Please only email me after you have checked the answers here and information at the site links. If you need further information, have a new question, or can update or correct the answers then email me.  -  over time this FAQ will grow into a major resource.

1. Why become a stuntman or stuntwoman?
This is a question for you. Why do you want to become a stunt person? Is it to make lots of money (see the answer to Question 17)? To become famous (see Question 18)? Is it to meet stars (see Question 19)? Is it to travel to exotic countries (see Question 20)? Is it a way to break into directing or acting? To make full use of your physical abilities? To solve challenging problems? There are many different reasons to become a stuntman or stuntwoman. This is one question you have to ask yourself before deciding to embark on a stunt career.
 

2. Can you help me break into the stunt industry?
In short, no. See the answer to the next question if you live in New Zealand.
 

3. I live in New Zealand, how do I break into the film/TV industry as a stunt person?
The New Zealand Stunt Guild is up and running. The Stunt Council considers applications for membership twice yearly in January and June. People interested in becoming probationary stunt people should send their CV with details of relevant skills and qualifications to: The Stunt Guild of New Zealand, PO Box 19036, Courtenay Place, Wellington. Do not send originals as material will not be returned.  I am not involved in these decisions, but fully support the Guild as it will help improve safety standards for stuntpeople in New Zealand.

In New Zealand there is currently no legal requirement for a stunt person to have specific skills, but to join the NZ Stunt Guild you must pass certain high levels in four or more areas out of fighting, horses, motorcycles, gymnastics,  cars, rock climbing, swimming, high diving, sub aqua, white water, and parachuting. Realistically, any untested, new stunt talent would not be hired by reputable directors or producers. I urge anybody in New Zealand with an interest in becoming a stuntperson to gain the necessary qualifications and join the Guild. Full details are at the NZ Stunt Guild website.
 

4. I live in the U.S.A., how do I break into the film/TV industry as a stunt person?
There is no legal requirement for a stunt person to have qualifications. Realistically, no reputable producer or director will hire untested, new stunt talent - so the best way to try and break into the business is to work your way up from the bottom. The major hurdle is getting a Screen Actors Guild (SAG) union card to be allowed to work on film/TV productions (except for non union ones which can be dodgy). Competition is fierce. The American Stunt Page  has some information.  Manny Siverio's USA FAQ has some very useful information about joining SAG, how to approach a stunt coordinator, how to behave on set, etc. Very detailed and useful advice.
 

5. I live in Canada, how do I break into the film/TV industry as a stunt person?
Canada has a similar set-up to the U.S.A. More specific information can be found at the
Stunts Canada career FAQ .
 

6. I live in Australia, how do I break into the film/TV industry as a stunt person?
As with the U.K. and New Zealand a stunt person has to gain a recognized qualification in several different fields e.g. driving, martial arts, sky-diving, etc. More specific information can be found at the  Australian Stunt Page .
 

7. I live in the U.K., how do I break into the film/TV industry as a stunt person?
You have to join Actors' Equity before applying to be a probationary member of the stunt register. Prospective stunt people need to have gained sports qualifications (one has to be a martial art) e.g. fencing, horse riding, scuba diving, gymnastics, trampoline, etc. Getting to an experienced enough level in the required six sports takes several years and costs thousands of pounds. A new member can only work under the guidance of an experienced stunt coordinator. After three years they become an intermediate member (can work on their own but not instruct other stunt people or actors). Later, after gaining more experience, they can become a stunt coordinator and instruct others on set. Click here for a page about it at Vic Armstrong's site. He says to send a large stamped addressed manila envelope to the following address for full information: The Stunt Register, c/o Equity, Guild House, Upper Saint Martins Lane, London, WC2H 9EG, United Kingdom.

Some further information is in the following two articles: "So, You Wanna Be A Stuntman?" by Cam Winstanley in the July 1997 issue of Total Film magazine and an interview with stuntman Nick Powell titled "So You Want To Be A Stuntman" by Michael Elliot for the April 1994 issue of Impact magazine.
 

8. What are the odds of my becoming a stunt person?
To be honest, not good. I've heard that every year something like 10,000 people attempt to break into the Los Angeles stunt industry. Currently there are about 600 people in the Los Angeles stunt industry  -  between 10 and 20% are women. About 200 make a full time living from it; the rest have real jobs and supplement their incomes doing occasional stunts. These figures are only approximate but they give an idea of the odds stacked against anybody - no matter how skilled.

