Because it's time to hit the holidays, and I may not have a chance to post again anytime soon as I take a needed break, I wanted to wish the one or two people who occasionally tune into my disjointed ramblings a happy holiday season.
The final episode of Hack is coming in January, and so far I've kept my schedule clear of anything too crazy after that. We'll be resuming blade training in January (post a comment and let me know if you want into a class) and I'll be trying to hit the new location of the NJFA for more pistol work.
So, enjoy a bright season of holiday merriment and remember - anything that could be re-gifted could also make an excellent melee weapon prop. Just don't actually hit anyone with it. It's all about pretend violence, because the more we fake it, the less we need to actually do it.
Wednesday, December 23, 2009
Monday, December 14, 2009
Hacked Up
After spending a week in Las Vegas for day job business (and before anyone asks, I avoided the tables for the most part, and also avoided anything involving “laps”) it was back into the swing of things for the latest episode of Crystal Skillman’s “Hack.”
I may be biased since I’m in it, but I have to say I really feel like we’ve hit a good stride with the purely ridiculous. If you saw it, you know that things became even more silly than usual, what with the musical underscoring many of the moments – and CL Weatherstone’s further descent into villainous mania. Of course, that is assuming he is in fact the villain, and the eponymous hacker of “Hack.” Which to be honest, can’t be assumed since I still don’t even know if my character is the “hacker” or Neimah’s character. Oh hell, it could still be anyone. I’m just looking forward to finding out how this all wraps up, since next month (January) is the final installment.
The in-the-dark fight sequence did go fairly well, actually, despite rather limited rehearsal time to devote to the combat. Placing it in the dark was a good way to keep it from looking too sloppy. Credit is due to Dirty Hurley, though as it turns out, Hack was not the only piece to have a “lights out” section. If I’m not mistaken “Lady Cryptozoologist” also took place almost entirely in the dark.
While I know that all good things must come to an end, I still have high hopes that I’ll get to square off against one of my favorite actors, Nick Monroy. We ended this episode with him strangling me, so there’s a chance I’ll get to do a little something cool before the big showdown. If you’re a director, and you haven’t cast Nick Monroy, you’re just plain missing out. By god, the man is funny. Dry, witty and funny.
I was hoping for some more shooting updates, and scans of my targets from the plethora of gun options offered in Las Vegas… but thanks to the weather being the way it was last week, an 8 hour travel plan became a 15 hour travel reality killing all of my free time. So, no assault rifles for Joe.
However, I did plot out a couple of test fights for the sake of killing time on the planes. If someone ever wants a fight that takes place at a big travel conference, or two old people at bank of slot machines or some good old swanky nightclub mayhem… oh man… I was so inspired. Perhaps even a little bored at times since I was taking notes on how a fight would look in these environments as opposed to paying strict attention to the presentations.
I may be biased since I’m in it, but I have to say I really feel like we’ve hit a good stride with the purely ridiculous. If you saw it, you know that things became even more silly than usual, what with the musical underscoring many of the moments – and CL Weatherstone’s further descent into villainous mania. Of course, that is assuming he is in fact the villain, and the eponymous hacker of “Hack.” Which to be honest, can’t be assumed since I still don’t even know if my character is the “hacker” or Neimah’s character. Oh hell, it could still be anyone. I’m just looking forward to finding out how this all wraps up, since next month (January) is the final installment.
The in-the-dark fight sequence did go fairly well, actually, despite rather limited rehearsal time to devote to the combat. Placing it in the dark was a good way to keep it from looking too sloppy. Credit is due to Dirty Hurley, though as it turns out, Hack was not the only piece to have a “lights out” section. If I’m not mistaken “Lady Cryptozoologist” also took place almost entirely in the dark.
While I know that all good things must come to an end, I still have high hopes that I’ll get to square off against one of my favorite actors, Nick Monroy. We ended this episode with him strangling me, so there’s a chance I’ll get to do a little something cool before the big showdown. If you’re a director, and you haven’t cast Nick Monroy, you’re just plain missing out. By god, the man is funny. Dry, witty and funny.
I was hoping for some more shooting updates, and scans of my targets from the plethora of gun options offered in Las Vegas… but thanks to the weather being the way it was last week, an 8 hour travel plan became a 15 hour travel reality killing all of my free time. So, no assault rifles for Joe.
However, I did plot out a couple of test fights for the sake of killing time on the planes. If someone ever wants a fight that takes place at a big travel conference, or two old people at bank of slot machines or some good old swanky nightclub mayhem… oh man… I was so inspired. Perhaps even a little bored at times since I was taking notes on how a fight would look in these environments as opposed to paying strict attention to the presentations.
Friday, December 4, 2009
Hack!
Fun times ahead for the next installment of Crystal Skillman's Hack at the Vampire Cowboys monthly saloon. Our lady wordsmith has written a five person fight scene, which is to take place in a sewer tunnel. Since director John Hurley likes to keep things interesting and fast moving, he's determined the best way to transform the stage area of the Battle Ranch into a sewer tunnel is to turn off all the lights.
Further complicating matters is the fact that what can be seen by the audience past the second row is roughly mid torso and up, so very few low strikes or kicks because they just won't be seen by the majority of the audience.
The five combatants (including me) will be navigating their way through the tunnel with flashlights. That means every person has a melee weapon, and it also means this fight will be just the kind of combat I like: fast, dirty, and confusing.
Sooo... I've mapped out a nice 20-30 second match up, with plenty of modular, a dash of gunting and a pinch of sinwali thrown in for comedy's sake.
With flashlights.
In the dark.
Nice.
Further complicating matters is the fact that what can be seen by the audience past the second row is roughly mid torso and up, so very few low strikes or kicks because they just won't be seen by the majority of the audience.
The five combatants (including me) will be navigating their way through the tunnel with flashlights. That means every person has a melee weapon, and it also means this fight will be just the kind of combat I like: fast, dirty, and confusing.
Sooo... I've mapped out a nice 20-30 second match up, with plenty of modular, a dash of gunting and a pinch of sinwali thrown in for comedy's sake.
With flashlights.
In the dark.
Nice.
Monday, November 23, 2009
Good news...
As I continue my quest for greater authenticity, I've just now received good news from friend, biz partner, fighting instructor and recent father Brian Smallwood.
An aquaintance and friend of ours - actor, veteran and USMC combat firearms instructor (and handsome fella) Jason Audette will be joining us on our quest as we strive for more realism in fake violence.
In short we've just added a heavy dose of real experience and talent to our available pool of fight choreography skill sets!
Nice, right? Looks like its gonna be a good week.
An aquaintance and friend of ours - actor, veteran and USMC combat firearms instructor (and handsome fella) Jason Audette will be joining us on our quest as we strive for more realism in fake violence.
In short we've just added a heavy dose of real experience and talent to our available pool of fight choreography skill sets!
Nice, right? Looks like its gonna be a good week.
Lesser Seductions of History, and More Seductive Roller Derby...
All in all, a good weekend.
Friday night began with Flux Ensemble's performance of "The Lesser Seductions of History" written by Gus Schulenberg. Since I'm talking fighting and violence, I'll keep it brief. The show was well written, well directed and excellently performed. There were maybe 1 and a half moments of violence, all of which was so stylized (and it worked) as to make them essentially physically non-violent. So, that's that. Nothing to report.
It was a great show, full of great performers and design, but it was one of those shows I inevitably come away from going... "meh." This is likely due to the disparity in personal philosphies I have with Cap'n Schulenberg - I'm not saying he's wrong, just that I disagree with the guy about a few of his ideas regarding the forces of history and personal involvement. Especially during the 1960's.
So, if you missed the show, you definitely missed out. I'm not trashing the work at all, since it's way better to have seen a great show I just don't agree with, than a bad one I do agree with. Good theater all around, and a well deserved congratulations to Flux.
Now, Saturday night was more chaos as the Lady-type and I strolled over to see the Manhattan Mayhem try for the local title against the Bronx Gridlock.
It was, for casual fans of Manhattan, a heartbreaker. Bronx won the day, though not for lack of Manhattan's efforts. It was a close one, with the Mayhem actually doubled over the Gridlock at the half way point. Unfortunately, Bronx seemed to have some new tricks tucked away in their tights when they came back in, and despite the best efforts of Em Dash, Fisti Cuffs, Surley Temple and crew, they couldn't maintain the lead against the fierce blocks of Ginger Snap, Brigitte Barhot, Luna Impact and guest skater OMG WTF (normally of Brooklyn I believe - who by the way, took an insane hit into the bleachers - then got up and skated some more. What a woman.)
Now, if you were there, you'll note that I've omitted mentioning a particular player - Polly Gone. This is because any mention of Polly Gone must rightfully be phrased like this:
POLLY GONE!
And yea verily though I love my woman, bow to no man (and serve the Queens of Pain) - I think Polly stole a little piece of my heart, and rolled right over it. She was a fighter all the way to the end. MVP indeed.
I would love to see what happens if someone gave these ladies paintball guns and an open field. If they can shoot like they skate, they'd dominate the sport in short order. Hell, I'd even watch them remount a production of that Lloyd Weber atrocity known as Starlight Express.
Sunday was a day to relax and do a little research on the upcoming Brooklyn Fight Fest... a festival of stage combat works. More on this later, since I'm shopping for a company to sign on with and further develop my choreography skills.
Friday night began with Flux Ensemble's performance of "The Lesser Seductions of History" written by Gus Schulenberg. Since I'm talking fighting and violence, I'll keep it brief. The show was well written, well directed and excellently performed. There were maybe 1 and a half moments of violence, all of which was so stylized (and it worked) as to make them essentially physically non-violent. So, that's that. Nothing to report.
It was a great show, full of great performers and design, but it was one of those shows I inevitably come away from going... "meh." This is likely due to the disparity in personal philosphies I have with Cap'n Schulenberg - I'm not saying he's wrong, just that I disagree with the guy about a few of his ideas regarding the forces of history and personal involvement. Especially during the 1960's.
