27: Skydiving Fights & Making Action Films

Our host, action actress and filmmaker Cindy Claes, interviews UK-based action filmmaker Nathan Geering.

Nathan shares his incredible journey from breakdancer to award-winning action filmmaker, revealing how he choreographed real skydiving fight scenes, trained with Jackie Chan’s stunt team, and is now in the midst of producing an international feature film. His story is nothing short of mind-blowing. Highlights include:

• Winning over 30 awards for his short films
• Traveling the world to build an international action film network
• Training with industry legends, including members of the Jackie Chan stunt team
• Blending breaking, martial arts, and fire performance into original action sequences rarely seen in mainstream cinema
• Launching his feature film The Lock In, an international production shot across multiple countries
• Treating filmmaking as an ongoing practice of research and development—filming daily and using each project as a tool for growth

This episode is packed with inspiration, innovation, and real-world insights into the evolving world of action cinema.

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Episode Transcript

Speaker 1 (00:00):
Welcome to the Loud Whisper Takeover podcast.
As you know by now, my name isCindy Klaas, action actress and
athletic creative in general inthe world of dance, film and
theater.
Today's episode is going to beflipping exciting because making
film is amazing and we startmaking short films and more
short films, but when do wereally really take the risk and

(00:22):
the big leap of making our firstfeature film?
How can we even set upinternational collaborations,
especially in the world ofaction movies?
Because when we're talkingaction, choreographed fights, we
also talk about having moreresources, more time, more
budget and so forth.
So today I have a gueststraight out of the UK, close to

(00:43):
Sheffield.
Please welcome Nathan Gearing.
Hi, nathan, what's up with youtoday?
How are you doing?

Speaker 2 (00:49):
Hey, I'm all good.
Cindy, how are you doing?

Speaker 1 (00:50):
I'm really good and I'm excited to have you come
here on the podcast to shareyour amazing story.
So let's dive in straight away.
So you have a background indance.
You then started leveling upyour skills in the field of
fighting, you started makingfilms and you have won, I
believe, over 30 awards withyour short films.
So my first question for you iswhich award has really touched

(01:16):
you the most as an artist andwhy?

Speaker 2 (01:18):
Wow, I mean that's a big one, I would say the award
that's touched me the most,probably one of the most recent
awards I won at the Urban ActionShowcase in New York.
Obviously it's one of the mostbiggest and prestigious action
film festivals in the world.
Obviously, you have othergeneral film festivals, but

(01:42):
they're not necessarily likeexperts in action, so they may
not know the ins and outs andthe intricacies and what to
actually look for where actionis concerned, whereas when you
have a festival that isspecifically geared to action,
you know that the best of thebest is going to be entering but
also best of the best is goingto be judging your work and they

(02:02):
absolutely know what it is thatthey're looking out for in
terms of what they feel makesgood action.
So with this festival in NewYork I was actually fortunate
enough to win actually quite afew awards, but I think the one
that kind of stuck out the mostwas the two-minute warning,
which was the best, I guess.

(02:22):
Uh, fight scene concept, um, inin under like two, two minutes.
And I won that award for a shortfilm I did called fighting at
12 000 feet, which was basicallywhere you had a two skydivers
literally going at it, fightingat 12 000 feet, and it was all
done for real.
There was no uh cgi, no windtunnels or anything.

(02:43):
It was all literally, yeah, justtwo, two professional skydivers
fighting at 12,000 feet, andbefore I'd met them they had
never, ever done fightchoreography before in their
lives I was it was actually thefirst day I met them is when we
did the fight choreography andwhen we did the shoot, so
literally they literally onlylearned like probably a few

(03:05):
hours beforehand and they wereup and down fighting at 12 000
feet, and the fight not onlyhappens in the sky, but when you
land, the fight carries on onthe ground as well, and so for
me it was great, because also,it was their first ever short
film and they ended up obviouslyalso winning awards as well for
being the performers in thefilm.

(03:26):
So for me, it really touched myheart that not only was my work
recognized as such a prestigiousfestival, but the fact that you
have these two guys that hadnever, ever done any kind of
black action filmmaking beforeand they were already knocking
out the park, uh, winning awards, um for uh, for their first
ever film.
So I think that one, for me,really did touch my heart so

(03:50):
obviously this is an epic sortof idea, an epic scene.

Speaker 1 (03:55):
I've got a thousand questions.
Can you maybe summarize it,because it's just so epic?
But where did the idea comefrom?
And then how the flip?
Did you rehearse?
Did you go just up and downlike 5 000 times, like adding
one move at the time and you'reflying next to it?
Or what happened in rehearsals?

Speaker 2 (04:12):
no, no, not at all.
So how it came about was so,obviously, another short film
that I've done called flamingassassin.
He's doing really well on thefilm festival circuit.
Earlier on this year it wasjust as soon as it got put on
the film festival circuit, itwas winning awards and the
skydiver just slid into my dmsand he was just like yo, bro,
really like what is that you'redoing?
Have you ever thought aboutchoreographing on skydivers?

(04:34):
And I was like, well, I'mthinking about it now.
It was from there, really, wherewe had a whole bunch of
conversations on the floor.
I actually met up with him fromwhen he messaged me, because
obviously I live in rather nearsheffield and he lives in london
, and it was literally within aweek of us talking on the phone.
I was, I was meeting him downin london at an event basically,

(04:55):
and I kind of like I liked hisepic because he wasn't one of
those people.
Oh well, we'll just wait alittle bit.
He would just like, yeah, okay,you're up for me, okay, let's
go, all right, boom.
So when I I really love peoplethat do this.
And right off the bat he wasshowing me his name is johnny,
he is wicked guy.
He was showing me that he's adoer and obviously for him as

(05:15):
well.
He is one of the only blackskydivers in the uk and he's
really wants kind of bring morediversity to the sport but also
more diversity to stuntperforming in terms of skydiving
, and so for him that wassomething that was very
important to him, and so we hada chat about each other's values
, what it is that we wanted toachieve, and I was like, yeah,

(05:39):
I'm sure I can help you withthat, we can make this work.
So then a few weeks later wemet up at the airfield and he'd
done some jiu-jitsu before andthe other skynar, I don't think
he'd done any martial artsbefore.
So I basically had to teach themhow to do fight choreography,
because obviously fightchoreography is very different

(06:01):
from fighting, very different,and you often find the toughest
people to teach are the peoplethat have done martial arts in
the past, just because they'retaught how to follow through
with contact and when they'resparring, when they're fighting,
they're trained to make contactand hit people and hurt people,
whereas the fight choreographythe priority is to keep your

(06:21):
partner safe and that's the keyword.
So it's more like a dancewithin that kind of context.
So I had to teach them bothfight choreography and then.
So we shot some of the groundfighting stuff, and then they
taught me about skydiving interms of the wind, resistance
and things like that andobviously the things that they
have to deal with when they'refree falling, and obviously

(06:42):
there was certain ideas I wantedto try, but it couldn't happen
because of safety.
For example, if there's certainpositions you get into, you
have to be careful because youcould snag your parachute and if
the parachutes get snagged,obviously 12 000 feet you fall
and it's game over.
So again, that kind of likeinfluenced the choreography to a
certain extent in terms of whatcould be done.

