Stuntman required
Mon, 24 Nov 2003, 04:40 pmAndrew20 posts in thread
Stuntman required
Mon, 24 Nov 2003, 04:40 pmCurrently seeking a stuntman for a short film. The stunt requires the individual to drop through a plastic skylight and land on a padded couch two metres below. The individual will be bound at the wrists and have a pillowcase over his head. Pay: $100. Waiver required to be signed. This is a non-union film. An army medic will be on site. Anyone mad enough to be interested, write to anupstartcrow@hotmail.com Cheers.
Re: Stuntman required? Ambulance more like...
Tue, 25 Nov 2003, 05:59 pmWalter Plinge
Ok, I'm back now from an excellent rehearsal involving safely constructed props and weapons used by actors with previous stage combat training/fight performance experience in an environment where there is proper insurance and...but I get ahead of myself.
In all seriousness, Craig has made some excellent points, partly with regard to the film director and/or producer, but primarily he writes with the actor/stunt performer in mind.
I'll now put in my two cents worth from a Fight Director's point of view and hopefully I'll be able to add something to Craig's already comprehensive post.
First of all, some terminology (please forgive me, those of you who know these things already!). A Fight Director is a specialist who is trained to direct and choreograph violence which is both safe (for all concerned) and dramatically effective (makes sense for the character/actor and looks good to the audience). Fight Directors work in theatre, film and T.V. Fight Directors co-ordinate fight moments only. They do not devise car chases, high falls from buildings, set people on fire, etc. In Australia, only those individuals who have qualified as a Fight Director with the Society of Australian Fight Directors Inc. may properly use the term.
A Stunt Performer is a widely skilled individual who has gained said title from the M.E.A.A. Stunt Register. He/she is qualified to perform action sequences (fighting, vehicle work, falls, diving, wire work, etc.) under the supervision of a qualified Stunt Co-ordinator. Therefore, Stunt Performers may only perform stunts. They are not qualified to devise and co-ordinate them. They work almost exclusively in film and T.V.
A Stunt Co-ordinator is an individual with further skills and training and again, has received this rank from M.E.A.A. A Stunt Co-ordinator is qualified to devise, supervise and co-ordinate stunts and action sequences. They may also perform in them. Like Stunt Performers, they work almost entirely in film and T.V.
Safety Officers are individuals specifically trained and qualified (through M.E.A.A. again) to advise on workplace safety during a shoot. This can range from making sure cables are properly taped down through to the safe co-ordination of stunts. As such, many Stunt Co-ordinators are also Safety Officers. In the theatre, Fight Directors perform a similar role advising as to the safe construction of set, costumes, etc. as they affect the fight sequence.
Often on a film set, a Fight Director and a Stunt Co-ordinator/Safety Officer will work in tandem, with the FD choreographing the fight moment, and the SC/SO ensuring that the working environment was safe to perform in. This was certainly my experience on both 'Teesh and Trude' and 'The Shark Net', two recent examples.
PHEW!
Judging from the original posting, what this shoot needs is a Stunt Performer (that's already been asked for), but more importantly, a properly qualified Stunt Co-ordinator/Safety Officer. (Please see Craig's comment about the army medic!). It probably doesn't need a Fight Director (based on available information), but if the character who falls through the skylight gets, say, punched up just prior to the fall, then a Fight Director would be called for.
Sadly, it would appear unlikely to happen based on the info in the original post and it really throws up the wider implications of a situation like this. Namely that:
1) Someone will probably be found who is crazy enough to do the stunt.
2) Someone will one day get SERIOUSLY injured doing something like this and I am extremely worried that that day is not far off.
This is especially true given the number of low/no-budget short films being done which require this sort of thing. Both my Fight Director colleagues and Stuntie cousins know that for every one of these we get asked to work on, another half-dozen or so get made with a "hit-and-hope" mentality which smacks of ignorance, arrogance, or a combination of both.
