Jeff Odachowski

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JEFF ODACHOWSKI SAG/AFTRA - Los Angeles Cell: (410) 908-9434 Email: starsky31@hotmail.com Mgr: Gabriella Messina @ Serendipity - (213) 761-7505 Agent: Heidi Hydar @ KMR - (818) 769-1667 FILM One and the Same Supporting Felipe Cisneros Scales: Mermaids Tale Supporting Kevan Peterson Babylon Horse Stunts Whitney/Doug Coleman Danger One Stunt Performer Bobby C. King 3 From Hell Stunt Double:Bill Moseley Steve Dunlevy Emerald Run Stunt Double: Adam Gifford Tony Snegoff The Invitation Stunt Double: Michiel Huisman Mike Gaines Many Deaths of John Wick (Short) Lead Chris Notarile Guilt (Short) Lead Colton Kugler They Still Live (Short) Lead Chris R. Notarile Long Live Logan (Short) Lead Chris R. Notarile Tower of Joy (Short) Lead Michael Schatz Silver Gardens (Short) Lead Mario Rocha The Night Guardian (Short) Lead Brian Ott Ghostbusters of LB (Short) Lead Chris R. Notarile TELEVISION Castle Guest Star Holly Dale Glee Co-Star Jimmy Sharp Battles BC - Caesar Co-Star Tim Weske Jimmy Kimmel Live Under 5 Jon Kimmel 911 Lonestar Stunt Double: Billy Burke Jim Vickers Westworld Stunt Double: Tommy Flanagan Casey O'neill/Zack Duhame Platform Stunt Double: Jon Bernthal Mike Gaines Westworld Stunt Double: Tommy Flanagan Doug Coleman There's...Johnny! Stunt Performer Paul Reiser/ Karim Phelps 911 Lonestar Stunt Performer Buddy Sothsand Westworld Stunt Gunslinger Mike Watson Future Man Stunt Biker Seth Rogan/ Mike Gaines Scorpion Stunt Double: Sonny Marinelli Jim Vickers American Horror Story Stunt Performer Jimmy Sharp Scorpion Stunt Double: Michael Filipowich Jim Vickers Revenge Stunt Double: Tommy Flanagan Mike Gaines Scorpion Stunt Double: Mike Falkow Jim Vickers Hart of Dixie Sir Maliska/ Sword Stunts Greg Barnett Matador Stunt Double: Cokey Falkow Peewee Piemonte Days of Our Lives Stunt Double: Matthew Ashford Terry James Battles BC Sword/Horse Stunt Rider Tim Weske COMMERCIALS Conflicts Available Upon Request THEATER Disney's Indiana Jones Summer of Hidden Mysteries Indiana Jones/Stunts Karen Sheppard Medieval Times Sword/Horse Stunt Rider Tim Baker Pirate's Dinner Adventure Swordsman/Stunts Ed Bangasser World Tournament of Champions Sword/Horse Stunt Rider Greg Hopla TRAINING Stanislavsky Acting Technique Vincent O'Neill - Director, Irish Classical Theater - Buffalo, NY Fencing/Sword Fighting Tim Weske - Director, Swordplay Fencing Studio - Burbank, CA Horse/Sword Stunts Tim Baker - Fight Director, Medieval Times - Buena Park, CA SPECIAL SKILLS Master Horseman - (Jousting, Horseback Sword Fights, Falls), Master Swordsman – (Long Sword, Bastard Sword, Roman Gladius, Sabre, Rapier), Fencing (Foil, Epee, Sabre), Medieval Weapons Fighting – (Axe, Flail, Bola, Mace, Pike), Fist Fights, Low Falls (15’), Bullwhip, Firearms, M1 Motorcycle License, Sandrail Driving, Valid Passport .

