Jason Statham’s new movie SHELTER promises to be a groundbreaking action flick, and Siv Ngesi travelled to England to witness the work that went into making this film.
I caught up with Siv to talk more about the film, the stunt work and his experience at the SHELTER Creator Experience in London. His time at the experience reminded him of how great stunt work can elevate a movie and how much effort goes into making it seem flawless on the big screen. His film experience prepared him for this moment, but it still felt like something new.
Before the training, what did you expect the action in SHELTER to feel like, and did that change once you were involved?
First question. Well, I must be honest. I have been in the film industry for thirty one years now. I started at the age of nine and I’ve been involved in some very big blockbusters. So I have done a lot of work behind the scenes. And let’s be honest, once you’re involved in film, you start absorbing everything and anything about film. So I did understand the vast budget and money it takes to actually get involved in an action film like this.
I’ve done lots of stunt work, so it was great to see, but one thing that I did learn being involved with this blockbuster is how they do it. For the English ones, I’ve never actually done an English blockbuster. There is so much budget, there’s so much money, there’s so much safety. So it’s always great to see, because I’ve been involved in a lot of American stuff shot in South Africa or in America, but it’s the first time I’ve been involved in stuff that is shot in the UK. They have so much budget, they have so much time. They’re so crazy about safety. An absolutely incredible experience. I can’t wait to do it again.
At what point during the experience did you realise the film was taking a more grounded or realistic approach to action?
That’s an incredible question. We started by watching the film the first day, and it’s a very different film to normal action films. Jason was really involved because this film talks a lot about his relationship with this young girl. And usually action films don’t have young individuals involved in the film.
And because he is a dad, you can actually feel the emotive side of it. For the first maybe ten to fifteen minutes, it’s actually very silent. The music is very soft. The scenes are very well shot and artistic. It actually feels like an art house film in the very, very beginning because it’s very silent. It’s about him and this girl a lot of the time, and not much is said.
Definitely his best performance of any film. And the young girl in the film has an incredibly bright future ahead of her. She’s got some amazing projects coming out. I look forward to tracking her future. I love these kind of real, authentic action films. This is the kind of stuff that I want to see action films actually progress and be able to pivot.
And when did I realize that? I realized as soon as I arrived, when I watched the film. I was like, this is taking a much more grounded approach, and even the way they treated the publicity for the film, you could see they wanted to talk to the people, the real people of this kind of film.
What surprised you most about the physical or technical side of the training?
I’ve done a lot of stunt work, a lot of stunt film work. But what really blew my mind is how, when you’re in the UK and you’re working with these international UK artists, they spend so much time and attention to detail on the safety and how it looks. They have so much money, so much budget to be able to make sure that you’re prepared for this particular move.
I usually feel like a lot of the stuff that we shoot here with the Americans are very rushed. Everyone’s looking at budget, and these guys were not cutting any corners. And it’s so incredible to see so many cameras, so many people. We had at least maybe twenty stunt coordinators who were there. So man, attention to detail, next level budget, next level, safety, next level.
Lastly, I just want to add when you’re shooting in England, in the UK, they do not fear the rain. They do not fear the cold. So one thing I’m not used to is shooting in the ultimate cold, in rain and sleet. They keep on carrying on even if we’re on speedboats. Even at the top of the O2 arena. It doesn’t matter where you are shooting outside in England, it all carries on.
I think for me the physical part is not an issue at all. I’m just really impressed with the technicalities and the technical way that they work around it. There’s never too much time. We spent hours on it. So technically, I think that was the most mind blowing part about it.
Was there a moment that made you think, “Okay, this would be brutal to do on camera”?
Was there ever a moment where I was like, this is crazy? Yeah. There was a moment where I thought it was crazy when it was maybe zero degrees outside. It’s raining a bit, it’s wet. And everyone was like, the show must go on.
And that, for me, blew my mind that the camera people, the fellow actors, the stunt people were outside, were shooting this and no one cared about the rain. No one spoke about the rain. I was in a t shirt. It was like zero degrees. And as it got colder and colder, a negative, we just kept on going. So I’m very impressed and really blown away by that.
Based on what you experienced, how would you describe the action style of SHELTER to someone who might hesitate to go watch it?
I think it is the most realistic action film I’ve seen. A lot of the things are very realistic. Jason does his own stunts, so it’s very realistic. For me, I love watching because I’m a boxer and I love watching how people move, their reactions to the punches because a great punch is nothing without a reaction. A great kick is nothing without a great reaction. So for me, I was very impressed by the attention to detail, but everything was really made real. You can believe it. It’s authentic. You can watch it and go, actually, that would happen. That could happen.
And that’s what I love. And when they use the guns, I have a lot of gun training. So you can see that everyone has had incredible gun training and I really loved it. The sound effects, the sound is very important in film. So for me, if you love film, if you love action and you love real action, this is the film for you.
And if you love sound design, there’s something about it. I got to watch it in a private screening when the sound felt like it was going into your skin, into your bones. And I really loved that about this film. So check out this film. It’s absolutely incredible. If you love it real, it doesn’t get real than this.
How different did this feel compared to the kind of action we usually see in big, CGI-heavy blockbusters?
For me, I can see it when you watch those big films. You can see that there’s stunt doubles. They are doing all of the work. You can see they are highly trained, but I much prefer seeing the real actor. You can see the front of his face. You can see up close and personal that this is him. I hate it when they’re using too many stunt doubles, when they’re using CGI or AI.
