ADRIAN PAUL- MARTIAL ARTS

The longer I study, the more I discover how much I don't know. This applies to a lot of different things, but I've found it to be particularly true in my studies of Martial Arts. Man has always explored new and different ways to immobilize an opponent but the basics will always remain the same. For the past fourteen years I've studied various styles of Martial Arts and have learned that the human body can only move certain ways. Martial arts is an endless maze of complexities that can be used to build character and give you discipline and respect. Sometimes I believe that today with the advent of "new" styles also comes the loss of some of the qualities that founded the basics of the arts. The Martial Arts are not solely for fighting or a public showing of strength. Each individual must determine why they want to study the arts, be diligent in their pursuit of learning, and they will find Martial Arts will unfold many secrets to them.

ADRIAN PAUL - MARTIAL ARTS - ARMED

I have been practicing with the sword for over twelve years now and I cannot presume to know more than a small fraction of what there is to know about it. I have recently discovered a connection between the katana and playing golf. With the katana, it is not how hard you swing, but how you allow the tip of the blade to do the work for you. In golf, it is the connection you make with the ball that makes the movement seem effortless. Again, with the katana, the idea is to make a clean cut and join your spirit with the blade. It has been used for many generations for spiritual and ritual rites and still is used, in certain instances, as the instrument of death with honor in the Japanese ritual of seppuku.

While "Highlander" gave me the opportunity to work with various martial artists, it also afforded me the opportunity to work with many different weapons. I've always had a strong interest in swords and weaponry. Swords have been used by man since the beginning of time. It was considered a weapon of destruction, but paradoxically, was also viewed as a symbol of fair play and strength. Swords today can garner a huge amount of money at auction, not only because of its age, but because of who has handled it. Cultures around the world have created their own types of weapons, each suited to their particular geographic needs. Swords were devised for the various types of fighting. A sabre, which was used by cavalry, has a curve to it so the rider can cut downward on his opponent. The broadsword was weighty, therefore, allowing for slicing through heavy armor. The long Spanish blade was used to keep a man at bay when entering the circle of death, as demonstrated in the episode "Duende" in Season 5 of "Highlander."

On "Highlander," we experimented with various weapons, giving me valuable experience that I wouldn't normally have gotten on another series. Once, I used a staff and although at the time it wasn't my favorite, I didn't fully understand the versatility of the weapon. I have since developed an und erstanding and appreciation for the staff. I had heard that a man who can fight with a staff can defeat anyone, except someone with a gun or the atom bomb. In the series, I had the opportunity of fighting with a spear with two blades and a knife. The forms and techniques I used came from existing techniques that I had studied. One time, I decided to test a theory I had developed. I had read that if you can fight with a weapon, you can fight with your hands. That's when I decided to use a knife in one hand and work it into an existing open hand set. After adjusting some of the movements, I was pleasantly surprised at how easily the knife worked in that kata.

Even with all of the other weaponry used on "Highlander," the katana was Duncan MacLeod's weapon of choice. The katana has a combination of agility and strength that makes it lethal. My first experience with the katana began two years prior to beginning "Highlander-The Series." As with all students working with a new weapon, I had no idea with I was doing with a katana. My teacher taught me the basics, but I managed to get side-tracked in my training. It wasn't until I got the role of Duncan MacLeod that I was plunged head first into the world of the sword. Bob Anderson, the sword master on the series, had an extensive background in sword work. Aside from being the Olympic fencing coach for the British team for 30 years and being sword master on several movies ("Princess Bride," "Highlander I"), he had worked with many movie swashbucklers including Errol Flynn and Douglas Fairbanks, Jr. Bob drilled me on basic thrust and parry positions constantly. If you watch the early episodes of the series, you'll see that the moves were more conducive to fencing and sabre work with a little Japanese sword work added.

After the first season ended, I had decided to incorporate more Chinese elements to Duncan MacLeod's sword techniques so I worked intensively on a Chinese sword form. This was reflected in Duncan's style in Season 2. During the break between Seasons 2 and 3, I continued working on the Chinese techniques and worked in a little Korean style. Season 3 brought with it a new sword master, F. Braun McAsh. F. was incredibly knowledgeable on every sword style ever invented and knew details of where a particular weapon came from, who made it, why it was designed the way it was and how to use it properly. His style was more rigid than mine. Nevertheless, I adapted my style with elements of his style to give my character, who had lived many lifetimes, a multi-level, multi-cultural understanding of sword styles that worked for him. In fighting, "whatever works" is always an important phrase to remember.

