Mack Kuhr
Mack Kuhr

16 Behind-the-Scenes Secrets of Stunt Performers

Mack Kuhr
Mack Kuhr

Whether it’s a kung fu fight, car chase, or stair fall, most film fans can name a favorite action sequence that wouldn’t have been possible without a stuntperson. These men and women, who arguably have one of the most dangerous jobs in Hollywood, have come a long way since the days when Buster Keaton and other silent film-era performers did all their own stunts. We talked to several film and television stunt performers for some insights into their risky—if highly entertaining—trade.


A stuntman rappels from a Jeep lifted by a helicopter during a promotion for Universal Studios. Image credit: Getty Images

It seems like only a special type of person would be drawn to the sometimes dangerous world of stunts: someone who is fearless, thrives on adrenaline, and spent their childhood climbing to the highest tree branches. And indeed, many stuntpeople were early risk-takers. “I have studied karate since I was 7 or 8 years old,” says Grant Koo, a stuntman and stunt driver known for his work in Transformers: Age of Extinction (2014) and on the television show The Blacklist. “I used to watch all of those cheesy kung fu movies on a Saturday—and beat the living crap out of my couch!”

But not all stunt performers start early. “My parents never let my brother and I participate in sports when we were younger. They were afraid we’d break an arm,” says Vera Lam, a stuntwoman based in New York. “I’m certain I failed my fitness test in grade school except for the flexibility portion.”


Some stunt performers parlay a background in martial arts or another athletic pursuit into a career, while others begin as actors and move into stunts. Jennifer Lamb, a stuntwoman and stunt coordinator who has worked on 10 Coen brothers movies and other high-profile projects, transitioned into stunts from the world of soap operas. Lamb was playing a waitress on One Life to Live when she met stunt coordinator Danny Aiello III, who believed that her toughness, ability to take direction, and small size would serve her well in stunts. He also gave her her first break—getting tossed off the balcony of a beach house in the Hamptons.


Grant Koo in a death scene for the TV series The Originals. Image credit: Grant Koo.

In the course of their work, stuntmen and women come as close to experiencing catastrophic events as one can without actually, well, going through them. Lamb says, “I have hung by my ankle under a hot air balloon, leapt out of a burning building 60 feet up, gotten dragged behind cars, crashed through a barn in a Ford Model T—none of which seemed crazy to me.”

Koo might have the most impressive all-in-one experience, though. In Transformers: Age of Extinction, he performed in a scene where he and his fellow stuntmen ran from 500,000 gallons of water being emptied from five 100,000-gallon tanks, while at same time dodging boats, buses, and cars being dropped from the sky. “That was one of the craziest days I’ve ever had,” he says, “but very rewarding.”


Mack Kuhr in stunt rehearsals with action cinematographer Richard Clabaugh for the film Abysm (2016). Image credit: Mack Kuhr

Koo describes himself as a “utility player,” or a well-rounded performer skilled in all aspects of stunts. But even within that, there are certain areas he has gravitated toward. “I like to do the fights, the falls, and the driving,” he says, calling himself a “crazy driver” even in real life. 

Mack Kuhr, a stunt performer and Keanu Reeves's body double in both John Wick (2014) and John Wick: Chapter Two (2017), has built early experience with military-grade firearms into a specialty. His father was in the military, and his studies in strength and conditioning at Virginia Tech led to training with Navy SEALs at Virginia Beach. Kuhr got his stunt break on The Dark Knight Rises (2012), when director Christopher Nolan was in need of someone who could handle a “hot” HK G36 submachine gun (one that contained blank bullets). Meanwhile, Jared Kirby, a fight director and stage combat instructor in New York, has spent years perfecting a different sort of weapon—he specializes in historic and classical fencing. 


Jared Kirby (center) working fight choreography for Kevin Keating: Vampire Hunter. Photo courtesy of

Stuntpeople sometimes show up on set without knowing exactly what stunt they are going to be asked to perform. As Koo explains, occasionally they “know when it is and where it is, but not what it’s going to be.” As a consequence, they have to be prepared to deal with new experiences. Lamb says she had never even been inside a helicopter before she was asked to cling to the outside of one while working on the Neil Jordan film In Dreams (1999). Kirby says he likes to throw curveballs at his students during fight training—such as littering a stage with garbage or turning out the lights—so that they won’t freeze up when conditions change on set. On the other hand, every stuntperson has his or her limitations and stunts they won’t do, like fire burns and high falls, which are specialties in themselves. Koo, for instance, says he won’t do fire scenes, to protect his face.


A good film crew takes every precaution to keep their members safe, and injuries are the exception rather than the rule. But accidents do happen. Koo emphasizes that many of the action sequences that people assume are done with green screen are in fact happening in “real life,” particularly on big-budget movies. As a consequence, bruises, bumps, and sometimes serious accidents will occasionally occur. Lamb says she has suffered a broken clavicle, a blown ACL, and a broken back, but continues to return to the profession she loves after getting well. “Advil is our friend,” she says, as is a good masseuse. (Performers who agree to a particularly dangerous stunt often also receive a pay increase, known as an adjustment.)


