{"id":211810,"date":"2021-03-26T20:00:52","date_gmt":"2021-03-26T17:00:52","guid":{"rendered":"https:\/\/en.buradabiliyorum.com\/ilya-naishuller-on-shooting-clean-action-film\/"},"modified":"2021-03-26T20:00:52","modified_gmt":"2021-03-26T17:00:52","slug":"ilya-naishuller-on-shooting-clean-action-film","status":"publish","type":"post","link":"https:\/\/buradabiliyorum.com\/en\/ilya-naishuller-on-shooting-clean-action-film\/","title":{"rendered":"#Ilya Naishuller on Shooting Clean Action \u2013 \/Film"},"content":{"rendered":"

“#Ilya Naishuller on Shooting Clean Action \u2013 \/Film<\/strong>”<\/p>\n

\n

\"nobody<\/p>\n

Ilya Naishuller<\/strong>\u00a0doesn\u2019t let a second go to waste in\u00a0Nobody<\/strong><\/em>. It\u2019s a lean and mean R-rated action-comedy that begins and ends with a relentless pace while never forsaking character. Still, compared to Naishuller\u2019s directorial debut,\u00a0Hardcore Henry<\/em><\/strong>, his second feature\u00a0is patient. The musician-filmmaker threw everything he had into the kitchen sink with his first (love-it-or-hate-it) action movie.<\/p>\n

Naishuller first directing credit, however, was a music video for his Russian indie rock band, called Biting Elbows. He remains in the band, which released the album, \u201cShorten the Longing,\u201d last June. The filmmaker has helmed several music videos for his band, as well as for the band Leningrad. In\u00a0Nobody<\/em>, in particular, you can sense\u00a0Naishuller\u2019s career in music, especially when it comes to the steady flow and rhythm of the action.<\/p>\n

Recently, we sat down with the filmmaker over Zoom as he told us about crafting his newest film\u2019s set pieces, his aversion to shaky cam, and more. Nobody<\/em> is in theaters today.
\n
\nThis movie is very lean. You waste no time, especially with exposition.\u00a0<\/strong><\/p>\n

We tried. Look, I\u2019m a big believer of leave people wanting more. As much as I enjoy a three-hour movie occasionally, I enjoy a film that gets in, gets the job done, lets people get on with their thing, and have the memory while it\u2019s still fresh. It\u2019s also great that less is more. And when it comes to dishing out, driving down Exposition Boulevard, we\u2019ve got to respect the audience, at least a little bit, right? People deserve it.<\/p>\n

Where did your work start with 87Eleven [the stunt and stunt training facility]?<\/strong><\/p>\n

Bob started training in 2018, a couple of months before I joined the picture. I love saying the word \u201cpicture,\u201d it makes it seem so important. Picture. I joined the picture<\/em>. I think when we started working the script<\/a> with Bob and Derek [Kolstad], Derek does this wonderful thing with his writing where he\u2019s detailed when he needs to be, and then he\u2019s very open, leaves it to the imagination. Like, for example, the bus fight. He\u2019s very rusty at first and then becomes oiled up like a machine, and he goes at it. And that\u2019s all you need to know.
\nAnd then you start talking to the stunt coordinator, in this case, it was Greg Rementer<\/strong>, and we just went through previz, and discussed what Bob\u2019s character should be. I think if you talk about the character, and everybody\u2019s on the same page about the goal, the tone, of the character and the film, then it becomes a creative sandbox. So you start coming up with ideas, and some will be too far out, and some will be too comical, and some are going to be right in the spot. It\u2019s a lot of talking. Movies<\/a> are made by a lot of people just talking a lot.<\/p>\n

What the ideas that were too comical or too much?<\/strong><\/p>\n

There were a couple of ideas we threw around for the home invasion fight where it felt a little bit too Mr. & Mrs. Smith. <\/em>He\u00a0was using a lot of household objects. Putting a kettle on someone\u2019s head doesn\u2019t seem comedic, right? But you do it with the right angle, with the right sort of punch, it\u2019s okay. It works, and it\u2019s crunchy, and it\u2019s brutal enough without going into the disgusting lands. I think there was a TV, which I remember thinking that I saw in Grosse Pointe Blank<\/em> a long time ago. Just things that you knew you\u2019ve seen before, that are too obvious. One of the things we kept discussing, and I remember thinking, \u201cLet\u2019s shoot it and see what happens,\u201d was when he\u2019s pulling the rope on the bus fight around, let\u2019s call it the stop rope.<\/p>\n

