{"id":861,"date":"2010-07-15T15:16:55","date_gmt":"2010-07-15T15:16:55","guid":{"rendered":"http:\/\/www.icgmagazine.com\/wordpress\/?p=861"},"modified":"2014-06-05T17:41:37","modified_gmt":"2014-06-05T17:41:37","slug":"exposure-steve-ritzi","status":"publish","type":"post","link":"https:\/\/www.icgmagazine.com\/web\/exposure-steve-ritzi\/","title":{"rendered":"Steve Ritzi \u2013 Jonah Hex"},"content":{"rendered":"

Stunt coordinator and 2nd Unit director Steve Ritzi grew up around boats on Florida\u2019s Intracoastal Waterway on the Atlantic coast. In 1989 he auditioned for and won a role in the stunt boat show at Universal Studios Orlando. At the time, Florida \u2019s film and television industry was booming, and Ritzi decided he wanted to learn more about stunts. Fortunately, veteran stuntman Glenn Wilder had moved from Los Angeles to Florida, and Ritzi began attending informal training sessions in Wilder\u2019s backyard where scaffolding had been erected so they could practice falls, and, of course, fights. Ritzi also attended a driving seminar held by another veteran stuntman, Wally Crowder, and soon found himself heading over to Orlando-area soundstages, resume and headshots in hand, to introduce himself to the stunt coordinators. The result has been a stellar career in Hollywood\u2019s action game that has included executing physical \u201cgags\u201d on dozens of films – Passenger 57<\/em>, The Patriot<\/em>, Bad Boys II<\/em>, Transporter 2<\/em>, Body of Lies<\/em>, Zombieland<\/em> among them – while also adding stunt coordinator and second unit director credits to his resume on a number of films, most recently, Jonah Hex<\/em>. <\/p>\n

ICG: You\u2019ve worked on a lot of pictures. What was special about Jonah Hex<\/em>?<\/strong> SR: This was the toughest show I\u2019ve ever done. I\u2019m not known as a horse guy. I\u2019m more an all around guy with vehicles and boats, so it was interesting to take on a different genre. There are so few Westerns made, and Jonah Hex<\/em> has such a following. Everybody knew it could be something new and interesting and cool being that it\u2019s based on a comic book. (Director) Jimmy Hayward did have a different vision because of it being comic book based. It really made it a pleasure and challenge to go to work every day, because you\u2019re trying to make it work cinematically, while staying true to that Western genre. You don\u2019t want to be doing big martial arts fights in the middle of a Western. It\u2019s cowboys. Stay true to the genre, but with a little flair.<\/p>\n

Did you watch any of the classic Westerns – John Ford, Howard Hawks, Sam Peckinpah or Sergio Leone films – to see how they handled the stunts?<\/strong> I have seen Westerns, but when I came on board, I didn\u2019t want to get anything particular in my head. I really wanted to be able to absorb Jimmy\u2019s vision and not be tied to anything that I had seen.<\/p>\n

How did shooting in and around New Orleans impact the stunt-work?<\/strong> A lot of the Louisiana locations were very remote. We shot out in some swamps, and in St. Francisville, where there are acres and acres of white sand dunes.\u00a0 It was blistering hot and extreme working conditions. While Jonah Hex<\/em> was the toughest show I\u2019ve done, it was also the most rewarding because we got great footage. At the end of the day, you\u2019re wiped out, but you\u2019re happy.<\/p>\n

Talk about your collaboration with the director and DP. What\u2019s the first thing you do?<\/strong>
\nEach film is different. It depends on the producer, director and who you know. Usually the first thing you do is read the script and break down the stunts, trying to get a feel for the story. And if you can have the conversation with the director over the phone before you meet you can get an idea of his or her vision. It\u2019s always different. You may do one show that reads like it has a lot of stunts then you learn they\u2019ll be doing a lot of visual effects, and the stunts decrease. You may do another show where they want to do all the stunts straightforward and real. For Jonah Hex<\/em>, Jimmy showed me some pre-vis presentations of his vision for the story. That gave me a better idea of what he wanted. For instance, how he wanted people to be shot in a certain way, more stylized, and a little more animated than some gritty realistic films.<\/p>\n

We heard the film was planned as a hard-R, but shortly before production, the decision was made to go PG-13. Did that change your workflow?<\/strong> Not so much for the stunts and me. We\u2019re doing the gags. It comes down to what you show. That really impacts special effects. How much blood do the squibs put off. It may change the violence of a fight a little bit. But as long as you\u2019re not showing body parts breaking and blood spewing. And, you can get away with a lot in a fight.<\/p>\n

What were some of the safety considerations, especially with the principal actors?<\/strong>
\nThere were a lot of safety considerations, particularly for Josh Brolin. He was going to be on horseback a lot. There\u2019s a scene where the horse rears up and Josh shoots at the same time. The insurance company was very concerned with rearing the horse with the actor on it. Also the riding scenes, how fast would he be riding? Josh is very capable on a horse, more so than a lot of stunt guys I know. Don\u2019t forget that TV show he starred in, The Young Riders<\/em>. But the insurance company still has to cover itself with liability. He may be a great rider, but even the best rider can get thrown off. If something happens then production shuts down.<\/p>\n

