Introduction |
|
xix | |
|
Basic History of Fight Choreography and Fighting on Film |
|
|
1 | (92) |
|
Basic Overview: The Evolution of Fight Choreography |
|
|
2 | (43) |
|
The Birth of Film in the United States |
|
|
3 | (32) |
|
Asian Martial Arts Influence on Western Films |
|
|
35 | (10) |
|
The Dawn and Influence of the Modern-Day Kung Fu Brawl |
|
|
45 | (3) |
|
|
48 | (11) |
|
The Chain of Command on a Set |
|
|
51 | (1) |
|
The Difference in Perception of Action: Seeing beyond the Physical |
|
|
52 | (3) |
|
|
55 | (2) |
|
A True Art Form versus a Gimmick |
|
|
57 | (1) |
|
|
58 | (1) |
|
|
59 | (18) |
|
|
59 | (1) |
|
Emphasis of the Fight: Elaborate versus Brief |
|
|
59 | (3) |
|
|
62 | (1) |
|
|
62 | (1) |
|
|
63 | (1) |
|
|
63 | (1) |
|
|
64 | (1) |
|
|
65 | (1) |
|
|
65 | (1) |
|
Room for Advancement versus Categorization |
|
|
66 | (1) |
|
|
67 | (1) |
|
|
67 | (1) |
|
|
68 | (1) |
|
|
68 | (1) |
|
Perceptions and Stereotypes of Foreigners in Film |
|
|
68 | (2) |
|
Asian Talent in Western Films |
|
|
70 | (5) |
|
Globalization of Asian Martial Arts Films |
|
|
75 | (2) |
|
What We Can Still Learn from Bruce Lee |
|
|
77 | (13) |
|
He Had No Noticeable Misses or Bad Takes in the Fight Scenes in Any of His Hong Kong Films |
|
|
77 | (1) |
|
He Had Simple Techniques but Rarely Repeated Himself |
|
|
78 | (1) |
|
He Had an Individualistic Screen Presence |
|
|
79 | (2) |
|
|
81 | (1) |
|
He Understood the Emotional Content and Impact behind Each Technique |
|
|
82 | (1) |
|
He Was Adept with Both Hands and Feet, and He Was Not Afraid to Mix It Up |
|
|
83 | (1) |
|
He Was Unafraid to Show His Vulnerability |
|
|
84 | (1) |
|
He Knew the Importance of Having Great Stuntmen around Him |
|
|
84 | (1) |
|
He Had Different and Unique Timing and Rhythm |
|
|
85 | (1) |
|
He Had Great Martial Acting Skills |
|
|
85 | (2) |
|
He Had Effective and Convincing Before and After Poses |
|
|
87 | (1) |
|
He Did Not Have a Trademark or Signature Move |
|
|
87 | (1) |
|
He Had a Physique That Everyone Envied |
|
|
88 | (1) |
|
He Understood the Difference between Cinematic and Real Fighting |
|
|
88 | (1) |
|
He Injected Philosophy and Fight Strategy into His Films |
|
|
88 | (1) |
|
He Fought Only When Necessary |
|
|
89 | (1) |
|
Watching Bruce Lee's Movies |
|
|
90 | (3) |
|
Way of the Dragon (aka Return of the Dragon) |
|
|
90 | (3) |
|
The Differences between Sport, Art, and Self-Defense |
|
|
93 | (44) |
|
Three Major Approaches to Combat: Art, Sport, and Self-Defense |
|
|
94 | (4) |
|
Common Ground among All Three Concepts |
|
|
94 | (1) |
|
Definition of a Martial Art |
|
|
95 | (1) |
|
Definition of a Combative Sport |
|
|
96 | (1) |
|
Definition of a Self-Defense/Combative System |
|
|
97 | (1) |
|
What Is a Martial Artist? |
|
|
97 | (1) |
|
The Root of Combative Sports |
|
|
98 | (5) |
|
|
98 | (2) |
|