Newcomers are competing against incredibly skilled existing stunt people. For a random selection of the type of skills stunt people have check the sites of Jeff Imada and Mark V. Lonsdale. In addition to their very high level of specialist skills, they all have years of experience and many, many credits working for film and TV. You have to ask why a production company would hire you over existing industry people like these men.

Stuntmen and women tend to pass on skills and experience to their children. Look up names like Epper and Rondell at the The Internet Movie Database to see how much of a family tradition stunt work has become. There are only a few vacancies each year - usually through retirement, injury, or death. Thus, the odds are that only one in every 1,000 or more hopefuls will succeed.

The odds are marginally better outside Los Angeles. In recent years some film/TV productions have moved from there. Many films and TV shows are being made in other countries where production costs and wages are lower, and the exchange rate also benefits the American production companies. Hercules, Xena, Jack of All Trades, Cleopatra 2525 were all made in Auckland, New Zealand. The Matrix, Star Wars, and Mission Impossible films were largely made at the new Fox Studios in Sydney, Australia. The Lord of the Rings trilogy was filmed in Wellington and various locations around New Zealand. There is a strong anti Canadian sentiment in Los Angeles due to the large number of TV shows and films now made up north. I see that several new movies (e.g. XXX, A Knight's Tale and Bad Company) are mostly filmed in eastern Europe.

Although the pool of available stunt people outside L.A. is smaller, it must be remembered that the total amount of work available is less, so competition for the jobs is still fierce.
 

9.  What skills and training do I need to become a stunt person/coordinator/fight choreographer?
The essentials are gymnastics (or trampoline or board high diving), and stage combat training - but the more you can do the better. These days a stunt person has to be as much of an all rounder as possible, with at least a couple of specialities. Get as many licences as possible: car, motorbike, etc. Do advanced driving courses. Get a First Aid certificate. Learn to ride a horse, ski, etc. Preferably learn at least two martial arts (judo is excellent for break falls) - you don't have to be a black belt but must know enough to look convincing without injuring anybody. NB: I include boxing as a martial art.

In New Zealand there is currently no legal requirement for a stunt person to have specific skills, but to join the NZ Stunt Guild you must pass certain high levels in four or more areas out of fighting, horses, motorcycles, gymnastics,  cars, rock climbing, swimming, high diving, sub aqua, white water, and parachuting. Full details are at the NZ Stunt Guild website.

See the individual country answers earlier for more specific information regarding essential skills required  in other countries.

Some knowledge of maths, physics, and mechanics is an advantage. Learn about the film/TV industry.  Improve your people skills. You have to learn to get along with many people in a working day, often for long hours under arduous conditions. You need to be diplomatic but firm when somebody is trying to get you to do a stunt or fight scene in an unsafe way.

A stunt coordinator has usually had years of experience as a stunt person beforehand. They are responsible for the safety of stunt people, extras, crew, and equipment. They need to have even better people skills and management/planning skills than a stunt person. They also need a good knowledge of camerawork, editing, directing, acting, etc. in order to do their job properly.

Fight choreography specialists need excellent people skills as they work closely with actors. Also needed:  a wide range of fight/combat skills including several martial arts (recommended:  judo, karate, kung fu, boxing and one of the following: capoiera, ju-jitsu, aikido), weapons training (fencing/rapier, medieval long sword, pole/bo/staff, etc.), and stage combat training.

Specializing only in fight choreography will limit your work chances. Probably about 50%  of film/TV work is fights (the remainder is split between vehicle stunts, various falls, and miscellaneous stunts like fire, crashing through windows, etc.). There is additional fight choreography work for plays, renaissance fairs, and other live productions, though.
 

10.  I am an experienced martial artist/stage combatant. What extra training do I need?
Although martial arts give good basic skills for fight scenes, there is a great deal of difference between throwing a punch or kick in real life and reel life. To learn how fight scenes are done, all prospective stunt people should do stage combat training. Both unarmed and armed fights are choreographed - much like a dance. In general, movements are a bit bigger and slower than in sparring so they can be clearly seen by the audience. Almost all kicks, punches and strikes with weapons are actually non contact. The illusion of contact is created with appropriate body reactions, facial expressions, carefully selected camera angles, editing, and sound effects added later.

