Clay Donahue Fontenot is one of Hollywood's most sought after and successful stuntmen and coordinators. He has doubled some of Hollywood’s biggest stars. His work includes such huge hits as Blade, Iron Man , Logan , Django Unchained and most notably the Equalizer franchise. Business Insider named Fontenot one of the most famous stunt doubles in Hollywood. You said, “Dying is one of my specialties.” How did this come about? Well, as a Stuntman in Hollywood we make most of our living getting beat up, crashing cars, being shot off buildings, being lit on fire or being blown up by the actors in order to make our stars look good on TV and the Big Screen. But as a Stunt Double for the hero in TV or film, the Stuntman gets to do much of the same action, but in most stories the hero lives. Take us through your martial arts training: Where did you start? What styles did you start with? Who did you study with? How did that training carry over to stunts? My first exposure with Martial Arts came about the age of 6 or 7 years old. We lived in an apartment complex in Tallahassee, FL. and sometimes I would see this guys out in the grass between the apartment buildings moving in stance or practicing Kata. I went over and asked him what he was doing and he said “Karate, do you want to learn?” I asked my parents and they said yes to letting me practice Shotokan and Shōrin-Ryū with him off and on for a year or so before he moved away. I loved it!! After that I went on to study Shinjimasu Goju with Sensei/Renshi Gallop Franklin for a few years where I learned so much about body conditioning, chi, and perseverance. You know those great stories about schools that have you running a mile bare foot on asphalt holding your arms at shoulder level straight out to the sides with a half gallon jug of water in each hand without stopping or letting your arms drop to your sides? Or being in horse stance on a tile floor for minutes at a time while balancing cups of soapy water on each thigh, where if you spilled it, …well now you gotta get back in that stance on a super slippery tile floor and hold your balance while being whacked with the Bamboo Shinai. This was one of those great “old school” schools that was off the beaten path that hadn’t yet been commercialized. It offered lots of great adventures in personal growth…not for the faint of heart. A few years later, at this same Goju school is where I would meet my next instructor Sensei Darryl Baldwin and begin my journey in the art of Kyokushin Karate! In Goju, we sparred on Saturdays and on this particular Saturday there was a guest whom I’d never seen before. He was an acquaintance of Renshi Gallop’s who had stopped in for a workout. I agreed to spar with him and he proceeded to expose my every weakness during our session with tips and pointers on how to correct each one, …while at the same time effortlessly executing the fastest yet crisp, clean and accurate techniques I had ever seen. I went home inspired by this man and upped my training game 100%. A full year would pass before I would run into Sensei Darryl Baldwin again upon his return from the military in Okinawa. He studied Kyokushin under Shihan Bobby Lowe of Hawaii and came back to Tallahassee, FL to open his Kyokushin School. I would join his school the week of his grand opening and stayed with him all the way up through the ranks to black, fighting on the on the circuit and competing in the Kyokushin world championships in Atlantic City. Since then, I’ve been exposed to lots of different disciplines in the film and entertainment industry but Kyokushin is my home! I now have two Daughters who have entered the world of martial arts and they have studied under Sensei David Dunn at Premier Martial Arts Academy in Santa Clarita, CA. While my Daughters were training there Mr. Dunn introduced me to Jujutsu for the first time. I only had the opportunity to spend a month on the mats with them but it has sparked fondness and inspiration to continue studying here in Costa Rica. Most people growing up can only dream of the places you have been and things you have done, but was it ever a dream for you growing up? And what gave you the confidence to pursue this dream? As a martial artist, I had always dreamt of being Stunt Actor and Stuntman in the entertainment industry but, when I was younger it was a goal that seemed unobtainable by a small town guy like myself. Then at 22 years old, I saw a TV show that was starring a female friend I went to high school with and I instantly thought, “If she can do it, I can do it!” I started saving my money to move to Hollywood, CA. the very next day. 6 months later I was in California trying to figure it all out. Even at that point I had no idea of the opportunities that would be presented to travel to all over the world and have so many wonderful experiences. I was just happy I got to do the things I love doing as my occupation, … the rest has been and still is a welcomed bonus! What is the most difficult stunt role you've had to prepare for and film? The most difficult stunt role I’ve had to prepare for was the work in the Ironman suit for several reasons. (I did the work in the suit for the end of Ironman I, all of Ironman II, all of Avengers and all of the reshoots for Ironman III). The first reason it was difficult is because I wasn’t Doubling someone when I was in the suit. Robert Downey Jr. was Tony Stark but Ironman was a completely separate character that I had to become. I had to make all of the heroic movement choices for the character. I didn’t have a coach, someone to watch or someone to tell me what to do. Lucky for them Ironman was my favorite comic book hero and I ran around practicing all his move when I was a kid so that came somewhat naturally. The second reason why it was difficult was because of how restrictive the suit actually was when trying to do fight choreography in a scene. Not only was your movement restricted but it also pinched and drew blood at all the joints when bending 90 degrees or more. Still an absolute honor and I’d do it again in a heartbeat! What is the most memorable stunt? Most memorable stunt is a hard one to answer because there are so many, … and so different! So here are a few: The Blood Club Fight in the first Blade movie. Great choreography by the Great Sifu Chuck Jeffries, Wesley Snipes, and Jeff Ward! Heck, all the Blade fights in all the Blade movies were so fun and memorable I have to list them all! Another memorable stunt was a cannon car crash in the movie RIPD where I flipped a car through an intersection in the streets of downtown Boston. I can send you the footage if you like. What is the most dangerous stunt? I would have to say the most dangerous stunt was in the movie US Marshals where I jumped off the roof of an 18 story building holding a rope attached to the opposite end of the roof. This created a gigantic swing which swung me down and over a train station roof that I transferred to. I then had to run along the roof and jump to the last car of the train as it went by. No safety nets back then so the steaks were pretty high! In what ways have you evolved since the beginning of your career? Has your mindset changed? Your expectations/standards? Have you altered goals? My goals will alway be the same and that is to give the absolute best performance I have in me, no matter how big or small the project or job is! Since the beginning of my career my fights and the way I fight had to change right out of the gate! Since movies and TV entertainment are not real we have to pull our punches and kicks, or sometimes throw bigger and wider haymaker type techniques for it to register on camera. This can allow us to sell the desired effect for a specific reaction and then the audience can follow the story being told. More often than not, it feels really weird and or the timing is off, but if it looks good on camera then it works for the action. This takes getting used to because we don’t see what the camera sees until we watch playback, so you have to develop the skills of being aware of the camera at all times and understanding the angles so you can play to them as the action in the scene develops. My expectations and standards of today's talent, techniques and technologies have far been exceeded. The bar has been raised so much that I can’t wait to see where we go from here. I’m so blown away by today’s filmmakers as well as today's modern martial arts practitioners. MMA is where it’s at! After jumping off buildings, fighting space aliens, going against the Russian mob, and dying in countless ways including a Mandingo battle to the death, is there a stunt you still want to do? I’m totally grateful that I’ve had the opportunities over the years to experience all the great big blockbuster gags and to have had the chance to work with the amazing film crews and fellow stunt professionals that make all the incredible action possible in this business. I still train hard week in and week out and keep my body ready for whatever the industry has for me next! I’m open, so Bring it!

