Writing During the early 2000s,
Derek Kolstad struggled to gain recognition as a screenwriter, completing up to eight screenplays per year, none of which went into production. Although he continued to write, he stopped pursuing it as a full-time career until his wife encouraged him to try again. Kolstad secured a manager and wrote 60 screenplays before finding success with the low-budget action films
One in the Chamber (2012) and
The Package (2013). Over four days in either 2012 or 2013, Kolstad wrote a
spec script titled
Scorn, the inspiration for which came from two "terrible revenge movies" he had watched. The script's story centered around the character John Wick, a long-retired hitman in his mid-60s to mid-70s who is forced back into his former life. John was modeled on actors such as
Clint Eastwood and
Paul Newman. The script included elements such as John's long-deceased wife, his elderly dog, the Continental, Charon, Winston, and the underworld gold coins. It also had a kill count of 11 compared to the film's several dozen. John was portrayed as an underworld legend who had been absent for decades, causing younger criminals to dismiss tales of his deeds. Kolstad aimed to explore the character as "the worst man in existence" who finds and loses salvation through love and events that followed this. Kolstad had difficulty determining the incident that would lead to John's return, ultimately choosing his dog's murder over the cliché of the killing of the protagonist's wife and family. Kolstad focused his efforts on the first act, believing a solid opening would make later acts easier to write. The draft was influenced by the variety of action films Kolstad appreciated, including
Aliens (1986),
Predator (1987), and
Die Hard (1988), as well as revenge films,
westerns, and
neo-noir films such as ''
Miller's Crossing'' (1990). Kolstad included
black comedy because he found that levity added to the characters' humanity, drawing influence from
silent comedy actors such as
Buster Keaton,
Harold Lloyd,
Charlie Chaplin, and
Roscoe Arbuckle; and his favorite animated television series, including
Rick and Morty and
SpongeBob SquarePants. After garnering feedback from family and agents, Kolstad made minor changes and the spec script was put out for sale.
Development At the same time, film producer
Basil Iwanyk was developing films for
Warner Bros. Pictures through his studio
Thunder Road Films. Iwanyk was frustrated at not being involved beyond sourcing scripts; he wanted the autonomy to develop independent films so he could be more involved in the process. He focused on action films that could be made on relatively low budgets. Iwanyk read Kolstad's spec script, appreciating its subversive tone and emotional throughline, as well as the relatability and accessibility of a man seeking revenge after losing his wife, his dog, and his car; and his home being violated. Kolstad received multiple offers for the script, but his agent advised him to consider the lowest bid from Iwanyk because Thunder Road Films was ready to start work immediately. The deal was completed in February 2013. Kolstad began rewrites alongside Iwanyk and the producer Erica Lee over two months. Iwanyk originally envisioned older actors such as Eastwood (then 83 years old) or
Harrison Ford (then 71) as John but later decided against focusing solely on an actor's age.
Bruce Willis was attached to portray John at this stage. In April 2013, Iwanyk's friend was serving as
Keanu Reeves's talent agent. Iwanyk shared the script after the agent expressed Reeves's interest in pursuing a new action project. Reeves was interested in the dynamics between the real world and the underworld, and the emotional connection to John's wife. The script was sent to multiple directors, many of whom suggested expanding John's family and having them killed to drive the plot, but Kolstad opposed this idea. Others were uninterested because the idea appeared to be a typical Reeves action film. While Reeves was negotiating his involvement, he sent the script to
Chad Stahelski and
David Leitch, both of whom had worked with him as stunt coordinators and performers on the first three films in
The Matrix franchise and later projects, and had founded the action, design, and stunt company
87Eleven Productions. He recommended them to choreograph or direct the action sequences, feeling their style matched the script's tone. Stahelski and Leitch were interested in the variety of action scenes, but they wanted to direct the film itself. Stahelski and Leitch gained Reeves's support after
pitching him their vision of an assassin thriller with a realistic tone in an otherworldly setting, in which John was an urban legend. Reeves said they impressed him with their intent to make each character memorable and thoughts on the theme of living a double life. In May, Reeves was confirmed for the lead role, and Stahelski and Leitch were to direct it. For the next two months, Kolstad and Reeves spent weekends rewriting the script six times to fit Reeves's acting style. John was made younger, and Reeves, then 49, intended to portray him as 35. Dialogue was trimmed to emphasize John's slick and tough persona; a five-page conversation between John and the priest was trimmed to John simply responding "Uh-huh". They decided not to depict the impossible task that earned John his freedom, believing they should never show his life before Helen's death.
