Stop what you're doing and watch it now.
I bring this up because the most recent episode, which aired on AMC this past Sunday evening was a perfect example of everything I believe could be right with fictional violence if we as storytellers had the balls to do it the right way.
Violence should not be easy for characters that aren't insane, even when it's forced on them by someone who isn't thinking clearly. Or by the shambling corpses of zombies. Violence should not be without consequences, and just when those characters think they understand all of those consequences, there are often unforeseen ramifications to the choice to use force.
And when writers understand these things, the resulting scene is haunting, inexpressibly sad, and will likely stay with you for years.
Spoiler Alert. Good news, we found Sophia. Bad news, we found Sophia in the barn.
Also - hooray for guy shooting one hand "gangsta-style" and getting criticized for bullshit form and not hitting anything.
Tuesday, November 29, 2011
Tuesday, November 15, 2011
Right... So... Fall?
Not too long after the prior posting, a solid 8 and a half months ago (during which time, I'm told a whole human can be manufactured inside of a female!) I finally did something I had been meaning to do for a long while.
What's that? You left your cushy yet soul crushing desk job at an unnamed major internet travel retailer?
Why yes, yes I did. It was a semi-mutual decision, suggested by the local regional director and heartily agreed to by me. Though I have to admit, I'd have been ok with the regular steady paycheck continuing but I could have done with a great deal less douche-baggery from their end. Alas, as it turns out - you can't have you cake and eat it too. Or in this case, if I wanted to keep accepting money from them, I had to keep accepting the douche-ness. So I've been more or less freelancing since the end of April.
You've been freelancing as a technician, fight choreographer and actor for 8 months?
Yes. I'll get to that in a second. Stop interrupting me.
Sorry.
But primarily, the biggest thing I pulled off was getting the lady-type to say yes to a marriage. So, there will someday be a Mrs. SmallandBrutal. I say someday because part and parcel with the whole freelancing thing is that there's no actual planning going on at this point. But we'll get there. But yes, I'm taking a second stab at marriage. Or rather a second stab at engagement. Never made it to the marriage part before.
Now - what else have I been doing with my time since April? A lot actually. I've done some highly weird things in fact - among them working in the Madame Tussauds Chamber of Horrors. Which by the way if you think is scary with the lights out, you should breeze through there with the lights on. >shudder< Let's just say, OSHA would have a field day in there. I normally don't like to gossip, but wow. Glad to have kept that gig to just a few weeks.
I've been mostly making my living (and doing OK at it by the way) as an actor/technician. Did you know that they pay movie and TV extras money to do NOTHING?! It's not a lot of money, but you literally do nothing.
There was also Retro Productions Dear Ruth, which was alas completely devoid of combat and violence, followed by the Brick's comic book festival production of Action Philosophers! This show had a bit more violence, but nothing too insane. We actually remounted it in October and changed it up again and had a bit more choreography.
I also got to have a bit of fun with a new Becca Schlossberg (she of 3 Boys fame) play - taking the opportunity to design some moments of violence with a 13 year old actress (playing 11). I and the production were very fortunate in that this kid was sharp and talented. Acted more like a 30 year old than an 13 year old. Which isn't to say she was old before her time, just that she handled herself like a pro. Working out some slaps, punches and grappling with her and her cast mates under the direction of Madeliene Parsigian was a treat. The show suffered a few setbacks none of which made the final production any less of what it wanted to be.
That more or less brings us to where I am now - mid run of another Retro show, Milan Stitt's "The Runner Stumbles." Oddly enough there's a decent amount of blood and some brief moments of violence within this show about priest on nun love and the consequences of denying/accepting that love in a harsh word that blah blah blah...
I'm playing Amos, the jail guard which means I have the character arc of start a mean bastard, end a mean bastard with extended time for backstage boozing between. The show itself has turned out excellently, no thanks to my acting. But I will say I did some nice stuff regarding the violence.
I've been working on a theory that sometimes the slow violence is more meaningful and in the capable hands of experienced and nuanced actors can be very effective. When there's quick stuff to balance it out, you get a nice portrait of a loss of control. One of my new favorite stage directions comes from this play (the other being Winter's Tale "exit Antigonus pursued by bear") and is: "Nun slaps Priest. Priest slaps Nun."
Am I the only one who thinks that's kind of funny?
