y Shaka King on the set of Newlyweeds (2013)

Shaka King on the set of Newlyweeds (2013)

y Kevin Bacon and John McNaughton on-set of Wild Things (1998)

Kevin Bacon and John McNaughton on-set of Wild Things (1998)

y George Stevens, Montgomery Clift and Elizabeth Taylor onset of A Place in the Sun (1951)

George Stevens, Montgomery Clift and Elizabeth Taylor onset of A Place in the Sun (1951)

y Gus Van Sant, Gabe Nevins and Taylor Momsen on-set of Paranoid Park (2007)

Gus Van Sant, Gabe Nevins and Taylor Momsen on-set of Paranoid Park (2007)

nathanbarrios:

I’m the guy that makes stunt performers take multiple kicks to the head for the pleasure of what I hope is a captivated audience. I ask a lot of people. I deal in blood and mayhem. As a kid I was obsessed, and still am to this day with the incredible work done by my childhood heroes. My friends and I would re-enact everything we had seen, remaking our favourite films in my back garden. We were 8-year old kids running around, swinging punches and kicks, diving across the lawn. Back then I wanted to be an actor, back then I wanted to be Jackie Chan. But a few years and a lot of burgers later, and I set aside those aspirations and moved in a somewhat less physically demanding direction.

So why film? Why not any other medium? I can conjure up ideas and images in my mind - scenes and situations that I can see and hear in great clarity when it’s just me, a notepad and a pen. But getting these thoughts to exist in reality purely by my own means is impossible. I’ve never been gifted when it came to art. I lack the patience and expertise to be a photographer and as everyone who knows me well would confess my rhythm, or lack of it for that matter, has always been in the way of any musical aspirations I may have once had.

I’ve had to search for a means of expression. And so now, I’m a director. I gather a large group of insanely talented artists to do the hard work for me. To make each image, performance and scene come alive as I dreamt them. They do all this while at the end of the each project I get to take credit for the vast majority of it. But it’s the teamwork and the efforts of a dedicated crew that make any film a success, not a sole voice. As I orchestrate a fight sequence it becomes an ever changing, living, breathing piece of work that shifts with the improvisation and creativity of others. Sometimes nature will play a hand making the intention of each movement differ, sometimes for the worse but occasionally for the best.

I downplay my abilities in other mediums, and I genuinely would love to be better at each. But the truth is, the most breathtaking landscape paintings, the most amazing still moments captured forever in a photograph and the most touching chord of a piece of poetry in music just doesn’t come close to those 24 little frames of perfection when my fighters give it up so that their audience can draw a collective gasp as they witness that all too brief but crystal clear shot of a kick to the head.

- Gareth Huw Evans, Director’s Statement for The Raid (x)

y Doris Day and Alfred Hitchcock on-set of The Man Who Knew Too Much (1956)

Doris Day and Alfred Hitchcock on-set of The Man Who Knew Too Much (1956)

y Ralph Fiennes on the set of The Invisible Woman (2013).

Ralph Fiennes on the set of The Invisible Woman (2013).

y Diane Lane and Francis Ford Coppola on-set of Rumble Fish (1983)

Diane Lane and Francis Ford Coppola on-set of Rumble Fish (1983)

Denis Villeneuve and Jake Gyllenhaal on the set of Enemy (2013)