As CGI becomes cheaper and more ubiquitous, it's easy to assume that every action sequence we see in a movie was done with a computer, a green screen, and some tennis balls. But as we've shown time and time again, even now the best way to make sure the stuff you're putting on screen looks real is to have actual human beings jumping away from real explosions. And no, it's usually not the stars doing the jumping.
We're talking about the stunt performers who put on the harnesses and take the beatings, protected by nothing but some pads and years of painful training. We talked with an anonymous stunt-woman about it on the day she quit her day job to switch over to doing stunt work full time (seriously). And she says ...
(Disclaimer: this article is based on an interview Cracked carried out with an actual stunt-woman. An editorial decision was made to frame the article in her voice.)
5Stunt Work Is Tougher for Women (But Not for the Reasons You'd Think)
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It's not just that female stunt performers like me get paid less than men, or get respected less -- it's that stunt work is more difficult for women for the simple reason that doing a stunt in a tank top and miniskirt is shitty. Think about it: When you see a man on screen doing something ridiculously dangerous, he's usually wearing a Starfleet uniform, or a flak jacket, or a tuxedo.
They're fully dressed, is what we're saying.
The perk there for the stunt double (or even the actor, if he's doing his own stunts) is that there's plenty of room to hide padding. You can slip a pair of knee pads or a back brace under your pants, and nobody in the audience is going to notice due to the horrible societal double standard that says men are allowed to have swollen, bulky knees and still be considered attractive.
Now compare those outfits to what most female action heroes are wearing, and you'll see what we have to put up with:
Boobs don't count as protective padding, unfortunately.
The reality of the industry is that directors don't want to cover up Scarlett Johansson's tits. They want those puppies out there, even when her character is diving away from a fireball and into a window. Naturally, this subjects those tits to all kinds of stuff that you normally want to keep tits safe from, like fire and broken glass. So on top of the normal difficulty that comes with doing maneuvers in costume (I may have to make a big jump in dress shoes, or do a cartwheel in a wedding dress), we have this to deal with.
Did you see the Jennifer Aniston movie We're the Millers? There's a big scene featured in the trailer with Aniston in a bra and panties running from a burning building. Well, in the dangerous parts, that's not Aniston -- that's Michele Waitman, and she did the stunt work dressed like this:
NY Daily News
It's cool, those panties are 40 percent Kevlar.
So maybe it's no surprise that female stunt performers wind up with more injuries, specifically bruises, cuts, and scrapes. As Leigh Bianco (who did stunt work in the X-Men movies, The Day After Tomorrow, and dozens more) said, "I've done stair falls in lingerie ... You know before you do the stunt you're going to come up bleeding."
4You Never Know What You'll Be Told to Do
This is me, getting decapitated on The Walking Dead:
How many of you who saw that episode even gave a second thought to the person playing the zombie, or how they went about getting that shot? Probably none of you -- that's the idea. If you notice the stunt performer, we've failed. But every such scene on that show requires somebody performing dangerous evasive maneuvers in full zombie makeup -- including contact lenses that obscure your vision. Even fairly simple moves are dangerous if you can't see, let alone trying to catch a wire around your neck without accidentally cutting your own throat.
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"OK, now jump all three alligators."
Of course, everyone involved is highly trained and everything is carefully choreographed (note: attempting the above in your backyard is almost certain to end in disaster, whether you use a friend or an actual zombie), but here's the thing: The plan is constantly changing, often at the last minute.
In film, timing is the enemy -- everything's on a simultaneously tight and fluid schedule where everything is subject to change, but at the same time, delays are unacceptable. So, we have to be constantly prepared to do our stunt, because we never know when they're going to be ready for it. So 80 percent of my job is spent waiting for people to tell me they're set. Obviously, the human body doesn't work that way -- these are athletic tasks. Muscles need to warm up, and your brain needs time to regulate adrenaline and your nervous system to make sure you don't actually punch yourself in the throat or trip over your own feet as you run down the side of that building.
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It's easy for tigers -- they evolved in jungles full of flaming hoops.
After all, the reason we're performing the stunt is because it's not a thing that a normal person (or even *gasp* an actor) could pull off. We're experts, we've practiced this stuff, and we have a repertoire of moves -- but those probably aren't the moves they're going to want you to use that day, because movie making is less about careful planning and execution and more about the deranged whims of madmen.
For a fight scene in the upcoming Anchorman 2 (which we can't show you, because it isn't out yet at the time this is being written), I spent months training in hand-to-hand combat -- only to find out on the shoot that I'd have to do a bunch of scenes in a harness for rappelling instead. Luckily, I'd done that kind of thing before -- I say "luckily" because there was no way in hell I could've known until I was already on set, and I would've had to do it either way or risk not getting hired back.
Hollywood is a harsh mistress if you can't pull off a jauntily colored suit.
If you're saying, "But that's the kind of chaotic danger people like you thrive on!" keep in mind ...