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157: Redoing my Life, Filming John Wick
🕑 Added 2025-01-05 07:13:40 +0000 UTCJensen Ackles says the Batsuit was designed in such a way that you could pee in it.
I read the article’s title on my phone as I walked, shaking my head with a small smirk. ‘Ah, so we’re entering that era of the internet,; I thought.
Batman was beginning its marketing push, and naturally, online chatter was starting to heat up. The trailer was dominating every corner of the web, sparking endless debates about the film as well as some Marvel vs. DC tribalism. Overall, the response had been overwhelmingly positive, which was good to see. The work was paying off.
Still, I was taking a much-needed break from DC for the next few months to focus on Midas and my books. The Revenant was in pre-production, and John Wick had officially begun principal photography, slated to last for three months. I was heading to the studio space we had hired, where a meticulously crafted set had been built for the film’s first major action sequence.
As I entered, the soundstage was a hub of organized chaos. Trucks were parked outside the studio’s loading dock, and crew members were carrying lighting equipment, cameras, and props into the cavernous space. Inside, the set was a recreation of a modern house. Cables snaked across the polished concrete floor, and massive LED lights were being hoisted into place on rigs overhead. Catering tables were set up in a corner of the stage, where some of the crew were grabbing a quick bite.
Though it was only a set, the house itself was remarkably detailed. The walls were lined with bookshelves, and the furniture had been carefully chosen to reflect the character of John Wick. The team had done an exceptional job, and the level of detail was already bringing the scene to life.
Paul Knight, my right-hand man at Midas, stood at the entrance with his phone in hand, surveying the scene. As soon as he spotted me, he waved me over with a grin.
“Good to see you, Daniel,” he said, extending his hand.
“Paul,” I replied, shaking it firmly.
“Looks like everything’s in order,” I commented, glancing around at the bustling set.
Paul grinned wider. “Even better—things are actually moving ahead of schedule.”
“Really?” I asked, intrigued, as we began walking toward the set.
“Yes,” Paul replied, nodding toward the center of the living room, where Chad Stahelski and David Leitch were in deep conversation. “Keanu’s been phenomenal,” he added as we walked. “And I have to say, you were absolutely right about hiring Chad and David. They know their stuff. This is going to look incredible on screen.”
“Great to hear,” I said as we approached the two directors.
It had been decided that Chad would receive the official director’s credit, while David would take a producer’s credit to avoid the complications of having two directors listed. However, in reality, they were co-directing the film every step of the way.
“Mr. Adler,” Chad greeted me, extending a hand.
We shook hands. “Chad, good to see you. Paul here was just giving me a glowing report on the production.”
Chad laughed, a mix of pride and humility in his voice. “We’ve been lucky.”
David Leitch, his co-director and producer, joined us and also shook my hand. “Yes, thank you for putting your faith in us,” David added.
“The budget went a bit over,” Chad admitted, “but nothing major.”
I nodded. “That’s fine.”
The original John Wick had a lot of money issues, but that won’t be a problem here.
“So, I was told you were doing the nightclub scene sooner than expected,” I said.
David replied, “Yes, we need to do it this month before the snow gets worse.”
“Well, no need to rush. That’s one of the highlights of the movie.”
After some more discussions about schedules and logistics, I took a seat near the monitors, sipping a cup of hot coffee while the crew continued their setup.
Keanu Reeves soon arrived, dressed in the suit iconic to John Wick. He looked every bit the part—his sharp features and focused demeanor exuded the aura of a dangerous but composed assassin.
“Daniel, good to see you,” Keanu greeted me, his voice calm but warm.
“You look great,” I replied, standing to shake his hand.
Keanu offered a faint smile. He had clearly committed to the role, slimming down more since the last time I saw him.
“How’s the arm?” he asked.
I showed him my left arm, which had been injured the last time I saw him. “It’s healing well,” I said, tapping on it.
“Good…Good..that was a messy injury.” Keanu said his expression turning to one of concern for a moment.
“I’m excited to get started—especially with the action scenes,” Keanu added.
“Well, I’m excited to see some ‘gun fu’ in action,” I said with a grin.
Keanu laughed. “I haven’t heard that term since The Matrix.”
We chatted as preparations continued around us, and the conversation drifted to The Matrix trilogy. Keanu mentioned, almost offhandedly, that he’d been approached about doing another movie in the series.
