|
Reclaiming the Blade
|
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When men were to |
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the predominant object |
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'Cause when I have done |
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I've always thought about: |
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Often these things were |
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They're such a part |
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The Medieval |
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a profound |
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handcrafted by |
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It is designed to kill. |
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The truth of the sword |
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and the Renaissance martial arts |
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are long forgotten. |
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The ancient practitioners |
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through their manuscripts. |
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As gunslingers |
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they were the western heroes |
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They lived and died by them. |
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Yet today, their history |
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under a shadow of legend. |
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Before the invention |
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the sword was |
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The sword probably has not |
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for at least 200 years. |
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To think that a pummel, |
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a very simple object |
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over thousands of years |
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These objects have really |
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and where we are today. |
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Swords have been used |
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to defend people and land, |
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and to protect kingdoms |
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From 1st century wars |
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to the Viking |
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sword and steel have |
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the map of Europe and ultimately |
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Their essential role |
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goes back far into |
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The connection between |
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may perhaps find its |
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of the Germanic |
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Here, being armed with a sword |
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but also a duty |
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In fact, the ceremony |
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required that |
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be presented with |
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Many British kings chose to |
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and to supplement the militia |
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rather than abolish it. |
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The idea of a free militia |
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presents an interesting concept |
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that is reflected |
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The sword is as relevant today |
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as it was in ages past, |
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civic emblems, and insignia |
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It has been an ancient symbol |
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for purity, justice |
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The iconic power of the sword |
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from literature to |
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nowhere is it more celebrated |
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There's a definite symbolism |
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of every story |
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The sword combines |
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and the threat of impending |
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which might be hanging |
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until the moment |
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I think there's something |
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2 guys going at it |
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To fight someone with a sword |
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with a gun, I think |
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It's conflict at its most raw |
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looking at each other eye to eye |
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And the stakes are higher |
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You are right there in the end |
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is an extension |
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so it's really |
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It suddenly is a realm |
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of heroes, of adventures. |
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That would explain to a large |
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They're, you know, |
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Our technology has progressed |
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as an object of personal |
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it's still irrelevant, don't |
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the extent to which |
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the image of the sword, |
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the symbolic importance |
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I mean, it's hard to |
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or go to the cinema, |
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without still being |
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Our stories and movies contain |
| 00:07:37 |
that we only wish we could |
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I've had the honor really-- |
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of working with Bob Anderson |
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In all of the fights that |
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and indeed as a modern fencer, |
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has undoubtedly been |
| 00:07:59 |
Others who have worked |
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that you always want to give |