I had a few variants on this, but with such a simple set, it's really about intent and the physical psychology involved. Rather, with two simple and virtually identical moves, how can I set up the communication with one slap a desperate need to feel something from another that isn't church dogma, and then immediately the return strike needs to communicate animal aggression dressed in blacks. If you've seen the show hopefully you know the moment you know I'm talking about. Specificity in the blocking down to the footwork is key.
And there's also a fun knife effect, which I'm proud of. Rather than use a dummy knife, I took an existing kitchen knife, filed the bejesus out of the edge so it's about as a sharp as a spoon, and then took a Dremel router bit and milled out the handle so I could insert a medicine dropper into the handle. I super glued the bulb into the handle, flush against the tang, and painted it to match the handle wood. The pipette runs about 4/5ths of the way down the blade, and is painted in a med gloss silver metallic acrylic to match the sheen of a used kitchen paring knife. So, when Father Rivard is provoked, he picks up the prop, and deliberately moves the dulled edge across the ball of his thumb to show he does in fact bleed like an ordinary man, the audience sees a knife that was just used to slice fruit slice across a man's hand and blood immediate wells up. No spurting, or squirting. Just deep welling. And dripping. Good smear consistency. I've been rewarded with some nice gasps from the audience.
So what's next?
I honestly couldn't say. I'm just floating from gig to gig at this point, and enjoying working more in film and TV where it's safe to say I've made more money doing nothing that I have busting my ass in theater. Clearly this is something worth pursuing.
More later. Just letting Tim and the not Tim readers of the old Knives Guns and Other Assorted Trouble blog that I'm in fact alive. Yep. Still Alive. I am doing science and I'm still alive. And when you're dying I'll still be alive.
What's that? You left your cushy yet soul crushing desk job at an unnamed major internet travel retailer?
Why yes, yes I did. It was a semi-mutual decision, suggested by the local regional director and heartily agreed to by me. Though I have to admit, I'd have been ok with the regular steady paycheck continuing but I could have done with a great deal less douche-baggery from their end. Alas, as it turns out - you can't have you cake and eat it too. Or in this case, if I wanted to keep accepting money from them, I had to keep accepting the douche-ness. So I've been more or less freelancing since the end of April.
You've been freelancing as a technician, fight choreographer and actor for 8 months?
Yes. I'll get to that in a second. Stop interrupting me.
Sorry.
But primarily, the biggest thing I pulled off was getting the lady-type to say yes to a marriage. So, there will someday be a Mrs. SmallandBrutal. I say someday because part and parcel with the whole freelancing thing is that there's no actual planning going on at this point. But we'll get there. But yes, I'm taking a second stab at marriage. Or rather a second stab at engagement. Never made it to the marriage part before.
Now - what else have I been doing with my time since April? A lot actually. I've done some highly weird things in fact - among them working in the Madame Tussauds Chamber of Horrors. Which by the way if you think is scary with the lights out, you should breeze through there with the lights on. >shudder< Let's just say, OSHA would have a field day in there. I normally don't like to gossip, but wow. Glad to have kept that gig to just a few weeks.
I've been mostly making my living (and doing OK at it by the way) as an actor/technician. Did you know that they pay movie and TV extras money to do NOTHING?! It's not a lot of money, but you literally do nothing.
There was also Retro Productions Dear Ruth, which was alas completely devoid of combat and violence, followed by the Brick's comic book festival production of Action Philosophers! This show had a bit more violence, but nothing too insane. We actually remounted it in October and changed it up again and had a bit more choreography.
I also got to have a bit of fun with a new Becca Schlossberg (she of 3 Boys fame) play - taking the opportunity to design some moments of violence with a 13 year old actress (playing 11). I and the production were very fortunate in that this kid was sharp and talented. Acted more like a 30 year old than an 13 year old. Which isn't to say she was old before her time, just that she handled herself like a pro. Working out some slaps, punches and grappling with her and her cast mates under the direction of Madeliene Parsigian was a treat. The show suffered a few setbacks none of which made the final production any less of what it wanted to be.
That more or less brings us to where I am now - mid run of another Retro show, Milan Stitt's "The Runner Stumbles." Oddly enough there's a decent amount of blood and some brief moments of violence within this show about priest on nun love and the consequences of denying/accepting that love in a harsh word that blah blah blah...
I'm playing Amos, the jail guard which means I have the character arc of start a mean bastard, end a mean bastard with extended time for backstage boozing between. The show itself has turned out excellently, no thanks to my acting. But I will say I did some nice stuff regarding the violence.
