Casting, Actors, Extras, and Stunt People

 

 

 

 

This chapter, in addition to describing the duties of casting personnel, discusses the process of casting, from using casting agencies to who reads and who auditions, to how final decisions are made and who makes them. In addition, special circumstances such as working with minors and working with SAG and nonunion actors and extras are examined. Finally, because they are also seen on screen, the stunt department is discussed.

CASTING DEPARTMENT

The casting department consists of the casting director, the assistant casting director (there may be many casting assistants), the extras casting coordinator, extras casting assistants, and in some cases a background coordinator (Figure 7.1). In high budget you most likely will have all of these positions. In low budget, you may only have one person who handles all aspects of casting, including the extras. In very low budget, you may have to do the casting yourself. Following are the duties and responsibilities of the casting director.

CASTING DIRECTOR

In low budget the casting director works as an independent contractor, meaning he is hired as an individual to cast a show. More than likely, casting directors like this are incorporated and hire themselves out from their own companies. In big budget, casting directors may work exclusively for a casting agency. In this case, the casting director may be working on more than one show at a time. On shows with very large casts, a casting agency may assign more than one casting director and a few assistants. The casting director in high-budget productions usually casts all speaking parts and special ability parts but not the extras. If a script calls for a large number of extras, it is wise to have a separate extras casting person or use an extras casting agency (more about these later). Casting directors usually start in pre-production, any time from one to three months before principal photography.

Pre-Production

 

  ■ Meets with the director after receiving a cast breakdown to discuss casting possibilities. A cast breakdown is a list of all speaking cast with a description of physical and personality characteristics (see Figure 7.2). The director or producer, who knows what kind of actors she is looking for, may compile this breakdown.

  ■ Searches her own previous clients for possibilities for each role.

  ■ If it is a union show, searches the academy catalogue for possibilities. The catalogue is a book of actors’ headshots that is published yearly. The head-shots are divided in categories, ingénue female, ingénue male, children, and character actors. In higher budget films, the casting director may put together an A list and a B list. Yes, the A list is not just a term referring to actors, it is an actual list. The list is sometimes compiled by casting agents who keep track of who is currently “hot” in the business. The B list names actors who may mostly appear in supporting roles or who are no longer as “hot” as they used to be. These lists are changing all the time as actors come into and out of favor with the movie-going public.

  ■ Collects headshots of possibilities for each role and sends these to the director and producer. The director and producer will then look them over and decide which actors they want to read or audition. Whether an actor reads or auditions is determined by their notoriety and experience. A well-known actor could be insulted if asked to audition. Therefore, some well-known actors may be asked only to read. To read is to come to a meeting with the director and producer alone and read for the part. They are not considered to be in direct competition with other actors who come to audition. Keep in mind that some actors are well known enough that they are not even asked to read; rather they are only asked to take the part.

  ■ Next, schedules actors for a casting session. In order to do this efficiently, the casting director must know the actors’ availability along with the production schedule of the show. There is no sense auditioning someone who is committed to another project during the time when he would be needed.

 

 

 

  ■ Gets sides from the director for actors to prepare. A side is a copy of a single scene from a script that the actor is expected to use for audition. Having sides for the actors to read ahead of time or not is a matter of preference. Some directors and producers prefer an actor be fully prepared for a scene. Some directors and producers prefer to do what is called a cold reading. A cold reading is when the actor reads the sides for the first time only immediately before the audition. Some actors do better than others with cold reads. The purpose of a cold read is to see what the actor may bring to a part based on instinct, without thinking too much. This method is more of a spontaneous, let’s-see-what-the-actor-can-do-off-the-top-of-his-or-her-head approach.

  ■ Once the casting session is set up, runs the casting session. As part of his duties, the casting director provides someone to read with the actors, usually an assistant. The casting director may also use the assistant to escort actors into and out of the room, or may bring another assistant to do this. That assistant will also make sure actors are signed in and given sides if necessary. The casting director also provides a camera and shoots each audition.

