Film and television audiences love a great fight scene.
Whether it’s the final duel between the forces of good versus evil, or an epic battle scene, we have now seen dozens, if not hundreds or thousands of depictions of violence on screen. For the average viewer, there may not be much more than a passing thought about whether or not those fight scenes were aesthetically pleasing. For individuals who practice and are passionate about martial arts, these scenes become a focus of intense scrutiny. A chance for them to revel in a brilliant depiction of a particular fighting style and superb technique, or, more often than not, rail against the inaccurate and sub-par performance of the depiction of the martial art of their choice. Indeed it has led to a somewhat widespread attitude among martial artists, that movie fights are terrible.
But is this a fair assessment?
Are they not seeing the whole picture?
Do the filmmakers or fight choreographers even care?
What really goes into the creation of a fight scene? For the answers to these and other related questions, I turned to my friend, Patrick Kelly. Kelly is a professional Stunt/Fight Performer, Fight Choreographer, Fight Consultant and Fight Coordinator. He has been in the business for about seven years. In addition, he also is an avid martial arts student and instructor who has trained and teaches in over 20 different martial arts and martial skills/disciplines including, Hapkido, Brazilian Jiu-Jitsu, Shoot-fighting, Wing Chun, German (Lichtenauer) Longsword, Archery, Sport Fencing, Jeet Kune Do, and has been the Martial Arts Program Coordinator at Indiana University for 12 years. Kelly has also appeared as a stunt fighter in the last two seasons of the hit TV series “Vikings”.
Who’s Responsible For This?
Whenever people get angry or frustrated with something, it’s natural to want to know, ‘who’s to blame’. So, in the film and television world, who is ultimately responsible for the fight scenes? The answer to that question is not entirely consistent. Film and Television are some of the most collaborative art mediums one can participate in. With a wide variety in the size of productions there comes an equally wide variety of jobs and departments. When it comes to fight scenes, Kelly states that, “In general, it is a collaborative effort between Director, Stunt/Fight Coordinator(s), Actors, DP [Director of Photography], Camera Operator, and Stunt performer(s).”
However, he also states that no two productions are the same. Many times a director will have more input into these scenes, while other times certain actors have more sway in the decision making process. He goes on to explain that some productions have both Stunt Coordinators and Fight Coordinators, while others only have one person that handles both. In other productions there may be an additional “Sword Master” who specifically works with performers on sword fights, and sometimes there is an additional fencing coach or consultant on staff. Even within that structure, some productions give the fight team a lot of freedom and others give them very little.
However, when it comes time to roll cameras, it’s ultimately up to the actors to perform the scenes. As anyone who has been involved in martial arts or athletics of any kind knows, we are not all created physically equal. Some people are just more gifted or more trained at physical activities than others. When it comes to casting decisions, Kelly notes, “as a Stunt/Fight Coordinator, you get no say regarding who is cast. You're LUCKY if you get three-four weeks to train up the principles. Often times, the well rehearsed stunt doubles sit idly by because production thinks it'll look better if they get to shoot the actors. If you are lucky you get some say in the angles they use if your pre-viz sold well. You will get no say in the edit.”
We would also do well to remember that what gets shot on the day of filming is almost never exactly what ends up in the final product. The film goes through many, many hands before it is finally realized on screen. Kelly reminds us that as far as final influence goes, “more-so than anything else- the Director, DP and Editors have the most control over the final product, and justifiably so. It’s their job.”
So the “blame game” is a very difficult and likely inaccurate way to levy grief. Far too often the Fight Coordinator might receive the lion’s share of criticism, when the final execution of that scene has been through several set of hands, most of which have more decision making power than the Coordinator.
What Were They Thinking?
In order to understand what you are seeing on screen, it helps to know how the people who created it, got to that point. It would seem to most of us that participate in historic martial arts and martial sports, that a high priority should be placed on historical accuracy, right? But is that the most important element to directors and producers? No, it’s “narrative first and foremost”, Kelly states. In other words, story trumps everything. A fight scene without emotional and dramatic weight is empty and flat. The only other real element that’s given a top-level priority is the safety of the performers. Not only for their well-being and not wanting to cause injury or worse to your co-workers, but also that an injury to key personnel can end up costing the production a great deal of money. “Safety is paramount,” Kelly states. “If it’s a principal actor [that becomes injured] production is obviously affected. If it’s a dedicated stunt [actor], production is affected. So, no matter how much a fight director might know and study period fight books, if the actors can’t safely perform certain techniques, it’s professionally irresponsible to try and force them to do it anyway.
