THE LOWDOWN ON THE THROWDOWN

THE LOWDOWN ON THE THROWDOWN

atown1This past weekend, I participated in the A-Town Throw Down, a revered and popular stage combat workshop held at Kennesaw State University (near Atlanta, GA) every year. The Throw Down – sanctioned by the Society of American Fight Directors – is three grueling days of full-day training in everything from 300-esque spear and shield combat to bar fighting.

On day one, after a brief warm-up, I went to my first class – Q Stick (Quarterstaff) – in which we learned and executed choreography with the quarterstaff at full speed, only breaking once for water…I knew then that I was in for a world of hurt and that these Stage Combat folks were as serious about their craft as any other combatant. I was filled with an odd feeling of eagerness mixed with dread.

After the Q Stick class, I had a great time in the Throwing Knives class and was the first to hit the target with four of six blades. I was happy about that, but after nearly two hours of throwing heavy steel in the blazing sun, happy turned to “damn” and “where in the hell is my Tiger Balm?”

After a lunch of Chai Tea (only Chik-Fil-A was open on Kennesaw State’s campus and I don’t eat chicken), I headed to my Knife Class, where we had a grand old time “cutting” (the blades were dull aluminum) and disarming each other and then ended my day with some Unarmed Fight Choreography that left me sore, but eager to return the next day.

Balogun1The second day (Saturday), I began with some Instinctual Knife training and learned some things that will really enhance the blade fights in my films, then it was on to the Fighting and Music class, wherein I had to perform some of the fastest and most intricate choreography known to man. Thankfully, I was able to pick it up and execute it well; more thankfully, the teacher is a foremost master of Stage Combat and she was able to pull the fight out of us while maintaining absolute safety on a stage of about thirty people going at it simultaneously with swords. From there, I headed to what has to be the most physically demanding course on earth – the Shield and Spear class. First, I made the mistake of grabbing a big thirty pound shield and a heavy spear. Granted, I looked cool leaping through the air with such heavy weaponry, but after about a half hour of full speed choreography with the damned things, I was smacking myself in the forehead for not picking the much lighter small shield and one of the spears made of a wood half as heavy as mine. Everyone left the spear and shield class with a lot of knowledge and a WHOLE LOT of hurt. I finally ended my day with the Whip class. I had to block out the pain in my hips, feet, back and hamstrings in order to stand up and wield the damned thing, but it came naturally and I was cracking that whip from all sorts of directions. At one point, I thought about how my ancestors were probably beaten with such a weapon, which strikes at 900 miles per hour on average (that “crack” you hear is the sound of the end of the whip breaking the sound barrier) and I got nauseous and no longer had a desire to hold the weapon, so I sat down for a breather and to center myself. After a few minutes, I (slowly and with great and painful effort) got up and returned to the floor for more whip-crackin’ goodness.

Untitled 0 00 33-15On the final day, I started off with the Ground-N-Pound Class, where we choreographed our own ground fight after a few falling and rolling drills and drills to get us to commit to “the moment”. Some of the fights were cheesy. Most were exciting. I was working with one of the instructors and he gave me permission to push the envelope, so we did a brutal fight that ended in me catching him in a toe hold and snapping his ankle and knee (it was safe – no joints were harmed in the making of this fight). After that class, I went to the Single Sword Class, where we learned and executed some swashbuckling choreography. Spatial awareness and control are essential when two people are whipping steel rapiers all over the place.

Finally, I ended my day with what had to be the funniest, silliest class I have ever taken, yet it was brilliant. The class was entitled Roadhouse! (yes, the exclamation point is part of it) and it was an exercise in controlled mayhem. Fifty people on stage having a bar fight with mugs of beer, waitress trays, tables, chairs, a bar, bartenders and all – however, it is a bar fight in the Roadhouse universe – see the movie if you haven’t already and if you have seen it,  watch it again – so things were nuttier than squirrel poop. A punch to the stomach caused you not to bend over in pain, but to stand straight up…a waitress holding a tray was invisible, but if she hit you with her tray, you were knocked out…the only place thrown chairs ever landed was the bar and paper and cups were constantly flying through the air – even if it was unconscious people tossing them.

Like I said…squirrel poop. After that hilarious and surprisingly fun class, which taught me how NOT to choreograph (one of the points of the seeming madness), I headed home for some much needed sleep.

You guessed it...that's me in the purple shirt after I attacked the guy in the yellow shirt in the  "circle of death".

You guessed it…that’s me in the purple shirt after I attacked the guy in the yellow shirt in the “circle of death”.

When I awakened I reflected on the weekend…all the education I received…all the fun…but the discomfort I felt at being the only Black person at the event (well, there was one other, but he spent so much time trying to point out to everyone how Black he wasn’t – “I’m Panamanian and Filipino and yeah, there’s white in me too…I promise”) and the fact that many people avoided being my partner (“I don’t stink…I promise”) made me uncomfortable. I wondered why there weren’t any other Black people at the event, nor are there any Black instructors – let alone Masters or Directors – in the entire Society of American Fight Directors. Granted, there aren’t many Black people in theater, but there are many trying to break into film. Since you almost can’t make a movie without a fight scene nowadays, such training is essential if you are serious about your craft as an actor and certainly as a fight choreographer.

Wait do you think there aren’t any Black film fight choreographers? Don’t let the lack of Black faces in the Society of American Fight Directors fool or discourage you. Let’s examine a few:

Larnell Stovall

atown2Seeking to use his renown as a world and international champion in fighting, weapons and forms (kata) to break into Hollywood, Larnell Stovall moved from New Orleans to California to pursue a career as an actor and fight choreographer in February 2001.

Stovall quickly established himself as one of the best in the business with his work on the popular duo of web series – Mortal Kombat: Rebirth and Mortal Kombat: Legacy, as well as the films Undisputed III, Never Back Down II, Blood and Bone and Bunraku.

Style: versatile and dynamic; incorporates high and jump kicks and acrobatics, thus he works best with quick flexible and agile performers.

Chuck Jeffreys

atown3Washington, D.C. native William Charles Jeffreys, III – Chuck Jeffreys – began his training in the martial arts at the age of eight, starting with Western Boxing and Tae Kwon Do. He began training in Tien Shan Pai Shaolin Kung Fu in the early 70s and began teaching kung fu in 1974.

Over the decades, Jeffreys learned and mastered other martial arts styles and systems, such as Kali, Indonesian Silat and Shoot Boxing.

Jeffreys put his skills to use in Hollywood, becoming a stunt double for the actors Eddie Murphy and Ving Rhames.

He then went on to assist in the fight choreography – and to train actor and martial artist Wesley Snipes with the sword – for Blade. He has also choreographed fights for the blockbusters, Spider-Man and Freddy vs. Jason. He returned to the Blade franchise in 2004 to train Wesley Snipes and the rest of the cast for Blade: Trinity.

Style: efficient, realistic hand-to-hand combat, with occasional high and low spinning kicks for flare.

R.L. Scott

atown4R.L. Scott was born in America, raised in Salvador Bahia Brazil until the age of 16 when he returned to the United States. It was then that he began writing and one year later, he made his first short film. He has since gone on to involvement in over fifty shorts and feature films in many capacities including writing, directing, fight choreography, cinematography, post production work, and editing.

In 2007 Scott did the fight choreography for Champion Road, a popular feature film he wrote, directed and produced and in 2008, took on the same roles for its sequel, Champion Road: Arena.

In 2012, Scott choreographed the fight scenes for the feature film entitled Call Me King, which stars international superstar Bai Ling (Red Corner). Call Me King is scheduled to be released early 2014.

Style: probably closer to Chinese cinema than any other non-Chinese fight choreographer in the business. The beauty, power and stylistic fights of films such as Fearless, Dragon-Tiger Gate, Ip Man and Sha Po Lang – aka Kill Zone – is Scott’s signature.

Balogun Ojetade

I18After performing stunts and fights in several films, plays and demonstrations, Balogun – a master of indigenous African martial arts – went on to choreograph fights for the stage and for the independent films Reynolds’ War, A Single Link, Equalizers and Rite of Passage: Initiation.

Balogun is – at present – choreographing fight scenes for the Steamfunk feature film, Rite of Passage, which is scheduled to premiere in early 2014.

Style: brutal, efficient and unique, combining the smooth, rhythmic, yet viciously effective African martial arts with such “exotic” martial arts as Savate, Bartitsu, La Canne, Capoeira Angola and Catch Wrestling.

I attended the A-Town Throw Down because I want to hone and enhance my craft so that I can create the very best films…so that I can bring you eye-popping fight choreography that you enjoy and that I am proud of.

