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Confessions of the Adrenaline Junkies
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Haynes advises stunt-wannabes, “If there’s anything else in the world you can do, do it!” Haynes has been in the business for quite a while, starting first as an actor, then exploiting his athletic background as a stuntman. “Stunts are more politically comfortable,” he remarks. “I don’t have to read for some 25-year-old who just got out of NYU last year and is asking about my qualifications.”
Bob Macdougall was an actor and martial artist trained in mime and tumbling when he began to choreograph stage fights for theater. Film work was a natural extension, and among his credits are Drugstore Cowboy, Northern Exposure and FTW (starring Mickey Rourke): “Stunt people are essentially craftspeople,” he feels. “They need discipline, have to stay in shape… it’s a matter of timing, savvy and broad awareness. It needs to be as right the first time as possible.”
“I’ve got to be in shape and as prepared as possible before ever going to the set,” insists J. Suzanne Rampe, who has worked in the industry for ten years. “When a director calls me in for a 25-, 40- or 60-foot high fall, I go in knowing chances are it’s actually 10 feet higher. There are so many variables; nine times out of 10 I’ve gone to the set and the 10-foot fall goes over a railing with three feet to clear jutting beams and a water fountain. I’ve got to be prepared for every contingency.”
The people who break in can find themselves in the enviable position of being paid well to do what they love. For Ron Sarchian, a Seattle-based stuntman fairly new in the business, the best thing about his career is that it is a continuation of being a jock in school. “It allows me to do what I want and for whatever reason, justifies being an adrenaline junkie… and it allows me to get paid for it.” Sarchain tries to satisfy producers’ needs in as many ways as possible—to that end, he trains as an actor in addition to his stunt work. “If a director or producer can hire one guy instead of two, it’s a bonus. Makes me more valuable.”
Where once Hollywood productions would include entire stunt crews in their budgets when shooting on location, shrinking economics now dictate a different approach to stunt work. If a Hollywood production is working on location, often only their stunt coordinator and key stunt personnel come out of Los Angeles; it is expected that stunt day-players will be hired from local talent at the location site.
“The quality is the same, but L.A. people don’t believe it,” insists Buckley, who believes the problem is environmental, not habitual. “People believe it when they are told there aren’t trained professionals outside of L.A., they don’t actually experience that problem.” David Boushey, co-founder of the United Stuntmens Association, headquartered in Seattle, is a member of the Hollywood Stuntmen’s Hall of Fame, and currently works as a stunt coordinator for the CBS series “Northern Exposure.” His extensive experience (including the films The Promised Land, Not on My Land and Imaginary Crimes) give him the background to emphasize the point: “It’s always been a situation where it’s assumed that people who do stunts only live in Hollywood and no one else outside of Hollywood pursues this area. The fact is there are a number of people who have been moving from the L.A. area to the Northwest and we now have more talent available to us than ever before.”
Los Angeles-based Haynes still believes L.A. is the center for stunt work. “The professionals come to L.A. to learn the profession from other professionals,” he says. “It’s rigging, it’s knowing where the camera goes, it’s having a talent; an expertise. People who make a living make it in L.A.” Other L.A. stunt coordinators like Chuck Picerni Jr., whose credits include The Hunt for Red October, Roadhouse and Just Cause (starring Sean Connery), aren’t even aware that there are stunt people or stunt associations in places like Seattle. He believes he’ll have to bring his whole crew up to Seattle when he works as the 2nd Unit Director on the film, The Claiming.
By definition, stunt work and doubling are anonymous jobs where recognition comes from within. There is no Oscar category for Best Stunt Coordinator; even if there was how would one compare the work? Most stunt people seem content to work their way up the ladder, from stunts to stunt coordinator to second unit director. “When I direct or produce my own show, then people will see my name,” says Michael Haynes. Those who crave the publicity work on their acting skills and learn the business of entertainment. And those who have worked steadfastly those 15 or 20 years to develop their craft continue to bring us the art of action.
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COMMENTS | POST A COMMENT 
- Comment by myspace layouts on 12/25/09 at 5:35 am
You should confess all wrongdoings that you are aware of whether little or small, all that is required is that you are as honest and open as possible, if you honestly cannot remember sins they are still absolved by the Priest. The most important thing is that you go, do not allow any excuses that creep into your mind stop you, the Priests will help guide you once they know you havn’t been for so long Jesus is waiting for you to return to Him with open arms, come on home.
- Comment by Facebook Layouts on 12/28/09 at 7:42 am
Most stunt people either follow a relative into the business,or they get one of those rare lucky breaks.Luck,skill and determination remain the best tools to use to break into the business.
- Comment by Twitter layouts on 12/30/09 at 5:37 am
The confessional with a priest, then go ahead. Just mentally prepare yourself, and you can first confess to God directly. If you committed any venial sins, those really are between you and God alone.
- Comment by play Cribbage on 12/31/09 at 11:20 pm
Confessing all our sins are very important to our self and most importantly in the eyes of God. play Cribbage
- Comment by San Diego Scanning on 1/26/10 at 12:58 am
Every human has a sin so we need all to confess our sins. Confessing a sin is very helpful to us, to our mind, heart and soul.. San Diego Scanning
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This story was published in the November 1994 MovieMaker Magazine. The headline was:
Confessions of the Adrenaline Junkies
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