, and not just one thing. To me, that’s what it means to be alive, and it’s my favorite movie-going experience that allows me to let go of my real life and immerse myself for those two hours that I’m in the theater. Those are the Amblin movies that I grew up on. I always try to ask myself, “Why is this movie worth making?” I want to be able to look you in the eye and say, “Here’s why it was worth two hours of your life.” If it can surprise you, move you, make you laugh and thrill you, that is my favorite kind of film. And it was challenging trying to balance those tones that I spoke of. But, I thought that brought out the best in me, as a decidedly American filmmaker. McG: It was challenging working with a French-speaking crew. He’s in every scene in the film, and I’m hoping it shows why he’s the great entertainer that he is. He was a huge part of Hatfields & McCoys, Superman and Jack Ryan, but this is Kevin. The goal was to make a real character-based film led by Kevin Costner. It’s a tough order to make that work in the same movie, and I’m hoping we pulled it off. I hope people watch it and go, “I wasn’t expecting to be close to tears when he was teaching his daughter to ride a bike,” but they also really enjoy the action in the streets of Paris, and then are laughing at a weird Italian guy giving a pasta sauce recipe in a bathroom while he’s duct taped. I thought, “What if I made an action movie that had a great many comedic beats and a bunch of heart, working together?” That’s hard to do. Then, there was the idea of synthesizing tones that don’t traditionally coexist. The idea of working with an Academy Award winning director was exciting. McG: Just being so influenced by Léon: The Professional, when I was young. Collider: When you read this, what were the things that stood out and drew you in, and made you want to sign on and take this on.
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