This looks real. You can see there one takes. There’s not multiple cuts. A lot of those films, you’d see them from different angles where you can actually see they’re cutting between stunt doubles and stunt men and cutting the CGI, making sure the guy’s face is not seen. For me, it feels real. It feels authentic, and it’s consistent. Love it.
Did the training give you a better understanding of why practical stunts still matter for a film like this?
Seeing this film, I’ve always known that stunt people are incredible people and they need more recognition. Being able to train in those conditions shows me that stunt people need all of the love and respect. They definitely need a stunt category in the Oscars. Every single awards evening should have a stunt coordinator, a stunt man at the Oscars.
A lot of these stunt men have been making people look so good. Being involved with this incredible production has made me have even more respect and love for stunt people. Stunt people are doing absolutely incredible work. They need more credit. They need to be paid more, and they need to get awards.
The biggest awards in the world and we need to know who they are as well. And no matter how great AI CGI gets, we need real human beings to be doing these stunts. May we not get rid of real human beings doing these incredible stunts. May we not look at CGI to be the answer for human beings. Because human beings do it like no other.
From what you learned, what kind of Jason Statham performance should audiences expect this time around?
I think this is Jason’s best performance to date. It doesn’t get better than this. And I watched a couple of interviews, and he was talking about how he’s a father and how he’s taken himself being a father into the role with his young little girl.
For me, sometimes with actors, some of your best performances are when you can actually relate and there’s something about you that relates with this particular character. And for me, you can see it. He’s not just playing this particular character. He’s playing himself as well.
Him being a father takes it to the next level and I could see it. And for the first ten, fifteen minutes I thought to myself, wow, I am so pleasantly surprised to see that they went with this route.
You can see the emotion, you can see he’s lost something, you can see he’s hurting, you can see he’s trying to be better. And you can see at one moment the relationship with the young girl becomes so deep that something happens to the next level because of this relationship with this young girl. And for me, I love it. I love seeing men being vulnerable and authentic and real on camera. It comes across so beautifully as the world is trying to improve and trying to get rid of toxic masculinity.
It shows you that masculinity can still be vulnerable, but still strong, assertive, and provide and protect for those it loves.
Would you say the film leans more toward spectacle or tension, and why?
I think this movie leans towards both of them. There’s the tension, there’s the spectacle, the whole film, the whole time you’re sitting on the edge of your seat because you don’t know what’s going to happen next. It’s a spectacle because you see what’s possible. Jason Statham films are always a spectacle, but for me, there’s just something about the tension. There’s something about the performance, and there’s something about you seeing an actor growing into himself.
It’s his best performance. I’ll say it again, but it’s definitely a spectacle and tension because you never realize or guess what’s going to happen next. It’s a spectacle because when you watch it, I wish I could watch it on the IMAX, be able to see the spectacle of this thing. It’s been shot well. A lot of it’s done at night. So, you know, there’s something about some cities come alive at night. London comes alive at night. So that makes it a spectacle. And the tension of the performance, it’s next level.
After going through this, how do you think audiences will feel watching the action in SHELTER?
How will our audience feel after watching the action in SHELTER? They will leave satisfied. They will leave feeling sad. They will leave feeling happy. They will leave feeling like, yeah, I just watched a roller coaster ride of emotion and action and tension. For me, it could be one of the best films of the year when it comes to action and suspense and tension.
Who do you think this film is really for?
I would say an older generation. I think it’s perfect for us, let’s say maybe twenty, twenty nine up, because that’s what we grew up on, man. We grew up on people kicking ass, going to defend their honor, going to defend the ones they love, going to go get revenge and kick ass. That’s what we grew up on.
And I think that is perfect for us. I think about twenty seven up would be perfect for us. This is what we know. And for us, it’s perfect.
It’s definitely not an under eighteen. Or maybe, maybe not. Not those young Gen Z’s, maybe the older Gen Z’s and up. That’s who it’s for. Us.
It’s for us who want to go to the film sometimes to feel nothing, to just enjoy. And that’s what it’s all about.
It’s not going to win awards. It’s not going to win an Oscar. It’s not going to win a Golden Globe. What it will do, you’ll leave feeling you enjoyed it, that you love it. And it’s only best watched on the big screen. This kind of film, do not watch it anywhere but the big screen. Fill the cinemas up. Get that popcorn, get the one you love next to you and enjoy.
What do you think SHELTER does differently from most action movies right now?
It’s real, it’s authentic. It’s flawed, but still beautiful. It’s gentle, but still hard. I think it’s multifaceted, and that’s why it’s different to every other one that I’ve seen.
If you had to describe SHELTER in one sentence based purely on your experience, what would it be?
It’s incredible what a man can do for the ones that he loves. And there’s nothing more dangerous than a cornered man who is trying to defend his honour.
What’s the one thing you’d want audiences to know about this film before they watch it?
Go watch it. It’s great to see a masculine man being vulnerable and trying to show you that the onset of fixing masculinity is love, vulnerability, authenticity. And you get to see another side of Jason.
How did your body feel after the experience?
My body was broken. We worked. We didn’t sleep, but it was worth every single second. I loved it. Thank you to everyone involved. Thank you so much. Who invited me? Let’s do it again.
I want to travel the world every single film. That’s the kind of experience I want to see. Let’s do it more often, Jason. Better watch out because I’m coming for your part.
I’m not coming for your part. I want to be a co-star. Sun Africa Group, thank you so much. Caron, you’re amazing. I love you all. Thank you so much. Let’s do it again.
SHELTER will premiere exclusively in cinemas on 30 January.
[…] to report that I’ve already done my first interview, and it was with the actor Siv Ngesi. You can go read the article or listen to it on my podcast Popcorn & Sidequests (coming […]