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Ralph Story Outtakes and Television Programs 0249
http://oac.cdlib.org/findaid/ark:/13030/kt5v19s1rt No online items Finding Aid of Ralph Story outtakes and television programs 0249 Finding aid prepared by Rebecca Hirsch and Nick Hazelton The processing of this collection and the creation of this finding aid was funded by the generous support of the Council on Library and Information Resources. USC Libraries Special Collections Doheny Memorial Library 206 3550 Trousdale Parkway Los Angeles, California, 90089-0189 213-740-5900 specol@usc.edu 2011 Finding Aid of Ralph Story 0249 1 outtakes and television programs 0249 Title: Ralph Story outtakes and television programs Collection number: 0249 Contributing Institution: USC Libraries Special Collections Language of Material: English Physical Description: 261.0 linear ft.286 film reel boxes, 1 banker's box Date (inclusive): 1964-1972 Abstract: The collection includes outtake reels from the television show Ralph Story's Los Angeles and footage (some including sound) from the 1971-1972 season of the show Story in Hollywood. creator: Story, Ralph Preferred Citation [Box/folder# or item name], Ralph Story outtakes and television programs, Collection no. 0249, Regional History Collections, Special Collections, USC Libraries, University of Southern California Conditions Governing Access COLLECTION STORED OFF-SITE. Advance notice required for access. Related Archival Materials The Ralph Story papers, 1940-2007. UCLA Library, Department of Special Collections Manuscripts Division. Collection number: 867. Acquisition The collection was given to the University of Southern California by Ralph Snyder Story on December 17, 1991. Conditions Governing Use All requests for permission to use film must be submitted in writing to the Manuscripts Librarian.
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Download Heroic Grace: the Chinese Martial Arts Film Catalog (PDF)
UCLA Film and Television Archive Hong Kong Economic and Trade Office in San Francisco HEROIC GRACE: THE CHINESE MARTIAL ARTS FILM February 28 - March 16, 2003 Los Angeles Front and inside cover: Lau Kar-fai (Gordon Liu Jiahui) in THE 36TH CHAMBER OF SHAOLIN (SHAOLIN SANSHILIU FANG ) present HEROIC GRACE: THE CHINESE MARTIAL ARTS FILM February 28 - March 16, 2003 Los Angeles Heroic Grace: The Chinese Martial Arts Film catalog (2003) is a publication of the UCLA Film and Television Archive, Los Angeles, USA. Editors: David Chute (Essay Section) Cheng-Sim Lim (Film Notes & Other Sections) Designer: Anne Coates Printed in Los Angeles by Foundation Press ii CONTENTS From the Presenter Tim Kittleson iv From the Presenting Sponsor Annie Tang v From the Chairman John Woo vi Acknowledgments vii Leaping into the Jiang Hu Cheng-Sim Lim 1 A Note on the Romanization of Chinese 3 ESSAYS Introduction David Chute 5 How to Watch a Martial Arts Movie David Bordwell 9 From Page to Screen: A Brief History of Wuxia Fiction Sam Ho 13 The Book, the Goddess and the Hero: Sexual Bérénice Reynaud 18 Aesthetics in the Chinese Martial Arts Film Crouching Tiger, Hidden Dragon—Passing Fad Stephen Teo 23 or Global Phenomenon? Selected Bibliography 27 FILM NOTES 31-49 PROGRAM INFORMATION Screening Schedule 51 Print & Tape Sources 52 UCLA Staff 53 iii FROM THE PRESENTER Heroic Grace: The Chinese Martial Arts Film ranks among the most ambitious programs mounted by the UCLA Film and Television Archive, taking five years to organize by our dedicated and intrepid Public Programming staff.
