Occhi Magazine is keen to capture the variety of individuals working in the arts and creative industries. It is particularly important to pay attention to those behind the scenes who continue to play an essential part in delivering means of entertainment. This is particularly poignant during this pandemic. One area we shouldn’t forget in TV and film are those stuntmen and women who continually shape the stories that keep us entertained.
One such person is the very talented Marissa Labog, aka Mighty. As an actor, stuntwoman, and dancer, Marissa is fearless in her pursuit of creative adventure. Her persistence and insurmountable curiosity combined with her inability to sit still have led her to develop multiple movement languages including ballet, jazz, pointe, modern dance, gymnastics, tricking, break dancing, parkour, capoeira, and Tae Kwon Do.
Over the years, Marissa performed as a principal dancer across the globe. She’s danced with the Pacific Coast Ballet, Inland Pacific Ballet, John Pennington, and the famed LA Philharmonic. As a commercial dancer, Marissa has worked with Tina Turner, Christina Aguilera, LL Cool J, as well as prominent brands including Nike, iPod/Apple, and Coca-Cola. In film and television, Marissa’s credits include The Drew Carey Show, Fresh Beat Band, Shake It Up, House Bunny, Bratz, and the Oscar-winning film LA LA Land. With true admiration and respect, it was a tremendous pleasure to catch up with Marissa to talk about her illustrious career and her company UP Productionz.
A pleasure to catch up Marissa. Firstly, how did you get into dance?
When I was younger, I welcomed any chance to dance and perform. From gathering my family to watch multi-hour productions, to setting up my baby cousin in his high chair (best seat in the house) for shows with an audience of one (him!), I was constantly flying throughout the house. I watched classic films including Singing in the Rain and Royal Wedding with Fred Estaire and tried desperately to dance on the walls and ceilings. Once my parents helped me channel this energy into ballet class, the floodgates opened. I explored jazz, modern, contemporary, and pointe. After graduating with degrees in Dance and English from Scripps College, I stumbled into a hip hop jam and discovered breaking. I was mesmerized. Even with years of formal dance training, this moment broke open my understanding of movement and led me to explore gymnastics, parkour, tricking, and eventually the wide world of stunts!
Your curiosity to learn and develop multiple movement languages such as ballet, jazz, pointe, modern dance, gymnastics, tricking, break dancing, parkour, capoeira, and Tae Kwon Do is very impressive. How easy would you say it’s been to advance in these various disciplines- Is it literally like learning a spoken language?
The process of learning anything new always begins as a challenge. You have to be comfortable with looking ridiculous and (in my case – literally) falling on your face. As someone who has mastered specific disciplines and movement techniques, I am quick to jump to conclusions at the start of the process. My brain thinks: “I am coordinated and well versed in movement, so my body should be able to pick this up quickly! I should be able to jump between genres and pick up new material with ease.”
Oh, how the mighty do fall.
Each time I start a new learning curve, I have to remind myself that acquiring new skills is not that simple. Each artform has specific modes of intention, purpose, and expression. Yes, I enter the process with a strong, versatile foundation of coordination and physical mechanics, but mastery takes time and patience. For instance, when learning how to groove with top rock in breaking initially, I was so stiff and proper, truly like a robot ballerina who got lost and ended up at a breaking practice. I had to learn to relax my shoulders and upper body, to melt into the music before I could get to the floor and learn freezes or power moves. Similarly, with martial arts, I had an extension and picked up the fundamental shapes of the movement quickly. But then, adding power, drive, and precision to the movement – with the intent to attack – had to be learned.
I am constantly humbled by the process of discovering and acquiring new skills. I am (still!) learning to be ok with not being good at something, which is difficult for a type A, perfectionist such as myself. — And yet, my curiosity constantly outweighs the discomfort.
You’ve performed as a dancer across the world and worked with the Pacific Coast Ballet, Inland Pacific Ballet, John Pennington, and the famed LA Philharmonic. As a commercial dancer, you’ve worked with the likes of Tina Turner, Christina Aguilera, LL Cool J, as well as prominent brands including Nike, iPod/Apple, and Coca-Cola. In your vast and varied career as a dancer, what have been your career highlights, and why?
As a dancer, the two jobs that come to mind as career highlights are: working with Tina Turner as part of the creative choreography team and dancing in the iconic highway scene at the opening of LA LA Land.