In theory, every stunt/piece of action/fight sequence (including the one in the original post) is feasible. By the same token, so is every one potentially hazardous. I also firmly believe that you cannot make any stunt/fight COMPLETELY safe. There is still the human element to consider. However, what you can do is REDUCE the risk to as infinitesimal amount as you can. That is why there are people such as Stunt Co-ordinators and Fight Directors around as they are able to offer practical solutions that minimise the actual risks and get rid of the unnecessary ones.
Unfortunately, the cynic in me thinks that it will only take a major accident, followed by a high-profile lawsuit to change the prevailing attitude. This is equally applicable to stage and screen, amateur and professional.
Part of the reason Craig makes such strong and well-articulated points in his post is that he comes from an INFORMED position. This is largely down to his many years of experience in the industry, but also partly because, two years ago he gave up 18 consecutive Sunday mornings to get some Stage Combat training. It not only gives performers the "fighting skills", but, far more importanly, gives them the awareness they need to be able to recognise when they are in a potentially dangerous situation. Trainee Stunt Performers, as part of their journey, develop a similar awareness with regard to all the various disciplines that they must master.
Budget, or the lack thereof, is no excuse. Absolutely not. If you can't afford a Fight Director or Stunt Co-ordinator, then don't do the project. Would you do a big musical without a choreographer? Would you shoot a film without a Director of Photography? In my opinion, any company/director/producer (delete where applicable!) who fails to engage such a specialist when necessary is negligent. Waivers, shmaivers. Hiring a qualified specialist shows that the company has shown duty of care and can claim it took appropriate measures to achieve workplace safety in the event of an accident.
As for those actors and aspiring stunt performers...get some training. Learn to recognise when you are being asked to do something that is potentially unsafe and request the presence of someone who is qualified to advise on the situation. You are not expendable and you have a right to work in an environment which is as safe as it can be. An actor once said to me, "But I'm afraid if I do that, I might never work again." I replied, "And if you don't, you still might never work again..."
Sorry for the doom and gloom tone, its just that I take it all very seriously. Well, it IS my profession after all and I do have my biases! I recognise too that I've been very long-winded, but hey, I don't write in here that often. Although, (mainly for Jarrod) I do visit this website almost daily!
Happy Swashbuckling!
Andy Fraser
Fight Director
In all seriousness, Craig has made some excellent points, partly with regard to the film director and/or producer, but primarily he writes with the actor/stunt performer in mind.
I'll now put in my two cents worth from a Fight Director's point of view and hopefully I'll be able to add something to Craig's already comprehensive post.
First of all, some terminology (please forgive me, those of you who know these things already!). A Fight Director is a specialist who is trained to direct and choreograph violence which is both safe (for all concerned) and dramatically effective (makes sense for the character/actor and looks good to the audience). Fight Directors work in theatre, film and T.V. Fight Directors co-ordinate fight moments only. They do not devise car chases, high falls from buildings, set people on fire, etc. In Australia, only those individuals who have qualified as a Fight Director with the Society of Australian Fight Directors Inc. may properly use the term.
A Stunt Performer is a widely skilled individual who has gained said title from the M.E.A.A. Stunt Register. He/she is qualified to perform action sequences (fighting, vehicle work, falls, diving, wire work, etc.) under the supervision of a qualified Stunt Co-ordinator. Therefore, Stunt Performers may only perform stunts. They are not qualified to devise and co-ordinate them. They work almost exclusively in film and T.V.
A Stunt Co-ordinator is an individual with further skills and training and again, has received this rank from M.E.A.A. A Stunt Co-ordinator is qualified to devise, supervise and co-ordinate stunts and action sequences. They may also perform in them. Like Stunt Performers, they work almost entirely in film and T.V.