Nothing less than excellent is expected of me or acceptable to me.

That’s my motto. Please, adopt a similar one (or just use mine) if you haven’t already and let’s make some great movies, y’all!

THE ORIGIN OF A STEAMFUNK FEATURE FILM by Author Milton J. Davis!

THE ORIGIN OF A STEAMFUNK FEATURE FILM

A Story of History, Fantasy and Steamfunk

Rite of Passage is a Steamfunk movie collaboration destined to change the perception of historical fantasy. It’s the tale of the city of Nicodemus, Kansas and the special souls that have gathered to protect it. Based on a story by Milton Davis, Rite of Passage blends history, fantasy and Steamfunk into an exciting action movie that draws you into the mysterious, intriguing – and sometimes frightening – world of Rite of Passage and the even bigger adventure yet to come.

How It Began

RITE OF PASSAGE 1In 2011 author Milton Davis wrote a short story entitled, Rite of Passage. The story was about a young black man who was escaping the antebellum South to freedom  under the protection of Harriet Tubman. That night the young man had a unique encounter with another man who possessed amazing powers and abilities. Years later he encounters that same man and is recruited to help him. At the end of their adventure the ‘superman’ passes onto the young man a necklace that gives him the powers he first witnessed in his youth. His charge is to use those powers to protect those like him.

Balogun Ojetade read Rite of Passage and was captured by its message. A writer, director, martial artist and admirer of Harriet Tubman, he saw the potential of the story encompassing much more. The young man in the story became the young woman Dorothy and through the imaginations of both Balogun and Milton, the Rite of Passage mythos expanded, introducing new characters and exciting stories.

From Paper to Film

As the story ideas continued to flow, Balogun and Milton’s vision grew from prose to film. Balogun pulled together a skilled and creative team of filmmakers to produce Rite of Passage: Initiation. The purpose of this short film was to give a glimpse of the Rite of Passage world and show the skills of those involved in order to raise funds to make a Rite of Passage feature-length movie.

An Unexpected Proposal

GT LogoIn addition to working on Rite of Passage together, Balogun and Milton are a part of the State of Black Science Fiction Collective, a group of speculative fiction writers dedicated to promoting black speculative fiction. Their first program was held February 2012 at Georgia Tech in partnership with Lisa Yasek, Professor and Director of Undergraduate Studies, School of Literature, Media, and Communication. In 2013, the group returned to Georgia Tech, this time for the Black Science Fiction Film Festival, which Balogun and Milton produced. The event was a rousing success; so much so that, when Lisa heard of the Rite of Passage project, she gathered together the creative resources of the university and offered their help with the creation of the movie.

A Unique Story Uniquely Told

MiltonRoaring Lions Production, MVmedia and the School of Literature, Media and Communication at Georgia Tech have come together to create a movie that combines the history and spirit of the African American experience with the fantastic foundation of Steampunk to create the first Steamfunk movie. Join us in making history and in telling the stories that need to be told!

Milton Davis is a research and development chemist who lives in Metropolitan Atlanta, Georgia, with his wife and two children. A publisher, author and film producer, Milton is dedicated to bringing diversity to the Science Fiction and Fantasy field. His books and films focus on presenting people of color in positive ways, thereby challenging the stereotypes and misconceptions common in the general marketplace. Find him and his amazing works of Steamfunk and Sword and Soul at his website and at his social media site, which is dedicated to authors, filmmakers and fans of science fiction and fantasy.

RITE OF PASSAGE: The Web

RITE OF PASSAGE: The Web

The soles of Jake Jessup’s feet were on fire. Pine cones and dry twigs bit into his flesh as he sprinted through the dense forest.

The full moon cast a silver glow upon the leaves that crackled beneath Jake’s heels.

He no longer heard the dogs, or the curses of Master William Jessup’s slave-catchers, so he stopped to rest his weary muscles and catch his breath. “For a short spell,” he thought.

“Welcome to my parlor, said the spider to the fly.”

Jake whirled toward the source of the voice, raising a silver carving knife – still sticky with his former master’s blood – chest high.

The most beautiful woman Jake had ever laid eyes upon stepped out of the shadows. The corners of her full lips were spread in an inviting smile. “I’m sorry, did I frighten you?” Her husky voice revealed a hint of an English accent.

“You obviously ain’t from around here,” Jake said, studying her tall, muscular frame. “You sound like this man who come from England and train me and the other catchers.”

“I’m from London, England,” the woman said. I moved here a while ago. I bought my freedom from…wait…catchers? What did you catch?”

“Runaways,” Jake replied.

“And now, it appears that you are the one who is running away,” the woman said.

“I was the worst catcher ever born,” Jake said. “Every runaway I went after got away.

“They just happened to get away, eh?” The woman snickered.

“My old master got wise to me,” Jake replied. “He decided to make an example of me…killed my wife; my daughter…so I killed him. Been runnin’ since.”

“Well, you are safe here for the night,” the woman said. “The locals are afraid of this forest. They say a terrible beast roams these parts.”

“Then, what you doin’ out here?” Jake asked.

“I love the outdoors,” the woman replied. “Besides, beasts don’t frighten me; men do.”

“Well, this man won’t do you no harm,” Jake said. “My name’s Jake, by the way. Jake Jessup.”

“I’m Tara Malloy,” the woman said, offering her hand.

Jake took Tara’s smooth, mahogany hand in his and kissed the back of it. “Pleasure, ma’am.”

Suddenly, Tara’s hand became a vice around Jake’s fingers, crushing the dense bones as easily as if she was squeezing an egg in her fist.

Jake screamed in agony.

Tara threw her head back as a growl escaped her throat. She snapped her head forward, fixing her maddened gaze on Jake. Her beautiful face had been replaced by what Jake could only describe as the visage of a rabid wolf.

Jake tried to snatch his pulverized hand out of Tara’s grip, but she was too strong and his pain was too great.

Tara yanked Jake toward her. The runaway’s head snapped back from the force as his feet skittered across the dirt and dry foliage.

Tara opened her mouth wide, revealing a mouth full of vicious canine teeth. She closed the toothy maw down upon Jake’s shoulder, rending sinew and bone.

Jake thrust forward with his carving knife, sinking it deep into Tara’s chest.

Tara staggered backward, coughing as a crimson cloud of ichor spewed from her mouth.

Jake collapsed to his knees. Tara fell onto her back, convulsed once; twice; and then, lay still.

Jake crawled to a large tree and rested his back against it. The pain in his hand and shoulder made it difficult to think; to understand what just happened and darkness encroached upon him, blurring his vision.

“Still alive, eh?”

Jake turned his head toward the voice. Tara stood beside him. He turned his gaze toward her beastly form, still lying where she fell.

“How?” Jake whispered. He wanted to leap to his feet and run, but the pain would not allow it. “What are you?”

“What was I, you mean,” Tara replied. “A werewolf; a child of Eshu; blessed with his gift.”

Tara pointed toward Jake’s wounded shoulder. “Now, you have his blessing, too.”

“I…I’m gon’ turn into a thing like you, now?” Jake spat.

“Maybe,” Tara answered. “You become what your spirit is.”

“I’m gon’ kill you!” Jake bellowed.

“You already have,” Tara said, nodding toward her corpse.”

This was all too much for Jake to bear. He shut his eyes and succumbed to the darkness.

****

Sunlight kissed his eyelids, awakening him.

Jake felt soft, warm flesh on his chest. He looked down. Staring up at him was a pretty woman with full, pouty lips and skin the color of sweet cream.

“Good morning, lover,” the woman said, flashing a smile. Her dimpled cheeks accented her beauty.

“You’d better give up that body, Tara,” Jake said, looking at the clock on the far wall of the inn’s room. “You only have a few minutes.”

“Jake, can we talk?” Tara asked, caressing his chest with borrowed fingers.

“Time’s tickin’,” Jake replied.

“I love you,” Tara whispered.

“You what?” Jake pushed Tara’s head off his chest and sat upright.

“I love you, Jake,” Tara repeated.

“We don’t have time for this,” Jake said. “A second past those six hours and this woman dies from shock or goes mad.”

Jake hopped out of bed. His flesh shifted; flowed, as if it was some thick, ebon fluid and then trousers, boots, a shirt and a leather overcoat – all a very dark brown – formed around his naked frame.

“You’re a haint, Tara…a ghost…the undead. I – hell we – hunt the undead. Love ain’t in the cards for us. ‘Sides, you did try to kill me, remember?”

“That was two-hundred forty-seven years ago!” Tara replied.