Master Simon Rhee is a World Taekwondo Kukkiwon certified 7th degree black belt and Tournament Grand Champion, a professional stuntman, actor, martial artist, fight choreographer and stunt coordinator. He is a member and past president of the International Stunt Association and is a recipient of 2 Taurus World Stunt Awards and numerous Screen Actors Guild Awards and nominations. Simon Rhee has doubled Jackie Chan and has worked with some of the most sought after Hollywood actors, musicians, and directors including Clint Eastwood, Leonardo DiCaprio, Anthony Hopkins, Tom Cruise, Keanu Reeves, Ben Stiller, Ang Lee, Christopher Nolan, John Woo, Doja Cat, Kendrick Lamar, Ed Sheeran, Post Malone, The Weeknd, Kendall Jenner, Kaia Gerber, and many, many more. You have had a very successful career in Hollywood, how did that first evolve? It was 1975, me and my brother Philip were visiting Master Jun Chong in Los Angeles. He was shooting a Korean movie called Bruce Lee Fights Back from the Grave in a Long Beach junkyard. He told us to come and do a fight scene. That's how it got started. Share with us your martial arts journey, how you got started and what led you to Los Angeles? When I was 10 years old, I came down with viral meningitis and stayed in the hospital for two months. After I got out of the hospital, my father started Phillip and I into a taekwondo studio in Seoul, South Korea to make us strong. After we got our black belt, we immigrated to San Francisco to attend junior high school and high school. After graduating high school in San Francisco, our whole family moved to Los Angeles in 1976. Describe the early days training with your brother and how that motivated or inspired you? What I remember about training taekwondo in South Korea, we had to train every day except Sunday. I remember cleaning the wooden floor with wet rags before starting the class to make sure the wooden floor was clean, otherwise we would get a knuckle sandwich from our instructor. You have a very successful career in teaching and training celebrities and athletes. What was your approach in teaching them and was it different than teaching group classes? When I was teaching the Raiders football players, I wanted to make them have good reflexes and flexibility so they wouldn't injure themselves while they were playing. When I'm teaching actors, it all depends on what is written on a script. Pretty much all the basics are the same in martial arts, so I would start them with very basic but strong foundations. Once they have that, it's pretty easy to teach other materials. It would be very different from group classes since they are not focusing on belt testing. When you are creating and directing stunts is there still a teaching element involved and what is your emphasis? When I'm creating or directing stunts, the most important thing is safety. If one of my actors gets hurt, that stops the production, so safety is the first thing. The second is being true to the script and helping our director shoot his vision. Tell us about some of your recent movie projects? I just finished a movie called Spaceman with Adam Sandler. We play astronauts on a spaceship. Before that I was the stunt coordinator for two seasons of American Horror Stories and Lucifer. Who are your martial arts heroes and inspirations? My martial arts heroes are my instructors, Master Jun Chong for TKD, Master Moo Ryang Choi for Hapkido, and Ron Balicki for FMA and, of course, I got my inspirations from Bruce Lee. After 40 years you are still at the top of your game, What keeps motivating you to stay passionate? I love solving problems by using my brain. When I was sparring, I'm always thinking about how I could score and win. Same thing when I'm coordinating stunts, once you receive a script, you have to break it down: What kind of stunts are in the script? Who can I hire to do the stunts safely? Is my budget going to work with this script? Many things go into making a TV show and I love solving the problems and I think that's what makes it passionate for me. Today many martial artists find social media fame but still strive for the silver screen. What is your advice for those that want to explore a career path in stunts? I get this question a lot, I can not hire anyone without the Screen Actors Guild union card, so first thing they have to do is try to get that card. It's not easy, it took me 11 years to finally get it. You could go to the Screen Actors Guild website to find out how to join. You should also have a one minute demo reel of what you are good at on YouTube or Vimeo. Make sure it is not more than one minute. Make it short and have your headshot at the end with your contact info. Go to YouTube and take a look at some other stunt peoples demo reel to get the idea.