 

After the first casting session, the casting director discusses the choices with the director and producer. They then narrow down the list and create a list of actors to call back to audition again. The casting director will then arrange for the callbacks and run the callback session. After the callbacks, there may be further callbacks, or the producer and director will decide on who will play each part. Then the casting director calls all the actors (or their agents, if they have any) who have been chosen. Once the actors are cast, the casting director puts the production in touch with the actors or agents directly by providing the first cast list, with contact and agent information (see Chapter 4, Figure 4.2). Sometimes the casting director will also write up deal memos for the cast. Sometimes the unit production manager does this. An actor may be cast and have agreed to do a show, but not all aspects of the contract may have been worked out, such as credit size and placement. I once worked a show where the lead character’s contract was still in negotiation even when she arrived in pre-production to begin rehearsals. Once the cast list is turned over to production, the production staff takes care of updating and revising as changes occur. This list is generally not distributed to all crew, as privacy is an issue for well-known actors.

Keep in mind that sometimes the casting director’s job continues well into production. There may be one or more parts that are not cast in pre-production, or an actor may become unavailable through sickness or injury. There may also be a need for actors from the local area of shooting. The casting director then works with a local casting director to arrange local casting sessions.

LOCAL CASTING DIRECTOR

The local casting director is a person who lives and works mainly in the area where you are shooting. These people usually have a pool of local talent that they make available for auditions. If the show is a SAG show, the local pool of SAG talent may be quite small, depending on where you are shooting. If you are shooting in New York City, the pool will be huge. If you are shooting in Dallas, Pennsylvania, the pool will be very small. However, if the show is nonunion, the local pool could be quite large. With this quantity may also come many inexperienced actors. In this situation you may have more actors to choose from, but they may not be as high-caliber. Then again, you may get lucky.

The local casting director puts together headshots of local actors, again based on a character breakdown. He then sets up casting sessions with the casting director, director, and producer and runs the casting session much the same way as the casting director. She will also arrange for callbacks.

EXTRAS CASTING

As previously stated, if you have a large number of extras on your shoot, it would be wise to hire an extras casting coordinator or an extras casting agency. An independent contractor in smaller cities can do extras casting. In larger cities, extras casting is usually done by an agency that specializes in extras. In some cases you can get extras from local casting agencies because they know of actors who will work in speaking as well as extras roles, which is why their pool of people can be quite large.

If you use an independent contractor, that person usually can draw from a pool of people who live in the local area. The extras casting coordinator is usually hired for the length of the show, or however long extras are needed. The process generally is as follows:

 

  ■ The production sends over a list of what kind and number of extras are required, and on which days.

  ■ The extras casting coordinator contacts all available types and secures them for the shooting day. He will tell the extras what to wear (if they are providing their own wardrobe) or, in some cases, help set up wardrobe fittings for the extras (mostly for period shows).

  ■ The coordinator then may come to the set to wrangle the extras. Wrangling means to keep all the extras in one area and quiet. A background coordinator can also do this job. His job is to check in the extras, count them to make sure there is the correct number needed for the scene, and make sure they sign their release forms. This coordinator then works with the 2nd AD or 2nd 2nd to get extras to the set as they are needed.

 

In large cities there are agencies that cast large numbers of extras. The process for the production is to contract with the agency for the show, and then provide the agency with a script and extras breakdown (see Figure 7.3), which shows the number of extras needed, what types (Caucasian, African American, Asian), and ages. The agency assigns one of its associates to supervise your show and provide extras. Your 2nd AD then provides the agency with a production schedule, showing what dates specific extras are needed. The 2nd AD will then call the agency the day before shooting and inform the contact person of the extras’ call times. These kinds of agencies have databases of hundreds to thousands of people available for extra work. Their job is to sift through this database and find exactly what you are looking for.

CASTING ASSISTANTS

Casting assistants have a range of duties. These assistants are usually aspiring casting directors who are developing a keen eye for casting. Following is a general list of responsibilities:

 

  ■ Answer phones in the casting office (unless they work at a large casting agency, which would have its own receptionist).

  ■ Call actors for audition times.

  ■ Send sides to actors.