Another incorrect perspective, that I have certainly been guilty of in the past, is the notion that these directors and producers ‘owe it to the audience’ to portray combat as accurately as possible. This flaw directly ties into a misunderstanding between the creators and the audience. Kelly states, “This may sound harsh, but they don’t owe anybody anything at the end of the day. The audience will judge with their pocket book and future producers will judge by the bottom line.” A film or TV show is nothing more than a piece of art that is funded by an individual (or individuals) who collaborate on a vision, and strive to create a product that will resonate in the marketplace. It’s theirs. Their vision, their work, their success or failure. It’s not up to the audience to dictate to an artist how to create their work. Now, what the audience can do is as Kelly states and “judge with their pocket book”. So the question is… can a production that features accurate fighting be financially and dramatically relevant? Kelly feels that it could work, but with certain qualifications; “it would be wise to make something as historically accurate as reasonably possible, so long as the primary goal, story telling, was not compromised. Historical accuracy can provide rich context to the story.” With such a wide selection of period fighting documents readily available, to not see these techniques more frequently represented in productions almost seems like a deliberate attempt to not include them. I have talked with individuals in the stage combat arena that feel these historic fighting treatises have ‘nothing to offer’. However, not all hope is lost. Kelly has seen evidence of a positive movement. “I’ve seen a flood of instructors turning to these manuscripts. Myself included. It takes time to read them, interpret them, adapt and apply them to stage-craft, work them in to productions, negotiate with producers and directors to get on board, and maintain other projects/jobs you are working on. It can’t, and shouldn’t, happen over night.”
From this perspective, it starts to make a bit more sense. People who dedicate daily research and practice to study the historic manuscripts do not get to a level of high proficiency over night. In fact, more than once, practitioners have scoffed at an individual who decides they’re an authority on the subject because they have been at it for over a year. For people involved in the stage fight industry, their time is severely more limited in the pursuit of more historically accurate techniques. As Kelly noted, there is a sort of ‘translation’ period where these techniques not only have to be understood and practiced, but then altered to the specific needs of film or TV fighting. To get this done, and to get it done right, it should take a great deal of time. Then you have to convince the people in power that this new (new to them) approach is preferable to the typical hack and bash stuff that they know is already successful.
A far more common approach is to take a handful of techniques from the historic treatises, and “flavor” the fight scenes with them. Kelly explains how this was the case in the production of Sherlock Holmes, starring Robert Downey Jr. and Jude Law. “A good example of historical basis, mixed with directorial flavor and actor preference is the Guy Ritchie “Sherlock Holmes” movie. SAFD [The Society of American Fight Directors] Fight Master, Richard Ryan was the Fight Coordinator for both movies. He heavily researched Bartitsu, which is what the Arthur Conan Doyle stories allude to as a popular fighting style in England during that era. This provided the contextual basis for the story especially in regards to range, tempo and weaponry, but they also included quite a bit of Wing Chun Gung Fu as the principle actor, Robert Downey Jr., was an avid practitioner of the art. Because of his familiarity with the martial art he was able to perform to a greater degree while still conveying the intent of the fight narrative. Additionally, the Director, Guy Ritchie, is an avid practitioner of Brazilian Jiu-jitsu and wanted to include the efficient ground fighting elements of that art into the fight scenes. Who was to say that a well traveled and erudite man such as Sherlock Holmes would not have studied some principles from the Eastern martial arts?”
This blending of historical research, while taking in the specific abilities of the lead actor, as well as the interests and vision of the Director, and a very talented Fight Director, all combined to create the unique fighting style of Guy Ritchie’s, Sherlock Holmes. While it admittedly is not an exact portrayal of Bartitsu, it’s far better from an entertainment and narrative standpoint, to see an interpretation of Bartitsu using the physical gifts that the actor already had, rather than try and have him perform “accurately” at a lower level of proficiency.
What Kind of Sword Is That Supposed To Be?