“Seems like yesterday to me,” Jake said.

A loud, sucking din echoed throughout the room as Tara rose out of the woman’s body. “We’ll talk more later.”

The woman sat bolt upright. She leapt from the bed, locking her gaze on Jake’s broad back. An ebony, wide-brimmed planter hat formed atop Jake’s head. The woman gasped and darted out of the room.

“Creole women,” Tara said, shaking her head. “So…emotional.”

“Let’s go,” Jake said, sauntering toward the door. “Ms. Tubman should have sent that telegram by now.”

****

Bourbon Street was busy.

On the ground, carriages carried people to-and-from the retail shops, restaurants, inns and houses of ill-repute. In the sky, out of the view of the common people – but not out of Jake’s view – the very wealthy and the military traversed the bustling city by ornate airships and hot air balloons.

“Isn’t it beautiful? Tara sighed.

“Nope,” Jake replied.

“What do you see, then, Mister Doom-and-Gloom?” Tara asked.

“I see smoke…and steel,” Jake answered. “I see children worked to death in dirty factories…widows turned into whores to feed their babies…and we’re still swingin’ from the end of the white man’s rope.”

“Like I said…Doom-and-Gloom,” Tara snickered.

“We’re here,” Jake said, pointing toward a large store nestled between a candy shop and a dentist’s office.

Jake entered the telegraph office. A man sat before each of the three telegraph machines.

“How can we help you fine folks?” One of the men asked, looking up from his machine.

Jake and Tara exchanged glances. Jake took a step back toward the door.

“Oh, don’t worry,” the man said, smiling. “Negro money spends here.”

“That’s not our concern,” Jake said.

“What, then?” The man said, rising from his chair.

“Well, considerin’ my lady friend here is a haint and y’all can see her without her willing it, y’all must be haints, too.” Jake replied.

The man directed his attention to Tara. “You’re a ghost, correct?”

“That’s right,” Tara replied.

“The two other men stood.

“We’re ghasts,” the man said. “A bit…stronger than our ghost brethren,”

“Hmm…ghasts,” Jake said, studying the trio. “Never had the pleasure of killing one of you. Ms. Tubman said you’re fast and can possess a body for days at a time.

“Ah, Ms. Tubman,” The ghast crooned. “After we kill you, we’ll have to pay her a visit.”

“The bloodsuckers got you interceptin’ her messages, now?” Jake asked.

“She has been sending her merry, little band all over to hunt down our kind…your kind!” The ghast spat. That nigger has to die!”

“Give me the message,” Jake said, unmoved.

“I don’t think so,” the ghast hissed.

“Jake raised his palms before his chest. His hands shifted, changing into a pair of ebon broadswords. “I reckon I’ll have to take it then.”

The trio of ghasts exploded forward. Jake leapt forward to meet them.

Jake’s body shattered into a cloud of miniscule, venomous spiders. Each of the thousands of spiders was armed with a scythe-like claw on each of its eight legs. The spider-cloud washed over the ghasts. A moment later, a reformed Jake landed in front of one of the telegraph machines.

The ghasts fell, their tattered bodies covered with an uncountable number of gashes; the organs of their hosts reduced to liquid by the venom racing through their veins.

Jake rustled through the telegrams until he found the one from Harriet Tubman. “Ms. Tubman found the nest.”

“Where to?” Tara inquired.

“Atlanta.”

****

The sweet-green smell of kudzu permeated the night air. Jake stood high above the ground upon the thick limb of an old oak tree. “Go check it out,” he said, pointing toward a large ranch house an acre away.

“Be back in a bit, lover,” Tara said, blowing him a kiss as she leapt from the limb. She floated toward the house like a feather held aloft in a gentle breeze, landing gracefully at the door of the house. With a quick step, she passed through the closed door as if it was not there.

Jake studied the house. The windows were all covered with a dense, black cloth, preventing any light from getting in or out; a sure sign of a vampire nest.

Tara appeared on the limb. She fanned her hand in front of her nose. “Lord, it smells like the flatulence of a thousand mules in there!”

“Any vampires?” Jake inquired.

“Three,” Tara replied. “It looks like they are getting ready to call it a night.”

“The sun will be up in a couple of hours,” Jake said. “Coffins?”

“No,” Tara answered. “Dirt. The whole house is covered in about two feet of it.”

“These are Old Ones, then,” Jake said. “Good. Kill an Old One and all their progeny die, too.”

Jake leapt from the tree limb. He landed silently below. The hunter knelt at the base of the tree and thrust his hands into the dirt. A moment later, he pulled out a suede sack that was filled with something metallic by the clinking sound of it. “Good old General Tubman,” Jake whispered. “Right where she said it would be.”

Jake tossed the sack over his shoulder and sprinted toward the house. His boots made no sound as they glided across the soft, red, Georgia clay.

Tara floated closely behind him. Upon reaching the house, she stepped through the door. A few seconds later, Jake heard the door’s bolt lock slide back. He tested the door, slowly turning its knob. The door opened.

Jake slipped into the house. He reached into the sack and withdrew a tiny, wedged shape device. The device, constructed of bronze, had a miniscule, amber crystal at its center.

Tara raised her thumb and smiled.

Jake placed the wedge back into the bag and crept forward down the long hallway. He felt something hard beneath the dirt sink under his feet. Iron shackles sprang up around his ankles. Jake transformed into the swarm of spiders to escape, but it was too late. Walls of thick glass sprang up from the floor, slamming into the ceiling with a tremendous thud. Jake was encased in an impenetrable, airtight cube.

The Old Ones stepped out of a room at the end of the hallway and strode toward Jake. Huge grins were spread across their pallid faces, exposing their fangs.

Tara floated toward them.

“I can feel you, darlin’,” the lead Old One – a tall, lean man, with the dress and ruggedness of a cowboy – said. “Well done.”

“Tara?” Jake gasped.

Tara turned her gaze away from Jake and cast her eyes downward.

“Oh, don’t act so surprised, son,” the lead Old One said. “You’ve been betrayin’ your kind for a couple of centuries.”

My kind are the servants of Eshu, charged with keeping the balance between the light and the darkness…between the Natural and the Unnatural, like yourselves,” Jake said. “My kind are the livin’.”

“Living; dead; undead…some of us are hunters; some prey,” the Old One said. “That – and blood – are all that matter.” The Old One stepped closer to the glass. “Where are my manners? In all of this excitement, I neglected to introduce myself. I am Henrick.” Henrick pointed his thumb over his shoulder. “The rather large gentleman behind me is Malloy and the enthralling beauty is Bloody Jane.”

“Let me out of here, so we can all shake hands,” Jake said.

Henrick laughed. “I like you, hunter. It’s a shame you’ll be dead soon. We could have been friends.”

The vampires walked past Jake’s cell toward the door.

Henrick glanced over his shoulder. “We are heading out for a quick bite. Don’t go anywhere.”

The vampires left the house. Their sardonic laughter cleaved the darkness outside and echoed throughout the house.

“How could you do this, Tara?” Jake spat.

“I am sorry, Jake,” Tara replied. “One day, you’ll understand.”

“Just a few days ago, you said you loved me,” Jake said. “You sure as hell have a funny way of showin’ it.”

“I do love you,” Tara cried. “That’s why I’m doing this.”

“You ain’t makin’ no sense at all,” Jake said.

“Soon, you’ll run out of air,” Tara said. “You’ll die; then, you’ll have an eternity to fall in love with me.”

“That’s haint obsession talkin’,” Jake said. “After a while, every haint goes mad. I thought you had it beat. I reckon it just took you a little longer.”

“I am not crazy, Jake!” Tara shouted. “But, love makes us do crazy things.”

“If I die on account of you settin’ me up, do you really think I’m gon’ ever love you?”

“I…I’m not sure,” Tara sighed. I hope that you’ll…”

“I’ll hate you,” Jake said. “But, if you let me out of here, there might be a chance for us.”

“You’re just saying that to convince me to set you free,” Tara said.

Jake stared into Tara’s eyes. “Have I ever lied to you?”

Tara stepped into Jake’s cell. “I don’t know where the release switch is.”

Jake nodded toward his suede sack, which lay at his feet. “Then persuade those bloodsuckers to tell you.”

Tara closed her eyes and stretched her incorporeal fingers toward the sack. For a moment, her fingers became somatic and she grabbed it. A second later, she was, once again, incorporeal, as was the sack and its contents. She walked out of the cube, taking the sack with her.

Tara floated down the hallway and through the door, leaving Jake alone in his cell.