 

“Regina of Icelandia”

 

Scene	# of Extras	# of Days Needed	Characters	Type
1	50	4	Crowd	All ages
1	6	4	Wochera	Women, 20s, petite stature
2	5/5	1	Court attendees	Men, 20s to 50s; Women, 20s to 50s—Royalty
2	2	1	Guards	Men, 20s, muscle bound
5	7	2	Guards	Men, 20s, muscle bound
5	45	2	Crowd	All ages
6	4	1	Wochera	Women, 20s, petite stature
17	3/3	1	Court attendees	Men, 20s to 50s; Women, 20s to 50s—Royalty
18	100	3	Crowd	All ages
26	16	1	Children	Toddler girls, Asian
77	11	10	Guards	Men, 20s, muscle bound
77	16	10	Children	Toddler girls, Asian
77	6	10	Wochera	Women, 20s, petite stature
102	5	3	Wochera	Women, 20s, petite stature
103	8	6	B-ball players	Boys, ages 12 to 15, athletes
115	100	2	Crowd	All ages

 

 

Note: Unless specified, any ethnicity will work.

 

FIGURE 7.3
Extras Breakdown.

 

  ■ Assist with running camera, signing in actors, and reading with actors at the auditions.

  ■ Copy, fax, etc.

  ■ Type cast lists.

  ■ May be asked for input on casting possibilities.

 

HOW TO RUN A CASTING SESSION

There are a few different ways to conduct a casting session. First, you could hire a casting agency. They do all the work: finding actors, calling them, and setting up their audition times. However, in low budget you may need to do the casting session yourself. The following is a checklist of how to set up the casting session:

 

  ■ Put up flyers in the local area. The flyer should state where the audition is to take place, the time range, a brief character breakdown, and a contact number to call for audition times. The flyer should also state that actors are expected to bring headshots.

  ■ Put advertisements in the following low-cost venues: local newspapers, local cable arts announcements, local trade magazines (if any), local high schools or universities (where applicable for ages), and local casting agencies. Some local casting agencies may allow you to place notices with them, as they are always trying to get work for their actors.

  ■ As actors begin to call you, arrange for sessions of no longer than 15 minutes. Ten minutes is really ideal.

  ■ Make sure the actors know about and are available for the shoot dates before they audition; otherwise, don’t let them read.

  ■ Put together sides, one or two scenes from the script. It is wise to choose a scene in which the actors need to display a wide range of emotions. This way you can see if the actors have any range at all. Either email the sides ahead of time or go with cold readings.

  ■ Have someone present to read with the actors. This person should not be the director or producer. The person in charge needs to observe the actors with complete attention.

  ■ Have a sign-in sheet for actors so you can keep track of who auditioned.

  ■ Secure a room somewhere that will accommodate a table for the director and producer, with enough additional chairs to accommodate a few actors.

  ■ Make sure there is an adequate waiting area with chairs for actors.

  ■ Procure a camera to shoot the auditions.

  ■ Make sure the producer and director meet and discuss exactly what they are looking for in each character.

 

Now that you have prepared, here’s how to run the casting session:

 

  ■ Have someone escort the first actor in.

  ■ Ask the actor if she has any questions regarding the character or the scene. The actor will probably ask what you’re looking for, about the particular scene or character, so be prepared to answer.

  ■ You could let the actor know that he is free to move around at will. This is a good idea because the ability to move will show you if an actor has any imagination.

  ■ Have actors slate themselves. Slating in this context means that the actor looks into the camera, gives his name, what part he is reading for, and the name of his agent (if the actor has one). The actor should wait until you tell him you are ready and then read the scene.

  ■ If an actor is really bad, thank him and go to the next person. Most people can tell a bad actor in a few minutes. There is no use wasting time with one.

  ■ If you see any talent, ask the actor to read the scene again, giving some direction that sends her in another direction. The next read will show you if the actor has any range and if she knows how to take direction.

  ■ If the second reading is exactly the same as the first, you won’t have much to work with. You want to be able to have something with which to work. An actor’s ability to act is more important than a particular look you have preconceived.

  ■ Thank the actor for coming.

  ■ Have someone escort the actor out.

  ■ It is a good idea to make notes on the actor before seeing the next one. After a while, you may tend to forget what you did or did not like about the actor.

  ■ If there is time for callbacks, schedule them so you can have certain combinations of actors read together. This is especially important if you are casting a couple. During callbacks you can see if there is any chemistry between certain actors.

  ■ Make sure you confirm with the actors that all of the shooting dates are clear for them.