Despite these risks, a stuntperson cannot afford to get nervous. “When you get nervous, that’s when you get hurt,” Koo says. His approach is to think through a stunt and then put any worries out of his mind. “I tell myself ‘that’s it!’ Don’t get nervous. Just do it.” That’s not to say that jitters don’t come into play sometimes. “I think all stunt performers get that nervousness like any other performer,” Kuhr says. He says multiple rehearsals are invaluable in cutting down on both nerves and risk.


Special padding is part of a stunt performer’s arsenal, but if you’re a woman it may not be an option. “Sometimes certain articles of clothing like skirts prevent us from wearing thicker pads or even pads at all,” Lam explains. “Sometimes a little improvisation is needed. My skinny jeans were so tight one time I used gel petals for knee pads.” Lamb alludes to instances of having to wear “just a towel to do a fight or a stair fall.” She adds that high heels can present another hazard, but since she has often doubled for “11-year-old boys or senior citizens,” she has mostly been able to avoid them.


Mack Kuhr with Keanu Reeves on set for John Wick 2. Image credit: Mack Kuhr 

When doubling for an actor, stunt performers have to do more than bear a passing resemblance: They must consider the actor’s physicality and movement, too. “It is truly an exercise in impersonation,” Lamb says. “You as the stunt double are there to merely match [the actor’s] action and then take over and honor their work as you get tossed out of a moving car.” This is particularly true when a young stuntperson is doubling an older actor. Lamb explains that older people tend to move differently, and often have a different center of gravity. She says she once coached a young actress who was doubling an older person falling to “think light and then go heavy like a noodle.” 


If you’re going to put your neck on the line for others’ entertainment, it might as well be fun. Fortunately, stunt performers say it often is—although their idea of joy might not match the rest of society’s. Lam describes squib hits, or onscreen gunshots, as particularly enjoyable. “I get to wear a mini blood packet that explodes when the squib guy presses a button,” she says. “The blood comes pouring out and there’s a big smoky hole in my shirt.” 

Koo describes working on car hit scenes with a budget as a bit like being a kid in a sand box. “It’s kind of like we’re demolition,” he explains. “They tell you: money is no object, don’t worry about wrecking stuff because it’s in the budget. You’re like a big kid that gets to break stuff.” Lamb expresses a fondness for stair falls, with her first-ever fall being a famous scene in the movie Fargo (1996). However, she admits her favorite stunts are “the kind that leave me in one piece.” 


Some of Kirby’s students include highly skilled martial artists hoping to apply their abilities to stunt and stage combat work. However, it’s not always helpful for a stunt fighter to fight as well as Bruce Lee, since the film’s stars are the ones who need to look the best and often win onscreen fights. “If you are lucky enough to get into that fight with Tom Cruise,” Kirby says, “you better be willing to suck.” 

Koo confirms this. “You don’t want to showcase your skill unless you’re the principal person that’s supposed to win that fight. You’re there ... to get beat up and thrown around, and that’s your job.” Lamb adds that she needed to set aside her gymnast’s ability to land gracefully in order to convincingly fall out of a window. “One of the things we need to do is to be sloppy and be ok with it,” she says.


Lamb explains that her decades of stunt work have infiltrated her daily life in certain ways, including how she views her physical environment. For instance, she often assesses sets of stairs in terms of how well they would work for a stair fall. “I might be looking through Real Simple or Architectural Digest and think ‘oh, those are good,’” she says. She also says that her work has influenced her parenting (or as she describes it, her role as a “stunt mom”) and imparted resilience to her children. “They do know how to take a tumble and roll right back up and keep moving.” 


Employability, for many stuntpeople, depends on developing new skills and perfecting old ones. Lam says she takes a variety of martial arts classes with the aim of becoming a more well-rounded fighter, and is training with a rope dart and chain whip—two traditional kung fu weapons. “The beauty of this industry,” she says, is that “it forces you to get out of your comfort zone and learn new things.” As a fight instructor, Kirby has the opportunity to observe many honing their craft. “The best people in this industry never stop learning,” he says.


In between jobs, stuntpeople keep fit and train frequently so that they will be able to “spring into action,” literally, at a moment’s notice. “You never know when the bat phone will call and it’s time to suit up,” Kuhr says. Stuntpeople may train at specialized gyms where they can learn from and work with other performers like themselves, or typical gyms. Kuhr’s regimen, which includes cardiovascular training (to help with constant sprinting on set), strength training, agility work, martial arts training, sparring, and good nutrition, is typical of many stunt players.


Stuntpeople describe their community as tight-knit, with bonds forged by unique experiences. The people in this high-risk profession look out for each other, both in terms of safety and when it comes to nailing a new stunt or developing new skills. “We all look out for each other and train together,” Lam says. “If I don’t know how to do something, there will be someone within the community who will lend advice. You teach me how to do a car hit and I teach you about affective memory in Method acting.”


Perhaps surprisingly, there is no Academy Award category for stunt work. (There are other awards, including some from the Screen Actors Guild and the Taurus World Stunt Awards.) Nearly all of the stunt performers interviewed here mentioned the lack of an Oscar for their work. A petition called Stand Up for Stunts is currently circulating to change that, and has received over 83,000 signatures so far.

