How ‘Day Shift’ Director J.J. Perry Made the San Fernando Valley More Magical
13.08.2022 - 02:57
/ thewrap.com
You’ve come from the second unit/stunt world. Can you talk about coming from that background and how it has informed your decisions as a feature director?Absolutely. Listen, to be 100% transparent with you, when I got out of the army in 1990, I had no idea what I was getting myself into.
I had no plan. I just stumbled into the stunt business and got really lucky. But I stumbled into the stunt business with the likes of Chad Stahelski and David Leitch and a bunch of our generation in 1990 and ’91.
The stunt business and the second unit business was being overseen by a bunch of stunt cowboys that came from the ’80s and ’70s. And they’re all of our big bros.But we started going to Hong Kong quite a bit and working with the Hong Kong action people before it was China, I learned that they shoot everything and cut everything in their ‘A’ camera, but in editing is what informs you as a director. When Final Cut, and Adobe and all of the editing software became a consumer product, we all bought that.
But we were understanding, it’s not just what you’re doing, it’s how you capture it, very early.What we would do also is we would get a camera and we would shoot. You’d take a scene out of “Meals on Wheels” or a scene from “Armor of God” and we would recreate it with a video camera and even cut it before Final Cut Pro, we would cut it from tape to tape with two VHS tapes. But we used it as an exercise to teach us how to shoot and how to cut because once you learn how to edit, basically you’re an action filmmaker, you’re an action guy, now you understand why the cameras were where they were.
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