(07:03):
But yeah, in terms of theactual skydiving, we did three
jumps in one day and then threejumps in another day and each
jump was between 15 and 30seconds long, and so that was
all we did and we also had to.
I also had to teach the, thecamera operator, how to stack
hits for camera, becauseobviously he'd done skydiving

(07:25):
videos before but he'd neverdone fight choreography before,
so he needed to understand whatposition he he needed to be with
the camera to make the hitslook like that they sell.
So I had to teach them how toget into position and what's
what's free falling, but alsobecause you're free falling at
such speed and the slightestmove can take you off on a
tangent and things like that.
So I had to make sure that hecould understand, okay, if that

(07:47):
happens, how he could comearound to the other side to get
stacking and hits from the fromthe other side of things.
So we were like, reallyefficient with our time and it
was only just like my othershort film, flaming assassin.
It was only ever supposed to bea proof of concept.
It wasn't really going to belike a short film, um, at that
point, but because it came outso well, we were like, okay,

(08:09):
we've got to make this into ashort film.
So, uh, that's what we did.
I mean, you know, there's oneof the only people in the world
that's actually done skydivingfor real, in terms of no wind
tunnels and no cgi or anything.
And even when I was talking tosome of the jeffy chan stun team
, they said that even when theywere in new zealand they had to,
um, use some wind tunnels andthings like that and some cgi,

(08:30):
because the skydivers in newzealand were like, oh, it's too
dangerous, we can't do that.
So the jc stun team were likenext time, come to you.

Speaker 1 (08:38):
So that was cool but so can I just clarify those six
jumps, where these six jumpsfilmed each time, or where there
are some jumps that were partof the rehearsal process and
some that were basically used tomake your short film no, they
were all filmed so you createdthe choreography on the floor,

(08:59):
like I mean on the ground, andthen, but obviously you were
thinking about what could bedangerous, but then they just
had to try it immediately, butwhile jumping yeah, it was
literally that it was a case ofbecause what we want to do, we
want to film it just in case ofthat, some parts work, that some

(09:19):
parts didn't.

Speaker 2 (09:20):
So we needed to see what parts worked in the air,
because it's not like on theground.
You can have the luxury ofwaiting and being like oh okay,
let me just see what happens.
We're getting to this position.
Jump counts, because you canonly do so many jumps in a day
and also it costs every time yougo up.
So we really had to make surethat we were making an efficient
use of our time and things andyou know, in an ideal world I'd

(09:43):
have loved to have done 500jumps, but the fact is we got
six and we were able to get whatwe needed to out there.
Six, which is which isbrilliant.
It was.
It was really fortunate that wewere able to get some great
footage on that.
But again, I think it was downto the way in which that we
planned the choreography when wewere on the ground to make sure
that, okay, we're going to getx amount of hits.

(10:04):
That stack from this angle, xmight hit a stack from this
angle.
This technique has got to beinvolved and we we'd have like,
say, two major techniques perjump and that may be like a
jujitsu, uh, armbar, um, as as afull net 12,000 feet, or it may
be something like somebody getshit and then does a full pair
of whatever spin as a hipreaction and things.

Speaker 1 (10:23):
So again we had sort of main moments, but then the
rest was just stacking hits, andthat way we were able to really
make the most of our time andthen previously you talked about
, uh, the fact that you aresubmitting your short movies, um
, on a very specific circuit inregards to the film festival
circuit, and that you're sendingit to action film festivals.

(10:46):
If an emerging filmmaker ismaking action movies, where can
they find out more about thisspecific circuit?
Are you doing specific researchon film freeway or is it
actually another resource, ordid did you just get to know
which festivals to send it tobecause of your network?

Speaker 2 (11:04):
tell us more, yeah, sure, so basically, so it wasn't
only to know which festivals tosend it to because of your
network.
Tell us more.
Yeah, sure, so, basically.
So it wasn't only to actionfilm festivals.
I sent it to a broad range offestivals and, like I said, I
was lucky that even in festivalsthat weren't specialists in
action, they really loved thefilm as well.
So I was really fortunatewithin that kind of context.
But also, that being said, I wasalso specifically looking for
action film festivals as well,because I wanted to make sure I

(11:27):
was onto something both in termsof general filmmaking but also
specific to action.
So I wanted to kind of hit bothends of the spectrum.
So what I did was the firstthing I did was obviously got on
Film Freeway and I searchedaction film festivals.
First of all, I searched avariety of festivals just to see
which ones were coming up andwhich ones had passed.

(11:50):
Also, looking at the submissioncriteria some festivals they
want your film to be a premiere,and obviously you can't
premiere every single festivalSome festivals what pay like in
excess of 100 quid for yoursubmission.
Some festivals just want acouple of quid.
So there's a broad range so youcan pick and choose according

(12:12):
to your budget.
Um, and also in terms of theother thing I did, was I was
looking at other people thatwere submitting to action film
festival, other other peoplethat I knew, for example, that
had action films and saw whatfestivals they would submit to,
because once I saw that, I canalso utilize that as my
blueprint for what festivals tolean towards in terms of action

(12:37):
as well.
You can have, like TacFest,toledo Action Film Festival is a
great film festival in Spainthat people that are doing
action films can apply to.
You've also got Austin ActionFest, which is a big film
festival in Austin, texas.
That's another great one.
And then, obviously, urbanAction Showcase in New York is,

(12:58):
like I say, one of the best inthe world when it comes to
action film festivals, if notthe best.
So I would say those threeshould be on your list at the
very least.
And then, obviously, certainfilm festivals.
They have certain categories,like a lot of film festivals
have a category of best actions,so you can look out for that,
or some may even have beststunts.

(13:18):
So, if you want to specificallylook at thinking about,
actually there's a film that Ihave and it has a really
incredible stunt be an actionfilm or not, but it has a great
stunt, and then again you canput it up for that really.