The Birth of Brazilian Jiu-Jitsu and Vale Tudo |
|
|
100 | (1) |
|
Coming to America and the Birth of the UFC |
|
|
101 | (1) |
|
Why MMA Is Popular with Audiences |
|
|
102 | (1) |
|
The Different Ranges of Combat Involved |
|
|
103 | (1) |
|
Tournament/Point Fighting |
|
|
103 | (5) |
|
|
104 | (1) |
|
What Is Tournament Fighting? |
|
|
104 | (1) |
|
Different Types of Tournaments |
|
|
105 | (1) |
|
Different Eras of Tournament Fighting |
|
|
105 | (3) |
|
|
108 | (29) |
|
What Is Sports Entertainment? |
|
|
109 | (1) |
|
|
110 | (1) |
|
Pro Wrestling Comparisons to Fight Choreography for Film and Television |
|
|
111 | (5) |
|
A Brief History of Pro Wrestling |
|
|
116 | (5) |
|
World Wrestling Entertainment (WWE) |
|
|
121 | (1) |
|
Extreme Championship Wrestling (ECW) |
|
|
122 | (1) |
|
|
123 | (3) |
|
Pro Wrestling Outside America |
|
|
126 | (7) |
|
Outside the Ring: Wrestling on Film and TV |
|
|
133 | (4) |
|
Definitions and Terminology |
|
|
137 | (20) |
|
Empty-Handed Fighting Distance/Range |
|
|
137 | (1) |
|
Different Types of Fighters |
|
|
138 | (1) |
|
|
138 | (1) |
|
|
138 | (1) |
|
|
139 | (1) |
|
|
139 | (2) |
|
|
139 | (1) |
|
|
140 | (1) |
|
|
141 | (1) |
|
|
141 | (1) |
|
|
141 | (1) |
|
Definitions of Fighting Terms |
|
|
141 | (9) |
|
Film Fighting and Stunt Terms |
|
|
150 | (3) |
|
The Pulse of a Fight Scene |
|
|
153 | (4) |
|
|
157 | (44) |
|
Issues with Using a Real Martial Artist or Combative Athlete on Film |
|
|
157 | (10) |
|
What Is a Screen Fighter? |
|
|
167 | (1) |
|
The Importance of Rhythm in a Fight |
|
|
168 | (3) |
|
Working with and Training Actors, Stunt Players, and Stunt Doubles |
|
|
171 | (1) |
|
Differences between School Training and Film Training |
|
|
172 | (3) |
|
|
172 | (1) |
|
|
172 | (1) |
|
|
173 | (1) |
|
|
173 | (1) |
|
|
174 | (1) |
|
|
174 | (1) |
|
The Actor's Role in the Film |
|
|
175 | (1) |
|
The Role of the Stuntman and Stunt Double |
|
|
175 | (1) |
|
The Script and What to Teach |
|
|
176 | (2) |
|
Collaboration with Other Creative Departments |
|
|
178 | (1) |
|
The Relationship between Trainer and Actor |
|
|
178 | (3) |
|
Assessing the Actor's Physical Skills |
|
|
179 | (1) |
|
Understanding the Actor You Are Training |
|
|
180 | (1) |
|
Possible Issues That Can Arise during Training |
|
|
181 | (2) |
|
|
183 | (2) |
|
|
183 | (1) |
|
|
184 | (1) |
|
|
185 | (10) |
|
|
187 | (1) |
|
Use of Technique with Strategy |
|
|
188 | (1) |
|
Showing Character and Personality through Strategy |
|
|
189 | (2) |
|
Issues That Can Nullify a Character's Strategy |
|
|
191 | (1) |
|
Ways for an Audience to See Strategy |
|
|
191 | (1) |
|
|
192 | (2) |
|
Examples of Fight Strategy on Film |
|
|
194 | (1) |
|
The Difference between Violence and Action |
|
|
195 | (2) |
|
Justification for Actions Taken |
|
|
197 | (4) |
|
Five Basic Justifications |
|
|
