The previous article discussed story-boarding stunts. After this phase the stunt coordinator takes over. But what exactly is a stunt coordinator? Well they can be thought of as the director of stunts–they coordinate, cast, and choreograph. As you might guess, they usually worked as a stuntman before becoming a coordinator.
Rémy Juliannne is a typical example of a stunt driver turned coordinator. He started his professional life as a rally cross driver and a motocross driver. He has now been in 1,400 films including James Bond and Italian Job. He also teaches other stunt drivers. 1,400 folks! How many actors can make that claim?
The car stunt coordinator works with the crew and cameramen to line up the correct camera shots. Even when everything is planned in minute detail things can still go wrong. And “go wrong” has two definitions:
1) you have to repeat a very expensive shot.
2) Someone get’s hurt.
Someone gets Hurt:
That’s not to say there’s no choreography or some mechanical rigging to make a car stunt as safe as possible. A fit stuntman also increases the likelihood they will survive the stunt, even if there are injuries to the body.
When creating a truck roll as seen in Mad Max 2 a gigantic cage was built into the cab and as a precaution an ambulance was on standby. For stunts as dangerous as this, stuntmen don’t eat for a day in case of operations. All that happened to the stuntman after this was a dirty face, bizarrely enough.
What many people may not know is that custom engineered safety feature from stunt coordinators actually inspires safety features in cars that are commercially sold. If you have airbags in your vehicle you can thank the stunt industry.
Equipment also changes:
The French film C’etuit un Rendezvous used video cameras instead of film cameras to follow stunt drivers as they went mad on the streets of Paris. At least using a Mercedes meant that the handling was as fine as it could be. Cameras mounted on the hood also assisted with the overall effect.
More Technically Difficult Stunts
The harder the stunt, the more precision is needed. Most cars cannot be turned 360° in mid-air, but the Chevrolet Sonic can—with a little special engineering. A ball-like scaffold created the effect. A similar stunt was achieved using an AMC Hornet.
To flip a Mini you need to get an angle of 37° and still might not be easy. Think about it, is the goal to get a full revolution, to land on your roof, to land on your tires…either way you are rigging the Mini up with some kind of cage.
Using Regular Streets
Beyond the obvious step of getting permits and shutting down regular traffic, you can add the step of simulating traffic with cars driven by stunt people. Of course, the stunt coordinator must examine the surfaces to ensure that they are more than roadworthy. A test track or a controlled sound studio won’t change a lot between filming one scene and another, but a road could have random damage the night before filming.
The ultimate stunt drivers can use the streets of San Francisco for suitably hilly stunts involving a number of chicanes, and negotiating streetcars and cones with a number of 180° turns as well as jumps.
A stunt in 2009 involved jumping from the beach onto a barge. It used a Subaru STi and took place on the Long Beach on Los Angeles. The difficulty in the stunt is not to crash into the barge.
Sexism or Practicality
There’s a great deal of talk about “wigging” in the industry where a stuntman does the stunt which should have been done by a woman. There’s probably no winning this debate because there are more stunt men in the business than women. I the golden era of cinema, when an actress fell off a horse and was drug out of scene, you put a man in a wig and drug him behind the horse.
Now, there are more stunt women and really no good reason why a woman couldn’t drive a stunt as well or better than a male counterpart. By the same token, there’s a lot less effort in disguising a drivers gender inside a car during a stunt so there’s really no reason to intentionally pick one gender over another regardless of the sex of the character that’s supposed to be driving. Naturally this creates a bit of contention.
The truth is there’s no stunt register in the US, so the only way a stunt man or woman to gets ahead is to know the right person. So, there’s no way to prove that bias isn’t applied, and no easy way to attempt to fix the situation. On the upside, Hollywood has a reputation of being forward thinking and as more female stunt drivers enter the business, you’ll likely see plenty of jobs available for them. Only time will tell for sure.
It’s that a person who wants to drive through fire will always have employment, though he or she might not have time to enjoy the beauty of the vehicle?