Speaker 1 (13:29):
And then, yeah, see how you go very important
question for you, because one ofthe reasons why I relate to
your journey is that we bothreinvented ourselves as artists.
You have a background in dance,you were a b-boy, you were in
the world of hip-hop, youcreated hip-hop, theater work,
and then you evolved into thisworld of learning about martial

(13:52):
arts and fighting skills andchoreographed fights, and then
now you're an actor, an actionactor, but also a screenwriter
and a director.
So obviously you've skilledyourself up, like you've been
looking for trainingopportunities, but there is also
an element of you know, findinga new brand and making sure

(14:14):
that the people around us see us, call us for the new brand that
we are creating and the newservices and the new skills and
talents that we have to offer.
We need also a new network tomake that happen.
How did you make that transition?
Was it easy?
Was it difficult?
Did you take specific steps?
Because I feel there are a lotof artists that at some point in
their career feel that wasactually chapter one of what's

(14:39):
coming next, but then thattransition can be very
challenging.
How did you make it happen?

Speaker 2 (14:45):
For me it's just like breathing, if I'm honest.
So I was actually a martialartist before I was a breaker.
So I started off probably aboutthe age of six or seven years
old.
I started off with ShotokanKarate and then I did some Tang
Soo Do and then I did a bit ofShaolin Long Fist and then I

(15:06):
stuck on Chun when I was like 18.
I've just done that ever since.
But when I discovered breaking Isay discovered breaking I knew
about breaking for as long as Iknew about martial arts, but I
never had anyone to teach methat.
My uncle taught me a little bitof popping, but that was it.
And then he was the only onewent to university when I did a
degree in psychology and beforethat I did a high national

(15:26):
diploma in business marketing.
So I think they they kind oflike stood me good stead for
what the future would hold.
But so I, at the age of 21, Ijoined the breaking society at
Sheffield Hallam University andI basically started my journey
with breaking.
And then I was cause.
I was, I guess, was, I guessI'm fanatical about whatever it

(15:46):
is I'm passionate about.
So, for example, just trainingabout eight hours a day at one
point in terms of martial artsand stuff.
Like whenever I was in collegeor uni I was kung fuing it up
from there when breaking came in, so it switched.
So I did more hours of breakingand less hours of kung fu and
things, but for me I still didsome hours of kung and less
hours of Kung Fu and things, butfor me I still did some hours

(16:06):
of Kung Fu, but it was more sobalanced in breaking.
But for me I always knew and Ialways said to myself I'm going
to return to Kung Fu this wayand I knew that because you have
old masters in the 70s, 80s,90s and 100s that are still
doing incredible stuff and youget better with time because you
have more understanding of lifeand philosophy and your body

(16:27):
and things like that when themartial arts is concerned,
whereas with something likebreaking it's like you're,
because I did a lot of glow-upsand poundings, I did a lot of
virtuosic stuff.
Now you have your body has acertain shelf life with with
that, and that doesn't mean thatyou can't do it.
I'm still in my 40s.
I can still bust out some airconditioners if I need to, but

(16:50):
to the same extent that I coulddo when I was young.
I can't, you know, it takes alot more energy to do the same
quality of movement, I think isthe best, is the best way to put
it.
But with kung fu it's like youcan just keep leveling up with
your energy and things I wasdoing.
I was like I was special breakerfor the best part, like 20
years, and then my partner, shestarted to teach me fire.

(17:13):
So like fire firing and thingslike that, so learned those
skills probably about oh, fiveyears ago now.
So, yeah, five years ago Ilearned she started teaching me
fire and obviously, because I'ma b-boy, break is always going
to be with me wherever I go.
So even if I'm not like doingit as solely as a profession
anymore, if I get a new skill,I'm trying to go upside down

(17:34):
with it and and that's just,that's just how it was.
So with breaking I, I combinedthat with fire.
So as soon as I was learningthe fire skill, I was upside
down with it and stuff.
I was regarded as one of thetop fire eaters in the world
because I'm one of the onlypeople that will actually spin
on their head whilst eating fireand all that kind of stuff.
So, in terms of the skill set,what I was doing, I was carving

(17:56):
out unique movements that neverbeen seen before, with fire
eating specifically.
But I was proficient in otherfire skills like fire sword,
rope dart which is a Chineseweapon, but you can set that on
fire fire staffs, like all thatkind of stuff, fire nunchucks.
So again, I guess the martialarts was coming in hand in hand
with that transition andchangeover.

(18:18):
And then, where it came to thepoint where I was like this is
what I'm going to do, I'm goingto be an action actor and be a
filmmaker.
In terms of, I'll talk about theactual journey later, but in
terms of the branding side ofthings, for me it was all about
networking.
It really was.
Obviously I just startedputting more martial arts based
stuff out on social media interms of what it is that I was

(18:39):
doing.
But it it was traveling.
That was it.
It was literally traveling tomeet people in person.
That was what really opened upmy network and my brand, because
with every place I traveled to,more opportunities came and
more people can meet more people.
You can connect with peopleonly so much in front of the
screen, but you need to feelpeople's energy in person, to

(19:03):
really connect with them, andwith doing that, that really
allowed my network to grow butalso to reinforce.
Okay, this is the type of stuffI want to be.
I wasn't thinking of myself as abrand.
I was just like this is whatI'm about now, so this is what
I'm projecting to the world,because this is who I am.

(19:23):
This is my authentic self andso, yeah, I think that was it.
It was.
It was never.
I was never thinking of myselfas a brand.
I was always just thinking ofwho am I at this moment in time?
What am I really passionateabout?
That's what I'm going to.
That's what I'm going to pushforward to the world, because
that is me.
So I'd always given my bestexpression as a breaker.

(19:44):
I'd always given my bestexpression of myself as an
accessibility innovator and thenfire performer and then as a
filmmaker.
But all those skills that I'velearned all over those years,
over the past 20 odd years, frombeing a breaker, from being an
accessibility innovator, fireperformer it all contributed to
me having such a unique sellingpoint.

Speaker 1 (20:05):
There's such a usp when it came to being in the
world of filmmaking so you havea new world, like you say, a new
creative expression, somethingthat you're passionate about.
That's what you're about.
So the first step that you didwas putting out more content on
social media and stuff, sopeople would relate to you in a
different way as an artist.

(20:26):
And then you said I startednetworking because I started
traveling.
What were the purposes of yourtravels?
Was it to train with stunts?
Was it to go to film festivals,like action film festivals?
What was the purpose of thesetravels and how did you find
these international networks?