I've been working on a theory that sometimes the slow violence is more meaningful and in the capable hands of experienced and nuanced actors can be very effective. When there's quick stuff to balance it out, you get a nice portrait of a loss of control. One of my new favorite stage directions comes from this play (the other being Winter's Tale "exit Antigonus pursued by bear") and is: "Nun slaps Priest. Priest slaps Nun."
Am I the only one who thinks that's kind of funny?
I had a few variants on this, but with such a simple set, it's really about intent and the physical psychology involved. Rather, with two simple and virtually identical moves, how can I set up the communication with one slap a desperate need to feel something from another that isn't church dogma, and then immediately the return strike needs to communicate animal aggression dressed in blacks. If you've seen the show hopefully you know the moment you know I'm talking about. Specificity in the blocking down to the footwork is key.
And there's also a fun knife effect, which I'm proud of. Rather than use a dummy knife, I took an existing kitchen knife, filed the bejesus out of the edge so it's about as a sharp as a spoon, and then took a Dremel router bit and milled out the handle so I could insert a medicine dropper into the handle. I super glued the bulb into the handle, flush against the tang, and painted it to match the handle wood. The pipette runs about 4/5ths of the way down the blade, and is painted in a med gloss silver metallic acrylic to match the sheen of a used kitchen paring knife. So, when Father Rivard is provoked, he picks up the prop, and deliberately moves the dulled edge across the ball of his thumb to show he does in fact bleed like an ordinary man, the audience sees a knife that was just used to slice fruit slice across a man's hand and blood immediate wells up. No spurting, or squirting. Just deep welling. And dripping. Good smear consistency. I've been rewarded with some nice gasps from the audience.
So what's next?
I honestly couldn't say. I'm just floating from gig to gig at this point, and enjoying working more in film and TV where it's safe to say I've made more money doing nothing that I have busting my ass in theater. Clearly this is something worth pursuing.
More later. Just letting Tim and the not Tim readers of the old Knives Guns and Other Assorted Trouble blog that I'm in fact alive. Yep. Still Alive. I am doing science and I'm still alive. And when you're dying I'll still be alive.
Tuesday, April 5, 2011
Right... so... Spring!
OK I kind of fell off the wagon here. My bad – I got so busy with everything that I forgot to tell folks what everything was.
So, let’s begin with a quick review of the TAD Gear Fast Pack EDC I scored for myself in February. As every day carry bags go, this is a big one. Every day carry indeed, and I feel quite confident after jaunting around with this mammoth on myself for over a month that I’ve got all the every day I need. Hell, I could easily weekend trip with this bag, and an overnight hike with this puppy would be an easy matter. 1800 cubic inches. That’s a big bag.
Some key features I love:
Endlessly modular – this is covered in PALS webbing and MOLLE compatible with pretty much whatever you want to throw at it. There’s even a beaver tail with a sleeve that rolls out, meaning I can comfortably carry a rifle (which I don’t have) on the outside, or – more practically, any long, narrow tool/item I do own.
Tough – made of mil-spec denier cordura nylon, this isn’t flimsy. Strong straps with compression fittings on both ends, a removable waist belt (also swimming in PALS webbing) doubles as bandolier if I want to run light,
Nifty features - Internal hydration bladder ready which yes, adds a lot of weight, but sure beats a swinging canteen. Or adds to it.
To sum up – check this guy out – it’s worth every penny: http://www.tripleaughtdesign.com/Equipment/Bags-And-Packs/FAST-Pack-EDC
I love me some TAD. If I lived in San Francisco, I’d be jumping through hoops to work for them.
Now on to the more interesting stuff – fight choreography!
I’ve wrapped my work on John Doble’s “To Protect The Poets” which runs through this weekend – it’s an interesting show, but I’ll stay away from reviewing it, and stick to the work I did, which I’m actually quite pleased with. At the end of Act 1, the police officers who are the main characters have apprehended their first suspect in a brutal 2 man rape/homicide – they know he did it, and they’ve got evidence to prove it, but they need to get the details on who committed the murder of a young woman.
Where I step in is the two officers are playing the oldest game in the book – good cop/bad cop to elicit the confession they want. “Bad Cop” named Bear is knocking our Suspect around a little, in a clear but apparently permissible show of force. For this, I went with one simple cross body jab, moving upstage, which I was very happy to see the performers master quite well, and looked real at a distance of 3 feet since it comes explosively by surprise from Bear.