Working with Tina felt like I was working with history. Her work ethic was unbelievable. At the time, she was over the age of 70, and she danced and sang FULL OUT for hours in rehearsal. Her passion, attention to detail, and overwhelming, full-fledged love of her craft were inspiring. Being part of her creative team was a remarkable privilege.
LA LA Land is special to me for different reasons. Of course, I am extremely proud and honored to be a part of such a phenomenal film, and the amount of sheer fun we had grooving on the freeway overpass – in, out, and on top cars was absolutely mindblowing. That said, for me, the most extraordinary part of working on this particular film was having the opportunity to collaborate with choreographer Mandy Moore and a huge number of my friends! The majority of the dancers were veterans in the industry. We all grew up dancing and training with each other at the Edge Performing Arts Center. Over the years, we had done odd non-union commercials in cow print skirts with dancing bears, worked with local contemporary dance companies for pennies, and performed in some of the most unsafe, yet exhilarating places over the years. The entire shoot felt like a reunion. There was no ego on set. We were there to play, create, and make something beautiful together.
Was it a natural transition from dance to acting and stunt work? Please share with our readers how and why you entered film and television?
I never anticipated or predicted my career would pivot as many times as it has. I have always identified as a “performer,” but not once did I imagine that the majority of my work would be in the film/television industry.
I love live performance. For years, I toured with seven dance companies all over the world, and I lived a very full life. I discovered breaking at an opportune moment when hip hop was extremely popular in the commercial industry. Once I got this genre under my belt, the transition snowballed relatively quickly. Each new movement discipline led to new opportunities, which then opened the door to other creative possibilities. My skills translated well into stunt work, and my curiosity drove my training. Although seemingly logical, the transition was challenging, and many hurdles remain to this day. I am constantly fighting stereotypes and systemic discrimination that exists within the industry.
But all in all, the progression of my career was very natural because my absolute love of storytelling remains at the core of everything I do. Even the silly jobs, for the most part, revolve around a narrative that is meant to provoke thought and inspire. I know in my gut that I am here to create stories, express ideas, and experience the full spectrum of human existence.
As a stuntwoman, you’ve worked on multiple TV shows such as “School of Rock,” “Stuck in the Middle,” “Henry Danger,” and “Game Shakers,” as well as many recognized action films including Raze, Act Of Valor, Colombiana, The Last Word, Logan, and Birds of Prey. Does Hollywood give enough credit to stuntmen and women who risk their lives for our entertainment?
In recent years – particularly with the onslaught of social media, there is more access to material that demonstrates what stunt work is, who the stunt performers are, and how the field works. Major actors are giving more credit to their stunt doubles, and celebrities are sharing the intimate, powerful exchange that occurs between a performer and their double. Therefore, the awareness of stunts as a tangible, actual job in the industry is increasingly present.
That said, The Academy still does not have an action category or award for stunt performers. Countless films are completely dependent on the design and performance of the stunt work. The Marvel films would consist of the characters in (amazing, superhero) costumes yelling, jumping, and pointing without the action sequences. Although comical to imagine, the reality is that in action films, the action *is* the story, and without the multi-talented stunt performers, the stories would fall flat. These films would not see the financial and cultural successes that they have without our work. There is a category for nearly every other piece of the filmmaking process. Stunt work is an integral part of the movie-making magic, and the time is NOW for the industry and audiences to recognize the people who risk their lives for storytelling.
What has been your most challenging stunt or acting role, and why?
My most challenging – and most fulfilling! – stunt role thus far is doubling X-23 in Logan. It was incredible to help build the physicality of this iconic character. I utilized nearly all of the skills I have worked so hard to acquire, and I finally lived my dream of becoming a superhero. But like Uncle Ben from Spiderman says (yes, I’m a comic nerd), “With great power comes great responsibility.” In the role – more than others in the past, I felt a deep responsibility to physically fulfill the potential of this character and represent it properly. Aka lots of bone bruising and body scraping hard work. There were intense, unique attacks and takedowns I had never done before and had to learn very quickly. One memory sticks out when I was taught a quick 20 beat fight combo including two major takedowns – ten minutes before we were going to shoot, which was simultaneously the longest and shortest 10 minutes of my life. The Logan stunt team was amazing. I am extremely proud that this group of people was honored with a nomination in 2018 for Outstanding Performance by a Stunt Ensemble in a Motion Picture by the Screen Actors Guild, and I was nominated for a Taurus World Stunt Award for Best Overall Stunt by a Stuntwoman.
