CREDIT AND ARCHIVE
Selected work from my career in film, television, stunts, comedy, video games, publishing, and Blu-ray special features—with stories and insights from behind the scenes.
These projects reflect the many ways I’ve worked to bring ideas to life: through performance, writing, action, interviews, and filmmaking. Each experience continues to inform my work today, including the cinematic sports and action storytelling I create through Reel Kinetic Films.
NOTE: THIS SECTION IS STILL UNDER CONSTRUCTION- SO PLEASE COME BACK OFTEN TO TAKE A LOOK AT THE ADDITIONS AND CHANGES
CINEMATOGRAPHY & CAMERA OPERATION
UNTITLED BYRON SCOTT GOLF PROJECT
A-CAMERA OPERATOR
Director & Producer: Paul Factora
With NBA Laker Legend Byron Scott and Actor/Comedian Anthony Anderson
Finding the Frame as the Story Unfolds
This project is still in progress, so I can’t share much yet. My thanks to the director/producer for allowing me to share these frame captures from footage I shot.
The Sony FX6 paired with the Sony 70–200mm f/2.8 GM II lens was a dream to work with on this run-and-gun production, helping me respond quickly as the action unfolded.
LA CHISPA QUE ENCENDIO LA INTELIGENCIA ARTIFICIAL
“The Spark that Ignites Artificial Intelligence”
CAMERA OPERATOR
Director: Rafael Sigler
DOP: Kak Lee
Vertical series · 10 episodes
A Different Frame. The Same Attention to Story.
I served as camera operator alongside the director of photography on this office-based, talking-head production, shooting with a Blackmagic Pocket Cinema Camera. The creative challenge was making those conversations visually engaging within a vertical frame.
I approached the format with the same attention to composition and depth I would bring to a widescreen image, looking for ways to give the setting a cinematic feel within its narrower proportions.
WAY OF THE BALISONG
SEGMENT CINEMATOGRAPHER
Director: Paul Factora
Reconstructing a Moment and Its Aftermath
For this documentary reenactment, I used my Panasonic GH5 and Meike cinema lenses to help recreate an accident and its impact on the man who experienced it.
My focus was on creating mood and using depth of field to guide the viewer’s attention, giving the images an emotional connection to the experience being recounted.
2022 BURBANK INTERNATIONAL FILM FESTIVAL
CAMERA OPERATOR • INTERVIEWER
Behind the Work
My work at the festival included filming the keynote speaker, operating camera on the red carpet, covering cast-and-crew Q&A sessions after select screenings, interviewing award winners after the ceremony, and capturing the after-party events.
On the red carpet, the goal was to capture quick snippets and brief impressions of the festival. With other press crews working alongside me and guests heading into screenings, I had to keep the conversations concise and be mindful of the flow of the event.
The post-screening Q&A sessions offered a chance to capture filmmakers and performers discussing their work directly with the audience. The after-party coverage added another side of the festival: the atmosphere and informal moments beyond the screenings and ceremony.
The post-awards interviews offered a different environment. With just the award winners and me in the room, I set up my own lighting and gave each conversation more time and attention.
The experience reinforced the importance of reading the situation: knowing when to get a brief response and keep things moving, when to observe an exchange with an audience, and when to slow down, listen, and give someone room to tell their story.
STUNT COORDINATING & 2ND-UNIT DIRECTING
LOS ANGELES TIMES
THEATRICAL COMMERCIAL
Featuring Yuen Cheung-Yan and his famous wire stunt work.
Narrated by Ben Affleck
STUNT COORDINATOR
Director Paul Raimondi
Raimondi Films
LA Times · AMC Theaters
LA Times Theatrical Commercial
Behind the Work
Early in my stunt coordinating career, I had the incredible honor of serving as Yuen Cheung-Yan’s stunt coordinator on this LA Times commercial, which ran in all AMC theaters for several years. Master Yuen’s stunt team was an elite group that included Paco Yick and Max Zhang. Having him and his team trust me with that responsibility meant a great deal to me.
I had previously worked on The Master, where fellow Yuen clan team member Brandy Yuen served as fight director. That experience gave me firsthand insight into Hong Kong action filmmaking. It helped me understand Master Yuen’s team’s working methods—and explain to the director and producers the reasoning behind an approach that could be unfamiliar to Western filmmakers.