Next up were a few threats of more violence but no contact, though things get exponentially more harsh by the end of the scene. “Good Cop” named Jablonski or “Jab” has gotten everything he needs, Bear’s left the room, the camera’s off and Jab rides one over the edge. A solar plexus strike, followed by a kidney hit that breaks a rib, all in rapid succession (oh and… the suspect is cuffed). This is all topped by Jab throwing an arm across the Suspect’s throat, reaching down between his legs and crushing his… well… as Jab says later, “I made sure he’d never do it again.”
Having never choreographed a sterilization by brute force before this was a new one for me, but as it turns out, it’s not all that tricky. There was a lot of screaming from the suspect, and a lot of uncomfortable shifting from the fellas in the audience. Guess it works.
That’s that for recent decent fight work, I expect to be on a brief hiatus for a bit – I’ll be onstage again in May in Retro Production’s show “Dear Ruth” a charmer of a comedy from the 1940s. No combat, but good fun and I’ve snagged a fun little role with a great cast. If I’m lucky I’ll have a snazzy Army Air Corps dress uniform to rock out in too. Yay.
Oh and I’m making great progress on the new fighting knife I’ve been making for myself – not a prop, this baby has a good edge. I’d like it to be a great edge, but I’m still learning. I’ve got enough leftover steel to make a nice prop piece once I’m done with the real one, so we’ll see where that goes. Images shortly...
If the timing pans out I’m going to spend some time with Vamp Cowboy’s founder Qui Nguyen this summer while he’s in NYC. I'll be trading some knife skills for some of his extensive martial arts experience. Summer of 2011 still looks pretty open though – keeping my eyes open for the right gigs. There’s rumors of some Shakespeare around – and I wouldn’t be adverse to getting a crack at another Crystal Skillman show in Brooklyn, if I can score the audition. But for now, I’m free and clear after May. Drop me a line if you want some nastiness staged. I haven’t been able to do a solid bloody fight lately. I'm itching to try a few new tricks.
So, let’s begin with a quick review of the TAD Gear Fast Pack EDC I scored for myself in February. As every day carry bags go, this is a big one. Every day carry indeed, and I feel quite confident after jaunting around with this mammoth on myself for over a month that I’ve got all the every day I need. Hell, I could easily weekend trip with this bag, and an overnight hike with this puppy would be an easy matter. 1800 cubic inches. That’s a big bag.
Some key features I love:
Endlessly modular – this is covered in PALS webbing and MOLLE compatible with pretty much whatever you want to throw at it. There’s even a beaver tail with a sleeve that rolls out, meaning I can comfortably carry a rifle (which I don’t have) on the outside, or – more practically, any long, narrow tool/item I do own.
Tough – made of mil-spec denier cordura nylon, this isn’t flimsy. Strong straps with compression fittings on both ends, a removable waist belt (also swimming in PALS webbing) doubles as bandolier if I want to run light,
Nifty features - Internal hydration bladder ready which yes, adds a lot of weight, but sure beats a swinging canteen. Or adds to it.
To sum up – check this guy out – it’s worth every penny: http://www.tripleaughtdesign.com/Equipment/Bags-And-Packs/FAST-Pack-EDC
I love me some TAD. If I lived in San Francisco, I’d be jumping through hoops to work for them.
Now on to the more interesting stuff – fight choreography!
I’ve wrapped my work on John Doble’s “To Protect The Poets” which runs through this weekend – it’s an interesting show, but I’ll stay away from reviewing it, and stick to the work I did, which I’m actually quite pleased with. At the end of Act 1, the police officers who are the main characters have apprehended their first suspect in a brutal 2 man rape/homicide – they know he did it, and they’ve got evidence to prove it, but they need to get the details on who committed the murder of a young woman.
Where I step in is the two officers are playing the oldest game in the book – good cop/bad cop to elicit the confession they want. “Bad Cop” named Bear is knocking our Suspect around a little, in a clear but apparently permissible show of force. For this, I went with one simple cross body jab, moving upstage, which I was very happy to see the performers master quite well, and looked real at a distance of 3 feet since it comes explosively by surprise from Bear.
Next up were a few threats of more violence but no contact, though things get exponentially more harsh by the end of the scene. “Good Cop” named Jablonski or “Jab” has gotten everything he needs, Bear’s left the room, the camera’s off and Jab rides one over the edge. A solar plexus strike, followed by a kidney hit that breaks a rib, all in rapid succession (oh and… the suspect is cuffed). This is all topped by Jab throwing an arm across the Suspect’s throat, reaching down between his legs and crushing his… well… as Jab says later, “I made sure he’d never do it again.”