198 | (3) |
|
|
201 | (6) |
|
Introduction to the Process of Putting Together a Fight Scene |
|
|
201 | (3) |
|
|
204 | (3) |
|
Relationship between Physical and Technical |
|
|
204 | (1) |
|
Problems That Can Arise on the Technical Side |
|
|
205 | (1) |
|
Compensating for One Another |
|
|
205 | (1) |
|
X Factors That Were Not Worked into This Equation |
|
|
205 | (2) |
|
|
207 | (58) |
|
|
207 | (8) |
|
|
208 | (1) |
|
|
209 | (1) |
|
|
209 | (2) |
|
|
211 | (1) |
|
|
211 | (3) |
|
Justification of the Action and the Skills of the Characters |
|
|
214 | (1) |
|
|
215 | (15) |
|
|
215 | (1) |
|
Different Types of Heroes |
|
|
216 | (3) |
|
Justifying the Hero's Actions |
|
|
219 | (2) |
|
|
221 | (2) |
|
|
223 | (7) |
|
|
230 | (14) |
|
|
230 | (14) |
|
|
244 | (4) |
|
|
245 | (2) |
|
Use of Forms in Combat and Other Situations |
|
|
247 | (1) |
|
|
248 | (14) |
|
The Three Acts of a Screenplay and the Types of Action Used in Each Act |
|
|
253 | (9) |
|
|
262 | (1) |
|
|
263 | (2) |
|
|
265 | (58) |
|
Assembling the Character and Story Inventory |
|
|
266 | (3) |
|
|
269 | (2) |
|
Creating Your Character Bible |
|
|
271 | (11) |
|
Putting Together Your Character Bible |
|
|
272 | (10) |
|
Creating the Fighter's IQ |
|
|
282 | (33) |
|
Number of Fights in Which the Character Participates |
|
|
284 | (1) |
|
|
284 | (1) |
|
Justification (Part 1): The Fighter's Skills |
|
|
284 | (1) |
|
Heightened Sense of Awareness |
|
|
285 | (2) |
|
|
287 | (1) |
|
|
287 | (1) |
|
Traditional Fighter or Modern Eclectic |
|
|
287 | (1) |
|
|
288 | (1) |
|
|
289 | (1) |
|
|
289 | (1) |
|
Flashy or Effective Techniques |
|
|
290 | (1) |
|
Number of Different Styles, Disciplines, and Approaches to Enforcement |
|
|
291 | (1) |
|
Character's Reaction/Response to New Places |
|
|
291 | (1) |
|
Uncomfortable Place or Environment for the Character |
|
|
291 | (1) |
|
Skills and How They Were Acquired |
|
|
291 | (1) |
|
Responsibility Due to Skills and Title/Position |
|
|
292 | (1) |
|
Direct Effect of Fights on the Character's Growth (Arc) throughout the Film |
|
|
293 | (1) |
|
|
293 | (1) |
|
Conditioned or Unconditioned |
|
|
293 | (7) |
|
|
300 | (1) |
|
|
301 | (1) |
|
|
302 | (1) |
|
|
302 | (1) |
|
Flaws, Weaknesses, and Strengths |
|
|
302 | (1) |
|
|
302 | (1) |
|
Physical, Emotional, Mental, and Spiritual Rituals |
|
|
303 | (1) |
|
Previous Physical Confrontations or Fights |
|
|
303 | (1) |
|
|
304 | (1) |
|
|
304 | (1) |
|
Inventory of the Character's Mental, Physical, Spiritual, and Emotional Fighting Skills |
|
|
305 | (1) |
|
Things the Character Should Not Do in a Fight |
|
|
305 | (1) |
|
Morals or Code of Conduct in Battle |
|
|
305 | (1) |
|
Character's Actions during Events beyond His Control |
|
|
306 | (1) |
|
|
306 | (1) |
|
Transcendence to Mental, Spiritual, or Mythical Aspects |
|
|
307 | (1) |
|