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the choreography |
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Even his presence, |
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suddenly you have to pick |
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The first time I met |
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on the set of |
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He turns around and |
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"Well, I'm going to show you |
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save your life today, mate." |
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And so he proceeded to show |
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and thrusting and |
| 00:08:28 |
And the guy who came after him |
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"Oh, do you realize |
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And I was like, |
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"Well, that's |
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"He, you know, he used |
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and you know, has worked for |
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And I said, "Oh really, |
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Why don't you give up? |
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You can see |
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Errol Flynn was a very |
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who could do anything |
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And that's why he became |
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is because the parts that |
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in those days-- |
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fighting at the end, |
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Douglas Fairbanks stuff |
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Then he said, |
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He was actually in |
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actually doing all |
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And I was like... |
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that sort of struck |
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Oh, Darth Vader, yes. |
| 00:09:23 |
It's just a cloak and a helmet |
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I did choreograph the fights. |
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I did 3 of those. |
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It was good work for me. |
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It became the weapon of choice |
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Indeed even, it seems |
| 00:09:42 |
a science-fiction movie |
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they can't seem to escape |
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I wonder why that is? |
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What is it? |
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It's your father's |
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This is a weapon |
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Not as clumsy or random |
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An elegant weapon |
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To go into the future and |
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that's brilliant. |
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Suddenly "Star Wars" |
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it's also a modern version |
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"The Princess Bride" |
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and everybody tells me |
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I've choreographed. |
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You seem like |
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I hate to kill you. |
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You seem like |
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I hate to die. |
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They learned to fight |
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Then why are you smiling? |
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Because I know something |
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And what is that? |
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I am not left-handed. |
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And then they do it again |
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to his right hand. |
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I'm not left-handed either. |
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Johnny is about as good |
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He can transform what |
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into a character. |
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You know what you are doing, |
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Excellent form, |
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Viggo came running in |
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and I stuck a sword in |
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20 stuntmen in almost |
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When all the stunties |
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the other end of the room |
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like looking around |
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And then all of a sudden |
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and they're like running towards |
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had his sword up. |
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Apparently, |
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He didn't run away, |
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Okay, I think I can |
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He had a lot to learn. |
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He did, I thought he |
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You know, it was hard work |
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and demanding |
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But it was mostly fun |
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a boyhood dream come true. |
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You know, I got to |
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There were real enemies, |
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It's important that the people |
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and you trust them and you |
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highly-detailed choreography |
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of when you actually get |
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And then really the tough |
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Especially when you are |
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and weighed down |
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I thought it was some of |
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I had seen in |
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A lot of the stuff the stunt |
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And they did |