Martial artists often find the film fight style to be unnatural - it goes against everything they've learnt. They have to learn to adapt the real moves they know to the reel style. Bruce Lee's movies reflected a very different style of jeet kun do to that he taught as self defence.

Judo and aikido break falls and rolls can be useful for fight scenes and stunts involving minor falls.

Stage combatants have a slight advantage over martial artists as their sword and staff techniques are much closer to film/TV fight techniques than what is taught in the dojo. Similarly, if they have done combat mime or other unarmed stage combat training, they know the type of techniques that "sell" punches and kicks in fights to an audience. To make a fight look good you have to act. How to throw a movie punch by Manny Siverio explains the basics of fight choreography. The rest of his site is also well worth checking out.

Both martial artists and stage combatants need specialist training for other stunts: cars, high falls, fire, etc.
 

11.  I am an experienced gymnast/trampolinist/board high diver. What extra training do I need?
Gymnasts and trampolinists/high divers have good basic skills for high falls, and acrobatic fights. Additional specialist training is needed for any stunts involving cars, fire, etc. To do fight scenes they need stage combat training. They could try to just specialize in high falls, but this is very limiting - only about 10% of all stunts are high falls. If the high fall involves crashing through glass or being on fire then they may not be able to do it. Technology in the form of decelerator/descender devices and digital technology is making skill at free falling from a great height redundant. Many stunt people currently working in the industry do high falls and a variety of other stunts. There is little or no need for someone who can only do high falls.
 

12.  I am an experienced driver/motorcyclist. What extra training do I need?
Unless you intend to specialize in car or motorbike stunts, extra training in stage combat, gymnastics/trampoline, fire stunts, etc. will be required. See the  Recommended Links section for stunt and stage combat schools.

Good driving/riding skills are only a basis for precision driving, chases, and crashes. There are numerous techniques to learn in order to leap, roll, or crash a car and leap, drop, or crash a bike. Specialist safety clothing and stunt equipment is also needed.
 

13.  I have no special skills/training. Where can I get stunt training?
First you need some gymnastics/trampoline training. Contact clubs listed in your local area phone book. Some martial arts training would be useful - especially judo for break falls. Stage combat training is essential. Fire gags, explosions, stair falls, car stunts, etc. can be practically learnt at stunt schools. You may need to travel to attend stage combat or stunt school training. See the Recommended Links section for stunt and stage combat schools. In New Zealand, Australia, and the U.K. there are requirements to attain a high skill several in several areas to be able to join the appropriate stunt union in each country. For New Zealand specific information see the answer to Question 3, for Australia see Question 6, and for the U. K. see Question 7.
 

14.  What personal equipment do I need?
As a bare minimum every stunt person should have their own elbow and knee pads (soft foam padded ones not the hard plastic skateboarding type), padded shorts (to protect hips and tail bone), and full length back protector (the type used for motocross). Pads and shorts can be purchased from sporting goods or martial arts supply stores, and back protectors from motorbike equipment shops.

In addition, you may need to buy or hire further specialist body protection and a helmet (especially for car stunts), gymnastic/martial arts mats, gymnastic crash pads (a minimum of six inches thick), swords and other weapons, soft prop weapons, fire gel, water gel, fire suits, climbing harness and rope, scuba diving gear, skydiving gear, mini trampolines, air rams, air ratchets, jerk harnesses, decelerator/descender rigs, air bags, pipe ramps, car jump ramps, etc.

Expect to spend several hundred dollars for the absolute basics up to tens of thousands of dollars for a range of more advanced equipment.
 

15. What is the usual career progression for a stunt person?
Typically, a stunt person eventually becomes a stunt coordinator, then sometimes goes on to become a 2nd unit director. Second unit directors are in charge of a smaller film crew who shoot action scenes or general location shots.
 

16. Does the stunt industry have a future in the digital effects age?
On 22nd August 1994, The Dominion (Wellington's daily morning newspaper) carried an AP article titled "Stunt Workers Worry About Computer Growth". The January 1996 issue of Premiere had a similar article about the demise of stunt work titled "Last Chance To See".