Wuxia films 1905-1982: Quasi Non-Fiction Wrapped in Fantastical Fight by Dr. Craig D. Reid The coolest wuxia film of the 1920’s, Burning of the Red Lotus Temple (1928) Who could have guessed that the fate of the first 44 years (1905-1949) of wuxia cinema was heavily affected by the sexist attitudes of the Ching Dynasty? It all started in 1772, the year the Ching government banned females from performing on stage, which created the tradition of female impersonators in Beijing Opera. However, realism demanded real women's bodies. So once film came around, women would be cast in female roles. During the silent era, being an actor was considered one of the lowest occupations around, so men would rarely risk losing face by becoming an actor. This opened the doors for actresses to be the cinematic heroes, and as weird as this may sound, this was highly detrimental to the industry, and it was not because of sexism. When we left the first half of the Chinese Wuxia Xiaoshuo ( wuxia novels) blog, the famous martial arts novels of Chinese yore created during the Warring State Period (481 BC–221 BC), had received the biggest commercial boost for their wuxia novels when in 1905, the first martial arts movie in history was filmed at Beijing’s Fengtai Photography Studio. Tan Xin-pei in Dingjun Mountain (1905), the first film to feature martial arts. Starring Chinese Beijing opera star Tan Xin-pei as General Huang Zhong, the silent film Dingjun Mountain dramatized the Battle of Mount Dingjun (A.D. 219) based on a chapter from the 14th-century wuxia novel Romance of the Three Kingdoms . Featuring opera-born fight choreography, it was the first film ever that featured martial arts action. For Tan, it was not a loss of face, yet using his opera face to elevate the honor of his traditional Chinese theatrical art. By 1925, there were 175 movie companies in China’s major cities, 141 of them in Shanghai, that all focused on making love stories, Confucian morality tales and martial arts movies. It’s no stretch of the imagination that many wuxia films were made prior to 1925. The first known full-length wuxia pian ( wuxia film), thus oft considered the first Chinese martial arts movie, starred actress Fen Ju Hua in Swordswoman Li Feifei (January 1925) as a female wuxia hero that saves a woman from committing suicide who’s being forced into marriage. It’s noteworthy that Feifei was produced by the eldest Shaw brother, Runje Shaw, when their Shanghai studio was called Tianyi Film Company. When the family moved to Hong Kong in 1957, they became known as Shaw Brothers, a tour de force in the wuxia film industry. Probably the coolest 1920’s wuxia film was The Burning of the Red Lotus Temple (1928). Adapted from The Tale of the Extraordinary Swordsman , it was a 27-hour long extravaganza split into 19 feature length parts about a daring rescue of a general being held in a trap-infested temple that features insane, special effect-enhanced weapon fights. (see opening photo) Rise, Exodus, Purge By the 1930s, new directions evolved. Wuxia writers were not scholars tinkering with period fiction, instead they were money-making, newspaper serial writers with bold imaginations that dared to break socio-political rules as their heroes faced outrageous situations. Think of it as Chinese sword and sorcery events filled with demons, monsters, secret scrolls and magic spells. These characters had extraordinary leaping abilities, could shoot flying swords and daggers out of their hands and weapons. When superheroes fought supervillains, they’d sit opposite each other and fight with their astral spirits, while Daoist and Buddhist priests remind us of humanity, as only they can attain cong jian zhong wu dao (from the sword, they have realized the way ). Starting with Chivalrous Swordsmen of the Sichuan Mountains , Huanzhu Louzhu (aka Li Shoumin) ended up running 27 novel franchises with an accumulative 100+ volumes that influenced the development of the wild and wacky Cantonese wuxia films of the 1950s and ‘60s, where heroes battling creatures, and beasts, and behemoths, oh my!, were par for the course. His novel Blades from the Willows (1946) was one of the first wuxia novels translated into English. Another influential writer at that time who also churned out gobs of wuxia fiction was Wang Du-lu (aka Wang Baoxiang). He avoided dwelling on martial fantasies and heroic escapades, and instead focused on the social weight of the martial heroes, their love-lives, agonizing tragedies, and valiant sacrifices, and how all these pressures affected the heroes’ martial paths. Hong Kong's Cantonese cinema arose when the Nationalist Government laid down the law that all films made in Shanghai (the Chinese Hollywood of the 1920s-1930s) had to be shot in mandarin, which forced a mass exodus of Cantonese speaking talent to Hong Kong. Soon thereafter, the Nationalist Government heavily censored then banned these films because they were repulsive, and the government believed that many of their plots and themes would engage the populace toward rebellion, improper behavior, and political disorder. In the late 1920’s, actress Jiang Qing dreamed of becoming an actress yet none of the 141 Shanghai film companies would hire her. This is the biggest mistake in Chinese cinema history. Jiang Qing married Mao Ze-dong in 1938, and in the 1950s she became the head of the Film Section of the Communist Party's Propaganda Department. Only 20, pre-1949 films are known to have survived her destructive cleansing (fires) of the Chinese Proletarian Cultural Revolution. Earliest known surviving wuxia film, starring Fan Xue-ping in Red Heroine (1929). I had the privilege and pleasure to watch two big silent films of that era that survived the cleansing at a nationwide traveling film festival called Heroic Grace in March of 2003 at UCLA: the Red Heroine (1929) starring actress Fan Xue-ping; and Swordswoman of Huangjing (1930), which starred Sammo Hung’s grandmother Xu Chin-fang. The production values matched the American films, yet the choreographed fights were way ahead of their American counterparts. No one knows how many wuxia films were erased from history and especially the timeline of their existence and growth since 1905 to 1949. Furthermore, wuxia novels were now also banned in China and Taiwan. This left only Hong Kong to be the torchbearer for wuxia novels and films. Hong Kong, Land of the Rising Wuxia Pian In the early 1950s, Hong Kong based wuxia novelists Liang Yu-sheng and Jin Yong (aka Louis Cha), were influenced by Western literature and the freedom of thought attitude that existed during British Colonial times, as they infused their characters with narcissistic lifestyles that embraced the idea of non-conformity and won over the masses by placing their heroes during historic Chinese times when China was under foreign rule, i.e, now Britain in Hong Kong. Their success circled around honoring the sensibilities and schticks created by Huanzhu and Wang. Some of Jin’s well-known novels that