Jake launched a powerful side-kick at one of the walls of the cell. His heel slammed into the glass. Jake’s foot felt as if it had slammed into the side of a mountain. “Magically enhanced,” he mused. Jake sat, cross-legged, on the floor. He closed his eyes and concentrated on his breathing, slowing it.

A while later, Tara returned. “It’s done.”

Jake’s opened his eyes. “Did you get all the windows? The roof?”

“I was quite thorough,” she replied.

“Hope so.”

“Tara!” A voice wailed on the other side of the door.

Tara floated to the door. She willed her hand to become corporeal and used it to open the door.

A web of intense light crisscrossed the entrance.

Henrick stood a few yards away from the doorway. Malloy and Bloody Jane stood behind him.

Tara willed herself visible to the vampire’s eyes.

You’ve been a bad girl, Tara,” Henrick said. “What have you done to our house?”

“They’re called Thread Bombs,” Tara replied. Each one releases a thread of light akin to the light of the sun. I planted nearly a thousand around your house to encase it in a web of sunlight.”

“Well, be a dear and turn them off, please,” Henrick said, affecting a warm smile.

“I can’t,” Tara said. “Only Jake can.”

“And why is that?” Henrick asked, struggling to maintain his friendly demeanor.

“Every bomb has to be turned off at the exact same time, or they will explode, blanketing a square mile in their light,” Tara answered. “Jake can become a swarm of spiders and turn off each bomb simultaneously.”

“And how do we know he will do that for us once he is free?” Henrick inquired.

“You don’t,” Tara replied. “But, what choice do you have?” If you set Jake free, he might shut down the web; leave him in that cell to die and you’ll all burn.”

“Quite the fickle one, aren’t you?” Henrick said. “Okay, we’ll bite, so to speak, but know that if you cause the death of three Old Ones and their children, there is nowhere you can run; nowhere you can hide. We will find you…and even a ghost can be destroyed.”

“Duly noted,” Tara said. “Now, where is the switch?”

“In the study,” Henrick replied. “There is a brass statue of a tiger in there. Turn its tail clockwise and the walls will come down.”

“I’ll be right back,” Tara said, vanishing from sight.

“Hurry back, child,” Henrick said, looking skyward. “It’ll be dawn soon.”

A whirring sound rose from beneath Jake. A moment later, the glass walls slid back into the floor.

Jake breathed deeply, welcoming fetid, but cool air into his lungs.

Refreshed, Jake sauntered toward the door.

“We have upheld our end of the bargain,” Henrick said. “Your turn.”

“Bargain?” Jake said. “I don’t bargain with Unnaturals.”

Henrick’s smile faded. “Tara said…”

“Your deal was with Tara,” Jake said, interrupting the Old One. “Not with me.”

Henrick’s eyes turned crimson and his face twisted into a snarl. “Turn off this goddamned web!”

“Nope,” Jake replied, picking dirt from his nails.

“You bastard!” Henrick hissed, baring his fangs.

Malloy and Bloody Jane screamed as sunlight cut through the clouds and seared their flesh.

“Turn it off,” Henrick wailed, his skin turning black where the sun kissed it. “Please!”

“Nope.”

The Old Ones burst into flames. Their chilling screams rending the night sky until their vocal chords were to charred to emit sound.

Within moments, three piles of gray ash lay near the entrance to the house.

Tara materialized beside Jake. “I hope this makes things right between us, lover,”

“Nope,” Jake replied.

“What now, then?” Tara asked.

“We keep killin’ Unnaturals,” Jake answered.

A broad smile spread across the ghost’s pretty face. “So, we’re still partners?”

“For now,” Jake replied. “We make a good team. ‘Sides, huntin’ can be lonely work. But, I promise you, you ever betray me again and you get the sigil.”

“To use a sigil on a ghost, you have to know that ghost’s real name, Jake,” Tara said. “I never told you – or anyone – my real name.”

“Your ex-husband says different,” Jake said.

Tara’s eyes widened and her jaw fell slack. “My ex…?”

“I met a conjurer a few years back by the name of Laveau,” Jake replied. “She channeled your ex-husband, Kayode, and, boy, did he have a story to tell!”

“What did he tell you?” Tara asked.

“Let’s get out of here,” Jake said. This place stinks.”

“Jake, what did he say?” Tara’s voice was shaky. “Jake?”

The corners of Jake’s mouth curled into a slight smile as he stepped through the web and into the welcoming dawn.

For more about the world of Rite of Passage before the release of the movie, check out author Milton Davis’ Rite of Passage: Kiowa Rising Series and the Rite of Passage website.

THE MAKING OF A STEAMFUNK MOVIE, Part 3: Inside the Mind of an Actor

THE MAKING OF A STEAMFUNK MOVIE, Part 3: Inside the Mind of an Actor

Dr. WalcottRecently, the great character actor, martial artist and fight choreographer, Osceola Thaxton – who plays the physician / scientist / inventor Dr. Walcott in the Steamfunk feature film, Rite of Passage – sent an inquiry about the character: “PEACE FAM! I hope all is well….please, send me some background info on Dr. Walcott.  Is he a mad scientist? Is he crazy at all? What kind of GENIUS is he? What drives him? Money…..power…women? What are his fears…his passions?

Oh, and does he speak proper English?”

Why so many questions? Why not just learn his lines, show up on the set and “act”?

From the perspective of someone who has never acted before, or from someone who has only done a school play, acting probably seems like an endeavor in which all you have to do is memorize lines.

To this effect, the way in which actors engage with material – by thinking about characterization, intention and the subtext underneath their lines – increases their memory for the material. It is by thinking about the meaning behind the words, rather than just the words themselves, that actors are able to memorize long scenes and entire plays.

This approach can help individuals, including elderly adults, who have never had an acting lesson increase their memories. So, the next time you need to memorize a speech, think about why you are speaking each sentence, in addition to just what words need to come out in what order.

An actor’s role (pun intended), however, goes far beyond just memorizing lines.

Actors are charged with creating a character from words on a page. To achieve this daunting task, first the actors have to figure out what the character wants – the goals and objectives that must be achieved within the context of the play, movie, or television program. Often a script is only the bare bones of the character’s objectives – the lines the character will say, and the lines that others will say in response. From these bones the actor creates a skeleton of characterization – a frame upon which his or her character is built.

There is a trio of critical psychological skills that help an actor create such a skeleton: theory of mindempathy, and emotion regulation.

Theory of Mind

The ability to understand what others are thinking, feeling, believing, and desiring. Infants seem to have a preliminary theory of mind and children are able to fully understand the beliefs and desires of others by three years of age. The ability to read another’s intentions and desires varies as a function of our relationship with that person, our own attention, and the degree to which we are trained to do so. Actors, psychologists and individuals who read a lot of fiction normally have highly developed Theory of Mind skills.

Empathy

Refers to a feeling we get that is appropriate and emotional in response to someone else’s emotion. This can mean being happy that your best friend is having a baby, or anger when that same friend’s now teenaged daughter stays out all night with her loser boyfriend. The use of empathy in acting is somewhat controversial – some actors think they must feel all of their character’s emotions – that they that must really feel sad, angry, or in love if you are to portray that emotion correctly. Other actors think that all that feeling gets in the way of acting, and that physical portrayal of an emotion will be enough to get it across to the audience and create a realistic portrayal and then there are those actors who will switch between both methods, depending on their personal mood and the needs of the performance.

Emotion Regulation

An actor’s control of his or her own emotions and the replacement of them with the emotions of the character.

Denzel Washington in "The Book of Eli"

Denzel Washington in “The Book of Eli”

Most of the methods used by an actor, however, are unconscious. Too deep of a conscious analysis of character by an actor can be detrimental. Stellar actor Denzel Washington does extensive preparation and uses physical reminders in order to masterfully play his roles. However, when it comes to the moments of actually acting, of creating that character’s words and actions while the camera rolls, Mr. Washington has no idea how he is going to bring the character to life; he just does it. In fact, Mr. Washington believes that analyzing the character too deeply might make his grasp on the character go away. He has, instead, learned to just trust himself.

Acting is difficult. Ask any director or actor. There seems to be a delicate balance between overt preparation and unconscious performance. Bad performances are often criticized as being “self conscious” – the actor was aware of what she was doing, or aware of the character’s faults, and could not help projecting them as she played the character.

Our behavior is changed by all sorts of unconscious processes, motivations, and influences that we don’t even notice. And these influences can be manipulated extremely easily. In a classic study, John Bargh, a psychologist at Yale University, primed students with words relating to old age.