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100 Per Cent Jackie Chan : the Essential Companion Pdf, Epub, Ebook
100 PER CENT JACKIE CHAN : THE ESSENTIAL COMPANION PDF, EPUB, EBOOK Jackie Chan | 160 pages | 01 Sep 2003 | Titan Books Ltd | 9781840234916 | English | London, United Kingdom 100 Per Cent Jackie Chan : The Essential Companion PDF Book Its really amazing and a lot of fun to watch just for the choreography aspect. Visit store. What surprised me the most is that Jackie is not the straight-forward good-guy like in most of his films though it's hard to tell at times. Reuse this content opens in new window. He began producing records professionally in the s and has gone on to become a successful singer in Hong Kong and Asia. Awards won. Both Jackie and Alan go out into the hall and bump into May, and Jackie has to cover his tracks by pretending that Alan knows that Lorelei is in Jackie's bedroom. To tell you the truth I hardly remember this film. Ones opinions to reserve I am Jackie Chan : some other viewers should be able to determine in regards to publication. Was this review helpful? Joan Lin , a Taiwanese actress. Payment methods. And all of that unnecessary violent effort is only to kidnap someone in order to make the main character do something for them that they don't want to pay for. This is an acceptable action movie distinguished by nicely cinematography of the spectacular sequences , and contains agreeable sense of humor as well as previous entries. People who viewed this item also viewed. The visuals are memorable. Jackie starting an unforgettable fight with the evil monks in a spacious refectory.
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Martial Arts, Acting and Kung Fu Hero in Change
EnterText 6.1 SABRINA YU Can a Wuxia Star Act? Martial Arts, Acting, and Critical Responses to Jet Li’s Once Upon A Time In China Introduction It has been commonplace in western critical discourse to state that action stars can’t act. This seems particularly true when it comes to trans-bordering Chinese action stars like Jet Li. Criticism of his acting skills in his English-language films can be easily picked up from the press: Without the fight scenes, though, this film (Romeo Must Die) would be a bust… ‘Jet is our special effect,’ says Silver, summing up his star’s appeal neatly.1 Li’s martial arts skills are as brilliant as his acting skills aren’t.2 The action is fun and ultra-violent, the story is satisfactorily ridiculous and the acting is non-existent.3 “Good martial artist with limited acting ability” seems to represent a popular view of Chinese martial arts stars and indeed this is how they are often used in Hollywood films. Nevertheless, such a view also reveals a deep-rooted bias, i.e. the martial arts star is someone who knows less about acting than s/he does about fighting. On the other hand, it reflects a dominant idea about film performance, by privileging facial Sabrina Yu: Can a Wuxia Star Act? 134 EnterText 6.1 expression/psychology over body movement/physicality. Can’t a martial arts star act? Are fighting and acting always two split, conflicting elements within a Chinese wuxia star’s performance? In this paper, I would like to re-examine this stereotypical western critical consensus in the light of the contrasting Hong Kong critical response to Jet Li’s Chinese work Once Upon A Time In China (Tsui Hark, Hong Kong, 1991) (OUATIC hereinafter).
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BC Stunt Performers Injury Survey
BC Film Stunt Performers and Stunt Related Injuries: A Survey and Review September 2012 Prepared For: Actsafe Suite 215, 750 Hamilton Street Vancouver, BC V6B 2R5 Prepared By: Billy Quirke M.Sc., Occupational Health and Safety Consultant Actsafe Suite 215, 750 Hamilton Street Vancouver, BC V6B 2R5 1.0 Executive Summary Background The purpose of this research was to a) explore the predominant health and safety issues facing stunt performers in British Columbia (BC) and b) identify areas or projects where Actsafe can help the stunt performance community to do their jobs safely. Initial Review • WorkSafeBC Stunt Related Injury Statistics - Falls from elevation accounted for over half of the accepted claims by stunt performers in the past 10 years. • Academic Sources – One study highlights the prevalence of concussions/head injuries sustained during stunt performance. Stunt coordinators and physicians were found to be the individuals most influential in communicating health and safety oriented information to respondents. Online Survey • Wire work & ratchets, martial arts and high falls resulted in the greatest number of reported injuries respectively. • A large percentage of respondents suffering head injuries did not report the filing of accident reports or receive compensation after injury. • The primary rationale from respondents for not reporting an injury was a lack of recognition of the severity of injuries. Other reported factors included feelings that injury was part of the job, the belief reporting would decrease the likelihood of ascertaining future work and perceived difficulties in dealing with the regulatory agency. • 35% of respondents felt the cumulative abuse they have sustained as a stunt performer has negatively affected their overall health and/or affected their quality of life.
