Try to drive your heel into the top of your attacker’s foot. Even if you’re not very big, you can still break their arch, ankle, or toes by doing this. Most of the time they’re not expecting it, and if done well, it can cripple them. You can either run away at this point, or take advantage of the opening you’ve created to deal an additional disabling blow.
If you’re grabbed from behind as in example 3, aim your heel for your attacker’s leg anywhere at or below their knee. Even if you don’t land a direct hit on their leg, you can still get to their ankles and feet.
Body blows are much harder to take than head shots. If you’ve got an opening below the neck, use it. Hit it with anything you’ve got.
“As much fear as I had about a dude in a rubber suit because that’s what it was, a guy in a rubber suit, essentially, with some remote controls and that sort of thing. As much fear as I had about that, that fear was alleviated by the end of the movie. When that big rubber thing is lying on the ground, and Brigitte has tears running down her face and I just realised in that moment, shooting with Emily, when you know - right at the end of the schedule, second last shot of the movie, um, she’s - tears running down her face, I realised it didn’t matter because the emotion that shows on her, the journey that we’ve been through and that her face is streaming tears is everything that sold all of that. That sells everything. It didn’t matter at that point if the make up was unbelievably good or unbelievably bad, what mattered was the sort of hurt soul of those characters. I was so moved when we shot that sequence with Emily and what she did there, and I just realised all my fears about the rubber suit and the make up effects and all that stuff were just alleviated because it didn’t matter anymore.”
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