After rearranging lists of words into sensible sentences, the subjects – all New York University undergraduates – were told that the experiment was about language ability. It was not. In fact, the real test began once the subject exited the room. In the hallway was a graduate student with a stopwatch hidden beneath her coat. She pretended to wait for a meeting but was really working with the researchers. The grad student timed how long it took the test subjects to walk from the doorway to a strip of silver tape a little more than 30 feet down the hall.

The words the subjects were asked to rearrange were not random, although they seemed to be. They were words such as “bingo,” “retirement,” “Florida,”, “wrinkles,” “bitter” and “alone.”

Reading the list, you can envision a stooped, elderly person shuffling about a tiny studio apartment that reeks of mothballs, hissing curses at the television.

A control group unscrambled words that evoked no theme. When the walking times of the two groups were compared, the Florida-retirement-bingo-alone subjects walked, on average, much slower than the control group.

Words on a page made them act old.

Bargh and his associates conducted another similar experiment in which they tested Caucasian and Asian subjects to see if they were more hostile when primed with an African-American’s face. They were.

In a third experiment, the subjects were primed with rude words to see if those words would make them more likely to interrupt a conversation. They did.

Currently, Dr. Bargh’s work is showing surprising findings about unconscious priming of behavior and attitudes, such as how holding a warm cup of coffee can make you feel socially closer to those around you – no wonder most of my meetings are held at Starbucks.

So, tell me your thoughts – is acting intuitive? Can the author of the screenplay, play or teleplay use certain words to put an actor into character? Or, does preparation enable actors to “forget” themselves when in the moment of acting?  Does it matter whether you have “preexisting talent”? Or is training and preparation more important?

Your feedback – as always – is welcome and encouraged.

A STEAMFUNK VIDEO PRIMER!

A STEAMFUNK VIDEO PRIMER

Primer 1At our first Info Session for the Steamfunk movie Rite of Passage, GA-Tech Professor and an Associate Director of the film, Lisa Yaszek, asked who was familiar with Steamfunk. Three hands – not including those of our crew – went up in the packed room. She then asked who was familiar with Steampunk. Five hands went up.

We then proceeded to give those in attendance a list of books to read and movies to watch to familiarize themselves.

feat 8As Lisa defined what Steampunk and Steamfunk are, I realized just how important the making of Rite of Passage is. Steamfunk’s / Steampunk’s do-it-yourself philosophy, reverence for history and its focus on craftsmanship, originality, history and creativity is much needed for the building of a future and for the betterment of the present.

For all of you – and for anyone you know who may struggle with the concept of Steamfunk – I offer below a video primer that defines the subgenre and can serve as a reference for future works. Enjoy!

As always, your feedback is welcome and encouraged!

STEAMFUNK WILD WEST: Black Lawmen and Outlaws in the Age of Steam!

STEAMFUNK WILD WEST: Black Lawmen and Outlaws in the Age of Steam!

 a7

We continue our League of Extraordinary Black People Series with an in-depth look at those who enforced – and those who gave the finger to – the law and carved a trail of tears, blood and bullets across the Wild West.

Grant Johnson

a4The son of a Black Chickasaw Freedman father, and a Black Creek Freedman mother, Grant Johnson was born in northern Texas during the Civil War and raised in Indian Territory. This same territory is where Johnson would become renowned as one of the greatest U.S. Deputy Marshals in history.

Serving under Judge Isaac Parker for at least 14 years, his career as a U.S. Deputy Marshal began in 1887. His contribution was invaluable and in high demand as he was well-versed and proficient in the customs and language of the Muskogee Creek nation. Johnson often worked with Bass Reeves, the man considered by many to be the greatest lawman in history. Together, they captured one of the most notorious outlaws in the territory – Abner Brasfield. Johnson also captured the noted counterfeiter, Amos Hill; Choctaw outlaw Chahenegee; the murderers, John Pierce and Bill Davis; the Cherokee outlaw, Columbus Rose; train robber, Wade Chamberlee and dozens of others.

One of the most noted peace officers in the history of the Indian Territory, Judge Isaac C. Parker mentioned him as one of the best deputies that ever worked for his court.

In 1898, Johnson transferred to the Northern District, which was headquartered at Muskogee. For many years, Johnson worked alone, patrolling in and around Eufaula, Creek Nation. He developed one of the best arrest records of any of the deputies that worked the Northern District under Marshal Leo Bennett.

Johnson became a policeman for Eufaula in 1906, primarily patrolling the African American section of town. He died in Eufaula on April 9, 1929.

The Buck Gang

a3Named for their leader, Rufus Buck – a Black Creek Freedman – the Buck Gang rose to prominence in July of 1895.

The gang had a total of five members – Creek First Nation natives, Sam Sampson and Maoma July and brothers, Lewis and Lucky Davis, who were Creek Freedmen. All of them had been apprehended on minor offenses and served time in the Fort Smith jail prior to their crime spree that summer.

It is rumored that the spree came about as a result of Buck boasting that his “outfit would make a record that would sweep all the other gangs of the territory into insignificance.” However, it is more likely that the spree – driven by Buck’s rage, poverty and desperation – was in response to the horrific and tragic event in which Creeks and Cherokees, along with the escaped slaves who married into those nations, were forced, by the U.S. government, to march over 1,000 miles during the infamous Trail of Tears. Many died along the way and the First Nation and Black people forced to settle in the region dubbed the Indian Territory struggled in that bleak region for fifty years, but finally carved out a decent living for themselves. The government’s attempts to take back that land and give it to Caucasians who now desired to settle in the Southwest was met with outrage, which – in the case of the Buck Gang – became, simply, rage.

On July 28, 1895, the gang shot and killed another Black Deputy U.S. Marshal, John Garrett, near Okmulgee. On their way from that murder, they allegedly abducted and raped a white woman known only as Mrs. Wilson. They killed horse rancher, Gus Chambers when he resisted the gang’s theft of his horses and then robbed a stockman of his clothing and boots, firing a hail of bullets just past his head as he fled naked to safety. Two days later, the gang raped a white woman, Mrs. Rosetta Hansen, while they held her husband at bay with Winchesters.

The gang was finally apprehended, brought to Fort Smith and convicted in a rape trial. The case was appealed to the Supreme Court which upheld the verdict, and the gang died together at the gallows on July 1, 1896.

After Buck’s death, a photograph of his mother was found in his cell. On the back, Buck had written a poem:

I dreamt I was in heaven

Among the angels fair;

I’d near seen none so handsome,

That twine in golden hair;

They looked so neat and sang so sweet

And play’d the golden harp.

I was about to pick an angel out

And take her to my heart;       

But the moment I began to plea

I thought of you my love.

There was none I’d seen so beautifull

On earth or heaven above.

Good by my dear wife and mother

All so my sisters

Rufus Buck
Youse truley”

June 1896

Cherokee Bill

a5Crawford Goldsby, an Oklahoma outlaw better known as Cherokee Bill, was born at Fort Concho, Texas, on February 8, 1876, the son of St. George and Ellen (Beck) Goldsby. He had three siblings – a sister named Georgia and brothers Luther and Clarence.

Bill’s father – a man of Black, Sioux, Mexican, and Caucasian heritage – was a highly decorated Buffalo Soldier – a Sergeant Major in the 10th U.S. Cavalry; however, because of a fracas in Texas, St. George went AWOL and escaped to Indian Territory (now Oklahoma).

Bill’s mother was reportedly half black, one-fourth white, and one-fourth Cherokee. She had been born in the Cherokee nation, Delaware District. Her parents had been owned as slaves at one time by a Cherokee, Jefferey Beck.

After St. George left his family in Texas, Ellen moved with the all the children to Fort Gibson, Indian Territory, except for Crawford (Bill) – who was too young to travel – whom she left behind in the care of a Black woman, Amanda Foster. Ms. Foster took care of Bill until the age of seven when he moved with his mother to Fort Gibson and then on to Cherokee, Kansas, where he attended Indian school for three years. He then attended the Carlisle Industrial School for Indians in Carlisle, Pennsylvania, for two years.

After leaving school at the age of twelve, he returned to Oklahoma.

His mother remarried when Bill was thirteen. He did not get along well with his new stepfather and started hanging around with a rough crowd, drinking liquor and rebelling against authority.

At fifteen, he went to live with his sister, Georgia, and her husband.

At seventeen, he worked on a ranch where it was said he was well liked by all.

At eighteen, while attending a dance at Fort Gibson, Texas, Crawford shot a man named Jake Lewis twice when Lewis refused to stop beating his own little brother. Crawford then headed for the Creek and Seminole Nations (now Oklahoma) where he met Jim and Bill Cook, a couple of outlaws.