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He is much more than |
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that directors have been well |
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A sort of a regal refined |
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in the midst |
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It was an honor to work |
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Not just about sword fighting |
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about being a gentleman, |
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and a respect for the weapon. |
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The swords were very well |
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John Howe's |
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I really enjoyed getting |
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"The Lord of the Rings" swords |
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because it was always |
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and making the blades slimmer |
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making it more real, |
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even though we are not |
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The actor may turn up a year, |
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after you first started |
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It's therefore a great thing |
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the weapon to the actor. |
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I really enjoyed working |
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and all the people at |
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like Bob Anderson, |
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The attention to detail that |
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that may not necessarily |
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at least not on first viewing, |
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As an actor it was wonderful |
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you know, really help transport |
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I liken our effects workshop as |
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around the world, to be similar |
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of the years past. |
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This is a gathering |
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of craftspeople working |
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of different artistic skills |
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It's a really exciting |
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As a designer you can |
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You can draw hundreds, hundreds |
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but if the man making them |
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you know, it's-- |
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We're incredibly fortunate to |
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who was the metal worker, |
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And he's someone who understands |
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and he did these |
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The forging techniques I use |
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and some ways they're different |
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With sword blades I'll start |
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Usually, I'll cut and grind that |
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We use bronze, wood, leather, |
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that were used in period. |
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The main difference really, |
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with mass production |
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that we can get things to |
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And essentially they're a lot |
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The style of the sword, |
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the aging on it, they all |
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whether this character |
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whether they're |
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It's a really |
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when the actors begin |
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Bob very much encouraged you |
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which in some cases |
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Yes, it's only a movie, but, |
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it's not a movie, |
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Actors on the stage |
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through real-time |
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Doing it on the stage |
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They have to |
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On the films you can take |
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film it, do it once, twice, |
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You get one chance on stage. |
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But you've got to be really good |
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When you've gone to the cut, |
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you turn, and your hand is |
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you transfer that |
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You try to hit him |
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with the cross part |
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Now if he hangs on to his |
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and you hit him under |
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But he knows that, |
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Then I go to hit him, |
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and that's why |
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The thing that we call |
| 00:18:13 |
is which leads you |
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In the 18th century the move |
| 00:18:20 |
We attack each other's chest, |
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I stretch him on the lunge, and |
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So there is the same movement |
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with different weapons |
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All those moves, |
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what the other one's doing. |
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Now you can do the glissar |
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It's eye contact, |
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it's timing |
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I was looking at Andy's eyes, |
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that his body's doing but I |
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and I can see 180 degrees |
| 00:19:02 |
Again the arm goes first, |
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the arm plunge down |
