What makes an action sequence? Using the art and science of an innovative new approach, critically acclaimed Action Director Lawrence Ribeiro gets to the heart of creating action. This book was written for two reasons: to live life while developing your own point of view and to bring back realism -- Action Realism. Start by retraining your eyes how to see. Discover opportunities for speed. Follow the book as it breaks down the components of creating speed, from location scouting to camera choreography to physical movement and much more! Use each tool individually or learn to integrate them to produce an exciting rush of imagery. Written for veteran and novice filmmakers alike, with or without a big budget. Learn how to translate life experience into exciting visual sequences. By the end, you will gain the ability to shape dynamic sequences, from motorcycles to cars to fights!
Rush Hour is about to take on a new meaning. Two cars race on the streets and freeways of Los Angeles, unleashed. A pure chase of muscle and speed. No CG. No rules. No stops. Just high-speed action like no other....
WINNER OF 8 AWARDS:
BEST ACTION, Paris Play Film Festival
BEST ACTION, London X4 Short Film Festival
BEST ACTION, European Cinematography Award
BEST ACTION, End of Days Film Festival
BEST ACTION SCENE, Padua International Film Festival (IIPMF)
BEST CINEMATOGRAPHY, Alternative Film Festival (Toronto)
BEST EDITING, AMII International Workshop and Film Festival (AMIIWORKFEST)
BEST EDITING, Smoky Mountain Film Festival
"Best Risk Shot" - International Festival of Cameramen - "Goldeneye" (Tbilisi)
"Best Short FIlm" - Director's Cut International Film Festival (Vancouver)
"Best Action & Adventure Short" - North Bay Art & Film Festival
OFFICIAL SELECTION IN 30 FILM FESTIVALS
Cayman International Film Festival (CayFilm)
Bali International Film Festival (Balinale)
Film Miami Fest
Austin Action Fest
Los Angeles Cinefest
Long Island Film Festival (LIFE)
Golden Bridge International Film Festival (Moscow)
Benecia Film Festival
No Identity International Action Film Festival (Madrid)
In “Afternoon Smackdown: Previs’ing a Fight Scene,” Filmmaker Magazine writes:
Action Director Lawrence Ribeiro forwards this short video of an afternoon’s work — literally. Below, he explains how, with a camera and two top stuntmen, he can mock-up a dynamic fight scene.
Here’s a chase and fight sequence we shot, in five hours, using two top stunt professionals and one camera. In 2nd unit, we’d consider this type of shooting a level above pre-visualization (previs). Previs is a critical tool for designing action sequences. Sometimes all a script will say is, “…and they fight.” So videos like this allow us to experiment with choreography, and save time and money, before we get on set. In this case, this video was an exercise in creating atmosphere, mood, and tempo. And we wanted to create something fun on the fly!
BOOK: THE UNKNOWN ART OF DRIVING
Did you ever get the urge to push your limits? This book offers a new perspective on driving, which up to this point has never been known. Your awareness and skills will improve with each chapter so that you can handle ANY situation or driving environment, with ease. - What’s the difference between Stunt, Rally Driving and Precision driving? - What is the best way to deal with police or the courts? - How to improve your night driving? - What is the difference between Ethics and Law? - How to remedy your fear about going fast? - How to assess roads, terrains, tracks, etc. so as to increase your speed? - What is the “Cannonball drill” and how it can improve your driving skill? - How to choose or create the right vehicle for your needs? - What to watch out for in any city, locale or country? - Why the U.S. doesn’t make the best drivers? - Why it’s important to trust your senses and develop your perceptions? - How to get in communication with your vehicle? - Learn about the Champagne slalom: A drill created by a three-time Formula 1 champion that takes your driving skill to a whole new level! This is a practical guide to increase your awareness and your abilities as a driver. It doesn’t matter if you are 18 or 80 you will benefit from this book. The son of a European rally driver, Lawrence Ribeiro has driven in blizzards, jungle, the desert, and other hostile environments, where evading pursuit was a very real and necessary skill. Lawrence discovered that there are common denominators in each of these scenarios and environments. Whether your drive is a daily commute to work, you drive professionally, or you require the total concentration and skill of a racer, the information and practical exercises in this book will increase your ability as a driver to a whole new level. Are you ready to enter the unknown?
Ever wonder what it's like dangling from a helicopter 1500 feet above the ground? This week Lawrence talks with Antal Kalik, one of the most in-demand stunt performers in Hollywood (Captain America, Logan, Wonder Woman, American Sniper, Jupiter Ascending, 22 Jump Street - for which he recently won a Taurus Award, and the upcoming Ant Man, and Captain America: Civil War). Antal discusses his humble beginnings growing up in Michigan, his journey to achieving his dream of becoming a stunt performer and the value of leaving your ego at the door. Antal is the real deal, he shares his thoughts on how to stay in the game, the current state of action in movies, CGI vs. green screen, and what it’s like working as the stunt double to some of Hollywood’s biggest stars (including Channing Tatum and Chris Hemsworth). Get ready for an inside peek into the world of the Hollywood stunt performer.
Need someone to ride a motorbike, shoot a machine gun...on one wheel? Lawrence talks with stunt performer Jef Groff. Jef is one of the hardest working stunt performers in the business, and he’ll be the first to tell you that hard work is the very least you need to make it.
Racing motorcross at 8 years old (balance is a natural gift), Jef is a master of motorcycles and all things automotive. Jef discusses what it’s like to drive a brand new car through an operating Target department store, why it doesn’t matter if it’s a $200 bike or a $1 million bike, that you still need to perform, why you need confidence, skills and credits to make it in Hollywood, and how the original Point Break film is a major influence on the current regime of top stuntmen.
Jef shares his thoughts on the concept that there is indeed no "I" in team, how everyone involved has to be in sync for the stunt to go right, and the value the work that Stunt Performers do, because without them we don’t get movies like Furious 8 or Mad Max: Fury Road. Stunt Coordinators will always hire the best to push the limits and add to the brain trust of any good stunt team. Being the best at what you do and staying on the cutting edge means to constantly be evolving, always staying relevant, always bringing something to the table. Jef Groff is living proof that hard work and dedication pay off.
EPISODES 01 & 05: JOHN KRENG (Fight Choreography: The Art of Non Verbal Dialogue)
"A Journey into the World of Hong Kong Cinema" Lawrence talks with noted Martial Arts expert John Kreng about his life and career in the stunt world, how growing up going to grindhouse movies influenced him, the history of Hong Kong cinema itself, how the Shaolin Warriors and Chinese Opera affected the different fighting styles in the movies, what Bruce Lee did for Martial Arts Cinema, why the fight director has equal billing to the director in Hong Kong, what happened to John Woo, the average life span of a Hong Kong Stunt Performer, not to mention John's first on screen fight with none other than Jet Li!
There is fighting... and then there is fighting for film! A session on non-verbal dialogue. Part 2 of Lawrence’s talk with Fight Choreographer John Kreng. In part 1 they covered the history of fighting on film, now they discuss the meat and potatoes of it all including how on-screen action serves the story and characters of a the film, assessing the skill sets of an actor, the relationship between the Stunt Coordinator and the director, and when to involve the DP (hint: always). They also cover film school vs. real life, the value of Stunt Coordinators and 2nd Unit Directors being involved in the edit, the value of pre-vis, and why all departments have to be in sync. The bottom line to all of this being audience emotional satisfaction vs. box office success (they need not be mutually exclusive), and why the action must support the story and the story must support the action.