"AND... ACTION!"

INTRODUCTION

For this blog post I didn't just want to focus on fight choreography.

The words "Camera Rolling, and Action" are a phrase we've come to associate with the camera recording and the start of a scene.

Camera Rolling: Let's go back fifty years or so before there were digital cameras, the term 'Camera Rolling' made more sense because everything then was filmed on reels of film. But in today's filming society the majority of new media is recorded in digital format. So does it still make sense to say "Camera Rolling" when you're obviously recording onto a digital format? I usually say, "Camera is recording, okay... let's go!."

Action: A terminology we've familiarised ourselves with the start of a scene but, 'action' is also used when writing a script. It helps the other actors and film crew understand what they are doing with regards to movement and positioning of the character in a scene, for example a full on action fight sequence, car chase, explosions, weapons blazing and so forth...

"As Joe walked into the room he suddenly stopped in the doorway, he sensed something wasn't right. He put his right hand in his right pocket pulling out the flick knife he confiscated from the pupil at school earlier on that day."

...Did you spot the action words in the above paragraph? These are just some of the things to consider when writing your script. 

Writing this way really helps me transfer my thoughts and ideas in a professional way to the film crew and actors, they can now imagine what's going to happen without guessing what they're supposed to be doing. And it also makes it easier to adapt the script if changes are needed. I try to avoid 'improv' as it can sway the script. I don't mind changing and rewriting some of the phrasing so the actor feels more comfortable with their lines. This is applied in the script rehearsals before filming takes place.

As a solo filmmaker preparation is key, I have so many different roles and tasks to perform that it is imperative I have everything written down to keep me focused. "I have to remind myself sometimes, everything is in my head and the actors can't read my mind so hence the importance of writing everything down."

EXPERIENCE VS ENTHUSIASM

I've been practising martial arts for over forty five years, I also teach it. The way we train and condition our bodies may have changed but there are certain techniques in martial arts that haven't. Some of the same techniques have different names but are applied in a similar fashion, this leads me into fight choreography.

When I'm working out and devising fight choreography, I think of the actors and their capabilities. They may not have any martial arts or physical fitness experience whatsoever so techniques have to be simple, safe and yet look effective on screen. If an actor has practised martial arts, we discuss what experience and fighting style/s they have. This allows me to add more complex techniques to the choreography. "One thing I've learned in martial arts is to never take someone's word as solid." An actor can want the part so much they will tell you a little white lie just to get to the audition stage. I have a system I always use to check if actors are what they really are. This soon whittles things out.

Experienced: The term 'Martial Arts Experience' is a phrase I use to signify an individual with training experience. Though the fight sequence my not have 'kung-fu, Karate, Mixed Martial Arts or Kickboxing involved,' it is used so that I can understand if the actor has had any kind of combat or physical training. 

Working with experienced martial artists, boxers and fitness experts isn't as simple as it sounds, especially if they have no filming to camera experience. One thing you have to remind yourself and them about is, "It's fiction, it's not real, you have to really pull your punches, use a tenth of your strength and a hundred percent of your skill especially when working with non professionals." And it's not just two people sparring like they would do in a ring or on the mats. Sometimes the fight choreography can seem so unorthodox to a trained martial artist it can cause friction, this is something they're not use to and something you need to be aware of. Don't just expect to have a martial artist perform for you in your scene and think it's going to look amazing. This is where the fight choreographer comes in. You have to think about the scene, what it entails, what is the characters background. These elements are just the start of it... "It takes time and patience, the last thing you want is for someone to get injured."

Advantages of Working with a Fight/Stunt Team: Trust and having great rapport is the fundamental and most important key for me, you all have to be on the same wavelength. Once I've configured a fight routine I then relay it to the other team members and we go through the brief. Because we all train together, we know how that person moves and responds and the fight techniques are like codes, we totally understand each other. I then work with the actors independently and once they're ready, I arrange a rehearsal with the fight team and the complexity of the routine determines how many rehearsals we'll need before we film the scene.

Enthusiasm: "Over my many years of film making and martial arts experience I've met some people in my time"

You have the:

Skilled - Very professional, awesome to work with.

Overconfident - Bull in a china shop, dangerous, not just to themselves but to the other actors and stunt team.

Perfectionist - Everything has to be addressed down to every detail.

Frustrated - Lack of confidence, finds it difficult to apply the techniques.

Arrogant - Dismissive, think they know it all yet gets everything wrong.

Bullshitter - Talks the talk, but can't walk the walk.

Whinger - Always complaining and are very disruptive.

Clash of Personalities - Some people just don't get on.

Trash Talk - One thing I will not tolerate is trash talk from anyone, to myself or to the other actors. It is quickly dealt with if it ever happens. Everyone has to be professional on set.

Now don't get me wrong, "One person can have all these traits mixed up into one single personality and can be an absolute nightmare to work with." But remember, it's your project and although it can take a little longer, don't be afraid to rewrite and recast. The last thing you want is to be held at gun point waiting on someone who is very controlling and is holding up the project.

We have a Yorkshire saying, "There's nowt stranger than folk!" 

PREPARATION AND ASSESSMENT

Note: Points to remember, If you're a professional fighter and are well conditioned and asked to be part of a fight team working with actors in a scene, I have a saying I always use (from experience), "Remember, you're not in fight mode now." It's a system check reminder to a fighter to step down their power and strength and the person in front of them is not their competitor. It might sound strange me saying this but please be careful, an actors reactions and responses  won't be as quick as yours."

The average person/actor (male or female) with no physical or martial arts experience can be fragile, they're putting their trust in you as a filmmaker/choreographer to keep them safe. 

Before any physical activities, everyone goes through a warm up. Prior to this, depending on what kind of action scene the cast are performing, they would have had a rehearsal and gone through a briefing with me. 

With no martial arts experience and with a good team and a lots of patience, an actor can look like they've been training for years.

"Actors, don't be disheartened by the 'Actor wanted, must have so and so skill' application advertisement. This is just a way to whittle down the amount of casting interviews they have to process. If you don't have any physical, fight or martial arts training and you feel like you have something to offer, by all means apply but be upfront. If a director sees potential in you, then you'll get the best training available."

I really hope you've enjoyed reading this blog post and found it interesting and helps anyone with their current and future projects.

Thanks for reading,

Ed

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