- #JASON BOURNE SEQUEL REDDIT HOW TO#
- #JASON BOURNE SEQUEL REDDIT MOVIE#
- #JASON BOURNE SEQUEL REDDIT SERIES#
When those movies cut on the action beats, the filmmakers directors repeat the first few frames of the action between shots for greater emphasis, letting viewers feel each impact action in the process.
#JASON BOURNE SEQUEL REDDIT HOW TO#
Generally speaking, that’s a good thing: the YouTube channel “Every Frame A Painting” lays out the pros perfectly in the video Jackie Chan - How to Do Action Comedy, which even discusses the nature of editing in Chan’s films. While martial arts films usually feature lightning-quick motions like the Bourne trilogy fights (for instance, the 2000 classic Crouching Tiger, Hidden Dragon), their presentation involves longer takes and wider shots, offering both greater spatial clarity and a more complete view of the choreography. The turn of the century brought along new avenues for Hollywood action, with films like 1999’s The Matrix - another mind-body exploration in the internet age - drawing heavily from Hong Kong cinema. And while he gains more control of his body with each fight, the series’ aesthetic feels like Bourne’s own physiology made manifest, with actions unfolding faster than the speed of thought. While Jason Bourne could probably kill a man with his bare hands - he eventually does in the sequels, when he’s left with no other option - each of the trilogy’s 11 fight scenes, no matter how brief, has him attempting to disarm or discombobulate an attacker (or several). With his conscious memories wiped clean by head trauma, all that’s left is a man whose body has been honed for killing, but whose conscious mind now battles against that instinct, through some innate, unbroken goodness. He takes everything except the gun.Įmbedded deep in Bourne’s psyche is the drive for violence, drilled into him by Treadstone, a brutal CIA enhancement program. Between the two sequences, he even retraces his steps to a safety deposit box filled with money, passports, and a firearm. Notably, both these initial scenes in Identity end with a gun in Bourne’s hand, and he disposes of it each time. In either case, his instincts take over, and his muscle memory carries him through each sequence with brutal efficiency.Ī handful of these disarming scenes, where Bourne breaks into a brief fury of martial arts to diffuse the situation, are littered throughout the trilogy.
The “fight” lasts a mere eight seconds, about as long as the scene at the American embassy 10 minutes later, when he similarly incapacitates a group of security guards. Bourne, who doesn’t even know his own name at this point, is surprised when he’s able to respond to the cops in fluent German, and he exhibits just as much fluency (and just as much surprise) when he disarms them instantaneously. The template for the Bourne series’ action is set 11 minutes into The Bourne Identity, when a pair of Zürich policemen approach amnesiac agent Jason Bourne (Matt Damon). But more importantly, the aesthetic is perfectly in tune with the series’ themes and its character-centric drama - which isn’t often true when other movies copy the style. From a technical standpoint, each Bourne sequence is more precise than the imitation versions, down to the vital difference of a handful of frames.
#JASON BOURNE SEQUEL REDDIT SERIES#
But its deployment in the Bourne series stands apart from the way its successors use it.
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Moviegoers might argue that it poisoned the American action well, making too many movie fights incomprehensible and even nauseating. The dizzying, choppy Bourne fight style has its pros and cons. The Taken films even applied it to Liam Neeson jumping a fence. Still, the impressionistic fight aesthetic spawned so many imitators that it became Hollywood’s lingua franca across the action spectrum, employed by everything from the macho ’80s throwback Expendables series to Disney superhero fare like Captain America: Civil War. The Bourne franchise is known for quick-cut, shaky-cam action, but there’s less than six minutes of hand-to-hand combat across Doug Liman’s 2002 series-launcher The Bourne Identity, and Paul Greengrass’ sequels, 2004’s The Bourne Supremacy and 2007’s The Bourne Ultimatum.
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