Casting John Wick principal characters were cast in September and October 2013. Casting focused on affordable actors who were available in the two and a half weeks before filming began. The task was eased by filming in
New York City, allowing the producers to secure local actors such as
Ian McShane, who only had to be present to film their scenes without traveling long distances.
Character actors who could vivify Kolstad's characters were preferred; despite little screentime, they were considered essential for providing details about John Wick's past and the underworld. Kolstad named John Wick after his grandfather, and Helen was named for his grandmother. Reeves was paid $1–$2million for his performance. Reeves's personal experience with bereavement, having lost his daughter in 1998 and his partner in 2001, helped him relate to John's emotional state. Describing the character, Reeves said: "[John] thought [his old life] was something he would never go back to... John thought he was stronger than he is, when really he'd been drawing that strength from his wife, Helen... I always thought of it as being a kind of
Old Testament revenge story. When someone takes the things he cherishes, violence erupts and John can't temper it." Stahelski and Leitch prioritized themes of loss and humanity as fundamental aspects of John, wanting to avoid making him a
cliché "badass" assassin. They had Reeves grow his hair and beard, and dressed him in stylish suits to create recognizable visual elements. Reeves underwent four months of training, including several hours per day in a gym, strict diet, and stretches, and learned choreography. Despite his previous martial arts experience, the directors aimed to craft a unique style fitting for John, and had Reeves train in judo,
Japanese jujutsu,
Brazilian jiu-jitsu, and
arnis, as well as undergoing tactical-gun training with the
Los Angeles SWAT and
Navy SEALs. He also learned stunt driving skills, including how to
drift a car while aiming a gun.
Michael Nyqvist described the relationship between Viggo and John as akin to a father and son, built on love and respect for John's prowess as an assassin. Nyqvist trained in the Russian martial art
sambo, reflecting the character's impoverished street-brawler origins, and partly based his performance on his Russian trainers. He generally played his character straight with some eccentricities. Kolstad described
Alfie Allen's Iosef as a less impressive version of his father, depicting a wealthy and spoiled youth who perceives himself as tough but lacks his father's strength. Allen, attracted to the challenge of speaking different languages and accents, immersed himself in Russian bathhouses in New York to refine his dialect. He faced difficulties, including the physical demands his character endured and the spontaneous additions of Russian dialogue to the script, requiring quick adaptation. The character Ms. Perkins was originally conceived as a male figure until
Adrianne Palicki was cast in the role. Palicki characterized the role as a cold, cunning, and ruthless assassin who derives pleasure from killing. Palicki trained in judo and jujitsu for a few months, and spent two weeks learning the choreography for her fight scene with Reeves.
Bridget Moynahan, who portrayed John's wife Helen, chose not to read the script in its entirety. Her decision was based on the desire to understand only as much about John as Helen would know, contributing to a more authentic portrayal of her character. Kolstad depicted Ian McShane's Winston as a character who speaks sparingly but commands attention when he does, likening him to a
titan in the realm of New York. McShane accepted the role based on his affinity for neo-noir films.
John Leguizamo in his portrayal of Aurelio, drew inspiration from the character's stylish wardrobe, embodying a sense of confidence and swagger. Leguizamo explained, "I'm walking through the set and all of a sudden I start feeling a little cocky, like I'm somebody."
Willem Dafoe described Marcus as a high-level assassin and father figure to John. He added traits to his aging character such as a scene in which Marcus makes juice because he reasoned the character would maintain his health to stay competitive with younger assassins.
