In the late ‘80s, J.J. Perry, director of The Killer’s Game, moved to Los Angeles soon after completing his service in the U.S. Army. Almost immediately, he formed a close friendship with Chad Stahelski, who would later co-create John Wick.
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| J.J. Perry attends the Los Angeles special screening of Lionsgate's 'The Killer's Game' at Regal LA Live on September 09, 2024 in Los Angeles, California. Amy Sussman/Getty Images |
Both Perry and Stahelski began their careers as stuntmen, fight choreographers, and stunt coordinators. When Stahelski and his former partner, David Leitch, transitioned to directing John Wick, Perry started envisioning himself in a similar role for the first time.
Once John Wick and John Wick: Chapter 2 became pop culture sensations, Stahelski, through 87eleven Entertainment, and Leitch, via his company 87North, began creating opportunities for other stunt professionals to step into directing roles.
After working as the supervising stunt coordinator on John Wick 2, Perry started receiving scripts, including one for what would eventually become his vampire action-comedy, Day Shift, starring Jamie Foxx. Perry pitched the script to Stahelski, and together, they presented it to Netflix, which bought the concept immediately.
Perry credits Stahelski for guiding him through his directorial debut. He believes that thanks to Stahelski and Leitch’s efforts, this era is the best time for the stunt community.
"[Stahelski] told me the hardest part for people like us isn’t directing. The hardest part is getting the chance to do it because they’ll always say, ‘But can you tell a story?’” Perry shared with Reporter.
“My response is, ‘Am I doing Shakespeare? I’m not trying to win an Oscar, brother. I’m trying to make fun action movies.’ So, yeah, this is a great time for second unit directors and stunt performers, and the opportunities are only going to grow."
Perry quickly returned to directing, as the 2023 dual strike created the perfect opportunity for Lionsgate to finally adapt The Killer’s Game after nearly 30 years of development. The romantic action-comedy revolves around a terminally ill assassin, Joe Flood (Dave Bautista), who orders a hit on himself so that his love, Maize (Sofia Boutella), can collect his life insurance. However, he soon discovers he was misdiagnosed, but by then, it’s too late to stop the hit.
Perry’s experience with Day Shift prepared him to manage his time better on The Killer’s Game and taught him more about post-production politics.
“I didn’t understand post-production on Day Shift, and I kind of got caught off guard. I shouldn’t really say that, but this time, I was ready. I even tested The Killer’s Game before showing it to Lionsgate,” Perry explained. “We did our own test, listened to what the target market liked and didn’t like, and I left my ego behind. I just took notes and listened.”
Perry’s comment about not aiming to win an Oscar goes beyond his desire for action films over highbrow cinema. Over recent years, there’s been a push for a stunt category at the Oscars, especially with Leitch’s film The Fall Guy, which pays tribute to stunt professionals. In April, Ryan Gosling even joked that the movie was a campaign for a best stunt Oscar. However, despite supporting his peers’ ambitions, Perry doubts it will happen.
“No, they’re not going to give it to us, and here’s why. If a stuntman wins an Oscar, it’s like saying Ryan Gosling didn’t do the stunt. If a stunt coordinator or second unit director wins, it suggests the main director didn’t do the work,” Perry explained.
Perry’s perspective is shaped by the stunt world, where taking credit isn’t the focus.
“In the part of the industry I grew up in, you never claim anything. No matter how badly hurt you are, you get up, brush it off, and say, ‘I’m fine,’” Perry said. “I think that’s our role, and I don’t think they’ll ever want to share that recognition. That’s okay with me. I just want to blow things up with my buddies and make money. I’m not here for trophies, but if my friends get them, I hope they do. I’m just not counting on it.”
In a recent interview with Reporter, Perry also discussed why he believes stunt professionals are often better suited for directing than other departments.
Being part of the 87eleven family and seeing their success with John Wick, Chad Stahelski and Dave Leitch have been paving the way for stunt professionals to transition into directing. They’ve encouraged this shift from second unit to first unit directing. Considering this, do you think now is the best time for stunt professionals to pursue broader directing ambitions?
**A: Absolutely, now is a great time. The foundation for this shift was laid back with movies like Hal Needham’s Smokey and the Bandit. Directing second unit can actually be more challenging than first unit directing because it involves managing complex stunts and maintaining safety while sticking to budget and schedule.
Thanks to Chad and Dave, the current environment is incredibly supportive. They’re friends of mine, and Chad produced my first film, Day Shift. He emphasized that while directing isn’t necessarily harder for us—given our experience with high-stakes action scenes—the real challenge is getting the chance to direct.
People often question our storytelling ability, but we're focused on creating exciting action movies rather than aiming for Oscars. The industry is opening up more for second unit directors and stunt professionals, and there’s a growing opportunity for us.
In the past, visual effects supervisors who transitioned to directing often lacked practical experience with actors. We have that direct experience, having trained many actors in action skills. This hands-on rapport is invaluable and something that can’t easily be matched by someone who only works with technical aspects.
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| Dave Bautista in The Killer’s Game Courtesy of Lionsgate |
Being with 87eleven has been crucial. It’s a place where we push boundaries and innovate rather than just repeating old formulas. We constantly strive to create new and exciting action sequences. That’s why we don’t focus on other action films while working on our own; we aim to set new standards.**
After releasing your directorial debut Day Shift in 2022, you quickly moved on to a project with a nearly three-decade-long development history. Did the lengthy development process motivate you to be the one to finally bring it to life?
The project first came to me ten years ago as a stunt coordinator opportunity, and later as a second unit director. When Andrew Lazar saw my director’s cut of Day Shift, he offered me The Killer’s Game, and securing Dave Bautista was a major win.
