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Fight scenes are like learning a dance. You learn it move by move, and then you put it all together and it looks awesome when you edit it together. It's great!

It's going to sound ridiculous, but knowing how to pose, how to maintain a level of engagement and variation for a day of shooting, is actually a skill.

So much of it is the design of the shot or the motion of the character; it's the work you do so that it has the same things that are in the movie. In just a few frames it's got to communicate something clearly and dramatically.

You can do really slow movements with it, like zooming in for a minute and a half. The audience isn't aware that the camera has moved, but there's subconscious tension there.

People ask me about fighting in real life and, honestly, it wouldn't look as graceful as it does in film and TV.

If you focus your energy on the camera, it takes away from the time you have to focus on the performances.

The whole point of this game is that everything flows together in one simple movement... it should just flow and be fluid. And that's what I want to bring to the table every single time I fight. And I enjoy making it look, you know, like an art.

I think I came up in fighting in a really technical way. If you've ever seen my fights, you know I love distance, I love technique.

You don't often see fight scenes with people who have no idea how to fight.

I've done a lot of fight scenes, and I always find that it's better that they be meticulously choreographed. You want them to look as real as possible, but you don't want anyone to get hurt. So I believe in really working it out in rehearsal, and when you get to the set, just go for it 100 percent.