Pre-production Financial issues beset the production before and during filming; Iwanyk had limited assets compared to the major studios and he considered his backers unreliable. He said an investor failed to pay on time and that when he did, "he did things like children do, if he owed us $2.4million he'd send us a check for $2,400 and go 'whoops! I messed up. Iwanyk and his executives also lacked experience in film financing. He contemplated cancelling the project five days before the scheduled filming date before his lawyer advised that he would likely be sued into bankruptcy by those involved and their guild unions. Iwanyk twice deferred his own fees to cover costs and lent the costume designer his personal credit card for resources, saying he would at least earn
air miles. The lack of financial security delayed filming by two weeks, which Iwanyk described as the most difficult and stressful weeks of his career; his family visited to ensure he was safe because he was not sleeping or eating. When financing was secured, it was less than the originally promised sum. Some principal cast made salary concessions; Reeves put his own money into the project, and Stahelski and Leitch modified scenes to keep the budget low. The majority of funding came from Michael Witherill of MJW Films, the actor
Eva Longoria, and DefyNite Films. New York City was chosen as the main filming location. Although filming there cost millions more than alternatives such as
Baton Rouge,
Chicago, and
Detroit, Iwanyk said "if I shoot [
John Wick] with the
Brooklyn Bridge in the background, it feels like a big movie". Kolstad considered a city setting in a noir story to be its own character. Budget constraints meant some ideas were abandoned to prioritize financing for the location or departments such as art design and music deemed instrumental to creating the world of
John Wick. Stahelski highlighted New York's visual verticality as well as areas like
downtown Manhattan, which provided a subterranean atmosphere ideal for creating the mythological underworld setting they envisioned. There were also many restrictions because residents were resistant to mobile trailers used by cast and crew, car chases, and gunfire in their streets. Even on closed streets, the filmmakers had to adhere to speed limits, impacting the execution of car-chase sequences.
Design Stahelski and Leitch drew on a broad amalgamation of their favorite films and directors for
John Wicks visual style. Stahelski described the crime thriller
Point Blank (1967) as a significant influence, as well as the classic
visual composition of films from the period 1960–1990, including
Le Cercle Rouge (1970) and
The Return of the Pink Panther (1975)—a comedy in which hired killers pursue the central character. They also drew on
Akira Kurosawa's style of holding on the composition,
John Woo's use of
wide shots and multi-opponent combat in films such as
The Killer (1989), and
spaghetti westerns by
Sergio Leone. Stahelski referenced Eastwood's enigmatic portrayal in
The Good, the Bad and the Ugly (1966), emphasizing the power of unspoken backstories. He explained that they introduced the gold coins without specifying their origin, encouraging the audience to use their imagination to fill in the details. The directors said the value of the gold coins was unimportant, comparing them to business cards that grant access to underworld services and inform the audience they are entering a different world. Further influences were drawn from the works of the director
Quentin Tarantino; graphic novels; and action films such as
Police Story (1985),
Armour of God,
Lethal Weapon (both 1987),
Die Hard (1988), and
The Matrix (1999). Stahelski and Leitch eschewed the style of rapid cuts showing different angles and close-up shots common in many contemporary action films, which they thought often led to confusing action sequences. They committed to lengthy, single takes with a wide view of the action, reserving cuts only for covering up mistakes. This was also a practical decision—they had only enough budget for a single-camera setup, and no time for elaborate wire stunts and
additional coverage footage that could be used in editing to hide mistakes. Iwanyk said if they had an extra $5–$10million, they could have afforded a multi-camera setup and second-unit filming but that economic restrictions resulted in a better action film. The directors focused on practical stunts but used
computer-generated imagery (CGI) when necessary to add gun-muzzle flashes and to complete a stunt in which John is struck by a car. The settings were intended to be recognizable but distinct, contrasting the private, rural setting of John and Helen—which Leitch described as "organic and warm; very
cinéma vérité real"—with the hyper-real underworld where everything is exaggerated. Production designer Dan Leigh emphasized the visual transformation of the underworld, stating that it transcends reality with unique lighting, atmospheric textures, and unexpected elements scattered throughout. Kolstad did not describe the underworld rules and settings in detail, which gave the designers considerable scope. Iwanyk said the lack of detail prevented them from focusing too much on
worldbuilding. Luca Mosca led costume design, which focused on stylish suits with some functionality over practical combat outfits to provide a high-class aesthetic to the underworld. Mosca used variant shades of black in the designs and made them form-fitting and sleek to fit the immaculate nature of the underworld. John's suit took inspiration from 1970s-style three-piece suits worn by film stars such as
Lee Marvin and
Steve McQueen. In the film, John's car is identified as a 1969 Boss 429 Mustang. However, due to the limited production of only 1,359 Boss 429s and the need for five cars for filming, which would all be destroyed, using the authentic model was too expensive. Instead,
Ford Mustang Mach 1 models were substituted. John's combat style was developed for a previous film by supervising stunt coordinator
J. J. Perry, along with contributions from Stahelski and 87Eleven Productions associates John Valera, Jon Eusebio, Danny Hernandez, Guillermo Grispo, Eric Brown, the
Machado brothers, Jackson Spidell, and armorer Taran Butler. The combat style blends grappling martial arts with gun combat and a focus on restricting limbs with the left hand, leaving the right hand free for gun action. Combat training, which took place at 87Eleven's facility, included an obstacle course to prepare for the Wick house invasion.