Speaker 2 (20:43):
so the first thing was I guess one thing that I did
to expand my network wasbecause obviously I was delving
more into martial arts andthings.
I was looking at who did Ialready had, for example, in my
friends like list on facebook,for example, or my contact lists
in terms of um that weremartial artists, and then I was

(21:06):
seeing who who we had as mutualfriends so I could see that way,
but also who I didn't have as amutual friend but I'd research
other people, um that they werefriends with that were also
martial artists, and then I Ithen add them as friends to to
to my networking things.
So, again, it really waslooking at people that I felt I
could have a synergy with and Ican have a connection with and

(21:28):
would like what I was doing, butalso I could potentially learn
from them, but also that I wouldlike what they were doing as
well, because whatever yourawareness is tuned into, that's
what you'll get.
And so my awareness was reallytuned into martial arts.
So, like when I was a b-boy, mymy awareness was tuned into
breaking, so I was just pickingup stuff for breaking, but when

(21:48):
it came to martial arts, myawareness is highly tuned to
martial arts now.
So they were the people that Iwas seeking out in terms of just
trying to find your tribe.
I think that's the best way toput it your vibe attracts your
tribe, and that was it.
So I was really just connectingwith people to find my tribe.
In terms of traveling, I wasinitially traveling to learn

(22:12):
initially, so my first everfight choreography class was
from Cynthia Ruffrock.
She's regarded, obviously, asthe queen of Hong Kong cinema in
terms of action and this stuff.
So I was fortunate enough forher to give me my first lesson
in fight choreography.
She said you're good, do youever get out to the States?
I was like, well, I haven'tbeen in quite some time, like

(22:33):
since before the pandemic.
She said oh well, you know, ifyou ever get out to the States,
I'll put you in the film.
She, she's like you gotsomething.
So I was like, okay.
So then later on that year I Iwent out to be a part of black
creek, um, but I was only goingout there really to shadow the
fight crew for mike muller andbe like a featured extra in the
film.
So I wasn't there to be likethe action style in the film.

(22:55):
I was there purely to, to learn, to be on the set of a big
production and to learn, and so,um, before, so, yeah, so, so,
yeah, so, basically that was myreason to to travel to the
states.
But before I traveled there,obviously, what I was doing from
the day I decided that I wasgoing to be an action actor,

(23:16):
which was may last year, so ayear and a half ago I basically
because I basically asked myoriginal child what do you want
to do?
And he says I want to be JackieChan.
That was it.
So that's that my path off.
A year and a half later noteven a year and a half a year
later I'm training in the guy'shome.
But before that, what got me tothat journey was so I was

(23:49):
shooting every day as soon as Idecided that's what I was doing,
shooting every day.
So I was just, I had nobody totrain with at first, so I was
training with my she, now um 13at the time.
She would have been 11, goingon 12.
So my daughter, she was.
I was literally training withher.
We were, um, you know, she, I'dprop up the camera somewhere
and then I'd be looking at myshoulder seeing what stacks,
what doesn't, where the anglesneed to be, where the gaps were,
and yeah, just training withher, training the rhythm and
training my editing skills andeverything.

(24:10):
But yeah, so she was mytraining partner and then, as
time went on, I reached out tosome other people because I was
always like people, in terms ofstunts, are missing a trick.
Breakers are pretty much theultimate stunt performers, and
the reason I say that is becausethey learn how to fall in every

(24:31):
single direction.
Their entire bodies have to notonly fall but come into contact
with the floor, from the headto the neck, to the ear to the
shoulders.
We just built for it.
So when I decided to train upmy stunt team, first people I
went to were breakers and I waslike, okay, come through.
And some of them were like, yoman, yeah, this is a vibe right

(24:53):
here.
So, yeah, I was able to vibewith some of them, and then I
got people that did parkour tobe involved as well and some
martial artists.
So I with some of them, andthen I got people at the parkour
to be involved as well as somemartial artists.
So I I got like a group of corepeople and basically we were
training, hip reactions andfalls and everything and fight
choreography.
And then I had always had in mymind, like I said, wherever I
went I took breaking with me.

(25:14):
So I always had in my mind tocombine fire breaking and
martial arts in fight, becauseyou've had films I've combined
breaking and martial arts inFight for Robin, because you've
had films that have combinedbreaking and martial arts.
You've had films that combinemartial arts and fire.
Not really been many that, orif any, that's combined fire
breaking and martial arts.
So I was like, okay, I want tosee if I can make this work as a

(25:34):
proof of concept.
So did that.
And then the proof of conceptturned out so good I was like
I've got to make this into afilm.
But I couldn't make it into afilm just yet because I had to
go to the states.
So literally I think we shotthat in the at the end of
september.
I'd edit it first couple ofweeks in october and then end of

(25:55):
october, you know november Iwas going out to the states, so
I was preparing for the trip tothe states.
So I was ready, and what I meanby that is when I was going out
to the States, so I waspreparing for the trip to the
States.
So I was ready, and what I meanby that is when I was going out
to the States.
I extended my trip.
So I didn't just go to be apart of Cynthia's film.
What I did was I was like I'mgoing to make this trip work for
me as much as I possibly can.
So I made sure I traveled toother parts of the States before

(26:16):
and after I went to Benson,arizona, which is where we shot
Black Creek.
Within doing that, I made sureI connected with people in the
areas I went to.
So I went to Vegas and then Iwent to LA and I was fortunate
enough, when I was out there aswell, I was still able to give
like keynote speeches andlectures on all the pioneering

(26:37):
stuff I've done with hip hop andaccessibility as well.
So I was still connecting someof my other work with this trip
as well.
So I started from Vegas, thento LA, then went to Benson,
arizona, then to Austin, texas,then back to LA, and so wherever
I went to connect with people,I also showed them this bit of

(26:58):
footage just to get their takeon it in terms of what they
thought worked, what could beimproved, if there was any
elements that were missing orwhat I could do to really level
my game up, or if there'sanybody they felt I should
connect with and talk to.
So it was really just gettingto know people on that deeper
level, but there was a lot ofpeople that were really was

(27:19):
coming with, sharing knowledge,and they were happy to.
So you know those people, you,you know.
I can't thank them enough.
For every one person that saidyes to meeting up, I probably
had about 50 people that said noor just didn't get back to me,
and that's just the nature ofthe beast.
This isn't, it's nothingpersonal.
It's just a case of you justhave to understand that some
people will be willing to, um,connect with you at this point

(27:41):
and some people won't, and maybethey'll connect with me in the
future, maybe they won't, butinstead of getting disheartened
about all the times people havesaid no, I was hyped about the
ones that said yes, and so, forme, my energy is really
important to me, and so I reallyutilize certain positives no
matter how small the positive is, as a catalyst to energize me

(28:04):
to move forward to the nextthing, and I'm always about
generating momentum and reallybuilding momentum.
And because I feel like if youget something great happen, then
you're excited about it andthen you just let it just sit
inside you kind of just fizzlesout.
Then you have to start again.
Not when you ride a push bikeand it's the first few pedals

(28:26):
are the hardest pedal togenerate the momentum.
But once you get that momentumgoing, it's easy and you can
just cruise.
It was the same with me, so I'dalways be pushing on that
momentum and use, using thatpositive energy to energize me
for the next thing and the nextthing and the next thing.
So I just keep generating asmuch momentum as possible and
that way way.
One, I wasn't resting on mylaurels, but two, I was really
making efficient use of my timeand energy.
For me, the most importantcommodity is time and energy.