Personal Carriage When at Rest |
|
|
308 | (1) |
|
Actions in Uncomfortable Situations |
|
|
308 | (1) |
|
|
308 | (1) |
|
|
308 | (1) |
|
Respect for Authority Figures |
|
|
308 | (1) |
|
Character's Reaction to Lessons He Can't Understand |
|
|
309 | (1) |
|
|
309 | (1) |
|
|
310 | (1) |
|
Injury or Death at the Hands of the Character |
|
|
310 | (1) |
|
|
311 | (1) |
|
Distinct Signature Weapons |
|
|
312 | (1) |
|
Character's Level of Proficiency |
|
|
312 | (2) |
|
Interactions with More Highly Skilled Individuals |
|
|
314 | (1) |
|
|
314 | (1) |
|
External Symbols or Indications |
|
|
315 | (1) |
|
|
315 | (8) |
|
|
315 | (1) |
|
|
316 | (7) |
|
The Narrative Structure and Elements of a Fight Scene |
|
|
323 | (38) |
|
|
324 | (37) |
|
|
326 | (10) |
|
The Physical Fight/Conflict |
|
|
336 | (10) |
|
|
346 | (12) |
|
Overall Elements throughout the Fight |
|
|
358 | (3) |
|
Physical Elements of the Fight Scene |
|
|
361 | (24) |
|
|
361 | (1) |
|
Physical Elements Defined |
|
|
362 | (14) |
|
Intent and Choice of Techniques |
|
|
362 | (1) |
|
|
362 | (1) |
|
|
363 | (1) |
|
|
363 | (1) |
|
|
363 | (2) |
|
|
365 | (2) |
|
|
367 | (1) |
|
|
367 | (2) |
|
|
369 | (1) |
|
Centerline and the Centerline Theory |
|
|
369 | (2) |
|
|
371 | (2) |
|
Combination of Approaches |
|
|
373 | (2) |
|
|
375 | (1) |
|
Collective Rhythm of the Fight |
|
|
376 | (1) |
|
What Exactly Is Martial Acting? |
|
|
376 | (7) |
|
Good and Bad Martial Acting |
|
|
377 | (1) |
|
Martial Acting during a Fight |
|
|
378 | (2) |
|
Martial Acting before and after a Fight |
|
|
380 | (3) |
|
|
383 | (1) |
|
|
384 | (1) |
|
|
384 | (1) |
|
The Technical Elements of a Fight |
|
|
385 | (32) |
|
|
386 | (19) |
|
Rehearsing with the Cameraman |
|
|
386 | (4) |
|
|
390 | (1) |
|
|
390 | (2) |
|
|
392 | (1) |
|
Keeping It Visually Pure and Effective |
|
|
393 | (1) |
|
|
394 | (1) |
|
|
394 | (1) |
|
The Issue of Getting in Too Close |
|
|
394 | (4) |
|
|
398 | (1) |
|
Slowing Down or Speeding Up the Action |
|
|
399 | (5) |
|
One Take: Continuous Action without Breaks |
|
|
404 | (1) |
|
|
405 | (6) |
|
Different Styles of Editing |
|
|
406 | (2) |
|
The Fight Choreographer's Dilemma |
|
|
408 | (2) |
|
|
410 | (1) |
|
|
410 | (1) |
|
The Pulse of a Fight Scene |
|
|
411 | (4) |
|
|
415 | (1) |
|
|
415 | (2) |
|
Developing a Choreographer's Eye |
|
|
417 | (40) |
|
Developing an Eye for Action |
|
|
418 | (28) |
|
See Films in a Theater First |
|
|
418 | (2) |
|
|
420 | (1) |
|
|
420 | (2) |
|
Try Not to Prejudge a Movie |
|
|
422 | (1) |
|
Be Selective about Whose Reviews You Read |
|
|
423 | (1) |
|
Do Not Substitute Box-Office Gross for Aesthetics |
|
|
424 | (1) |
|
|
425 | (2) |
|
Know What to Ask Yourself after Seeing a Movie |
|
|
427 | (2) |
|
Know Your Action Film History and the Contributors |
|
|
429 | (1) |
|
Learn to Be Film Literate |
|
|
430 | (1) |