Filming (pictured in 2011) appears as the exterior of the Continental hotel.
Principal photography began on October 7, 2013, on a $20–$30million budget, in and around New York City. Filming was arduous, with stresses over the schedule and budget. There was reduced daylight for associated scenes and extensive night-time filming in very cold weather. The initial five days of filming took place in
Mill Neck village with scenes at John's house. Iwanyk recalled thinking
John Wick would not work after watching the crew lighting a stuffed dog stand-in and several scenes of Reeves brooding. He changed his mind watching John's interaction with the police officer after killing a hitman squad, an absurd situation played with earnestness. Cinematographer
Jonathan Sela intended to use
anamorphic lenses for scenes depicting John's domestic life to create a soft, clean image, and
spherical lenses for his return to the underworld to create a grittier, darker, and sharper aesthetic. Once filming began, however, he opted to use the lenses for, respectively, day-and-night filming, and contrast the use of a static camera position for the early segments in John's home and dynamic movements for the remainder of the film. He lit the underworld scenes in a gothic manner to make it appear with a mix of American and European designs, and illuminated characters in a manner that preserved the mystery of whether they were allies or adversaries to John. Scenes at The Red Circle nightclub were filmed at
Surrogate's Courthouse (exterior),
Edison Theatre (club interior), and Aire Ancient Baths (below-ground spa). The production design added red-and-blue lighting and misted windows to the spa. Sela said they wanted it to look like a part of the underground but they were constrained by the budget; he said this sometimes worked in their favor because it forced them to develop creative solutions. Perry was hired to choreograph the nightclub sequence at the last minute because Stahelski was occupied filming the final confrontation between John and Viggo. Perry, who portrays four characters killed by John in The Red Circle, was only told to begin in the nightclub and move up to the top level. Despite the choreography, improvisation based on spontaneous additions often took place during filming. Reeves's training allowed him to rapidly adapt to the changes and perform many of his own stunts, so filming often operated quickly. Iwanyk said they could capture as much footage in an afternoon as some others could over three days. The combat sequences adhered strictly to the number of bullets available in John's weapons, and scenes were crafted to include segments of John reloading at realistic intervals. Any alterations, such as the introduction of additional enemies, prompted corresponding adjustments to the bullet count, necessitating the relocation of reloading segments. Challenges arose during the club sequence due to incorrect gear acquisitions, including a holster that impeded Reeves's ability to draw his gun and the use of a silencer attachment that proved impractical. Minor timing issues in scenes at the spa and the club's upper floor posed difficulties, and insufficient footage to conceal the inconsistencies led to alterations in choreography and scenes to more clearly establish character locations. Reeves was also ill; according to Iwanyk, he would vomit between
takes then insist on continuing filming. The insurers refused to approve Reeves performing a fall from the club's upper floor; Spidell stood in for falls and other hard impacts. The fight scene between John and Viggo posed challenges during its filming over five nights at
Brooklyn Navy Yard. The temperature was regularly and the production was prohibited from using artificial rain on one evening because temperatures dropped too low. Reeves also refused to wear a
wetsuit to help prevent hypothermia. Iwanyk thought the scene was an ill-fitting end to the film and would not fare well with audiences because John was fighting an older man. Additionally, the directors had initially planned for a more elaborate vehicle sequence involving several cars, but only two vehicles arrived. The
Beaver Building served as the location for exterior scenes at The Continental, and interior scenes were filmed at various buildings across Manhattan and Brooklyn, including the
Cunard Building,
Hotel Wolcott, and a bank vault in the
Financial District; Marble was glued to its surfaces to make it appear expensive. Exterior scenes set at Viggo's headquarters were filmed at the Maritime Exchange Building and on the roof of ModernHaus SoHo on
Grand Street. Filming also took place at
Calvary Cemetery, a gas station in
Upper Nyack,
Republic Airport,
Manhattan Bridge, Schaefer Landing, and
Bethesda Terrace and Fountain. The church scene was conceived as a bank heist but scouts had difficulty finding a suitable location. Ultimately, Stahelski and Leitch opted for a church setting, considering it an interesting hideout. Interior scenes were filmed at
St. Francis Xavier Church, while the exterior combines the
Williamsburgh Savings Bank Building in New York and the
Immanuel Presbyterian Church in Los Angeles. Filming concluded on December 20, 2013, after nine weeks. The directors described it as a difficult learning experience that included many mistakes, and stretched the limits of the budget and schedule, but was ultimately successful. Kolstad lamented the loss of his favorite scene, in which two men at Aurelio's garage recognize John's car and promptly vacate the premises, due to scheduling issues.