Most of us know from experience, having a poorly made, or unbalanced weapon can drastically affect the ability to perform historically accurate techniques. Even with well-made weapons and weapons simulators, there are differences in handling. With a few exceptions of top-level swordmakers, a blunt is going to handle a little different than a sharp. Many of the popular nylon or synthetic wasters have very different handling characteristics, which can affect technique. This leads us to the question of, who is responsible for supplying the weapons and armor for a production? Most productions that feature violence will have an Armorer. This may be a lone individual, or they may head up an entire department. Sometimes the weapons are purchased or rented, or in the case of very large-budget productions, they may have their own shop with which to create their own custom props. These props weapons frequently take on many forms. No two productions are alike, but it’s more common than not, to NOT have accurately made steel weapons and armor as the primary tools used in the fight scenes. Kelly has observed that, “Most use hard rubber weapons for action sequences. Some productions use bamboo for swords and rubber and/or foam (softies) for most other things (axes, hammers, maces, etc)… Some productions will use aluminum for tighter work. Steel is used for “hero” shots or non-action shots where the weapon is featured up close and must look real.” In addition, he notes that wood, fiberglass or HD foam is the material of choice for shields. When it comes to armor, much of the shift to simulated materials has to deal with the practicality of long, hard working hours, with people who aren’t and don’t intend to be, actual medieval warriors. Kelly explains, “You tell the principle actor that they will be on location...in the South of France... in July... astride a horse... while wearing underclothing, quilted jacket, maille and plate for the next several hours over the next 15 takes.” Multiply that by a 30-day shooting schedule and it’s no small wonder why more productions don’t invest in sixty-pound suits of accurately made armor for their performers. Despite the armor’s ability to protect people from the blows of weapons, it is extra weight and can make you move differently. Kelly reminds us that, “A twisted ankle, knee, etc… can halt production. When that happens, be prepared to go in front of the producers and defend your job. Moreover, as a stunt performer, I’d rather get shield bashed by a fiberglass shield or accidentally punched with a costume gauntlet than the real thing.” Safety.
They Have No Idea What They’re Doing!
At some point, virtually every martial artist has watched a film or television show, and while witnessing a performer attempting to portray a violent conflict, has exclaimed, “they have no idea what they’re doing!” Is that accurate? Is that fair? As was previously discussed, it is not always the desire or the goal of a production to portray combat in an accurate manner. It is a story and an expression of art. As such, there are no rules, nor obligations. In addition, the performer is not obligated to have spent half a lifetime studying one small aspect of historical swordplay. Indeed, not even the most strictly disciplined historic martial artist exclusively gives 100% of their time to a single weapon or a single historic master. Many of us branch out and get a wider perspective on multiple aspects of the art. When an actor arrives on set or on location, their time is severely limited. Even in the most martial of movies, much of their time goes to costume fittings, rehearsals and talks with the director and their other co-performers, media obligations, and so forth. Fight training is only a small aspect of what their job entails. Kelly stated that he has, “actors who’ve have some previous stage combat training and actors who have had none. For those with little to no training, we typically run them through a fight camp to develop the basics such as footwork, timing and range.” This is super basic 101 level training. How many historic martial artists were training how to fine-tune a duplierenin their first week of practice?
Even assuming that the actor has some decent experience or has spent a great deal of time in training and rehearsing a fight, (which is unusual given the time constraints of a professional production schedule) there are several on-site challenges that would affect even the most seasoned fighters and martial artists. One of the biggest challenges when it actually comes to the shooting dates is that the choreography alwayschanges. Kelly explains, “Ideally the actors need to own the fight. Nobody knows the character better than them. Hopefully they trust the Fight Coordinator and allow them to do their job, but input is important. Sometimes the changes or suggestions are frustrating, sometimes they are absolute narrative genius, but at the end of the day, they need to be a part of it.” He continues on by reminding us that, “collaborative story telling is a dynamic art. You have to be able to adapt on the fly.”
Outside of choreography input from actors or directors, there are countless reasons why things change at the last minute. “The reasons for changes are legion,” Kelly states. “You name it. Weather, unit coordination, unforeseen changes to location, changes to set, changes to the script… actor ability/health, location variables, time of day, lighting, set dressings, light bulb moments…” etc. Such is the nature of film and television production. Nothing is 100% controlled and the great artists make do with the best that they can, even with all the challenges. Like most of the areas of potential frustration for martial savvy viewers, the “flaws” they see are not ascribed to any one person for any one reason.
I Can Do Better Than That!
Like the armchair quarterbacks of the sword community, there are not many of us who haven’t at least thought that we could do a better job putting together fight scenes than what we see on screen. If one took an honest assessment of their skills and abilities, and truly understood what it takes to do the job of a fight coordinator or even a stunt performer, the harsh reality is that most likely, we would not do better. However, perhaps you could. It’s one thing to complain about something you don’t like… anyone can do that. It’s quite another to see something you don’t like, but then turn that into action and actually strive to do better work yourself.
But How?
