History SoYouWantTo / WriteAnActionMovie

** ShowDontTell works against the super-powerful MacGuffin. Being told all the movie long how awesome it is without actually seeing its power annoys people (kind of like this car dealers who keep on telling you just how ''great'' you'll feel driving this car and whatnot). On the other hand you have HypeBacklash and the object fails to meet the expectation. We don't have to tell you that it's bad.

Also, short note on gender: the majority of {{Action Hero}es are men. If you want to change it in your film, remember: women can be badass, of course, but WaifFu is actually impossible, so she should at least have some muscles. Turning her into a DamselInDistress the moment her dashing love interest enters the stage is also advised against. ''Also'', a DarkAndTroubledPast in the case of female action heroes tends to be connected with some sort of domestic abuse more often than when the hero is male, making us unreasonably sorry for this poor gal, even if she effortlessly kicks the asses of a hundred mooks, for no reason really - there's no rule stating that woman can't be badass without going through hell first.

* If you're looking to make a GenreShift ActionizedSequel, there's arguably no finer example than ''Film/{{Aliens}}''. The film contains extremely intense action sequences while also mixing the elements that made [[Film/{{Alien}} the original]] such a successful horror film (the mystery, NothingIsScarier, AnyoneCanDie, etc.). This works to make the action sequences themselves even more intense than they already would have been, while also staying true to the original roots. It also contains a great storyline involving overcoming fears and a theme of motherhood under the action.

* If you're looking to make a GenreShift ActionizedSequel, there's arguably no finer example than ''Film/{{Aliens}}''. The film contains extremely intense action sequences while also mixing the elements that made [[Film/{{Alien}} the original]] such a successful horror film (the mystery, NothingIsScarier, AnyoneCanDie, etc.). This works to make the action sequences themselves even more intense than they already would have been, while also staying true to the original roots.

* If you're looking to make a GenreShift ActionizedSequel, there's arguably no finer example than ''Film/{{Aliens}}. The film contains extremely intense action sequences while also mixing the elements that made [[Film/{{Alien}} the original]] such a successful horror film (the mystery, NothingIsScarier, AnyoneCanDie, etc.). This works to make the action sequences themselves even more intense than they already would have been, while also staying true to the original roots.

* Your character must be badass. Audience likes to imagine being in the character's place, but somebody who keeps having his ass handed to him is both annoying and boring, and his credentials as an ActionHero are questionable.

* Your character must be badass. Audience likes to imagine being in the character's place, but somebody who keeps having his ass handed to him is both annoying and boring, and his credentials as action hero are questionable.

Also, short note on gender: the majority of action heroes are men. If you want to change it in your film, remember: women can be badass, of course, but WaifFu is actually impossible, so she should at least have some muscles. Turning her into a DamselInDistress the moment her dashing love interest enters the stage is also advised against. ''Also'', a DarkAndTroubledPast in the case of female action heroes tends to be connected with some sort of domestic abuse more often than when the hero is male, making us unreasonably sorry for this poor gal, even if she effortlessly kicks the asses of a hundred mooks, for no reason really - there's no rule stating that woman can't be badass without going through hell first.

* '''Love Interest''' is generally of the opposite gender than the main character (but kudos for you if you make it the same). He/She can either be an action hero in his/her own right, or Damsel/Dude in Distress to be saved or protected. Whichever you use, remember that he/she should have some skills and abilities that would allow him/her to contribute to the plot more than once a film (look again at "DamselInDistress" plot above). Remember, too, that eventual romance between them shouldn't be forced or unnatural, because if you do this badly, it will end up looking as if the grizzled action hero raped the girl/guy. Unless you are going for JerkassHero and far, far Cynicism end of [[SlidingScaleOfIdealismVersusCynicism the scale]], don't go in this direction.

* What really brought the genre to the fore is the BadassGrandpa of action heroes, Film/JamesBond himself. Based on Ian Fleming's books, the series has been going on for over half a century now, giving you an unique opportunity to study how the genre and its solutions has been changing over time. Take a look at 007, too - he's the vehicle that's keeping this series moving. While Bond-esque copycats abound, figure out what all iterations have in common and spin it for your own needs and amusement.