Post-production John Wick entered post-production on January 10, 2014. Iwanyk characterized this phase as challenging, given the prevailing skepticism about the film's potential success, and with most of the principal cast and crew having already transitioned to other projects. Editor Elísabet Ronaldsdóttir was mainly known for her work on low-budget independent drama films but her shared dislike for close-up action shots won over the directors. There was no budget for reshoots and no coverage material so she had to work with the available footage. Iwanyk disliked an early, longer cut because the excessive action made the experience numbing and there were too many establishing shots of people walking or driving. Filmmaker
James Mangold also provided input on two different cuts of the film as a favor to the directors who had recently worked with him on
The Wolverine (2013). Ronaldsdóttir edited the film substantially to reduce the runtime to 101minutes; this version was more positively received. Stahelski was unhappy with the removal of some scenes but Ronaldsdóttir said they generally removed repetitiveness and shortened action scenes to focus on action and spend less time on John's mourning. John's fight with Ms. Perkins was trimmed to avoid depicting excessive
violence against women by a man. Ronaldsdóttir, expressing no regret for the cuts, highlighted her enjoyment in trimming dialogue. She emphasized that, while the written words may be perfect on the page, much of it becomes redundant when brought to life by actors with props, sets, and lighting. The directors found balancing the tone with the exaggerated action to be the most difficult part of the production. Stahelski wanted the action to be an integral continuation of the story rather than just a
set piece, while Leitch emphasized the delicate balance needed to avoid being too cheesy, serious, funny, or action-oriented.
John Wick was shown to a few of Iwanyk's close associates, who gave a tepid response. A public
test screening took place in
Orange County, California; Iwanyk said he knew it was well received when the audience loudly laughed after the scene in which Aurelio tells Viggo his son has upset John and Viggo replies "oh". The response was positive enough they held no more test screenings. The death of John's dog remained a point of contention in post-production for Iwanyk, who believed it would alienate audiences and did not justify the number of deaths in response, but Kolstad and Reeves lobbied to retain it. Stahelski recounted Reeves telling him: Test audiences were supportive of John avenging his puppy. Despite Stahelski's and Leitch's collaboration, the
Directors Guild of America (DGA) refused to co-credit them as directors due to internal rules, and Leitch was credited as a producer.
Music Tyler Bates and Joel J. Richard composed the score. Stahelski and Leitch requested a "fun, raw, aggressive, unorthodox" score that reflected John's connection to his wife and his hitman past. They also wanted a clear difference between the music in each action sequence. Bates and Richard used a separate tone for the underscore that would allow it to move into the score's "more rocking aspects". Bates said they tried to understand John's thought process and establish the essence of his story; they began writing with the opening scene, which initially featured quicker transitions between John's mourning and the action sequence at the film's denouement.
John Wick soundtrack also includes songs such as "
Killing Strangers" by
Marilyn Manson, "The Red Circle" by
Le Castle Vania, "
Evil Man Blues" by The Candy Shop Boys, "In My Mind" by M86 & Susie Q, and "Who You Talkin' To Man" by Ciscandra Nostalghia. Ronaldsdóttir suggested the use of "Think" by
Kaleida. == Release ==