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CHRISTOPHER LEPS Kick the Can (Spec Ad) Director, Stunt Coordinator Alex Madison, Producer
FEATURE Spaceman Stunt Coordinator Stephen Nemeth, Producer Dance Camp Stunt Coordinator Jon M. Chu, Producer Book of Swords Stunt Coordinator Wayne Kennedy, Producer Torque Fight Coordinator (uncredited) Neal H. Moritz, Producer The Waiters 2nd Unit Director Kipp Tribble, Producer Clutch Stunt Coordinator Robert Stio, Producer TELEVISION Greenleaf (1 ep.) Cover Coordinator Al Dickerson, Producer RocketJump: The Show (1 ep.) Stunt Coordinator Freddie Wong, Producer Complications (2 eps.) Cover Coordinator Craig Siebels, Producer Burger King Star Wars commercial Fight Coordinator John Landis, Director Angel (1 ep.) Asst. Sword Coordinator Skip Schoolnik, Producer Worst Case Scenarios (1 ep.) Stunt Co-Coordinator Craig Piligian, Producer Mortal Kombat Conquest (14 eps.) Asst. Fight Coordinator (uncredited) Larry Kasanoff, Producer Out of the Blue Stunt Coordinator Sam Riddle, Producer Chase (spec ad) Director, Stunt Coordinator Alex Madison, Producer CHRISTOPHER LEPS Kick the Can (spec ad) Director, Stunt Coordinator Alex Madison, Producer DIRECTOR STUNT COORDINATOR SHORT FILM STUNTMAN Director, Producer, Writer, Editor Muse (2014) www.imdb.me/christopherleps Wholehearted (2012) www.christopherleps.com Century of Light (2011), email@christopherleps.com Ed & Vern’s Rock Store (2008) Cop Sign (2005) 818 . 618 . 5661 Shadow (2004), Saber Duel (2003) Director, Producer, Editor Testing (2015) Amy and Elliot (2009) SPECIAL SKILLS AND ABILITIES Directing | Editing | Pre-Viz | Martial Arts & Weapons (30 years) | Fight Choreography | Driving Sword Work | Mo-Cap | Reactions | High Falls | Mini-Tramp | Wire Work | Air Rams & Ratchets BIO Over the past 27 years, I’ve had a unique adventure in the TV and film industry. My diverse career started at the Walt Disney Company in 1989, but my zeal for cinema was sparked by the movies seen in my youth.
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Japanese Women, Hong Kong Films, and Transcultural Fandom
SOME OF US ARE LOOKING AT THE STARS: JAPANESE WOMEN, HONG KONG FILMS, AND TRANSCULTURAL FANDOM Lori Hitchcock Morimoto Submitted to the faculty of the University Graduate School in partial fulfillment of the requirements for the degree Doctor of Philosophy in the Department of Communication and Culture Indiana University April 2011 Accepted by the Graduate Faculty, Indiana University, in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Doctoral Committee _______________________________________ Prof. Barbara Klinger, Ph.D. _______________________________________ Prof. Gregory Waller, Ph.D. _______________________________________ Prof. Michael Curtin, Ph.D. _______________________________________ Prof. Michiko Suzuki, Ph.D. Date of Oral Examination: April 6, 2011 ii © 2011 Lori Hitchcock Morimoto ALL RIGHTS RESERVED iii For Michael, who has had a long “year, two at the most.” iv Acknowledgements Writing is a solitary pursuit, but I have found that it takes a village to make a dissertation. I am indebted to my advisor, Barbara Klinger, for her insightful critique, infinite patience, and unflagging enthusiasm for this project. Gratitude goes to Michael Curtin, who saw promise in my early work and has continued to mentor me through several iterations of his own academic career. Gregory Waller’s interest in my research has been gratifying and encouraging, and I am most appreciative of Michiko Suzuki’s interest, guidance, and insights. Richard Bauman and Sumie Jones were enthusiastic readers of early work leading to this dissertation, and I am grateful for their comments and critique along the way. I would also like to thank Joan Hawkins for her enduring support during her tenure as Director of Graduate Studies in CMCL and beyond, as well as for the insights of her dissertation support group.