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See, there won't be a second |
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shoulder, the body looking |
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the throat but at the last |
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And to make it real, |
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'Cause I don't trust him. |
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I feel that I might get hit |
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to make sure that the sword |
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You cut, and you hit him, |
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You hope. |
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The reason I don't hit him |
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my elbow is pulling |
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The skill that that |
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as the skill of killing |
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sometimes the difference |
| 00:20:01 |
The point of choreography |
| 00:20:06 |
is to forward the story. |
| 00:20:08 |
If it does that |
| 00:20:11 |
It's not designed to |
| 00:20:14 |
it's designed to show |
| 00:20:17 |
There's an undeniable |
| 00:20:21 |
And there's even |
| 00:20:24 |
tend to steer clear |
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of what a sword does |
| 00:20:29 |
And it has to look |
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I think, you know, I honestly |
| 00:20:33 |
would be very short, sharp. |
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It's not just |
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though it can be |
| 00:20:42 |
It's not just |
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because they were used |
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It is an ancient weapon that was |
| 00:20:54 |
There's always been fighting. |
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There's never been a time |
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when there hasn't been |
| 00:21:00 |
People are interested in combat |
| 00:21:04 |
from the highest |
| 00:21:06 |
kings, and princes, emperors. |
| 00:21:09 |
A sword as a weapon |
| 00:21:11 |
everyone would have owned |
| 00:21:14 |
anyone being an adult male. |
| 00:21:17 |
So, from top to bottom |
| 00:21:19 |
personal combat |
| 00:21:22 |
Few subjects have received |
| 00:21:25 |
historians than the |
| 00:21:29 |
although ancient kings |
| 00:21:32 |
great credence |
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often modern academics |
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the reality of the blade, |
| 00:21:39 |
as something apart from |
| 00:21:42 |
It's quite a popular subject, |
| 00:21:45 |
And you look at these books |
| 00:21:47 |
and one thing they |
| 00:21:50 |
You know, you'd think that this |
| 00:21:55 |
But the one thing |
| 00:21:56 |
was techniques of combat. |
| 00:21:58 |
It's a subject that |
| 00:22:00 |
for the most part |
| 00:22:02 |
Probably the world's foremost |
| 00:22:05 |
Dr. Sidney Anglo, |
| 00:22:07 |
He said, "Hey historians, |
| 00:22:11 |
I'm sure that |
| 00:22:13 |
still find it kind of |
| 00:22:16 |
That it isn't something |
| 00:22:18 |
should be writing about. |
| 00:22:20 |
Which, of course is foolish. |
| 00:22:21 |
Think it's perhaps |
| 00:22:23 |
you know, these people |
| 00:22:26 |
and running each other |
| 00:22:28 |
and often killing |
| 00:22:30 |
if they didn't kill each other |
| 00:22:35 |
Originally fencing meant |
| 00:22:37 |
the noble science of defense. |
| 00:22:39 |
We have lots of records of |
| 00:22:42 |
all over the place and we also |
| 00:22:44 |
complaining about |
| 00:22:47 |
the noise and the violence |
| 00:22:50 |
This changed bit by bit into the |
| 00:22:56 |
they became more fashionable for |
| 00:23:01 |
and to learn how to fence. |
| 00:23:04 |
Yet today, there are too few |
| 00:23:08 |
the significant role |
| 00:23:11 |
And so to a large extent much |
| 00:23:17 |
The sobering death toll of the |
| 00:23:20 |
the truth that the romance of |
| 00:23:27 |
The one-on-one dueling spirit |
| 00:23:31 |
under the shadow of automatic |
| 00:23:34 |
gruesome wake of millions who |
| 00:23:40 |
With the increased use |
| 00:23:41 |
during the turn of |
| 00:23:43 |
the slow erasure of |
| 00:23:45 |
from public consciousness |
| 00:23:48 |
Fortunately the romance of |
| 00:23:52 |
of early filmmakers |
| 00:23:55 |
through imagination |
| 00:23:58 |
But would the lost art of sword |
| 00:24:03 |
It was a change from battlefield |
| 00:24:07 |
for judicial combat |
| 00:24:10 |
and for street level |
| 00:24:13 |
gentlemen having private affairs |
| 00:24:16 |
single sword against |
| 00:24:18 |
Most duels back in the day |
| 00:24:21 |
they were just to first blood. |
| 00:24:23 |
During the 1700s you had guns |
| 00:24:29 |
the sword as the choice |
| 00:24:34 |
and in the mid-1800s fencing |
| 00:24:40 |
People started, you know, |
| 00:24:42 |
instead of training |
| 00:24:45 |
The term fencing today is |
| 00:24:48 |
the collegiate and Olympic sport |
| 00:24:53 |
Now it's based on |
| 00:24:56 |
into an electric circuit |
| 00:25:01 |
You can just slip it in |
| 00:25:03 |
slip it in on target, |
| 00:25:07 |
Fencing became |
| 00:25:11 |
and there's a lot of aspects |
| 00:25:14 |
Anybody who wants to learn how |
| 00:25:18 |
fencing because it teaches you |
| 00:25:23 |
I like the honor aspect |
| 00:25:26 |
that goes along with it. |
| 00:25:28 |
Modern fencing has retained |
| 00:25:30 |
of Renaissance fencing |
| 00:25:32 |
before and after our bouts. |
| 00:25:35 |
The thing that I like about |
| 00:25:38 |
to do a physical |
| 00:25:40 |
It's much more a thinking game |
| 00:25:43 |
despite the fact that it's a |
| 00:25:47 |
Tips of fencing blades |
| 00:25:51 |
Fencers have very quick |
| 00:25:55 |
You have to deal with someone |
| 00:25:59 |
And fencing is straight |
| 00:26:01 |
They're used to people |
| 00:26:03 |
in a particular sort of ways. |
| 00:26:05 |
There's a whole language of |
| 00:26:10 |
It's not real, though. |
| 00:26:12 |
And it's been 200 or 300 years |
| 00:26:17 |
people nicking one another |
| 00:26:21 |
or killing one another |
| 00:26:23 |
There are very specific |
| 00:26:26 |
hitting a little bit too hard |
| 00:26:30 |
of the bout, if they thought it |
| 00:26:32 |
or too hard or anything like |
| 00:26:36 |
docked points, |
| 00:26:38 |
You will see coupés, flicks, |
| 00:26:44 |
on the end will score but if |
| 00:26:49 |
a little bitty nick where as the |
| 00:26:55 |
I can get my rapier |
| 00:26:58 |
and come in here |
| 00:27:00 |
I was sparring with some friends |
| 00:27:04 |
he lunged I slapped the blade |
| 00:27:08 |
and extended my right |
| 00:27:12 |
And he said, |
| 00:27:13 |
And I said, |
| 00:27:15 |
I can engage it and |
| 00:27:18 |
Then he said, |
| 00:27:20 |
And I said, "I'm not |
| 00:27:23 |
I'm trying to kill you." |
| 00:27:25 |
They have no problem |
| 00:27:27 |
and knocking you |
| 00:27:28 |
and beating you over |
| 00:27:29 |
He does a lunge at me, I would |
| 00:27:35 |
and I'm gonna |
| 00:27:36 |
This wouldn't occur |
| 00:27:39 |
Fencing masters, |
| 00:27:41 |
"Well yeah, |
| 00:27:43 |
"You can't grab his leg, |
| 00:27:44 |
you can't trip him, |
| 00:27:46 |
People weren't dumb |
| 00:27:48 |
They had their own styles |
| 00:27:50 |
but they were |
| 00:27:52 |
in terms of combat than |
