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This is also discussed within my
own Health
and Safety Policy: The stunt Coordinator/Stunt Performers
relationship with every member of the cast and crew.
To my knowledge; this specialist Health
and Safety document in relation to my profession is the only one of its
kind in the world and should be kept as a handbook for all production
companies; particularly those with little experience in creating action
cinematography.
The stunt performer or stuntman; from the original
Hollywood days would be physical guys that hung around the early studios
on the back lots. Guys like Harvey Parry who doubled Buster Keaton his
entire career….
" Some guy, usually a Director would come in
and say.. who wants to earn fifty dollars today… if the gag went
okay you had some money; if it didn’t you got free board and food in
the local hospital".
These were hard times and yet pioneering times. Some of
the early footage of stunt artists I have collected over the years has
been the most innovative and inspiring ever made.
These guys were breaking new ground ever day; as the
work had never been done before and that which was done with one or two
cameras as one entire take, would now be covered in seven or more cameras
and all in cuts and cheats.
I feel we have lost some of this zest for our
profession in the myriad of health and safety and in the laboured process
of film making. We do not need to compromise safety; but there is just too
much… "let’s do this because we have done it before".
The all round stunt performer; should be thought
provoking and brave. He should be athletic, gymnastic, acrobatic, strong
and supple. There are stunt artists who specialise in various parts of our
craft on horses, cars etc, but in my opinion, the true stunt artists
should always be learning new skills and new crafts.
My only derogatory overview of most Stunt Coordinators
and performers; is that they are constantly thinking about ‘the stunt’.
Of course they have to do this; but the real pioneers; the ones trying to
break new ground should learn more about every department in the required
liaison of film making. They should learn to work with all members of the
production team in their remit, but mostly with camera.
If a stunt performer doesn’t know who the DOP and the
operator are after five minutes of being on the floor; they shouldn’t be
on the floor. These people are the key tools to our own creative process
and we need to work in close harmony with them and in all aspects of
camera if we are to create anything of any real worth in relation to ‘action
cinematography’.
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