Contents -- Introduction -- Chapter 1 Basic History of Fight Choreography and Fighting on Film -- Basic Overview: The Evolution of Fight Choreography -- The Birth of Film in the United States -- Asian Martial Arts Influence on Western Films -- The Dawn and Influence of the Modern-Day Kung Fu Brawl -- East versus West -- The Chain of Command on a Set -- The Difference in Perception of Action: Seeing beyond the Physical -- Culture/Religion -- A True Art Form versus a Gimmick -- Ageism -- Code of Ethics/Conduct -- Mythology -- Emphasis of the Fight: Elaborate versus Brief -- Length of the Fight -- Editing -- Camera Angles -- Stuntmen -- Choreographers -- Sound -- Special Effects -- Room for Advancement versus Categorization -- Billing/Recognition -- Time and Preparation -- Film Genres -- Story -- Perceptions and Stereotypes of Foreigners in Film -- Asian Talent in Western Films -- Globalization of Asian Martial Arts Films -- What We Can Still Learn from Bruce Lee -- He Had No Noticeable Misses or Bad Takes in the Fight Scenes in Any of His Hong Kong Films -- He Had Simple Techniques but Rarely Repeated Himself -- He Had an Individualistic Screen Presence -- He Had a Learning Curve -- He Understood the Emotional Content and Impact behind Each Technique -- He Was Adept with Both Hands and Feet, and He Was Not Afraid to Mix It Up -- He Was Unafraid to Show His Vulnerability -- He Knew the Importance of Having Great Stuntmen around Him -- He Had Different and Unique Timing and Rhythm -- He Had Great Martial Acting Skills -- He Had Effective and Convincing Before and After Poses -- He Did Not Have a Trademark or Signature Move -- He Had a Physique That Everyone Envied -- He Understood the Difference between Cinematic and Real Fighting -- He Injected Philosophy and Fight Strategy into His Films -- He Fought Only When Necessary.

Watching Bruce Lee's Movies -- Way of the Dragon (aka Return of the Dragon) -- Chapter 2 The Differences between Sport, Art, and Self-Defense -- Three Major Approaches to Combat: Art, Sport, and Self-Defense -- Common Ground among All Three Concepts -- Definition of a Martial Art -- Definition of a Combative Sport -- Definition of a Self-Defense/Combative System -- What Is a Martial Artist? -- The Root of Combative Sports -- Mixed Martial Arts -- The Birth of Brazilian Jiu-Jitsu and Vale Tudo -- Coming to America and the Birth of the UFC -- Why MMA Is Popular with Audiences -- The Different Ranges of Combat Involved -- Tournament/Point Fighting -- What Is Free Sparring? -- What Is Tournament Fighting? -- Different Types of Tournaments -- Different Eras of Tournament Fighting -- Pro Wrestling -- What Is Sports Entertainment? -- What Is Fake? -- Pro Wrestling Comparisons to Fight Choreography for Film and Television -- A Brief History of Pro Wrestling -- World Wrestling Entertainment (WWE) -- Extreme Championship Wrestling (ECW) -- Hooking the Audience -- Pro Wrestling Outside America -- Outside the Ring: Wrestling on Film and TV -- Chapter 3 Definitions and Terminology -- Empty-Handed Fighting Distance/Range -- Different Types of Fighters -- Offensive Fighters -- Defensive Fighters -- Counter-Attacker -- Styles of Fighters -- Technician -- Brawler -- Showman -- Emotional -- Intellectual -- Definitions of Fighting Terms -- Film Fighting and Stunt Terms -- The Pulse of a Fight Scene -- Chapter 4 Primer -- Issues with Using a Real Martial Artist or Combative Athlete on Film -- What Is a Screen Fighter? -- The Importance of Rhythm in a Fight -- Working with and Training Actors, Stunt Players, and Stunt Doubles -- Differences between School Training and Film Training -- Purpose -- Time Invested -- Learning Process -- Length of Classes -- Techniques Used.