The better part of a decade on, stuntwork has still not been replaced by digital computer technology. Both articles admitted the benefits of the technology. The 1994 piece commented stunt people gained employment working on interactive videos. The 1996 article quoted Kenny Endoso as saying "Computers make work safer for stunt people. We don't have to take unnecessary chances; it'll save a lot of broken bones."

Digital effects make it possible for actors to perform scenes that previously would have been done using stunt doubles. The results vary widely: Tom Hanks running from explosions in Forrest Gump looked very realistic; the less said about Tom Cruise, a train, and a helicopter in Mission Impossible, the better!

They also make it much safer for stunt people to do big action scenes. A very high fall can now be done with strong cables and a braking system. The cables are digitally removed later. Digital manipulation greatly increased the safety of the tiger scenes in Gladiator.

I am willing to bet that fights, car chases, stair falls, being blown up, crashing through windows, and other stunts will still be done by real stunt people for at least the next 20 years. Maybe then it will finally be cheaper and quicker to do away with the human element and go fully digital.

Update: scroll to the bottom of my News section for an August 2001 online article from ABC news about, you guessed it, digital stuntmen replacing real ones!
 

17. Will I get rich?
Probably not. About 75% of all stunt people are part timers. World wide, probably less than 500 people make a full time living from stuntwork. In theory, a New Zealand stunt person could earn up to $150,000 a year ($600 a day, working five days a week for 50 weeks a year). The reality is somewhat different. a full time stunt person would be lucky to work two days a week on average, for around $500 - $600 a day. A grand total of $50,000  - $60,000 in a year.

If that sounds like good money for a two day working week, don't forget to factor in the cost of personal equipment (see Question 14), and time plus money spent exercising, training, and gaining new skills. Stunt work is not as cushy a number as it at first appears.
 

18. Will I be famous?
No. Less than a dozen stunt people have become famous. Yakima Canutt, Hal Needham, and Kitty O'Neil are among the few. If you want fame (and riches) work on becoming the next Mel Gibson or Linda Hamilton. Practice your method acting rather than your shoulder rolls.
 

19. Will I meet stars?
That depends. I've met many well known NZ actors - Tim Balme, Jed Brophy, Michael Hurst, Kaleb Ross, etc. I've even met a couple of overseas actors - nobody as big as, say, Mel Gibson or Linda Hamilton - but recognizable names and faces. Don't get into stunts with the aim of meeting the famous. You'll be rubbing shoulders with them more often if you become an actor.
 

20. Will I travel?
I've travelled as far as Queenstown, but have not been outside New Zealand doing stunts. I know a few other New Zealand stunt people who have been to various Pacific islands for film shoots. British and American stunt people are more likely to have travel opportunities to Europe, etc.
 

21. What are the positive aspects doing stunts for a job?
The hourly rate is very good for the actual time spent on set. You get free coffee, snacks, and nice meals. There are many interesting people to meet and talk to. You get to visit interesting locations and sets. There is also the satisfaction of seeing yourself on screen and your name in the credits. You probably won't see your face very often as you'll be doubling for actors or in monster costumes, but you'll know who it is! But best of all, stunt people get to dress up and play with cool weapons and vehicles. What more could anyone want?
 

22. What are the negative aspects doing stunts for a job?
The working day can be very long (up to 14 hours). Work conditions can be hard - hot, cold, wet, etc.
 

23. How are fire gags done?
Very carefully. Commonly a protective water gel is put over all the skin and hair. Several layers of woollen long johns soaked in the water gel are worn. Normal clothing is worn on the outside. A special fire gel (Never any fuel like petrol) is used to ignite the stuntperson. There is much more to it than that, but fire stunts are so dangerous I won't give out further information. They must be learned from a trained stuntperson. There are lots of people around setting fire to themselves for live shows who have no real idea what they are doing. Please don't try and learn from any of these people!
 

24. How are high falls done?
There are several ways. Stunt people used to fall onto mattresses in the very early days of film. Then they graduated to cardboard box rigs. Now, airbags are commonly used. Due to failures of some airbags, it is becoming common practice to have a smaller backup airbag inside the main one or a box rig under the main airbag. High falls are often performed in a controlled manner user a descender or decelerator rig. This is a little bit like a bungy jump but using a wire cable and a full body harness. The fall is slowed before the end by a braking system. No airbag or box rig is necessary as the stunt person is fully stopped before ground level.
 

