'The Continental' Filmmakers on the Hotel's New Look in 'John Wick' Prequel Series

'The Continental' Filmmakers on the Hotel's New Look in 'John Wick' Series

The Big Picture When John Wick 4 hit theaters this past spring, it put a definitive pin in one part of the saga. However, with the upcoming Ana de Armas-led Ballerina and the three-night TV event The Continental heading to screens soon, the world of John Wick is only growing bigger. At San Diego Comic-Con, Collider's editor-in-chief Steve Weintraub moderated The Continental's panel, which also premiered some exclusive footage, making the wait for the September premiere feel even longer.

MARSHALL PERSINGER: Well, that is a great question, but it would be for Thunder Road and Lionsgate because I came on because Albert asked me to come on. HUGHES: Good question. We called her "the glue," me and the showrunner Kirk Ward who was my partner in crime. She had her tentacles in every department. There are certain scenes that I look at, I remember telling her last year, I go, "You produced every element in that scene." And you know the one scene I'm talking about. There's a monkey in it, there's a horse in it, there's aerialists in it.

PERSINGER: I will now talk about Albert. [Laughs] The whole reason that you wanna work with Albert is that he loves to challenge himself, and then therefore that challenges everybody who works on it. So basically everything has to be done in the way that the movies were done in the seventies. That was great filmmaking, and he is a wonderful filmmaker. He's been doing it since he was 12 years old.

Larnell, I'm going to throw another compound question your way right now because there are so many hugely ambitious fight scenes in this. Going into filming, which did you think would be most challenging, and then ultimately, was it the most challenging or did something else catch you by surprise? PERSINGER: But that's also because everyone trusts him so much because he would always deliver on budget, everything. And so if Drew said, I need this, you were gonna get it for him.

HUGHES: And he also hurt my feelings early on in the edit. I go, “What's your favorite scene in Episode 1?” He was like “The staircase fight.” I go, “That's Larnell. That ain’t even me!” [Laughs]It's probably one of the most memorable fight scenes I've ever seen. I'm obsessed with oners. I just love that format and how it can enhance an action set piece, and your actors' skill level in that -- it just feels so visceral. It's very impressive.

STOVALL: The team, Mikey, Roger, Hank, Ro, Jay, everybody had their hands in it. The great thing about it with Marshall, what I remember is normally most producers don't allow the stunt team to go to the locations until it's finished, until it's time to shoot, but to help us prepare, they let us actually stunt viz the sequence at the location. So any room for error was eliminated. And I'll let you in on another little secret.

STOVALL: Look, Roger, Mikey, Hank, Roar, all amazing, but I gotta give Mikey a lot of props on this. He was one of the fight coordinators. Very creative with storytelling, action design. We had our own language where we didn't have to say much and get a lot done faster, but he delivered that shot in the stairwell. That was him on the camera dropping down into the stairwell.

BOUGHTON: So I'm gonna say Zsuzsa Kismarty-Lechner who's the supervising art director and her amazing Hungarian team. Really extraordinary.

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