get carter

Under selling and over charging are terrible sins.

They do however happen. Inexperienced fight directors will want to build a CV and will do any show for the experience, never mind the cash. This is a valid reason in my opinion. I've done it myself, but it does not always lead to great stage fights, or even safe ones. This sort of thing can only happen under the guidance of a more experienced fight director. I, even now, will call my instructor (Prof. Bert Bracewell) for advice and regularly attend his classes to assist him, but also to remind me of the basic factors.

So what is fair? What is the right payment?

Several factors come into this. How long, or difficult is the fight? How experienced are the actors? (They've said they're brilliant but are they?), How many fights are in the production? How long is the rehearsal period? How much time can I get to rehearse with the actors? How far away from my place of work do the rehearsals take place? What additional support does the company offer? e.g. Stage management, admin etc. How long is the run of the show, how many performances? Is the fight for a theatre company, or for television, or for film?

THEATRE COMPANY FEES

A guide. Bearing in mind all of the previous questions, theatre company fees might be laid out as follows.

Fight Advisor

Minimal contact with the production, doing ones best with limited rehearsal time and at the lowest end of the scale. The main aim of a fight advisor is to make a fight safe, not necessarily to make a fight good.

Not less than
£200

Fight Director (or choreographer, arranger, stage combat instructor)

Usually a minimum of 12 hours over the rehearsal period, in at the very least, three or four different slots. A fight director will work with the actors to create a safe fight which serves the production well. He/ she will be available for production meetings and be present when the production moves into the performance space to make suitable alterations. The fight director will discuss possible lighting, set, direction, costume and stage management problems with the appropriate departments. The fight director will provide stage management and the actors with a written notation of the fight to be used when he/ she is not present. If it is a long tour, the fight director may also wish to catch up with the fights, at some point during the run, and re-rehearse sections which are untidy. At the higher end of the pay scale, the fight director will be present at all rehearsals, and several tour or performance dates.

Average fee of
*£1000- to £1800

Fight Master

A full time fight directing position on a production when there are many fights to be taken care of and where the fight master has separate fight directors working under him. The fights master will co-ordinate and control many factors of the production, including all those of the fight director.

Not less than
£1500

The "*" marker indicates that under certain circumstances the fee may be negotiable, but to an amount of not less than £500-.

If theatre companies (Often drama schools contracts) insist on payment by the hour be sure to check that they are aware of the consequences listed at the foot of this page. An hourly payment is not always ideal.

TELEVISION FEES

Fight Advisor	Minimal contact with the production, perhaps only coming in for a short time to look at one move or sequence. Will best advise how it is to be done safely and quickly.	A minimum fee agreed to be not less than £62- .
Fight Director	The fight director will choreograph safe sequences suitable to the production with the actors in rehearsal, and be available when shooting these scenes. The fight director will co-ordinate with the relevant departments to insure all runs smoothly, with the least possible fuss when shooting.	*£62- per hour, plus negotiated additional items, such as place in the credits etc.
Fight Master	Will choreograph safe sequences with the featured actors and co-ordinate background action with assistants. Will work closely with the relevant departments to create fights tailored specifically to the production on a full time basis.	*As arranged, regarding credits etc. and at a basic rate of not less than £62- per hour.

* Usually this would be worked out on a fee basis, rather than "by the hour" - see below...

FILM FEES

Fight Director	(As television)	Negotiable fees dependent on the size of production.
Fight Master	(As television)	Negotiable fees dependent on the size of production.

A WORD ON BEING PAID BY THE HOUR

To certain employers payment by the hour is perfect, because in their minds eye they get you for the least possible cash. In my experience however, an hourly contract is not always ideal. When arranging an hourly contract it must be made clear to all parties that the FD will charge for every hour on which he/ she is STANDING BY (on set or at the theatre) as well as for every hour in which he/ she is engaged in rehearsal with the actors. If due to technical difficulties or poor organisation, you are not allowed to begin when arranged, you must make the company aware that they will be charged. This will encourage them to get it together and will not waste anyone's time. In addition, if an hourly contract is agreed, remember to build in a rate for notation and prep.

One other limiting factor to the hourly rate is that should a problem arise and you require more time with the actors (e.g. Many actors will lie about their sword skills just to get the job - Many many actors in fact - Leaving you in a position whereby you have to make the most of what you have! or you may find that the director wants quite capable actors to do extremely complicated movements - which you were not aware of when you arranged your hours - and simply require more time to perfect.) then you may have to renegotiate your contract. This is really not an ideal situation to be in, as it can cause friction between the company and yourself. Make the company aware of this possibility when arranging a contract.

Lastly, make sure that if you are self employed (As I am) that the company does not take tax, or national insurance from your paycheck. If a company insists on paying by the hour it is often because they can't cope (or can't be bothered) with an unusual or one off fee payment. If they take it off your check then getting this money back can be a costly and time consuming experience.

HOW MUCH? - Well I'd let an on the hour basis start at about £25- per hour, for theatre.

A WORD ON BEING PAID ON A FEE BASIS

As I've found problems in the past with the hourly rate my preferred option is to be paid by fee, however this too has its drawbacks. As with the hourly rate you must calculate your estimated hours and agree a suitable payment. All the factors listed above should be taken into consideration. The difference is that when paid by fee you may agree to be present not only on certain hours but until the fight is prepared to your satisfaction. Payment by fee allows slightly more artistic freedom as you are not so bound to specified hours. It can allow the company to have you available for much longer periods than if you were working on an hourly salary. An agreed fee can also assure the FD of exactly how much money he/she will have coming in over a certain period.

None of this is cut and dry, but these fees are based on those which I have come to expect. If you can add anything to this page regarding expectations from a fight director or corrections/ additions to the fee structure lease contact carter@fightdirector.com