Tim Weske began studying theatrical swordplay and fighting 40+ years ago. In that time Tim has trained thousands of people and choreographed thousands of fight sequences.

Like the great Hollywood sword masters before him, Tim became a competitor and instructor of sport fencing. Like his Mentors, Bob Anderson, Bill Hobbs, Ralph Faulkner and Fred Cavens, Tim has been able to take the balance, focus and tempo of fencing and apply it to theatrical swordplay, creating fight sequences (armed and un-armed, and with all weapons) that are entertaining and that look like human beings engaged in the highest point of human emotion, life and death, rather than looking like athletes in a controlled sport.

The study of fencing is important in the development of the teacher. Each of us has tendencies and preconceived thoughts as to how combat works. Like any sport, and dance, there is a melding of the mind and body that must take place. Most students want to do one or the other and don’t understand the connection. A good instructor that has knowledge of how to teach the student how to combine the two elements is someone who has trained as a coach and can teach the student how to accomplish this. There are little things people do with their bodies that are incorrect and will hold the student back from learning and will cause the fight to be awkward, unsafe, with no tempo and look like a staged fight. A well versed instructor can get the performers on track and smooth out the fight.

Tim opened his own combat academy and fencing studio in 1992 and has been trusted to teach, coach and choreograph many Hollywood celebrities, such as Sandra Bullock, Brad Pitt, Chris Pine, Paul Rudd and Natalie Portman, just to name a few.

Tim has created a system of movement that is safe and yet looks real and make sense to the fighter so that they are able to commit to the fight. With this system master shots can be used as your base shot and cut ins can be used for effect. As in “The Princes Bride”. This system works with one on one duels to full scale battles, and it works with all weapons and with all genres of storytelling.

Tim works with every aspect of production. Tim’s goal and passion has always been the same, “It’s about the project and nothing else”. Tim works with everyone in production. Working with the stunt coordinator and director on the vision of the fight sequence. Teaching, coaching and choreographing foreground to background for consistency and commitment in the battle sequences. Choreographing fight scenes from one on one duels to full scale battles.

See Tim’s reels, resume, references, celebrities trained and more at www.timweske.com