Few events seem as genre-mandatory in an action film as a 'fist fight'. These confrontations provide action, excitement, and vicarious danger for the audience. Yet many fistfights quickly become boring.
Part of it is because they are too predictable, both from a fight choreography and story milestone perspective. If you are looking for some new action or stunt learning technique then you can opt for an expert services in stunt design in film industry via https://cbtstunts.com/.
People hit each other, get hurt, move-countermove in movies. Each take turns seemingly to become the winner. Early in a script, a hero may be defeated to provide a sense of danger or motivation for revenge. Late in the film, the hero generally prevails to give a sense of justice, satisfaction, and resolution.
Predictable and boring. Unless you are showing off the athletic skills of the actors themselves, like Bruce Lee in entering the Dragon, Jackie Chan in Rush Hour, or using a new filming approach as in The Matrix, to get your fistfight accepted, you need to give your confrontation much more. You need to give your fistfight meaning and use it to advance the story.
One of the best examples (spoiler alert) of a truly meaningful fist fight is the final confrontation between Terry Malloy and Johnny Friendly in On the Waterfront. Here, Screenwriter Schulberg and Director Kazan force Terry to challenge the tyranny of Friendly.
Terry must risk everything to gain his self-respect and freedom for his fellow dockworkers. But it is not the outcome of the fistfight that is important; it is Terry's response that is the emotional heartbeat of the conflict.