Hello to all, I am intersted in starting a discussion to bring to light what the stunt team on a film set really does. A lot of the time in my experience, we show up, we make no fuss, we do our jobs, and we get out. I have on serval occasions gotten the impression that everyone on set thinks we are super heroes in both a positive and negative light, meaning in a good way, we are strong, able bodies and willing to do things that no one else will to make the film a success, and a bad way, we are suppose to be able to do the things the director wants that may be more dangerous or reckless than they need to be and only the coordinator is on our side to try and ensure our safety. I would love to have anyone and everyone pipe up with their thoughts, questions, and experience with or on a stunt crew. This is a huge passion of mine. I am also able and will to discuss live stunt shows and the entire other universe those exist in as I will be leaving for another international live stunt show contract at the end of March. Please, lets talk! Cheers.
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I consider myself more of an actor, but I have often done my own stunts, but only when it comes to stage and screen fights. Because I have this experience, I find that directors/producers think "Oh! I can have you be the stunt coordinator!" I try to stress the importance of hiring a professional stunt coordinator who will have access to safety equipment , but in the cases of where the stunts were minimal (and we only needed a crash pad for safety - nothing dangerous), I have coordinated as well, but only for fights. Usually on student films -- if the film has a budget, then I require they hire an outside coordinator. Lots of directors/producers think that anyone can coordinate -- and this is why people get hurt. It doesn't help when Hollywood frequently perpetuates the myth of the star doing all their own stunts (ie. Tom Cruise in the Mission Impossible movies). Tom is only able to do this because he often serves as Executive Producer, but I can tell you that if a gag is way too risky -- he will have his double do it. But the general public thinks that these action actors do everything. A movie set is a controlled environment if everything is being done professionally. It is an illusion factory. There are countless folks behind the scenes that contribute to the magic. Low budget filmmakers will think they can skimp on this. But there is no place for "guerilla stunting". People can get permanently injured or killed this way, like what happened with Sarah Jones (and that wasn't even a stunt related death). I am developing a martial arts comedy feature film, and one of my main hurdles is figuring out how to raise the proper $$$ for the budget. I refuse to cut the budget when it comes to stunts and action, and it's unfortunately very expensive, but there are something like around 18 fight sequences, and so I need to make sure my stunt team will be taken care of.
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I have to encountered low budget projects where one of the first things they cut is funds for a proper stunt team/coordinator. And I agree, if you have the ability to safely choreograph and coordinate fights or small falls or hits, then I think, though still very much ill advised of the production company, not detrimental. However I would never want them to credit me as Stunt Coordinator in a situation like that. I have not paid my dues in the industry to be holding such a title. The stunt world is incredibly small and tight knit, you don't want it getting around that you are arbitrairly calling yourself a Coordinator. I ask that they bill me as Fight/Stunt consultant at the most. If there is any rigging involved, or falls/hits big enough that they require more than personal pads and safety gear and I am being ask to coordinate/consult, I have to walk away. I suggest names of available and willing coordinators, practically beg that if the budget can't allow for the proper professionals to then lower their expectations for how big their stunts can be.
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Agreed. I only agree to coordinate on pictures where it's only martial arts fights as I am qualified for that. But anything else (including guns), and I want a qualified professional running the action.
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I couldn't agree more. I'm not a stunt actor, just a regular one who has worked with a lot of coordinators. you guys are amazing but I have seen many times that they expect you to be miracle workers. keep up the good fight. People who put actors/stunt performers/crew in dangerous positions are just jerks in my book.
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In the last nine years I've worked primarily as a fight designer for stage and film (since 1998 it was primarily theatre). I a veteran of over thirty-five indie films, know first hand that new directors and new actors are the ones who are most likely to make the mistake of not hiring or working with a qualified stunt coordinator or fight choreographer. That being said – not all stunt coordinators are qualified fight choreographers. When I am faced with anything outside my expertise I call my stunt coordinator mentor who either advises me or will do the job himself. I do not consider myself to be a "stunt coordinator," even though I've flown an actor, coordinated stair falls and a ten foot fall. However, precision driving, car chases, motor cycle stunts, advanced wire work – there are several great coordinators here in the San Francisco Bay Area who are way more qualified than I in these areas. But make no mistake our first job on the set whether we are the fight choreographer or the stunt coordinator is the safety of cast and crew. What plagues the industry and not just those starting out but even professional with several films under their belt, is a lack of planning. Some things can be done on a budget if they are planned. In addition, new directors that want to do their own camera work or DPs who think they know more than they do, have ruined good fights. That is why many fight designers become second unit directors. My suggestion is – hirer a qualified professional (stunt coordinator and fight choreographer) and work closely with them. The fight person will have a shot list and camera angles for the fight and working closely with them will make things go smoother, safer and more exciting than ever.
I think its the the other way around Chip. haha.
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I think it has a lot to do with how mature all the involved people are. The more mature director/producer/... are , the more they know what to expect from a stunt coordinator/stunt performer, and also how to best make use of stunt peoples skills and knowledge. As someone mentioned - with planning and a lot of experience nice stunts can be performed even on a tighter budget. A stunt professional does not only know how to take a hit or do a spectacular fall, she or he can also suggest how to film and/or edit a stunt to make it safer and alos make it look awesome even if the budget doesn't really allow for what the film makers initially planned. So I'd say, in the best of worlds, stunt work should start early in a project, maybe even when writing the script (at least the shooting script). That way everyone gets the most out of the money and people involved.
I am a stuntsperson,I didn't know there were more like meLOL
I am adding all of you to my networkLOL
I just joined last week, funny,this topic was posted 3 months ago :/
This site needs an update:) :) :)