Art of Combat

TACTICAL COMBAT   STUNT ACTOR   FIGHT CHOREOGRAPHY

The ability to fight does not come from Rank, Style, or Title.  It comes from the passion to train, aspire, overcome fear, and discover your own way.  Only then, will you unleash your own Art of Combat.

Nathan Grey
Art of Combat Trainer | Fight Choreographer

Tactical Martial Arts

I’ve spent most of my life pursuing the Art of Combat. Martial arts for me is something personal and unique, there is there is no way to truly describe what it means to me. Though I’ve spent 20 years of my life teaching others and training fighters, I tell others when asked “What style do I teach”? I can only tell them… “No Style”.

I no longer earn a living as an instructor. That time in my life has long passed. What I do now is far too personal and I train only for myself. I do miss the days of training others, and when I come across others who share the passion as I do, I’m always excited to share my thoughts and philosophies.

There is truly “Art within Combat”. My whole life, I’ve only the seen the beauty in the strike, and a dance within the combat.

Realistic Combat for Film

What I do share in martial arts is fight choreography and stunt acting for films. These are nothing like combat in real life, and can never truly represent the reality of martial arts, though we can get close and while creating something beautiful and chaotic for film, can still portray truth in combat.

Stunt acting is one of the few times I really enjoy being in front of the camera. I love acting, though I don’t really market myself as an actor. Primarily I only act in my own productions and videos. But I love getting on screen and fighting, especially if I get to the be “Bad Guy”, or “@$$Hole Good Guy”… I guess rage comes a little natural for me!

Maintaining fitness, flexibility, control, and precision is a huge part of performing well in front of the camera. So I train on regular basis to always keep fresh what I’ve spent a lifetime developing.

Fight Choreography for Films

Combat styles in film take on many forms, from “dance-like routines” to “raw and down right bloody carnage”.

When I create a fight for a scene, I match it to both the film and the actors.  There is subtext within a fight, and how a person moves, what weapons (if any) or how they utilize their environment all rely on telling the story of this character and enhancing the story.  I give a personality to each technique and a purpose to every attack or defense.  The style of film and personality and physical talents of the character control the type of fight I develop.

There is a formula for creating the fight.  It needs to belong to the film and  suspend audience belief.

Subtext is the heart of any powerful film, and so it is in a fight scene as well.  Without meaning or purpose, without the undefined… it’s just a bunch of kicks, punches, and combinations creating a sloppy and uninteresting disaster.  So many directors or actors rely on camera shake, tight shots, and fast edits to hide the lack of skill or proper choreography.  When the formula is correct, the edits and camera techniques will enhance the beauty, not hide the mistakes.

If the fight doesn’t comply with the illusion the film is selling, the audience won’t accept it and the scene will hold no value. For me, subtext in the fight is equally as important in the subtext of the films storyline.