Kelly provides us with a simple, though not easy, answer, “To those who get frustrated… Put up your money and be an Investor or Producer, [or] make your own movie.” That’s really what it is going to take. I hear the question posed all the time, ‘What is it going to take to see accurate sword fighting on screen?’ The answer is: a single individual, or a group of like-minded individuals, who create their own film on their terms, doing their thing. In the last several years I have somewhat softened in my stance on maintaining historical accuracy in film and television fight scenes. I was forgetting that it’s a creative work based on a joined vision by a writer and a director and a few other key personnel. I am NO ONE to dictate to these people how they should express their art. If they were writing a scholastic paper and passing it off as fact, then there is room for more harsh criticism based on historical facts. But that is not nearly the case when it comes to entertainment. I now see historically accurate swordplay as a “color”. An option that the artist hopefully has available to them to do with as they wish. They might choose to dab it here and there, swath the canvas with it, or avoid it entirely, but it’s THEIR CHOICE, and I have no right to dictate how they make their choices. However, I can “vote” with my money and support the productions I feel do a great job, which I do. But no one is under any obligation to do things one way.
To see first hand what it takes, here is some good, helpful advice on how to get into the exciting and challenging world of stage combat. I specifically asked Patrick Kelly about these jobs and how people get chosen to be stunt doubles and stunt fighters. It’s also worth noting that it’s very unlikely for someone to get a job as a Fight Coordinator or other related jobs, without already having the experience and knowledge of being a stunt fighter or performer themselves. So coming straight from being a martial artist or fighter, to running a stunt team, is highly unlikely.
How does one start down the path of becoming a stunt fighter or a stunt double? For starters, there are organizations like The Society of American Fight Directors or the United Stuntmen’s Association that hold camps and workshops that can get you started and introduced to a wide variety of skills and techniques you will need. Oh, and don’t forget the most important skill you will need… acting! Kelly advises, “Train. Build up a varied skill set… Learn different disciplines. Learn how to shoot firearms, archery, scuba, skydiving, horseback riding, precision driving, etc.” He goes on to advise prospective stunt fighters to “train at Stunt gyms and network there. If you have the skill and they are in need of someone that fits the bill, it’s a strong way to start.” Once you get your big break and someone gives you a chance to come on board a production, it’s vitally important to make sure that you do the job right so you can keep getting more work. Once you are in, Kelly advises to, “Make it your job. Be professional, not a hobbyist. Train. Hone your tool.” He continues on in advising new fighters to bring your own gear, always be safe, to keep your eyes and ears open and your mouth shut, always be busy, always be pleasant, and don’t ever complain.
For a person who is coming from a martial arts or martial sports standpoint, there are bound to be some growing pains. Very soon you will realize that while much of what you know can be useful and valuable, there is an awful lot that you don’t know. I know that this was the case with my experiences. One of the most difficult things for me, was to break muscle memory and to do things, which in my historical martial arts experience, that werewrong. Sometimes, there was a good reason. Sometimes the reason was thin, and sometimes the reason was just plain stupid. But the bottom line is that you must be able to take direction! If you kick against the direction of the coordinator, or other people of influence, your career will be over before it even starts. When you are first starting out, or coming straight from historical fencing, you don’t really think about what you are doing in terms of how it will appear, through a camera, and then projected on a screen. So while you may feel like you are performing a cut completely off target, what you don’t realize is that as the camera films you at a certain angle and then gets flattened to a two-dimensional image, the perspective of how things appear to be layered are quite different, than in a three-dimensional world.
Kelly also agrees that one of the potential challenges facing people coming into stage combat from the martial arts is, “Unlearning good (now potentially bad) habits.” Other challenges he lists include the absolutely vital, “Checking the ego at the door” as well as the almost always overlooked challenge of, not being able to act. Kelly states other problems that frequently plague martial artists, now turned stunt fighters are, “Not being able to make their partner look good by allowing themselves to fail/lose [and] not being able to remove themselves from the focus. You have to be able to hide in plain sight.”
Let’s See Action
While anyone can criticize and certainly filter what they watch through their own personal likes and dislikes, it’s a far different thing to do something about it. I feel that opinions, based on facts and information, are a powerful and empowering thing. So next time you feel like criticizing a film or TV show for their fight scenes, ask yourself, do I want to be a part of making them better?If not, that’s fine- at least now you might have gained a bit of perspective on how things might have gone on behind to scenes to make the on screen action happen. If yes, then there are some things to learn, a lot of work and training to do; but just maybe, if you rally like-minded folks around you, your film, your show, can be the one that inspires others to do the same.