I love gunfight scenes in movies, but very few directors have truly mastered the art of the gun scene. I was young when I first saw Tony’s death scene in Scarface (1983), and it was both shocking and thrilling (read more about my Scarface experience here). Tony knows he’s going to die, but he goes out firing, hurling insults as if he’s invincible. That was my first unforgettable gunfight scene, one that inspired my first short film, as some of you may already know.
While Scarface is an undeniable masterpiece, many other movies have become iconic for their intense gun scenes. I’m not talking about classic Westerns here—I mean more recent action films from the past two decades. John Woo, for instance, is one of the best in the genre: The Killer (1989) and Hard Boiled (1992) both feature breathtaking final showdowns set in, respectively, a church and a hospital, with slow-motion shots and beautifully choreographed action. Chow Yun-Fat, wielding dual pistols with effortless cool, is miles away from his later role as Captain Sao Feng in Pirates of the Caribbean: At World’s End.
In 1990, the French film Nikita (La Femme Nikita) was another turning point for me. It was the first time I saw a female lead as the central assassin—Nikita (Anne Parillaud), a top-secret operative. This film also introduced me to French director/writer/producer Luc Besson. Two years earlier, I’d seen Le Grand Bleu (The Big Blue), which was so poetic that Nikita’s intense, action-driven tone came as a huge surprise. Besson later made Léon (The Professional) in 1994, which also features some unforgettable action scenes.
Then came Heat in 1995, giving me double the excitement with Al Pacino and Robert De Niro. I remember waiting nearly two hours for their iconic conversation in the diner. Six minutes, face-to-face—worth every second. I can’t wait for Righteous Kill to see them reunited (they first “starred” together in The Godfather, Part II but didn’t share the screen). The post-bank robbery shootout in Heat, filmed by Michael Mann on the streets of downtown Los Angeles, was so intense and realistic it’s become a classic.
From Dusk Till Dawn, directed by Robert Rodriguez and written by Quentin Tarantino, was another wild ride. It starts off as a thriller but suddenly veers into vampire action territory. I loved the twist, especially the shootout scenes at the Titty Twister bar, plus the Aztec temple, the “Sex Machine” gun, and the twisted Gecko brothers—one of my favorite movies.
Almost a decade later, Domino (2005) surprised me again. Starring Keira Knightley as bounty hunter Domino Harvey, the film, directed by Tony Scott, teamed up with cinematographer Dan Mindel and colorist Stefan Sonnenfeld to create some unusual visual effects, even if some scenes are a bit choppy. The gunfight at the Stratosphere in Las Vegas feels like a pyrotechnic party but still packs a punch.
And finally, there’s Smokin’ Aces. I’ve mentioned Narc and Smokin’ Aces in another post (linked here) because I really appreciate Joe Carnahan’s work. In Smokin’ Aces, Carnahan collaborates with cinematographer Mauro Fiore and production designer Martin Whist. Both are extremely talented, and the final scene, “Doomsday on the Penthouse Level,” is amazing—all these people converging at the same place and time to take out or capture Buddy Israel. The climactic action unfolds in an elevator, a lobby, and hallways, with unforgettable elements like the Nomad Casino penthouse suite, the strange karate kid (I practiced karate and knew a kid almost like Warren!), and the FBI agent cornered by the Tremor Brothers’ chainsaw. Back to Scarface vibes!
I believe a great gunfight scene can elevate a movie, even though a film can succeed without one. But to create a high-quality gun scene, you need a skilled crew, technical expertise, creativity, and audacity. One of my scripts has a gunfight scene, and when I finally bring it to life, I hope to channel some of the mastery these directors have shown. I don’t claim to match their level, but I’ll do my best when the time comes. ^_^