The experience taught me that stunt coordination also requires communication: understanding how people work, translating their intentions, and building trust between teams with different filmmaking backgrounds. Knowing the action was only part of the job. Helping everyone understand how we would achieve it was equally essential.
This project also qualified me to become a voting member of the Taurus World Stunt Awards, marking an important milestone in my career.
The theatrical commercial can be seen here.
https://youtu.be/Q5ud7cROXbg?si=jveY2x6ORVVjWoal
AUCTION HUNTERS
Season 4- Episode 7
Flying Ton, Creeping Allen
STUNT COORDINATOR · 2ND UNIT DIRECTOR· STUNT HISTORIAN
Director: Ian Gelfand
Spike TV
Auction Hunters
Behind the Work
On this episode of Auction Hunters, I served in three roles: Stunt Coordinator, On-Camera Stunt Historian, and Second Unit Director.
Allen Haff and “Ton” Jones discovered vintage jerk vests in a storage unit they had won at auction. These harnesses were used in Westerns during the 1940s and ’50s to assist stunt performers with falls from horses, saloon balconies, and other action sequences.
They invited me onto the show to identify the equipment, explain its history, and discuss buying it. Our negotiation came with an unusual condition: we would put Allen and Ton on wires against a green screen and create a fight scene inspired by Crouching Tiger, Hidden Dragon.
Behind the scenes, the biggest challenge was finding and building a rig that could safely support Ton, who weighed over 300 pounds. Fortunately, he had performed in a live Western show and understood how to work with the wire team and distribute his weight during assisted movement.
For Allen, wire work was a new experience. We adapted the setup and brought the additional technicians hired for Ton over to assist Allen, giving him the support he needed to get comfortable with the choreography. Each performer required a different approach, and the crew adjusted accordingly.
As we worked through the sequence, I explained to the director how the shots would connect to make the action clear and convincing. That conversation led him to appoint me second unit director on the spot.
The experience reinforced how much action filmmaking depends on adapting to the people in front of the camera. Equipment, choreography, camera placement, and editing all have to work together—and that starts with a crew that communicates well. I’m grateful to Action Factory and all the wire assist technicians whose expertise helped bring the sequence to life.
BATTLE B-BOY
PRODUCER · STUNT COORDINATOR · ACTOR
Director: Frank Lin
Producer: Jeff Lam
BATTLE B-BOY
Producer / Stunt Coordinator / Fight Choreographer / Actor — “Jimmy”
Director: Frank Lin
BATTLE B-BOY TRAILER
https://youtu.be/RySVn2J49FY?si=JPm1RHzyZqswiMjZ
The producer and director approached me with an unusual question: could B-Boy dancers fight using their dance movements? I immediately saw the possibilities. The more we explored what each dancer could do, the more those possibilities grew. One fight scene became two, then three, four, five, six—and kept expanding.
We had roughly four to six weeks to prepare while the dancers continued working their regular gigs. Rehearsals often began after their shows, running late into the night and through the early morning.
What fascinated me was that every dancer had a distinct style and a personal reason for dancing. I recognized a parallel with martial arts: different systems, different approaches, different ways of expressing yourself through movement. My goal was to understand that individuality and translate it into a nonverbal narrative, so each fight revealed something about the person performing it.
Their willingness to experiment made the process invigorating. Every rehearsal brought another opportunity to try something new. They were fearless in their approach to unfamiliar choreography, and I felt each had the potential to become a stunt professional in their own right.
Battle B-Boy remains one of my most rewarding collaborations—a chance to build a fighting language around the performers’ own movement and imagination.W
i
Winner — Best Independent Film
8th Chinese American Film Festival
REVIEWS
“BATTLE B-BOY may just be the most-underrated martial arts action film of 2012.”
— Albert Valentin
“I had no idea what to expect with this movie, so imagine my surprise when someone has actually come up with an original idea. That’s right, it’s not really like anything I’ve seen before.”
— The Action Elite
“…one of the most memorable films in recent martial arts cinema history.”