So, if you missed the show, you definitely missed out. I'm not trashing the work at all, since it's way better to have seen a great show I just don't agree with, than a bad one I do agree with. Good theater all around, and a well deserved congratulations to Flux.
Now, Saturday night was more chaos as the Lady-type and I strolled over to see the Manhattan Mayhem try for the local title against the Bronx Gridlock.
It was, for casual fans of Manhattan, a heartbreaker. Bronx won the day, though not for lack of Manhattan's efforts. It was a close one, with the Mayhem actually doubled over the Gridlock at the half way point. Unfortunately, Bronx seemed to have some new tricks tucked away in their tights when they came back in, and despite the best efforts of Em Dash, Fisti Cuffs, Surley Temple and crew, they couldn't maintain the lead against the fierce blocks of Ginger Snap, Brigitte Barhot, Luna Impact and guest skater OMG WTF (normally of Brooklyn I believe - who by the way, took an insane hit into the bleachers - then got up and skated some more. What a woman.)
Now, if you were there, you'll note that I've omitted mentioning a particular player - Polly Gone. This is because any mention of Polly Gone must rightfully be phrased like this:
POLLY GONE!
And yea verily though I love my woman, bow to no man (and serve the Queens of Pain) - I think Polly stole a little piece of my heart, and rolled right over it. She was a fighter all the way to the end. MVP indeed.
I would love to see what happens if someone gave these ladies paintball guns and an open field. If they can shoot like they skate, they'd dominate the sport in short order. Hell, I'd even watch them remount a production of that Lloyd Weber atrocity known as Starlight Express.
Sunday was a day to relax and do a little research on the upcoming Brooklyn Fight Fest... a festival of stage combat works. More on this later, since I'm shopping for a company to sign on with and further develop my choreography skills.
Thursday, November 19, 2009
Drawing a Blank...
As illustrated in a previous post, my shooting skill levels currently leave a bit to be desired. More often than not, I'm not hitting my targets consistently and tightly. Added to that particular brand of awful shooting, is the speed at which it happens.
To rectify the problem through more rigorous practice (without wasting ammunition, alarming the cat, neighbors and the police) I borrowed a blank firing stage pistol from Bri-guy. I figured it couldn't hurt to work on my stance, my grip, and my sight picture. A blank firing pistol is assuredly not the real thing, however it's not so far off that it doesn't help as it turns out.
I was able to correct my problems by dry firing the blank pistol (a Beretta 9mm replica) with a laser pointer attached. I activate the laser, ignore the red dot, take aim, and squeeze the trigger. Right away, I began to see the laser wandering all over the place just from my trigger pulls, that was an indication that I was doing something seriously wrong. With no recoil, theoretically there should be minimal movement of that little red dot.
A steady hand, I was not.
In reviewing my notes and the literature I've obtained regarding pistol shooting, right off the bat I discovered something critical I had either forgotten or likely never quite grasped. No pun intended, it had a lot to do with my grip. During my last outing on the range, I was applying force to the weapon in all the wrong ways while attempting to control the recoil. I was squeezing the weapon in both hands, with lateral force, instead of using a "push/pull" kind of feeling with my hands and locked arms. My follow through, if it was there at all, was abysmal.
Now with the practice I've been putting in with dry firing the pistol - usually 20-30 minutes a day - I'm able to establish a quick sight picture from initial presentation and deliver trigger pull after trigger pull with that laser point staying where it should. Suffice to say, if this were a game of lazer tag, I'd be getting close to Roland of Gilead good.
To rectify the problem through more rigorous practice (without wasting ammunition, alarming the cat, neighbors and the police) I borrowed a blank firing stage pistol from Bri-guy. I figured it couldn't hurt to work on my stance, my grip, and my sight picture. A blank firing pistol is assuredly not the real thing, however it's not so far off that it doesn't help as it turns out.
I was able to correct my problems by dry firing the blank pistol (a Beretta 9mm replica) with a laser pointer attached. I activate the laser, ignore the red dot, take aim, and squeeze the trigger. Right away, I began to see the laser wandering all over the place just from my trigger pulls, that was an indication that I was doing something seriously wrong. With no recoil, theoretically there should be minimal movement of that little red dot.
A steady hand, I was not.
In reviewing my notes and the literature I've obtained regarding pistol shooting, right off the bat I discovered something critical I had either forgotten or likely never quite grasped. No pun intended, it had a lot to do with my grip. During my last outing on the range, I was applying force to the weapon in all the wrong ways while attempting to control the recoil. I was squeezing the weapon in both hands, with lateral force, instead of using a "push/pull" kind of feeling with my hands and locked arms. My follow through, if it was there at all, was abysmal.
Now with the practice I've been putting in with dry firing the pistol - usually 20-30 minutes a day - I'm able to establish a quick sight picture from initial presentation and deliver trigger pull after trigger pull with that laser point staying where it should. Suffice to say, if this were a game of lazer tag, I'd be getting close to Roland of Gilead good.
Wednesday, November 11, 2009
Lock 'em up!
In the course of any script with aggressive characters, you're bound to come across a moment when one character needs to control another. Now if you're doing Oscar Wilde for example, chances are that control is gained through the generous application of ascerbic commentary, caustic dialogue and flippant ripostes. All of which, when well performed, is marvelous to behold. British flavored devastation abounds.
But... since I'm not writing a blog about exploring the subtle effects of wit on a character's psyche, I'm more concerned with those scripts where one character physically controls another through - you guessed it - (fake) violence!
More specifically, how does one actor gain apparent physical control of another actor? And more important to me, how do we keep it looking realistic without tearing each other apart?
In the real world, those of us not hopped to the gills on PCP (and you know who you are) can be controlled through pain. That's what joint locks can do for example - your joints are locked by someone or something and biomechanically, you just can't move 'em. Or maybe you can, but the degree of pain and damage to the joint that any movement will cause is a sufficient deterrent to keep you immobile. Real joint locks are frequently effective because for example we twist the arm in a direction it doesn't usually go all that easily and couple that movement with conflicting pressures. Bend the arm in the right (or wrong in this case) direction, apply pressure and and you've got control - ahh the joys of the arm bar. Unfounded rumor says there's a guy who can disable an assault helicopter with the correct techniques.
In stage combat though, doing this to a fellow actor will result in a lot of bad bad things. As a result, we usually see controls on stage that are very safe, and to be honest in all but the worst cases, they're being sold exceptionally well by the actors - a great deal of faked pain. But anyone with a rudimentary understanding of actual combat wonders why the actor who is being controlled hasn't done something to get out of it.
When I've seen controls being employed in the last few years, I almost invariably see the classic "hammerlock." There's a reason for that - it's what we've seen cops on TV do for eons, it's easy to fake, safe to fake and most audience members can't tell a real one from a false and painless one. Also apparently many choreographers are not all too familiar with some of the possible escapes. So, hammerlock is applied, and things get quiet, static, and boooooooorrrring. I want to know why no one's thrown an elbow or dropped the shoulder and made a a grab for the leg, etc.
Armed forces, law enforcement (and other professionals) have been using a much wider variety of practical joint locks, armbars, leg locks and pain compliance holds that are just peachy. And wouldn't you know it, they are as easy to fake, as easy to keep safe and allow for a much wider variety of combat action to take place. Because most audiences haven't been beaten over the head with these other holds, they will be fresh, frightening, and keep the actor combatant looking cutting edge. Granted these kinds of holds and locks are generally employed at the very beginning or more often the end of a fight. As a director, you want good sightlines and fluid storytelling sure, but allow your choreographer to do his or her job and be creative within the bounds of the characters and you'll get some really amazing results.
If your actors are in command of their bodies, and can at least do some basic falls, you're in for a real treat.
But... since I'm not writing a blog about exploring the subtle effects of wit on a character's psyche, I'm more concerned with those scripts where one character physically controls another through - you guessed it - (fake) violence!
More specifically, how does one actor gain apparent physical control of another actor? And more important to me, how do we keep it looking realistic without tearing each other apart?
In the real world, those of us not hopped to the gills on PCP (and you know who you are) can be controlled through pain. That's what joint locks can do for example - your joints are locked by someone or something and biomechanically, you just can't move 'em. Or maybe you can, but the degree of pain and damage to the joint that any movement will cause is a sufficient deterrent to keep you immobile. Real joint locks are frequently effective because for example we twist the arm in a direction it doesn't usually go all that easily and couple that movement with conflicting pressures. Bend the arm in the right (or wrong in this case) direction, apply pressure and and you've got control - ahh the joys of the arm bar. Unfounded rumor says there's a guy who can disable an assault helicopter with the correct techniques.
In stage combat though, doing this to a fellow actor will result in a lot of bad bad things. As a result, we usually see controls on stage that are very safe, and to be honest in all but the worst cases, they're being sold exceptionally well by the actors - a great deal of faked pain. But anyone with a rudimentary understanding of actual combat wonders why the actor who is being controlled hasn't done something to get out of it.
When I've seen controls being employed in the last few years, I almost invariably see the classic "hammerlock." There's a reason for that - it's what we've seen cops on TV do for eons, it's easy to fake, safe to fake and most audience members can't tell a real one from a false and painless one. Also apparently many choreographers are not all too familiar with some of the possible escapes. So, hammerlock is applied, and things get quiet, static, and boooooooorrrring. I want to know why no one's thrown an elbow or dropped the shoulder and made a a grab for the leg, etc.
Armed forces, law enforcement (and other professionals) have been using a much wider variety of practical joint locks, armbars, leg locks and pain compliance holds that are just peachy. And wouldn't you know it, they are as easy to fake, as easy to keep safe and allow for a much wider variety of combat action to take place. Because most audiences haven't been beaten over the head with these other holds, they will be fresh, frightening, and keep the actor combatant looking cutting edge. Granted these kinds of holds and locks are generally employed at the very beginning or more often the end of a fight. As a director, you want good sightlines and fluid storytelling sure, but allow your choreographer to do his or her job and be creative within the bounds of the characters and you'll get some really amazing results.