  ■ Make notes of any conflicts.

 

Once the casting session is completed, you will need to make some decisions. A good method is to take all the headshots and place them on a big table. This will allow you to see how actors may look together. You can then decide which actors you want for callbacks, if needed, and whom you want to cast. Then call all actors and notify them of your decisions.

SCREEN TESTS

Screen tests are filmed scenes of actors auditioning for a part, usually only done in higher budget productions. In the past they were shot on film, but many productions these days use digital cameras. Screen tests are a more formalized and personal type of audition. The decision to do screen tests rests with the producer and director, based on their knowledge of an actor’s abilities. Sometimes screen tests are performed so they can see how a particular actor works with a star. If you want to do screen tests for one or a number of actors, see the following list of procedures:

 

  ■ Call the actor’s agent and book a specific date for the screen test(s).

  ■ Book a room or reserve a space in your production office.

  ■ Book a cameraperson to film or tape the test.

  ■ Review the tests and make your decision.

 

REHEARSALS AND TRAINING

Once you have finished casting your show, you can begin rehearsals. The amount of time you devote to rehearsing your actors is sometimes based on your budget. Actors in medium- to high-budget films are paid for rehearsals. Actors in low-budget films can be rehearsed without pay. However, if you can afford to pay them, that is okay too. Either way, actors can be rehearsed anywhere from one week to one month, depending on how much the director thinks may be needed. The rehearsals are set up by the production office and run by the 1st AD. Sometimes the director may prefer to work with the actor alone. I once worked a show as an assistant to the director. The director was working on a particularly difficult scene with a well-known actor. The director called me in to read with the actor in his hotel room. The privacy and intimacy of the setting served to increase the quality of the rehearsal. If you plan to do rehearsals, decide based on budget (if applicable) which actors will rehearse and how long they will rehearse.

The 1st AD then will do the following:

 

  ■ Contact the actors and set up a rehearsal schedule (see Figure 7.4).

  ■ Book a room (usually somewhere in the production office) for all the rehearsals.

  ■ Publish the rehearsal schedule and distribute to the producer, director, and production staff.

  ■ Inform all cast of their rehearsal times and the location.

 

At the rehearsal the 1st AD is responsible for the following:

 

  ■ Providing extra copies of the script if needed.

  ■ Making sure no one disturbs the rehearsals.

  ■ Reading with the actors when necessary.

 

The reason the 1st AD is so involved with the rehearsal is that the 1st ad will deal with these actors on set, so this is a good time to get to know them. In addition, it is good for the 1st AD to see what the director is going for and how much the director makes progress with an actor, which may affect further rehearsals needed on set.

Training actors during pre-production is needed in certain cases. For instance, if your lead actor plays a sword-fighting hero, then your actor will need training with swords. Perhaps some of your cast members play soldiers. You will need to have those actors trained in military practices. Alternatively, your actor may need to be in certain physical shape. You would then hire a personal trainer to get your actor into shape. Again, your choice to provide certain training for your actors will be based on need and budget. Once the trainer is hired, the 1st AD will coordinate a training schedule and inform the production office, director, and producer of the progress.

FITTINGS

Fittings are wardrobe sessions for your cast, during which they try on their wardrobes and the wardrobe personnel make adjustments. If you are shooting a period piece, a few fittings per actor may be needed. Perhaps you are shooting a piece where an actor needs to be in special futuristic armor or some sort of animal suit. Even if you are shooting a contemporary piece, fittings are necessary. Fittings let your wardrobe personnel be sure that, once on set, the actor will be ready. In really low budget your actors may be wearing their own wardrobe. In this case fittings may not be necessary, but the wardrobe should still be checked and approved by the director. Following is a checklist for fittings:

 

  ■ The wardrobe supervisor contacts the production staff for a cast list.

  ■ he then contacts each cast member and arranges a time for the fitting. If you are shooting on a distant location, the wardrobe supervisor will work with the 1st AD to set up a fitting schedule, so as not to conflict with rehearsals.

  ■ The wardrobe supervisor then copies the fitting schedule to the AD team.

