PRE-PRODUCTION

Arranging your contract

Before beginning work on any production it is essential that at least some elements of the contract have been hammered out between the FD and the company's producer or administrator. In Scotland a verbal contract is binding however it may be difficult to prove what has been said and may cause confusion or awkwardness if you have nothing in writing. A fax confirming details or a letter may be all that is needed. Rarely will you come across an Equity contract like the one pictured below.



The Equity contract comes only from theatres that have signed the 1995 Equity repertory agreement on fight directors. The contract does NOT BIND THE THEATRES TO HIRING FD'S WHICH ARE ON THE EQUITY FD REGISTER. THEATRES MAY HIRE ANY FD THEY DEEM SUITABLE. Television companies may also use the equity contract or one similar, however film companies will more usually create their own contract specific to the needs of production.

When initially discussing contracts you should cover in some detail the hours which you will be required to work, the style of the fights within production, the weapons and details of the fights (That is the amount of work - NB this may mean reading the entire script or perhaps having a meeting with the production team), the amount of rehearsal, the time scale of rehearsal, the location of rehearsals and of course the amount of payment. See RATES OF PAY.

Arranging a contract is a two way thing. You are responsible for the safe staging of fights so when arranging a contract if you start to hear alarm bells or doubt the motives of the company then don't be afraid to walk away or to doubly re-state your case. Make sure that you are happy with the agreement, with the hours and with the safety aspects of the job.

Job description. Some companies will want to place a full job description on the contract, others may just put "fight director" and leave it at that. This differs from company to company, but if you are unsure of the requirements expected of you then ask for a clarification.

PRODUCTION

Meetings and Discussions

As mentioned above the first meeting is often the one at which you arrange details of a contract and find out the basic parameters of the job. At all meetings notes should be taken as you never know when information will be useful.

Typical meetings or discussions expected of a fight director include:

1/ Designer or design department. Find out about the surfaces you will be fighting on, the props and the set elements that may be involved and discuss anything at all that may come into play.

2/ The props department on film or television will be responsible for weapons etc. If the production utilises firearms then the armourer will want to meet you. You should discuss the characteristics of weapons and/ or their stand ins.

3/ Wardrobe - Wardrobe should be informed of the necessary safety requirements. They may require to hide back padding or knee braces etc under the costume. They may have to provide specific safety gear such as gloves and they may also require to have stand-in costumes for fights which involve potentially getting dirty. You will have to discuss footwear with them also.

4/ Lighting - More specifically in theatre but make sure there is sufficient light and that any cross lighting does not blind the actors.

5/ Director - It is essential that you discuss the director's requirements with him/ her prior to speaking to anyone else. It is the director's vision which you are assisting to come to fruition. A good director will heed the advice of the FD.

6/ The DOP may wish to discuss elements of the fight in order that he/ she can shoot it in the best manner.

7/ The Producers, 1st Ad or other production personnel may also appreciate a word from you even if only to confirm they are not required or as an introduction.

Working With Actors

Working with actors is the ultimate test for any fight director. If you cannot communicate your ideas, teach the rudiments and allow the actors to ACT then you might as well go home.

Every fight is different and every actor has different abilities, skills, knowledge, manners and personalities. You must tailor fights to suit the unique abilities of the actors involved and which also serve the script. The characters intentions must be taken care of and work within the combat. The actor must be worked with to create, not just any fight, but the right fight. The actor will know their character best of all and will know what does and does not work within the context of the piece. Discussion with the actors prior to and during the construction of the fight is absolutely essential.

Rehearsals

You must estimate the required rehearsal time for each fight and ask for this time prior to the first performance or prior to camera rolling on the scene. In film/ television it is essential that the piece be performed naturally and this can only happen when the actors are happy with the moves. If the piece is properly rehearsed no time will be lost when ready to shoot the scene. You do not want to have everyone waiting while you rehearse the actors. This wastes time and money, and can cause unnecessary stress to the actors as they are put under pressure - The obvious follow up being an accident of some kind.

Rehearsal Structure

1/ Theatre - Usually at least 12 hours leading up to the first performance in 3 or 4 "slots". Typically this will be S1/ Basic moves, and beginning the fight plan. S2/ Finishing the fight and rehearsing the piece for moves. S3/ Running the fight, cleaning up dialogue, the dramatic structure and assisting the actors. Feeding in actual weapons, armour costume etc, but very much for the actors. S4/ In dress rehearsal period, on stage, with all props etc. Assuring confidence in the actors abilities etc, solving small problems associated with a change of space. Checking the pace of the fight and cleaning up anticipation etc. Lastly in fights for theatre fixing the fight rehearsal at the hour call prior to every performance. The stage manager should have been made aware at the start of rehearsals that this would be required... Try not to spring this one at the last minute.

2/ Film/ Television - Appropriate rehearsal should be arranged (preferably in the actual space or if not, then in a mock up space of similar dimensions) prior to the camera set up. Ideally for each fight of medium difficulty a four hour slot should be arranged. For more difficult fights a whole day or more may be required. Very small simple fights can be done as they come up, but event for the most basic, an hour should be scheduled. If your rehearsal has not been in the actual space then 10 minutes in the actual space should be provided on the day. This rehearsal in the actual space is ESSENTIAL.

Who runs the fight rehearsal? If the FD is present then he/ she should run the rehearsal. If the FD is not present then either an actor or the director should run the rehearsal. Theatre companies on tour often have the stage manager running the rehearsal. In television or film, if the FD is not available for some reason, then the director runs the rehearsal. NB It should not be the 1st AD.

Health and Safety

The risk assessment is a necessity for film and television and is dribbling its way into theatre. Insurance requirements and the wishes of the health and safety executive really have to be taken into consideration these days and it is necessary for FD's to have some knowledge in this area.

The FD's risk assessment is to to with the safety of individuals and backs up the companies employment liability cover. It generally does not cover equipment and the public. A separate assessment done by the company will cover these areas.
The risk assessment should be completed prior to cameras rolling on the day of the fight. If everyone has not read the risk assessment then it should be read out loud on the day.

From recent experience I will now be writing on every risk assessment that actors should warm up. This is an obvious safety measure but when time is short on film/ TV jobs it can all too easily be put aside.

POST PRODUCTION

Re-Rehearsing

If the show runs for a long time or is on a long tour, then the FD may require to re-visit the production and re-rehearse the fights. Actors absolutely hate this but it is advisable. Expect trouble and moodiness. Some actors may also be stir crazy with tour induced cabin fever so watch out for this... I jest, however this is a common problem so be aware.

Post Effects

In film/ television, your thoughts may be required on sound effects or on weapon flashes etc for after fx. This is unlikely, but you never know.