I look at the action scenes as placeholders when I arrive on a script, knowing that I'm going to expand on them when I understand the constraints of the movie, the locations of where we're shooting, the abilities of the actors, and where we want to go with the characters.
There's a lot of directing within the stunt coordinator's job.
You can sometimes break rules in comics that you can't necessarily break in cinema. It's fun to find something cool in a comic and then try and find a way to break the same rule in another medium.
Stunt coordinating is a good training ground for directing because you have exposure to all the departments in film.
Take up martial arts and get proficient. Take a sword-fighting class. Dive in and immerse yourself in it as you would any other acting class, so when the opportunity comes, that skill can be really utilized, and it's not half-baked.
As a director, just to be able to jump in to do something that's different, and to explore comedy and be challenged by that, is great. Some directors never get that opportunity.
The vehicle-stunt world is so specialized. But when you spend so long in it as a stunt coordinator, you're exposed to all the disciplines, so it's always fun to combine the two ideas - a car chase and a fight scene - and make something more dynamic.
Film is a collaborative art form. I don't know why you wouldn't recognize the stunt performers.
Music emotionally and psychologically transports you immediately.
In the stunt world, fights and vehicles are often two different disciplines.
The way you present a stunt is tied in to the way you photograph it, so you're hanging out with the cinematographer.
While filming 'The Matrix,' we studied how a Chinese fight-choreography team trains actors before production starts so that they can participate in action sequences in a more dynamic way.