How open was the director to your ideas for the gags?<\/strong> He was very open to suggestions and ideas. We would sit in his office in preproduction and talk through each gag. Also, he had been working with the writer and storyboard artist to write out how they wanted the fights to happen. I would take that, and any storyboards and elaborate on it and come up with some interesting things or different ways of doing things.<\/p>\n

I remember one time where I was in his office with (producer) Andrew Lazar and I\u2019m acting out both sides of the fight. I\u2019m playing Josh Brolin and I\u2019m also playing (actor) Michael Fassbender. I\u2019m rolling around on the ground and they\u2019re just laughing at me, but they got the visual of it and they were like, \u201cWe love it.\u201d But he was very collaborative. He definitely had his vision, he knew what he wanted to see, but he was also open to asking, \u201cgive me some ideas on this.\u201d<\/p>\n

DP Mitch Amundsen likes a lot of movement with the camera. What was your collaboration like with him? <\/strong>Mitch definitely has a great action-oriented style, whether it\u2019s fights or shootouts. We would rehearse the fight sequence, then take it and show it to Jimmy, Mitch and the actors. If they liked it, fine. If they didn\u2019t we\u2019d change it. For the most part, everything was storyboarded, but then when you get on the set, certain things may work a different way. You use the storyboard as a strong guideline. There\u2019s a great fight in the film in a fighting pit, like in an octagon arena, and we were down there, hand held, in and out of the fight, and jumping around. Obviously, you have certain hero shots you want to get, and you know which ones from the storyboards, but then you\u2019re moving in and out of it hand held to get more.<\/p>\n

What was the most difficult sequence?<\/strong> As far as logistically, it was the climax confrontation between the two (Civil War-era) ironclads because it was so big. We were working nights an hour outside of town. We had 40 stunt guys on one boat, and another 12 or 15 on the other boat out in the water approaching and the shoot out that happens between them. So logistically you\u2019re working on a raised stage 40 feet in the air up on the deck of this boat. We were lighting guys on fire, and doing multiple burns. We shot three guys lit on fire that topple down the side of the boat into big box catchers. There were all the safety considerations that go on with that. It went very smoothly. But it was just one road in and one road out; right on the edge of the swamp, and it was a long week.<\/p>\n

How do you decide when to use doubles for the principal actors?<\/strong> You want to design a fight that the filmmakers can shoot around. We did a fight sequence between Josh Brolin and John Malkovich where they did the entire sequence. Now we also covered it with doubles where we did some really nasty ground hits. But Josh and John did the whole fight and did a great job, close-up, hand held and they just beat each other up.<\/p>\n

I do like seeing the actors do as much as they are comfortable with doing. Sometimes you have actors who aren\u2019t comfortable, or physically can\u2019t do something. Then you\u2019re covering them closer. It\u2019s a collaborative process – designing the fight, showing it to the director, the DP and then also having rehearsals with the actors. We shoot those as well and that\u2019s where we find out that we can shoot the whole sequence with the cast, and maybe just a bit with the doubles. Then you really get jazzed because you feel like, \u201cWow, we shot this footage and the audiences will say, \u2018that was really him. That was those two guys going at it.\u2019\u201d<\/p>\n

What are your thoughts about the replacement of stunt people with CGI?<\/strong> I know it\u2019s sometimes necessary. There are some shows, like Transformers<\/em> where there is no other way for it to be as spectacular.\u00a0 But some shows, it just doesn\u2019t interest me because I know it\u2019s some guy sitting at a computer, and that, to me takes away from the joy of watching it. I love doing stunts the real way, down and dirty.<\/p>\n

Any stunts of yours that really stood out for you?<\/strong> I was driving a race boat through Miami Harbor for Bad Boys II<\/em> with a helicopter all over me. The pilot was making like he was pushing my boat with the skid of his helicopter, and I\u2019d react to it. I\u2019m going fifty knots, and I was telling the other guys if we hit a wave, watch it, because this could go south very quickly! The pilot was right on top of us. It was real wild and one of those things were so many things can go wrong and you (just) have to think where you\u2019ve got to be and what you\u2019ve got to do.<\/p>\n

photo by Frank Masi<\/p>\n","protected":false},"excerpt":{"rendered":"

Stunt coordinator and 2nd Unit director Steve Ritzi grew up around boats on Florida\u2019s Intracoastal Waterway on the Atlantic coast. In 1989 he auditioned for and won a role in the stunt boat show at Universal Studios Orlando. At the time, Florida \u2019s film and television industry was booming, and Ritzi decided he wanted to learn more about stunts. Fortunately, veteran stuntman Glenn Wilder had moved from Los Angeles to Florida, and Ritzi began attending informal training sessions in Wilder\u2019s […]<\/p>\n","protected":false},"author":1,"featured_media":3660,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[6],"tags":[280,191],"class_list":["post-861","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-exposure","tag-jonah-hex","tag-steve-ritzi"],"acf":[],"yoast_head":"\nSteve Ritzi \u2013 Jonah Hex - ICG Magazine<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.icgmagazine.com\/web\/exposure-steve-ritzi\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Steve Ritzi \u2013 Jonah Hex - ICG Magazine\" \/>\n<meta property=\"og:description\" content=\"Stunt coordinator and 2nd Unit director Steve Ritzi grew up around boats on Florida\u2019s Intracoastal Waterway on the Atlantic coast. 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