| 00:27:55 |
We don't think of |
| 00:27:57 |
There's a lot of aspects |
| 00:28:00 |
but you can't take their rules |
| 00:28:04 |
because they just don't work |
| 00:28:08 |
The evolution of fencing |
| 00:28:11 |
Historical swordplay |
| 00:28:13 |
classical fencing upon |
| 00:28:17 |
Over the past century, |
| 00:28:21 |
was developed from |
| 00:28:24 |
Modern sport fencing is not |
| 00:28:28 |
historical European martial arts |
| 00:28:32 |
from older more inclusive |
| 00:28:36 |
In time, proper decorum |
| 00:28:39 |
came to replace |
| 00:28:43 |
By the 19th century, fighting |
| 00:28:46 |
and use diverse arms and armor |
| 00:28:50 |
to employ such skills. |
| 00:28:53 |
Not surprisingly, what was |
| 00:28:56 |
from the wider craft |
| 00:29:01 |
As they pursued |
| 00:29:03 |
of gentlemanly fencing, |
| 00:29:06 |
with single identical swords, |
| 00:29:10 |
and sometimes even ridicule |
| 00:29:14 |
At the same time, fencing |
| 00:29:18 |
and in the 19th century it |
| 00:29:21 |
or self-defense value. |
| 00:29:23 |
Those who continued to duel |
| 00:29:25 |
did so under less and less |
| 00:29:30 |
The popular myth of crude |
| 00:29:34 |
slowly evolving into more |
| 00:29:38 |
began to surface |
| 00:29:41 |
Ancient European |
| 00:29:43 |
were now officially |
| 00:29:59 |
If you look at our society |
| 00:30:04 |
of subcultures from reenactment, |
| 00:30:08 |
to even reenactment |
| 00:30:11 |
It's interesting in that |
| 00:30:14 |
back in to where he should be; |
| 00:30:17 |
It's an interesting way |
| 00:30:20 |
and it's a lot more fun than |
| 00:30:24 |
This is an epee blade. |
| 00:30:26 |
This is what we originally |
| 00:30:28 |
in the SCA. |
| 00:30:29 |
It's the same type of blade |
| 00:30:33 |
that you would see |
| 00:30:35 |
The strip fencing |
| 00:30:38 |
It's not really dedicated to |
| 00:30:40 |
the medieval martial arts |
| 00:30:42 |
What I have here looks |
| 00:30:46 |
It's heavier but it is |
| 00:30:48 |
to bend without breaking. |
| 00:30:50 |
It has more of the weight of |
| 00:30:54 |
start to use the techniques |
| 00:30:56 |
in the Middle Ages with |
| 00:30:59 |
Well, it's |
| 00:31:01 |
it goes from people |
| 00:31:02 |
to very serious people |
| 00:31:07 |
There is an individual |
| 00:31:10 |
the individual becomes somebody |
| 00:31:15 |
in a large plastic machine. |
| 00:31:17 |
Historical reenactment folks |
| 00:31:20 |
and it's an amazing thing. |
| 00:31:21 |
It's a great to be in but |
| 00:31:26 |
It's a whole lifestyle |
| 00:31:29 |
What we do is to create |
| 00:31:35 |
My name is Greg Prevost |
| 00:31:37 |
In the SCA, I'm known as |
| 00:31:40 |
which is Welsh |
| 00:31:42 |
You create the clothing, |
| 00:31:47 |
and you become that |
| 00:31:49 |
I take the name |
| 00:31:52 |
That name actually derives |
| 00:31:55 |
so it's Moorish. |
| 00:31:57 |
And my title in the SCA |
| 00:32:00 |
But I'm also a knight |
| 00:32:02 |
Once you get knighted |
| 00:32:04 |
so it's like a lifetime |
| 00:32:07 |
This is a very |
| 00:32:10 |
Everyone's welcome. |
| 00:32:11 |
I have 4 children and |
| 00:32:14 |
their first event when they |
| 00:32:16 |
My oldest son is 11 now |
| 00:32:18 |
and I'm starting to |
| 00:32:20 |
We don't chop each |
| 00:32:23 |
There's a thrust and |
| 00:32:29 |
Every kingdom is ruled |
| 00:32:35 |
They are chosen by combat. |
| 00:32:37 |
When all the fighters come |
| 00:32:39 |
a best 2-out-of-3 |
| 00:32:42 |
You call the wound as accurately |
| 00:32:46 |
done to you if it had |
| 00:32:50 |
For instance, if you get hit |
| 00:32:53 |
you then have to drop your knees |
| 00:32:57 |
which compromises your |
| 00:33:00 |
Your opponent has the option of |
| 00:33:04 |
the same handicap so that |
| 00:33:09 |
but he doesn't have to. |
| 00:33:10 |
It's on his honor. |
| 00:33:11 |
If he does agree, |
| 00:33:14 |
then he is lauded by the |
| 00:33:17 |
If I get hit with a solid blow |
| 00:33:20 |
with a real sword, |
| 00:33:23 |
We don't say that |
| 00:33:25 |
we say we are |
| 00:33:27 |
People see us fight |
| 00:33:29 |
at first they think of |
| 00:33:30 |
strictly for the entertainment |
| 00:33:33 |
The SCA's completely different. |
| 00:33:34 |
It's an actual sport. |
| 00:33:36 |
We're competing. |
| 00:33:37 |
Every blow thrown out there |
| 00:33:39 |
We don't know who, when we |
| 00:33:41 |
and we don't know |
| 00:33:43 |
until the last blow |
| 00:33:45 |
It's just a different spin off |
| 00:33:49 |
The creative part is we take the |
| 00:33:52 |
and we try to recreate them; |
| 00:33:56 |
We leave behind |
| 00:33:59 |
I think that reenactment |
| 00:34:02 |
I feel like, approach to-- |
| 00:34:05 |
it can be a very rich, rich, |
| 00:34:10 |
It's also a little |
| 00:34:12 |
because reenactment is |
| 00:34:15 |
history itself which |
| 00:34:18 |
When you take a pipe and you |
| 00:34:23 |
you whack on one another that's |
| 00:34:26 |
we who fence with electronic |
| 00:34:30 |
whether or not a touch |
| 00:34:32 |
If the swords were |
| 00:34:34 |
most of these guys really |
| 00:34:36 |
And I wouldn't be either. |
| 00:34:44 |
There are many martial arts |
| 00:34:49 |
Out of China you have |
| 00:34:52 |
eagle style, wing tsun. |
| 00:34:54 |
From Korea, you have taekwondo, |
| 00:34:59 |
kwonbup, taekyun, hapkido, |
| 00:35:04 |
Out of Japan you have the very |
| 00:35:09 |
Out of the Philippines |
| 00:35:13 |
Out of Thailand |
| 00:35:15 |
Out of Burma |
| 00:35:18 |
and I'm sure there are |
| 00:35:20 |
When you hit a target area, |
| 00:35:22 |
where you're hitting; |
| 00:35:28 |
Hua-mo-ah! |
| 00:35:30 |
Just coming in and hitting |
| 00:35:35 |
I have to have |
| 00:35:37 |
I have to make |
| 00:35:41 |
I have to hit the proper part |
| 00:35:45 |
this leather piece |
| 00:35:48 |
Ah-oo! |
| 00:35:49 |
I have to either go |
| 00:35:52 |
Hua! |
| 00:35:54 |
My body, my mind, and my sword |
| 00:35:59 |
The idea is you're becoming |
| 00:36:26 |
In the '70s and the '80s, |
| 00:36:28 |
movies increased our interest |
| 00:36:34 |
Hey, wouldn't |
| 00:36:37 |
Man who catch fly with |
| 00:36:44 |
Today when people hear |
| 00:36:47 |
they immediately bring to mind |
| 00:36:51 |
such as karate and taekwondo. |
| 00:36:55 |
There's a more esoteric concept |
| 00:36:59 |
that is more than just |
| 00:37:04 |
in my opinion, is absent within |
| 00:37:10 |
as opposed to Eastern. |
| 00:38:08 |
In many respects you can say |
| 00:38:15 |
that the Japanese had |
| 00:38:20 |
So there's nothing really |
| 00:38:25 |
We have a tendency |
| 00:38:29 |
had their own tradition |
| 00:38:32 |
European fighting skills |
| 00:38:36 |
to something that was very |
| 00:38:40 |
which it wasn't. |
| 00:38:41 |
What's funny is they |
| 00:38:43 |
that the human body's |
| 00:38:46 |
And it depends on |
| 00:38:47 |
and that's governed |
| 00:38:51 |
It's somewhat amusing to have |
| 00:38:57 |
martial arts glancing through |
| 00:39:01 |
say wrestling, |
| 00:39:03 |
"Oh wow, this is done |
| 00:39:06 |
Things from Asia and Japan |
| 00:39:10 |
pinnacle of fighting skills |
| 00:39:14 |
we were just as skillful here. |
| 00:39:16 |
But what we did was |
| 00:39:18 |
As you're comparing the 2, |
| 00:39:22 |
seized on the firearm |
| 00:39:26 |
Whereas in Japan it was used |
| 00:39:30 |
once the Tokugawa Shogunate was |
| 00:39:34 |
because this would destroy |
| 00:39:38 |
When a peasant could blast |
| 00:39:44 |
it was unthinkable. |
| 00:39:45 |
Martial arts from the East |
| 00:39:48 |
being orally transmitted |
| 00:39:51 |
Pretty much, it was |
| 00:39:53 |
because you had to be |
| 00:39:55 |
