The star praised the stunt team of “Deadpool & Wolverine” and urged the Oscars to recognize their stunt work.
Ryan Reynolds took to social media on Wednesday to support Deadpool and Wolverine Stunt Team, calling on the Oscars to add a category “to recognize the amazing work done by stunt teams across the industry.”
“There is no stunt rating at the Oscars, and I hope that changes one day. So many movies have had huge success this year… Buster Keaton, Harold Lloyd and Chaplin were stunt performers as well as directors. They told stories with their entire bodies,” Reynolds wrote in an Instagram post alongside photos of himself and the stunt crew on set. “The amazing cast of #DeadpoolAndWolverine gave incredible performances. Many of them are friends I’ve worked with for years and I will spend the rest of my days writing their names on Heidi paper, with little hearts over each ‘i’.”
The star thanked his replacement and fight coordinator, Alex Kishkovich (who also worked on X-Men: Days of Future Past, X-Men: Dark Phoenixand predator), stunt coordinator George Cottle (whom Reynolds described as a “genius” in Spider-Man: No Way Home), Hugh Jackman's stunt double Daniel Stevens (who has been “working on Wolverine for a long time”), and veteran actor Andy Lister “for bringing some crazy new Wolverine gear to Deadpool.” In his post, Reynolds also thanked the rest of his stunt coordinators and core cast of stuntmen.
Reynolds worked as a producer on dead pool He became a certified writer in Deadpool 2besides Deadpool and Wolverine Which brought in writers Zeb Wells and Shawn Levy, who also directed the film. In July, the actor said The New York Times How screenwriters Rhett Reese and Paul Wernick brought the first film in the franchise to life, and why they took the “little paycheck” they had left to fund a writers' room on set.
“There was no part of me that thought when dead pool “I finally got the green light to make this movie. I even gave up getting paid to shoot the movie just to get it back on the screen,” he said. “They wouldn’t let my co-writers, Rhett Reese and Paul Wernick, be on the set, so I took what little salary I had left and paid them to be on the set with me so we could have a de facto writers’ room.”
“I was interested in every little detail of it and I hadn’t felt that way for a very long time,” he added. “I remember wanting to feel that more – not just in dead pool“But on anything.”