If your actors are in command of their bodies, and can at least do some basic falls, you're in for a real treat.
Wednesday, October 28, 2009
Fishnets, roller skates and bruises
Last weekend, I took a break from fake violence, to go see some sporting violence. (And women in daring outfits doing daring things on roller skates.) My girl and I were off to see the double header exhibition games as the Rat City Roller Girls from Seattle, The Sockit Wenches, faced off against the Brooklyn Bombshells and the Queens of Pain. If you've never gone to the roller derby or haven't seen one since you were a kid, you are as deficient in your lady type bad-assedry as I was.
Having immersed myself in staged violence now for some time, I'm always happy at a sporting event with genuine unchoreographed chaos involved. I watch a little football, a little hockey and the occasional bench clearing brawl on the diamond always is an interesting diversion at the ball park. However I started to notice something weird at the roller derby. Once I got past the tight uniforms, and fishnets on a lot of these women (what can I do - I'm a guy. I notice that stuff.) I noticed that despite the absolute brutal focus and application of physical force to each other, these women were able to fiercely compete without getting aggressive in the same way that men seem to.
There was a lady on the Sockit Wenches who was nigh-unstoppable. This woman is quite possibly the closest thing to an actual Valkyrie I'm ever likely to see. With her blonde braids trailing behind her, "Anya Heels" who rolled primarily as a blocker, prevented just about every attempt to pass by maneuvering her body in ways that would make a rhino blush. She was no waif, sure - in fact if Peterbilt Trucks was going to try and design a woman, it might look a little like "Anya Heels" - but that's not to suggest she wasn't one of the fastest, nimblest most brutally beautiful things I've ever seen. A hip check from her could knock a guy like me into next week, and she wasn't shy about using her strength. She was a major reason the Sockit Wenches defeated both Brooklyn Bombshells and Queens of Pain.
As a guy, I know that in a competitive arena, I'd be nothing but ultra testosterone-y about that. But these women who were grimly facing down each other during the match and getting slammed around were also so... I don't know... girly? When the game was over, there didn't seem to be any lingering bad vibes. They were having fun. It was a game. A tough game, full of bruises, breaks, and rough hits, but none of these women radiated the strange aura of male over-aggression that I see when men play violent sports. To be clear, I'm not surprised in the least that women are tough. I've known that since the earliest days of my childhood - I had good parenting. Women are tough, strong and can be every bit as powerful as men if not more so.
What surprised me was that women seem to be more capable of playing a violent game and then letting go of the violence. It's as if they were simply donning an aspect or displaying a single facet of themselves - one of intense violence - and then putting it down when it no longer was necessary or called for.
I think there's a powerful lesson there, so go check out the roller derby.
I also think I'm in love with the Queens of Pain.
If you don't care about any of the above and just want to see hot chicks on wheels, look no further.
Having immersed myself in staged violence now for some time, I'm always happy at a sporting event with genuine unchoreographed chaos involved. I watch a little football, a little hockey and the occasional bench clearing brawl on the diamond always is an interesting diversion at the ball park. However I started to notice something weird at the roller derby. Once I got past the tight uniforms, and fishnets on a lot of these women (what can I do - I'm a guy. I notice that stuff.) I noticed that despite the absolute brutal focus and application of physical force to each other, these women were able to fiercely compete without getting aggressive in the same way that men seem to.
There was a lady on the Sockit Wenches who was nigh-unstoppable. This woman is quite possibly the closest thing to an actual Valkyrie I'm ever likely to see. With her blonde braids trailing behind her, "Anya Heels" who rolled primarily as a blocker, prevented just about every attempt to pass by maneuvering her body in ways that would make a rhino blush. She was no waif, sure - in fact if Peterbilt Trucks was going to try and design a woman, it might look a little like "Anya Heels" - but that's not to suggest she wasn't one of the fastest, nimblest most brutally beautiful things I've ever seen. A hip check from her could knock a guy like me into next week, and she wasn't shy about using her strength. She was a major reason the Sockit Wenches defeated both Brooklyn Bombshells and Queens of Pain.
As a guy, I know that in a competitive arena, I'd be nothing but ultra testosterone-y about that. But these women who were grimly facing down each other during the match and getting slammed around were also so... I don't know... girly? When the game was over, there didn't seem to be any lingering bad vibes. They were having fun. It was a game. A tough game, full of bruises, breaks, and rough hits, but none of these women radiated the strange aura of male over-aggression that I see when men play violent sports. To be clear, I'm not surprised in the least that women are tough. I've known that since the earliest days of my childhood - I had good parenting. Women are tough, strong and can be every bit as powerful as men if not more so.
What surprised me was that women seem to be more capable of playing a violent game and then letting go of the violence. It's as if they were simply donning an aspect or displaying a single facet of themselves - one of intense violence - and then putting it down when it no longer was necessary or called for.
I think there's a powerful lesson there, so go check out the roller derby.
I also think I'm in love with the Queens of Pain.
If you don't care about any of the above and just want to see hot chicks on wheels, look no further.
Wednesday, October 14, 2009
Hit or miss. Mostly miss.
Last evening, I took a jaunt out to North Bergen NJ with Bri-guy for a pistol clinic over at the NJ Firearms Academy. There were a few familiar faces and a goodly amount of new (to me and Bri-guy) faces who as it turns out are the more regular competition shooters. We got out on the firing line, and started out with a couple boxes of 9mm, splitting time on the Glock 17.
As mentioned earlier, I'm not a huge fan of the Glock, and about 30 feet, here's my first target...
Clearly I'm doing something mostly right - those circles are about 3 inches in diameter. Except for that one guy who sort of wandered off into the lower left. Well, that little guy turned out to be my undoing. I spent the next 30 rounds of 9mm or so trying to correct that, overcorrecting, and let's just say that as soon as I started to think about it too hard, I began the downward spiral of milking the trigger, pulling off the target, anticipating the shot, and in general, not following through.
I'm not posting scans of those targets. They're embarrassing. They got better again, thanks to wise words of coaching from Trevor Dickerson. Then Bri-guy and I moved up to the Sig Sauer .40 cal pistol - an intense departure from the composite 9mm Glock. With the Sig's all steel frame and much more responsive trigger, I tended to do much better...
... again a 3 inch diameter circle at about 30 feet. With a more solid weapon despite the recoil I did some decent shooting. It wasn't long before my bad habits came up again, but I controlled them far better. Less side to side wavering and more of an up-down issue.
I did have a tendency to shoot a bit low though...
The total diameter of this target is about 8 inches.
Those two shots up top are from Trevor, who was helping me get a better read on why I was pulling low. In fact, the order of placement starts low and tends to get much closer to the center of the target.
All in all, clearly I've my work cut out for me before I can consider myself even a mediocre shooter as compared to men and women (yes, Virgina there are ladies who can bullseye a target at 50 feet one handed with a .45) who are on the NJFA competition team.
Then again - I don't feel too bad about this outing. For my second legitmate pistol experience, I think I did pretty well all in all. And frankly, had these been zombies, they'd all be dead. I mean dead-dead, not undead.
But for the record, Bri-guy's final magazine of the .40 caliber resulted in what I'd definitely call a tight grouping... he put six rounds through about a 1 inch pattern. We could tell it was legit by taking a spent casing and matching it up around the edges. It was, quite a sight to see, I assure you.
As mentioned earlier, I'm not a huge fan of the Glock, and about 30 feet, here's my first target...
Clearly I'm doing something mostly right - those circles are about 3 inches in diameter. Except for that one guy who sort of wandered off into the lower left. Well, that little guy turned out to be my undoing. I spent the next 30 rounds of 9mm or so trying to correct that, overcorrecting, and let's just say that as soon as I started to think about it too hard, I began the downward spiral of milking the trigger, pulling off the target, anticipating the shot, and in general, not following through.
I'm not posting scans of those targets. They're embarrassing. They got better again, thanks to wise words of coaching from Trevor Dickerson. Then Bri-guy and I moved up to the Sig Sauer .40 cal pistol - an intense departure from the composite 9mm Glock. With the Sig's all steel frame and much more responsive trigger, I tended to do much better...
... again a 3 inch diameter circle at about 30 feet. With a more solid weapon despite the recoil I did some decent shooting. It wasn't long before my bad habits came up again, but I controlled them far better. Less side to side wavering and more of an up-down issue.
I did have a tendency to shoot a bit low though...
The total diameter of this target is about 8 inches.
Those two shots up top are from Trevor, who was helping me get a better read on why I was pulling low. In fact, the order of placement starts low and tends to get much closer to the center of the target.
All in all, clearly I've my work cut out for me before I can consider myself even a mediocre shooter as compared to men and women (yes, Virgina there are ladies who can bullseye a target at 50 feet one handed with a .45) who are on the NJFA competition team.
Then again - I don't feel too bad about this outing. For my second legitmate pistol experience, I think I did pretty well all in all. And frankly, had these been zombies, they'd all be dead. I mean dead-dead, not undead.
But for the record, Bri-guy's final magazine of the .40 caliber resulted in what I'd definitely call a tight grouping... he put six rounds through about a 1 inch pattern. We could tell it was legit by taking a spent casing and matching it up around the edges. It was, quite a sight to see, I assure you.
Tuesday, October 13, 2009
Head smashing goodness...
This past weekend was the second Saturday Night Saloon down at the Vampire Cowboy's Battle Ranch - Episode 2 of Hack.
Perhaps needless to say, the event was a success despite every effort by the New York MTA to suspend service on multiple subway lines. At one point in the evening, I performed a very simple "stunt" during Hack. My character, Cal aka "Gunslinger", reaches a level of frustration with his compatriots at Carson Capital - the fictional hedge fund where the former hacker characters are employed as IT security. I was directed by John "Dirty" Hurley to display this frustration in an overtly physical way, and so... I did. I decided to have Cal smash his head into an upstage facing door. A little stage magic, and - POW! a loud ringing thud, the door rattles in its frame and I spin around to angrily stomp back to my scene partners with nary a wobble in my step. I didn't think much of it at the time, but apparently, some of the audience was rather stunned. How'd I do that?