So it was essentially father |
| 00:39:58 |
When of course the big |
| 00:40:02 |
and some of the oriental schools |
| 00:40:07 |
How far they're teaching |
| 00:40:10 |
they taught in the past, |
| 00:40:15 |
You remember the game where you |
| 00:40:19 |
to the next, by the time |
| 00:40:21 |
this thought |
| 00:40:23 |
Eastern martial arts have a long |
| 00:40:25 |
in the West martial arts, |
| 00:40:29 |
died down a lot after |
| 00:40:34 |
As the gun improved |
| 00:40:39 |
and became |
| 00:40:45 |
People stopped training |
| 00:40:48 |
There was no necessity, no need |
| 00:40:53 |
So we have essentially a break |
| 00:40:57 |
in the Western world. |
| 00:41:02 |
What was the sword, |
| 00:41:07 |
Before practical |
| 00:41:09 |
into a gentlemen's ritual |
| 00:41:12 |
masters of defense |
| 00:41:16 |
Many of the surviving |
| 00:41:18 |
their combative systems remained |
| 00:41:23 |
until now. |
| 00:41:25 |
Today historical fencing |
| 00:41:29 |
and an unprecedented revival of |
| 00:41:33 |
is now underway. |
| 00:42:28 |
The West had its own |
| 00:42:30 |
exactly as the Orient did, |
| 00:42:36 |
There's been a renaissance, |
| 00:42:39 |
in the study of the sword |
| 00:42:43 |
that had been lost in |
| 00:42:45 |
since the sword was truly |
| 00:42:48 |
The work of people in making |
| 00:42:53 |
of the sword in terms of form |
| 00:42:58 |
they would handle, and then |
| 00:43:01 |
who are taking these |
| 00:43:04 |
moving them in space, |
| 00:43:07 |
what was possible |
| 00:43:16 |
All across Europe, the Americas |
| 00:43:20 |
historical European fight clubs |
| 00:43:23 |
to study the original |
| 00:43:27 |
and the ancient world. |
| 00:43:28 |
They have set out to practice |
| 00:43:31 |
and intensity separate from |
| 00:43:34 |
and sport fencing groups. |
| 00:43:37 |
We're trying to discover |
| 00:43:40 |
been there and has been |
| 00:43:44 |
to obviously, to try to |
| 00:43:50 |
It's a part of |
| 00:43:52 |
and I think that's |
| 00:43:54 |
This is actually |
| 00:43:56 |
This is actually |
| 00:43:59 |
Historical European |
| 00:44:02 |
of Europe's traditional |
| 00:44:07 |
I'm doing this because |
| 00:44:09 |
Asian martial arts and I |
| 00:44:12 |
related to my own culture |
| 00:44:15 |
Martial arts from Japan |
| 00:44:18 |
as valid as they are, |
| 00:44:20 |
that was from |
| 00:44:23 |
I came from a long background of |
| 00:44:26 |
to see how modern arts compared |
| 00:44:30 |
that their standard was every |
| 00:44:33 |
and possibly more so. |
| 00:44:39 |
If you look at modern sport |
| 00:44:42 |
they've actually become |
| 00:44:44 |
of these great complex systems, |
| 00:44:48 |
It's our past, it's |
| 00:44:53 |
Today historical European |
| 00:44:56 |
are reclaiming the ancient |
| 00:44:59 |
and studying the diversity |
| 00:45:08 |
For me I think the sword |
| 00:45:11 |
in the medieval time. |
| 00:45:13 |
What matters is the man |
| 00:45:20 |
The difference between |
| 00:45:22 |
and the Japanese sword |
| 00:45:24 |
is that the Japanese |
| 00:45:26 |
In medieval time, |
| 00:45:29 |
to put the other man |
| 00:45:31 |
There's no such thing |
| 00:45:34 |
It's a weapon |
| 00:45:35 |
and I'm learning how |
| 00:45:37 |
To me the sword is... |
| 00:45:41 |
cool. |
| 00:45:45 |
For centuries these |
| 00:45:48 |
have not been practiced. |
| 00:45:50 |
Historical fencing students |
| 00:45:54 |
martial arts that have |
| 00:46:00 |
We're having to try |
| 00:46:02 |
what the fight masters |
| 00:46:05 |
and how they formulated their |
| 00:46:09 |
So there's quite a strong |
| 00:46:13 |
in the western martial arts. |
| 00:46:15 |
We're essentially |
| 00:46:18 |
Just as European scholars |
| 00:46:20 |
art and science, |
| 00:46:23 |
was also documented |
| 00:46:26 |
Many of the old |
| 00:46:29 |
that were written during |
| 00:46:32 |
recently been rediscovered and |
| 00:46:37 |
We focus on mainly |
| 00:46:40 |
but also Italian manuals, |
| 00:46:46 |
My personal favorite |
| 00:46:49 |
For the most part |
| 00:46:51 |
the German books and the Spanish |
| 00:46:53 |
have been forgotten, |
| 00:46:56 |
and monasteries in old |
| 00:47:00 |
Unfortunately, very little |
| 00:47:03 |
For the most part, |
| 00:47:06 |
for hundreds of years. |
| 00:47:07 |
Today these old texts are once |
| 00:47:11 |
studied and the ancient fighting |
| 00:47:15 |
In the text the old masters |
| 00:47:18 |
that the students study |
| 00:47:21 |
and in one instance they ask |
| 00:47:25 |
bringing their own ideas |
| 00:47:29 |
These arts existed in various |
| 00:47:33 |
together hand in hand with |
| 00:47:39 |
There's nothing equivalent to |
| 00:47:41 |
traditional martial arts. |
| 00:47:42 |
They don't have the volumes |
| 00:47:45 |
that we have. |
| 00:47:46 |
This is our western tradition. |
| 00:47:47 |
A lot of people learn martial |
| 00:47:50 |
from somebody else so often |
| 00:47:53 |
removed from someone |
| 00:47:56 |
These books, they're |
| 00:47:58 |
There's a play in |
| 00:48:00 |
where the caption |
| 00:48:02 |
The swordsmen have captured |
| 00:48:04 |
I thought how that would |
| 00:48:05 |
and I that following week |
| 00:48:08 |
spun out and we were standing |
| 00:48:11 |
and so that, |
| 00:48:13 |
becomes like a direct |
| 00:48:23 |
How did they communicate their |
| 00:48:30 |
This is combination of words and |
| 00:48:34 |
notation where you can |
| 00:48:37 |
like we'd read in music. |
| 00:48:39 |
It combines a ground plan, |
| 00:48:43 |
a representation of how |
| 00:48:46 |
You can see the relationship |
| 00:48:49 |
horizontally as well as |
| 00:48:52 |
it casts a shadow and, |
| 00:48:56 |
the overall attempt |
| 00:49:00 |
wants his student |
| 00:49:03 |
This is the source literature. |
| 00:49:05 |
This is what's going to tell us |
| 00:49:09 |
and this is how we should |
| 00:49:13 |
When one looks at books |
| 00:49:15 |
the incredible detail |
| 00:49:17 |
in such weaponry is apparent. |
| 00:49:20 |
Therefore, it stands to reason |
| 00:49:22 |
an equally sophisticated manner |
| 00:49:27 |
I was inspired by the works |
| 00:49:30 |
Ewart Oakeshott. |
| 00:49:31 |
Oakeshott was considered |
| 00:49:33 |
on European swords, on |
| 00:49:36 |
Most academics look on them |
| 00:49:40 |
but they have no real concept |
| 00:49:45 |
or even how it was used. |
| 00:49:47 |
Ewart made it into |
| 00:49:50 |
These were weapons |
| 00:49:53 |
to kill other young men; |
| 00:49:56 |
a real weapon |
| 00:49:59 |
The typology of the sword |
| 00:50:01 |
included a classification |
| 00:50:06 |
Oakshott's classifications |
| 00:50:10 |
had obscured the true history |
| 00:50:26 |
I think if you look at any |
| 00:50:29 |
or Viking blades, ordinary |
| 00:50:33 |
and a spear and a shield, |
| 00:50:36 |
There are very few swords |
| 00:50:38 |
in comparison to the number |
| 00:50:41 |
Spearheads and axes |
| 00:50:43 |
You have to be a swordsmith |
| 00:50:45 |
to be able |
| 00:50:50 |
I feel a real connection |
| 00:50:53 |
because I like doing it with |
| 00:50:57 |
with the fuel that they had, |
| 00:51:01 |
and a hand hammer |
| 00:51:03 |
I have a modern shop, too. |
| 00:51:05 |
I've got air hammers and |
| 00:51:08 |
which I used for experimentation |
| 00:51:11 |
what I think is happening |
| 00:51:13 |
is actually happening |
| 00:51:15 |
What really affects |
| 00:51:17 |
Say, "Well how do |
| 00:51:18 |
from iron sand, |
| 00:51:22 |
It's kind of magic. |
| 00:51:24 |
The more I learned about |
| 00:51:26 |
there's different ways |
| 00:51:27 |
did it so |
| 00:51:29 |
I don't like just |
| 00:51:31 |
and putting a book |
