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.
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