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Hollywood Bulldogs.Pdf
Harrison Ford & Vic Armstrong DISCLAIMER: Red Rock Entertainment Ltd is not authorised and regulated by the Financial Conduct Authority (FCA). The content of this promotion is not authorised under the Financial Services and Markets Act 2000 (FSMA). Reliance on the promotion for the purpose of engaging in any investment activity may expose an individual to a significant risk of losing all of the investment. UK residents wishing to participate in this promotion must fall into the category of sophisticated investor or high net worth individual as outlined by the Financial Conduct Authority (FCA). 2 HOLLYWOOD BULLDOGS CONTENTS 4 Synopsis 5 Director 6 Director’s Vision 7 Narrator ( Ray Winstone) 8 | 14 Cast 15 | 16 Vintage Photo’s and History 17 Producer 18 | 19 Executive Producers 21 Equity 22 Perks & Benefits HOLLYWOOD BULLDOGS 3 SYNOPSIS ollywood Bulldogs, tells the quid, the next generation went on They crashed cars, jumped from rough-and-tumble story of the to turn stunt work into a legitimate burning buildings, shot, stabbed, Hsmall community of British stunt profession. kicked and punched their way into performers who went on to dominate cinema history and all before the Hollywood in the 1970s and 80s. Partying and drinking their way arrival of CGI. through death and tragedy, they Growing out of the ragtag community created and performed the iconic Bulldogs is the first feature length of bouncers, gangsters and de- action sequences of 007, Indiana documentary to unite this legendary mobbed soldiers who were prepared Jones, Superman, Rambo, Star Wars, community in telling their story and to take a punch or chuck themselves Conan, the Alien films and pretty as you’ll see, there’s life in the old down a flight of stairs for a few much everything since.
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The International Stunt School School Catalog Volume #29, Pub
The International Stunt School School Catalog Volume #29, Pub. December 1, 2020 The International Stunt School is the world's premier stunt training event, giving participants from all nations the skills and knowledge to be successful stunt performers in film, television, and live action. The International Stunt School is hosted by On Edge Productions, Inc. This school is licensed under Chapter 28C.10 RCW. Inquiries or complaints regarding this private vocational school may be made to: Workforce Training and Education Coordinating Board 128 – 10th Avenue Southwest Olympia, Washington 98504 360-709-4600 workforce@wtb.wa.gov Administration: Administrative Office: Jeff McKracken, On Edge Productions, Inc. Owner and Head Administrator 1227 S 136TH ST Ian Boushey, Burien, WA 98168 Sales Manager and Administrator Training Site: Governing Board: School of Drama Jeff McKracken, President, Secretary, and University of Washington Treasurer 101 Hutchinson Hall, Box 353950 Ian Boushey, Vice-President Seattle, WA 98195-3950 The International Stunt School Auxiliary Facility: PO Box 80084 Leading Edge Gymnastics Seattle, WA 98108 1500 Industry Street #300 (206) 349-8339 Everett, WA 98203 www.stuntschool.com 425-407-1480 Page 1 of 11 Entrance/Admission Requirements 1. Applicants must be a minimum of 18 years of age. 2. Applicants must be in good physical condition, enabling them to fulfill a demanding physical training regimen. A recent full-body photo is requested as well as a written document (resume or other) outlining previous and current physical pursuits and/or professional work. 3. Students must possess a High School Diploma, a General Education Development (GED) Diploma, or equivalent (if participant is coming from outside the United States).