 

FIGURE 7.4
Example Rehearsal Schedule

WORKING WITH MINORS

If you have actors under the age of eighteen, you are working with minors. If such is the case, you will have to make special considerations. First, if your shoot is union, there are specific rules regarding how long minors can work. Even if your shoot is nonunion, it is never a good idea to overwork minors, especially young children. Children often don’t last long on set, and you won’t end up with good performances if they get overtired. I once worked a nonunion shoot where a small child was needed for a night shooting. We had to make sure that the child’s nap schedule was adjusted so that he would be alert and energetic during the hours we needed him. Because we discussed and arranged for this in pre-production, the child’s mother appreciated our concern for her son’s welfare and was very cooperative with us.

Tutors

If you are shooting during a school year, you will need to hire a teacher to tutor for a certain number of hours each day. There are union teachers in Los Angeles who specialize in tutoring minors on set. You can find them at www.studioteachers.com. They publish on their website their guidelines for working with minors, called The Blue Book. Their jurisdiction covers California minors, out-of-state minors who work in California, and California minors who are taken out of state. There are different rules for children of different ages. Their guidelines outline how many hours per day a child may work, have rest time, and have mealtime. They also state how many teachers are required for a certain number of students and if the presence of a nurse is required, as in the case of infants up to six months old. One item of importance to remember—studio teachers are not allowed to extend working hours for children. The only way to accomplish that is to send a written request to the labor commissioner.

Recently, SAG, the American Federation of Television and Radio Artists (AFTRA), and the Actors Equity Association (AEA) teamed up to pass a bill called the Child Performers Education and Trust Act of 2003. This bill makes it a law that some of a minor’s wages (15 percent) must be set aside in a trust, which they can then draw on when they turn eighteen. This new law currently applies to California and New York. The law was inspired by the Coogan Law, which came about when child actor Jackie Coogan turned eighteen and found that he had no money in his trust fund. Apparently his father spent his million-plus earnings. At that time, a child’s earnings were considered property of the parents.

The Coogan Law provided that a child’s earning became community property with the parents and that 15 percent of the earnings had to be set aside in a trust fund for the child until he turned 18. The Coogan Law has been updated. The SAG Young Performers Committee and government relations department initiated the update. The new law, called SB 1162, was revised to protect child performers, musicians, and sports figures, which include actors, dancers, musicians, comedians, singers, stunt persons, voice-overs, songwriters, composers, conductors, and designers. In addition, the law covers 100 percent of all minors’ contracts, unlike the previous law, which only covered 5 percent of contracts that were court approved. In addition, it separates earnings as property of the child, as opposed to community with parents, and requires producers to make timely deposits.

Another aspect to pay attention to is child welfare law. Each state is different. Some states are extremely strict in enforcing these laws, while others are more lenient. Some states require that you fill out a theatrical permit application and submit it to the welfare office. The office will then send back the permit. Be sure to check the time frame for turnaround with this document. You will want the permits in place before you film the minors. Contact the department of labor in the state where you are shooting for their specific guidelines about working with minors.

Working with Parents

Finally, you need to know how to deal with parents if you are using minors. Some parents can be very hands-off if they trust that you are competent and have their children’s health and welfare in mind. Other parents can be very demanding and intrusive. There are no rules here, just diplomacy. You should get a good indication of how easy or difficult a parent will be at the audition. Sometimes it may be worth putting up with a difficult parent because the child is perfect for the role. Sometimes it may not be worth it. The key here is to present yourself as qualified and professional. Make sure the parents are informed of everything the child will be required to do. Make sure they are fully informed as to dates, times, and locations where and when the child will shoot. Second, show concern for the child’s well-being. If parents believe that you are taking good care of their child or children, they will be much easier to work with.

WORKING WITH ANIMALS

Working with animals can be a trying experience. However, it can go smoothly if you follow some simple guidelines. First, in medium to high budget you would be able to afford a trainer who works with trained animals. Trained animals perform better on set because they are adept at doing tricks on cue. In low budget you may not be able to afford a professional trainer. Perhaps you are using a friend’s dog for a scene. Be prepared in this case to have patience in getting the animal to perform.

