"I really believe action will always be there and will never disappear"
About this Quote
Action, in Jan de Bont's mouth, isn't just a genre label; it's a vote of confidence in the most durable language cinema has. Coming from a director whose name is basically shorthand for 1990s velocity (Speed, Twister), the line reads like a quiet rebuttal to every cycle of industry panic: the death of theaters, the exhaustion of blockbusters, the algorithmic flattening of taste. He isn't arguing that action is always good. He's arguing it's always useful.
The intent is pragmatic. Action is cinema's baseline grammar because it travels: across borders, across literacy levels, across attention spans. A chase, a fall, a near-miss communicates instantly in a way irony, dialogue, or cultural references don't. That's the subtext behind "will always be there" - not a mystical claim, but a market and medium truth. People may change what they fear or desire, but they don't stop responding to movement, stakes, and the body under pressure.
Context matters: de Bont came up as a cinematographer, trained to think in images that must read in a fraction of a second. His action isn't superhero abstraction; it's logistical, physical, weathered by real space. When he says it will never disappear, he's also defending a craft tradition - stunt work, practical effects, spatial clarity - against the idea that spectacle can be replaced by noise.
There's also a sly humility in the phrasing. He doesn't promise innovation; he promises persistence. Action, like rhythm, doesn't go out of fashion. It just finds a new costume.
The intent is pragmatic. Action is cinema's baseline grammar because it travels: across borders, across literacy levels, across attention spans. A chase, a fall, a near-miss communicates instantly in a way irony, dialogue, or cultural references don't. That's the subtext behind "will always be there" - not a mystical claim, but a market and medium truth. People may change what they fear or desire, but they don't stop responding to movement, stakes, and the body under pressure.
Context matters: de Bont came up as a cinematographer, trained to think in images that must read in a fraction of a second. His action isn't superhero abstraction; it's logistical, physical, weathered by real space. When he says it will never disappear, he's also defending a craft tradition - stunt work, practical effects, spatial clarity - against the idea that spectacle can be replaced by noise.
There's also a sly humility in the phrasing. He doesn't promise innovation; he promises persistence. Action, like rhythm, doesn't go out of fashion. It just finds a new costume.
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