I wanted to refresh the script, which had been around so long that elements of it had appeared in other films. To avoid repeating what had already been done, I introduced new ideas and characters.
For instance, I added Korean characters, a dancing Latino brother, and Scottish brothers based on my experience in Scotland. With James Coyne’s help, we infused new elements into the script.
Becoming a director wasn’t something I planned initially. After my Army service, I was just happy to be a stuntman. Transitioning to second unit directing was a significant step, and now directing full movies feels like an incredible opportunity. I recently completed my third film, Afterburn, and I prefer to keep a fast pace.
The Killer’s Game was shot during the SAG strike under an interim agreement, which allowed me to work with familiar faces like Pom Klementieff, Terry Crews, and Scott Adkins. Bringing trusted collaborators on board made the demanding 42-day shoot more manageable.**
Did you incorporate any elements from your Army background into Dave Bautista’s character?
In both Day Shift and The Killer’s Game, I’ve included the 82nd Airborne tattoo, even on Snoop Dogg. I like to incorporate subtle nods to the All American division. Although Bautista didn’t want the tattoo again, I included it in the background of my upcoming film Afterburn.
I have a deep respect for prior service members and always strive to include them in my projects.
What lessons from your experience on Day Shift did you apply to The Killer’s Game?
Managing time more effectively was a key lesson. Both Day Shift and The Killer’s Game were 42-day shoots, and so was Afterburn. Directing second unit often involves more days, so the challenge is to balance the action with the drama, comedy, and character development. I learned to allocate time wisely for all aspects of filmmaking.
Another important lesson was about post-production. As a second unit director, I wasn’t involved in post-production previously. The experience on Day Shift taught me a lot about this phase, and I was better prepared for it on The Killer’s Game.**
You created a grounded and elegantly lit world in Budapest, but added various visual flourishes throughout the movie. What was the idea behind this contrast?
I wasn’t aiming to make just an action movie. My goal was to craft a love story that merges with an exceptionally fun action film. For the scenes where Dave and Sofia [Boutella] fall in love, I dressed them in soft colors and used gentle lighting.
The lighting in the first act is deliberately different from the more intense lighting in the later acts. I also chose softer clothing for Dave, including loafers, even though he was initially unfamiliar with the look.
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| Dave Bautista and Sofia Boutella in The Killer’s Game Courtesy of Lionsgate |
I wanted to create a softer appearance for him, and I believe we succeeded. I drew inspiration from the original Thomas Crown Affair for its slick slide transitions and split screens, aiming to make the transitions between scenes as engaging as possible.
Given Dave Bautista’s extensive background in fight choreography, did you consider his previous work to see what you could enhance or highlight?
Those coming from WWE are experienced live performers, and I’ve collaborated with such talents since the ‘90s, including Hulk Hogan and the late Randy “Macho Man” Savage. Dave’s ability to remember choreography is exceptional.
He can quickly learn and perform complex fight scenes. His background in combat sports, including being a brown belt in Brazilian jiu-jitsu, MMA competitor, and skilled boxer, makes him highly versatile.
This versatility means we don’t need to hide doubles, allowing the action to be more prominent and engaging. The audience can appreciate the authenticity of the action when the actors perform it themselves.
On Day Shift, you fought for the motorcycle crash shot. What did you need to advocate for on this project?
My producers were extremely supportive and worked hard to ensure I got everything I needed and wanted, so I didn’t have to fight for anything this time. Lionsgate was also a great partner. I was better prepared for post-production on this project, having learned from Day Shift.
We tested the film ourselves before showing it to Lionsgate, which helped us refine the movie based on real audience feedback. I focused on understanding and addressing what people didn’t like, which was more valuable to me than just knowing what they did like.
Day Shift was noted for its contortionist gags, which you had been pitching for years. What was the creative equivalent in The Killer’s Game?
The characters and ideas for The Killer’s Game had been on my mind for years and had been pitched to various directors. For instance, Marko’s [Zaror] character was inspired by a Taekwondo competitor who performed exceptionally well while wearing a Walkman. Additionally, the motorcycle sequence was designed to showcase motorcycle kung fu.
Although time constraints limited our shoot, we aimed to create something unique. My action team, who I’ve worked with for over a decade, is crucial in developing and refining these ideas. We constantly brainstorm and review our work to ensure the action sequences are as innovative and exciting as possible.
Dave Leitch recently made a film to celebrate the stunt community and their craft. While Ryan Gosling joked about a Best Stunt Oscar, there seemed to be momentum for it earlier this summer. Have your views on this changed at all?
I still don’t think a Best Stunt Oscar will happen. Awarding it would imply that the lead actors or directors didn’t perform their stunts, which doesn’t align with the collaborative nature of the industry. Stunt professionals typically work behind the scenes and don’t seek recognition.
While I hope my friends receive the recognition they deserve, I’m not counting on it. My focus remains on creating great action scenes and enjoying the work. Even if awards are unlikely, I’m committed to delivering exciting and impactful stunts.
To play devil’s advocate, could this argument apply to other technical Oscars like production design? Doesn’t a production designer’s Oscar acknowledge their contribution without detracting from the director’s vision?
It’s true that technical awards recognize contributions without overshadowing the director’s role. However, in our field, we design and execute the action, and I’m passionate about this work. My background as a stuntman was incredibly rewarding, and I love creating thrilling sequences.
While I hope my friends get the recognition they deserve, I’m not counting on it. I understand the argument about other technical categories, but I still believe that stunt work may not receive the same level of acknowledgment.
