The term has been used by a collaborative of
extremely talented individuals whose work is directly with the blade or
sword. The higher percentage of such Fight Directors work in the main, in
theatre; although some do cross over into motion picture making. Such
Fight Directors are usually specific with Epee, Foil, Sabre; broad sword;
dagger and other combinations of such weaponry.
As a Fight Director, I spent many years learning my
craft under the late Alf Joint and Peter Diamond; two extremely talented
sword masters; who crossed over this skill directly into film making.
The art of a Fight Director is not just the
accomplishment of one’s craft, but understanding how to get the best use
of this on Film or High Def.
Sabre is the most theatrical sword and primarily the
one I use in film making.
My work can include working with Stuntmen or
artists; (the latter who may have had no experience whatsoever with the
sword) in choreographing a sequence for the movie. Rehearsals with
individual artists; then bringing them together in safe choreography;
ideally within the set or location we are going to work within. Once this
choreography is in place; in simplistic terms, I will then work closely
with a DOP/Operator in order to create the specific style required by the
Director for the piece. This may mean choreography of camera around the
action; close to; within; wide lenses; whip pans; long lens cinematography
etc etc.
I also specialise in Fight Choreography with
children and in other formats such as boxing; bare knuckle boxing; martial
arts in combination with gymnastics etc: Everything from the Queensbury
Rules to Street Fighting…. And then making it work on camera.
The Basil Rathbone Tyrone Power, original ‘Mark Of
Zorro’ is my favourite sword fight of all time and within martial arts
and I have been fortunate to work on an American documentary about Bruce
Lee, (an early hero). Jackie Chan is the school of fighting that I
empathise with most and today and the kid out on his own at the moment is
Tony Jaa. Tony’s ONG BAK films have screenplays that could have been
written better by a six year old child; but his athleticism and fight
sequences are certainly the best martial arts and stunt choreography I
have seen.
Mr remit; usually to deliver highly credible fight sequences for the
production company based upon a Director’s vision for the piece. To be
innovative at all times, but to remember that ‘safety’ is paramount.