There was a time when in my youth, I may have considered simply actually head banging the door, but let's face facts. That's dopey. Bad-ass maybe, but dopey certainly. So in order to make this little trick work all it takes is a little practice, timing, and oddly enough, some basics of magic and illusion.
Every magician or illusionist relies on fooling not just the human eye, but the human mind. I bring this up on my stage combat blog because the underlying principles that make stage combat both safe and effective are very similar to those that the "Frantic Amaz-o" uses to saw someone in half. In short, it's misdirection. Look over here, while I do something else over there, and presto.
In brief, Cal approaches that door three times, the third time, head butting it. The audience is given a pattern to view, in the first two approaches. By the third time they see me go to the door, they know I'm not going through it. No one thinks anything of me turning that knob so the door can open and close freely. They know I'm not going through. I rear my head back drawing audience focus and setting up the expectation that I'm about to slam it forward. When I do quickly bring it forward, I've already simultaneously opened the door about a half inch - misdirection! My head comes nowhere near the door, as I quickly slam it shut with the hand on the door knob. There's a loud BANG! and I let the door rattle a bit in it's frame, like it's been hit. With my face.
As any magician will tell you, the follow through is crucial. The rapid spin around to face the audience gives them a chance to see my face as I stoically react to having just smashed my forehead into a solid door. Blink a couple of times and stomp back to the front of the stage and do my best to look like 6'4" of tough guy in a skinny 5'8" bag.
Granted, it's not combat and more of a stunt but the principles are the same. The audience has a mental shorthand for what they believe they are seeing, and don't focus on the minutiae of movements made by the performer provided they don't "contrast" with the mental picture of expectations they already have in their minds. Since I already set up the expectation that I'd have my hand the doorknob each time, there was nothing unusual about me actually using it. And the movement was so subtle and quick that it appeared that my head had actually knocked the door partially open for a split second, adding visual merit to the already resounding sound effect I had created.
About hand to hand combat though - a common misconception in stage combat is that every punch has to have a "nap." The sound of an impact, usually done by a performer slapping a hand on a part of the body not easily visible to the audience. If it's done well, it sounds like Indiana Jones punching out four Nazis at once. However, I don't know that I've ever seen someone take a punch in the head that sounds like a slap. It's usually a very quiet thud. Not something that'd be audible beyond a few feet.
I don't know why I brought that up, but it seems like we're focusing so much on incredible sound effects with our combat that we've made our stage combat exactly that - beyond credible. Bring some "magic" into play though, and through misdirection and sleight of hand/fist/head we get something much more real.
But enough pontificating... I'm going to be late for my pistol class if I hang around here much longer!
Perhaps needless to say, the event was a success despite every effort by the New York MTA to suspend service on multiple subway lines. At one point in the evening, I performed a very simple "stunt" during Hack. My character, Cal aka "Gunslinger", reaches a level of frustration with his compatriots at Carson Capital - the fictional hedge fund where the former hacker characters are employed as IT security. I was directed by John "Dirty" Hurley to display this frustration in an overtly physical way, and so... I did. I decided to have Cal smash his head into an upstage facing door. A little stage magic, and - POW! a loud ringing thud, the door rattles in its frame and I spin around to angrily stomp back to my scene partners with nary a wobble in my step. I didn't think much of it at the time, but apparently, some of the audience was rather stunned. How'd I do that?
There was a time when in my youth, I may have considered simply actually head banging the door, but let's face facts. That's dopey. Bad-ass maybe, but dopey certainly. So in order to make this little trick work all it takes is a little practice, timing, and oddly enough, some basics of magic and illusion.
Every magician or illusionist relies on fooling not just the human eye, but the human mind. I bring this up on my stage combat blog because the underlying principles that make stage combat both safe and effective are very similar to those that the "Frantic Amaz-o" uses to saw someone in half. In short, it's misdirection. Look over here, while I do something else over there, and presto.
In brief, Cal approaches that door three times, the third time, head butting it. The audience is given a pattern to view, in the first two approaches. By the third time they see me go to the door, they know I'm not going through it. No one thinks anything of me turning that knob so the door can open and close freely. They know I'm not going through. I rear my head back drawing audience focus and setting up the expectation that I'm about to slam it forward. When I do quickly bring it forward, I've already simultaneously opened the door about a half inch - misdirection! My head comes nowhere near the door, as I quickly slam it shut with the hand on the door knob. There's a loud BANG! and I let the door rattle a bit in it's frame, like it's been hit. With my face.
As any magician will tell you, the follow through is crucial. The rapid spin around to face the audience gives them a chance to see my face as I stoically react to having just smashed my forehead into a solid door. Blink a couple of times and stomp back to the front of the stage and do my best to look like 6'4" of tough guy in a skinny 5'8" bag.
Granted, it's not combat and more of a stunt but the principles are the same. The audience has a mental shorthand for what they believe they are seeing, and don't focus on the minutiae of movements made by the performer provided they don't "contrast" with the mental picture of expectations they already have in their minds. Since I already set up the expectation that I'd have my hand the doorknob each time, there was nothing unusual about me actually using it. And the movement was so subtle and quick that it appeared that my head had actually knocked the door partially open for a split second, adding visual merit to the already resounding sound effect I had created.
About hand to hand combat though - a common misconception in stage combat is that every punch has to have a "nap." The sound of an impact, usually done by a performer slapping a hand on a part of the body not easily visible to the audience. If it's done well, it sounds like Indiana Jones punching out four Nazis at once. However, I don't know that I've ever seen someone take a punch in the head that sounds like a slap. It's usually a very quiet thud. Not something that'd be audible beyond a few feet.
I don't know why I brought that up, but it seems like we're focusing so much on incredible sound effects with our combat that we've made our stage combat exactly that - beyond credible. Bring some "magic" into play though, and through misdirection and sleight of hand/fist/head we get something much more real.
But enough pontificating... I'm going to be late for my pistol class if I hang around here much longer!
Wednesday, October 7, 2009
October is up and running
I'm headed back to the NJFA next week for a pistol clinic - and let's be frank, I need the help. If the goal is a three inch grouping at 25 yards, I've got some shootin' to do. After all, that kind of standard is being applied to today's top target shooters and law enforcement, and if I'm aiming for ultra realism on stage, I'd better get handier with a pistol. I mean, it can't hurt, anyway.
In other news, it turns out Neimah Djourabchi - musician, artist, longtime pal and co-actor in this weekend's upcoming Vampire Cowboys Saloon Series has got some wicked fun stuntwork under his belt. That's got to be a good gig - and a great way to learn more about the current state of fight choreography in film and TV. I'm hoping that if we can bring him into some classes on knife combat he'll help a guy like me slide into the world of fake bad-assedry. I don't know if bad-assedry is a real word, but I'm running with it.
Kind of funny how things can work out, isn't it?
More next week on how the latest episode of Crystal Skillman's "Hack" played out, and maybe a few pics showing the results of a few more hours under Cheif Dickerson's instruction.
In other news, it turns out Neimah Djourabchi - musician, artist, longtime pal and co-actor in this weekend's upcoming Vampire Cowboys Saloon Series has got some wicked fun stuntwork under his belt. That's got to be a good gig - and a great way to learn more about the current state of fight choreography in film and TV. I'm hoping that if we can bring him into some classes on knife combat he'll help a guy like me slide into the world of fake bad-assedry. I don't know if bad-assedry is a real word, but I'm running with it.
Kind of funny how things can work out, isn't it?
More next week on how the latest episode of Crystal Skillman's "Hack" played out, and maybe a few pics showing the results of a few more hours under Cheif Dickerson's instruction.
Monday, September 28, 2009
TV fighting
A while ago I got to spend a solid block of time with Mr. Stone, my current training "master" working on more modular and gunting work, and he and I got to talking about fight choreography.
There were several times during the training where I asked Stone to repeat the combinations with me again. We found that generally with the deletion of a few things, the combative and defensive techniques were readily adaptable to safe stage play. So there's a combat system that's easy to learn that can also work effectively in staged combat.
I mentioned that I'm just not seeing this kind of advanced work on stage and even on television and in film it's less prevalent - is it a question of this being not particularly showy or flashy, or is this a matter of it being less well known?
Thankfully, Mr. Stone not only had an idea of exactly what I meant, but he then busted out DVDs of a show called "Leverage." While the show is fun and mostly quality from what I saw, one thing stood out... Christian Kane's fight work as "Eliot Spencer" is excellent. I'm still trying to dig up who the choreographer is exactly, but hands down, it's some of the best fight work I've seen on TV. At least, in the category of "fighters who are supposed to know how to fight."
I'm also watching the DVDs of Lost, and while it's a fun show, people are whiffing out haymakers and thunder-punches all over the place, and that doctor - Jack? He's a pretty fair hand with a pistol and an AK-47. I suppose I'll get some back story reveal about when he learned how to do all of that. Right? Secrets...
In personal news, I've preordered my Desangut set from Cherusker Messer...
Yeah, they're great. Like nasty little karambits with 1.75 inch blades and that handy ring off the bottom. With Bram's signature ramp on the blade spine they also work as less than lethal tools. I won't see them until sometime in 2010 I think, but I'm happy that they're being made. I ordered number 25 out of a first run of 200 signature sets. Now I'm waiting on the newer non-Ontario Abaniko. 7 inch cutting blade. That's not intended for everyday carry in my world by the way. More for camping. OR ZOMBIES!
There were several times during the training where I asked Stone to repeat the combinations with me again. We found that generally with the deletion of a few things, the combative and defensive techniques were readily adaptable to safe stage play. So there's a combat system that's easy to learn that can also work effectively in staged combat.
I mentioned that I'm just not seeing this kind of advanced work on stage and even on television and in film it's less prevalent - is it a question of this being not particularly showy or flashy, or is this a matter of it being less well known?