— Film Combat Syndicate
PAYING MR. McGETTY
ASSOCIATE PRODUCER · STUNT COORDINATOR
TRADITIONZ FILMS
PAYING MR. McGETTY
ASSOCIATE PRODUCER · STUNT COORDINATOR
TRADITIONZ FILMS
Before I worked in entertainment, I was a martial arts geek. I trained six days a week, watched anything connected to martial arts, and was a huge fan of Don “The Dragon” Wilson, then a world kickboxing champion. So I was flabbergasted when his brother James asked me to stunt coordinate Don’s next film, Paying Mr. McGetty.
When Don and I met, I asked what he was comfortable doing and whether he wanted to try something different with the fights. He was open to my ideas. I flew to St. Petersburg, Florida, for the shoot, where I also got to work with my friend Marcus Taylor in the lead role. I couldn’t bring my regular stunt team, so I held a large audition for local performers. They impressed me, and I’m still close with several members of that team today.
The schedule gave us no time to rehearse the Florida action scenes. We put them together on set as we shot. One of the highlights was filming the final fight at the Tampa Bay Rowdies stadium.
After we returned to Los Angeles, the production needed another fight scene. This time I had room to explore. I watched Don’s films again and shot several previs possibilities, standing in for him so I could show him what I had in mind. Don told me he had wrestled in school, which led me to bring grappling and Japanese jujitsu into the choreography. It suited his background and gave him ways to control one opponent while taking on another. For the Los Angeles shoot, I brought in several stunt fighters I’d worked with for years.
Another highlight came as a surprise. Light heavyweight kickboxing champion Jeff Smith was in town on business, stopped by to say hello, and ended up with a cameo. Jeff had been one of my heroes growing up, too. Working with him and Don on the same film felt like a true blessing. They were two of the people who inspired me to pursue martial arts and film, and now I had the chance to create something with them.
AWARDS
Winner — Best Action/Adventure Film, Melbourne Independent Filmmakers Festival
R. Marcos Taylor — Best Actor, Burbank International Film Festival
COLLEGE HUMOR · DUMBDUMB PRODUCTIONS
College Humor is now known as Dropout
STUNT COORDINATOR · FIGHT CHOREOGRAPHER
COLLEGE HUMOR
STUNT COORDINATOR · FIGHT CHOREOGRAPHER
For several years, I served as CollegeHumor’s house stunt coordinator, regularly returning to coordinate action for comedy sketches, branded shorts and television pilots. The creative environment felt like a miniature Saturday Night Live: ideas were pitched, developed and brought to life through production.
What I appreciated most about CollegeHumor was that every time they called, they had something wildly creative for me to tackle: fighting Jonathan Banks with kendo swords in full uniform inside an active car wash; office workers turning on a colleague who wouldn’t stop talking about getting no sleep; a terminally ill woman valiantly battling Space Bears; or coworkers attacking a woman because they’d had enough of her chronic sneezing.
My background in stand-up comedy gave me a particular appreciation for their thinking. I understood the appeal of taking an absurd premise seriously and how timing, reactions and escalation could make the action part of the joke.
Each premise pushed me to think outside the box, designing action that served the comedy while keeping performers safe. Their very short shooting schedules meant I had to turn those unusual ideas into workable choreography quickly.
.Selected Projects
Call It a Wash — Subaru / TBS
DumbDumb Productions | Director: Jerry Collins
Stunt Coordinator / Actor — “Master Ren”
CALL IT A WASH https://youtu.be/XCvWsxo2EwM?si=LOn9eOXf_7B989O1
Featherweight — Television Pilot
CollegeHumor | Director: Tony Yacenda
Stunt/Fight Coordinator
CollegeHumor Originals
Stunt Coordinator on sketches including No Sleep, After 4 Sneezes the World Turns Against You and What Happens Next.