Acting-wise, my most challenging role was self-inflicted! I wrote, produced, and performed the lead role of MacKenzie in my production company’s first film — When Kids Grow Up. Equally overwhelming and invigorating, this process tested my limits and immensely expanded my understanding of the ecosystem of a set. I straddled reality and fiction and learned that I much prefer getting lost in the world of the story. Honoring and bringing life to one of my own stories was truly a dream come true.
In each of your career paths, who have been your mentors or role models?
There are countless people who have inspired me and mentored me within each era of my career. Maria Gillespie and Holly Johnston taught me how to shape my versatile background into poetic dance and utilize my limitations as assets. Mark Musashi guided me through my early stunt days by sharing basic falls, reactions, and fight choreography. He also empowered me with the information I needed to become a self-sufficient stunt performer, who takes full responsibility in making last-minute adjustments. Emmanuel Manzanas, Vlad Rimburg, and Bryan Sloyer have inspired me and guided me on my journey as a filmmaker. And – of course – the fearless Zoe Bell is someone I aspire to be like. Zoe is a remarkable stunt performer, actress, and director, and like her, I aim to tell touching and poignant stories. In addition to her sheer talent, she advocates for those around her and actively works to bring more women to the table.
You established UP Productionz in 2014 Please tell us more about the organization, its aims, and objectives.
UP Productionz is my company, and the name is an acronym for “undeniably powerful,” “unapologetically present,” and “universal play.” We produce content for television, film, and theater by weaving together my passions of dance, acting, and stunts. I believe in the transformative power of storytelling and strive to celebrate difference, explore the human condition, and reinvest meaning and truth into my work. While young, UP Productionz has produced multiple short films with successful festival runs, and we are looking forward to making more once the world calms down!
Congratulations on Cleaning House being screened as part of the First Glance Film Festival LA. Please tell our readers more about the film and what they can expect?
Cleaning House is an 80s driven action comedy that revolves around a spirited maid and an overzealous secret agent. As her love for Whitney Houston disrupts his covert op, a frantic battle erupts revealing things are not always as they seem.
With this project, I aimed to write something starkly different from the dark drama When Kids Grow Up. Cleaning House was my first attempt at comedy writing, and it stemmed from none other than (of course!) a very goofy moment of movement. In my completely abandoned living room, I was jamming away while cleaning. Moving and grooving – full out, with feeling! – to my own soundtrack. I was straight up giving a live performance for absolutely NO ONE. I paused to catch my breath and thought: “I wonder what the hell this looks like from the outside…”
Cut to the opening of the film! This snapshot moment in my house inevitably gave life to a story I was uniquely positioned to tell. A story about how a Filipina American is perceived, a story about inequity in the workplace, a story that demonstrated even in fictional secret agent worlds, people of my size and background have to fight extra hard to get their points across. This film became an ode to everything I adore about the 80s, and a love letter to all those other short, Asian women facing unfair expectations. Both myself and the Director Shahaub Roudbari are stunt performers, so much of the narrative is driven by the action and fights. We crafted sequences with our fellow Stunt Coordinator A.V. Ayoung that specifically highlighted the height differences and juxtaposed dynamics between the cast, all while ensuring we worked in moments of comedy.
Aside from all the standard challenges that come with short film production (locations, budget, scheduling, and so on), the biggest hurdle on Cleaning House was one thousand percent of the music rights. For all the new and veteran filmmakers out there, if you want to use popular music get a lawyer early and check in with them often! They know what they are doing, so follow their expertise and push for the rights that serve your film the best.
What projects can we look forward to from UP Productions?
UP Productionz is in the post-production process for a dance film, and I am using this time in quarantine to dig into future episodes of When Kids Grow Up, which I hope to turn it into a series. The world seems to be in a moment of stillness right now, so we are using this time to reflect, redesign, and reinvigorate our processes. A feature is definitely on the horizon…!
So where can we keep up to date with your activities?
Marissa Labog – www.MarissaLabog.com – https://www.instagram.com/marissalabog/ UP Productionz — https://www.upproductionz.com/ – https://www.instagram.com/upproductionz/ – Cleaning House — – When Kids Grow Up —
Photo Credits: Marissa Labog — Shot by Gerard Sandoval
Images On set of LA LA land, When Kids Grow Up, and Cleaning House courtesy of UP Productionz
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