Thankfully, Mr. Stone not only had an idea of exactly what I meant, but he then busted out DVDs of a show called "Leverage." While the show is fun and mostly quality from what I saw, one thing stood out... Christian Kane's fight work as "Eliot Spencer" is excellent. I'm still trying to dig up who the choreographer is exactly, but hands down, it's some of the best fight work I've seen on TV. At least, in the category of "fighters who are supposed to know how to fight."
I'm also watching the DVDs of Lost, and while it's a fun show, people are whiffing out haymakers and thunder-punches all over the place, and that doctor - Jack? He's a pretty fair hand with a pistol and an AK-47. I suppose I'll get some back story reveal about when he learned how to do all of that. Right? Secrets...
In personal news, I've preordered my Desangut set from Cherusker Messer...
Yeah, they're great. Like nasty little karambits with 1.75 inch blades and that handy ring off the bottom. With Bram's signature ramp on the blade spine they also work as less than lethal tools. I won't see them until sometime in 2010 I think, but I'm happy that they're being made. I ordered number 25 out of a first run of 200 signature sets. Now I'm waiting on the newer non-Ontario Abaniko. 7 inch cutting blade. That's not intended for everyday carry in my world by the way. More for camping. OR ZOMBIES!
Sunday, September 27, 2009
My new machine is here
It's a laptop, and goes fast. It's also very shiny and black which makes me happy, and came with Windows Vista which makes me a little worried. So far, so good though. I was able to import my old iTunes library onto this new laptop.
I'm currently sharpening my tools and blades, and enjoying the Sunday evening sounds of Morphine and My Girl Cleaning the Other Room. Morphine, for those who forgot was among one of the greatest musical acts of the 90s, and My Girl Cleaning the Other Room isn't a band. It's actually my girlfriend finally getting into the failure pile that is the not-bedroom bedroom of our apartment. If it were a band it would certainly feature Felicia on lead dust sneeze or possibly main magazine piler-upper.
Trash day tomorrow will be epic.
I'm currently sharpening my tools and blades, and enjoying the Sunday evening sounds of Morphine and My Girl Cleaning the Other Room. Morphine, for those who forgot was among one of the greatest musical acts of the 90s, and My Girl Cleaning the Other Room isn't a band. It's actually my girlfriend finally getting into the failure pile that is the not-bedroom bedroom of our apartment. If it were a band it would certainly feature Felicia on lead dust sneeze or possibly main magazine piler-upper.
Trash day tomorrow will be epic.
Friday, September 25, 2009
On the road to teaching...
Earlier this autumnal week (which by the way I'm not happy about - as a friend put it, "I want a refund on summer 2009") I had the good fortune to assist buddy Bri-guy with teaching a CSSD SC class. It was a small class consisting of 4 people: 2 students, one certified instructor and one other guy - other guy being me. Since I don't have the certification, I'm not going to be billing myself as qualified to teach a class.
That isn't to say I'm not capable, in fact, I consider myself pretty handy with an edged tool these days, and while I might not be getting any prettier as I age, I seem to be getting smarter. I like to think I brought some value to the session, and I'm a pretty fair sparring partner. Bri-guy's teaching also helped me to see something very basic about myself that I will need to keep squarely in check when I begin teaching someday.
In this class we covered 1-4-12 of modular and the first two gunting entries. In my head, I was thinking "Why aren't we moving to 2-3-12? Or 1-2-2? Why no mention of decision points and switch points?"
Right? I'm sure we're all thinking the same thing.
I'll tell you what though - after some 4 years of study and practice it wasn't even until this past February when Master Bram Frank personally rag-dolled me around the lower east side that I really internalized a lot of this.
I tend to want to teach everything all at once. I have to remember not to do that. It's a simple, effective system, but if you dump anything on anyone all at once, don't expect them to remember much of it.
Oh and I got my certificates in Basic pistol from the NJFA the other day. So in addition to the patch, I now I have paper and knowledge... and you know what they say about knowledge.
That isn't to say I'm not capable, in fact, I consider myself pretty handy with an edged tool these days, and while I might not be getting any prettier as I age, I seem to be getting smarter. I like to think I brought some value to the session, and I'm a pretty fair sparring partner. Bri-guy's teaching also helped me to see something very basic about myself that I will need to keep squarely in check when I begin teaching someday.
In this class we covered 1-4-12 of modular and the first two gunting entries. In my head, I was thinking "Why aren't we moving to 2-3-12? Or 1-2-2? Why no mention of decision points and switch points?"
Right? I'm sure we're all thinking the same thing.
I'll tell you what though - after some 4 years of study and practice it wasn't even until this past February when Master Bram Frank personally rag-dolled me around the lower east side that I really internalized a lot of this.
I tend to want to teach everything all at once. I have to remember not to do that. It's a simple, effective system, but if you dump anything on anyone all at once, don't expect them to remember much of it.
Oh and I got my certificates in Basic pistol from the NJFA the other day. So in addition to the patch, I now I have paper and knowledge... and you know what they say about knowledge.
Monday, September 21, 2009
Hey neat-o! I got a patch!
With ears still mildly ringing, I'm back in the day job office, reflecting that for some people, handling firearms is not a by product of their careers such as MILLE type folks, but indeed their entire job. At the risk of sounding like a 12 year old, that's pretty sweet.
Enter Lateif Dickerson, Director and Chief Instructor of the NJ Firearms Academy, who's list of accomplishments and titles is longer than I care to cut and paste. Hence the link. A surprisingly relaxing and informative day out in Jersey City under his tutelage was a really really fun day as well.
The course in NRA Basic Pistol 1, which I have now passed (with only one error on the written exam - pesky wording mistake involving elimination of wavering sight picture as opposed to reduction) has shown me a number of things I long suspected but have now confirmed. Here are some of the highlights:
1. The Glock 17 is an excellent firearm and has a well deserved reputation. I prefer the Beretta.
2. I really really do like revolvers. Specifically, in the .38 flavor. I'm just old school that way it turns out.
3. .40 Caliber pistols are the upper limit of my current ability to control. .45s are just simply so big that I currently need an act of God, and a semi-magical solid steel frame to consistently hit a target at 20 feet.
4. Cleaning pistols is exactly the calming and relaxing process I suspected it was.
5. A novice firing a pistol with one hand is probably going to result in a missed shot. The reason there is a proper stance for beginners to fire a pistol is because it's the proper way to do it.
6. I have new appreciation for the phrase "Suddenly, his hands were full of thunder."
7. My long standing personal outlook on purchasing a firearm may be changing. Someday in the right environment, I just might become a gun owner, since the M1911 is available in 9mm. Sorry Mom.
8. I want to get much better than I am at this, and I'm actually not too bad at it to begin with.
9. Gunshots I've staged in theater in the past haven't actually been too silly. Now they'll be much better.
10. Handling a firearm is a delicate process, but need not be a frightening one.
Most important, I paid a lot of attention to the lessons "between the lessons." Watching Lateif and his son Trevor (the assistant on the range during the day) handle the weapons taught me a lot about how professionals operate and behave with these tools. Beyond no lapse safety basics and must have knowledge regarding grip placement and sight picture, being able to seamlessly duplicate the actions of someone familiar with the parts and operations of modern firearms can say a lot about a character.
It was the little things about body positioning, how comfortable and sure of the weapons they were when racking, assembling, and loading the pistols and how they became a legitimate extension of themselves that helped me understand. Best of all, these "little things" aren't impossible to learn, or duplicate. They are simply things that need to be practiced to sit in an actors mind and hands. These behaviors will translate on stage to the overall impression that the character has a level of expertise in accordance with who this character is.
Even if a shot is never fired onstage, and the "stage gun" is a solid piece of rubber or plastic, there are still ways to handle, move and use that prop so that the audience is under the impression that this is the real thing.
The way I see it, if you're striving for realism, there is no better way to go than to learn the real thing and adapt it into your work. No kidding, Lateif Dickerson's schooling is about is real as it gets, without staring down the barrel from the wrong side. I would recommend this class for anyone and everyone who's ever thought about a gun in any way.
Enter Lateif Dickerson, Director and Chief Instructor of the NJ Firearms Academy, who's list of accomplishments and titles is longer than I care to cut and paste. Hence the link. A surprisingly relaxing and informative day out in Jersey City under his tutelage was a really really fun day as well.
The course in NRA Basic Pistol 1, which I have now passed (with only one error on the written exam - pesky wording mistake involving elimination of wavering sight picture as opposed to reduction) has shown me a number of things I long suspected but have now confirmed. Here are some of the highlights:
1. The Glock 17 is an excellent firearm and has a well deserved reputation. I prefer the Beretta.
2. I really really do like revolvers. Specifically, in the .38 flavor. I'm just old school that way it turns out.
3. .40 Caliber pistols are the upper limit of my current ability to control. .45s are just simply so big that I currently need an act of God, and a semi-magical solid steel frame to consistently hit a target at 20 feet.
4. Cleaning pistols is exactly the calming and relaxing process I suspected it was.
5. A novice firing a pistol with one hand is probably going to result in a missed shot. The reason there is a proper stance for beginners to fire a pistol is because it's the proper way to do it.
6. I have new appreciation for the phrase "Suddenly, his hands were full of thunder."
7. My long standing personal outlook on purchasing a firearm may be changing. Someday in the right environment, I just might become a gun owner, since the M1911 is available in 9mm. Sorry Mom.
8. I want to get much better than I am at this, and I'm actually not too bad at it to begin with.
9. Gunshots I've staged in theater in the past haven't actually been too silly. Now they'll be much better.
10. Handling a firearm is a delicate process, but need not be a frightening one.
Most important, I paid a lot of attention to the lessons "between the lessons." Watching Lateif and his son Trevor (the assistant on the range during the day) handle the weapons taught me a lot about how professionals operate and behave with these tools. Beyond no lapse safety basics and must have knowledge regarding grip placement and sight picture, being able to seamlessly duplicate the actions of someone familiar with the parts and operations of modern firearms can say a lot about a character.