I GOT NO SLEEP LAST NIGHT
https://youtu.be/Y9Cald-OCPA?si=mcoHqq2skeFbtmp-
OUTTAKES- I GOT NO SLEEP LAST NIGHT
https://youtu.be/wVsBBuRVXMg?si=cXZIOZeT-_Ba79rY
AFTER 4 SNEEZES THE WORLD TURNS AGAINST YOU
https://youtu.be/ueSHU8SlV2c?si=fFQgx0UzltYRYaAt
THE GREEN HORNET COMMERCIAL
STUNT COORDINATOR · STUNT PERFORMER · ACTOR
Director: R. Wong
FX Channel
THE GREEN HORNET — FX CHANNEL PROMO
Stunt Coordinator · Actor — “Kato” · Fight Choreographer
Before I officially became a stunt coordinator, I was invited to play Kato in an FX Channel promo alongside Van Williams, the original television Green Hornet. I recruited friends and students to perform the alley fight sequence. I knew their timing, and they were comfortable with how I worked, which gave us a foundation for the action I designed.
Over lunch, Van shared stories about working with Bruce Lee and what life was like on the show. But nothing prepared me for the moment the cameras rolled.
In our scene, I had just fought off a group of thugs in the alley. Van heard the commotion, looked directly at me, and became Britt Reid. There was a change in his presence that I could feel.
“What the heck is going on out there…Kato?”
I froze.
Suddenly, I was the kid sitting in front of the television watching The Green Hornet, while also standing there in my adult body, acting opposite its star. Both experiences seemed to exist at once. It was surreal, and I waited too long to deliver my reply: “Just taking care of some thugs over at Nickelodeon.”
I asked the director for another take, apologized to Van, and explained what had gone through my mind.
“No worries! Let’s do it again,” he said.
Then he paused, thought about it, and looked at me.
“Come to think about this, the last time I called anyone Kato…was Bruce!”
My jaw dropped. Van smiled at me, and in that moment, I felt he believed I was the right person to be there.
The experience went beyond a childhood dream come true. I got to act opposite Van Williams, create and choreograph my own fight scene as Kato, and drive one of the original Black Beauty cars from the television show. Bruce Lee and The Green Hornet had meant more to me growing up than I could comprehend as a child. Now I was contributing my own creativity to something that had helped shape me.
Afterward, I always made time to see Van whenever he appeared at an autograph show or public event. No matter how long his line was, he would spot me and say, “There’s my Kato!” followed by a big hug.
That experience reminded me how important it is to protect your dreams and aspirations, no matter what anyone says or does to discourage you. Working in entertainment can create opportunities you never imagined possible. You still have to be open to them and ready to contribute when they arrive.
I could never have imagined those moments as a child. No amount of money could replace what they meant to me.
THE ROGER CORMAN FILMS
HARD AS NAILS · SLAUGHTER STUDIOS · SHAKEDOWN
STUNT COORDINATOR
Director: Brian Katkin
Producer: Damian Akhavi
Executive Producer: Roger Corman
Three Films with Roger Corman’s Production Company
HARD AS NAILS · SLAUGHTER STUDIOS · SHAKEDOWN
STUNT COORDINATOR
Working for Roger Corman’s production company was a trial by fire. I stunt coordinated three films he executive produced, each with a different set of demands. His assistant later told me Corman was pleased with our work: my stunt team came prepared, needed few takes, and often helped get the production back on schedule.
HARD AS NAILS TRAILER
https://youtu.be/njTjEU0SOAM?si=Eotbdo--G0mZmjUY
Hard As Nails was shot in seven days. During some of the longer 18 to 36-hour stretches, I slept at Corman’s Venice studio lot. We were shooting on 16mm short ends left over from The Black Scorpion TV series, so the director would tell me exactly how many minutes—or seconds—of film we had for a sequence. Everyone on the stunt team had to keep that limit in mind while performing. For the finale, roughly 25 stunt professionals combined martial arts with John Woo-style gunplay. The Matrix had just come out, and the director wanted Hong Kong fight timing captured in wide masters.
SLAUGHTER STUDIOS TRAILER
https://youtu.be/cFR7mP5dpIs?si=6kGQfT3ZxNuVZmzP
Slaughter Studios was my first horror film. The director wanted the fights rough and desperate, with scares built into the action, so I drew on grappling and professional wrestling instead of polished martial arts. We were encouraged to use what we found around the studio yard. A circular saw blade, a dry-docked boat, an anchor, and even a detached plane wing became part of the chase and fight. The freedom to experiment made it one of the most enjoyable stunt jobs I’d had.
