We speak to JohnWick4 writers Shay Hatten and Michael Finch about the collaborative writing process with Chad Stahelski & Keanu Reeves, exploring new areas of the universe, and how Ballerina ties into John Wick's origins:
In John Wick: Chapter 4, the titular former assassin has found a new path to his target, the High Table. Following the events of Parabellum, John has healed from being shot by Winston with the help of the Bowery King and has decided to take the fight to his powerful former employers in order to secure his freedom. But a new dangerous player, Marquis Vincent de Gramont, has joined the fight and is willing to do whatever it takes to take out Baba Yaga.
On the third one, I remember one day he was just like, "Sit down, write exactly this. John's taking knives off the walls. He's throwing them like their baseballs." So that's where I'm like, "Okay, I'll just write exactly what Chad's saying and then take the credit for it later." So it can be collaborative and then sometimes it's Chad. These ideas come from all over the place, and at least for me, none of these sequences emerge the same way.
Part of what sets John Wick apart is the immersive world-building. Can you talk about how you decide which pieces are revealed? It also is a much more respectful way to treat your audience. When we're dropping into the world, we don't get the benefit of someone telling us all the backstory of everything we're interacting with. You enter in and you have to catch up. And so somewhere in there that gives you a lot of latitude to show the world, but not have to stop to talk about the world. And again, this is a motion picture, not a talking picture. That's what Chad's embraced.
Absolutely. Shamir was telling me that he'd like to see a Tracker spinoff, where it's him going through the John Wick movies, almost observing from the background. Michael, Chad told me that Donnie had a lot of influence on his character Caine. How do you approach those changes?
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