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  • Okay, so that would be a big reaction.

  • My name is Tony Vincent,

  • I'm a stunt coordinator in the film industry.

  • It was an accident!

  • Listen to me!

  • Let's go.

  • After about 100 movies or so,

  • I started doing fight choreography.

  • I have a deep martial arts background.

  • Everybody's either known as a fight guy, a wheel guy,

  • or a gymnast, a fall guy.

  • Fighting has always been my specialty.

  • I'm competent at the other skills,

  • but I've always been known more as a fight guy,

  • and sought out for my fight skills.

  • When it comes to taking a man with your bare hands,

  • it's rather risky isn't it?

  • James Cagney did a movie, "Blood on the Sun."

  • And Judo was featured there.

  • Every era saw different things.

  • You know, the '70s was obviously the Bruce Lee era,

  • and more of the Kung Fu flicks.

  • So then you know, I think "Bourne" kind of

  • changed some things, and that was heavily based on

  • the Filipino art, Kali and Escrima,

  • and the stick and knife fighting.

  • So that kind of, I think, started

  • that different style of fighting, was more realistic.

  • And I think it's here to stay.

  • "Raid: Redemption" series was also done fantastically well.

  • "John Wick" was brilliant, it was very heavy Judo-based.

  • They brought an art that was not really

  • shown that much in films.

  • Now go home and get your shine box.

  • One thing that I learned from my dad,

  • since he was an actor, is

  • what motivates the character?

  • Why is he fighting?

  • What is his ultimate goal?

  • Otherwise, it's just punches and kicks and throws and locks.

  • So that's the first step.

  • The second step is, what's the shooting style?

  • Do they like to hold shots wide?

  • Do they like to do a lot of insert shots, flash cuts?

  • Because that'll help me know

  • whether I really need to have a flow of moves,

  • or if it's gonna be cut together in snippets.

  • Then we shoot.

  • We're gonna do a little demonstration here,

  • and go over some of the techniques

  • to make fight scenes work.

  • We have here Ian and we have Aj.

  • The first thing we're gonna do

  • is put Ian to sleep, okay?

  • No, just kidding, okay. (laughs)

  • What we really have to talk about is selling to camera.

  • The camera, when stacked, we're stacking right now,

  • it compresses the space in between.

  • So really, whether I'm here

  • or whether I'm here

  • or if I actually hit him, it all looks the same.

  • Just to explain what I'm saying,

  • if I went like this now, guess what?

  • Well, that doesn't work, we see a mile in between.

  • There's a couple of things that I call "choreo-killers."

  • What we call bridging.

  • You guys are my friends.

  • I don't want to hit you in the face.

  • What a lot of people do is they go -

  • I call it bridging. Why?

  • We make it look like it's the Verrazano, okay?

  • Because in our mind, subconsciously,

  • I don't want to hit you.

  • What makes a fight scene work

  • is not the person throwing the punch,

  • it's the person receiving the punch.

  • I always say, you want to pretend that there is a pole

  • going through the top of your head

  • and running through your body.

  • So the first thing that happens is your head goes.

  • Once your head goes, your shoulder goes,

  • then your hip, then your knee.

  • Now I really want you to really throw it really hard.

  • Obviously, don't hit me, 'cause I have meetings after this.

  • (laughs)

  • So go ahead.

  • Beautiful, okay good. - Alright.

  • Now do it again.

  • Okay, so that would be a big reaction.

  • You are going to punch him in the face, okay?

  • And then punch him in the stomach.

  • Then what I want you to do is

  • throw a right punch at his ear.

  • Someone's getting workers' comp today.

  • (laughter) - Right, right, right.

  • Now again, this is a famous actor.

  • - You don't wanna hit him,

  • but you don't want to look

  • like you're throwing a little punch.

  • We're gonna do a half-speed rehearsal.

  • - Okay. - Okay?

  • So half speed to feel it out and know what you're gonna do,

  • and then we'll go full-speed, okay?

  • Alright, so I walk up, like, "You got a problem?"

  • What's your problem? - Hold on, hold on a second.

  • Did I say "action?"

  • Oh, you did not say "action."

  • So you're just running the set on your own?

  • It's my first time on set!

  • - Okay, okay! (laughter)

  • Ready, and action.

  • Alright, you got a problem?

  • You got a problem, man, huh?

  • Nice and slow, nice and slow.

  • Yeah, wham, good!

  • Good!

  • Good, good.

  • It's the full-speed.

  • Alright.

  • Cameras are rolling.

  • - Whoo! - Okay, here we go.

  • Ready, and action.

  • 'Sup, man, you got a problem?

  • You got a problem, man, what's your problem, man?

  • Nice, very nice!

  • Very nice, good job, guys.

  • Good good good.

  • What's your availability next week?

  • I have a project for you. - I'm free!

  • You're free?

  • Yeah, okay.

  • (laughs)

  • Thank you guys.

  • Thank you.

Okay, so that would be a big reaction.

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