SHAKEDOWN TRAILER
https://youtu.be/1P0ZFTG4bjE?si=nEuh4pJaB4tRwuhU
Shakedown was filmed in a three-story former Sears building in Los Angeles. The space was large enough to stage car chases on one floor. With a stunt crew of roughly 30 to 40 people on set most days, I choreographed brawls, car chases, and gunplay, and built rigs and set pieces, with special effects woven into the action. Working on that scale, alongside leads Wolf Larson, Erika Eleniak, and Ron Perlman, felt like a milestone.
I wanted to work with Corman’s company because the films got made and reached audiences. Those three productions gave me the confidence to solve problems under pressure and lead a stunt team through whatever the day demanded.
THE ACTION ICON AWARDS
Stunt Coordinator & Instructor | 2009–2011
Action Icon Awards
Stunt Coordinator & Instructor | 2009–2011
For three consecutive years, I coordinated stunts and choreographed action for the Action Icon Awards, created by veteran stuntwoman LaFaye Baker to celebrate stuntwomen and women in action entertainment and benefit the Diamond in the RAW Foundation.
Each year, the award show recognized stunt professionals and inspiring women in entertainment and sports. During my time with the show, honorees included Jamie Lee Curtis, Vivica A. Fox, Nancy Lieberman, Lindsay Wagner, Pam Grier, and Lee Meriwether.
The event grew each year. By my final year, it had become a four-day affair featuring intensive classes exploring different aspects of the stunt profession. Alongside coordinating the show’s action, I taught camera angles and setups for fight scenes—showing how camera placement and choreography work together to bring action to the screen.
STUNT PERFORMER
SCOUT’S GUIDE TO THE ZOMBIE APOCALYPSE
STUNT PERFORMER · SHOP KEEPER · ZOMBIE
Stunt Coordinator: Mike Gunther
Special Makeup Effects Designer: Tony Gardner
Director: Christopher Landon
Paramount Pictures
THE MASTER
黃飛鴻'92之龍行天下
STUNT PERFORMER · GANG MEMBER
Fight Director: Brandy Yuen Jan-Yeung 袁振洋
Director: Tsui Hark 徐克
Golden Harvest
MARTIAL ARTS
VIDEOGAMES
COMEDY
WRITING
FIGHT CHOREOGRAPHY: THE ART OF NON-VERBAL DIALOGUE
PUBLISHER: CENGAGE LEARNING
BOSTON, MA
".Praise for Fight Choreography
“…one of the most impressive books I've ever read about fight choreography and should be essential reading, not only to stunt fighters and film-makers, but any full blooded fan of the fight-film genre. Kreng doesn't try to lecture, but he gets his point across as you realize this is someone who is still a fan of the genre, but also works within the genre and has been on the receiving end of the action beats he talks about.”
Mike Leeder
Impact Magazine (UK)
“Kreng knows what he is talking about…The book’s 12 chapters explain the intangible aspects of movie fight scenes that karate schools or acting class just can’t teach you.”
Patrick Vuong
Black Belt Magazine
“This is the first time in any language that a real unifying approach of how to mix all the cinematic elements of fight choreography has been engagingly detailed into a veritable know-how of historical and technical clarity.... Solidly lays down a path for anybody interested in learning the process of creating a simple or stylized fight scene for TV, film, stage and videogames…. Any university that claims to have reputable Film Departments or intense extension programs that boast about providing complete curriculums and courses that fully prepare their students for a career in film, TV and video production, should use ‘Fight Choreography’ as a required text.”
Dr. Craig Reid
Kung Fu Cinema.com
“If you’re planning a low-budget ‘starter’ film with a couple of brief action sequences, intending to work your way up the budget scale, you’ll probably use this book until the spine breaks and the pages fall out. Trust me, this is a compliment! Even for someone who only intends to a few fight sequences, this book could save them from some costly mistakes. Plus, a reader may just discover a whole new love in fight choreography!”
Monika Deleeuw-Taylor
Microfilmmaker.com
“First, my background, I have been a professional stuntman for over fifteen years. Most of my work has consisted of fighting onscreen, against some well-known action stars (Van Damme, ‘Rowdy’ Roddy Piper, and Russell Wong, to name a few). I am only one third through this book, got it a couple days ago. I have yet to see anything so concise and to the point on the subject of fighting for the camera. Even professionals will learn something. If you really want learn how to be a great ‘screen’ fighter, then this book should be in your library.”