have multiple must-see movie adaptations are Legend of the Brave Archer (1957), The Flying Fox of Snowy Mountain (1959), Demi Gods and Semi Devils (1963) and The Smiling, Proud Warrior (1967). For Liang, Story of the White-Haired Demon Girl (1959) and Three Women Warriors (1960) also has cool film and TV adaptations. When Mandarin filmmakers arrived in Hong Kong in the 1950s, they held wuxia film in contempt as reflected in their preference for Chinese opera and wen yi (literary art) films. Yet by the mid-1960s Shaw Brothers Studios and the rise of directors like King Hu and Chang Cheh, Mandarin filmmakers began to overcome the prejudice of the wuxia film in Mandarin cinema. With their new-wave style of kinky plots, unique fight-detailed choreography with sumptuous sight gags, camera choreography and pacey editing, Chang and Hu revolutionized the wuxia film by instilling a new literary dynamic via the rise of two outstanding wuxia novelists: Taiwan based Gu Long; and Shanghai born turned prolific screenwriter Ni Kuang. Ni churned out over 300 scripts, many of them for Chang and another influential wuxia film director Chu Yuen, who also filmed many of Gu’s novels that were scripted by Ni. Gu’s brusque language lined his cloak and dagger sensibilities, while using hidden danger tropes akin to the secretive natures of James Bond and western detective thriller genres. His neo-twisted plot designs attracted the younger generation of Chinese filmgoers with films like Jackie Chan’s To Kill With Intrigue (1977) and Magnificent Bodyguard (1978). Jimmy Wong Yu, on the left, in One-Armed Swordsman (1967) Between 1965-1985, Shaw Brothers kickstarted a new era of wuxia films by producing 150 wuxia movies. Two heavily influential films that defined this age’s beginning were the Chang directed, Ni Kuang written and Jimmy Wong Yu starring, manly-man epic One-Armed Swordsman (1967). Inspired by the one-armed character in Jin’s novel The Eagle Lovers (1959) the movie featured the fight instructor duo chops of Liu Chia-liang and Tang Chia. The second was the King Hu directed, co-written by Ding Shan-xi (Ding directed the first kung fu movie I starred in) and headlined the first official Queen of Kung Fu films Cheng Pei-pei as a swordswoman in Come Drink With Me (1966). The film highlighted the fight instructor skills of Hang Ying-jie (lead villain in Bruce Lee’s Big Boss (1972)) and his assistant Sammo Hung. As the kung fu and the wuxia films of the times started to lose their luster, due to Hong Kong's industry-destroying copy-cat mentality, Jackie Chan created a new genre of martial art films called wu da pian (fight films with martial arts) that put wuxia movies on the chopping blocks. With films like Project A (1984) and more officially via Police Story (1985), Chan intelligently combined athleticism, martial arts and dangerously outrageous stunts wrapped in more contemporary themes and settings. He was now even a bigger man on campus. Yet in the final chapter of this wuxia story, a real hero of wuxia who graduated from the University of Texas, Austin, stepped up and saved the day. How? The Rise of Fant-Asia. *Note: Before 1983, When Chan’s Golden Harvest kung fu films Snake in the Eagle Shadow (1978) and Drunken Master (1978), overpowered the Hong Kong film industries, Shaw Brothers had director Chang and fight director Liu Chia-liang create a new martial art genre, guo shu pian (national art films). The 36th Chamber of Shaolin (1978) is a famous early example. Poster Art for Come Drink with Me (1966) Image Sources: Photo 1: The coolest wuxia film of the 1920’s, Burning of the Red Lotus Temple (1928) https://www.karenfang.net/blog/2019/3/11/zrmanja-falls-croatia-f3exm-mlrtw Photo 2: Tan Xin-pei in Dingjun Mountain (1905), the first film ever to feature martial arts. . https://www.wikiwand.com/en/Dingjun_Mountain_%28film%29#Media/File:Tan_Xinpei_Dingjunshan_1905.jpg Photo 3 : Earliest known surviving wuxia film, starring Fan Xue-ping in Red Heroine (1929). https://www.imdb.com/title/tt0019996/mediaviewer/rm286088448/ Photo 4: Jimmy Wong Yu in One-Armed Swordsman (1967) https://vintagegeekculture.tumblr.com/post/680653626143801344/rip-to-jimmy-wang-yu-one-armed-swordsman-the Photo 5: Poster Art for Come Drink with Me (1966) https://hkmdb.com/db/movies/image_detail.mhtml?id=4504&image_id=84140&display_set=eng

A master in Jeet Kune Do, Burt Richardson has spent his life in pursuit of the mastery of several martial arts styles including BJJ and Filipino Martial Arts. Under the tutelage of such greats as Dan Inasantos, Tony Diego, the Machado Brothers, and Carlson Gracie he is on a constant quest for knowledge. He’s an author and teacher working with people from law enforcement to civilians. We are thrilled to reconnect with Black Belt Hall of Fame inductee Burt Richardson. In this interview, Tony Parrish talks with Burt Richardson about: - The most dangerous fighter alive is not in the UFC - A story of ​​Antonio Tatang Illustrismo, the legendary Kali master - Mixing styles to create the ultimate street fighting system - Burt Richardson shares his recipe for success - And shares a story of learning Zulu stick fighting in Africa

It’s a Wild & Wooly, Western, WuXia, Samurai Tour de Force Epic by Dr. Craig D. Reid John Wick is at a boiling point. Feel it! Hands up, down and sideways, the best American martial arts movie in 2023 is John Wick: Chapter 4 ( JW4 ) as he returns under more attritional circumstances. Turn on the end of the 2023 Saturday night floodlights for all to see, it is a film where its very essence of what it is, how it is, and where it can take us into 2024, where it might just mute all other martial art films next year. Yet these are the martial arts movie moments in history we search for, as JW4 is reflecting its sheer utter dominance, a rare acquaintance in our genre where it’s a heavy weight of nuts and bolts that hopefully can inspire other American made martial arts filmmakers prowl to do better. It’s no easy task, here is what filmmakers are up against. (Maybe only JW5 can ascend beyond?) In JW4 , Wick (Keanu Reeves) is transformed, reimbued with fervent ambition, believing he has a way out of the High Table, the secretive and powerful organization that governs and controls the underground world of assassins. It serves as a council of high-ranking individuals who enforce a strict code of conduct within the assassin community. Wick’s margin of error has vanished, it all comes down to one night , it is non-negotiable. One more moment to cease, one more moment to nettle, to grasp. As he scrambles for what’s left of his reputation and preserve his dominance against the world’s assassins who pledge their blind allegiance to the blackmailing, irreverent leader Marquis de Gramont, from Wicks perspective does he have the guts to face the ferocious frenzied prejudice of this pseudo-Monarch? Oh yeah! The whole organizational concept of the Wick films is influence by the secret world of Jiang Hu that is so beautifully and