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Stunt Love Press Book
Presented by South Australian Film Corporation, Adelaide Film Festival and Closer Productions Sales Contact Closer Productions Writer and Director Matthew Bate Producer Caroline Man Executive Producer Sophie Hyde Editor Karryn De Cinque Motion Graphics Raynor Pettge Original Music Benjamin Speed Sound Production Pete Best Scott Illingworth Cinematographer Nick Matthews USA Cinematographer Bryan Mason Executive Consultant John McGowan Documentary inspired by the book J.P. McGowan: Biography of a Hollywood Pioneer by John J. McGowan A Closer production www.closerproductions.com.au © Closer Productions Pty Ltd, South Australian Film Corporation and Adelaide Film Festival 2 Synopsis The story of Australia’s J.P ‘Jack’ McGowan plays like a Hollywood script. An epic romance set against the birth of cinema featuring high adventure, war, fame and great love won and lost. J.P was one of Hollywood’s first stunt directors, who with his wife and on-screen daredevil Helen Holmes, paved the way for the action-adventure blockbusters we know today. Long before ‘Brangelina’ it was Jack and Helen who ruled Hollywood’s silver screens. Longer Synopsis The story of Australia’s J.P ‘Jack’ McGowan plays like a Hollywood script. An epic romance set against the birth of cinema featuring high adventure, war, fame and great love won and lost. J.P was one of Hollywood’s first stunt directors, who with his wife and on-screen daredevil Helen Holmes, paved the way for the action-adventure blockbusters we know today. Long before ‘Brangelina’ it was Jack and Helen who ruled Hollywood’s silver screens. Jack McGowan was born in the small railway town of Terowie in South Australia.
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How to Get Into Stunts
1 The professional stunt industry is a highly competitive field in the film world. It is a tightly knit community of professional race car drivers, world-class martial artists, gymnasts, dancers, circus performers, motocross racers, professional skateboarders and the list goes on. Needless to say, it is also extremely difficult to break into. As a potential stunt performer, you should have something extraordinary to offer the industry. Unfortunately, frequent gym visits, yoga, running, weightlifting and the like simply aren’t enough. There is the occasional “natural athlete” who succeeds but, for the most part, stunt performers come to the job with something major under their belts. In terms of training, there are tons of courses or sports you can sign up for that will help you along your path to becoming a stunt performer — take stunt driving courses, get your motorcycle license, and SCUBA ticket. Train at rock climbing, gymnastics, dirt biking, martial arts, trampoline, circus school, inline skating, diving, cliff jumping, etc. Take courses in acting, rigging, firearms handling and work with all kinds of weapons — there are literally unlimited things you can do to develop your career. The more specific skills you have to offer, the better. A good question to ask someone who wants to get into stunts is, “What is the skill set that you are offering to the industry?” All too often the answer is “I don’t really do anything specific but I’m crazy! I’ll do anything!” Translation: I’m unqualified, irrational and willing to take risks. Great. Except that a stunt performer’s job is to maximize the safety and minimize the risk in an action performance through knowledge, training and experience.
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The Black Pirate by Tracey Goessel
The Black Pirate By Tracey Goessel “The Black Pirate” has made its journey into history by way of two mechanisms: it is the first major feature to be filmed in Technicolor, and it contains the most famous stunt of its ever-joyous star/ producer, Douglas Fairbanks. Herbert Thomas Kalmus founded the Technicolor Corporation in 1915. He devised a two color pro- cess that did not require special projection equipment. The colors captured were reds and greens, each recorded by a camera that would split the optic beam, permit- ting separate exposures of each color to register onto separate film This film’s original lobby card depicts several scenes from the film with star Douglas Fairbanks at the forefront. Courtesy Library of Congress Prints & strips. In 1922, the company invested Photographs Online Collection. in their first full-length demonstration film: “Toll of the Sea.” This succeed- ed, and the two-color process began showing up in differently under artificial lights than outdoors. Even short sequences in such major films as “Ben Hur” outdoor shooting required supplemental lights. and “The Merry Widow.” Jesse Lasky had given it a Fairbanks had always been bedeviled by a heavy full-length try in 1924 with Western “Wanderer of the growth of beard; whenever a five o’clock shadow Wasteland”, but it failed. – threatened, his lower face would photograph green. Extra red powder was added to his beard area to Technicolor was stalled. Few producers were willing neutralize this effect. to take a chance with color. Technicolor needed a major personality with sufficient gravitas and reputa- This principle did not just apply to Fairbanks.
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