It was the little things about body positioning, how comfortable and sure of the weapons they were when racking, assembling, and loading the pistols and how they became a legitimate extension of themselves that helped me understand. Best of all, these "little things" aren't impossible to learn, or duplicate. They are simply things that need to be practiced to sit in an actors mind and hands. These behaviors will translate on stage to the overall impression that the character has a level of expertise in accordance with who this character is.
Even if a shot is never fired onstage, and the "stage gun" is a solid piece of rubber or plastic, there are still ways to handle, move and use that prop so that the audience is under the impression that this is the real thing.
The way I see it, if you're striving for realism, there is no better way to go than to learn the real thing and adapt it into your work. No kidding, Lateif Dickerson's schooling is about is real as it gets, without staring down the barrel from the wrong side. I would recommend this class for anyone and everyone who's ever thought about a gun in any way.
Tuesday, September 15, 2009
One quick note...
My home computer has died. After years of middling performance from a below average cut rate sale priced desktop, courtesy of Dell, I found myself in a similar situation to poor Strong Bad...
Oddly enough, I more or less got the blue screen of death, and while the words "Flagrant System Error, Computer Over Virus = Very Yes" didn't appear, my barely maintained virus protection didn't come through. I believe I was able to salvage some of my data. I snagged my iTunes library onto the portable hard drive purchased for just such an event, in any case so hopefully the damage is relatively limited.
Attempts to salvage the machine itself were... unsuccessful. Time of Death: 8:04 PM 9/14/09. Oddly enough, that's almost 4 years to the day when I first turned that bad boy on. So tonight, it's laptop shopping time. I'm not ready (emotionally and financially) to make the leap to Mac so it's back to PC land. I wonder if Dell is having a sale on laptops...
Oddly enough, I more or less got the blue screen of death, and while the words "Flagrant System Error, Computer Over Virus = Very Yes" didn't appear, my barely maintained virus protection didn't come through. I believe I was able to salvage some of my data. I snagged my iTunes library onto the portable hard drive purchased for just such an event, in any case so hopefully the damage is relatively limited.
Attempts to salvage the machine itself were... unsuccessful. Time of Death: 8:04 PM 9/14/09. Oddly enough, that's almost 4 years to the day when I first turned that bad boy on. So tonight, it's laptop shopping time. I'm not ready (emotionally and financially) to make the leap to Mac so it's back to PC land. I wonder if Dell is having a sale on laptops...
Monday, September 14, 2009
Countdown to NJFA courses!
I'm now 1 week off from the latest iteration of firearms training - some basic pistol. I've had my hands on a few pistols over time, and squeezed off the occasional round in the appropriate setting, but I'm looking forward to a formal program with a variety of calibers and a variety of weapons. It's my hope that I'll come away from this weekend's schooling with a more in depth understanding not just of the tools, but the most effective uses of them. Once I've got that under my belt (and the appropriate paperwork) I'm going to make the purchase of a few blank firing props and begin marketing myself in earnest to the indie folks.
Speaking of indie folks - I also recently took place (just this past Saturday night, in fact) in the Vampire Cowboy's Saloon Series. Now, I've mused on the VC before, but since this isn't their production I'm not stressing it. The Saloon series is in fact something I had the chance to participate in briefly last year, however other commitments interfered, and left me hanging unable to keep playing. A shame since it was Mac Rogers' play "Asymmetric" a spy thriller that I adored. There was to be torture and gunplay all over. A fight stager's dream. Alas. In short, each year, Vampire Cowboys invite top indie groups and writers to stage 10-15 minute installments of a full piece. Each month, audiences cram in to view the latest "episode" of the plays.
This year, I'm involved in Crystal Skillman's show - "Hack" a twisted combination of computer IT hacker mystery and spaghetti western. Directed by John Hurley and featuring some of my favorite people to work with, it is also a nice little showcase for groups who don't know me. I also get to employ the gravelly "gunfighter voice" that no one in their right mind would ever employ on stage. Since it's 10 minutes once a month - no harm done. It's fun, and I hope to get to stretch my choreography muscles a little at some point down the line. It'll be tough since these are the nerdiest of the nerds and not exactly capable fighters, but that has it's own joys, I suppose.
Depending on how this process goes, I may investigate taking a class or two at the Vampire Cowboy's Battleranch (this is their studio space in Assendofnowhereburg, Brooklyn). I might be able to pick up a thing or two from them, and possibly trade a little knife and gunskill along the way.
On another note, now that things are getting cooler, and most of my compatriots are working semi-regular hours again, it's getting time to start actually shooting at one another again. Paintball season for the casual player is upon us. I'm hoping I can con my brothers out on a weekend jaunt at some point this fall.
In the meantime, it's practice practice practice in CSSD SC, keep working up fights, recording ideas for improvised melee weapons, and seek out excellent work on film TV and stage to be inspired by. By the way - "Leverage" has excellent stuff. It was recommended by my instructor, the venerable Michael Stone, and I have NOT been disappointed in the least. Brutal and accurate, it's not the usual flying fists and kung fu kicks. This is rapid, tactically efficient sequence after sequence (sometimes stretching realism) but ultimately fun. I love when I see something and either I am able to break it down into a series I can duplicate, or even more exciting, say "I know how to do that in real life!"
On the sad side... I saw another show with eastern styled martial arts slowed down to the point of looking like it was under water. I'm not naming names, but holy shav'ed cats. What a waste of time. I just don't get it. If you don't have the chops to choreograph something that advanced, DON'T DO IT. I don't know kung-fu. I'm not going to stage a fight with something remotely approximating it. And for god's sake, stop with the facing off. Ugh. It's cheesy in Japanese cinema, and it's even worse with two chumps on stage.
Speaking of indie folks - I also recently took place (just this past Saturday night, in fact) in the Vampire Cowboy's Saloon Series. Now, I've mused on the VC before, but since this isn't their production I'm not stressing it. The Saloon series is in fact something I had the chance to participate in briefly last year, however other commitments interfered, and left me hanging unable to keep playing. A shame since it was Mac Rogers' play "Asymmetric" a spy thriller that I adored. There was to be torture and gunplay all over. A fight stager's dream. Alas. In short, each year, Vampire Cowboys invite top indie groups and writers to stage 10-15 minute installments of a full piece. Each month, audiences cram in to view the latest "episode" of the plays.
This year, I'm involved in Crystal Skillman's show - "Hack" a twisted combination of computer IT hacker mystery and spaghetti western. Directed by John Hurley and featuring some of my favorite people to work with, it is also a nice little showcase for groups who don't know me. I also get to employ the gravelly "gunfighter voice" that no one in their right mind would ever employ on stage. Since it's 10 minutes once a month - no harm done. It's fun, and I hope to get to stretch my choreography muscles a little at some point down the line. It'll be tough since these are the nerdiest of the nerds and not exactly capable fighters, but that has it's own joys, I suppose.
Depending on how this process goes, I may investigate taking a class or two at the Vampire Cowboy's Battleranch (this is their studio space in Assendofnowhereburg, Brooklyn). I might be able to pick up a thing or two from them, and possibly trade a little knife and gunskill along the way.
On another note, now that things are getting cooler, and most of my compatriots are working semi-regular hours again, it's getting time to start actually shooting at one another again. Paintball season for the casual player is upon us. I'm hoping I can con my brothers out on a weekend jaunt at some point this fall.
In the meantime, it's practice practice practice in CSSD SC, keep working up fights, recording ideas for improvised melee weapons, and seek out excellent work on film TV and stage to be inspired by. By the way - "Leverage" has excellent stuff. It was recommended by my instructor, the venerable Michael Stone, and I have NOT been disappointed in the least. Brutal and accurate, it's not the usual flying fists and kung fu kicks. This is rapid, tactically efficient sequence after sequence (sometimes stretching realism) but ultimately fun. I love when I see something and either I am able to break it down into a series I can duplicate, or even more exciting, say "I know how to do that in real life!"
On the sad side... I saw another show with eastern styled martial arts slowed down to the point of looking like it was under water. I'm not naming names, but holy shav'ed cats. What a waste of time. I just don't get it. If you don't have the chops to choreograph something that advanced, DON'T DO IT. I don't know kung-fu. I'm not going to stage a fight with something remotely approximating it. And for god's sake, stop with the facing off. Ugh. It's cheesy in Japanese cinema, and it's even worse with two chumps on stage.
Friday, August 7, 2009
That certain feeling, you can only say it in fisticuffs...
And now I expound on my philosophies regarding fake physical violence:
Violence, as we tend to see it dramatized is very different from what is experienced when it is right in front of us either on the streets, in the bar, or ye gods forbid, happening to us.
Most of the time, voilence happens very close in, very quickly, and it's not particularly poetic to see. A moment of frenzied scuffling and then the combatants either separate, are separated by others, or the fight is over. The fight is over generally means one or more combatants have been rendered incapable of continuing the fight and further hostilities are not needed. Violent action may continue but it's less of a fight and more of a series of really nasty things at that point.
On film, and in theater, fights have been "exploded" to present a clearer element of storytelling, add comic effect and in some cases, elevate a character to super-being status. We all recall the incredible exploits of the Trinity character in the first few moments of the first Matrix film, with her wire aided (though still by no means physically easy) flying kicks. That's what I mean by super-being.
We live in a culture where it is near impossible to not be exposed to some kind of fictionalized violence, though it may have been sanitized, polished and made unreal or "cool." In fact, I would venture to say that the average person on the street could recount at least 3 violent acts in fictional media of the top of their head, and could describe them in some detail.
Further drilling down to our film/tv and theater, it seems that in many cases these works strive for hyper-realism in many aspects, indeed most of our theater strives for some degree of realism in many aspects. The illusion of real emotion from our actors, the illusion of place and time via scenic and lighting design among other elements all combined with a willing suspension of disbelief (the magic phrase) to make the fiction seem real.
Why then, I ask, do we not strive for hyper realism in our choreographed combat? Why have we exploded violence onstage into something that would never happen in the streets and accept it? If an actors line delivery was as rigidly structured and unrealistic as some of the combat I've seen, I would walk out / change the channel.
