3.5
They Shouldn't Have Killed His Dog
ByPublisher Description
There have been iconic moments in the action movie genre over the years, but nothing has come close to matching the kinetic, balletic gun-fu of the John Wick films.
In They Shouldn’t Have Killed His Dog: The Complete Uncensored Ass-Kicking Oral History of John Wick, Gun-Fu and The New Age of Action, bestselling authors Mark A. Altman and Edward Gross take you behind the scenes of a franchise that includes three films with more on the way, while exploring the action classics that led to John Wick as well as the films it inspired, like Atomic Blonde. They bring you right into the middle of the action of the John Wick films, detailing how the seemingly impossible was achieved through exclusive interviews with the cast, writers, directors, producers, stuntmen, fight choreographers, cinematographers, studio executives, editors, critics, and more. Together, they break down key action sequences while also providing a look back at the road the action genre has taken that led to John Wick, and a look at the character itself, an anti-hero who carries on the grand tradition of Clint Eastwood’s Man with No Name, but with a twist — and a never-ending supply of ammo — while showcasing the enduring appeal of the action movie as well as John Wick’s unique reinvention of the genre.
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Meet readers like you in the Fable For You feed, designed to build bookish communitiesThey Shouldn't Have Killed His Dog Reviews
3.5
““They Shouldn’t Have Killed His Dog: The Complete Uncensored Ass-Kicking Oral History of John Wick, Gun Fu, and the New Age of Action” is a nonfiction book focusing on the film genre of gun fu as well as highlighting the John Wick movie and television series which is one of the greatest action franchises in history, and what actor Keanu Reeves brings to the role of John Wick.
The book consists of an unlabeled disclaimer, dedications, a table of contents labeled “Dossier,” two introductory essays by authors Edward Gross and Mark A. Altman, a dramatis personae which provides a list of all people mentioned in the book, followed by ten chapters, acknowledgments, and a section about the authors.
In the unlabeled disclaimer, the authors are clear that this book was not prepared, approved, licensed, or endorsed by Lionsgate, Summit Pictures, Sierra-Affinity, or any other entity involved in creating or producing the “John Wick” motion pictures or television series. The authors end the disclaimer with the phrase that the opinions expressed in the book solely represent those of themselves or those interviewed.
In the two introductory essays by the authors, each discusses how this book came to fruition despite an initial worry of lack of reading interests due to “John Wick’s” cinematography and the premise of a reluctant hero drawn back into his old life after experiencing unimaginable loss.
In chapter one “Action Jackson,” the authors and others discussed the first scene of the first “John Wick” movie and the importance of using the murder of a beloved pet as a way to connect with those watching the film. This section of the book also discusses the history of major action scenes being filmed and refers to 1896’s French silent film “L’Arrivée d’un train en gare de La Ciotat” followed by 1903’s “The Great Train Robbery.” Book contributors discuss how following “The Great Train Robbery,” action film consisted of Westerns, comedies, and swashbucklers.
Despite numerous action films in the fifties like Flah Gordon, Batman, and others, nobody was really talking about “action” movies until the eighties.Other action movies characters are mentioned including the Man with No Name, James Bond, Indiana Jones, and The Terminator, but none have captivated audiences as quite like John Wick since 2014.
It was also notable how the duration of movie fight scenes have increased over the years from five-thirty seconds with straightforward fights to longer and more involved fight sequences. Interesting to learn about how “gun fu” film genre was created to show superior skills through using samurai sword instead of taking the easy way out by using a gun. Birth of gun fu genre was John Woo and “A Better Tomorrow.”
In chapter two “Lighting the Wick,” discusses how the “John Wick” movies only came into existence through the strong belief of the film’s star, producer, directors, and screenwriter Derek Kolstad.Background is provided on Kolstad such as him being the nephew to Lori Wick, the highest-selling Christian romance author of all time, working at Dale Carnegie in Chicago teaching sales managers and manning their teams during the day while writing screenplays at night. Eventually, Kolstad moves to Los Angeles and after several years of working with nongovernmental organizations and nonprofits, he gets a manager and begins to get paid for his screenplays.
Kolstad’s goal in writing “John Wick” was to explore what would happen if the worst man in existence found salvation and what happens when that salvation is torn away from him. Originally, Kolstad wanted John Wick to be played by a seventy-five year old (preferably Clint Eastwood) with a seventeen year old dog. After Keanu Reeves accepts the script, he works with Kolstad to make John Wick closer to Reeves’ real age. Kolstad is impressed by Reeves’ commitment to reading all the scripts he’s been sent as well as being a movie fanatic.