surreptitiously the backbone of Chinese wuxia novels and films. Jiang Hu is an alternative society made up of beggars, martial art heroes, villains and outcasts who coexisted within normal society yet lived by their own laws, systems of brotherhood and a morality code of ethics. Wu Lin became a strict martial artists subdivision of the Jiang Hu underworld that adhered to their own unwritten and respected ethical codes of righteousness, loyalty, chivalry, and gallantry. If I was to guess which wuxia novel director Chad Stahelski’s Wick character was influenced by, whether knowingly or unwittingly, especially in JW4 , I would pick Louis Cha’s (aka Jin Yong) novel, Demi-Gods and Semi-Devils, and that part of Wick is greatly based on Qiao Feng, the leader of the Beggar Clan within Wu Lin. It’s worth noting Laurence Fishburne’s Bowery King role and Wick supporter, sometimes projects an image of an authoritative vagrant beggar. During dastardly and deranged exigent circumstances, Wick and Qiao are marked as public enemy number one where everybody within their respective underground societies is told to assassinate the two antiheroes at all costs. In JW4 , Stahelski’s dynamic blending has crafted an action film that transcends boundaries, while captivating audiences with its breathtaking visuals, masterful choreography and are true homages to the mixture of genres he has embraced, such as the powerful action vibes of Wuxia, Samurai and Westerns cinema as well as the sensibilities of anime, manga and graphic novels. The Mad World of John Wick 4’s Wick-ipedia of Action Stahelski’s thrilling floods of raw ambition and action maturity uses his brain to train, his heart to impart the incorporation of whatever his eyes and ears, feelings and emotions, and body and mind can conjure up. He’s done what in 1993 Jackie Chan told me on the set of Drunken Master II , “Make the choreography as difficult as you can,” and during the same trip the father of wire fu, Ching Siu-tung, advised, “Dream up whatever you want to do, then figure out how to do it.” With the clutches of a renaissance man, Stahelski has firmly grasped both of these valuable pieces of fight choreography approaches to the nth degree and created his own luxurious martial art world of reality. Shot in 2021, in JW4 , still fresh after a movie that breathes familiar territory, Donnie Yen had completed a film donned in a 65-pound fat suit, doing an homage remake of Sammo Hung's 1978 film of the same name, Enter the Fat Dragon (2020), to now play the blind assassin Caine. Not only did fans wrongly assume that Caine was influenced by his scene-stealing appearance as a blind warrior monk in Rogue One (2016) but he also ran into a similar fat-suited character, Killa, which is also an homage to Sammo, played by the English martial arts star Scott Adkins who was born a mere 100 miles north from my hometown birthplace, Reading, England. David Carradine’s Caine persona’s influence in the Kung Fu TV show is cemented in JW4 when Wick becomes a member of sponsoring assassin sect by receiving forearm body art in the same fashion Caine did when he left the Shaolin Temple. During the opening samurai genre influenced fray of frantic ferocity at the Continental Hotel in Osaka, Japan, the die is cast as the hotel keeper and close friend of Wick, Shimazu (Hiroyuki Sanada), comes face-to-face with the Marquis’ discontent for the Japanese traditions of bushido, as Marquis’ right hand liquidator Chidi (Marko Zaror) arrives and refuses to hand over his gun. The gauntlet torn down, the lung-busting fight is magnificently tense and with every passing second it’s cranked up, industrial, intricate, it’s escapism. Chidi chides Shimazu by refusing to honorably fight with swords as his Marquis marauders arrive dressed in black armor totting firearms while wearing what looks like kabuki masks, symbolizing they’ll shut down Shimazu’s show and coat the set with the blood of Wick’s brethren. Or maybe the masks are a symbolic nod to the origin of the first assassin organization in history, the Hashshashin of Persia created by Hasan-I Sabbah between A.D. 1090-1275. Either way, it’s sign of things to come as mostly Keanu, Donnie and Zaror flex their martial art muscle and weaponry wares that we can guess will climax on the one night, which little did we know would be a 45-minute action paradise, and an extravaganza worthy of an Oscar. Bravo on Wick’s nunchaku fight looking nothing like no other nunchaku fight I’ve seen and doesn’t try to emulate Bruce Lee or people who flail their weapon at lightning speed doing fancy movements that in the paraphrased words of MacBeth, “Have sound and fury, yet signify nothing and is heard no more.” However, we will be hearing about John Wick for decades to come. The final act of JW4 is the one night mayhem of death-defying extravagant outrageousness, a rowdy riotous environment in Paris, full of colossal collisions, gut-wrenching fearing and thumping, a veritable landslide of goosebump rolling, and a heavenly Sergio Leone climax ending with someone being thrown under a triple decker bus. Hats off to Vincent Bouillon, Keanu’s stunt double who has become the ultimate “roll” model when doing a falling downstairs stunt. With the gall and guts of a mighty Spartan warrior, he pulled of a different kind of 300 . The camera choreography of each fight/action scene is Wickedly mesmerizing, Stahelski doing the usual wide-angle shots so you can see everything and keeping the camera rolling as to draw you into the action. Yet there is one sequence he’s never done before, where he was inspired by the look of video games and anime. It is a bird’s-eye POV oner using a camera that shoots wider angles than normal, as it tracks Wick with mostly a shotgun using dragon breath shells that lights the enemy on fire (great lighting effect), walking and shooting around the first floor of an ornate building with large multi-interconnected rooms. Since it’s an elongated moving overhead shot, they could only light from the side, because any elevated lights could look like many crisscrossing spotlights and make the scene dizzying. Watch it carefully. How many Texas Switches did you see? I saw two and maybe a third. Throughout JW4 , you’re always waiting for something calamitous to happen as Wick pinches victories from defeat. Stahelski’s undulatingly unique approach to ballistic ballet and car combat congas is more insane than being attacked by killer hornets. His incisive action is always seeking the master strike during each fight scene, where ironically, every shot, scenario, choreography idea and his multi-levels of fu-n (kung fu, sword fu (jian and katana), gun fu, car fu, wire fu and dare I say stunt fu) are all jollified snap, crackle, and pop master strikes in his chorographical mapping of pure golden magic and reality. Who is going to step up in 2024 to top this? Perhaps the key is in further understanding wuxia novels and the library of wuxia martial arts films that have been influenced by these books.

