He continued to practice with makeup in Vietnam, often frightening indigenous peasants by appearing to suddenly transform into a "monster". Using the lens of his camera, Savini separated himself from the real life horrors of war; however, all the images still haunted his mind. Savini said his wartime experiences influenced his eventual style of gory effects: "I hated that when I watched a war movie and someone dies. Some people die with one eye open and one eye half-closed, sometimes people die with smiles on their faces because the jaw is always slack. I incorporated the feeling of the stuff I saw in Vietnam into my work." In 1970, while on guard duty, a flare was triggered in the jungle area Savini was watching. Against military protocol, Savini fired into the bush without informing his superiors. Other soldiers likewise began firing until a duck wandered from the bush completely unharmed. Due to his failure to follow orders, Savini was taken off guard duty from his bunker on the following evening. That same evening, the bunker came under attack and several soldiers were wounded or killed. As a result of this incident, Savini earned the nickname "Duck Slayer" and to this day will not eat duck. Among the many talents Savini achieved as a young man was the art of fencing, he is a tournament fencer as well as an accomplished gymnast. Much of his stunt work and some of his characters reflect these graceful abilities; however, he is also accomplished with a bull whip and can easily execute a motorcycle stunt. Many of his characters have been bikers or madmen who are hardened and eerily evil. Career Savini is primarily known for his groundbreaking work in the field of special make-up effects, also known as prosthetic makeup. His signature style and techniques bring vivid realism to genre films. Early in Savini's career, Dick Smith became an inspiration and a guide, later becoming an associate at Savini's Special Make-up Effects Program. Among other projects, Smith is known for his groundbreaking work in The Exorcist. Savini got his breakthrough working with Pittsburgh filmmaker George A. Romero, providing a convincing wrist-slashing effect in the opening scenes of Martin (1978). The following year, working with a larger budget on Dawn of the Dead, Savini created his signature palette of severed limbs and bite-marks. In the 1980 slasher film Friday the 13th, Savini expanded his