25. How are car rolls done?
Cars are driven towards a ramp and rolled off it. The ramp is usually concealed by a parked car. A pipe ramp will get a car much higher in the air. There is one technique to roll a car without a ramp: a cannon blasts a solid pipe or piece of telephone pole into the ground under the car, making the car airborne. Full protective clothing must be worn by the driver of any car in a roll. The car must also be fitted with a full roll cage. In addition, the fuel tank should be removed and replaced with a miniature gravity fed tank to reduce the risk of fire.
 

26. How are people shot?
A small explosive device called a squib is detonated under the clothing. The person's skin is protected with a backing plate. A blood bag is put on top of the clothing and spurts out fake blood as the charge goes off. Sometimes the effect of a person being shot is simulated by gelatine capsules (filled with fake blood) that are fired at the person and break on contact. Similar effects are used to simulate bullets hitting glass or walls, furniture, etc. To simulate a laser gun shooting an actor, a squib with chemicals gives the effect of an 'electrical' hit.
 

27. How are people blown up?
Usually a gas powered platform called an air ram is used to throw a stunt double into the air as an explosion goes off behind them. Air rams have largely replaced mini trampolines that were used for this purpose in past decades. A ratchet or wire system can be used to pull a harnessed stunt double into the air to simulate the explosion. Amputee stuntpeople with fake limbs can add to the realism - giving the impression that a limb is blown off during the explosion.
 

28. How are fight scenes choreographed?
With as much rehearsal time as possible! Soft props made of foam or plastic are used instead of real weapons. Plates, bottles, and furniture are made of lightweight breakaway materials. Even with these safety precautions and body padding, it needs the use of skilled techniques to kick and punch without hurting each other. There are numerous trick techniques used to simulate real body blows (see the Recommended Reading section for some good books) and acting ability is required to 'sell' the moves. Stage combat training is essential to do stunt fights in a safe and spectacular fashion. See the Recommended Links section for stage combat trainers and stunt schools teaching fight techniques.
 

29. What do terms like gag, brody, etc. mean?
A gag is a stunt. A brody is a fall. A bulldog is knocking a person to the ground (usually from a horse or vehicle). A haymaker is a big John Wayne-style punch. Want to know the meaning of another term or word? Email me.
 

30. What people on a film/TV show set does a stunt person/stunt coordinator interact with?
Primarily the director and first A. D. (assistant director). It is our job to get what the director wants to see on film, in a safe and timely manner. We also interact with set dressers, costumers, lighting and camera people regarding the safe positioning of the stunt action and potential safety concerns with crew, equipment, props, and costumes.
 

31. Is it dangerous doing stunts?
It is safer to roll or crash a  prepared car wearing protective clothing than to drive down the motorway. Having said that, stunts can be dangerous. It is the stunt coordinators job to minimize the risk. Stunt doubles only get hurt when something goes wrong. The fewer injuries a stunt person has, the better they are doing their job. Beware of people who boast of their injuries and close calls.
 

32. What is the difference between a daredevil and a stunt person?
This is one question guaranteed to cause controversy. Although the distinction can often be blurred, daredevils are generally accepted as taking more risks and being involved in live shows. Thus, Evel Knievel = Daredevil, person doing a motorbike stunt for a movie or TV show = Stuntperson. In real life, the answer is not so simple. Also, a daredevil has to take every possible precaution and train hard or they'll die young. I also have the greatest respect for live show performers/daredevils. I started out doing live car shows, and still do live shows on occasion. Many other stuntpeople started in live shows before moving to TV and film work.
 

33. What movies and TV shows have stunt people been seriously injured on?
Too many. As the envelope of the possible is pushed, as people get rushed because time is money, and sometimes just because the unexpected happens, stuntpeople get hurt. See Recommended Links for a few sites detailing accidents and deaths. My new News & Workshops section also often has articles about accidents.
 

34. What movies and TV shows have stunt people been killed on?
Again, too many. See Recommended Links for a few sites detailing accidents and deaths.