Undefeated boxer and kickboxer, Graciela is the first athlete male or female to hold 2 world championships in kickboxing and boxing at the same time. Graciela Casillas shares on Defending Against Blades and Guns. Long-time advocate of self-defense training for women, Graciela has expertise beyond the ring as a certified NRA Weapons instructor, Kali FMA Master, and one of the first and few females to graduate the ESI Executive Protection Program. Today she is one of the most sought-after martial arts and tactical trainers in the world teaching self-defense programs with stick, blade, gun, and empty hand to civilian law enforcement and even military personnel around the world. She is also an adjunct professor at Oxnard College with two masters degrees. Take us down the origin story of your relationship with firearms. Early on, in my martial arts journey, I quickly grasped the importance of firearms training in an increasingly dangerous world. It all began at Dan Inosanto's Kali Academy, where I had the privilege of meeting Clifford Stewart—an executive protection specialist and the visionary behind Within Arms Reach (WAR), a program dedicated to Close Protection Specialists. Stewart's mentorship extended far beyond the realm of physical techniques. His profound influence was rooted in a deep understanding of the distinctions between martial arts as art, sport, and the harsh realities of street self-defense. He challenged me to seek out practical training that addressed the most pressing self-defense needs of our time. Another transformative experience during this period was being introduced to Massad Ayoob, the founder of the Lethal Force Institute. Ayoob's expertise was renowned not only for teaching firearm operation but also for delving into the intricate legal and civil implications surrounding the use of lethal force. To enhance my proficiency my training included many extensive firearms training courses and additional courses on the judicious use of lethal force under Ayoob's expert guidance. My commitment to ongoing training continues, occasionally returning to train with Ayoob to keep my skills sharp. Traditionally, martial arts were designed to combat the weaponry of their respective eras —swords, tonfas, sickles, and staffs. However, in today's environment, martial arts must evolve to encompass modern weaponry, including guns. The alarming rise in crime rates underscores the urgency for individuals, especially women, to be proficient in both traditional self-defense techniques and dealing with threats posed by firearms. As a certified NRA instructor, I am dedicated to training and teaching firearms skills. In the United States, the demand for concealed weapons permits has surged, with an increasing number of women seeking self-defense options due to the growing crime rates. According to a Harvard study, half of all guns in the U.S. were bought by women between 2019 and 2021. That number continues to rise with women making up a significant portion of permit holders. Regardless of personal beliefs about firearms for self-defense, there is an undeniable need for safe firearm handling and proficiency. That is just one reason I have taken the responsibility of teaching, ensuring their safety and competence in firearm use. A comprehensive martial arts program, particularly for women, should encompass holistic training that includes firearm use and defense. Taking a holistic approach embraces the dynamic nature of self-defense needs in the contemporary world and empowers individuals, especially women, by endowing them with the skills, knowledge, and resilience needed to navigate an ever more complex and potentially dangerous environment. You have a lot of knives and guns as part of your training, how important is that for you personally and do you think all women should have the same arsenal? I believe it is essential for women, and individuals in general, to have a well-rounded martial arts skillset that includes training on how to use and defend against knives and firearms. Women, in particular, can benefit greatly from such training. The unfortunate reality is that women are disproportionately targeted in various situations, making it vital for them to be equipped with the tools to protect themselves effectively. Learning how to use weapons responsibly and defend against them can level the playing field and enhance personal safety. Moreover, being a well-rounded martial artist goes beyond physical prowess; it cultivates mental resilience and determination. This mindset is often the most potent self-defense tool, enabling individuals to stay alert, make quick decisions, and respond appropriately in high-stress situations. Empowerment should go beyond the physical level, but also mentally, providing women with the confidence and ability to protect themselves effectively when faced with potential threats. You are constantly growing your knowledge base even taking weekend classes in shooting and knife fighting, many masters in martial arts would be afraid to “start as a white belt” but you have done this over and over, what drives this appetite? The relentless pursuit of knowledge and self-improvement drives my insatiable appetite for continuous learning, even when it means starting anew as a white belt in various disciplines, including shooting and knife fighting. Many might wonder what fuels this unceasing hunger for growth. Above all else, I view self-improvement as a personal and professional responsibility, not just for my benefit but also for the students I have the privilege of instructing. It's a commitment to offer the best guidance and knowledge to those who entrust me with their martial arts education. One of my foundational lessons in this quest for growth came from Guru Dan Inosanto, a true martial arts luminary. He emphasized the significance of problem-solving and self-discovery, teaching that every problem has a solution, even when it may seem elusive. This mindset has been instrumental in shaping my approach to learning and teaching. In life, we often encounter challenges that can leave us feeling stuck, whether in our personal or professional endeavors. Embracing new training and acquiring fresh skills propels me forward because I relish the journey itself. I recognize that the pursuit of knowledge is a lifelong endeavor, and I don't anticipate reaching the end of it in this lifetime. The wisdom encapsulated in Bruce Lee's famous quote, "empty your cup," resonates deeply with me. To continue growing as both a student and an instructor, it's essential to let go of preconceived notions and remain open to new ideas and perspectives. This willingness to empty one's cup, to release the constraints of what one thinks they know, is pivotal in the journey of self-improvement. Ultimately, my unceasing appetite for learning and growth is driven by a profound love for the process itself. It's the joy of discovering new insights, acquiring fresh skills, and evolving as an individual, martial artist, and teacher. This journey is not a destination but a lifelong odyssey, and I embrace it wholeheartedly, knowing that the pursuit of knowledge is an integral part of what makes me who I am.

