The traditional niche for people in my field is fight choreography. At its core, that is the creation of a series of physical motions strung together to tell the story of a fight.
While time and other constraints sometimes necessitate this, I find it a very constraining and inadequate description for what my job can be, akin to telling a director to just block the scenes and go home.
The mechanics of the moves, while important, should serve to support the artistic choices of the cast and production team. Both moves and choices should be informed by the technical, martial, hoplogical, psychological and artistic expertise of the fight director. There is a need for integration between disciplines and collaborators in order to create safe, engaging action that is appropriate to the production. That is the idea behind the business name, Fight Designer.
My goal is always to assist the cast and the artistic team in creating fights that truly come from and add to the characters and the story, in a way that enhances the style of the piece.
Everyone from audience to actors to directors should walk away feeling that they've seen, experienced, and learned something from the event, and those involved should enjoy the process of creation and discovery.
"Director Jake Groshong and fight choreographer Kevin Inouye have their hands full with the accelerating fracas, the most artful anarchy Balagan has staged." -- Seattle Weekly
"... expertly choreographed the climactic orgy of sex and violence to feel chaotic." -- The Stranger
Romeo & Juliet
"...the fairly complex physical fracas brings Balagan to a new level technically. Kudos to fight choreographer Kevin Inouye..." -- Seattle Weekly
"The direction of the Capulet party and the fight scenes is superb, edge-of-your-seat stuff..." -- Seattlest
