John Wick: Chapter 4 director Chad Stahelski has admitted he is preparing the fifth installment in his assassin series starring Keanu Reeves for Lionsgate, after Chapter 4grand debut. In the second week of release, the film has reached the milestone of 245 million USD worldwide.
“It’s flattered when they come back and, you know, say ‘We want more’ and it’s not just a cash grab. Audiences want more than legitimacy,” he said on a new episode of Hollywood Reporter‘S Behind the screen Channels of selected listening series. “I think we all need a moment to go, ‘Wow. Let’s see what’s next.’ … If Keanu and I, a few months from now, sit down at a whiskey bar in Japan and say, ‘Yeah, we’ll never do one of those again’, and then suddenly say, ‘Yeah, but I have an idea,’ we’re open to it.
In the podcast episode, the director is joined by two-time Oscar-nominated cinematographer Dan Laustsen (who also filmed the film). Chapter 2 And 3 in the franchise) and editor Nathan Orloff (Ghostbusters: Afterlife) to describe in detail the creation of John Wick 4involved filming in Japan, France, Jordan, Germany and New York.
That includes delving into action sequences, such as one revolving around Paris’s Arc de Triomphe and another over the 270 steps leading to the hilltop Sacré Cœur Basilica.
“We did [scouting] on the top of Sacré Cœur, the sun had just set. We looked down the stairs from the top and were like, ‘Oh, someone’s coming down here,'” the director said, adding that “literally, we were like, it’s not just him coming down here. , we’ll have John Wick fighting his way up. We’ll throw him back and then we’ll have him and Donnie [Yen’s] the character Caine does the Butch and Sundance thing and gets to the top… We’re going to make the music and we’re going to make it sound like a Westerner. We’ll let him fight to the end and band together so we can see who kills each other at the top.
Stahelski added that he and Laustsen gave the night scene on the steps a moody atmosphere inspired by The Exorcistuse “as much practical light as possible from lampposts and [we] put our crane up to fill and try to work backwards from there with the atmosphere.
They also talk about the complicated work of the camera, involving the Steadicam, the handheld, as well as the Spydercam to record falls. “When you see Keanu running up the stairs and the camera is following him, it’s a guy with a 120-pound Steadicam running after him,” Stahelski said.
During the conversation, Stahelski, who is also a stuntman, suggested his stunt ability to become an Oscar category. “I don’t think you can find an argument or an individual who argues that stunts don’t deserve an Oscar. I don’t think that’s the problem. “I just don’t think we’ve ever had a conversation,” he said. “I’ve been in the business for 35 years, I’ve never met a stuntman sit down with an Academy member, nor have I met an Academy member who sat down with a stunt rep. That was probably the first problem. No one really talks.
He added, “I think the real problem is sitting down at the table and asking the Academy, how [to structure an award].”
You can listen in full Behind the screen Interview here: