Mark Dacascos Quotes

Sword fighting in film is not about how good the fighter is, but how good the actor receiving the blows is.

There were a number of people who helped me get there, and the one I always mention is Michael Byrne, the great master swordsman and brilliant stunt double.

For ages, in my lunch hours, I would just go round and choreograph fight scenes. For fun. So now I'm very good at being thrown around. I bounce, in the words of my friends.

In Hong Kong, particularly, we craft this art for decades. The action choreographer actually is the action director. He takes over and he choreographs with - by himself or with his team, and place the camera where he feels cinematic effect to bring out that choreography.

I had so much fun working with Akshay, especially in the action scenes.

Mads [Mikkelsen] and I have a really epic brawl - a week shoot, lots of rehearsal - and he was just delightful. He's a dancer and a gymnast so he knows how to plant the moves. He was always saying, "Are you okay?" When you've got that level of mutual consideration you form a family very quickly.

While filming 'The Matrix,' we studied how a Chinese fight-choreography team trains actors before production starts so that they can participate in action sequences in a more dynamic way.

On 'Angel' I got to work a lot with Mike Massa, who was David Boreanaz' stunt double, and Mike would let me do most of my stuff by myself. I did almost all my fight scenes by myself.

The fight scenes in 'The World's End' have a certain balletic quality to them.

Everyone who shoots dance sequences does it in a different way. Everyone who shoots fight sequences does it in a different way.

The great directors managed to dissolve and disappear into the work. They make other people look good.

When you're doing superhero stunts, the objective is to look as cool as humanly possible.

I don't do my own stunts, but I do my own fighting. I don't consider fighting to be a stunt.

Fight scenes are like learning a dance. You learn it move by move, and then you put it all together and it looks awesome when you edit it together. It's great!

I admit that I've been beaten up so many times in films, but we do not fake it - we actually have to fight when we shoot to make it real and to save film and time. Even the props that are not real, like the bats are plastic, but they're still very hard, so it still hurts.

I don't get to do a lot of fight scenes on 'Sanctuary,' but I'm a trained fighter; I've been doing martial arts for years and, you know, I'm very active physically; I used to be a circus performer.

On 'Death Valley,' I fought this werewolf, and he was picking me up and slamming me down. They put padding down in the garbage so he could really slam me down. They're flying around and I'm doing these jumping flying triangles pulling the guy down. It's just fun.

I'm a physical type of actor and love projects in which I can get physical. The more action, the better.

I like doing fight scenes. I always have, and I insist on doing as much of that action as they'll let me do. I think that's easy for me.

I didn't go into this business to do action because I'm a classically trained actor. But I'm good at kicking and punching.

Since very early in my career, I have always did my own stunt fighting.

I was always such an incredible fan of John Woo, I just wanted to do this film with him.

When I made 'Hard Boiled,' I had no idea that it would be released to an international audience. I just wanted to make a film to team up my two favorite actors, Tony Leung and Chow Yun-Fat.

Coming from an action background, I always approach the action sequences in any script as kind of placeholders.

When you do an action movie, you've got to come prepared to do an action movie.