Phillip Rhee is a master martial artist, actor, and filmmaker best known for creating the Best of the Best film franchise with his producing partner and mentor Peter E. Strauss (former chairman of Lionsgate) and Frank Giustra (founder of Lionsgate). The first Best of the Best starred Academy Award-nominated actors, James Earl Jones, Eric Roberts, Louise Fletcher, Sally Kirkland, and Chris Penn was distributed through Sony Pictures. In 2015, Best of the Best was chosen by Fandango's 15 most inspirational sports movies of all time along with Rocky . Rhee is a 7th degree black belt in Tae Kwon Do, 3rd degree in Hapkido, and Kendo and is one of the most sought after teachers in the world. His former students include top CEOs, industry titans, professional athletes, and film celebrities. You have been an icon in martial arts cinema for over 34 years and yet we learned that you actually teach Tae Kwon Do every week without a break, what kept you so grounded? I had great mentors, such as Grand Master Jun Chong who trained my brother and I, and we have the responsibility to share the knowledge to the next generation of martial artists. Share with us your martial arts journey and the styles you were exposed to such as wing chun and boxing? My brother Simon and I studied various combat arts because: - Taekwondo has powerful kicks. - Boxing is great with hands. - Muay Thai is great with knees and elbows. - Kung Fu or Tai Chi have grace and fluidity. - Japanese Karate or Kyokushin are great for discipline and hard work. - Brazilian Jiu-Jitsu is great for ground fighting and grappling. - Judo is great for throwing and choke holds. Describe the early days training with your brother and how that motivated or inspired you? We started in Korea when we were very young. Those days, we all worked out on wooden floors and fought without protective gears. On top of that there was no air conditioner in the summer or heaters in the winter. To endure this type of discipline is not for everyone but it shapes a person through hard work and humility. You had a great successful series of movies during a time when “shoot ‘em up” action films and martial arts films were the rage, what inspired you to create Best of the Bes t, which has become a beloved film franchise? The reason we made Best of the Best is because we wanted to share the beauty, power, humility and the heart of the martial arts. Describe your relationship with martial arts, is it a philosophy, exercise, or other in your current daily life? The difference between sport and martial arts are similar but different. In the martial arts there are three disciplines to learn: 1. MIND: In order to cultivate the mind we have to learn and study. 2. BODY: To cultivate the body we have to eat healthy and exercise. 3. SPIRIT: To cultivate the spirit is to help others in need. You took a break from film making after the huge success of Best of the Best , what did you do during that period and what motivated you to start producing again? I’ve been approached to make other movies but the scripts were not for me. So I’ve been writing various stories that I was attracted to, and one of them is Best of the Best 5 and is in negotiation as we speak. You are a hero to so many who are your martial arts heroes on and off screen? Hands down is Jackie Chan. Jackie is a great martial artist but why I like him so much is because he is so humble and gracious. We were in a big party and all of the sudden, Jackie approached me and gave me a cigar and he said, “Phillip, this is the Best of the Best cigar for you” and said hello to me. I mean, Jackie is a huge star and he didn’t have to do that but he’s such a great guy and I learned humility from him as well as my dear friend, Sammo Hung. When you teach today do you have a focused approach and has that changed over the 40+ years of teaching? For me, it’s all of the above. After many years I realized that the power is NOT about taking people down but it is about lifting people up. Today many actors and martial artists find social media fame but still strive for the silver screen. What is your advice for those that want to blaze a path like you did? The most important thing is to believe in yourself. And if you believe in yourself it will manifest itself. So work hard and never give up your dreams! You are beloved across the world, what is your message to fans who are waiting for another film from Phillip Rhee? To be honest I didn’t want to make a movie just for the money until I found a great story, but after many years, I finally wrote Best of the Best 5 with my writing partner Mark Nemcoff and it’s going to be great. The action is going to be great! But more so, Best 5 will have a lot of heart that Best 1 had, and there will be more to come. We cannot wait. It’s been a pleasure, Master Rhee. Photos via Phillip Rhee

Africa is the largest and most culturally diverse continent on the planet. Unfortunately, it is also the continent we are the least exposed to in the West. While we recognize the differences in Asian cultures, be it India, Japan, Thailand, China, Mongolia, Russia etc. – we often think of Africa as just… Africa. We look at it as though it is all the same, when in reality there are over 3000 distinct ethnic groups in Africa, with over 2000 languages. Egypt, Nigeria, Morocco, Kenya, Tanzania, all African countries, and all radically different. That’s to say nothing of the many different cultures within countries that are grouped together now, only because of the lines between nations that were drawn by Europeans during the colonial era. Africa is rich with a wide variety of martial arts, of which we see nothing about. Today we’re going to take a brief look at a few of them. Nguni Stick-Fighting This South African art, also known as Zulu Stick Fighting, is practized by Nguni men and teenage boys. Those who are familiar with Filipino martial arts will probably recognize a lot from NSF. Each fighter is armed with two sticks, one used primarily for offense and the other used for defense. The offensive stick is really more of a club, with a weighted ball at the end. The same hand that holds the defensive stick, also holds a small shield to protect the hand from strikes. Like a lot of armed martial arts, the reality of the fight is a lot grittier than what you may initially picture. While the name of the game is to club your opponent with the stick, it’s not just attacking and defending with said sticks. Fighters will grab each other, clinch, push, shove and unlike HEMA and Kendo competitions where the fighters have plenty of protective armour, in Stick Fighting, no such protection exists. The results, predictably, can be quite bloody. The defending stick does a lot of the work for you, so long as you’re competent, as there is very little reason to move and parry as you would with a style like kali, or Krabi krabong. Instead you can hide behind the defending stick and be ready to block and counter attack. Attacks can often look flaily and uncoordinated, but this has less to do with a lack of skill and more to do with the awkward way you have to swing in order to make contact. The nature of the defensive stick means that it’s often more efficient to change the angle of your attack mid swing to creep around your opponent’s defence, rather than trying to smash through it with a traditional swing. In Nguni culture, it is customary that during wedding celebrations, the bridge and grooms’ male guests compete against each other. While emotions will always run high during a fight, the practise is less about asserting dominance and more about building comradery and respect amongst the fighters. As a rather humorous result, wedding crashers are known to appear just looking for competition and are usually welcomed. Dambe When I told my friend, a fellow martial arts enthusiast, I was writing this article, the first thing he said was ‘like Dambe?’ Originating in Nigeria, West Africa, Dambe originates from the Hausu people. At first dambe had me a little bit puzzled. The fighters have one fist fully wrapped in rope, transforming it into a solid brick to smack with. The other hand is free, and from there you will see both fighters stand almost fully side on to each other, pawing with their lead hand and looking to land the wrapped hand. It was puzzling because I couldn’t fully understand why this would have come about as opposed to regular bare knuckle boxing that you see in styles like Lethwei or Kard Cheuk Muay Thai. It was only after watching Nguni stick fighting that I started to see the similarities between the two, prompting further research. Dambe as a style harkens back to the same sort of armed combat that we see in Nguni stick fighting. The lead arm serves as the ‘shield’, keeping distance, defending and grabbing to set up blows, whereas the rear arm acts as the weapon, but instead of holding a weapon itself, the rope transforms the fist into a solid club. With that in mind it becomes a lot easier to understand how this seemingly unusual sport was born. Despite the rear hand looking imposing, it’s the front hand where the fight really happens. The fights are methodical, using patient hand fighting that you would normally associate with wrestling to clear a path for the ‘spear’ hand. A fighter might slap the opponents guard away, or outright just grab their opponents wrist to shut them down. Though rarer to see, kicks are permitted in dambe and wrestling was also once allowed. On its surface it looks like it will be little more than a brutal street fight, but there is a clear art and history to this Nigerian style of boxing. Senegalese Wrestling Wrestling exists in every culture. Whether it’s Judo, Sumo, Shuia Jiao, Mongolian Bokh, Greco Roman Wrestling or any other of the hundreds of styles – we collectively as a species understand that wrestling is the simplest and most efficient form of fighting. Wrestling is so universal that it’s also very rare that you will take up a new style of wrestling, and not immediately understand what you’re going to do. Wrestling is practically a universal art with the only real differences coming from specific styles allowed throws and grips. So it should come as no surprise that Senegal has it’s own wrestling style. Senegalese wrestling, also known as Laamb en Wolof, like a lot of folk wrestling is contested outside, but while a style like Mongolian bokh is performed in a field – Laamb is contested in sandy arenas, often alongside Dambe matches. Unlike the majority of wrestling styles, it can allow for strikes, in addition to takedowns. This results in some brutal displays of bare knuckle dirty boxing, as fighters club each other in the clinch, while working for takedowns. Aside from a knockout, a win is determined when a wrestler falls. A fall is counted as the head, back or buttocks touching the floor, or alternatively when there are four points of contact with the floor. For example a wrestler can be brought onto one knee, but it would not be a win, the wrestler can continue to wrestle up from that position, but if they were brought onto their hands and knees, the contest is over. Unlike dambe and stick fighting, Senegalese wrestling as actually quite big business. While stick fighting and dambe are more a social sports that communities gather around, wrestling is a huge spectator sport that will be watched in arenas more like sumo, or bokh. These are of course, only three of countless African martial arts. It’s very easy to think of martial arts as purely an East Asian thing, as we are generally not exposed to African marital arts, and with European martial arts we often take them for granted and forget they exist. As Africa grows more and more influential on a global scale, it’s possible that we may see its martial arts grow in exposure and popularity. If it does, it will be fascinating to see which one rises to the top.

A master in Jeet Kune Do, Burt Richardson has spent his life in pursuit of the mastery of several martial arts styles including BJJ and Filipino Martial Arts. Under the tutelage of such greats as Dan Inasantos, Tony Diego, the Machado Brothers, and Carlson Gracie he is on a constant quest for knowledge. He’s an author and teacher working with people from law enforcement to civilians. We are thrilled to reconnect with Black Belt Hall of Fame inductee Burt Richardson. Watch his full interview in the Black Belt+ exclusives section!

Jared Wihongi breaks down step-by-step how he'd handle an armed combatant: Jared Wihongi is a full-time International Close-Quarters Combat (CQC) Instructor. His TRICOM combatives system is an integration of empty-hand combat, impact weapons, edged weapons and firearms tactics. Jared has trained in multiple traditional martial arts for 40 years, and is a senior Tuhon of Pekiti-Tirsia Kali under Grandtuhon Leo T. Gaje Jr. He is the founder and President of the Pekiti Tirsia Tactical Association. Jared worked 23 years as a Police Officer and Operator on three SWAT Teams, and was contracted as a U.S. Army Special Forces Combatives Instructor for almost two decades. These experiences heavily influenced his training programs. He has taught his TRICOM programs to police and military Special Operations personnel and civilian martial artists across North & South America, Western & Eastern Europe, East & Southeast Asia, Australasia and the Middle East. For more about Jared, visit: www.tricomtraining.com for TRICOM programs. www.pekiti.university for Kali programs. www.jaredwihongi.com for personal Bio.

With BRAVE CF 80, 'Zuhair' is ready to show Bahrain what they could not witness live at BRAVE CF 72 At BRAVE CF 80 on December 15, Mohamed Alsameea will make his return to BRAVE Combat Federation. After a thoroughly successful amateur career, the youngster made the jump up to the professional ranks, with his first pro bout taking place at BRAVE CF 72. His opponent was Ibrahim Hassan and although it went into the second round, Alsameea left no doubt over who was the better fighter as he tore through Hassan with a finish that really did put him on the map in the promotion. Unfortunately, with it being a closed event, his many loyal supporters weren’t there to witness his crowning achievement. Now, at BRAVE CF 80, he has the chance to run it back - and do it right this time. "In my pro debut with BRAVE Combat Federation, I did not have as many fans supporting me since it was a closed event. Now during my next fight happening at BRAVE CF 80, the entire Bahrain will be there to support me, and they will witness what I have got to show." The flyweight sensation has never been the kind of fighter who backs down from a challenge, and in his homeland of the Kingdom of Bahrain, you can bet he’ll do everything in his power to remind everyone why he’s such a highly-touted prospect. BRAVE CF 80 will serve as the final event of BRAVE CF’s International Combat Week, with three shows spread over an incredible ten-day period next month. Stay tuned for breaking news, fight recaps and more as we continue the countdown to fight night!

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