Application of Skills -- The Actor's Role in the Film -- The Role of the Stuntman and Stunt Double -- The Script and What to Teach -- Collaboration with Other Creative Departments -- The Relationship between Trainer and Actor -- Assessing the Actor's Physical Skills -- Understanding the Actor You Are Training -- Possible Issues That Can Arise during Training -- Horror Stories -- Horror Story #1 -- Horror Story #2 -- What Is Strategy? -- Basic Types of Strategy -- Use of Technique with Strategy -- Showing Character and Personality through Strategy -- Issues That Can Nullify a Character's Strategy -- Ways for an Audience to See Strategy -- Real-Life Strategists -- Examples of Fight Strategy on Film -- The Difference between Violence and Action -- Justification for Actions Taken -- Five Basic Justifications -- Chapter 5 The Whole Structure -- Introduction to the Process of Putting Together a Fight Scene -- The Balancing Game -- Relationship between Physical and Technical -- Problems That Can Arise on the Technical Side -- Compensating for One Another -- X Factors That Were Not Worked into This Equation -- Chapter 6 The Source -- The Story -- Back Story -- Exposition -- Character Arcs -- Reveals -- Setups and Payoffs -- Justification of the Action and the Skills of the Characters -- The Characters -- The Role of the Hero -- Different Types of Heroes -- Justifying the Hero's Actions -- The Villain -- The Mentor -- The Buildup -- Training Sequences -- What Is a Form? -- Levels of Forms -- Use of Forms in Combat and Other Situations -- The Script -- The Three Acts of a Screenplay and the Types of Action Used in Each Act -- Questions -- Exercises -- Chapter 7 Extracting the Essence -- Assembling the Character and Story Inventory -- Breaking Down the Script -- Creating Your Character Bible -- Putting Together Your Character Bible -- Creating the Fighter's IQ.

Number of Fights in Which the Character Participates -- Result of Each Fight -- Justification (Part 1): The Fighter's Skills -- Heightened Sense of Awareness -- Time Period -- Handicaps -- Traditional Fighter or Modern Eclectic -- Animal Representation -- Temperament -- Fighting Spirit -- Flashy or Effective Techniques -- Number of Different Styles, Disciplines, and Approaches to Enforcement -- Character's Reaction/Response to New Places -- Uncomfortable Place or Environment for the Character -- Skills and How They Were Acquired -- Responsibility Due to Skills and Title/Position -- Direct Effect of Fights on the Character's Growth (Arc) throughout the Film -- Anger -- Conditioned or Unconditioned -- Reaction/Response -- The Caste System -- Fighting Distance -- Motivation to Fight -- Flaws, Weaknesses, and Strengths -- Learning Curve -- Physical, Emotional, Mental, and Spiritual Rituals -- Previous Physical Confrontations or Fights -- Street Sense -- Thinking Process -- Inventory of the Character's Mental, Physical, Spiritual, and Emotional Fighting Skills -- Things the Character Should Not Do in a Fight -- Morals or Code of Conduct in Battle -- Character's Actions during Events beyond His Control -- Ego -- Transcendence to Mental, Spiritual, or Mythical Aspects -- Personal Carriage When at Rest -- Actions in Uncomfortable Situations -- Character's Training -- Relationship to Mentor -- Respect for Authority Figures -- Character's Reaction to Lessons He Can't Understand -- Pre-Planned Fights -- Issues about Death -- Injury or Death at the Hands of the Character -- Signature Moves -- Distinct Signature Weapons -- Character's Level of Proficiency -- Interactions with More Highly Skilled Individuals -- Reputation -- External Symbols or Indications -- Fight Chart and Stats -- Your Fight Chart -- Stats.

Chapter 8 The Narrative Structure and Elements of a Fight Scene -- Fight Scene Structure -- The Lead-Up -- The Physical Fight/Conflict -- Flexible Elements -- Overall Elements throughout the Fight -- Chapter 9 Physical Elements of the Fight Scene -- The Framework -- Physical Elements Defined -- Intent and Choice of Techniques -- Beats and Pauses -- Rhythm -- Timing -- Cues -- Length -- Environment -- Stylization of Moves -- Body Language -- Centerline and the Centerline Theory -- Stances -- Combination of Approaches -- Camera Awareness -- Collective Rhythm of the Fight -- What Exactly Is Martial Acting? -- Good and Bad Martial Acting -- Martial Acting during a Fight -- Martial Acting before and after a Fight -- Reactions -- Facial Expressions -- Exercises -- Chapter 10 The Technical Elements of a Fight -- Cinematography -- Rehearsing with the Cameraman -- Effective Camera Angles -- Distance from the Fight -- Camera Height -- Keeping It Visually Pure and Effective -- Inserts and Close-Ups -- Frame Composition -- The Issue of Getting in Too Close -- Showing Just Enough -- Slowing Down or Speeding Up the Action -- One Take: Continuous Action without Breaks -- Editing -- Different Styles of Editing -- The Fight Choreographer's Dilemma -- Solutions -- Processing Information -- The Pulse of a Fight Scene -- Cinematography Exercises -- Editing Exercises -- Chapter 11 Developing a Choreographer's Eye -- Developing an Eye for Action -- See Films in a Theater First -- Study Audience Reactions -- Expand Your Tastes -- Try Not to Prejudge a Movie -- Be Selective about Whose Reviews You Read -- Do Not Substitute Box-Office Gross for Aesthetics -- Learn to Read Subtitles -- Know What to Ask Yourself after Seeing a Movie -- Know Your Action Film History and the Contributors -- Learn to Be Film Literate -- Know Whether the Film Was Made for You.

Too Much Information to Handle?.