(28:48):
They're the most importantthing.
So I was very mindful of how Ispend my time and how I spend my
energy and that kind of likereally led me into traveling as
much.
I was literally traveling fromone end of the earth to the
other end of the earth to, youknow, seek out the best masters
in the game really like an oldkung fu movie when they walled
the earth to find the teachersand stuff.

Speaker 1 (29:07):
That's me do you have a mentor at the moment as a
filmmaker or as a director?

Speaker 2 (29:13):
gosh, I'd say I have a few that I don't know if they
cast themselves as like directmentors, but they're definitely
guides and they've, you know,shown me the way in certain
things.
I would say Andy Cheng, whoused to be part of Jackie Chan's
stunt team.
He was the fight choreographeron Rush Hour 2 and Shang-Chi,

(29:34):
the Marvel film.
So I'd say, like you know, if Iever need some advice, I'll
call Andy up and he'll give mesome advice.
I would say he Jun, who is theleader of Jackie Chan's stunt
team.
Again, if I need advice fromhim, again he's just a phone
call away and I'm able to reallyconnect with him and stuff.
A guy called Kevin Lee, who wasa British guy but he was really

(29:56):
successful in China with a lotof reviews and he gave me some
fight choreography lessons earlyon in my career and again he
was there in the early days togive me pointers and stuff and
point the way out for certainthings.
So I say people like thatphilip sargon who runs k-star,
and again he's, he's like a biginspiration and again, if I need

(30:19):
a hand of anything, again he'sjust at the end of the phone
search.
There's lots of people that Idefinitely see, or even though
they may not officially seethemselves as mentors, I
definitely value their knowledgeand and their generosity with
their knowledge with me.
It's like they genuinely wantto see me succeed and it's

(30:40):
always lovely when you feel likeyou have people that do
generally want to see yousucceed.
I, and it's always lovely whenyou feel like you have people
that do generally want to seeyou succeed.
I'd say also Bobby Samuels aswell.
Bobby's another guy, but again,I've asked advice over the past
, say, year and a half I've beendoing this and Bobby's just
given just so much love andrespect and things like that.
So yeah, bobby's been a bighelp along the way as well

(31:03):
things like that.

Speaker 1 (31:04):
So yeah, bobby's being a big help along the way
as well.
You had the amazing opportunityto train with the jackie chan
uh stunt team.
How did you open that door foryourself?

Speaker 2 (31:10):
through traveling.

Speaker 1 (31:12):
Yeah, yeah didn't you have to apply, or did you?
I mean, could you just, cananybody walk in?
Or you know how did how did thedoors open for you?

Speaker 2 (31:20):
yeah, well, again, it's like I say it's through
traveling.
I didn't even know that youcould train with him.
I didn't even know that was,that was a, that was a thing.
And then when I went to, likewhen I went to the states, the
first time around it was I wastalking to, to philip sa again
and he was just like, yeah, youshould apply to it, I'll run it
because I told him about.
So I showed him the fightchoreography that I did with

(31:42):
flame assassin also showed thefight.
You're really good at the KungFu comedy stuff like Jackie Chan
style and things, and I waslike yeah, because I you know he
was my idol growing up.
He goes oh, mate, he's like.
You know, I traded his housethis last summer.
I was like what?
And he was just like, yeah,yeah, you should totally apply.
So, yeah.
So basically he gave me thedetails and then I applied and

(32:05):
obviously you have to submitlike a whole bunch of
information about yourself inlike show reels and everything.
And yeah, I was fortunateenough to be like.
Apparently there was tons ofpeople that applied, but I was
fortunate enough to be chosen asone of the top 30 in the world
to be selected to train with thejc stunts, I think from there
was representation from 19different countries, I think was

(32:28):
there.
So, yes, once I found out thatI got in, I made the cut.
I just had to just train mybackside up even more so, you
know, to make sure that Irepresent to the fullest.
And then I was lucky enoughwhen I was there.
So they have so, jackie, he'sknown as Dalgur, which means my
big brother.
So in terms of the actual filmworld, he's known as the big

(32:49):
brother.
And so on the camp they chosesix dargurs so it's six big
brothers to basically lead adifferent family group, and I
was chosen to be one, one of thesix dargurs.
So again, I was reallyfortunate enough that they felt
that I had that kind of I don'tknow.
I had those leadershipqualities.

Speaker 1 (33:10):
Congratulations.
It's just phenomenal.

Speaker 2 (33:12):
Thank you.

Speaker 1 (33:13):
So let's talk about your leap into making your
feature film, because you'rerecording this interview now,
but you're about to make yourfeature film.
A lot of things are already setin place to make that happen.
First of all, how many shortfilms have you made so far?
I know you've won more than 30awards, but how many short films
have you made?

Speaker 2 (33:31):
Okay.
So in terms of short films, Ihave actually I've actually made
four short films.
Two of them weren't action, twoof them before I did action and
two of them were action, so thefirst one I did was.
So the first time I ever gotinto filmmaking was back in 2020
, when the pandemic washappening.

(33:52):
I did a short film called Stilla Slave, and with that I
actually I'd say it was actually, but it had a rope dart to
symbolize a lot of struggle,basically, and a flaming rope
dart actually.
And so I because, like I said,I did a lot of work with
accessibility, innovation interms of I worked with a lot of
people with disabilities.

(34:12):
For example, I reinvented audiodescription, utilizing the
skills of beatboxers and poetsto give a richer sound to people
with visual impairment.
I saw people with visualimpairment break in, as it is an
injury prevention and toincrease spatial awareness, so
it becomes a life skill.
It's one of the ways to treatdepression, anxiety and PTSD
through hip hop dance.
There was a lot of stuff aroundhip hop and accessibility that

(34:34):
I'd done, and so I took theaudio description element and I
put it to the short film, but Ihad it for everybody to listen
to.
So it wasn't a case of, it wasjust an option.
It was like no, it was anintegral storytelling vehicle.
So it was called like therationale method of audio
description, basically.
Um, storytelling vehicle.
So it was called like therationale method of audio
description, basically, and it'sfocused on enhancing the, the

(34:55):
sound effects that were alreadyin the film, as well as
utilizing hip-hop poetry as astorytelling bit.
So I think that won like fiveawards, one of them being like
best audio description, anotherbeing like achievement
accessibility, um, best editing.
That was the first one.
And then I was still doingtheater a lot, so I was like yo,

