And Keanu says something really interesting to me on the first John Wick. He comes to me and he goes, “Look, just so you know, little bit of advice, when you edit, once a week, you should see the edit on the big screen.” And I’m like, OK, we’ll try. Later, alone with him, I’m going, “Well, why?” He’s like, “I’m a big-screen actor.” And I had no fucking idea what that meant. I thought it meant a movie star. And he’s like, “No, no, no, no.”
And he started talking to me about non-verbal acting, like gestures, motions. And he’s like, “Look, when you see me on a little monitor and I give this little look, it’s one thing. But when you see it on a 40-foot screen, that look’s going to say a lot. That’s what I want to play this guy as. So just please be aware of it, so when we punch in on the closeups, it’s going to mean something.” And it kind of really clicked for me right there.
I’ve always been fascinated by non-verbal gesture, body language. Keanu would go through and strip his dialogue down. It was like, “No, no, nope. I’m just going to cuddle the puppy.” In the first John Wick, he doesn’t talk for 32 minutes. Try to sell that one to a studio: You have Keanu Reeves and you’re not going to let him talk.
Chad Stahelski on what the John Wick movies owe to Buster Keaton
This is why revival movie theaters are so important.
Back in the day were taught to act for that bigger screen. There wasn’t another option. Every frame, every decision was made with the big screen in mind. You don’t see all it is they are doing on the small screen. You will never understand why Charlie Chaplin and Buster Keaton and Humphrey Bogart and Jimmy Stewart and Ginger Rogers and so many others were as praised as they were without it.
