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Yung: Are you saying I should 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 when I arrived there I realized I hadn’t used the swords, and it’s really difficult.
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I did a bit of karate - I’m a blackbelt - so I know how to move. I trained about a month before we began because I had never done swords before. I think the first scene in the mountains they had to film with people who were trained in the mountain things, like in real mountains. Some things had to be filmed by real professionals. It’s good, 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, it’s been 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 tiny person. And I think he brings something very fitting in his character. It was crazy! He’s so, how do you say, "fee-lye." He’s a really nice person. 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.
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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.