(35:17):
cool, done that over here doingtheater, and that was that.
And then last year, probablyabout february, march time, so
not long before I decided tomake make the leap uh, very much
time, um, I'd like I said Idon't do a lot of stuff with
firing, and so what I did was Imade a film called drinking

(35:40):
smoke, and that short film wasabout a guy who literally hit
rock bottom and he's just havingI guess he's having thoughts
coming to his head about whathis ex-girlfriend was saying to
him about he's spitting outcontrol of all the drinking and
smoking that he's doing and whathis responses were to that.
And again, that was audiodescribed, but I utilized the

(36:02):
fiery to represent theintoxication of drinking, but
also because with fiery and youinhale some vapor into one, so
it looks like you're smoking.
So I utilize that as a as apowerful metaphor.
And then that won multipleawards as well.
Then I made a choice to doaction films a few months later

(36:23):
and just focus on that andnothing else.
And then, yeah, flamingassassin came about.
Like I said, out of a proof ofconcept.
I started in there.
It was a beginner made.
I'd started my actionfilmmaking journey.
I made my first short film interms of action.
I see I shot it end ofseptember and then I'd come back

(36:45):
from the states, shot the restof it I think it was the last
week in nove or something aroundthat.
Then I edited it and thensubmitted it to film festivals
beginning of February and thenfrom there, not long after that,
I made the Skydiver one,probably about a month or two
later, started working on it andthen, yeah, that was it.

(37:08):
And then I was like, okay,feature films.

Speaker 1 (37:11):
So my question about the feature film is when do you
feel is the right time, or whendid you feel in your journey it
was the right time to go and doa feature film?
Is it a moment in time whereyou say now I have the skill
base, the shoulders, theexperience and the confidence to
do it.
Or is it maybe having the rightscript?

(37:32):
Or is it something else?

Speaker 2 (37:34):
okay.
So for me, I guess, from thefirst short film I'd made,
obviously, which was back inactually 2020, until the last
film that I made, so we actuallyfinished it.
Yeah, that actually gotsubmitted to festivals this
summer.
So, between that period, I hadfocused on different things for

(37:57):
different shorts, and I'd reallyfocused on okay, storytelling,
vehicle movement, qualities,choreography, concepts,
cinematography.
So in different short films, Iwas experimenting with different
things to make sure that Ilevel up.
I always.
The thing is, it's like people,they're always going to judge
you that whatever you put out isyour finished product.

(38:18):
It's never your finishedproduct, because you're always
going to level up and you'realways going to evolve and
change.
That may be you at that momentin time, but that's not the be
all and end all.
Not the be all and end all,though, and so I and I think
some people, they're they're tooscared to put things out
because they're scared to putthemselves on the line because
of that rejection that couldpotentially come from it.

(38:38):
Um, whereas I was like, Ialways understood that this is,
this is not my final form, thisis not my finished product, this
is where I'm at, and so I'mgoing to gauge where I'm at in
terms of what the public'sresponse is by it, as well as
how I feel I've done with it.
And then I'm going to keeppushing this to people like it,

(38:59):
great.
If they don't like it, that'sokay as well, because, one, not
everybody's supposed to likeeverything you do.
But, two, it's I'm not, I'm notfinished yet.
So it's okay if they don't likewhat I do at any point, because
I'm like I'm actually stillgoing to be leveling up and I'm
still maybe I've done somethingand I've actually done something
as a risk and maybe the riskpaid off, maybe it didn't, you

(39:19):
know.
So over those years I've beenhoning those skills and then
I've been, like I said, everysingle day, from action,
filmmaking, like filming,editing, editing, editing it's
all I've done.
So from, yeah, a year and ahalf where not a single day went
by that I wasn't doingsomething like it's always my
eat, sleep, breathe, thateverything it was just embody it
.
So when it actually came tofilmmaking and making a feature,

(39:44):
at that point, what it was, itwas basically me being like okay
, I want to make a sustainablecareer out of this.
That was what my, my, mycatalyst for it was, because I
was like I've got the skills tomake a feature, or I feel I've
got enough knowledge to to makea feature, like, and I know I'm

(40:06):
going to be learning, I amlearning a lot as I'm making
this feature because you, like Isay you never, ever stop
learning.
But if you always think, okay,I'll do it once I've got this or
until I would do it.
But so the problem with a lot ofthose words is they're, they're
procrastinating where so it'sjust until.
But if they're in yourvocabulary, what you're doing is

(40:29):
you're putting off achievingwhat it is you want to achieve.
So how you have internaldiscourse or internal dialogue
is very important and for me,wherever possible, I try to
eradicate there is from from myvocabulary.
You know sometimes they creepin, but when I catch myself like
nope, gotta get that out ofthere, I trade them in for doing

(40:50):
words.
And I am, I'm doing because,even if you're just taking your
first step, you're embodyingwhatever it is you're, you're
becoming.
A lot of people won't give thempermission to be something
until they've had certainaccolades or whatever.
Yet that like, as soon as youstart to make that initial step,
you're, you are being, you aredoing, you make sure you do it

(41:12):
with all of your entire beingand that's it.
So, when it came to filmmakingand the features, I was like,
okay, I realized how difficultit was, because I'm like, if I
want to do this as a career, Ineed to make sure that it's
sustainable, right, and theproblem is with short films is
they're very difficult tomonetize, they're very difficult

(41:34):
to make a living from, and alot of people they'll do it on,
you know, through funding, bidsand all that kind of stuff.
And I I was fortunate in thesense that I never let, um, like
, lack of funding stop me.
I'm just not that guy.
For example, flaming Assassin,that was made on less than 500

(41:54):
quid, 12,000 feet made on lessthan 500 quid.
You know they're going upagainst films that were, you
know, 20, 30, 50k and again,they were winning awards over
these films.
So your concept is strongenough or your method of
storytelling is strong enough.
That's what shines through.

(42:15):
So for me, that was it.
I was like, okay, and then therewas a director.
This was the turning point forme to really be like, right, I'm
making a feature.
Because I was always like, okay, I need to make Flaming
Assassin feature film, I need tomake that one feature film.
I need to make that one onfeatures, one like over 30
awards by itself need for thatone feature now could make.

