Filmmaking / Directing : Ask Me Anything (AMA) Wednesday, 2/14 to Thursday 2/15- Working with a Stunt Coordinator by Philippe Deseck

Thanks for having this AMA, Philippe Deseck. Working with a Stunt Coordinator. Exciting topic! What does a Stunt Coordinator actually do behind the scenes?

How do stunt coordinators charge for pay? Is $ based on per stunts, riskier the stunt the more pay?

First off, thanks for being here, Philippe Deseck. Appreciate you doing this for the community and hope you'll stay involved here after the AMA is over.

Actually, you raised this question, but I'd love to hear the answer: "What relationship does the Stunt Coordinator have with the Director and the Second Unit Director? "

Thanks for sharing your time with us Philippe Deseck. What is the threshold that a coordinator looks at for an actor to be granted permission to do his/her own stunts? Thanks in advance!

Thanks Philippe Deseck! I absolutely love what you all do. Working with stunt coordinators ranks high on my favorite experiences as a producer list. You guys should be next in getting your own category at the Oscars!

Thanks for being here to answer questions, Philippe Deseck! You've worked on so many cool projects. I've been fascinated with turn performers since I saw the movie HOOPER. How early in pre-proctuion do stunt coordinators usually get involved in a film?

Philippe Deseck hi Philippe! Thanks for doing the AMA. It’s great to see you in the community.

My questions concern me directing my first feature that has three stunt/action sequences. One is a fall from a building, then a martial arts fight in a confined space (stairwell) and lastly a chase on foot with parkour elements that’s in a public (harbourside) space.

1. How to find the right stunt coordinator?

2. Getting the shots (coverage) for each stunt, bearing in mind the safety of the actors as well as the camera crew. What safety plans need to be drawn up, so that everyone is on the same page?

3. Do I as Director need to scout the locations with the stunt coordinator?

Many thanks in anticipation of your answers!

Thank you for sharing your time with us today, Philippe Deseck! Are there specific details that a stunt coordinator requires when they first get involved? Anything more than the script to help them begin their prep?

Hi Philippe, wow a lot of awesome movies

Hello everyone and thank you all for your questions and lovely comments. I will answer your questions to the best of my ability. Please bear in mind that I am based in Australia and that not all countries operate in the same manor. However, the general gist is pretty much the same. Keep the questions coming in today and hopefully it will shed some light on the quite specific industry of Stunts. :-)

Hello Dan MaxXx , great question. Different countries have different rates. If you are represented by a Union then there are minimum fees that production will pay for a Stunt Coordinator or Stunt Performer. Tv-Shows will usually pay less than feature films. 



Now the rates for Stunt Coordinators and Stunt Performers are different and these rates are also negotiated to a degree. Wages are negotiated on a daily basis or a weekly bases. Usually a weekly bases will be if you work more than 3 days a week. If you work 3 days or less then you get paid on a daily basis.

Weeklies for Stunt Performers on features are usually around $5-$6,000/week and dailies are usually around $1000-$1500/day. Stunt Coordinators will usually get paid more than that. 



As a stunt performer you can also get a loading which is more money for the more dangerous stunts. Every time you perform the stunt you will get a loading. Loadings can vary from $100 to $1500 or more. E.G. If you do 3 fire burns in one day, your extra loading which does not include your base rate , will be $1500x3.



In addition to this, on camera stunt performers also get residuals which is part of the royalties. The profits get divided by the number of performers who have worked on camera. So if you work on a movie with very few stunt performers and the movie was a big hit the residuals can be quite substantial. Residuals get paid every three months. You can max out on residuals if you work 25 days per production. In other words, if you work for more than 25 days your residuals will be capped.

Thank you for your question Maurice. When in Pre-Production the Stunt Coordinator will go to many production meetings where the finer details will be discussed in regards to scheduling and stunts. Those production meetings usually involve all of the relative departments that are involved with stunts.

Before any stunts are performed a stunt coordinator will also do a script breakdown of the action sequences and come up with a budget of how much it will cost the production to hire all of the performers and equipment.