In the summer of 1894, the Cooks and Crawford convinced the owner of a restaurant – a Caucasian woman –  to collect some money due to each of them as a payment share for some Indian land called the Cherokee Strip. The government had bought the land. The woman did as she was told, collecting the money for all three, but upon her return, was followed by a sheriff’s posse trying to catch up with the Cooks. There was a gunfight, ending with a posse member dead, one wounded and Crawford and the Cook brothers in the wind. The owner of the restaurant was questioned about the gunfight and was asked if Crawford was among the group. She replied no, but that among them was “the Cherokee Kid”. This, apparently, was where Crawford gained his nickname.

The famous Cook gang made itself known across the Cherokee and Seminole Nations (in what is now Oklahoma) in July, 1894 with train and bank robberies and murder.

Cherokee Bill murdered at least seven people and may have killed as many as thirteen, later forming his own gang and riding with such well-known outlaws as Henry Starr and Billy the Kid.

With the assistance of acquaintances who hoped to receive part of a $1,500 reward, federal authorities finally captured Cherokee Bill and transported him to the federal district court in Fort Smith, Arkansas. There, he was convicted of murder of an unarmed man who happened to witness Bill’s participation in a robbery and sentenced to hang. After an unsuccessful escape attempt in which he killed a jail guard at Fort Smith, Bill received a second murder conviction.

When the United States Supreme Court rejected his appeal of his first conviction, federal officials hanged him before hundreds of onlookers, on March 17, 1896. When asked if he had any last words, his response was, “I came here to die, not to make a speech.”

After his death, Cherokee Bill’s mother took his body to the Fort Gibson area (Oklahoma), where he was buried.

Bass Reeves

a6Bass Reeves was born a slave in Arkansas in 1838. His slavemaster, William S. Reeves, moved the household to Paris, Texas in 1846, where he became a prominent politician in the region as well as a farmer. Bass worked as a water boy in the cotton fields of the Reeves farm,  where other enslaved Blacks regaled him with stories of adventure featuring Black heroes

When the Civil War broke out, William Reeves’ son, George, was commissioned as a colonel in the Confederate army and took Bass to war with him. Although he was supposedly George Reeves’ servant, Bass fought in several battles during the conflict. However, after a dispute with George over a card game which led to fisticuffs and the large and powerful Bass opening a can of whoop-ass on the colonel, Bass escaped and fled into the Indian Territory (which we now know as Oklahoma) as a fugitive slave. There, he lived among First Nation peoples from the Creek and Seminole, developing an understanding and appreciation of their languages, cultures and customs. During this time, Bass served in the Union’s first Indian Home Guard regiment under an assumed name.

Bass eventually moved to Arkansas where he acquired property near Van Buren. He met a young woman named Nellie Jennie and in 1870, the two were married and settled into Bass’ farm, where they raised five boys and five girls.

By 1875, however, he had found a new profession – as a U.S. Deputy Marshal, under the direction of Judge Isaac C. Parker. Bass’ family continued to reside in Van Buren during these years.

This change, from farmer to lawman, began the most colorful, noteworthy, and successful careers of all the western frontier marshals. Bass worked in the Parker court at the time of the execution of James Diggs, a notorious criminal, who had been wanted for years. He assisted in the capture of deadly outlaws Bob Dozier and Johnson Jacks and in 1884, he is noted for bringing a caravan load of prisoners from Indian Territory.

Bass served as a Deputy U.S. Marshal in Indian Territory for 32 years and was the only one to serve from Judge Parker’s appointment until Oklahoma’s statehood. He became one of the most successful lawmen in American history, arresting more than 3,000 fugitives. Bass’ work as a Deputy U.S. Marshal ended in 1907 when Oklahoma was granted statehood. He then went on to work for the Muskogee Police Department for two years until he was diagnosed with Bright’s disease. He died on January 12, 1910.

Bass Reeves has been immortalized in literature and in film. We continue this tradition in the Steamfunk movie, Rite of Passage, in which Bass Reeves – one of the guardians of the town of Nicodemus, Kansas – is the possessor of a pair of pistols and a rifle that gives him extraordinary powers and enhances his already formidable skills. Veteran film director and actor, Omar Sean Anderson is tasked with bringing this amazing character to life and you are sure to love how we – and Omar – envision the legendary Bass Reeves.

Following is a complete list of Black Deputy U.S. Marshals who worked in the Ft. Smith, Arkansas region. Their numbers – and their stories – are quite amazing.

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Cannon, Rufus
Colbert, Bill
Escoe, Wiley
Factor, Neely
Fortune, Robert
Garrett, John
Jefferson, Edward D.
Johnson, Grant
Joss, John
Love, Robert
Miller, Zeke
Nicks, Crowder
Reeves, Bass
Robinson, Ed
Roebuck, Dick
Rogers, Isaac
Ruth, Jim 

Tucker, Morgan 
Walker, Eugene 

GA-TECH GETS FUNKY! Filmmakers Partner With The Yellow Jackets to Produce the First Steamfunk Feature Film!

GA-TECH GETS FUNKY!

Filmmakers Partner With The Yellow Jackets to Produce the First Steamfunk Feature Film!

RITE OF PASSAGE POSTER 3

I was recently contacted by an agent who asked if Rite of Passage – the Steamfunk movie that goes into pre-production in May and production in August – was a student film. I informed her that the film is a collaboration between the professional multimedia companies MVmedia and Roaring Lions Productions and GA-Tech’s School of Literature, Media and Communication, so yes, students will be heavily involved in the making of the film, but under the guidance and leadership of experienced and accomplished film professionals who are the directors, producers and cinematographers on this project.

I informed her that the students will not be treated as “amateurs”, nor is the film going to be amateur or second rate. The students involved in the making of Rite of Passage are expected to be just as professional…just as committed as those who have worked on ten or more projects.

The agent’s response?

“Well, I will probably send a few of my actors to audition, but most of my actors would never act in a student film. I was a bit surprised to hear that most of the actors she represents dismiss programs that have produced some of industry’s best filmmakers and actors. “She needs to educate her people,” I thought.

However, “To be fair,” – as Rite of Passage’s Producer, Akin Danny Donaldson, is fond of saying – he’s from England; everyone from England are fond of saying that – I could come up with a few reasons myself as to why an actor would not want to act in a student film – there is no pay; the filmmakers do not have a lot of experience and are still learning how to talk to and treat actors; and few student films become a success by Hollywood standards. However, from her reaction, I was sure she – or some of her actors – had experienced some Stygian nightmare in doing a student film.

RITE OF PASSAGE Promo 1She, or any of her actors, had not; she just thought there was nothing for her people to gain from such projects. She was oblivious to the tremendous opportunity provided by student films to form strong, lasting and mutually beneficial relationships with young, talented, up-and-coming directors, producers, actors and casting directors.

You could very well be working with the next Martin Scorsese or Spike Lee. They are not master directors yet, but “to be fair”, the next Taxi Driver, Goodfellas, Malcolm X, or The Inside Man could be their next film.

Student films often achieve admittance into top notch festivals each year, earning these young filmmakers studio deals and the actors in their films worldwide recognition.

If you choose to act in a student film, there are certain things that you should not negotiate. You should receive a copy of your work in a timely fashion, be fed every six hours, and should not be asked to work longer than a 12-hour day without proper turnaround.

Know that student filmmakers, especially those in the early stages of filmmaking, tend to prioritize their aesthetic vision over an actor’s performance. Don’t be shocked, frustrated, or allow your ego to be bruised if hours are spent on a cool-looking, spinning, overhead dolly shot rather than your sublime performance in a close-up.

Keep in mind that these young filmmakers are attempting to bring their visions to life without large crews and budgets, so – “To be fair” – cut them some slack if things take longer than they should.

Actors, don’t feel ashamed, embarrassed or as if you are “settling” because you are auditioning for a student film. It doesn’t mean that you are a bad actor. Agents submit actors to films by USC, Columbia University and Columbia College Chicago every day.

“To be fair”, however, I will admit that many student films simply stink. The most common reason for such odoriferous works is lack of story. A suicide prone emo teen is a subject, not a story. If your story is about an emo college freshman with a football player roommate whose girlfriend is always trying to convince the emo kid to go out and party – who cares?

The second most common reason for the malodorousness is the student’s reach exceeding his or her grasp. The student tries to tell a story that is too convoluted; uses techniques that are far beyond his or her experience. The more complex the story, the more skill it takes to tell it and the greater likelihood that a relative beginner will fail in the telling of it.

