In Rehearsal for Barefoot's 'ROMEO & JULIET.'
Frequently Asked Questions
I've heard the term "fight choreographer," is that the same as "fight director?"
Depends on who you're asking. Some people use the terms interchangeably, some create stark differences. When I'm meeting new collaborators, I like to ask what they think the difference is and then take the conversation from there. I personally believe fight choreography and fight direction both deal with the story but fight choreography implies you might not be considering the before or the after whereas fight direction ties into the narrative for a seamless transition.
So what's your rate?
Good question. It depends on the project. What's the time frame? How many moments are we dealing with? Are there weapons involved? If so, how many? And, most importantly, what's the budget? I like to work within those parameters and from there, mutually agree on a rate that is equitable.
How do you acquire the weapons needed, if any?
Typically, the starting conversation is about budget, whether for purchase or as a rental. It's akin to any designer and their budget to execute a design. As I build my personal armory, I always highly recommend certain brands for purchase (usually great when on a tighter budget actually), and have partnered with both local and international armorers to be able to recommend rental stock.
Will you work for free?
I only allot a charitable budget in my fiscal year planning for certain organizations.
Why won't you work for free otherwise?
I find creating a parameter where I can set aside my time to give back is equally as important as making a living, and by doing so, I am able to provide the best of both worlds: collaboration for a prorated or charitable rate, and the guarantee I can still pay my bills at the end of the month. So that's why.
Do you work in Film and Television?
Rarely these days.
What else do you do?
My background is in technical theatre, which I've been working in for the past twenty years. I decided to pursue union benefits with the IATSE (the International Alliance for Theatrical Stage Employees) Local One, which is just a fancy way of saying I work behind-the-scenes on Broadway, so my schedule oscillates between that and fight directing. I also own a business in health and wellness, which completes the work/life/balance trifecta. It's a non-traditional mix, but I get to do what I love everyday, so I wouldn't trade it for the world.
Do you also work in intimacy?
If the work calls for it, yes, though there wasn’t really a term for it during my creative and professional upbring. My NYU original work directing training has proven exceptionally useful in all the fields I currently operate in, and I’ve collaborated with other intimacy directors and choreographers in order to advocate a cohesive language surrounding this newly recognized design form, much like the language of stage combat as it exists today.
What kind of violence do you most like to work on?
I love working on gritty violence, the kind that makes you cringe with that one big blow, or leaves your mouth hanging open from the sheer "creativity" of the fighters. I get to think and create outside the box, which proposes audiences see and interact differently with violence.
Favorite weapon?
Ask me in person. It constantly changes.
Depends on who you're asking. Some people use the terms interchangeably, some create stark differences. When I'm meeting new collaborators, I like to ask what they think the difference is and then take the conversation from there. I personally believe fight choreography and fight direction both deal with the story but fight choreography implies you might not be considering the before or the after whereas fight direction ties into the narrative for a seamless transition.
So what's your rate?
Good question. It depends on the project. What's the time frame? How many moments are we dealing with? Are there weapons involved? If so, how many? And, most importantly, what's the budget? I like to work within those parameters and from there, mutually agree on a rate that is equitable.
How do you acquire the weapons needed, if any?
Typically, the starting conversation is about budget, whether for purchase or as a rental. It's akin to any designer and their budget to execute a design. As I build my personal armory, I always highly recommend certain brands for purchase (usually great when on a tighter budget actually), and have partnered with both local and international armorers to be able to recommend rental stock.
Will you work for free?
I only allot a charitable budget in my fiscal year planning for certain organizations.
Why won't you work for free otherwise?
I find creating a parameter where I can set aside my time to give back is equally as important as making a living, and by doing so, I am able to provide the best of both worlds: collaboration for a prorated or charitable rate, and the guarantee I can still pay my bills at the end of the month. So that's why.
Do you work in Film and Television?
Rarely these days.
What else do you do?
My background is in technical theatre, which I've been working in for the past twenty years. I decided to pursue union benefits with the IATSE (the International Alliance for Theatrical Stage Employees) Local One, which is just a fancy way of saying I work behind-the-scenes on Broadway, so my schedule oscillates between that and fight directing. I also own a business in health and wellness, which completes the work/life/balance trifecta. It's a non-traditional mix, but I get to do what I love everyday, so I wouldn't trade it for the world.
Do you also work in intimacy?
If the work calls for it, yes, though there wasn’t really a term for it during my creative and professional upbring. My NYU original work directing training has proven exceptionally useful in all the fields I currently operate in, and I’ve collaborated with other intimacy directors and choreographers in order to advocate a cohesive language surrounding this newly recognized design form, much like the language of stage combat as it exists today.
What kind of violence do you most like to work on?
I love working on gritty violence, the kind that makes you cringe with that one big blow, or leaves your mouth hanging open from the sheer "creativity" of the fighters. I get to think and create outside the box, which proposes audiences see and interact differently with violence.
Favorite weapon?
Ask me in person. It constantly changes.
