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Every action scene is exciting and dynamic. Perhaps one of the best references for great action sequences is SpielbergвЂ™s work in Indiana Jones and the Last Crusade. Without the momentum of engagement, the scene would feel completely flat.

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Imagine the following scene, but instead of a fluid battle, itвЂ™s just a series of close ups on each opponent. The enemyвЂ™s firepower influences WickвЂ™s decisions, engaging the two parties in true combat. In fact, you see them all in many shots together. The enemies are not some distant, faceless threat вЂ“ even when they wear literal masks. Despite the heavy use of firearms, the choreography and cinematography capture Wick continually engaging his foes.

This engagement is one reason the John Wick films are so amazing. There is continuous cause and effect that determine each playerвЂ™s decisions, unlike in Mile 22, where we almost have to be reminded that Mark Wahlberg and company are in danger. We see and understand how JasonвЂ™s tactics work and affect his opponent. We see the reflection of the gas explosion and its smoke obscures the sniperвЂ™s vision. In other words, there is engaging cause and effect. Compare this with the sniper scene from The Bourne Identity, the first Bourne film.ДЄt first glance, this scene may look similar to Mile 22, but there is one huge difference: each of the opponentвЂ™s actions affects the other. Aside from one of the last shots, this sequence almost feels like two different scenes mashed together. There are few shots of heroes and villains together. We rarely, if ever, get any kind of over the shoulder, where Mark Wahlberg (or his allies) are firing at the enemy. This concept can be more easily conveyed with a gun fight. However, if we canвЂ™t capture that momentum, it ends up feeling like random shots strung together. The action is exciting because our hero must engage in some form of physicality to accomplish his goal.

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IвЂ™ll talk about how to create a more cohesive action sequence by focusing on engaging your opponents and propelling the scene forward through cause and effect.ДЄction scenes happen in a film because a character must overcome an obstacle, like a dangerous scenario or an evil villain. You may be able to clearly tell whatвЂ™s happening in each shot but, as a whole, it feels a bit lifeless, like one person just talking to a wall. In this article, I want to cover the second scenario, wherein the action feels disjointed. IвЂ™ve discussed in detail the first scenario when applied to action scenes (shaky camera, hard to follow action, etc.) in the article Directing Fight Cinematography: The Right Way and the Wrong Way. We would never accept this chaos in our filmвЂ™s important dialogue scenes, so why do some filmmakers find it acceptable to film action sequences with the same disregard? To me, either scenario is some kind of awful. Or, imagine a dialogue scene in which the words are crystal clear but because of the cinematography, youвЂ™re not quite sure whoвЂ™s talking to whom, where theyвЂ™re supposed to be looking, or if the actors were even on the same set together. They blow out the audio levels, their words slur together, they talk over each other, and despite catching a few words here and there, you canвЂ™t really understand whatвЂ™s happening.

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Imagine a movie where in every important dialogue scene, the actors just yell at each other. Today, weвЂ™ll discuss how to create a more cohesive action sequence when dealing with hand-to-hand combat, as well as long-range action scenes.

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