The Stunt Coordinator will also do a Risk Assessment and a breakdown of all the action sequences.

Thank you for your question @Richard.

There has to be a very close relationship between the Director and the Second Unit Director. It happens more often than not where the director has little to no experience in shooting an action sequence. The Director will rely heavily on the Stunt Coordinator in the design of the action sequence and the filming of the action sequences. Many times the Stunt Coordinator will give his/her advice to the director on how to best shoot the action sequence.

A second unit director usually has a lot more experience in shooting an action sequence. The stunt coordinator can then spend more time in the design of the action and the preparation of the stunts and leave the shooting to the second unit director. In saying this some second unit directors have very little experience in shooting action sequences. Like the director they will rely heavily on the stunt coordinator on how to best shoot the action sequence.

The stunt coordinator will present a previsualisation of the action sequence so the director and or the second unit director will have an idea of what the action sequence will look like. The Previs are now becoming more and more sophisticated in their production value and a lot of time is spent with the stunt team creating those Previs. It also gives the actors a good visual of what they will be performing in the scene.

Thank you Doris. How exciting that your son wants to be a stunt performer. Now different countries have different requirements.

The most important skill set to have is Martial Arts as that is the bread and butter of a stunt performer. The next stage is to learn how to throw a punch or a kick for the camera. So lessons in stage combat is a must.

We all have different skill sets as a stunt performer and some of us are expert drivers, horse riders, motorcycle stunt drivers, divers, gymnasts, mountain climbers etc… Find a local place where stunt performers train and get your son to learn the basics in stunt falls and rolls. 



In Australia we go through a grading system where we start off by grading as a SAP (Stunt Action Person) A SAP can do background action. 
Next we get graded as a Stunt Actor. A Stunt Actor can double for an Actor. Next we get graded as an Assistant Stunt Coordinator. An ASA does more of the organising of the stunts such as getting a team together, making sure everyone on the stunt team knows what to do and where to go. There is a lot more paperwork involved for an ASA. 
Next level is to become a Stunt Coordinator who oversees the whole stunt department. Usually, Stunt Coordinators become Second Unit Directors, so learning filming skills is very essential in the journey of becoming a stunt coordinator. 



The best thing your son can do is figure out at what level he would like to be at and start working towards that level. Take many notes and log everything you do so when you do go for your grading you have everything right in front of you. 

From my comprehension, in the States there is no grading system as it is more based on your level of experience. In the UK, the grading system is very high and quite challenging to get through. 



Another important section to get your son familiar with is Stunt Rigging. In Australia we usually get our construction rigging tickets first then we switch over to stunt rigging as it plays an important role in the life of stunts. With stunt rigging you learn how to set up wire gags which can be really complex so having knowledge of physics if paramount.

Thank you, Philippe Deseck. So interesting to read your responses to the questions.

If you get a certain amount of concussions, is there anyone who can force you to quit?

Thanks @Leonardo.

The first thing a stunt coordinator will look at is the physical ability of the actor. In Hollywood producers don't usually allow actors to do their own stunts. In Asia however, actors are required to do many of their own stunts. In saying that anything that could cause harm will be performed by a stunt double. For practical reasons too stunt doubles are used as on some productions there are 2 teams filming at the same time (Main and Second Unit) and actors cannot be in 2 places at the same time.

Sometimes actors would like to do their own stunts and tell the coordinator that they have XYZ skills so the coordinator will take them for a test run and see what they can do and what they cannot do. If they can be trained and the budget allows for it then yes they will do most of their own stunts but for anything that could cause harm will be done by a stunt double.

If an actor has to do a simple drive scene, we will take the actor for a driving test and look at their driving skills and if they are able to drive and take direction they will be able to perform the driving for the scene.

The crossover from actors to stunts can be a little bit of a grey area but safety is always paramount in the decisions as to who does what.

