Anatomy of a Live Stunt Fight

Film / Television / Live Shows

SAG / AFTRA

Email: joe@ninjoe.com

On the next few pages I present viewable media along with accompanying text notes.

The media will be presented in 'click to play' format or downloadable as a .zip file.

Downloading is recommended over direct play due to server latency and other web factors.
Also, the downloadable files are higher quality (although still optimized)
than the streaming files.

Watch the full show: High Speed Low Speed	Download the full show. (4.08 Mbs)

General Notes:

Yes, I'm throwing those techniques with that belly.
As you can see, Mark, the cameraman, moved in from where he was at the start of the show. This angle represents the far right edge of the audience, although I think the hits are still 'sells'.

What was nice about not rehearsing much is we weren't in a 'groove'. It was a lot like
really fighting someone in spots because I wasn't positive what was next or didn't
recognize what was being thrown at me. As a fight coordinator, I want this
element in a fight because it helps it look real.
Oftentimes I'll put the fight together and the fighters will come back to show me this
good looking 'dance' and I'll have to tweak it: "Your arms are weary at this point",
"Be winding up to throw a punch instead of standing static when you know something's coming",
"Yes, break your fall on that flip--just don't look like you're performing a breakfall", etc.

This fight will be broken down into segments, and those segments will be in
slow motion for clarity.
Read the accompanying notes and watch the normal speed full show for comparison.

How this show came to be: We put on a benefit show for the organization Strides on Saturday,May 17, 2003. Since we had the equipment, we decided to practice on Sunday. Coincidentally, Nora, who runs Strides, was throwing a birthday party for her grandson. Instant entertainment!

By the Way: My first four rules of fight choreography are roughly:

Eye Contact: Even when you're getting knocked about, you can't sell the next hit or know if someone's been hurt without eye contact.
Slight Telegraph: This helps you and your fight partner time your reactions. Even 'out-of-the-blue' techniques need this. The audience can't perceive it; yet without it, things can look sloppy.
Make it look unplanned: Some fights use a 'dance' quality, but most fights are more exciting when they feel spur-of-the-moment. Even when you're throwing great technique and there's a rhythm happening, you'll want it to look slightly less than perfect.
Footing: Really, this should probably be higher up on the list, but I feel these four form a core; they're all equally important. Whether doing a live show or movie, your footing with respect to your fight partner's plays a major role in leaving 'space' for the punch or kick to travel in.

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