Having never choreographed a sterilization by brute force before this was a new one for me, but as it turns out, it’s not all that tricky. There was a lot of screaming from the suspect, and a lot of uncomfortable shifting from the fellas in the audience. Guess it works.
That’s that for recent decent fight work, I expect to be on a brief hiatus for a bit – I’ll be onstage again in May in Retro Production’s show “Dear Ruth” a charmer of a comedy from the 1940s. No combat, but good fun and I’ve snagged a fun little role with a great cast. If I’m lucky I’ll have a snazzy Army Air Corps dress uniform to rock out in too. Yay.
Oh and I’m making great progress on the new fighting knife I’ve been making for myself – not a prop, this baby has a good edge. I’d like it to be a great edge, but I’m still learning. I’ve got enough leftover steel to make a nice prop piece once I’m done with the real one, so we’ll see where that goes. Images shortly...
If the timing pans out I’m going to spend some time with Vamp Cowboy’s founder Qui Nguyen this summer while he’s in NYC. I'll be trading some knife skills for some of his extensive martial arts experience. Summer of 2011 still looks pretty open though – keeping my eyes open for the right gigs. There’s rumors of some Shakespeare around – and I wouldn’t be adverse to getting a crack at another Crystal Skillman show in Brooklyn, if I can score the audition. But for now, I’m free and clear after May. Drop me a line if you want some nastiness staged. I haven’t been able to do a solid bloody fight lately. I'm itching to try a few new tricks.
Tuesday, February 8, 2011
What’s on tap for 2011?
With the 2010-11 Saloon Series now complete, and a one and done project at the Brick called “Dainty Cadaver” wrapped, I’ve found myself with my evenings relatively free to do things that normal people do, like laundry and occasionally cooking a meal, as opposed to scarfing down whatever passes for nutrients in the immediate vicinity of my rehearsals. It also means I can watch the big glowing rectangle in my living room occasionally. Hi Netflix Instant. Nice to meet you. I’m sure we’ll be fast friends.
A word (or several) about the Dainty Cadaver project though… the idea was based on the Exquisite Corpse game, apparently played by surrealist painters. Essentially, one artist draws an image on a piece of folded paper and a second artist continues the image from the first. The third artist bases their work from the image of the second, without viewing the first, the fourth by viewing the third, fifth from fourth etc etc.
So, the Piper McKenzie folks over at The Brick (where I’ve spent an inordinate amount time in the last year) thought this should work with playwrights too. One writer writes a scene, a second reads it and pens a second scene, the third writer reads the second and continues, writer four reads number three’s and so on until the sixth writer wraps it up based solely on the events of the fifth scene. In theory the resulting play should be a work of surrealist weirdness, with massive shifts in tone and plotting.
In reality, that is in fact exactly what happened. Cool, if you’re into weird surreal theater. For me, since I’m not all that excited by that sort of thing, the script I performed in left me a little at sea. However, under the steady and excellent direction of John Hurley and with a great gang of fellow actors, I think we made something rather nifty out of it.
So far as fight choreography goes, we were sorely pressed for time (maybe 4 solid rehearsals total) but the piece did allow me to stage and perform a very basic murder with a brick. Two strikes to the face - the first a jab and the second a rising arc uppercut. Then to top it all off a final blow to the side of the skull. But wait there’s more - because this was surreal, the Angel of Death comes in... and magically compels me to smash my own head in next. Never done that before.
Bloodless and simple, due to constraints of time and scant resources, however in my head…
I’d have gone with a foam brick. The victim actor (in this case the HUGE compared to me Ryan Andes) would have been prepped with blood bombs and a couple of loose teeth (furnished by the lovely and alluringly skilled Stephanie Cox Williams). I’d have kept the choreography similar to what we did, two main strikes. The first hit would bring Ryan’s hand up to his mouth and nose. Detonating the blood bomb, he’d splutter through some dripping goo, and the second hit would knock him backwards and to the floor, detonating the second bomb, simultaneously while throwing those loose teeth up into the air. As he lays gasping on the floor, maybe a piece of uncooked pasta could be slipped in his mouth. Because when I grab him by the shattered remnants of his face, some crunching and crackling would be nice. I say some utterly creepy things, and then deliver the killing blow. Another blood bomb for me when I smash my own head in and everyone wins.
