Page 32 - Martial Science Magazine online

ground (which was part of the choreography) and then was sup-
posed to start pummeling him with kicks to the ribs. the actor
was so hesitant and it looked extremely weak. He kept pull-
ing his kicks and it showed on camera. After several takes, I
pulled him aside and illustrated how to do it correctly over
and over again until he was able to pull his kicks without
it appearing to be pulled. Another facet is performing
for the camera. this is most challenging with real fight-
ers for a couple reasons. They are generally training to
protect their faces and position themselves to execute
damage while protecting themselves. In film you have
to appear to do this but you need to open up a little to
show your face to camera and in most instances you’ll
need to not stand directly in front or behind your op-
ponent. You need to be offset a little in order for the
camera to see you. Remember you are performing
for the camera which is different than fighting or per-
forming to a live audience. Eye contact at all times is
important. You cannot hit or react to a hit if you cannot
see it. Of course there are instances when in the screen
fight you are wounded or hurt with body crouched
or on the ground but you still have to find a way
to see your opponent without it seeming like
you are looking at him. Core balance and
foot work is also important because with
these you’ll have no precision. For in-
stance when you are being pummeled
you have to make it appear like you
are really losing control while giv-
ing your opponent a clear tar-
get to hit safely and foot work
comes into play when you
executing your techniques so
you don’t crowd or crash into
your opponent. These are
just a few of the elements
that go into a great screen
fight. Remember that even
though it appears like a
fight, in reality is a choreo-
graphed dance using mar-
tial arts. Another thing
that makes a great screen
fight is the appearance of
spontaneity. It shouldn’t
appear to be choreo-
graphed but seem spon-
taneous and alive. Bruce
lee was that master at
broken rhythm and spon-
taneity. Just look at the
fight in “The Chinese con-
nection” in the Japanese
Dojo and the underground

32 MARTIALSCIENCEMAGAZINE.COM