In this dynamic and insightful talk, Philip Condron, founder of Screen Combat Ireland, shares his journey from martial artist to professional stunt performer and trainer. He breaks down the realities of stunt work, training for actors, and how preparation, mindset, and humility are critical to success. With candid stories from sets like Foundation, and practical advice for low-budget and professional productions alike, this session is a must-watch for actors interested in combat, stunts, or physical storytelling.
Original Date Tuesday 12th November 2024
FP Host Siobhán Aislinn
Guest Philip Condron
Key Takeaways on Stunt Work
1. From Martial Arts to the Screen
• Phillip began as a martial artist and “fell into” screen stunt work after helping with a fight scene.
• Social media and networking played a big role in early opportunities.
2. Training: Build Skills Before You’re on Set
• Two years of consistent training is ideal for actors wanting to perform their own basic stunts.
• Key skills: martial arts, wire work, falling safely, and on-screen presence.
• Actors don’t need to do all stunts, but foundational combat makes you more castable and safe.
3. Screen Combat Ireland: Learn by Doing
• Phillip’s school offers weekly classes in martial arts for camera, wire work, and stunt choreography.
• Every class involves filming, so students see their progress and understand camera angles.
4. Safety + Realism = Believability
• “The camera doesn’t lie” – lack of training shows.
• It’s crucial to balance safety distance with authentic energy, like a “choreographed dance.”
• Scenes are built around actor ability with camera and editing tricks to protect everyone involved.
5. The Mind Game: Managing Fear
• Phillip’s first major stunt – a bike crash – was physically intense but psychologically harder.
• Stunt performers must balance adrenaline with technique and trust.
• Preparation shrinks fear; rehearsals are everything.
6. Acting + Stunts: Character Comes First
• Character study influences movement style – combat should reflect emotional and narrative stakes.
• Good stunt work is storytelling. There’s always a reason for the fight.
7. Film vs. Theatre Combat
• Theatre = bigger movements, projection, and wide awareness.
• Film = smaller, more intimate, often mimed action for clean audio.
• Both require different disciplines but skills like weapon training, falling safely, and angle awareness cross over.
8. Low-Budget Productions: Pre-Plan or Pare Down
• Phillip emphasises pre-production meetings and rehearsal days.
• Be honest about ambition vs. ability – cast actors who already have some training to avoid injury and delays.
9. Mistakes, Risk & When Things Go Wrong
• While rare, stunts can go wrong. The key is to rehearse, stay honest, and adapt using doubles or camera tricks.
• Never lie about your ability – it risks safety, reputation, and production money.
10. Stay Humble, Stay Active
• Ego has no place on set.
• Keep training even when not working – film your own fights, help on set, stay visible and useful in the community.
• Generosity and reliability get you rehired.
Memorable Quotes
“The camera is the most honest thing on set – it sees everything.”
“Don’t wait for work – train, create, and make your own content.”
“A fight scene is like a dance. Safety and story go hand in hand.”
“If you’re not training, your ability starts going down immediately.”
“Humility is your biggest asset in this industry.”
“The illusion of danger only works if everyone’s prepared.”
“Never lie about what you can do – it risks lives, reputations, and your own career.”