Posts Tagged ‘Teel James Glenn’

Remember Teel James Glenn, neo-pulp author and stunt coordinator? If not, read his interview here. He’s awesome.

After the meeting where he spoke, we had a really good discussion at lunch about movie fight scenes. I was pretty psyched to find out that a professional stunt coordinator shared a lot of my opinions about them.

First of all, we both really dislike the way fight scenes are directed in most modern movies. They tend to be filled with rapid cuts — frequently cutting away from the combatants to their surroundings — so you can’t even tell what the hell is going on.

I’d always assumed the reason for that is because directors are trying to conceal the fact that the actors aren’t really fighting, and stunt doubles are doing all the work. But Teel said it’s more because most modern directors don’t understand the psychology of fighting. They do those jump cuts because that’s the way they film conversations. One guy “speaks” with his fist, the other answers, etc. Teel said directors have also told him that they make the cameras jump around to simulate the “disorientation” and “confusion” of being in a fight.

I’ve done some martial arts training that involved full-contact sparring, as has Teel. And we agreed that when you’re really engaged in a fight, you’re not the least bit distracted. If a guy standing directly in front of you is intent on hitting you, there’s very little else of interest to you at that moment. Yeah, you should be aware of your surroundings, but you’re certainly not swinging your gaze around randomly at other objects in the room.

It turns out Teel is also a big fan of my all-time-favorite movie fight scene, which is James Bond vs. Grant in “From Russia With Love” (1963).

Here’s a clip.

I didn’t know this until Teel made me aware of it, but the guy who staged that fight scene was a former paratrooper named Bob Simmons. That makes sense.

One of the things I like about this scene is that the two opponents aren’t simply trading punches on the jaw, which happens in a lot of movies from the 1960s. Nor are they wasting time with a bunch of balletic high kicks, which you’d see in action movies from later eras.

Nope. They’re fighting like a couple of guys who are intent on killing each other, and don’t give a royal fuck how graceful or gallant they look in the process.

Like the parts where Bond takes Grant’s jacket off his shoulders to trap his arms, then knees him in the sternum? And stomps on his spine? And slams the door in his face? That’s some dirty shit! And that headlock Bond gets Grant in at about the 2:40 mark is banned in Judo and jiu jitsu competitions, because it’s what you’d do if you wanted to break a guy’s neck.

Sure, there are plenty of cuts in the scene. But they serve to convey what’s going on in the fight, not obscure it. Another thing I like about it? No background music. Two guys are trying to kill each other with their bare hands, for cryin’ out loud! If you can’t make that exciting without putting a bunch of techno crap in the background, it’s time to go back to film school.

So THAT’S how you do a fight scene. Modern directors, watch and learn.

Advertisements

TeelHere’s an earlier post about my meeting with Teel James Glenn — author, stuntman, martial artist and all-around awesome individual. Teel agreed to an interview with “Chamber of the Bizarre.”

Here’s the abridged version of his bio:

Teel James Glenn
Winner of the 2012 Pulp Ark ‘Best Author of the Year.’ Epic ebook award finalist. P&E winner “Best Steampunk Short”, finalist “Best Fantasy short, Collection” Author of bestselling Exceptionals Series, The Maxi/Moxie Series, The Dr. Shadows Series, The Bob Howard Series and others.
visit him at Theurbanswashbuckler.com
And here’s the interview:

Q: Could you talk a little bit about your background?

A: I was born in Brooklyn though I’ve traveled the world for forty years as a stuntman, fight choreographer, swordmaster, jouster, book illustrator, storyteller, bodyguard, carnival barker and actor. One of the things I’m proudest of is having studied under Errol Flynn’s last stunt doubles and continue to teach swordwork in New York.

I have had short stories published in Weird Tales, Mad, Black Belt, Fantasy Tales, Pulp Empire, Sixgun Western, Fantasy World Geographic, Silver Blade Quarterly, Another Realm, AfterburnSF, Blazing Adventures and scores of other publications. (more…)

This past Saturday, I attended my first meeting of Garden State Speculative Fiction Writers in a while. As I’ve mentioned (whined about?) in some recent posts, I’ve been really busy lately and a lot of things got put on the back burner.

The meeting is in North Jersey and it’s a nearly two-hour drive for me. But it’s worth it. The group is made up of a very talented, professional and dedicated group of writers, and I always take away something valuable.

At this meeting, the guest speaker was Teel James Glenn. The guy’s pretty much a walking encyclopedia of things I consider to be cool. He writes books that are intentional throwbacks to the classic pulp era of the 1930s, of which I’m also a fan. Some elements of The Freak Foundation Operative’s Report were intended as a homage to classic pulps, including the tough-guy detective hero and the gang of masked villains.

Teel is also a martial artist, professional stuntman, and fight coordinator for movies. He’s got a particular specialty in sword fighting. I picked up his now out-of-print (but not for much longer, as a reissue is on the way) Them’s Fightin’ Words!: A Writer’s Guide To Writing Fight Scenes. I know we’re not too far into 2014 yet, but that still pretty much made my year. Hell, he’s even into sleight-of-hand.

Check out his Website, The Urban Swashbuckler. (Come on! How freakin cool is THAT?)

Anyway, he said something about writing that really had a big impact on me, and helped me get past something I was struggling with in the novel I’m currently working on.

I can’t tell you how many times I’ve read articles, writing manuals, and critical think pieces about popular culture that stress the importance of two elements in fiction: A flawed hero and a compelling villain. (more…)