| 00:51:32 |
I want to do it until I |
| 00:51:35 |
a whole lot of sleepless |
| 00:51:37 |
and a lot of |
| 00:51:39 |
I feel that a collector |
| 00:51:44 |
some utility to those attempting |
| 00:51:48 |
I can provide a swordsmith |
| 00:51:52 |
to make very careful |
| 00:51:54 |
some of the original swords |
| 00:51:58 |
rediscovering the way |
| 00:52:02 |
to give great performance even |
| 00:52:08 |
that are primitive by today's |
| 00:52:16 |
Well, sometimes |
| 00:52:18 |
Is the Japanese sword better? |
| 00:52:19 |
Or the Chinese sword? |
| 00:52:20 |
Or the Chinese taught |
| 00:52:22 |
so basically it's just |
| 00:52:25 |
Well, no the European |
| 00:52:26 |
no whoots, |
| 00:52:30 |
I've been working a lot of these |
| 00:52:32 |
more similarities of how |
| 00:52:35 |
than I am finding differences. |
| 00:52:37 |
But they have different |
| 00:52:38 |
different ways to stack them. |
| 00:52:40 |
Some of them using twists |
| 00:52:41 |
some of them didn't use |
| 00:52:43 |
But they solved the problems |
| 00:52:45 |
And that really intrigued me. |
| 00:52:47 |
I figured out some things |
| 00:52:49 |
things that weren't |
| 00:52:50 |
and other things that I feel are |
| 00:52:54 |
and trying them and testing |
| 00:52:57 |
analyzing things. |
| 00:52:59 |
I enjoyed getting |
| 00:53:02 |
Definitely people who smelt |
| 00:53:04 |
their own blades |
| 00:53:08 |
Where I feel the connection is |
| 00:53:12 |
going and pumping the bellows |
| 00:53:16 |
and just me and |
| 00:53:30 |
In 2006 a suitcase in the attic |
| 00:53:34 |
archaeologist was literally |
| 00:53:38 |
The treasure inside: |
| 00:53:46 |
Since then the sword has been |
| 00:53:49 |
by the Royal Armories and |
| 00:53:52 |
in a effort to |
| 00:53:54 |
of this rare object's |
| 00:53:57 |
This is one of the most |
| 00:54:00 |
by Brian Hope-Taylor in |
| 00:54:04 |
It remained in his possession |
| 00:54:07 |
at which point it came |
| 00:54:12 |
When you hold it today it has an |
| 00:54:16 |
It looks like a corroded lump |
| 00:54:20 |
this would have been |
| 00:54:24 |
The x-rays revealed |
| 00:54:26 |
sophisticated piece |
| 00:54:29 |
It proved to be |
| 00:54:33 |
One of the most |
| 00:54:34 |
I think it's fair to say, |
| 00:54:38 |
It's actually composed at its |
| 00:54:42 |
of iron which are worked and |
| 00:54:46 |
On the edge of that is added |
| 00:54:50 |
if you like, in a technique |
| 00:54:53 |
An iron core with |
| 00:54:56 |
so you get the flex |
| 00:54:59 |
with the extreme |
| 00:55:02 |
Which is incredibly tough and |
| 00:55:05 |
so it won't break |
| 00:55:06 |
You'd rather have a sword |
| 00:55:09 |
take a bend, than break. |
| 00:55:12 |
Because a broken sword in |
| 00:55:13 |
you're done. |
| 00:55:14 |
I wouldn't want to be the smith |
| 00:55:17 |
with his brother's broken |
| 00:55:19 |
"Hey, why did you make |
| 00:55:21 |
If a warrior would go |
| 00:55:25 |
that was excessively |
| 00:55:27 |
the battle for him could be |
| 00:55:31 |
There's only a handful |
| 00:55:34 |
probably 4 or 5 |
| 00:55:37 |
Experts we've talked to in |
| 00:55:38 |
the British Museum |
| 00:55:42 |
don't know of a single example |
| 00:55:45 |
prior to this one being |
| 00:55:48 |
that they are-- |
| 00:55:50 |
technological sophistication |
| 00:55:53 |
If you were actually have looked |
| 00:55:56 |
warrior or a warrior in another |
| 00:56:01 |
often the sword would've really, |
| 00:56:05 |
the most technologically |
| 00:56:08 |
It represents the epitome of |
| 00:56:12 |
of its age. |
| 00:56:13 |
It is, I suppose in |
| 00:56:15 |
something like |
| 00:56:17 |
The one thing I can say with |
| 00:56:19 |
very difficult to |
| 00:56:20 |
You wouldn't let a smith who |
| 00:56:23 |
a sword like this |
| 00:56:25 |
They would have been kept |
| 00:56:28 |
The information |
| 00:56:29 |
an incredibly |
| 00:56:32 |
The process is very |
| 00:56:35 |
and requires an incredible |
| 00:56:38 |
He would have had |
| 00:56:40 |
He would have known exactly |
| 00:56:44 |
which bits to forge, how hard |
| 00:56:47 |
more importantly |
| 00:56:49 |
One single blow can shatter |
| 00:56:52 |
if it's at |
| 00:56:54 |
Literally tens of thousands of |
| 00:57:02 |
When you manufacture a blade |
| 00:57:05 |
make it, you live it, |
| 00:57:08 |
and you think about it |
| 00:57:10 |
It would often reflect |
| 00:57:14 |
and some of the best applied |
| 00:57:20 |
I generally try to see how all |
| 00:57:24 |
because Patton welding is |
| 00:57:27 |
That would have been translated |
| 00:57:31 |
in the computer of how it |
| 00:57:33 |
There is a cleanliness of |
| 00:57:38 |
to make it efficient, durable, |
| 00:57:42 |
I'm continually impressed |
| 00:57:46 |
all these objects are. |
| 00:57:48 |
High-end warriors and kings |
| 00:57:50 |
with precious metals |
| 00:57:53 |
The idea that they don't need |
| 00:57:57 |
is so precious, |
| 00:57:59 |
There must have been quite a lot |
| 00:58:02 |
the regular soldier to actually |
| 00:58:08 |
Simply to employ a person of |
| 00:58:11 |
who made this would |
| 00:58:14 |
would have cost |
| 00:58:16 |
If you look at old swords you |
| 00:58:21 |
be used to parry |
| 00:58:24 |
You can tell |
| 00:58:26 |
It's actually notched and |
| 00:58:29 |
does suggest that it has been |
| 00:58:32 |
A sword of this quality would |
| 00:58:36 |
who was incredibly important. |
| 00:58:38 |
It was probably owned by one |
| 00:58:41 |
possibly by several of |
| 00:58:43 |
200 or 300 years of use. |
| 00:58:45 |
So it may of well |
| 00:58:47 |
the Northumbrian Royal House, |
| 00:58:50 |
basically from |
| 00:58:53 |
A sword like this, I think, |
| 00:58:56 |
absolute terror. |
| 00:58:58 |
When you're in battle and you |
| 00:59:02 |
coming towards you, you would |
| 00:59:05 |
who wielded a sword like this |
| 00:59:08 |
their entire life training |
| 00:59:10 |
who lived their |
| 00:59:51 |
Contrary to popular notions, |
| 00:59:55 |
is surprisingly light, weighing |
| 00:59:58 |
and capable of |
| 01:00:01 |
Sword combatants use both |
| 01:00:05 |
manipulate timing and distance |
| 01:00:09 |
and thrusting capabilities. |
| 01:00:11 |
One of the primary principles |
| 01:00:14 |
and defend at the same time |
| 01:00:17 |
and defense and every defense |
| 01:00:22 |
Picking up a sharp implement |
| 01:00:25 |
you know you can teach |
| 01:00:26 |
however the strategy |
| 01:00:29 |
when not attack--that is |
| 01:00:32 |
The subtle movements, |
| 01:00:37 |
where I look over here, move |
| 01:00:44 |
When you start fencing |
| 01:00:48 |
then you discover that |
| 01:00:50 |
than actually using |
| 01:00:52 |
There's different angles |
| 01:00:55 |
it's not obvious for the normal |
| 01:01:00 |
Levering with the sword to |
| 01:01:02 |
bashing with the cross, pommel. |
| 01:01:07 |
Historically European |
| 01:01:10 |
it is important to study |
| 01:01:13 |
with great energy |
| 01:01:16 |
From the manuals we |
| 01:01:19 |
of the ancient masters' skills. |
| 01:01:21 |
They studied |
| 01:01:24 |
sword with shields, |
| 01:01:29 |
and swords with daggers. |
| 01:01:32 |
Often they considered |
| 01:01:34 |
armored fighting, |
| 01:01:38 |
Generally the ancient masters |
| 01:01:41 |
and unarmed skills, |
| 01:01:45 |
without also including grappling |
| 01:01:49 |
Most of these combats |
| 01:02:05 |
When he's down on the ground |
| 01:02:08 |
to shove my sword through him, |
| 01:02:11 |
In order to |
| 01:02:13 |
you need to comprehend all |
| 01:02:15 |
the actual use of swords. |
| 01:02:18 |
Contrary to what you see at |
| 01:02:21 |
in Hollywood movies, |
| 01:02:23 |