Thank you Nick. Yes, the subject matter does come up quite a bit. There is a price to pay with stunts as accidents do happen and the recognition does not always reflect the effort that was put in. Some of my colleagues have had horrendous things happen to them but it does not deter us from doing what we do. Stunts is quite a unique skill set and the passion we put into our work is pretty amazing. Maybe one day... :-)

Thanks a ton, Philippe Deseck. It all sounds like so much fun. I'm a 4th degree black belt so I'd be begging to be the one that is thrown out of a window. Hanging from a helicopter...not so much.

Thank you Sam,

Stunt Coordinators get involved from the start of pre-production. Stunt coordinators go to many production meetings with the HODs (Heads of Departments) to discuss the logistics of the action sequences. On big productions Pre can take a few months and the production meetings happen through out the whole production.

Nowadays, many production meetings happen over zoom calls. Some HODs will be in other countries too. On one of the productions I worked on the HOD of the VFX department was based in Canada so we often zoomed with them. 



It’s sometimes hard to imagine how movies were made in the days before technology.

Big congratulations Geoff on directing your first feature. 


1. How to find the right stunt coordinator?



How to find the right stunt coordinator is to find someone who is in alignment with your vision. That is paramount as you need to be working with each other and not against each other. Be upfront with your coordinator and he/she needs to be upfront with you. Getting that close relationship will make things so much easier. 


2. Getting the shots (coverage) for each stunt, bearing in mind the safety of the actors as well as the camera crew. What safety plans need to be drawn up, so that everyone is on the same page?

Get the stunt coordinator to make a Risk Assessment of the action sequence so all safety measure are taken into consideration. 

Request ample rehearsal time not just for the stunts but also for your camera angles. In order to get the best results get your DOP to work closely with the stunt coordinator during rehearsals. They can iron out any problems well ahead of schedule and they will also get a feel for working with each other.

3. Do I as Director need to scout the locations with the stunt coordinator?

Not necessarily. If you really can’t go to the locations get your stunt coordinator to go to the location and film the Previs at the location. Just last week the stunt coordinator and myself went to the Sunny Coast (2 hour drive north) to check out a location for a tv show. We filmed parts of the scene at the location and I also used my drone to film the area giving production an idea of what to expect and what we can do and what we cannot do at that particular location.

If you trust your coordinator you can leave it up to him to make the right decision for your particular scene. 



Best of luck on your production.

Thank you @Ashley,

Yes, it actually helps if the stunt coordinator has experience in the particular stunt that is being shot. E.G. If your scene requires stunt performers falling off horses then get a stunt coordinator who has experience working with horses. Usually the stunt coordinator will be a horse person. Same goes for driving, using boats etc… 



Last year I worked on a production called Apples Never Fall starring Sam Neil and Annette Bening. There were a lot of tennis sequences in the tv show so the coordinator that was chosen has a lot of tennis experience as his son plays on the pro circuit. Because of his connections to the tennis world he was able to get pro tennis stunt doubles for the production. I also used to be an avid tennis player when I was younger so when we shot the Previs it was pretty easy as I know the game and knew how to film it. We made a really good team and it was a joy to work on that production.

I also got to meet legendary Samantha Stosur who was a pleasure to work with.

Thank you Billy much appreciated.

As we grow in the industry our skill sets constantly develop and change. I've worked on many levels and in different departments from Stunts to safety to filming to animation to casting, to editing to acting to Directing. Every skill set helps you get to that next level and opportunities keep presenting themselves.

I go by the philosophy that I am not a Martial Artist or a Stunt Performer or an Actor or an Animator or Director but I am a filmmaker in the first place who happens to know Martial Arts or Stunts, Acting, Animation or Directing.

When we can all speak the same language of film we can better co-create together. Lines of communication become so much easier and we all find ourselves on the same page creating magic.

Thank you Maria, much appreciated.

Hey Pat, yes absolutely.

If you are feeling unwell or even if you are not in right frame of mind you will be asked to step down as it can potentially be dangerous and life threatening. There are always nurses on set who can assist you and for the more dangerous stunt ambulances will be on standby.

There is no shame in actually telling the coordinator that you are not able to perform the stunt or that it is out of your scope. The coordinator will prefer for you to be honest and upfront. It saves time and embarrassment for the coordinator and production.