Real combat is messy. It's not cool, or cool looking. It's fast, small and brutal and frequently confusing. That's what makes it terrifying. I'f you've ever seen a real bar fight you know it can be a profoundly scarring experience just to witness. Why do we protect our audiences from this kind of emotional impact? Surely we aren't using the illusion of violence onstage to evoke a response that isn't in keeping with emotional truth, are we?
Or rather, are we as a culture so removed from the emotional impact of real violent actions that we as an artistic subset of that culture - those responsible for creating fictionalized violence - so unfamiliar with violence that we don't know how best to perform it?
I refer specifically to a violent act such as a shooting that may take place on stage. Guns are loud and destructive tools. Discharging a firearm at another human and hitting them with a high velocity projectile results in a lot of mess at the very least, and generally there is a lot of screaming shortly afterwards from the wounded. The consequences of a gunfight in theater and on stage are comparitively sanitized so much that we as a culture tend to think nothing of it. Hence a cavalier attitude towards gunplay as artists, and eventually a cavalier attitude in our audiences.
Why not instead expose our audiences to the same kind of realism or heightened circumstances in staged violence that we supply them in love scenes, or songs? (I'm not advocating for "Mr. Orange! The Resevoir Dogs Musical here.)
A closing note - violence, when stylized can be both cool and funny. Matrix would not have been nearly as cool without the stylized combat. The 3 Stooges wouldn't be funny if they were scary to watch. I only argue that when striving for realism, don't softball your choreography. Make it brutal, make it fast and if you don't have the skill set or time to make it dirty, then keep it simple. I firmly believe almost any scene's pivotal moment is the character's choice to use violence, and the immediate consequences. Not the violence itself.
Violence, as we tend to see it dramatized is very different from what is experienced when it is right in front of us either on the streets, in the bar, or ye gods forbid, happening to us.
Most of the time, voilence happens very close in, very quickly, and it's not particularly poetic to see. A moment of frenzied scuffling and then the combatants either separate, are separated by others, or the fight is over. The fight is over generally means one or more combatants have been rendered incapable of continuing the fight and further hostilities are not needed. Violent action may continue but it's less of a fight and more of a series of really nasty things at that point.
On film, and in theater, fights have been "exploded" to present a clearer element of storytelling, add comic effect and in some cases, elevate a character to super-being status. We all recall the incredible exploits of the Trinity character in the first few moments of the first Matrix film, with her wire aided (though still by no means physically easy) flying kicks. That's what I mean by super-being.
We live in a culture where it is near impossible to not be exposed to some kind of fictionalized violence, though it may have been sanitized, polished and made unreal or "cool." In fact, I would venture to say that the average person on the street could recount at least 3 violent acts in fictional media of the top of their head, and could describe them in some detail.
Further drilling down to our film/tv and theater, it seems that in many cases these works strive for hyper-realism in many aspects, indeed most of our theater strives for some degree of realism in many aspects. The illusion of real emotion from our actors, the illusion of place and time via scenic and lighting design among other elements all combined with a willing suspension of disbelief (the magic phrase) to make the fiction seem real.
Why then, I ask, do we not strive for hyper realism in our choreographed combat? Why have we exploded violence onstage into something that would never happen in the streets and accept it? If an actors line delivery was as rigidly structured and unrealistic as some of the combat I've seen, I would walk out / change the channel.
Real combat is messy. It's not cool, or cool looking. It's fast, small and brutal and frequently confusing. That's what makes it terrifying. I'f you've ever seen a real bar fight you know it can be a profoundly scarring experience just to witness. Why do we protect our audiences from this kind of emotional impact? Surely we aren't using the illusion of violence onstage to evoke a response that isn't in keeping with emotional truth, are we?
Or rather, are we as a culture so removed from the emotional impact of real violent actions that we as an artistic subset of that culture - those responsible for creating fictionalized violence - so unfamiliar with violence that we don't know how best to perform it?
I refer specifically to a violent act such as a shooting that may take place on stage. Guns are loud and destructive tools. Discharging a firearm at another human and hitting them with a high velocity projectile results in a lot of mess at the very least, and generally there is a lot of screaming shortly afterwards from the wounded. The consequences of a gunfight in theater and on stage are comparitively sanitized so much that we as a culture tend to think nothing of it. Hence a cavalier attitude towards gunplay as artists, and eventually a cavalier attitude in our audiences.
Why not instead expose our audiences to the same kind of realism or heightened circumstances in staged violence that we supply them in love scenes, or songs? (I'm not advocating for "Mr. Orange! The Resevoir Dogs Musical here.)
A closing note - violence, when stylized can be both cool and funny. Matrix would not have been nearly as cool without the stylized combat. The 3 Stooges wouldn't be funny if they were scary to watch. I only argue that when striving for realism, don't softball your choreography. Make it brutal, make it fast and if you don't have the skill set or time to make it dirty, then keep it simple. I firmly believe almost any scene's pivotal moment is the character's choice to use violence, and the immediate consequences. Not the violence itself.
Friday, July 31, 2009
An update on progress...
I'm in the pre-register stages for the pistol courses I want and have begun, in earnest the investigation of practical stage firearms to supply and train with. I'm still a major proponent of experimenting more with compressed air as well - cheaper, safer, and hopefully as effective in the "noise" department.
You see, most stage weapons don't actually expend a used round, even a 1/4 or primer round. All bang, no "clink." Since 8mm primer cartridges don't have the necessary kick to eject and chamber a subsequent round, there's a dearth of gunfights using semi automatic and even automatic fire. Unusual since most lethal usage of the actual weapons in combat situation involves the expenditure of multiple rounds.
I want more realism.
There's a company called Nightmare Paintball which builds .43 caliber paintball markers with an emphasis on extreme realism for L.E. and military use (as well as weekend gamers like me). They have a line of assault arms, rifles and pistols which are, having test fired a few at NJ Nam (I'm in their gallery! - 4th pic) excellent.
Most exciting to me is that their markers operate again, on extreme realism, meaning each .43 caliber paintball is encased in brass (or biodegradable platic) casings which are ejected after each firing. I'm considering the purchase of their P99 replica pistol (built up from the RAP4 P99 fully licensed by Walther) simply because a pistol that ejects brass adds an excellent element of realism often absent from stage firearms. This also means repeating fire, or full auto fire for incredible effect onstage. When's the last time you saw someone open up onstage with an assault rifle? Me either. But I've seen a lot of big guns that go off once and only once.
Of course, every expended casing must be tracked by stage management, and there is the risk of an expended casing sailing into the audience - but with no projectiles, it may be that the marker could operate without a casing as well, so it becomes an optional feature depending on the wants, or needs of the show director.
Of course, they aren't cheap, but a few rentals of this piece out to companies should cover costs over time. Using compressed air again becomes a safer, less expensive alternative to primer, half or full load blank rounds.
Meanwhile - tonight there's another fundraising episode of "Mraz Inc" the incredibly awful ongoing theatrical series that somehow manages to mash up "24" with a bad soap opera and awkward staging. I'll be reprising my role as "Eric" the undervalued tactical operative who isn't in the inner circle, ends up betraying the good guys, and then gets shot in the face. I told you it was awful. I modified my Tippmann A-5 to look a little more MP5-ish for the occasion. I'll attach an image later on.
I'll be reclaiming my 18th century (nonfiring display only) Italian duelling pistol this weekend, as well as "The Big Iron" my (replica) Griswold and Gunnison Confederate blackpowder repeating pistol. Ye olde Charleville and Brown Bess muskets are due for cleaning as well. Ahh, antique firearms. So glad I don't actually use ye.
You see, most stage weapons don't actually expend a used round, even a 1/4 or primer round. All bang, no "clink." Since 8mm primer cartridges don't have the necessary kick to eject and chamber a subsequent round, there's a dearth of gunfights using semi automatic and even automatic fire. Unusual since most lethal usage of the actual weapons in combat situation involves the expenditure of multiple rounds.
I want more realism.
There's a company called Nightmare Paintball which builds .43 caliber paintball markers with an emphasis on extreme realism for L.E. and military use (as well as weekend gamers like me). They have a line of assault arms, rifles and pistols which are, having test fired a few at NJ Nam (I'm in their gallery! - 4th pic) excellent.
Most exciting to me is that their markers operate again, on extreme realism, meaning each .43 caliber paintball is encased in brass (or biodegradable platic) casings which are ejected after each firing. I'm considering the purchase of their P99 replica pistol (built up from the RAP4 P99 fully licensed by Walther) simply because a pistol that ejects brass adds an excellent element of realism often absent from stage firearms. This also means repeating fire, or full auto fire for incredible effect onstage. When's the last time you saw someone open up onstage with an assault rifle? Me either. But I've seen a lot of big guns that go off once and only once.
Of course, every expended casing must be tracked by stage management, and there is the risk of an expended casing sailing into the audience - but with no projectiles, it may be that the marker could operate without a casing as well, so it becomes an optional feature depending on the wants, or needs of the show director.
Of course, they aren't cheap, but a few rentals of this piece out to companies should cover costs over time. Using compressed air again becomes a safer, less expensive alternative to primer, half or full load blank rounds.
Meanwhile - tonight there's another fundraising episode of "Mraz Inc" the incredibly awful ongoing theatrical series that somehow manages to mash up "24" with a bad soap opera and awkward staging. I'll be reprising my role as "Eric" the undervalued tactical operative who isn't in the inner circle, ends up betraying the good guys, and then gets shot in the face. I told you it was awful. I modified my Tippmann A-5 to look a little more MP5-ish for the occasion. I'll attach an image later on.
I'll be reclaiming my 18th century (nonfiring display only) Italian duelling pistol this weekend, as well as "The Big Iron" my (replica) Griswold and Gunnison Confederate blackpowder repeating pistol. Ye olde Charleville and Brown Bess muskets are due for cleaning as well. Ahh, antique firearms. So glad I don't actually use ye.
Monday, July 20, 2009
A word on those Vampire Cowboys in NYC...
This past Friday night, 7/17/09, the ladytype friend and I journeyed down to the HERE Arts center to catch the remounted production of Vampire Cowboy's "Fight Girl Battleworld" which was heralded as a zenith of comic silliness.