|
Know Whether the Film Was Made for You |
|
|
431 | (2) |
|
Too Much Information to Handle? |
|
|
433 | (1) |
|
|
433 | (1) |
|
Daydream about Fight Scenes |
|
|
434 | (1) |
|
Design a Fight Scene Every Day |
|
|
434 | (1) |
|
Learn, Observe, and Study Human Psychology |
|
|
435 | (1) |
|
Learn How the Human Body Moves and Works |
|
|
436 | (1) |
|
|
436 | (2) |
|
Learn and Hear about the Creative Process |
|
|
438 | (2) |
|
Go to the Creative Source |
|
|
440 | (1) |
|
Attend Live Sporting Events in Which Physical Contact or Body Rhythm Is Involved |
|
|
441 | (1) |
|
Learn Several Different Styles of Martial Arts |
|
|
441 | (1) |
|
|
442 | (1) |
|
|
443 | (3) |
|
Starting a Video Reference Library |
|
|
446 | (11) |
|
A Filmmaker's Artistic Integrity |
|
|
446 | (1) |
|
|
447 | (1) |
|
All DVDs Are Not the Same |
|
|
448 | (1) |
|
Do Not Limit Yourself to Viewing Only DVDs |
|
|
448 | (1) |
|
Why Look for Imported DVDs? |
|
|
448 | (2) |
|
How and Where to Find Rare, Obscure, and Imported DVDs |
|
|
450 | (3) |
|
Be Aware of ``Dubtitles'' |
|
|
453 | (1) |
|
|
454 | (1) |
|
|
454 | (1) |
|
Watch an Action Scene without Any Sound |
|
|
454 | (1) |
|
Keep Your Movies in a Database |
|
|
455 | (1) |
|
|
455 | (1) |
|
Be Aware of ``Double-Dipping'' |
|
|
456 | (1) |
|
Recommended Reading, Viewing, and Other Resources |
|
|
457 | (32) |
|
|
457 | (3) |
|
|
457 | (1) |
|
|
457 | (1) |
|
|
458 | (1) |
|
|
458 | (1) |
|
|
458 | (1) |
|
|
458 | (1) |
|
|
459 | (1) |
|
|
459 | (1) |
|
Artists and Creative Issues |
|
|
459 | (1) |
|
|
460 | (8) |
|
|
460 | (1) |
|
|
461 | (1) |
|
Screenwriting/Storytelling |
|
|
461 | (1) |
|
|
461 | (1) |
|
|
462 | (1) |
|
|
462 | (3) |
|
|
465 | (1) |
|
|
466 | (2) |
|
|
468 | (4) |
|
Stunt-Related Periodicals |
|
|
468 | (1) |
|
Screenwriting Periodicals |
|
|
468 | (1) |
|
|
468 | (1) |
|
Daily Entertainment Business Periodicals |
|
|
468 | (1) |
|
Action-Specific Entertainment Periodicals |
|
|
468 | (4) |
|
General Film and Entertainment Reviews |
|
|
472 | (1) |
|
|
472 | (1) |
|
Combative Sports Periodicals |
|
|
472 | (1) |
|
|
472 | (1) |
|
Professional Wrestling Periodicals |
|
|
472 | (1) |
|
|
472 | (1) |
|
|
473 | (1) |
|
|
473 | (1) |
|
|
474 | (1) |
|
|
475 | (2) |
|
|
477 | (1) |
|
Women's Film Organizations |
|
|
477 | (1) |
|
Film Conservatories and Institutes |
|
|
477 | (1) |
|
|
478 | (1) |
|
|
478 | (3) |
|
|
481 | (5) |
|
|
481 | (1) |
|
|
481 | (1) |
|
Daily Entertainment News (Subscription) |
|
|
481 | (1) |
|
|
481 | (1) |
|
|
481 | (1) |
|
|
481 | (5) |
|
Martial Arts Online References |
|
|
486 | (1) |
|
|
486 | (1) |
|
Mixed Martial Arts Online References |
|
|
486 | (1) |
|
Pro Wrestling Online References |
|
|
486 | (1) |
|
Sports Wrestling Online References |
|
|
486 | (1) |
|
Conventions and Festivals |
|
|
486 | (3) |
|
|
488 | (1) |
Index |
|
489 | |