When you watch, you\u2019re kind of thinking, \u201cThat might be a little bit too much.\u201d But then, the wonderful thing I learned with Hardcore Henry<\/em> is that, when you add a little bit of comedy to brutality, by contrast, they both become much funnier and much more violent, and they complement each other very well. There are several movies that I really like that just go for the all-out darkness, just brutal, brutal, brutal, brutal, but I love giving the audience a chance to breathe and chuckle a little bit before the next knife in the thigh shot. The stop rope, I think, was an example of that. We thought, \u201cLet\u2019s shoot it and see what happens to this stop rope quest that starts popping up.\u201d It\u2019s silly, but it works, because the character\u2019s being anything but silly at that moment.<\/p>\n

The fight on the bus is relentless, but he feels more human than the average action hero there. You see how winded like almost everybody actually gets from fighting.<\/strong>
\nYou\u2019re a human being. You\u2019re not superhuman. Yeah, it was very important. We talked about with Bob, in the very beginning, that he is going to get hurt. He is going to be hobbling. He is not going to be running through walls without any repercussions. I think we had a conversation after watching the very final cut of the film and Bob said, \u201cI think we kind of overdid it. When I climb out of the car, I think I\u2019m a little bit too wounded.\u201d I\u2019m like, \u201cBob, I\u2019ve had car accidents, and none of these cars flipped over, and I wasn\u2019t in the trunk, and I was wearing a seatbelt and I came up much more dazed than you did there. So, I think we\u2019re good.\u201d<\/p>\n

Also, it\u2019s that balance of making sure that the guy is a hero, so he can take it more than you and I would take. But at the same time, I love seeing tough guys who are also human tough guys. So, I\u2019m glad you picked up on it. I wish Bob was here. Bob would be like, \u201cYeah<\/em>.\u201d So yeah, that was our intention.<\/p>\n

\"nobody<\/p>\n

Do you mind walking me through more of that bus fight? What were the logistics of actually shooting it?<\/strong><\/p>\n

We bought the real bus, they bring it out to our little production house in Winnipeg, and we all get on the bus with Greg and Bob. I think [producer] David Leitch was there for that one. We just talked through it, and it\u2019s slightly vague in the beginning. We just pointed out all the little angles that we want to try. We just kept going through it, again, a lot of talking, and we plan out where we want to put the soft pads. The answer is always, \u201cEverywhere you can,\u201d because of the potential for injury.<\/p>\n

It\u2019s a lot of fun work. I was about to say, it\u2019s very technical in terms of your approach, you got to be very careful, you got to think about it, you got to make notes, but at the end of the day, it\u2019s just a lot of fun to do an action scene. I mean, moviemaking, as difficult as it occasionally is, we\u2019re not working in the mines, we\u2019re not doctors, we\u2019re not risking anybody\u2019s lives. So, it is a ton of fun. If you just kind of forget about the pressure of making sure it\u2019s perfect, you can\u2019t be late, you\u2019ve got to do this, it\u2019s just fucking great to be able to do this with all these fantastic people who all want to do it the best they can.
\nHow about once you\u2019re editing the action? Was it smooth sailing?<\/strong><\/p>\n

If you\u2019re talking about the action scenes, there was not a single moment in the edit where we\u2019re like, \u201cOh, we missed it.\u201d \u201cOh, it\u2019s not going to work.\u201d Because we planned it out really well. The approach to this whole film was that, before I flew out to Canada to shoot, before pre-production, I did the storyboards back home, and I flew out with 2,000 shots and I put them on the office. The producers would fly in, Bob would fly in, and I\u2019d be like, \u201cAll right, this is the film.\u201d And we\u2019d go talk through it\u2026 Sorry, my cat is bothering me.<\/p>\n

[Laughs] That\u2019s OK.<\/strong><\/p>\n

Because it was all so well planned out, there was not a moment in the editing where we were thinking, \u201cOh, God, we\u2019re screwed.\u201d There were tough choices to be made, as always, but I want to give the team credit that we just over-prepped. And then, when you over-prep, you just slim down your chances of being surprised in a negative way. Lots of positive surprises.<\/p>\n

What were some of your other lessons from Hardcore Henry<\/em> that you kept in mind on this?<\/strong><\/p>\n

