What was it like working with David Fincher and the amount of takes that he enjoys? People here are very, very open and friendly, and that’s great. To me, it’s very, very surprising how people are so friendly. I’ve been doing a bit of touristing when I have the day off, just walking in the French Quarter. I’ve experienced all the food and restaurants in New Orleans. Yung: I would recommend you go to Jacque-Imo’s. What have you been able to enjoy in the city? I’m sure you would appreciate all of the French elements too. Obviously you’re not filming all the time.
Yung: Some of the scenes that are in the film. That was great because I could do it myself and send the tape. How did you first get involved with the project? Did they come after you, did you audition? But you have to adjust.if you do a take, and it doesn’t work very well, he can say, “Okay, I think I should do this more like this.
Have you helped him out with that at all or offered him any ideas? You have more action experience than your director does a lot of the cast members do, too. He can just handle these big machines so well, and he’s really, really talented.
REDHEAD IN GI JOE MOVIE PROFESSIONAL
Yung: He’s been great! It’s surprising how calm and professional he is for 31 - we’re almost the same age. To me it’s still professional.Ĭan you tell us a bit about how it’s been working with Jon, the director? And on this film, they’ve been incredible. When I was on this film District 13: Ultimatum, the stunt people were amazing. Then trying to give your best performance on the day, and I’ve been lucky so far. It’s just training, training hard, training a lot. I’d guess that every American action film would be different. Yung: At the end of the day it’s still a film, and every film will be different. Yung: You speak English and I'll speak French? Have you found that you struggle to speak the same the language? And coming to work to do American action, I’m sure there’s been an adjustment. With the projects and films you’ve done, they’re so particular - sort of the film factory thing - a very particular kind of filmmaking. But I’ve been trained by, and she’s amazing and she's been teacher. But when I arrived there I realized I had to do swords, and it’s really difficult.
REDHEAD IN GI JOE MOVIE HOW TO
I did a bit of karate - I’m a blackbelt - so I know how to move. I trained about a month before we started with this sequence because I had never done swords before. But I did all the sword things, like you've seen, and fights. I think the first scene in the mountains they've been filming this with people who were trained in the mountain things, like in real mountains. Some things had to be done by real professionals.
It’s both, it's equal.Ĭan you talk about filming two particular sequences that we saw? One was you in the red with the blindfolded sword stuff, and also we saw quick flashes of what looked like you and Snake Eyes on ziplines going down a mountainside. We’re going to work on some of the dialogue soon. So far, I've done pretty much all my action stuff. But no, they bring RZA, and I think he brings something interesting for the Blind Master.ĭo you have a lot of things to play without dialogue? When I first read the script, I thought that the Blind Master would be an old, little Chinese person doing kung fu. And I think he brings something very fitting in his character. Yung: No, I’m not a student of Snake Eyes, but we trained in the same dojo. But I’m a girl, so I didn’t really know about G.I. I had a memory from when I was a child we had this in France as well, the cartoon.
No, it’s not restrictive because we have a lot of action to do and with our costumes they made sure it was practical. Is the costume restrictive in its movement? I’m French, by the way, so let me know if you don’t understand me. It’s like a wetsuit, but without the water around me. Question: How are you enjoying that costume?Įlodie Yung: Oh, very much.
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