Smith, the upcoming Terminator Genisys and over 25 years executing stunts for jobs big and small. Speaking to Esquire from Los Angeles, Stubbs likened the sex in Fifty Shades to a coordinated fight scene, planned and ingrained in the actors' minds
To execute these physically and emotionally involved sequences, Fifty Shades recruited stunt coordinator Melissa Stubbs, whose resume includes The Last Samurai, the X-Men series, stunt-doubling for Angelina Jolie in Mr. To believe Christian and Anastasia's relationship is to buy Dornan and Johnson in the Red Room, ties, floggers, and anything else in play. Like Raiders, Fifty Shades is a movie where the stunts make or break the action's magnetic quality. Director Sam Taylor-Johnson comes from the visual art world, where her body of work has been praised for examining "the split between being and appearance, often placing her human subjects – either singly or in groups – in situations where the line between interior and external sense of self is in conflict." That's Fifty Shades too, a meticulous orchestration of portraiture and movement, cobbled together with Spielberg bravado. The experimental passion that erupts between Anastasia Steele (Dakota Johnson) and bondage connoisseur Christian Grey (Jamie Dornan) is artful and precise, building sensations out of implication rather than sustained, gratuitous moves. There aren't car flips, bare-knuckle brawling or explosions exploding out of explosions in the subdued hit Fifty Shades of Grey, and yet the film's sexual encounters speak the same language as an Indiana Jones movie.
We see high angles, low angles, villain shots, hero shots, punches in close-up, beads of sweat punched in even tighter, then - boom - a danger-filled stunt packed in a wide frame. Raiders of the Lost Ark is the pinnacle of blockbuster filmmaking because Steven Spielberg deals in optical illusions.
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