(42:37):
I could have made that my firstfeature, but in order for me to
do it justice, I know I have toget big budget to it.
I, in my mind's eye, I see thatas a big budget film and I was
like, because I have never madea feature before and I need to
hone my craft as a featurefilmmaker, I want to make a

(42:59):
couple features before that.
So then, when it comes tomaking Flaming Assassin
hopefully I'll do it ironed outof a lot of kinks in terms of
feature filmmaking.
So I was like, right, I'm goingto do it.
And then this one director Iheard of, he he'd made feature
film on two and a half grand andthat was shown in view cinemas

(43:21):
up and down the country.
And I was like two and a half kand I made a feature film.
I was like what the hell am Iwaiting for?
I've got no excuse.
So that just basically lit arocket up my ass.
That was it really.
I just went all in, startscript writing and then within a
month I finished writing thefirst draft of the script and
then I just went about making afeature film, just connected

(43:45):
with a lot of people that I knewand then, yeah, we just went at
it from there, really, like alot of them were a lot of people
that were just like we startedwith a sizzle reel.
So we met up for a weekend, didlike proof of concept to see
what works and what doesn't, andat this time I was also like I
said, I realized that shortfilms were quite difficult to

(44:05):
make a sustainable living out ofright right now.
The reason I discovered that wasbecause I was always educating
myself on the business offilmmaking, which is very
different from filmmaking, verydifferent.
So there was a lot of steeplearning curves, I think.
Oh, you know, over the pastyear and a half, but filmmaking,

(44:26):
I can say, for me has been likebreathing.
Business of filmmaking hastaken more energy to really
understand and navigate.
And again, I travel to learnabout the business of filmmaking
.
Again, I try and learn off thebest.
Or I would try and have meetingswith people at the top level or

(44:50):
as high level as I possiblycould get to.
And, like I say for themeetings where people said yes,
50 to 100 saying no, and thatwas a.
You've got to have a thick skinand do this game and just not
take things personally.
But yeah, that was it.
It was just like okay, I wantto make this sustainable, can't

(45:10):
make it sustainable out of shortfilms.
The only way I can makesustainable is making feature
films.
Oh, I want to make featurefilms anyway, so let's make
feature films.
So that was it was as simple asthat.

Speaker 1 (45:21):
I just gave myself permission something that, for
me, really shines through fromall what you're saying and all
the stages you went through isthat you seem to have been in
non-stop research anddevelopment, r&d.
Like you said, I just keptfilming, filming and editing,
whether it was with my babydaughter or whether it was with

(45:42):
one of my friends that hadmartial arts skills and was a b
boy, and I think that is reallyimpressive and also because I
feel in the world of film thereis that pressure from the moment
you start filming, you have aproduct and it should be shared.
In theatre you have morepermission of trying, it doesn't
have to be shared or you can doan informal sharing or whatever

(46:03):
, but in film it almost feelslike images are precious, you
edit it and here it is, whereasyou've been, you had that
theater sort of approach, whichis no, I'm doing rnd, rnd, rnd
rnd and I keep going, and I findthat super inspiring thanks,
yeah, yeah, like, literally,it's like with anything in life

(46:24):
the more energy you point tosomething, the more you get back
from it.

Speaker 2 (46:28):
So for me, it's consistency is key.
It really is just like I say.
I say to myself like I'mturning up for myself every day
and that's what I'm, that's whatI'm doing and that's why every
day it's on my mind.
You know either.
It's the business of filmmaking.
I risk filmmaking techniques,learning new skills in
cinematography, new skills inscript writing, dialogue,

(46:50):
budgeting, like um, it's allthey're making pitch decks, like
everything, it's, it's all.
It's all there.
In terms of relentlessly, myenergy is, it's doing it, and
when I find out new stuff, Ilike I say I get excited about
it and I utilize that to cat asa catalyst inside me to push on,
to find new things out or totry new elements.

(47:11):
So it's always about thatenergy.
Just regenerating that energyand just keeping that generator
inside you goes up, you know,building up that momentum, um.
So so yeah, it really, itreally is a case of just don't
stop.
There's always.
There's always a way.
You can always find a way.
If you haven't got anybody athome, just have a broom handle,

(47:34):
stock up, just look where theline goes from the camera to
that broom handle and then justthrow punches at it and just see
, okay, where do I cross thatline?
Okay, because that will giveyou camera awareness.
Just by doing a simple thing asthat, walk down the street, you
know, just throw out a punch ata branch.
Don't hit it though, just stopshort of it.

(47:56):
You know, try and you know.
One thing kevin lee gave me thetip was whenever you just walk
down the street, just pick aleaf for tree or something, see
if you can do that, not yank it,and it can just be like just
that end of it, just to work onyour precision and stuff.

Speaker 1 (48:05):
It comes with life you're gonna make this future
film.
You've written a script, isready.
You're going to direct and alsoact in it.
I presume you have a network,an international network.
My understanding is that youdon't have a full, full, full,
big, massive budget for it, butit's still going to happen
Because you're working with.
Well, you're working withresources, because you have an

(48:27):
international team that isworking with you We'll talk
about it later but because youalso have limited resources on
another side, what did you haveto give up?
Or, you know, say, well, thiswill be for next time or this,
maybe I can look at itartistically differently.
And what were you able to addto your vision?

(48:48):
What were you able to add toyour vision with, perhaps, your
network or people you know?
And what did you have to giveup because of things that
weren't there right now?

Speaker 2 (48:57):
So I would say there was a lot of people I wanted to
work with and, again, nothingtrumps true human connection.
If you really connect withpeople on a genuine level, on a
human level, they will work withyou and they will do things for
you because they see somethingin you and you will do things to
them because you see somethingin them.

(49:19):
You know it's a two-way street.
Again, it's about the energyyou exchange with people.
So I think what I was able toenhance was I was able to have a
bigger cast than I thought Iwould, an international cast as
well, which is great.
Obviously, because it's myfirst feature, time is not a

(49:40):
luxury For me.
Like I said, never.
At the finished product, thisfeature film will be the best it
can be within the parametersthat it's being made in, and the
next feature will be the bestit can be within that parameters
, and so on and so forth.
So I'm really excited, likewhen I first started this

(50:03):
journey of writing the feature,compared to what it's turned
into.
Like it's phenomenal, like it'sturned into, I'm surprised, um,
grateful and truly humbled, um,and super excited.
It's gonna be wicked and it'skind of like, even from like.
So the kung fu community, thepeople that, for example, grew

(50:26):
up watching old school kung fufilms.
A lot of of them have beendisappointed with a lot of
action films that have come outin, say, like the last 20 or 30
years, more like 20 odd yearsand stuff, because they feel
like the way films are shot theaction, the sound effects
they're just no good.
They lack power, can't see thebeauty of people's technique and

(50:47):
stuff for various reasons.
And a lot of these people haveseen the work that I've put out
so far and they're like you getit, so we can't wait.
We can't wait to to see thefilm that you make because you
get it and like there's actuallya few people in the industry
that surprisingly said nathan,you're the future.