Fortunately, Rite of Passage has some of the best professionals in independent film working on the project and the students chosen to work with us will be the best that GA-Tech has to offer, which, “To be fair,” is saying a lot, as GA-Tech is fast becoming recognized as one of the top film schools in America, particularly in the areas of special effects, sound effects, prop and graphics design and cinematography.

Below are the current professional members of the crew of Rite of Passage. We are all excited to work with the next generation of Scorseses, Lees, Singletons, Spielbergs, Poitiers, Tarantinos, Lucases and”To be fair,” Balogun Ojetades (go ahead, you can laugh)

Crew 1 Crew 2 Crew 3 Crew 4 Crew 5 Crew 6 Crew 7 Crew 8

HARRIET TUBMAN HAS GREAT STEAM-FU: Putting the Funk in your Fight Scenes!

HARRIET TUBMAN HAS GREAT STEAM-FU: Putting the Funk in your Fight Scenes!

I16I have choreographed and / or performed fight scenes for seven films – two “traditional” Hong Kong-style martial arts movies; one gritty urban fantasy; one thriller; one post-apocalyptic science fiction film; one alternate history movie and one comedy.

Filming a fight scene is totally different from shooting a scene of dialogue. It requires much more planning and the director must be able to tell a story through the fight itself.

I would like to share with you what I have learned about shooting and choreographing a fight scene because it is an interesting topic; because I hate it when I watch an otherwise great film fall apart because of its poorly shot fights; and because we go into pre-production for the Steamfunk movie, Rite of Passage, in a month and I want to make you, dear reader, aware of what we are doing and how it is done, because, ultimately, this is your film. We are making this for you.

Begin with the previous action

If your heroine, Harriet Tubman’s last action in the previous sequence you shot was a hook punch, even if you know you are not going to show that punch in a close-up, film it at the start of the next sequence anyway and then keep rolling and shoot that next sequence; this will make your fight appear much smoother and editing the scene will be easier.

Always return your strikes to their point of origin

fight 5If you watch martial arts movies with great fight scenes, such as Flashpoint, starring Donnie Yen, or the Bourne movies, then you’ll notice that every time they punch someone, their fist recoils back. By adding this subtle movement to your actors’ hits, it makes the impact of those strikes appear much more powerful and makes the character look as if he or she is really strong.

Always keep your eyes on your opponent

This is an important tip for your actors as well. After an actor is hit, he “sells” the strike as a powerful one by making sure his eyes always return back to his opponent.  So, if Harriet Tubman punches P.T. Barnum in the jaw with that hook punch, the actor playing Barnum would sell the punch by snapping his head sideways, looking over his shoulder and then snap his gaze right back to the actor playing General Tubman.

This also allows your actors to communicate their readiness before the next blow is thrown, thus helping you to avoid accidents in case one of your actors is not ready or has forgotten the next move. Remember, when filming fight scenes, safety first!

Shoot the entire fight wide and then move in for close-ups, over shoulder and medium shots

Not following this suggestion can cause you to run into some editing problems as a result. Often, when we shoot the intense over shoulder, medium and close-up shots first, which require much more facial expression along with technique to sell the fight, we forget to shoot the wide shot. If you don’t have a wide angle of your fight, you run the risk of the fight appearing choppy or worse, appearing disorienting to the audience.

Move your camera with the movements

fight 6Although this is often overdone in Western films to mask the lack of striking power possessed by most actors, this technique can add a little something extra to your fight scenes.

Moving with the punches makes the strike appear faster and by stopping the camera’s movement right as the punch connects, adds a jerky feel that can often make a punch appear more violent on screen. Shoot moving shots after your essential stationary shots.

Editing and Sound Design turn good fights into great fights

A great editor lets us forget that we are simply watching a fight scene and pulls us into the scene by making the action seamless.

This is the most essential part of the fight to be done.

Coming in a close second is the post production music and Foley (sound effects).

Don’t believe me? Watch any fight scene with the audio muted – that scene feels far less compelling. The hits become weaker and the fight now feels flat and totally fake.

The audio is edited and mixed with utmost acoustic continuity for fight scenes, because, while our eyes are okay with being cheated by the illusion created by camera angles, slow motion and the like, our ears are not. Since our ears are much more vital to our sense of balance, we notice the slightest break or hiccup in the audio with a 15 – 20 times higher temporal precision than we notice in the video.

So actually, fight scenes are not made sound real at all. But you are willing to let yourself drawn into them because of a flawless sound design.

Boot Camp or Bust

DSC02010On every film in which I am the Fight Choreographer, I conduct a Fighters’ Boot Camp. This camp – which can run over several days or over many hours in one day, depending on time and budget – is required for any actor who has a fight scene in the film to attend and strongly suggested for the Director and Cinematographer to attend as well.

This Boot Camp teaches non-martial artists how to move, hit and react to hits so they appear to be martial arts experts on screen. For the martial artists in the film, we teach them how to make their techniques look good on screen – most “real” martial arts techniques do not look powerful or cool onscreen – and how to sell the hits and the reaction to hits.

On one set, I worked with a former professional boxing champion. He did not want to do “that fake stuff” and wanted the actor to really strike him on film. I expressed concern for his safety. He said the actor – a woman – couldn’t hurt him. We humored him and shot it the way he wanted, as the scene was supposed to be comedic anyway and I wanted to teach him a lesson. During one sequence, the actor he was fighting struck him in the jaw with one of her “non-fake” punches and rocked him badly, dropping him to his knees.

Lesson learned. We kept that scene in the film.

When a fight scene seems real to you, the actors and the film crew have done a great job and have successfully executed the clearest demonstration of the magic that is filmmaking.

I now leave you with a few fight scenes featuring Yours Truly and my favorite fight scene of all time, featuring actors Donnie Yen and Wu Jing. Enjoy!

 

THE MAKING OF A STEAMFUNK MOVIE: Part 2, The Cast

THE MAKING OF A STEAMFUNK MOVIE: Part 2, The Cast

cast 4What is the most important element of creating a film?

Is it a great script? The film’s director? The type of camera and lenses you shoot with?

Or is casting the right actor most important?

Casting a film is much like cooking – you need the right ingredients in just the right amounts to create something that’s palatable and satisfying. Casting professionals are chefs. They take a director’s vision and a writer’s story, and concoct a ten-course meal that’s worthy of a five-star restaurant. If the recipe is off, however, even a potentially great film could easily turn out to be average.

Actors, especially A-list players, cost a lot of money. Money that – contrary to what you might believe – is well-deserved. I have acted in several movies and I can tell you, it is some of the most demanding work I have ever done. Imagine putting on sixty pounds of muscle to play a professional boxer, or learning to ride a horse and fire a longbow from horseback – all while looking good and making it look like you have been riding horses and firing arrows from their backs since you were knee-high to a grasshopper.

Lesser-known actors don’t have the same salary requirements, but they may lack exposure or experience.

Thus, the Casting Director walks a fine line between beauty, budget, and risk –  carefully assessing each role and the type of actor you need to make that character successful.

cast 3Picture Katt Williams playing Django in Django Unchained, or Honey Boo Boo playing Dorothy in The Wizard of Oz. Chances are, they would have flopped.

The Casting Director, or CD, is the individual responsible for finding and auditioning actors for the roles in a movie. CDs work closely with the director and producer to find the talent they are searching for – the talent right for a specific role.

Casting directors are pros at matching the right actor to the right role. They are the matchmakers of the filmmaking industry, arranging auditions, casting calls, and callbacks and their help is indispensable.

In making their decisions, Casting Directors examine a number of factors, including an actor’s experience, “chops” (proficiency in acting), physical characteristics, and other special talents, such as martial arts training or stunt experience.

cast 1If you take on the responsibilities of Casting Director for a film, here are a few tips I would like to share. I learned these the hard way – through assisting directors in casting films, through auditioning for films and through making mistakes during production of my own films.

1. Avoid using one of your crew members as an actor in the film. You diminish the size –and therefore the efficiency – of your production team when you pull one of them out to act. A crew of four people that loses one to become a performer is diminished 25%. Usually this drastic trade-off becomes visible on screen in numerous ways.

“Spike Lee and Quinton Tarantino do it all the time,” you say? Yep. They are exceptions. Not the rule.

2. Try to work with those who have a reason to commit to the film. Actors and even acting students have a reason to participate in a film until the very end because it is important for them to have an acting reel, meaning samples of them performing. The better the project is, the better their reel, so they have a strong incentive to perform well. Not only do they get a credit on a film, but the reel can lead to other acting gigs.