Part of working with animals also means contacting the American Humane Association (AHA). This association is in the business of protecting animals from abuse. If you are nonunion, you are not required to work with the AHA, but it is a good idea. If you are union, you need to abide by the Producer-Screen Actors Guild Codified Basic Agreement of 1998. This agreement states that the producer of a show will notify the AHA if using animals. The AHA then will have the information they need to monitor the situation. If you have treated animals well on your shoot, they will authorize the use of the end-credit disclaimer, which states that no animals were harmed during the making of your project. The AHA cover productions that are shot in the United States, as well as American productions shot overseas, and do not charge for their services. The AHA has specific guidelines regarding the use of animals in the media. You can get more information, including their “Guidelines for the Safe Use of Animals in Filmed Media” on their website www.americanhumane.org.

THE TAFT-HARTLEY

The Taft-Hartley in motion pictures is a process whereby a nonunion actor or extra becomes union eligible. A Taft-Hartley is required only if your shoot is using union actors. It is applicable when an actor who is nonunion has any of the following conditions occur:

 

  ■ Is given lines on set. Your 2nd AD will take a picture of the actor, which is sent to SAG with a contract.

  ■ Is bumped to the position of stand-in.

  ■ Is bumped to the special bit, or special ability, category, meaning she has some special skill needed on set (juggling, dancing, skateboarding, etc.).

  ■ Is used to replace a union extra who either does not show up or is fired.

 

Once an actor is Taft-Hartley’d, he becomes SAG-eligible. This means that the actor has 30 days to join SAG.

CATEGORIES OF ACTORS

On any shoot there are different categories of actors. The category differentiation is variable from shoot to shoot; however, some general guidelines do apply.

Leads

In high budget, you have your stars. These are people who are most likely in a lead role in the film. There are exceptions: perhaps a famous actor does a cameo performance in a minor role. Either way, they are still treated like stars. They are given their own trailers, special food, and special housing accommodations on location. Protocol on set dictates that stars are left alone, not disturbed by crew or civilians wanting autographs. Also, working with stars requires discretion. I once worked a shoot where the local newspaper published an article stating that Michael Jackson was coming to town to observe the shooting of the mini-series about his family. Even though the article was incorrect, we had to install a security system because we had so many people coming to the production office hoping to get a glimpse of him.

Supporting Roles

In low-budget, nonunion land, there are no rules here. A supporting role could be loosely defined as a role where the part is minor to the lead role. Perhaps it is the husband of a woman in the lead role. In medium- to high-budget projects these kinds of roles can also be given to what are called “name” actors, meaning they have reached some notoriety. They may also be actors who are not well known but have a significant role in the story.

Extras

Extras, also known as atmosphere, are actors in the background. They could be an audience in a theater or a crowd at a festival. Alternatively, an extra could be anyone walking down the street. One rule in defining extras is that they have no dialogue. You can have a crowd cheer and make noise, but they will still be extras.

Silent Bits and Special Ability

A silent bit or special ability extra is an actor with a particular skill or physical attribute. Perhaps your script calls for a juggler at a circus. You obviously could not hire just any extra; you need someone with that particular skill. People who work as silent bits usually are paid a little more than a regular extra.

Stand-Ins

A stand-in is a person who is hired to stand in for an actor during lighting setups. This person needs to have similar skin and hair color to the actor for whom they are standing in. This is because the gaffer and lighting team need to see how the lighting looks on the actor’s specific hair and skin color. When on set, stand-ins stand by to step in at any time. The 1st AD will call, “2nd team,” which is the stand-in’s cue that he is needed on set. (If the AD calls for “1st team,” she is referring to the actors.) Once called, the stand-in takes the position where the actor will be and waits until he is dismissed. Stand-ins on SAG shows are union.

DAY PLAYERS VERSUS WEEKLY PLAYERS

The classification of actors as day players or weekly players is found only on medium to higher budget shoots and is based on how they are paid. This has nothing to do with their status of having a lead or supporting role. Day players are actors who work for four or fewer days and are paid a daily rate. If an actor works for five or more days, she is paid on a weekly rate. The actor’s shooting schedule determines these categories. In low budget, if the actors are paid at all, they are often paid one flat fee for their services.

STUNTS

Because stunt people appear on camera, they are included in this chapter. To prepare for stunts, you need to determine exactly how many stunts are in your script. A stunt is any action that may result in an actor getting hurt or that requires an actor to perform a dangerous maneuver such as a car crash or a fall off a building.

