Stunt Coordinator

You're the person who plans how an actor survives a 40-foot fall, a car flip, or a building collapse. Every stunt is a problem you solve on paper first, then execute on set with a crew that depends on your precision. It's filmmaking meets engineering meets risk management, and the pressure is real.

You spend your time split between an office and a film or TV set. Pre-production is planning: breaking down the script, sketching sequences, sourcing equipment, running safety protocols, and selling your vision to directors and producers who may not understand what's actually possible. On set, you're in constant motion. You're rigging rigs, briefing stunt performers before every take, watching angles from multiple positions, communicating with camera operators and safety personnel, and making split-second calls about whether a take is safe to roll. The pace is frenetic during filming and methodical during prep. You work with stunt performers, safety teams, camera crews, and production managers. One bad call can injure or kill someone. That weight doesn't leave.

You start with a script and a budget. You break down every action sequence and figure out what's physically possible, what's practical to shoot, what needs wirework or green screen, and what can be practical stunts. You sketch sequences, build pre-vis (preliminary visualization), and present options to the director and producers. You source stunt performers and specialists—high fall guys, car drivers, swimmers, fight coordinators, horsemen, whatever the job needs. You develop detailed safety plans and run them past the production's safety officer and insurance company. You oversee equipment procurement and rigging, often working with specialists you hire as subcontractors. On set, you brief performers before every take, walk them through the exact choreography, check all gear and rigging, position yourself where you can see the action clearly, and make the final call to roll or reset. You're responsible for knowing when conditions have changed—weather, light, actor fatigue, equipment wear—and adjusting the plan accordingly. You communicate constantly with the first assistant director about timing and with the camera department about angles and coverage. Between takes, you're analyzing footage, troubleshooting what didn't work, and recalibrating for the next attempt. You document everything. You file incident reports if something goes wrong, even minor. On bigger productions, you manage a team of stunt coordinators who handle specific sequences or units.

You need a combination of physical fearlessness and analytical precision. You have to visualize complex sequences before they happen and anticipate what could go wrong. You're calm under pressure and comfortable making definitive calls when people are waiting on you. You respect the work deeply and never cut corners on safety. You're a problem solver who thinks creatively within constraints. You communicate clearly in high-stakes moments and have the credibility to push back on directors when something isn't safe. You're driven by the craft, not just the paycheck.

You almost always start as a working stunt performer. Spend 3-5 years learning the craft, building credibility, and proving you can execute dangerous work reliably. You'll take falls, drive vehicles, do fight choreography, whatever specialty you can develop. Build relationships with directors, producers, and other performers. Many stunt coordinators transition by assisting an established coordinator on set, learning how they manage sequences and communicate with production. Some take formal stunt coordinator workshops or safety courses like those offered by the Stuntman's Association or specialty organizations like the AMPTP (Alliance of Motion Picture and Television Producers). The Stuntman's Association, SAG-AFTRA, and regional film commissions all connect coordinators with work. There's no degree required, but certifications in rigging, pyrotechnics, or specific skills (high falls, vehicles, horsework) give you leverage. Your path: become a skilled performer, demonstrate judgment and communication on set, assist an experienced coordinator, and gradually take on coordinator roles for smaller productions before landing bigger shows.