Dynamic Gunplay

Apparently the new website for the SAFD doesn’t have electronic versions of their journal The Fight Master yet, which makes sharing a bit harder… but an only somewhat cut down version of an article I submitted is in the one I just got in the mail today.

I’ll work on getting a scan or something at some point in here, but for now, MySpace blog readers will get the DVD bonus features: a few cut scenes (some bits that were cut out of the published version):

Just before submitting this article I came across an interview with playwright Paul Mullin in Seattle’s weekly paper The Stranger.  In three short sentences I think he summarized the effect of years of bad theatrical firearms use in all stages of production, from writing to directing to props to performance:

He scoffs at stage guns: “Everybody knows they aren’t going to go off. Why not use bows and arrows? Once you’ve pulled the bow back, it’s actually a dangerous weapon.”

How do we build the threat back in to theatrical gunplay?



Those who forget about muzzle flip do so at their own peril; while it’s the darkest brand of humor, I couldn’t help but smile when I read how one of the Columbine shooters, Eric Harris, broke his own nose when the recoil from a sawed-off shotgun (being held one-handed up to a fellow student’s chin) drove the muzzle back into his own face.

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