Never one to stand in one place for too long, I felt the need to progress in my sword training. I read Iado-The Way of the Sword and some other books on sword techniques. I began analyzing and questioning my studies. How did this particular movement work? Where exactly was I cutting on my imaginary opponent? If I was facing one way doing a move, did it mean I was dealing with that opponent or could he be to the side of me? Or behind me? Was I able to deal with multiple opponents at the same time? The answers to these questions gave me a new perspective when doing the fight sequences. Each opponent was a new experiment for me to try a twist on an old technique. I discovered that no matter what level you achieve, there is always another level above you and always something new to learn.

On the last three seasons of "Highlander," we produced and choreographed many unique fight situations that hadn't been seen on television before. "Duende" showed the Spanish fencing techniques that had been around for centuries. The specific sword and dagger thrusts and parries made the fight sequences difficult and we had a limited time in which to learn those movements (7-10 days). We slipped fifteen minute fight rehearsals in between preparing for other scenes. When choreographing a fight scene, it is always hard for the actors to make it look like it is happening for the first time. An actor works off of his instincts and that can sometimes cause injuries to himself or another actor. You get caught up in the moment of the fight and your adrenaline runs when the camera is rolling. There is a greater chance of forgetting a move, losing your timing, missing a beat and causing injury. In reality, the fight would be over in a few blows resulting in injury or death. Actors must perform the movements of a fight over and over again until the scene looks authentic and unrehearsed.

The last time I was in a heated rehearsal process for sword work was on "Highlander-Endgame," released by Miramax in October 2000. I was intent on creating memorable fights and a memorable style that people would remember. I was teamed with Christopher Lambert, who we wanted to have more of the Japanese style of fighting. This, combined with my flair of the Chinese style, meant the choreography had to be looked at time and time again. We also performed fights from different time periods and again, I was able to learn a lot from doing the numerous rehearsals that it needed to prepare. The hardest thing, however, was the creation of a specific kata that was supposed to be a blend of the two opposing styles. I spent about nine months blending the two opposing styles and creating a kata that was constantly changing and evolving. The hand positions, the focus on cuts, parries and thrusts were all closely looked at. Unfortunately, it was eventually never seen because only a portion of it was ever shot. Luckily, I still have most of the kata rehearsals on tape. Maybe it wasn’t meant for the viewing public at that time. Maybe destiny had it in mind to teach me something else. Maybe I’ll show it to you one day.

ADRIAN PAUL - MARTIAL ARTS - UNARMED

When I was younger, I wasn't interested in the martial arts. I was more interested in playing sports and chasing girls. My aggressiveness came to the forefront in high school where competitiveness among boys was prevalent. Whether it was on the rugby field or vying for the attention of a pretty girl, I quickly realized that there was more to fighting than just throwing a punch. I took martial arts classes to learn more about fighting. It soon became apparent to me that martial arts is very misunderstood. Martial arts instructors come from many different backgrounds and cultures, and sometimes the old values and techniques are lost in the translation, so to speak.

I began my studies in martial arts with kickboxing and Tae Kwon Do in the Un ited States. After training for a couple of years, I discovered that I wanted more from my martial arts studies. After looking around at a couple of other styles, I was eventually introduced to Hung Gar Kung Fu. It suited my body type and movement and I gravitated toward its mixture of hard and soft styles. I've been asked on many occasions for advice on which martial arts style someone should take and my answer remains the same. Study a style that is comfortable for you. You will also need to find the right instructor by studying their background and philosophies. An instructor who can show you a few moves is easy once you have studied the basics, but a deeper knowledge and proficiency of the martial art is essential. Being a martial artist is like being a painter. You have to paint using all of the colors of the rainbow, not just one of them. Otherwise, your painting will be one dimensional and will never have the richness it deserves.

Kung Fu or Gung Fu, meaning "hard work," has a long history dating back as far as 2000 years ago to the Shaolin Temple of the Hunan province of Northern China. The Indian monk, Damo, introduced a series of exercises known as the 18 Lo Han motions to the frail Shaolin priests. These exercises stimulated bones, muscles and organs, and completed a three-part harmony of body, mind and spirit. They developed the 72 movements and self-defense postures that are the foundation of Kung Fu today. Many stories exist of how the different styles evolved. Styles were constantly mixed with each other to create a "new" style. Martial arts from around the world have developed in a similar way. Mixing cultural and regional boundaries perfected specific types of martial arts that were indigenous only to that area. The Polynesians created an art called Lua, which was used by their own King Kamehameha, who united and conquered the islands of Hawaii. The practice was intertwined with the ancient healing arts and the legends of the Gods of Hawaii.

In India, where arguably can be found the origins of martial arts, you can still see today the importance that religion has with the martial art element of the culture. Likewise, in Brazil, their martial continue to be created through the influx of cultures from around the globe. Warfare is a component of every country's history and through warfare came proven techniques. The Philippines have possibly been one of the most invaded countries in the world. The cultural aspects of the many islands helped shape the fighting styles that were used against the Spanish, Chinese, Japanese, Portuguese and the many others who came to conquer.