Tim Weske
- Additional Crew
- Stunts
- Actor
Sir Ben Kingsley, Sandra Bullock, Natalie Portman, Sandra Oh, Jeremy
Piven, Anne Hathaway, Martin Short, Fred Savage, and Kevin Garnett are
just a few of the celebrities that Minnesota-born, Tim Weske, has
worked with in his twenty plus years as Hollywood's Premier Sword
Choreographer. You can view Weske's reel and full resume at Tim
Weske.com. Weske has trained thousands of actors and choreographed
hundreds of sword fights and fencing sequences for the film and
television industry, not to mention the thousands of moments of
violence he has coordinated for stage. Weske follows in the same
tradition of cinemas finest Sword Masters, Fred Cavens, Ralph Faulkner,
Bob Anderson, and Bill Hobbs, as a teacher and as a competitor in
Olympic Fencing. With a lifetime of constant study in swordplay and the
ability to translate fencing's fine movement into movement suitable for
the silver screen, as well as having the ability to communicate the
language of the sword and movement to actors and fight performers in
order to get spectacular results in performance on screen. Through the
years Weske has created a system for cinema swordplay that makes
getting in front of the camera quick and safe; this saves production
time and money and has had outstanding, entertaining results. Since
1992 Weske has owned and operated Swordplay, his private training
facility in Burbank and in Reseda California, and has consistently
worked as a Hollywood Sword-master since Swordplay opened its doors.
Swordplay, coupled with Weske's extensive sports background, allows him
to be in constant study of weapons, human movement, and the creative
process involved in making memorable fight sequences.
Weske's personal belief is that the sword fight is about a moment in the character's life that has escalated to violence. The sequence should drive the story with creativity, safety and excitement, and should not be solely about the sword.
Weske's personal belief is that the sword fight is about a moment in the character's life that has escalated to violence. The sequence should drive the story with creativity, safety and excitement, and should not be solely about the sword.