Jason C. Leboeuf
Professional Stuntman
I wrote Fight Choreography: The Art of Non-Verbal Dialogue because I hadn’t found a book that explored the subject in the depth I felt it deserved. So I decided to take on that challenge.
It took a little over three years to write. The manuscript I submitted was more than 1,000 pages; the published book was more than 800. Along the way, I passed up a lot of stunt work to give the book the time and attention it needed.
My goal was to make fight choreography understandable to both filmmakers and the general public. I wanted Western audiences to develop the kind of appreciation I saw among Hong Kong film audiences, who would go see a movie based on who choreographed the action. I wanted people to recognize the choreographer’s artistry and understand how a fight can tell a story.
My hope was that a more knowledgeable audience would challenge filmmakers to raise their standards. Today, the book is required reading at several film schools and universities.
I had planned to write a sequel, but those plans were interrupted when the publisher went out of business, with online piracy and other factors contributing to its closure.
Did I accomplish everything I set out to do? I’m still not sure. But knowing the book is helping educate future filmmakers means a lot to me.
A TRIBUTE TO BRUCE LEE & 25TH ANNIVERSARY OF ENTER THE DRAGON
I grew up a complete Bruce Lee geek, reading nearly every book and magazine article I could find about him. Years later, I became the coordinating editor, project supervisor, and sole writer of the Enter the Dragon 25th Anniversary special. I interviewed 11 of Bruce’s friends, students, and family members, asking questions I hadn’t seen covered and bringing their memories together in the issue I would have loved to read growing up.
A clip from Kung Fu/Tai-Chi’s 10th Anniversary issue
JET LI: INTRODUCING A MARTIAL ARTS STAR TO NORTH AMERICA
I helped introduce Jet Li to North American readers with his first magazine cover appearance in the region, reviewing his pre-Lethal Weapon 4 filmography and writing his biography. The issue sold out within its first week.
I also interviewed him for Lethal Weapon 4, and our conversation included memories of working together on The Master—a shared history that gave the interview a personal connection.
JACKIE CHAN: THE INTERVIEW
My first paid assignment for TC Media began with a night at the movies. I took my karate students to see a Jackie Chan film in San Gabriel, and over dinner afterward, we kept coming back to the same question: How did he do those stunts?
A friend who edited for TC Media had previously asked me to interview Jackie, but our schedules hadn’t lined up. I called her with the questions from that dinner; she agreed, and the next day I was on the phone with him. A planned 20-minute interview ran nearly 90 minutes. When I mentioned that I’d seen his films since 1977, he assumed I meant his U.S. releases. Then I asked about specific stunts in films that hadn’t been released here. He stopped me: “Wait! You have seen every movie I made since 1977!”
That conversation became my first paid piece for TC Media.
Another clip from Kung Fu/Tai-Chi’s 10th Anniversary issue
BLU-RAY SPECIAL FEATURES
(SELECTED TITLES- complete list at the end of this section)
Behind the Camera: Blu-ray Special Features
My work on Blu-ray special features spans multiple roles: director, segment producer, interviewer, camera operator, editor, film historian, and special consultant. From behind-the-scenes production to on-camera commentary, I help bring the stories of action cinema—and the people who created it—to audiences.
For this interview with martial arts film legend Delon Tan, I operated B and C cameras, working with director and producer Michael Worth. I later developed a color study to explore the footage’s visual potential; Michael handled the final color treatment for the release.
Capture Details
Sony FX3 · SIRUI Venus 150mm and 35mm T2.9 Anamorphic
4K UHD · 23.976 fps · XAVC S · 10-bit 4:2:2
S-Log3 / S-Gamut3.Cine
Explore the lighting, framing, anamorphic lens choices, and color process behind this interview in Field Notes #007.
