WHIP FIGHT CHOREOGRAPHY Proof of Concept

Created this with my long time performance partner and friend Kendall Wells as a Proof of Concept for practical whip action possibilities for Stunt Coordinator Alan Graf for Director Walter Hill’s new film DEAD FOR A DOLLAR. I’d trained, choroeographed and performed Whip action with Ellen Barkin as Calamity Jane for Walter Hill’s WILD BILL. It was a wonderful reunion and creative collaboration for Walter’s latest action western. I love a happy ending.
Follow the BuyMeACoffee link in the bio to get access to Mastering The Bullwhip, Volume 3 which starts covering the topic of working with a partner; and Mastering The Bullwhip, Volume 4 which dives deeper into Honing Target Accuracy, Target Accuracy & Safety with a Partner & Body Envelopments with Partner (amongst many other skills).

[@jackisback2694]

Looks cool

[@AubreyZechariahL00P]

Very good proof of concept for sure! Seems super doable. :)

[@smilehardstudios]

Seems absolutely doable and in my opinion absolutely way past time to be seen. I think having two completely different styles of whip crackers come together and help each other choreograph an amazing fight scene with bullwhips. Two completely separate styles of whip handling completely complimenting the other. And absolutely something that no one has ever seen. And especially someone who is in no way scared of being hurt or worried remotely about possibly being struck before worrying about what the it takes to get the shot no matter how many takes you need to make it happen. Has some decent idea of what it takes to edit scenes involving whips and whip cracking and has spent at least two years learning how to best photograph and film the physics and beauty of how a bullwhip moves and the technique behind it. I guess what I’m saying is… I volunteer. For the learning and experience of creating something no one has ever seen before. And I’d do it for nothing. Because simply put, I love cinema and have wanted to see something like this since the first time I saw Zorro use one in “The Gay Blade”.
By the way, thank you for all the memories you’ve helped create for me in film and cinema growing up. Hope to see these done one day.
Trenton Conner