I leaned back in my chair and said bluntly, “I’m gonna be honest with you, man—don’t do it. The trilogy ended perfectly. No need to mess with that.”
Keanu nodded thoughtfully. “I agree. I’ve told them as much. But, you know... if this doesn’t work out, I might have to.”
I shook my head, keeping my tone firm. “This will work out. Trust me. I think this is going to work out very, very well for you.”
Keanu’s face softened into a small, hopeful smile. “I hope so,” he said.
======
Soon it was time to begin. The scene being shot was one of the most pivotal in John Wick: the moment Viggo’s men storm John’s house in an attempt to eliminate him. The house was dimly lit, with only the moonlight filtering through the windows and occasional flickers from lights outside. Shadows danced on the walls as the crew meticulously positioned LED lights to simulate the tension of a nighttime assault.
Keanu stood ready, gripping a prop handgun as they began shooting. I watched from my place behind the monitors, observing how the first-time directors handled their work.
The camera tracked Keanu’s every move as he dispatched one incoming henchman with a quick headshot, then seamlessly transitioned into a brutal hand-to-hand sequence against another. Keanu performed the choreography with precision—a fluid mix of martial arts, grappling, and tactical firearm use. Each movement was crisp, calculated, and lethal.
“Cut!” Chad Stahelski’s voice rang out, halting the action.He strode onto the set, gesturing toward Keanu. “That was great, but let’s try one adjustment. When you spin him into the arm lock”—Chad demonstrated by miming the motion—“keep the pistol closer to your body so it looks more defensive. It makes the takedown tighter and more controlled.”
Keanu nodded, absorbing the instruction. “Got it. Keep the line tighter.”
“And when you transition to the next guy,” Chad continued, pointing toward the stunt actor lying in wait behind an overturned table, “be quick with the shot. I feel like you paused a bit.”
Keanu smiled faintly. “Got it.”
The stunt coordinator reset the scene, and the crew adjusted the lights and camera angles for another take. Keanu returned to his position, shaking out his arms and refocusing.
“Ready? And... action!” Chad called.
This time, the sequence played out perfectly. Keanu locked the henchman into a tight arm hold before seamlessly transitioning into a perfectly timed gunshot that took down the next attacker.
“Cut!” Chad called again, his face lighting up. “That’s the one. Beautiful work, everyone!”
The crew burst into applause as Keanu stepped back, breathing slightly heavier but still composed. He nodded at Chad with a small grin. “Let’s keep it going.”
I continued watching from the monitor as they repeated and fine-tuned the sequence.
Beside me, Paul sat with his arms crossed, observing the scene closely. “You know,” he said, breaking the silence, “maybe it was a bad idea for us to take on so much of The Revenant’s production.”
I leaned back in my chair, eyes still on the monitor. “I think we can handle it,” I replied. “Stardust is handling the more intensive parts. We’re not flying solo on this.”
Paul nodded, though his expression remained skeptical. “Still, we should probably renegotiate. I don’t think we’re getting a large enough percentage of the profits.”
I shrugged. “It’s fine. This is a prestige project—we’re aiming for Oscars, not just box office numbers. The goal is to get Midas mentioned when people talk about it. That’s the real win.”
Paul leaned forward, rubbing his temples. “And did you really have to agree to produce the director’s other movie too? It feels like we’re spreading ourselves thin.”
I chuckled, finally turning to him. “Iñárritu? Yeah, I did. Leo likes him, and they’ll work well together. As for the other movie, it’s great. We might even snag another Oscar with it.”
Paul tilted his head, still skeptical. “What’s it about?”
I smiled. “It’s called Birdman. It’s a comedy-drama about an actor who once played a famous superhero.”
Paul raised an eyebrow. “Doesn’t sound like a big crowd-pleaser.”
“I think it’s a good idea,” I said. “Iñárritu’s still working on the full script, but trust me—when you read it, you’ll see what I see.”
“And don’t worry about it. We’re going to do it after The Thing begins production and that is a while away… so we won't be spread too thin” I added.
Paul sighed, though a small smirk tugged at the corner of his lips. “Well, I hope you’re right.”
I turned back to the monitor just as Keanu executed a flawless takedown, finishing the sequence.
Chad called, “Cut!” and the crew burst into applause. I gestured toward the screen with a grin. “That, Paul, is going to make us a lot of money.”