Read “From Capture to Color: Shaping the Look of an Interview” →
KING BOXER aka FIVE FINGERS OF DEATH — SPECIAL FEATURES
Field Producer, Director, Writer & Off-Camera Interviewer
Interview with director Chang-Hwa Jeong
Dragon Dynasty / Genius Products
WHEELS ON MEALS — SPECIAL FEATURES
Field Producer, Director, Writer & Off-Camera Interviewer
King of the Ring: Keith Vitali
Jet Fighter: Benny Urquidez
Hong Kong Legends / Contender Group / Entertainment One
My involvement in Jet Fighter and King of the Ring extended beyond filming the interviews. I had known Keith Vitali for over 30 years and had trained with him, and I was currently training with Benny “The Jet” Urquidez at the time. Through those relationships, I personally secured both interviews, bringing a foundation of familiarity and trust to the conversations.
ABOVE THE LAW aka RIGHTING WRONGS — SPECIAL FEATURES
Field Producer, Director, Stunt Coordinator, Writer, Off-Camera Interviewer
From the Ring to the Screen: An Interview with Peter Cunningham
Action Overload: An Interview with Cynthia Rothrock
Dragon Dynasty / Genius Products
FIST OF FURY (PLATINUM EDITION) — SPECIAL FEATURES
Field Producer, Director, Writer, Off-Camera Interviewer
Legacy of a Master: An Interview with Jeff Imada
Hong Kong Legends/ Contender Group/ Entertainment One
THE MASTER (1992)
Golden Harvest
Hong Kong Legends / Contender Group / Entertainment One
Field Producer · Interview Subject
The Insider: An Exclusive Interview with Stuntman and Author John Kreng
SEVEN SWORDS (2005)
Film Workshop/ Mandarin Films
Genius Products
Deleted Scenes Assembly Supervisor
Supervised the selection and assembly of deleted scenes for the DVD and Blu-ray special features of Seven Swords.
WHEELS ON MEALS (1984)
Golden Harvest
Hong Kong Legends / Contender Group / Entertainment One
Field Producer · Director · Off-Camera Interviewer · Writer
King of the Ring: Keith Vitali
Jet Fighter: Benny Urquidez
Behind the Work
My involvement in Jet Fighter and King of the Ring extended beyond filming the interviews. I had known Keith Vitali for over 30 years and had trained with him, and I was training with Benny “The Jet” Urquidez at the time. Through those relationships, I helped arrange both interviews, bringing a foundation of familiarity and trust to the conversations.
ACTION FILM HISTORIAN
(SELECTED TITLES)
BATMAN: SOUL OF THE DRAGON
Batman: Raw Groove- Film and Martial Arts Historian
WARNER BROTHERS
VENGEANCE TRILOGY
Contributing essayist-Oldboy
PALISADES/ TARTAN
HONG KONG NEW WAVE ESSENTIALS
Featured Film Historian in three documentaries
“Brush Strokes: A Look Into Painted Faces”
“The Story Behind My Son”
“Jade Vases”
SHOUT FACTORY
THE GAME OF CLONES:
BRUCEPLOITATION COLLECTION
On-camera historian interviews featured throughout the collection
SEVERIN FILMS
THE BRONSON LEE- ZA KARATE COLLECTION
Audio commentary on Za Karate 3
SEVERIN FILMS
BRUCE LEE AT GOLDEN HARVEST
On-camera historian interviews featured
throughout the collection
ARROW VIDEO (UK)
THE MASTER
An Interview with actor/ stuntman John Kreng
88 FILMS
POLICE STORY III: SUPER COP
Interview with Stunt Coordinator and Action Film Historian John Kreng
EUREKA (UK)
THE BASHER BOX SET
Creative Chaos: The Basher Genre:
an interview with Michael Worth
and Action Choreographer John Kreng
VCI ENTERTAINMENT
THE MIRACLE FIGHTERS
The Shakespeare of Yuen Woo-ping- Film Historian
EUREKA ENTERTAINMENT
SNAKE IN THE EAGLE’S SHADOW
Audio Commentary
88 FILMS
YOUNG BRUCE LEE
Memories of a Master- Bruce Lee Historian
CINE-ASIA
This is the body of work behind the eye.
Every discipline shown here — martial arts, comedy, writing, video games, stunts, documentary interviews, film history, and sports — shapes how Reel Kinetic Media sees movement, pressure, audience reaction, story structure, and emotional impact.
Reel Kinetic exists to make live sports feel as powerful on screen as they felt in the moment — and to help teams, athletes, events, and brands turn that feeling into attention, identity, and momentum.
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