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.
Monday, November 23, 2009
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.
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