![]() This is the area where the ring is, so they could move over here, and we could put the weights this way.” He helped us move through different spaces looking at the different equipment available. We had collected imagery of all the different types of equipment you’d find in a gym, and then we had a lot of fun sort of doing a layout of saying, “Well, this is the area where the bags would be. ![]() Once we knew we were doing the gym, the fight was handed over to Phil. I think the audience always loves that sort of MacGyvering process that happens, where the fighters are using tools available to them and thinking, “How can I use this either as a weapon or as a shield?” Phil and I always talked about how we just have to lose the weapons as soon as we can. The whole thing with gunfights is that it all gets boring very quickly. We felt like it would be a unique experience to take the audience back to the beginning of the film and to have the characters try and escape through the gym, so we ended up having the chaotic fight there. It felt like there was an opportunity, because they were fighting multiple targets, for it to feel like an overwhelming threat, so we took it from there. ![]() With the gym fight sequence, the intention was to do it as one shot, or at least to make it look like it was one shot. There’s an overall planning that takes place. My question is always, “What makes this one dynamic or unique?” You might have a car chase, and then maybe you’ll follow that up with the fight sequence. You look at your set pieces, and you make sure there’s a varied approach to the action so you’re not repeating yourself. ![]() Patrick Hughes: With action films, when you take on a project, you sort of isolate those action elements. How did you envision the big final fight sequence once you got the script? ![]()
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