On a union shoot, all stunt people are SAG. They fly first class and are subject to all SAG rules, benefits, and penalties. They also go on the call sheet along with the other actors. The head of the stunt department is the stunt coordinator.

STUNT COORDINATOR

The stunt coordinator is usually a person who has spent years as a stunt person. Sometimes as stunt people get older, they become stunt coordinators. If you have a large number of stunts, the stunt coordinator is employed for run of show. If there are only a few stunts, you may need to hire one only for a short period of time. If you have scheduled all of your stunts together, you can bring in the stunt crew for that period of time, rather than flying them in and out throughout production. This may not be possible, depending on the availability of your locations. The stunt coordinator is responsible for the stunt budget. He hires stunt people for different stunts, usually working with the same stunt people. The stunt coordinator’s main responsibility on set is for the safe execution of the stunt. The following is a list of his duties and responsibilities.

Pre-Production

  ■ Meets with the director and producer to discuss how all stunts will look and how much they may cost.

  ■ Arranges for the proper gear to perform the stunt. This may involve renting or purchasing.

  ■ Hires stunt people to perform the stunts.

  ■ Works with the APOC to travel stunt people to and from the location.

  ■ Meets with and works with the transportation department on car stunts.

  ■ Meets and works with the 1st AD on how long each stunt will take to prepare and shoot.

  ■ Meets with stunt personnel to discuss how each stunt will be performed.

Production

  ■ Maintains authority over the stunt people.

  ■ Coordinates the setup and execution of each stunt.

  ■ Once the stunt is complete, announces “Clear” when it is safe to approach the event.

Wrap

  ■ Makes sure the gear is sent back to the vendor (if applicable).

  ■ Leaves when all stunts are accomplished.

STUNT PERSON

In low-budget or nonunion situations it is wise to make sure your stunt people have experience. I once worked a show where a car was to drive off a ramp, flip, and land. The stunt personnel claimed that they had done this before. The stunt went bad, as the car never flipped and instead ran into a civilian’s parked car. As it turned out, the stunt person had never performed this stunt before. The production had to incur the cost of fixing the civilian’s car. Thankfully, no one was hurt. One indication that a stunt person has experience and schooled training is membership in the Stuntmen’s Association, Stuntwomen’s Association, or the International Stunt Association.

Another kind of stunt person is the stunt double. This is a person who specifically doubles on stunts for one particular actor, usually a lead role. There are also utility stunt people and ND stunt people. These are stunt people who may be needed in the background of a scene. For instance, say you have a scene where a car is supposed to drive through a crowded market; you could not have regular extras jumping out of the way. The difference between utility and ND is how their contracts are written. Utility stunt people operate under weekly contracts, and ND stunt people operate under daily contracts.

HOW A STUNT COULD WORK: A CAR ROLL

Following is a general description of how a stunt could work. This example is not meant to be an exhaustive list of how to perform this stunt. Again, stunts can be dangerous and should be left to experienced professionals.

 

  ■ The stunt coordinator visits the location where the car will roll.

  ■ He surveys the area looking for the safest way to do the stunt.

  ■ He discusses with the director where cameras will be placed.

  ■ The coordinator hires a team to build the ramp, and dress it if necessary so it is not seen in the shot.

  ■ The coordinator meets with wardrobe and makeup to disguise the stunt person to match the real actor. Appoints one stunt person to drive the car.

  ■ Once the stunt has been executed, the stunt coordinator is first to approach the vehicle.

  ■ Once he has determined the stunt person is okay, the coordinator calls “Clear,” signaling that others may approach.

  ■ Finally, the stunt coordinator has the team tear down the ramp and return the location to proper order.

 

There have been many terrible accidents on film sets, and many stunts that have gone wrong. If you have stunts happening on set, especially in low budget, you should rent an ambulance to stand by in case of any emergencies.

SUMMARY

The casting department casts the show according to the director’s vision and producer’s approval. While the casting director will hire distant cast, a local casting director may hire all day players. The casting department sets up and coordinates the auditions until all roles are cast. Cast issues include working with minors, which on a union shoot has special requirements, and working with animals, which has its own challenges. Stunt people also work in front of the camera and are in the same union as actors, SAG.