History of Cinema Swordplay
"If I see more than others, it is because I stand on the shoulders of giants"
The most memorial sword fights in cinema history were created by Fred Cavens, Ralph Faulkner, Robert (Bob) Anderson and William (Bill) Hobbs. Although they differed in their style and philosophy, they shared two things in common. Respect for Swordplay, and full understanding of how movement works when engaged in it. They all dedicated their lives to the study of fencing. Because of this, they could see much farther than the untrained eye and create fight sequences that will live forever.
What they did can never be created by just anyone that picks up a sword. Respecting and working at your craft translates as "incredible" to the audience.
Prologue
Today with all the people who call themselves "Sword Masters", how do you choose who is right for your project?
The fact is that 99.9% of them work in a system that has been used since the "silent film" era! What's more, they don't train in fencing or sword movement disciplines.
As film making has evolved, sword choreography and fighting, has not. What was, in the past, a moment that audiences looked forward to, filled with master shots and performers that gracefully moved in a memorized choreographed dance with swords, now has become a serious of editing tricks, close ups and "smoke it up"!
The sword fight sequence does not have to be this way.
Comparing. Taking a moment to compare resume and reel, instead of assuming a person is a Sword Master just because they say they are, or because there title makes them feel as though they are entitled to Swordplay knowledge. The right person will save you time, money and frustration in your production, and you will have fight sequences that don't have to really on editing to save them.
Importance of the Fight
The author uses the sword fight as a device to move the story and establish characters. It can be used to fashion a dramatic opening or serve as the climatic ending. Most importantly, its aim is to entertain the audience. Therefore, the fight must be true to this vision.
Philosophy
Movement is a language, it should tell a story. It should allow the actors to act within the context of the fight. Everyone should know the same language of the coordinator and be taught correct movement so that the fights fit into the theme and the vision of the director and the writer. The fight is a very important moment in the characters life. I have to think that the author had more in his vision than people just clanging swords and doing the same simple sword moves over and over again. The sword fight is not about the sword. It is about a very important moment in the characters lives. It also must be entertaining. A combination of understanding footwork, tempo, timing, balance, control are a part of what is necessary in creating a memorable sword fight. If a person does not know the secrets, it is impossible for the secrets to be taught.
Jackie Chan is a perfect example of bringing a fight to a different level. He understands movement as it relates to his art, and he is in constant study and training. The use of props and set as well as situation, and multiple opponents is allowed to him because of his understanding of how the body works while engaged in this type of fighting, it is no different than what I do.
People have a tendency to say that fencing is to small and fast, that is true. So you don't make it small and fast. Jackie Chan's art is small and fast as well, but I doubt if anyone tells Mr. Chan that he can't create fights because of that.
It is strange to me that people will hire people who have no idea what they are doing and then pay them a bunch of money. And then have to clean up their mess in editing. Ask for the persons reel, see for yourself, compare. A few moments of comparing will save your production thousands of dollars.
Choreography
As important as the fight is to the story, so too the choreography has a responsibility to the fight. Every component of the fight must be in constant motion, as it would in real life. Each movement of the blade, each direction that the combatants travel has to have a reason. Along with being inventive, the choreography must be built for the situation, theme, and actors. It must have timing and tempo. Allowing actors to feel free of frustration and add their own energy to the fight. With this in mind, the choreography should exhibit the technical aspects of the training and natural skills of each actor.
As a dance choreographer is necessary for a dance sequence, so is a sword choreographer to your fight. It is strange to me how a sword person is taken at their word, and the dance person is researched. By giving the sword choreographer the same respect as you would the dance choreographer, in simply taking a few moments in time to look at their reel. That few moments would not only save you time, money and frustration in production, but save countless hours in editing.
Training
My system is built on proper footwork, balance, tempo, timing and training. It involves over 20 parries giving numerous options to what is possible in crafting a fight. The art of swordplay requires exact distances, posture, targeting, and physical conditioning. My system takes this complex process and makes it more palatable. It builds confidence. The reason for every movement and safety in each motion is explained. I train to make it easy to remember choreography. This lets everyone communicate, so changes or additions can be made on the spot. The fight should involve passion by the combatants. Proper training makes a great fight possible. I have developed a team of stunt fighters, swordsmen, that are able to work extremely quick in performing and learning fight sequences based on my fight language. They are ready to double or fight. They are second to none in the sword stunt industry. And the come complete with good, professional attitudes.
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