The definition of a good performer is someone who goes to work the next day.

Yes Leonardo, we all have our skill sets and we all work towards our strengths. Always be honest and upfront in your skill sets and if you are not that skilled in a particular area just work at it. You've got this. :-)

Hi thank you so much for doing this AMA. Any dos or don’ts for writers that put action in their scripts?

You're welcome, Philippe Deseck. Thanks for the answer. I didn't know Stunt Coordinators did so much! Incredible AMA!

Hey Jill, really good question. It's not so much about dos and don'ts but it's more about what does the budget allow. Unfortunately, when we get script rewrites the action is usually the first thing that gets cut down.

E.G. we will get a script where the cop car drives to the house to arrest someone. A budget will be put in place for a vehicle, stunt driver etc... When we get a script rewrite-update it will have changed to the cop is already at the house arresting the people. So the car and the stunt driver got scrapped.

In the end it all boils down to money.

Thank you Maurice. Much appreciated. Yes, there is so much that goes on behind the scenes. When complex rigging gets involved even more prep and work goes into the stunt design. Some rigs will take weeks to set up just for one scene.

Philippe Deseck thank you for your example. Do you have any favorite or funny experience you would like to share? Like most people on Stage 32, I love a good story.

You're welcome, Philippe Deseck. I hope the Academy adds a Stunt Category for stunts. Without Stunt Coordinators and Stunt Performers, we wouldn't have a lot of movies and shows.

Hey Jill, there are so many stories and they are all very different as every production we work on is so different and unique.

Some of the new up and coming ADs don't really know who the stunt performers are and they sometimes miss take us for extras. We had one case where we had a stunt performer who was pretty new to the game and the AD's thought he was an extra. They told him to go to where the extras hang out and when it came to doing our scene he was nowhere to be found. I looked everywhere and simple could not find him. He just did what they told him to do, but it was a good lesson for him as you always stick to your team and you always let your team know where you are especially when you go for a 10.1 or a 10.2. (toilet break). When you do go for a 10.1 or a 10.2 and you have a two way radio on you make sure you don't accidentally press the chat button. :-)

Hi Philippe! Thanks for doing the AMA. I'd like to inquire about the possibility and process of working directly for an American film production (EU citizen) while on location in Europe. My experience in the Czech Republic, working for a local production hired by an international one, has highlighted significant pay disparities despite my decade-long experience in the film industry. Could you advise if such inequalities are less prevalent in other European countries and how one might connect with productions where fair compensation practices are more common, especially concerning on-set work?

Thank you for your question Bara.

There are quite a bit of payment disparities in the industry. Even when American productions come to Australia they sometimes get paid more than the locals. I do believe that there are less parities working in other European countries.

Usually the Stunt Coordinator will negotiate the rates with the producers. You need to find a stunt coordinator that will negotiate fairly on behalf of the stunt performers.

If you are non-local, producers can pay extra for accommodation with a perdium which is a daily allowance for being a non-local.

What I do is work through my Business/company, which means that I receive the full amount with no tax deducted. At the end of the year I sort out my own tax. Hope this helps.

Philippe Deseck many thanks, Philippe for your answers. I’ve copied the url of the AMA so that I can refer back to it. I can’t wait to work with my first stunt coordinator. Thanks for your help.

Fascinating discussion, Philippe Deseck. Invaluable information. Couldn't be more grateful for the value you're bringing here.

Thank you so much for this AMA Philippe Deseck I loved reading all the comments.

Thanks again for having this AMA, Philippe Deseck!

Thank you so much for your great questions and glad I could shed some light on working with a Stunt Coordinator. It's been a pleasure to share my knowledge and experiences with you all. You guys have been amazing. I wish you all the very best in your filmmaking careers and looking forward to seeing your work on the silver screen.

You're welcome, Philippe Deseck. The very best to you in your careers!

AMA Great Thing...

Philippe Deseck thank you so much for sharing your story. The 10.1 and 10.2 with a radio sounds like an excellent set up for laughs.