Basically the audience saw all of that, minus any gore. I’d had loved to make it happen, but then again I also would have preferred to have a script that didn’t have characters dying and being erased every 10 minutes or dancing around with water bottles but that’s just me and my taste for narrative over esoteric.
On the up side, getting to actually hang out with the renowned Ryan Andes and both of us noticing we were each dripping with TAD gear, led to some cool conversations, talking firearms, and the potential to pick up some nifty new skills as well as exchange some of my knife knowledge with some of his performer friends who have sword skills. It’s always good when you find a like minded fellow who also happens to have similar interests and likes. And who is seriously, like 7 feet tall.
So – next up? A review of my new TAD gear FAST PACK EDC and then I’m going to be enrolling in some on camera classes. Time to dust off that skill set and try to make some damned money at this acting thing again. It’s been awhile since a decent paycheck came my way from pretending to be someone else.
There's a little ray of choreography sunshine on the horizon as well, a little cop on criminal beating if it pans out. We'll see...
A word (or several) about the Dainty Cadaver project though… the idea was based on the Exquisite Corpse game, apparently played by surrealist painters. Essentially, one artist draws an image on a piece of folded paper and a second artist continues the image from the first. The third artist bases their work from the image of the second, without viewing the first, the fourth by viewing the third, fifth from fourth etc etc.
So, the Piper McKenzie folks over at The Brick (where I’ve spent an inordinate amount time in the last year) thought this should work with playwrights too. One writer writes a scene, a second reads it and pens a second scene, the third writer reads the second and continues, writer four reads number three’s and so on until the sixth writer wraps it up based solely on the events of the fifth scene. In theory the resulting play should be a work of surrealist weirdness, with massive shifts in tone and plotting.
In reality, that is in fact exactly what happened. Cool, if you’re into weird surreal theater. For me, since I’m not all that excited by that sort of thing, the script I performed in left me a little at sea. However, under the steady and excellent direction of John Hurley and with a great gang of fellow actors, I think we made something rather nifty out of it.
So far as fight choreography goes, we were sorely pressed for time (maybe 4 solid rehearsals total) but the piece did allow me to stage and perform a very basic murder with a brick. Two strikes to the face - the first a jab and the second a rising arc uppercut. Then to top it all off a final blow to the side of the skull. But wait there’s more - because this was surreal, the Angel of Death comes in... and magically compels me to smash my own head in next. Never done that before.
Bloodless and simple, due to constraints of time and scant resources, however in my head…
I’d have gone with a foam brick. The victim actor (in this case the HUGE compared to me Ryan Andes) would have been prepped with blood bombs and a couple of loose teeth (furnished by the lovely and alluringly skilled Stephanie Cox Williams). I’d have kept the choreography similar to what we did, two main strikes. The first hit would bring Ryan’s hand up to his mouth and nose. Detonating the blood bomb, he’d splutter through some dripping goo, and the second hit would knock him backwards and to the floor, detonating the second bomb, simultaneously while throwing those loose teeth up into the air. As he lays gasping on the floor, maybe a piece of uncooked pasta could be slipped in his mouth. Because when I grab him by the shattered remnants of his face, some crunching and crackling would be nice. I say some utterly creepy things, and then deliver the killing blow. Another blood bomb for me when I smash my own head in and everyone wins.
Basically the audience saw all of that, minus any gore. I’d had loved to make it happen, but then again I also would have preferred to have a script that didn’t have characters dying and being erased every 10 minutes or dancing around with water bottles but that’s just me and my taste for narrative over esoteric.
On the up side, getting to actually hang out with the renowned Ryan Andes and both of us noticing we were each dripping with TAD gear, led to some cool conversations, talking firearms, and the potential to pick up some nifty new skills as well as exchange some of my knife knowledge with some of his performer friends who have sword skills. It’s always good when you find a like minded fellow who also happens to have similar interests and likes. And who is seriously, like 7 feet tall.
So – next up? A review of my new TAD gear FAST PACK EDC and then I’m going to be enrolling in some on camera classes. Time to dust off that skill set and try to make some damned money at this acting thing again. It’s been awhile since a decent paycheck came my way from pretending to be someone else.
There's a little ray of choreography sunshine on the horizon as well, a little cop on criminal beating if it pans out. We'll see...
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