Fight Choreography
Hand-to-hand, weapons, and gunwork engineered around the actor and the camera. Long takes. Real geography. Story first.
- Hand-to-hand combat
- Tactical gunfu & CQB
- Weapons design & training
87Eleven Action Design is a stunt choreography studio, training facility, and production company built by filmmakers, for filmmakers.
Founded in 1997 by stunt coordinator and director Chad Stahelski, 87Eleven was born from the belief that fight choreography, gunwork, and vehicle action are not interruptions to a story; they are the story.
The name comes from the founders' instructors at the Inosanto Academy in Marina del Rey, whose roster numbers ended in 87 and 11. From a small training space to a full-service production studio, the mission has not changed: provide filmmakers with the equipment, the facility, and the people to perform action that audiences feel.
Hand-to-hand, weapons, and gunwork engineered around the actor and the camera. Long takes. Real geography. Story first.
From single sequences to entire action arcs, with 2nd unit direction by filmmakers who have run set on the world's biggest action films.
Fully shot, fully edited proof-of-concept previz, so the production sees the sequence, the impact, and the cost before day one.
Car chases, motorcycle work, ratchets, cannons, pipe ramps, and pursuit choreography, all engineered, rehearsed, and shot under one roof.
Personalized training programs that turn actors into believable operators across fight, weapons, driving, and conditioning.
87Eleven Productions develops and produces feature films and series with action at their core, from script to final mix.
A selection of feature films and series 87Eleven has designed, choreographed, second-unit directed, or produced. Click any title to watch the trailer.

Director · Action Design · Fight Choreography

Director · Action Design

Director · Action Design

Director · Action Design

Producer · Action Design

Executive Producer · Series

Director · Producer

Director · Action Design

Producer · Fight Choreography

Action Design · Fight Choreography

2nd Unit · Action Design

Director · Action Design

Director · Fight Choreography

Stunt & Action Choreography

Stunt Coordination

Stunt Coordination

Stunt Coordination

Fight Choreography
Our Los Angeles facility is a self-contained production environment with rehearsal stages, a fight gym, weapons training, vehicle work, and the riggers and pads to make any of it land safely.
High-ceiling stage with permanent rigging points for wirework, descenders, ratchets, and cable cams.
Matted training floor for hand-to-hand rehearsal across boxing, BJJ, judo, and tactical combatives.
Indoor live-fire training, blue-gun rooms, and tactical CQB layouts for cast and stunt prep.
Build space for picture cars, ramps, pods, and rigs. Precision driving instructors on staff.
Cut bays for stunt-vis delivery, turning rehearsal footage into same-day rough cuts for production.
Strength room for cast prep, recovery, and stunt-team conditioning. Physiotherapy on call.
The architect of modern action cinema.
Chad Stahelski began his career as a competitive martial artist before transitioning to film, where his first major credit came as Brandon Lee's stunt double on The Crow (1994). Following the tragic on-set accident, Stahelski stepped in to complete the film, an experience that shaped his lifelong commitment to safety and craft on set.
He went on to double Keanu Reeves throughout The Matrix trilogy, training under legendary Hong Kong fight choreographer Yuen Woo-Ping. That collaboration would become foundational, blending Eastern fight cinema with Western production scale, an aesthetic that defines 87Eleven's house style today.
Stahelski choreographed the brutal hand-to-hand combat in Zack Snyder's 300 (2007), then founded 87Eleven Action Design. The studio's breakthrough came with John Wick (2014), which Stahelski directed and which redefined audience expectations for action cinema, long takes, real geography, and choreography that serves story.
He has since directed all four John Wick chapters, executive-produced the Continental series and Ballerina, and contributed action design to The Matrix Resurrections. His work is consistently cited by filmmakers and critics as the gold standard for action choreography.
A lifelong martial artist at the heart of 87Eleven's fight team.
Jeremy Marinas started training at the age of four after his father caught him teaching himself tornado kicks in the living room, inspired by the original Teenage Mutant Ninja Turtles and Bruce Lee. He grew up on the NASKA sport-martial-arts circuit, where he sharpened the speed, weapons work, and tricking that would later define his on-screen style.
His route into Hollywood was unusual. Jon Valera, a fellow NASKA standout already at 87Eleven, spotted Marinas in a friend's audition tape and brought him into the studio. He has been a core member of the team ever since, contributing fight choreography and stunt performance across some of the studio's most demanding sequences.
Marinas's work spans the John Wick universe, the Marvel Cinematic Universe, and beyond. He choreographed and performed for John Wick: Chapter 4, Captain America: Civil War, and The Wolverine, doubled Mikey in Teenage Mutant Ninja Turtles, and has worked on Insurgent, Agents of S.H.I.E.L.D., and a long list of features and series.
On set he has worked alongside Keanu Reeves, Jason Momoa, Jason Statham, Donnie Yen, and Tony Jaa. Off set he is known inside the studio as one of the team's most generous teachers, regularly leading training and rehearsal blocks for cast members preparing demanding action roles.
The bench that makes the choreography land.
87Eleven is more than its founders. The studio's enduring quality comes from a deep bench of stunt coordinators, fight performers, riggers, precision drivers, weapons specialists, and conditioning coaches who have collectively shaped two decades of mainstream action cinema.
Many of the team came up through the same Inosanto Academy lineage as the founders, and a number have stepped from performance into coordination, second-unit direction, and stunt-vis supervision in their own right. Several alumni now lead action design on their own features.
Every project that comes through the studio is supported by a dedicated training program for cast and crew, an in-house safety culture that has become a model in the industry, and a rehearsal-first ethos that means the action you see on screen has been built, broken, and rebuilt long before the camera rolls.
From a single fight to an entire feature, let's design it.
Start The Conversation →Los Angeles, California
⚠ This is a demo form. Submissions are not sent or stored.