I'm wondering if this way of configuring action scenes could be attributed to the movie landscape he started out in (around the 1970s, low budget) and his preference for using practical effects. It's more difficult to chessmaster a scene that has multiple moving pieces, many of them traveling at high speeds, since so many things could go wrong or be mistimed, and he knows that. (I'm also thinking of director tracks where the director talks about how a practical effect didn't go quite as planned but turned out better or more awesome-looking than expected.)
I wouldn't be surprised. I also read an article that said he didn't really write a script--he started by sitting down with two comic artists and storyboarding the whole thing out first.
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