However, a close friend who is a professor of English Literature might be excited about – and even agree to dust off those college acting skills and be in – your movie, but after the first ten-hour production day, they may start to lose interest. With mid-terms coming up, with an impatient wife to appease and teaching assistants to maintain, suddenly the thought of sticking around for three more shooting days isn’t so appealing to the good old professor. Frequently, good friends find the limits of their friendship on film productions.

3. Think twice about casting family members. Family relations are often complex; add to that the stress and arduousness of the filmmaking process, and you’re working with a volatile mixture – kind of like a gallon of nitroglycerin in the hands of your ninety-seven year old uncle after he has had a decanter of coffee, two Krispy Kreme donuts and thirteen cigarettes. Imagine asking your mother to redo her lines after she has flubbed them for the tenth time, but is convinced the last take was “a keeper”. “But you directed your wife in that action film, A Single Link and in Rite of Passage: Initiation,” you say? Again…exceptions to the rule.

cast 24. Always remember that it takes a skilled director, and lots of patience, to get a great performance out of a non-actor. For most films, casting skilled actors is important in order to get what you need for your film. Even if your film has no dialogue, a good actor can bring a new interpretive energy, authenticity, and creative resources to the project.

Finally, I would like to share the current cast of Rite of Passage, the first Steamfunk film, with you. As we add more actors to the cast, I will edit this section, so please, check back often.

Oh, and if you happen to be an actor, a Steampunk maker or Steampunk fashion designer / costume maker and are interested in working on this awesome film, please join us Thursday, April 18, 2013 at GA-Tech in room 343 of the Skiles Building at 11:00 am for an Information Session.

Cast Akingbe Cast Angus Cast Bagwell Cast Bass Reeves Cast Clemente Cast Dorothy Cast Dug Cast Joe Cast Lana Cast Marie Cast Turnipseed

Cast Harriet

THE MAKING OF A STEAMFUNK MOVIE: Pt. 1, the Crew

THE MAKING OF A STEAMFUNK MOVIE: Pt. 1, the Crew

crew 1When I left Howard University – and my despised major in Finance – in 1986 (don’t do the math) to pursue my vision of novelist, screenwriter and film director, my family – particularly my mother was supportive. My sister, Alesia, however – a film and video producer for the Air Force – did not warn me about what I was getting myself into.

I enrolled in Columbia College – the renowned college of the Fine Arts in Chicago – and my training in film, which I just knew would be easy and fun every minute, began.

And so did work ten times more demanding than any Finance, Economics, or Statistics class ever was.

Easy? My ass!

Fun? Hell no!

The work was grueling; tiresome; boring; lonely.

Wait a minute…lonely?

crew 2The first week of my Film Directing I Class was a solo directing project. Unbeknownst to us ignorant students, that project was designed for the sole purpose of teaching us – the hard way – that film is always a collaborative effort. Anyone who tries to be a one-man film crew is about as sharp as a bowl of Jell-O.

For those of you looking to make a movie, but you do not have access to a multimillion-dollar budget, you may have to assume more than one responsibility to make your film. While it is possible – and often necessary – to wear two or three hats when making a film, it is not recommended. Search hard for qualified and experienced people to work with. The more you do, the more the quality of your film suffers and the quicker you will burn yourself out.

In May, we begin pre-production on the Steamfunk feature film, Rite of Passage. We start shooting in August. This is the bare minimum crew we will begin with:

I1Producer: A film producer creates the conditions for making movies. The producer initiates, coordinates, supervises, and controls matters such as raising funding, hiring key personnel, and arranging for distributors. The producer is involved throughout all phases of the filmmaking, from development to “delivery” of a project.

Executive producer: In major productions, can sometimes be a representative or CEO of the film studio. Or the title may be given as an honorarium to a major investor. Often they oversee the financial, administrative and creative aspects of production, though not always in a technical capacity. In smaller companies or independent projects, it may be synonymous with creator/writer. Often, a “Line Producer” is awarded this title if this producer has a lineage of experience, or is involved in a greater capacity than a “typical” line producer. E.G – working from development through post, or simply bringing to the table a certain level of expertise.

Associate producer: Usually acts as a representative of the Producer, who may share financial, creative, or administrative responsibilities, delegated from that producer. Often, a title for an experienced film professional acting as a consultant or a title granted as a courtesy to one who makes a major financial, creative or physical contribution to the production.

Script Supervisor: The script supervisor maintains a daily log of the shots covered and their relation to the script during the course of a production, acts as chief continuity person, and acts as an on-set liaison to the post-production staff. They maintain logs of all shots and act as the chief continuity person on set, performing daily cross-referencing with the continuity stills photographer to ensure shots remain accurate and in logical order.

Continuity Stills Photographer: The continuity stills photographer uses a digital still camera to establish continuity referents for each shot covered in a day of shooting. These shots are cross-referenced with the script supervisor’s log for accessibility on set. The continuity stills photographer takes pictures of each shot covered, paying particular attention to the in-point and out-point of a shot – a photograph is taken just before the director says “action,” and immediately after he or she says “cut.”

crew 3Director: The director is responsible for overseeing the creative aspects of a film, including controlling the content and flow of the film’s plot, directing the performances of actors, organizing and selecting the locations in which the film will be shot, and managing technical details such as the positioning of cameras, the use of lighting, and the timing and content of the film’s soundtrack. Though the director wields a great deal of power, they are ultimately subordinate to the film’s producer or producers. Some directors, especially more established ones, take on many of the roles of a producer, and the distinction between the two roles is sometimes blurred.

Stunt Coordinator: Where the film requires a stunt, and involves the use of stunt performers, the stunt coordinator will arrange the casting and performance of the stunt, working closely with the director. This includes Fight Choreographers – stunt coordinators who specialize in the casting, design and performance of fight scenes.

Production Designer: A production designer is responsible for creating the physical, visual appearance of the film – settings, costumes, properties, character makeup, all taken as a unit. The production designer works closely with the director and the cinematographer to achieve the ‘look’ of the film.

I2Director of Photography / Cinematographer: The director of photography is the chief of the camera and lighting crew of the film. The DP makes decisions on lighting and framing of scenes in conjunction with the film’s director. Typically, the director tells the DP how they want a shot to look, and the DP chooses the correct aperture, filter, and lighting to achieve the desired effect.

Camera Operator: The camera operator uses the camera at the direction of the cinematographer / director of photography, or the film director to capture the scenes on film. Generally, a cinematographer or director of photography does not operate the camera, but sometimes these jobs may be combined.

I16Boom Operator: The boom operator is an assistant to the production sound mixer, responsible for microphone placement and movement during filming. The boom operator uses a boom pole, a long pole made of light aluminum or carbon fiber that allows precise positioning of the microphone above or below the actors, just out of the camera’s frame. The boom operator may also place radio microphones and hidden set microphones.

I4Location Scout: Does much of the actual research, footwork and photography to document location possibilities.

Film Editor: The film editor is the person who assembles the various shots into a coherent film, with the help of the director.

Sound Designer: The sound designer, or “supervising sound editor”, is in charge of the post-production sound of a movie. Sometimes this may involve great creative license, and other times it may simply mean working with the director and editor to balance the sound to their liking.

Composer: The composer is responsible for writing the musical score for a film.

Foley Artist: The foley artist is the person who creates the sound effects for a film.

Key Makeup Person: The key makeup person applies and maintains the cast’s makeup, working in coordination with the script supervisor and the continuity stills photographer.

Key Hairdresser: The key hairdresser dresses and maintains the cast’s hair, working in coordination with the script supervisor and the continuity stills photographer.

crew 4Costume Designer: The costume designer works under the supervision of the director and the art director to design, obtain, assemble, and maintain the costumes for a production. Costume designers develop costuming concepts and the design of costumes in coordination with the art director, production designer, and DP.

This is the crew I am working with, plus the assistants for each member of the crew, caterers and security. I bet no Financier ever had to work with so many people – from a couple of months to a year or more – just to complete one project.

Such is the life of a filmmaker, but I love it and when you see the fruit of the labor of our crew, when Rite of Passage hits the silver screen at the Black Science Fiction Film Festival in February, 2014, you’ll love it – and us – too!

More funk to come. Stay tuned, Steamfunkateers!

If you would like to be a part of the making of this film and live in or near Atlanta, please join us at the Information Session at Georgia Tech Thursday, April 18, 2013; Skiles Building; Room 343 at 11:00 am. We will discuss cast and crew needs, scheduling and benefits to be enjoyed by all involved!

ROP 1

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