* Your character must be {{Badass}}. Audience likes to imagine being in the character's place, but somebody who keeps having his ass handed to him is both annoying and boring, and his credentials as action hero are questionable.

* For many, a staple of action movies is, and forever will be, ''Film/DieHard'', especially the first. It has codifed an entire [[DieHardOnAnX plot setup]] and presents a character who, while unquestionably {{Badass}}, stays closer to reality than most others, not to mention that it's a nice lesson on how you can have suspenseful and entertaining movie without jumping all around the world.

* The recent ''Film/MadMaxFuryRoad'' is a textbook example for a minimalist approach to action storytelling. It has constant momentum, being basically a two-hour long chase scene with a very simple story and little dialogue to distract from the crashes and stunts onscreen. However, said simple story is never forgotten, as it also relies on strong visual acting and a strict ShowDontTell approach to give a feeling of always moving forward, and to [[WorldBuilding build a highly detailed, coherent world]], memorable, in-depth characters, and a boatload of [[WorldOfSymbolism symbolism]] and themes ''through'' the action without ever letting its foot off the pedal.

* The recent ''Film/MadMaxFuryRoad is a textbook example for a minimalist approach to action storytelling. It has constant momentum, being basically a two-hour long chase scene with a very simple story and little dialogue to distract from the crashes and stunts onscreen. However, said simple story is never forgotten, as it also relies on strong visual acting and a strict ShowDontTell approach to give a feeling of always moving forward, and to [[WorldBuilding build a highly detailed, coherent world]], memorable, in-depth characters, and a boatload of [[WorldOfSymbolism symbolism]] and themes ''through'' the action without ever letting its foot off the pedal.

* For a minimalist approach to story, look no further than the recent ''Film/MadMaxFuryRoad''. It has constant momentum, being practically a two-hour long chase scene with a very simple story and little dialogue to distract from the crashes and stunts onscreen. However, said simple story is never forgotten, as it also relies on strong visual acting and a strict ShowDontTell approach to give a feeling of always moving forward, and to [[WorldBuilding build a highly detailed, coherent world]], memorable, in-depth characters, and a boatload of [[WorldOfSymbolism symbolism]] and themes ''through'' the action without ever letting its foot off the pedal.

* For a minimalist approach to story, look no further than the recent ''Film/MadMaxFuryRoad''. It has constant momentum, being practically a two-hour long chase scene with a very simple story and little dialogue to distract from the crashes and stunts onscreen. However, said simple story is never forgotten, as it also relies on strong visual acting and a strict ShowDontTell approach to give a feeling of always moving forward, and to [[WorldBuilding build a highly detailed, coherent world]], memorable, in-depth characters, and explore a vast amount of themes ''through'' the action without ever letting its foot off the pedal.

* For a minimalist approach to story, look no further than the recent ''Film/MadMaxFuryRoad''. It has constant momentum, being practically a two-hour long chase scene with a very simple story and little dialogue to distract from the explosions and stunts onscreen. However, said simple story is never forgotten, as it also relies on strong visual acting and a strict ShowDontTell approach to give a feeling of always moving forward, and to [[WorldBuilding build a highly detailed, coherent world]] and memorable, in-depth characters ''through'' the action without ever letting its foot off the pedal.

* For a minimalist approach to story, look no further than the recent ''Film/MadMaxFuryRoad''. It has constant momentum, being practically a two-hour long chase scene with a very simple story and little dialogue to distract from the explosions and stunts onscreen. However, said simple story is never forgotten, as it also relies on strong visual acting and a strict ShowDontTell approach to [[WorldBuilding build a highly detailed and coherent world]] and memorable, in-depth characters ''through'' the action without ever letting its foot off the pedal.

