History SoYouWantTo / WriteAnActionMovie

* Another variety - an action hero supported by a group of specialists - is presented to you by ''Film/MissionImpossible'' movies, especially from 3 on. While the original series was a SpyDrama, the movies are certainly focused on action. M:I movies' strengths are interplay between the cast members, creative gadgets and amazing stunts.

** Lady and the hero are near sure to end up in bed together, often for no other reason than she's pretty and he's [[RatedMForManly manly]]. At this point, it's so obvious that it's more of a surprise to the audience if they ''never'' get romantically involved. If the hero is in his forties/fifties and the lady is a twenty-something model, this can border on UnfortunateImplications.

So when you have time, you have to decide on the place. Whichever you'll choose, you have to take that into an account when creating a story. If your character, for example, is white and the action takes place in Shanghai, he'll obviously stand out. Same goes for Asian woman in Iraq or Saudi Arabia. A Canadian in a Central American country will constantly sweat and feel like he's burning alive, and someone who spent the last decade of his life in Texas will dress in layers of sweaters in Norway. A language barrier will be huge, as well.

And regarding race: Hollywood treats it as a rule of thumb that we'll go to see the movie only if the main character is white (or Creator/WillSmith). However, you don't have to. Sadly, making your character black, Asian or Hindu will be refreshing.

* The present: it lets you incorporate the War on Terror and terrorists in general into your story, as well as address some present problems ([[Administrivia/RuleOfCautiousEditingJudgment Whether it's good or bad is not ours to tell]]). It also allows you to cut on the exposition and introduce some familiarity, as well as use today's tools (Facebook, Google, cloud, F1 cars) in your story.

* Character. These days, a lot of action movies are all about explosions. If you want to write a great action movie, make sure that your characters are realistic. It is '''extremely''' important that your audience have feelings for your characters. A staple of a bad action film is too many explosions and "cardboard characters". Action is not more prone to the EightDeadlyWords than any other genre, but its contents are more likely to break WillingSuspensionOfDisbelief, making it easier for audiences to ''that'' if the Eight Deadly Words are in effect.

* Character. These days, a lot of action movies are all about explosions. If you want to write a great action movie, make sure that your characters are realistic. It is '''extremely''' important that your audience have feelings for your characters. A staple of a bad action film is too many explosions and "cardboard characters". Action is not more prone to the EightDeadlyWords than any other genre, but its contents are more likely to break WillingSuspensionOfDisbelief, making it easier for audiences to ''notice'' if the Eight Deadly Words are in effect.

** If done badly, the MacGuffin can be forced and out of place. Some sort of GreenRocks being the only way to bring down evil dictator? Wouldn't well-put bullet be... you know... easier to find?

* Oh, and, ''Film/RaidersOfTheLostArk''. "WhyDontYouJustShootHim" One of the most memorable, and funniest, {{Sword Fight}}s in film history -- precisely because RealityEnsues ''instead of'' the Sword Fight.

* Another example is from the ''Star Wars'' movie series, pointed out by WebVideo/CinemaWins. Whenever two Force-users are forced into a MultiMookMelee, they move to a BackToBackBadasses position so they can cover each other. This happens in I, II, III and even VIII. It says a great deal about the Force in general (even if it only says it in FridgeBrilliance).

* 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 (slow burn buildup, 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.

* Witness the first major action set piece in ''Film/CasinoRoyale2006''. James Bond is on his first mission as a Double-0 agent, and ends up chasing Mollaka, a bomb maker who happens to know LeParkour. (CastTheExpert: Mollaka was played by Sebastien Foucan, one of the actual founders of the free-running sport.) There's one moment where Mollaka makes an escape by making a jump through a high slot, hoisting his whole body up to slide through a gap 18 inches tall... after which Bond simply [[WhyDontYaJustShootHim smashes through the drywall]] to chase him. This tells you ''a lot'' about Bond -- and is also really funny.
* Another example is from the ''Star Wars'' Prequel Trilogy, pointed out by WebVideo/CinemaWins. Whenever two Jedi are shown in battle together -- and this happens ''every time'' two LaserSword users join forces, no matter who they are, which film you're watching and [[ColorCodedForYourConvenience what color their lightsaber blade even is]] -- they move to a BackToBackBadasses position so they can cover each other. Once again, this says a great deal about the Jedi in general (even if it only says it in FridgeBrilliance).
* The central SwordFight in ''Film/CrouchingTigerHiddenDragon'' tells you a lot about the participating characters. Jen has a lot of talent -- and also an InfinityPlusOneSword in the Green Destiny -- but Shu Lien has more experience to go with her {{Determinator}} attitude. Despite {{Wrecked Weapon}}s left and right, she wins the fight against the supposedly-invincible sword. (Incidentally, "CastTheExpert" was subverted here: while Creator/MichelleYeoh is an acknowledged action star, Creator/ZhangZiyi actually had no fighting experience prior to working on the film, and in fact is a ''dancer'' by training.)

* Another example is from the ''Star Wars'' Prequel Trilogy, pointed out by WebVideo/CinemaWins. Whenever two Jedi are shown in battle together -- and this happens ''every time'' throughout the trilogy, no matter which two Jedi have become BashBrothers -- they instinctively move to a BackToBackBadasses position so they can cover each other. Once again, this says a great deal about the Jedi in general (even if it only says it in FridgeBrilliance).

* Oh, and, ''Film/RaidersOfTheLostArl''. "WhyDontYouJustShootHim" One of the most memorable, and funniest, {{Sword Fight}}s in film history -- precisely because RealityEnsues ''instead of'' the Sword Fight.

* ManInWhite or in similar one-toned outfit stands out in the crowd, and his love for monochrome might indicate cold blood, pragmatism and lack of emotions.

* Another example is from the ''Star Wars'' Prequel Trilogy, pointed out by WebSeries/CinemaWins. Whenever two Jedi are shown in battle together -- and this happens ''every time'' throughout the trilogy, no matter which two Jedi have become BashBrothers -- they instinctively move to a BackToBackBadasses position so they can cover each other. Once again, this says a great deal about the Jedi in general (even if it only says it in FridgeBrilliance).

* What really brought the genre to the fore is the BadassGrandpa of {{Action Hero}}es, 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.

* The present: it lets you incorporate the War on Terror and terrorists in general into your story, as well as address some present problems ([[RuleOfCautiousEditingJudgement Whether it's good or bad is not ours to tell]]). It also allows you to cut on the exposition and introduce some familiarity, as well as use today's tools (Facebook, Google, cloud, F1 cars) in your story.

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 can be hard to make believable, so she should probably 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. See SoYouWantTo/WriteAnActionGirl for more advice on writing a female action hero.

* Your character must be badass. Audiences like to [[AudienceSurrogate 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.

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.