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ACTION WITH PURPOSE.
Four services. One philosophy.
Good action doesn't exist in isolation. It has to belong to the story, make sense for the character, work for the performer and support the director's vision. It also has to be achievable within the practical realities of the production.
With more than 35 years of experience across performing, Assistant Directing, stunt coordination, fight choreography and coaching, I bring an understanding of both what happens in front of the camera and what it takes to make it happen behind it.
My approach starts with the script and the creative intention. From there, the concept is developed in collaboration with the people involved, taking into account the performers' abilities and confidence, the demands of the scene, the production requirements and the safety of everyone involved.
Sometimes the original idea works. Sometimes it needs to be adapted. Rehearsal, communication and revision are part of finding the right solution.
The aim isn't to create action for its own sake. It's to create action that serves the story and works for the production.
Whether I'm choreographing a fight, coordinating a complex sequence, preparing an actor or helping a school bring physical action into a drama programme, the principle remains the same:
Make it work. Make it believable. Make it safe. Make it serve the story.
Fight Choreography
MAKE THE FIGHT TELL THE STORY.
A fight scene is a piece of storytelling. Every movement should tell us something about the characters, their relationship, their intentions and what's at stake.
I develop fight choreography for screen and stage, working with directors, actors and creative teams to translate the dramatic requirements of a scene into physical action that feels convincing and belongs in the world of the production.
That starts with understanding the story. Is the confrontation controlled or chaotic? Is one character trying to dominate, escape, protect someone or simply survive? Are we watching a trained fighter, an inexperienced person or someone pushed beyond their limits?
Those differences matter. A fight should reflect the people involved, not simply demonstrate a sequence of impressive moves.
I work with performers to develop choreography appropriate to their experience, physical abilities and confidence. Movement, timing, reactions, rhythm and character motivation all contribute to making a fight believable. The choreography also needs to work within the space available and accommodate the requirements of the director, camera or live audience.
Safety, communication and rehearsal are built into the process. The action is developed, tested and refined so the performers understand the sequence and can work towards a consistent, controlled performance.
For screen, choreography must work with framing, camera position, editing and the visual language of the production. For theatre, it must communicate clearly to a live audience and remain repeatable from performance to performance.
The objective is never simply to make a fight look bigger. It's to make the fight mean something.
Fight choreography for film, television, web series and theatre.
Let's make the action tell the story.
Stunt Coordination
From script to screen.
Stunt coordination brings the creative ambition of a production together with the planning, communication and practical decisions required to execute action safely.
A stunt sequence may last only a few seconds on screen, but making it work can involve considerable preparation. The script needs to be understood, the creative intention established, the action developed and the practical requirements worked through with the director and relevant production departments.
My background in performing and Assistant Directing gives me an understanding of the action from more than one perspective. I understand the needs of the performers, but I also understand that a sequence has to fit the production schedule, locations, available resources, camera requirements and the wider demands of the shoot.
I work with the production team to develop an approach that achieves the intended result while accounting for the people, environment and practical conditions involved.
That includes assessing the proposed action, identifying hazards, planning appropriate controls, communicating requirements and establishing suitable preparation and rehearsal before execution. Plans need to remain responsive to changing conditions, and any significant change to the action or circumstances needs to be assessed before proceeding.
Not every sequence requires the most complicated solution. Sometimes the best result comes from refining the original concept, changing the way an action is presented or finding a simpler, more effective approach.
The goal is to make the action work as part of the production, not become a problem that the production has to work around.
Whether the project calls for a tightly controlled fight, a physical gag or a more involved action sequence, I work towards a result that supports the director's vision and the story being told.
Stunt coordination for film, television, web series and other screen productions.
Good preparation makes better action possible.
Actor Stunt Tutoring
Train the actor.
Don't just double them.
Actors don't need to become stunt performers to benefit from stunt training. They need the skills, understanding and confidence to approach physical action in a way that works for their character and the production.
One-on-one stunt tutoring is tailored to the individual actor and the demands of their role. Training can focus on movement, physical awareness, reactions, falls, fight performance, timing, coordination and the practical skills needed to prepare for a particular scene.
The starting point is understanding the actor: their existing experience, physical abilities, confidence, learning needs and the character they're portraying. From there, training can be developed at an appropriate pace, with clear communication and realistic goals.
The intention isn't to impose a generic fighting style or make every actor move like a trained fighter. A character's physical behaviour should make sense within the story. Someone with no combat experience will move differently from someone who has trained for years. Fear, anger, hesitation, exhaustion and determination can all affect how an action is performed.
Training can help an actor understand the mechanics of a sequence, improve their timing and coordination, and develop a more convincing physical performance. It can also help them understand what a scene requires, where their own limits are and when a specialist performer or alternative approach may be appropriate.
Exercises and choreography should be matched to the actor's abilities and progressed appropriately. Training is not a substitute for production-specific stunt planning, risk assessment or supervision when a scene requires them.
The aim is to give actors useful skills they can carry into their work, while helping them approach physical scenes with greater understanding and confidence.
Individual stunt and physical-action tutoring for actors, tailored to their experience and performance goals.
Build the skills. Understand the action. Play the character.
School & Local Drama Consultancy
Bring real screen experience into the classroom.
Physical action can be an exciting part of drama education. It can help students explore character, conflict, movement, storytelling and performance in ways that go beyond dialogue alone.
But when drama involves fights, falls or other simulated physical action, creativity needs to be supported by appropriate planning, supervision and an understanding of the risks involved.
I bring practical experience from the screen and performance industries into school and local drama settings, helping teachers, drama leaders and production teams explore how physical action can be incorporated into their work appropriately.
The support I provide can be shaped around the project, the participants and the intended learning or performance outcomes. This might involve developing a staged confrontation, helping students understand how movement communicates character, advising on the presentation of a fight scene or working through the practical considerations of a production involving simulated violence.
The emphasis is on making the action serve the dramatic intention. Students should be encouraged to understand why a character moves or reacts in a particular way, rather than treating a fight as a collection of movements to copy.
Activities need to be appropriate to the age, experience and abilities of the participants, with clear boundaries, suitable supervision and risk management. The aim is to create an environment where students can explore physical storytelling without being encouraged to attempt actions beyond their preparation or capability.
I can also help teachers and drama leaders consider how action is staged, communicated and rehearsed, and where specialist input is needed.
Every school, group and production has different needs. The approach should reflect those needs rather than rely on a one-size-fits-all programme.
Practical drama and physical-action consultancy for schools, drama educators and local performance groups.
Make the story physical. Keep the learning purposeful. Put safety first.
LET'S TALK ABOUT YOUR PROJECT
Every production, performer and learning environment brings a different set of requirements.
If you have a fight to choreograph, an action sequence to coordinate, an actor preparing for a role or a drama project that needs practical guidance, get in touch and tell me what you're working on.
We'll start with the story, the people involved and what you're trying to achieve, then work out the best way forward.
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AMAND STUNTS - Fight Choreographer - Stunt Coordinator - Actor Stunt Tutor - School & Local Drama Consultant