* For a minimalist approach to story, look no further than the recent ''Film/MadMaxFuryRoad''. It has constant momentum, being practically a two-hour long chase scene with a very simple story and little dialogue to distract from the explosions and stunts onscreen. However, said simple story is never forgotten, as it also relies on strong visual acting and a strict ShowDontTell approach to build a highly detailed and coherent world and memorable, in-depth characters ''through'' the action without ever letting its foot off the pedal.

* For a minimalist approach to story, look no further than the recent ''Film/MadMaxFuryRoad''. It has constant momentum, being practically a two-hour long chase scene with a very simple story and little dialogue to distract from the explosions and stunts onscreen. However, said simple story is never forgotten, as it also relies on strong visual acting and a strict ShowDontTell approach to build a coherent world and memorable characters ''through'' the action without ever letting its foot off the pedal.

* If you're looking for a minimalist approach to story, look no further than the recent ''Film/MadMaxFuryRoad''. It has constant momentum, being practically a two-hour long chase scene with a very simple story and little dialogue to distract from the explosions and stunts onscreen. However, said simple story is never forgotten, as it also relies on strong visual acting and a strict ShowDontTell approach to build a coherent world and memorable characters ''through'' the action without ever letting its foot off the pedal.

* If you're looking for a minimalist approach, look no further than the recent ''Film/MadMaxFuryRoad''. It has constant momentum, being practically a two-hour long chase scene with a very simple story and little dialogue to distract from the explosions and stunts onscreen. However, the story is never forgotten, as it also relies on strong visual acting and a strict ShowDontTell approach to build a coherent world and memorable characters ''through'' the action without ever letting its foot off the pedal.

* If you're looking for a minimalist approach, look no further than the recent ''Film/MadMaxFuryRoad''. It has constant momentum, being practically a two-hour long chase scene with a very simple story and little dialogue to distract from the explosions and stunts onscreen. However, it also relies on strong visual acting and a ShowDontTell approach to build a coherent world and memorable characters ''through'' the action without ever letting its foot off the pedal.

* If you're looking for a minimalist approach, look no further than the recent ''Film/MadMaxFuryRoad''. It has constant momentum with a very simple story and little dialogue to distract from the explosions and stunts onscreen, relying on strong visual acting and ShowDontTell to build a coherent world and memorable characters ''through'' the action without ever letting its foot off the pedal.

* If you're looking for a minimalist approach to keep the focus completely on the action while still keeping the story moving, look no further than the recent ''Film/MadMaxFuryRoad''. It has constant momentum with a very simple story and little dialogue to distract from the explosions and stunts onscreen, while also relying on strong visual acting and ShowDontTell to build a coherent world and memorable characters ''through'' the action without ever letting its foot off the pedal.

* For many, a staple of action movies is, and forever will be, ''Film/DieHard'', especially the first. It has codifed an entire [[DieHardOnX plot setup]] and presents a character who, while unquestionably {{Badass}}, stays closer to reality than most others, not to mention that it's a nice lesson on how you can have suspenseful and entertaining movie without jumping all around the world.

* For characters that disperse with any government connections, take a look at ''Film/TheTransporter'', especially the first film. It's classy romp with good choreography and nice action, and if you're interested in seeing how far you can go away from reality without it crashing down, look no further than to the sequels.

* ''Blowing Up The Movies'' is a series of essays on various action movies and what makes them work. It's written primarily for the ''TabletopGame/FengShui'' RPG, but the analysis is worthwhile whether you play role-playing games or not.

It's bad if your work disregards laws of physics. It's even worse when it's so blatant everyone can see it. Recent movies went as far as to state that [[Film/SexTape cloud technology is a mystery nobody understands]][[note]]Not true: it's simply storing your data on the outside servers, the same way articles on this wiki are stored on TV Tropes servers and can be accessed by the Internet[[/note]] and that [[Film/JackRyanShadowRecruit you can hack someone's security system by plugging into their power socket]]. If you're lucky, people will not notice it in favor of the story, but often they ''will'' notice and it will kick them out of their WillingSuspensionOfDisbelief with a fit of laughter and little to no chance of recovery.