There were so many, but I think the most important ones that first come to mind are that less is more. That was because Hardcore<\/em> was a huge shoot that lasted a year and a half, on and off. It was 123 days, which is ridiculous. Marvel movies don\u2019t spend 123 days unless you\u2019re Endgame<\/a><\/em>. But yeah, that whole film was trial and error. There were no storyboards, there was no previz. We went out with a small team and kept shooting until we got something that worked. With this, there\u2019s no messing about. You have a certain number of days, that\u2019s the budget, that\u2019s the plan. It\u2019s a realistic budget. It\u2019s not severely limited or ballooning.<\/p>\n

Before Hardcore<\/em>, I used to write scripts that were much more serious, and they weren\u2019t gratuitous, gimmicky, and aggressive things. I got that out of my system fully. And with this one, I wanted to make it very traditional in the best sense of the word. I wanted it to be all planned out, no shaky cam, make sure all the edits are going to work before we even get to the set. I just think it\u2019s that, overall, you just grow as a director with each movie, and I hope I continue to do so, and the next one is going to be different with all the lessons learned in this one.<\/p>\n

You\u2019re in a rock band, so I was wondering, any key similarities and differences between making an album and a movie?<\/strong><\/p>\n

We still play and record. Unlike film, you get feedback much faster. You can write a song today and have feedback on it tomorrow morning. With films, it takes a little bit longer. Say, a year and a half at the very least. I think that\u2019s the biggest thing. I can\u2019t say there\u2019s a similarity between an action film and a rock song, although you look at it in terms of this three-act structure, and there\u2019s also the intro, verse, chorus, verse, chorus, bridge, double outro, you have double chorus, you\u2019re out. But the wonderful thing about this, as everybody says, everybody knows, if you know the rules, you can break them. And I think that\u2019s the similarities between writing a song and writing a movie and directing movies, that you should know what you\u2019re breaking before you do so.<\/p>\n

How was shooting that final warehouse sequence? What were the logistical and story challenges there?\u00a0<\/strong><\/p>\n

It was very tight. It was definitely no more than five days. I think it might\u2019ve been four. So it was a day for the Bob kitchen scene, three-quarters of a day for RZA in the corridor. It was just great planning. Thematically, the key to the final shootout is, Christopher Lloyd says, \u201cExcessive, but glorious.\u201d That\u2019s the description of the whole entire shootout.<\/p>\n

Now, the movie started off as a more artsy, more dramatic, and more character study-ish. Color-wise, it does the same thing. It becomes much more colorful as Hutch has more fun and his life gets back on his more addictive, violent track. Then the blues come out as blue, the yellows are yellow, and that\u2019s why the finale is ridiculous. It really is. If you look at it, if you look at the first scene of the film and the last, it shouldn\u2019t really work together, but because you have that launchpad of the entire runtime to get to it, I think we get to that deserved dessert. We had the meat and the potatoes and it\u2019s hard, and the guy\u2019s in a lot of pain, and serious, and then we get to the ice cream, and the whole finale is ice cream.<\/p>\n

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“#Ilya Naishuller on Shooting Clean Action \u2013 \/Film” Ilya Naishuller\u00a0doesn\u2019t let a second go to waste in\u00a0Nobody. It\u2019s a lean and mean R-rated action-comedy that begins and ends with a relentless pace while never forsaking character. Still, compared to Naishuller\u2019s directorial debut,\u00a0Hardcore Henry, his second feature\u00a0is patient. The musician-filmmaker threw everything he had into the…<\/p>\n","protected":false},"author":1,"featured_media":211811,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"fifu_image_url":"https:\/\/d13ezvd6yrslxm.cloudfront.net\/wp\/wp-content\/images\/nobody-review.jpg","fifu_image_alt":"","footnotes":""},"categories":[17],"tags":[1568,19807,99585,1570,99586,23147,80380,7599],"class_list":["post-211810","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-social-mediaa","tag-featured-stories-sidebar","tag-bob-odenkirk","tag-connie-nielsen","tag-features","tag-ilya-naishuller","tag-interview","tag-nobody","tag-universal"],"_links":{"self":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts\/211810","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/comments?post=211810"}],"version-history":[{"count":0,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts\/211810\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/media\/211811"}],"wp:attachment":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/media?parent=211810"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/categories?post=211810"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/tags?post=211810"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}