(51:08):
And that has been like such asurprise that people have
actually said that about mebecause I'm like, I'm such, I'm
a baby in this journey.
I've only started, like I say, ayear and a half ago now, and so
the fact that they like lookinto me in that way and hold me
in high regard, it spurs me onto do the best that I possibly

(51:29):
can, because I know what it isthat they're missing from their
films and they know that I know,and so again, for me, this
first film especially is goingto speak to those people and
that's why, for example, even onthe DVD of this film, the
film's called the Lock-In.
By the way, the reason with thisfeature film is going to have
on the dvd extras, it's going tohave a hong kong edit in terms

(51:52):
of eastern sound effects.
So like old school kung fusound effects, so again you can
have western audiences, they canhave the western sound effects
and stuff.
But people that love old schoolkung fu films, they've got an
old school kung fu sound effectssoundtrack that they can listen
to.
So again, I'm really, you know,tapping into audiences and
showing that I, I hear them andI want to, you know, make work

(52:17):
that they, they can, they canappreciate really and so my
understanding is that you soyou're going to work or film a
part in the us.

Speaker 1 (52:24):
I know that you also have belgian action actors that
are coming over to the UK, soyou will be filmed in different
parts of the world.
I guess all these connectionsyou made through your travels
that you explained alreadybefore.
So I have the impression I'veheard a lot about the creatives
that you've been able to puttogether.
What about the crew, the youknow the gaffers, the, you know

(52:47):
the, the cameraman, also, maybepeople that you have coming in
in post-production?
Were you able to build a teamor are you doing most of it?
How does that work?

Speaker 2 (52:57):
yeah, obviously, when you're writing the scripts,
directing it and like, um,producing it, like there is a
lot of stuff that you you dohave to do yourself.
So, for example, like a lot ofthe editing I'll be doing myself
I mean, I love editing, sothat's, that's cool and stuff in
post-production, um, but youknow other stuff like color

(53:18):
grading and things like that, um, sound schools and stuff like
that.
But I've got peeps on boardthere that can handle that stuff
.
In terms of my crew, I've beenfortunate so we've already shot
the, the scenes in in, so thatthe scenes in the states they
got shot in november.
With that it was brilliant.
Like I was able to, you know,work with jeff pruitt who was,

(53:41):
uh, there's stunt coordinatorfor like body, the vampire
slayer and power rangers.
So I was quite fortunate tohave such a powerhouse as jeff
to work with on my first feature, the same with Keith Vitale.
He again is a martial artslegend and a martial arts movie
legend and again to be able towork with Keith was a huge honor
In terms of other crew.

(54:02):
So it was a case of whereverI'm filming, I have people there
that I know, of wherever I'mfilming, I have people there
that I know.
So, for example, we shot inAtlanta and some of my family
crew from the JC stunt camp werefrom Atlanta, so they were able
to source me crew in Atlanta,so I was able to do that.

(54:22):
Obviously, like I say, where Ilive in Sheffield, I know a lot
of people in the film industrywithin the city, soield, I know
a lot of people in the filmindustry within the city, so
again, I can have people come onboard from that area too.
So, again, like I say, truehuman connection over everything
.
You have to connect with peopleon a meaningful level, not on a

(54:43):
level where it's like what canI get out of you, but just
really see them as a human beingand let them really see you.
When I presented thisproduction with them, they're
like yeah, what you need for itall, right, I got you.
I might know a guy, let me see.
Obviously, because I was, um, Ilive in the uk.
But then the stage washappening.
I had one of my boys out therelocation scouting for me and he
did an incredible job, uh, withmy patients.

(55:04):
So again, I was able to todelegate a lot of the
responsibilities.
Yeah, there's a lot of stuffthat I'm having to do myself.
But there's also a lot of stuffI'm able to delegate and feel
really grateful, and it'ssomething where, if you can
delegate, definitely delegate,so you can literally focus on
doing what you do best ratherthan doing those other bits.
There's some parts you can'tavoid delegating at this moment

(55:26):
in time, and that's fair enough.
But wherever you can't avoiddelegating at this moment in
time, and that's fair enough,but wherever you can delegate,
make sure you delegate to otherpeople that are better than you
at it, but also just to free upspace for you to do what you're
best at as well.

Speaker 1 (55:36):
And then, to wrap up this interview, when was the
moment where you thought thepath of making action movies is
my path and it will work?
No shadow of a doubt.

Speaker 2 (55:53):
That's where I gotta go and it's gonna work out let's
have a look, I would say, frommy first background, for Lesma
Cynthia, from her telling me I'mgood, literally because she was
one of my idols growing up as achild, and so for her to say
that to me I was just like wow,she sees something, she, she
says I've got something.
So that kind of like really putthe confidence in me to put

(56:17):
everything into it also manifest.
I visualize every single day, asI, you know, I visualize that
I'm going to be, I'm going to beremembered as one of the
greatest fight choreographers,one of the greatest action
directors there ever was, andit's like something comes down
for me, comes down and goesthrough my entire body, and I do

(56:41):
that multiple times every dayand I do it to the point where I
believe it it's not a case of'mI mean, I say that with
entitlement it's a case of us.
I say that because I'm workinghard every day to make that a
reality and every day that goesby I get a step closer to it,

(57:02):
and so that's it.
But yeah, and that belief thatthis is what you're meant to do
really does help, and just tapinto that source as often as you
can and make that happen.
Like I said.
That's why I am now making myuh feature film, the lock-in.
That's the next, that's thenext stage in in this journey
thank you so much, nathan, forall these really powerful

(57:23):
reminders.

Speaker 1 (57:24):
All these words that you said about the three words
of procrastination it's just theuntil and the but and how you
just erase them from yourvocabulary, how you just trade
them in for doing words, all thevisualization practices that
you do and, just for me also,the non-stop R&D and being in

(57:48):
action kind of guy that you are.
This is just a great reminderof how we can really make our
dreams a reality.
If people want to follow moreabout your journey or this
upcoming feature film, andobviously upcoming also, I'm
guessing, crowdfunding campaignsthat you might also organize
for this one or future projects,where can they find you?

Speaker 2 (58:09):
so they can find me at rm action design on instagram
or at nathan gearing or nathangearing on facebook.
Like I said, we have aindiegogo campaign, um to help
out with the completion of thepost-production going on now and
things for um the lock-in.
So if anybody wants to become abacker, we've got some great

(58:30):
perks for people where they canget pre-order like dvds and
things, posters and things likethat.
So there's lots of stuff goingon there.
So that's on the indiegogocampaign.
Again, if you just follow me onone of my social media channels
or hit me up, then I can giveyou all more information on that
thank you so much n.
Thank you.

Speaker 1 (58:48):
I hope that I will be , you know, invited or something
, for the premiere of thatmassive, big feature film 100%,
most definitely.