using the edge of the sword. |
| 01:02:25 |
It's not gonna penetrate that |
| 01:02:28 |
armor so they have to come up |
| 01:02:31 |
a man in armor and that method |
| 01:02:35 |
The manuals are full |
| 01:02:36 |
I grab my own blade and I |
| 01:02:39 |
I can shorten the blade by doing |
| 01:02:44 |
so I have accuracy and enough |
| 01:02:48 |
I have to thrust it in, |
| 01:02:51 |
and really drive it. |
| 01:02:53 |
Fencing does not allow you |
| 01:02:56 |
and I have heard people |
| 01:03:01 |
the left hand |
| 01:03:04 |
It has nothing to |
| 01:03:06 |
We're constantly |
| 01:03:08 |
so if he makes an attack-- |
| 01:03:12 |
forearm, |
| 01:03:17 |
Now in classical fencing |
| 01:03:21 |
you see slapping the blade |
| 01:03:25 |
In fact, you will see that most |
| 01:03:28 |
up here in a position to slap. |
| 01:03:32 |
He makes a thrust |
| 01:03:34 |
I'm gonna disarm him. |
| 01:03:36 |
You have to do freeplay, |
| 01:03:38 |
an intense amount |
| 01:03:40 |
You have to do it with as |
| 01:04:23 |
Today we do a lot |
| 01:04:26 |
You know we sit in |
| 01:04:28 |
We sit in front of |
| 01:04:29 |
We sit on the way to work, |
| 01:04:32 |
Then we go home and we sit again |
| 01:04:35 |
In the medieval renaissance |
| 01:04:37 |
They did a lot of walking |
| 01:04:40 |
and a lot of running. |
| 01:04:41 |
I think we have no idea how much |
| 01:04:44 |
have been back in, you know, |
| 01:04:47 |
I think we're very soft |
| 01:04:50 |
to remain, |
| 01:05:08 |
I was a sword nut at 12, so me |
| 01:05:12 |
We immediately went |
| 01:05:14 |
started fencing with them. |
| 01:05:15 |
And after it was over with, |
| 01:05:21 |
you know it just |
| 01:05:23 |
Well I was shocked and upset |
| 01:05:27 |
happened in the movies. |
| 01:05:29 |
Movie combat is really a curious |
| 01:05:34 |
not very realistic, generally. |
| 01:05:37 |
It doesn't portray how |
| 01:05:42 |
actually performs and handles. |
| 01:05:44 |
It's one of my favorite themes |
| 01:05:47 |
noise that a sword makes |
| 01:05:51 |
which makes no sense. |
| 01:05:53 |
Swords don't make a noise |
| 01:05:55 |
It's, life as a fantasy. |
| 01:05:56 |
It doesn't reflect the way |
| 01:06:02 |
in violent, |
| 01:06:04 |
Mainly when you see |
| 01:06:05 |
they always focus |
| 01:06:08 |
even in moves displaying |
| 01:06:12 |
They always focus on Asian |
| 01:06:16 |
and that's not our way, |
| 01:06:19 |
Western martial arts, |
| 01:06:22 |
whether it be English, |
| 01:06:26 |
there are specifics to those |
| 01:06:30 |
that are ignored in most |
| 01:06:32 |
It's like a huge pot of soup |
| 01:06:35 |
You know they're |
| 01:06:37 |
They're not true to western |
| 01:06:40 |
for the most part because |
| 01:06:42 |
of Asian martial arts that |
| 01:06:45 |
really if you want |
| 01:06:46 |
So you have a little bit |
| 01:06:48 |
you know, a little |
| 01:06:50 |
Most of the time a lot of |
| 01:06:53 |
The problem that I have with |
| 01:06:57 |
in the audience think this |
| 01:07:02 |
It's purely for entertainment; |
| 01:07:04 |
But it certainly |
| 01:07:07 |
We teach people: No, your |
| 01:07:10 |
a guy with plate armor; |
| 01:07:12 |
cut a Z in somebody's chest. |
| 01:07:14 |
But you can do |
| 01:07:17 |
even more interesting |
| 01:07:23 |
Many who study classical fencing |
| 01:07:26 |
believe that if you give the |
| 01:07:30 |
with credible performances then |
| 01:07:34 |
I think that now there's |
| 01:07:37 |
readers who are ready for that, |
| 01:07:42 |
Classical fences and historical |
| 01:07:45 |
and scholars have now shown |
| 01:07:48 |
out there that has been lost but |
| 01:07:51 |
to exist again. |
| 01:07:53 |
There have, recently there |
| 01:07:55 |
focusing a little bit on |
| 01:07:58 |
Good examples of films that |
| 01:08:01 |
historical swordsmanship include |
| 01:08:06 |
"Troy," "Kingdom of Heaven" |
| 01:08:12 |
In some few cases people are |
| 01:08:17 |
of researching and being true |
| 01:08:21 |
As I said, |
| 01:08:23 |
For example, |
| 01:08:25 |
they're not what Bob would call |
| 01:08:31 |
His goal is always |
| 01:08:35 |
fights the way they would be |
| 01:08:39 |
careful going in and they're, |
| 01:08:42 |
fully is because even |
| 01:08:44 |
infection and you could |
| 01:08:47 |
You're going in to kill and |
| 01:08:51 |
They were violent, you know, |
| 01:08:55 |
and there were very real, |
| 01:08:57 |
to mixing it up with swords. |
| 01:09:06 |
In many regards it is to the |
| 01:09:10 |
indebted for today's resurgence |
| 01:09:15 |
Movies have inspired many |
| 01:09:18 |
to take up the sword |
| 01:09:20 |
to rediscover |
| 01:09:27 |
The resurgence of authentic |
| 01:09:30 |
growing exponentially over time. |
| 01:09:33 |
Over the years it has actually |
| 01:09:37 |
Historical European martial |
| 01:09:40 |
nor sport fencing. |
| 01:09:42 |
They're in a category |
| 01:09:45 |
This fresh approach to training |
| 01:09:49 |
striving to improve both its |
| 01:10:18 |
Our lives don't depend |
| 01:10:20 |
Nobody's going to challenge us |
| 01:10:23 |
with a rapier. |
| 01:10:24 |
Nobody's going to ambush |
| 01:10:26 |
with a bastard sword, |
| 01:10:28 |
alternative reasons for |
| 01:10:30 |
We do this, I think, |
| 01:10:33 |
And hopefully it will increase |
| 01:10:36 |
and awareness of how |
| 01:10:41 |
They will be appreciated for |
| 01:10:44 |
and as useful as anything the |
| 01:10:50 |
All these things |
| 01:10:51 |
needs to be found again. |
| 01:10:53 |
In an age where truth |
| 01:10:57 |
symbol of the sword |
| 01:11:01 |
The journey it takes to |
| 01:11:04 |
to become good with your sword, |
| 01:11:08 |
a lot of effort, and |
| 01:11:10 |
matures a person. |
| 01:11:11 |
Obviously in the process |
| 01:11:13 |
to become a better man. |
| 01:11:14 |
We hope to be--who knows-- |
| 01:11:18 |
maybe even mildly |
| 01:11:21 |
It would be more than |
| 01:11:26 |
What story can |
| 01:11:31 |
I can't say I really |
| 01:11:34 |
but hopefully one day |
| 01:11:36 |
Eventually, I would like |
| 01:11:39 |
the great heights |
| 01:11:42 |
the first woman |
| 01:11:44 |
Sword fighting is kind of |
| 01:11:48 |
good fun and I've been a couple |
| 01:11:54 |
While those who train today |
| 01:11:56 |
the surface, they are slowly |
| 01:12:03 |
You know, it's all |
| 01:12:05 |
you really can't have any |
| 01:12:08 |
People are often looking |
| 01:12:11 |
whereabouts we've come from. |
| 01:12:13 |
Even in the '50s, |
| 01:12:17 |
People were looking forward |
| 01:12:20 |
I think, where we're |
| 01:12:24 |
trying to find meaning |
| 01:12:27 |
People need to feel that sense |
| 01:12:31 |
and their history. |
| 01:12:33 |
There's nothing |
| 01:12:35 |
History is, you know, |
| 01:12:36 |
over thousands of years. |
| 01:12:38 |
I've been doing martial |
| 01:12:41 |
I've noticed my body changing |
| 01:12:44 |
are a little bit |
| 01:12:45 |
However, I don't |
| 01:12:47 |
I train myself harder so it |
| 01:12:51 |
Your body goes away, but your |
| 01:12:57 |
So I get a bit more gray |
| 01:13:00 |
As long as I can |
| 01:13:02 |
I'm just going to |
| 01:13:04 |
Within the sword lies the power |
| 01:13:08 |
It can be used for great |
| 01:13:12 |
to control a people or stop |
| 01:13:16 |
to break the rightful will of a |
| 01:13:21 |
and every man a king |
| 01:13:26 |
A good swordsman does not take |
| 01:13:33 |
If your sword is out, it means |
| 01:13:36 |
It's a pity, really, that we |
| 01:13:40 |
today rather than guns. |
| 01:13:43 |
It's a pity that gunpowder |
| 01:13:48 |
because we would probably |
| 01:13:51 |
And I'd be good at it. |
| 01:13:58 |
Subtitles: Arigon |
