- John Kreng is a talented filmmaker and entrepreneur, known for his work as a Director, Producer, Writer, Cinematographer, Stunt Coordinator, and 2nd Unit Director. He is the founder and CEO of Reel Kinetic Media, a production company focused on creating high-quality content for film, television, and corporate brands.
John's credits include shooting, editing, directing and producing special features on DVD/Blu Ray for Genius Products, The Contender Group, Eureka, and 88 Films.
In addition to his work in film and television, John has a rich background in comedy, with 14 years of experience as a stand-up comedian, performing at comedy clubs all across America, while calling the World Famous The Comedy Store in West Hollywood, CA his home base. He has made three national TV appearances, showcasing his quick wit and sharp humor.
As a Stunt Performer, Stunt Coordinator and 2nd Unit Director, he has had the privilege of working with legendary talents such as Jet Li, Tsui Hark, Yuen Cheung Yan, Roger Corman, and David Carradine. John's expertise has also been sought after by top brands and networks, including Subaru, TBS, LA Times, Telemundo, College Humor, Cracked, and Spike TV. With a passion for innovative and engaging content, John continues to push the boundaries of the film industry through his work at Reel Kinetic Media.
John's 25 years of experience as a 2nd Unit Director and Stunt Coordinator have uniquely informed his approach to cinematography and directing, bringing a kinetic energy and visceral realism to his work behind the camera. He applies his expertise in action and stunts to every project, creating visually stunning and thrilling content.
With a passion for innovative and engaging content, John continues to push the boundaries of the film industry through his work at Reel Kinetic Media.- IMDb mini biography by: John Kreng
- Race / EthnicityAsian
- One of the first stand up comedians who was not African-American to appear on BET's Comic View.
- Started his career as a stand up comedian at the Comedy Cafe in Washington, D.C. alongside fellow comedians Martin Lawrence and Tommy Davidson.
- Was an art major at Montgomery College in Maryland and Parsons School of Design in New York City.
- Has been studying martial arts since he was 12 years old and has black belts in Tang Soo Do and Te-Katana Jujitsu, while also having studied other styles like Wing Chun, Hung Gar, Aikido, Shotokan, American Kickboxing, etc.
- Performs regularly at The Comedy Store in Hollywood, California for over 10 years.
- To be perfectly honest, anyone can put together a series of spectacular and flashy moves that will "wow" the audience and they call it "fight choreography." I see it all the time. Unfortunately, they are "slaves to the technique"- wrapped up in the minutia of the moves while losing sight of the story, when they should be letting the moves express the motivation and emotion of the character for that particular scene. What distinguishes the men from the boys, are the ones who can tell a non-verbal story with their fight choreography.
- Many people think that for me to jump from being a martial artist to performing stand up comedy was a drastic career change in my life. I don't see that way at all, because there are more similarities than differences between the two disciplines. You have to set up your opponent/audience, mislead them, and always stay at least one-step ahead of them. And even though your game plan might be the same or similar each time you walk into the ring or stage, it's always a different experience every time, because when you get in there to mix it up with them, you never know how they might react to you punch lines/ techniques. With both fighting and performing comedy, you definitely have to stay on your toes.
- Fight choreographers are in the business to entertain audiences with their non-verbal action scenes. It always makes me laugh when you hear of some professional martial artists in the magazines who whine and complain- criticizing about the fight scenes see they see in films & TV are "not real." What they fail to realize is that they are taking their limited understanding of fight choreography out of context. Watching an actual fight or combative sports match in real life can actually get boring at times, with lots of dead gaps, and often gets repetitious. A good fight choreographer condenses that experience and makes it dramatic to serve the story. You never hear of a fight choreographer watching a real fight, complaining and critiquing about the match, saying and that it would have ended more effectively and dramatically if the opponent taking the knockout punch would have "sold the fall" more effectively by flipping to the mat and passing out, instead of collapsing lifelessly against the ropes like a sack of rice.
- An effective cat-fight (a physical conflict between 2 or more women) on film or TV has to be emotionally motivated (much more than a fight with guys) usually threatening their well being (emotionally or physically) or something they feel is important or sacred to them like their family or children. Physically, a cat fight is truly a no holds barred fight, that completely discards any and all the unsaid rules or etiquette created by men (established in school playgrounds since they were kids) by using hair grabs, bitch slaps, poking, scratching, biting, ripping clothes, kicks, etc., with wreck-less abandon until they make contact and usually ends with someone losing and humiliated during the process. You know when you are watching a great-choreographed cat fight on TV or film when a guy is watching it and thinks, "If I tried to break up that fight, I would probably end up getting hurt during the process! So forget it!" Hey, they don't call it a cat-fight for nothing!
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