Safety Officers are individuals specifically trained and qualified (through M.E.A.A. again) to advise on workplace safety during a shoot. This can range from making sure cables are properly taped down through to the safe co-ordination of stunts. As such, many Stunt Co-ordinators are also Safety Officers. In the theatre, Fight Directors perform a similar role advising as to the safe construction of set, costumes, etc. as they affect the fight sequence.
Often on a film set, a Fight Director and a Stunt Co-ordinator/Safety Officer will work in tandem, with the FD choreographing the fight moment, and the SC/SO ensuring that the working environment was safe to perform in. This was certainly my experience on both 'Teesh and Trude' and 'The Shark Net', two recent examples.
PHEW!
Judging from the original posting, what this shoot needs is a Stunt Performer (that's already been asked for), but more importantly, a properly qualified Stunt Co-ordinator/Safety Officer. (Please see Craig's comment about the army medic!). It probably doesn't need a Fight Director (based on available information), but if the character who falls through the skylight gets, say, punched up just prior to the fall, then a Fight Director would be called for.
Sadly, it would appear unlikely to happen based on the info in the original post and it really throws up the wider implications of a situation like this. Namely that:
1) Someone will probably be found who is crazy enough to do the stunt.
2) Someone will one day get SERIOUSLY injured doing something like this and I am extremely worried that that day is not far off.
This is especially true given the number of low/no-budget short films being done which require this sort of thing. Both my Fight Director colleagues and Stuntie cousins know that for every one of these we get asked to work on, another half-dozen or so get made with a "hit-and-hope" mentality which smacks of ignorance, arrogance, or a combination of both.
In theory, every stunt/piece of action/fight sequence (including the one in the original post) is feasible. By the same token, so is every one potentially hazardous. I also firmly believe that you cannot make any stunt/fight COMPLETELY safe. There is still the human element to consider. However, what you can do is REDUCE the risk to as infinitesimal amount as you can. That is why there are people such as Stunt Co-ordinators and Fight Directors around as they are able to offer practical solutions that minimise the actual risks and get rid of the unnecessary ones.
Unfortunately, the cynic in me thinks that it will only take a major accident, followed by a high-profile lawsuit to change the prevailing attitude. This is equally applicable to stage and screen, amateur and professional.
Part of the reason Craig makes such strong and well-articulated points in his post is that he comes from an INFORMED position. This is largely down to his many years of experience in the industry, but also partly because, two years ago he gave up 18 consecutive Sunday mornings to get some Stage Combat training. It not only gives performers the "fighting skills", but, far more importanly, gives them the awareness they need to be able to recognise when they are in a potentially dangerous situation. Trainee Stunt Performers, as part of their journey, develop a similar awareness with regard to all the various disciplines that they must master.
Budget, or the lack thereof, is no excuse. Absolutely not. If you can't afford a Fight Director or Stunt Co-ordinator, then don't do the project. Would you do a big musical without a choreographer? Would you shoot a film without a Director of Photography? In my opinion, any company/director/producer (delete where applicable!) who fails to engage such a specialist when necessary is negligent. Waivers, shmaivers. Hiring a qualified specialist shows that the company has shown duty of care and can claim it took appropriate measures to achieve workplace safety in the event of an accident.
As for those actors and aspiring stunt performers...get some training. Learn to recognise when you are being asked to do something that is potentially unsafe and request the presence of someone who is qualified to advise on the situation. You are not expendable and you have a right to work in an environment which is as safe as it can be. An actor once said to me, "But I'm afraid if I do that, I might never work again." I replied, "And if you don't, you still might never work again..."
Sorry for the doom and gloom tone, its just that I take it all very seriously. Well, it IS my profession after all and I do have my biases! I recognise too that I've been very long-winded, but hey, I don't write in here that often. Although, (mainly for Jarrod) I do visit this website almost daily!
Happy Swashbuckling!
Andy Fraser
Fight Director
- ···
- ···
- ···
- ···
- ···
- ···
- ···
- ···
- ···
- ···
- ···
- ···
- ···
- ···