Now, before I go too far, I do need to say that I've been vaguely familiar with the Vamp's work over the last few years, though I'm not a huge fan. I am in fact, far too biased regarding their work when it comes to scripting, fight choreography and tech. I'm not personally big on mixing too much comedy and violence, nor am I a fan of the sort of martial arts stage styles they tend to use. Also, as an Impetuous Theater Group pal, the ultimately unrelated "Living Dead in Denmark's" sudden emergence prior to Brian Smallwood's "12th Night of the Living Dead" always left a bad taste in my mouth.
All of that aside (and by "that" I mean my own personal tastes) we took a look at "FGBW" and I am hereby issuing the following statement: it was tremendously fun.
The script itself does border on plain stupid in some instances (this coming from a guy who finds zombies in Shakespeare to be a truly first class jest so... take "stupid" with a grain of salt) but "Fight Girl" was more than expertly performed by a hilarious cast of nimble, strong and engaging performers.
I'll leave off the commentary on the acting performances and comic timing for someone else though, simply stating that I'm a sci-fi geek and there were enough nerd-core puns, gags, and easter eggs to keep even jaded, bitter me thoroughly amused from start to finish.
Since this is a blog on fight choreography though, let's get to the point where the fist meets the air. It was clear to me that Friday night's show was a little tired, and while there was a never a moment I was concerned about safety, there were more than a few times the moves were stretched past the point of credulity.
This is a high energy show, and credit is certainly due to the cast and creator/choregrapher Qui Nguyen, but it struck me that this limited remount could have used a little more rehearsal in the space, correcting sightlines, and in general some tightening of the combat.
Nguyen and the director use a variety of film style techniques to keep long fights moving to great effect, both in choreography and comic potential, but I found that ultimately, all of the combatants were immersed in using a very finite series of moves in a similar style. To me, the fighting characters all seemed to have trained together. Doubtless, the actors all trained together - and again to good effect. I'm just being nit-picky about the lack of combat diversity among characters, several of whom came from entirely different worlds.
I'd have enjoyed seeing a variety of styles mashed up - some brawling, messy and wild, as contrasted with a more expert level of martial art, something like kenpo, or aikido. To me, clashing styles in a fight is part of the story telling, probing for weaknesses and holes in defense, rather than flying fists and kicks is something I find reveals a great deal about character in a fight, also allowing for earned results in an outcome. In "FGBW's" case, many of the moves became predictable, and were so far from their targets as to be wholly comical - perhaps even when not intended to be so.
Also, there was an interesting lack of hand held melee weapons. It would appear that in the far flung and silly future of "Fight Girl Battleworld", the deplorable myth of the unarmed super-combatant persists still.
Now, don't get me wrong- I had a blast. FGBW was innovative in a lot of exciting ways, the staging alone catapults this show into the realm of unforgettable. In fact, I haven't had this much fun at a show in a loooooong while.
I'll be going back to see what the Vampire Cowboys have in store for their next offering of course, but I'm going to hope for something new. I've seen a lot of the same punches, kicks and martial arts based moves onstage already. Here's hoping they can level up for the next show.
The good news is that even if they don't experiment, they are still so good at what they already do that I'll likely only complain once more and gloss over virtually everything they do right. And for the record, what they do right is better than most everything else I see in that vein.
Now, before I go too far, I do need to say that I've been vaguely familiar with the Vamp's work over the last few years, though I'm not a huge fan. I am in fact, far too biased regarding their work when it comes to scripting, fight choreography and tech. I'm not personally big on mixing too much comedy and violence, nor am I a fan of the sort of martial arts stage styles they tend to use. Also, as an Impetuous Theater Group pal, the ultimately unrelated "Living Dead in Denmark's" sudden emergence prior to Brian Smallwood's "12th Night of the Living Dead" always left a bad taste in my mouth.
All of that aside (and by "that" I mean my own personal tastes) we took a look at "FGBW" and I am hereby issuing the following statement: it was tremendously fun.
The script itself does border on plain stupid in some instances (this coming from a guy who finds zombies in Shakespeare to be a truly first class jest so... take "stupid" with a grain of salt) but "Fight Girl" was more than expertly performed by a hilarious cast of nimble, strong and engaging performers.
I'll leave off the commentary on the acting performances and comic timing for someone else though, simply stating that I'm a sci-fi geek and there were enough nerd-core puns, gags, and easter eggs to keep even jaded, bitter me thoroughly amused from start to finish.
Since this is a blog on fight choreography though, let's get to the point where the fist meets the air. It was clear to me that Friday night's show was a little tired, and while there was a never a moment I was concerned about safety, there were more than a few times the moves were stretched past the point of credulity.
This is a high energy show, and credit is certainly due to the cast and creator/choregrapher Qui Nguyen, but it struck me that this limited remount could have used a little more rehearsal in the space, correcting sightlines, and in general some tightening of the combat.
Nguyen and the director use a variety of film style techniques to keep long fights moving to great effect, both in choreography and comic potential, but I found that ultimately, all of the combatants were immersed in using a very finite series of moves in a similar style. To me, the fighting characters all seemed to have trained together. Doubtless, the actors all trained together - and again to good effect. I'm just being nit-picky about the lack of combat diversity among characters, several of whom came from entirely different worlds.
I'd have enjoyed seeing a variety of styles mashed up - some brawling, messy and wild, as contrasted with a more expert level of martial art, something like kenpo, or aikido. To me, clashing styles in a fight is part of the story telling, probing for weaknesses and holes in defense, rather than flying fists and kicks is something I find reveals a great deal about character in a fight, also allowing for earned results in an outcome. In "FGBW's" case, many of the moves became predictable, and were so far from their targets as to be wholly comical - perhaps even when not intended to be so.
Also, there was an interesting lack of hand held melee weapons. It would appear that in the far flung and silly future of "Fight Girl Battleworld", the deplorable myth of the unarmed super-combatant persists still.
Now, don't get me wrong- I had a blast. FGBW was innovative in a lot of exciting ways, the staging alone catapults this show into the realm of unforgettable. In fact, I haven't had this much fun at a show in a loooooong while.
I'll be going back to see what the Vampire Cowboys have in store for their next offering of course, but I'm going to hope for something new. I've seen a lot of the same punches, kicks and martial arts based moves onstage already. Here's hoping they can level up for the next show.
The good news is that even if they don't experiment, they are still so good at what they already do that I'll likely only complain once more and gloss over virtually everything they do right. And for the record, what they do right is better than most everything else I see in that vein.
Tuesday, July 14, 2009
Who's running this thing?
Over the last 10 years on the independent theater scene here in NYC, I've been in a lot of shows, and worked on building more than a few. Along the way I also had the chance to get my "hands dirty" by staging some violence - nothing too heavy, the odd bout of fisticuffs, an occasional beating and a fair bit of gun play.
I've always got a charge out that, and it always floors me how many actors out there are just plain miserable at (and terrified of) using modern stage weapons. I've seen plenty of stage directions that read like this:
"Doug pulls a knife and Frank blocks the attack and wrestles the knife away from him."
The subsequent staging of that moment usually left me wondering which actual fighting style the fight choreographer knows, or why these guys are suddenly proficient at martial arts, or somehow worse, it left me wondering why "Doug" attacked "Frank" with a dagger in a style extremely reminscent of European sword duelling.
On top of that, there's always a pistol showing up on stage being weilded extremely cautiously by an actor who is terrified his 1/4 load blank round will kill everyone onstage. The poor actor holds the pistol like it's their first day on the firing range, and it inevitably detracts from the action of the play. Especially when the character is a police officer, soldier, or someone with more than a passing familiarity with a weapon.
Obviously, not every character is supposed to be good with a weapon, but when they are, and the actor is not, it kills me. I'm a big proponent of safety first, especially when dealing with weapons, and combat choreography... but there's a difference between Safety First and boring stage combat. There's also a world of difference between real combat and telling a visual story. But there has to be a balance.
So what's it take?
I think it takes being expressly familiar with the real stuff - or as close as one can safely get. So that means training. It means being a good and patient teacher. And above all it means having an artistic eye towards making the combat look as real as possible while still being visually gripping and not so fast and brutal that the storytelling falls by the wayside. Every real or training fight I've seen has been over in a few shots. Many stage fights I've seen have been long, and silly. I intend to split the difference.
In any case... I'll be posting regularly as I go - it's a fun side project.
I've always got a charge out that, and it always floors me how many actors out there are just plain miserable at (and terrified of) using modern stage weapons. I've seen plenty of stage directions that read like this:
"Doug pulls a knife and Frank blocks the attack and wrestles the knife away from him."
The subsequent staging of that moment usually left me wondering which actual fighting style the fight choreographer knows, or why these guys are suddenly proficient at martial arts, or somehow worse, it left me wondering why "Doug" attacked "Frank" with a dagger in a style extremely reminscent of European sword duelling.
On top of that, there's always a pistol showing up on stage being weilded extremely cautiously by an actor who is terrified his 1/4 load blank round will kill everyone onstage. The poor actor holds the pistol like it's their first day on the firing range, and it inevitably detracts from the action of the play. Especially when the character is a police officer, soldier, or someone with more than a passing familiarity with a weapon.
Obviously, not every character is supposed to be good with a weapon, but when they are, and the actor is not, it kills me. I'm a big proponent of safety first, especially when dealing with weapons, and combat choreography... but there's a difference between Safety First and boring stage combat. There's also a world of difference between real combat and telling a visual story. But there has to be a balance.
So what's it take?
I think it takes being expressly familiar with the real stuff - or as close as one can safely get. So that means training. It means being a good and patient teacher. And above all it means having an artistic eye towards making the combat look as real as possible while still being visually gripping and not so fast and brutal that the storytelling falls by the wayside. Every real or training fight I've seen has been over in a few shots. Many stage fights I've seen have been long, and silly. I intend to split the difference.
In any case... I'll be posting regularly as I go - it's a fun side project.
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