Kolstad comments on how nice and descent Reeves is as well as being a down to earth, smart, a hard worker, and someone willing to take a chance on new talent even if they have. no previous experience. As the movie started to be filmed, Kolstad remarks that Reeves is a hands-on person who knows everyone’s job and can shoot, edit, write, direct, and his commitment to training for martial arts and weaponry. Despite Reeves’ positive global reputation, “John Wick” encounters problems with getting a domestic deal due to Reeves’ unsuccessful public reception of “47 Robin” and “Man of Tai Chi,” which was his directorial debut.
In chapter three “Gun Crazy,” financing for the “John Wick” film is secured and book contributors focus on the relationships between the character of John Wick and other characters including Winston, the manager at the Continental hotel for assassins, Marcus, a fellow assassin, Charon, the Continental’s concierge, Helen, John’s wife, and John’s dog. This chapter also mentions the overall filming process as well as the importance of setting and ratio of dialogue to action.
In chapter four “Anatomy of a Fight Scene: The Red Circle,” focuses on a nightclub where a massive fight occurs in John Wick films. This part of the book discusses innovations in “John Wick” films which include that despite the ludicrous circumstances including a one-man army who never dies and can’t be stopped, high body counts, outrageous villains, and a full-service luxury hotel for assassins, since the characters are dead serious about the world they live in, the audience believes it as well. Additional innovations are the emphasis on choreographed hand to hand combat, which adds extreme brutality and gore to the action genre.
In chapter five “With a Bullet,” the authors and contributors discuss issues during film postproduction. The reader learns Kolstad’s personal connection to naming the main character John Wick and his wife Helen and surprise when Kolstad and others are approached about doing sequel films following more adventures of John Wick.
In chapter six “Continental Divide: John Wick: Chapter 2,” producers and screenwriters of “John Wick” are shocked by the success of the first film. Those involved in the film are even more shocked a major movie studio approaches them to make a several more “John Wick” films. Unbeknownst to all involved, there was no way of knowing that their experimental film would transform into a million-dollar film franchise.
The sequel transformed by going to global locations while increasing the brutality through having one of the two original directors involved while adding a new director of photography, new production designer, and new editor. Question arose of could franchise last without the dog but is eventually remedied by having the movie start right where the previous film left off.
Book contributors discuss the importance of building an underworld with its own set of rules and power structure as well as the significance of literal blood oaths. In each “John Wick” film, the goal is to strike a balance between action and coolness.
In chapter seven “Anatomy of a Fight Scene: The Hall of Mirrors,” codirector Chad Stahelski shares his fierce drive in filming the hall of mirrors scene in “John Wick: Chapter 2” as a homage to movies “Enter the Dragon” and “The Lady from Shanghai.” Interesting to learn that while the mirror scene in “Enter the Dragon” was literally one wall of mirrors, the mirrors scene used in “John Wick: Chapter 2” was custom made.
In chapter eight “Dog Days: John Wick, Chapter 3 —Parabellum,” it was fascinating to learn that “John Wick: Chapter 3” was green-lit soon after “John Wick: Chapter 2” came out. I found it amusing when director says that everything that happens in first three “John Wick” were meant to take place a few days after Mrs. Wick’s funeral. What makes “John Wick, Chapter 3 —Parabellum” so special is that the film audience finally learn of John origin story and transformation from a Belarusian immigrant named Jarsani Jonovich into a legendary assassin named John Wick.
In chapter nine “Going Atomic: John Wick and Beyond,” contributors discuss how the “John Wick” films helped to create a subgenre of films which provide a more visceral experience and discusses the film “Atomic Blond” and how actress Charlize Theron became involved in transforming “The Coldest City” which a graphic novel about the Cold War by Kurt Johnstad into a fully developed female spy thriller film despite being comparable to “John Wick.”
In chapter ten “John Wick Will Return,” contributors discuss how initial plans to shoot “John Wick 4” and “John Wick 5” back-to-back were thwarted by the global COVID pandemic. This chapter also alludes to a prequel telefilm set in the “John Wick” universe providing the backstory of “The Continental” hotel again 1970s Manhattan.
As I finished reading the book, I liked how each chapter begins with a quote used in “John Wick” movies. In addition, I liked how each chapter consists of viewpoints from many reputable sources which creates a well-rounded discussion of the gun fu movie genre as well as “John Wick” films overall. If you are someone who loves “John Wick” film, action films, and martial art films, this book is a must read due to the amount of depth and insight found within the book.”
About Edward Gross
Other books by Edward Gross
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