Universal Pictures Home Entertainment
The 10 Wildest Movie Plot Twists
Laura Harring in Mulholland Drive (2001)
Laura Harring in Mulholland Drive (2001)
Universal Pictures Home Entertainment

An ending often makes or breaks a movie. There’s nothing quite as satisfying as having the rug pulled out from under you, particularly in a thriller. But too many flicks that try to shock can’t stick the landing—they’re outlandish and illogical, or signal where the plot is headed. Not all of these films are entirely successful, but they have one important attribute in common: From the classic to the cultishly beloved, they involve hard-to-predict twists that really do blow viewers’ minds, then linger there for days, if not life. (Warning: Massive spoilers below.)

1. PSYCHO (1960)

Alfred Hitchcock often constructed his movies like neat games that manipulated the audience. The Master of Suspense delved headfirst into horror with Psycho, which follows a secretary (Janet Leigh) who sneaks off with $40,000 and hides in a motel. The ensuing jolt depends on Leigh’s fame at the time: No one expected the ostensible star and protagonist to die in a gory (for the time) shower butchering only a third of the way into the running time. Hitchcock outdid that feat with the last-act revelation that Anthony Perkins’s supremely creepy Norman Bates is embodying his dead mother.


No, not the botched Tim Burton remake that tweaked the original movie’s famous reveal in a way that left everyone scratching their heads. The Charlton Heston-starring sci-fi gem continues to stupefy anyone who comes into its orbit. Heston, of course, plays an astronaut who travels to a strange land where advanced apes lord over human slaves. It becomes clear once he finds the decrepit remains of the Statue of Liberty that he’s in fact on a future Earth. The anti-violence message, especially during the political tumult of 1968, shook people up as much as the time warp.

3. DEEP RED (1975)

It’s not rare for a horror movie to flip the script when it comes to unmasking its killer, but it’s much rarer that such a film causes a viewer to question their own perception of the world around them. Such is the case for Deep Red, Italian director Dario Argento’s (Suspiria) slasher masterpiece. A pianist living in Rome (David Hemmings) comes upon the murder of a woman in her apartment and teams up with a female reporter to find the person responsible. Argento’s whodunit is filled to the brim with gorgeous photography, ghastly sights, and delirious twists. But best of all is the final sequence, in which the pianist retraces his steps to discover that the killer had been hiding in plain sight all along. Rewind to the beginning and you’ll discover that you caught an unknowing glimpse, too.


Sleepaway Camp is notorious among horror fans for a number of reasons: the bizarre, stilted acting and dialogue; hilariously amateurish special effects; and ‘80s-to-their-core fashions. But it’s best known for the mind-bending ending, which—full disclosure—reads as possibly transphobic today, though it’s really hard to say what writer-director Robert Hiltzik had in mind. Years after a boating accident that leaves one of two siblings dead, Angela is raised by her aunt and sent to a summer camp with her cousin, where a killer wreaks havoc. In the lurid climax, we see that moody Angela is not only the murderer—she’s actually a boy. Her aunt, who always wanted a daughter, raised her as if she were her late brother. The final animalistic shot prompts as many gasps as cackles.


The Usual Suspects has left everyone who watches it breathless by the time they get to the fakeout conclusion. Roger "Verbal" Kint (Kevin Spacey), a criminal with cerebral palsy, regales an interrogator in the stories of his exploits with a band of fellow crooks, seen in flashback. Hovering over this is the mysterious villainous figure Keyser Söze. It’s not until Verbal leaves and jumps into a car that customs agent David Kujan realizes that the man fabricated details, tricking the law and the viewer into his fake reality, and is in fact the fabled Söze.

6. PRIMAL FEAR (1996)

No courtroom movie can surpass Primal Fear’s discombobulating effect. Richard Gere’s defense attorney becomes strongly convinced that his altar boy client Aaron (Edward Norton) didn’t commit the murder of an archbishop with which he’s charged. The meek, stuttering Aaron has sudden violent outbursts in which he becomes "Roy" and is diagnosed with dissociative identity disorder, leading to a not guilty ruling. Gere’s lawyer visits Aaron about the news, and as he’s leaving, a wonderfully maniacal Norton reveals that he faked the multiple personalities.

7. FIGHT CLUB (1999)

Edward Norton is no stranger to taking on extremely disparate personalities in his roles, from Primal Fear to American History X. The unassuming actor can quickly turn vicious, which led to ideal casting for Fight Club, director David Fincher’s adaptation of the Chuck Palahniuk novel. Fincher cleverly keeps the audience in the dark about the connections between Norton’s timid, unnamed narrator and Brad Pitt’s hunky, aggressive Tyler Durden. After the two start the titular bruising group, the plot significantly increases the stakes, with the club turning into a sort of anarchist terrorist organization. The narrator eventually comes to grips with the fact that he is Tyler and has caused all the destruction around him.


Early in his career, M. Night Shyamalan was frequently (perhaps a little too frequently) compared to Hitchcock for his ability to ratchet up tension while misdirecting his audience. He hasn’t always earned stellar reviews since, but The Sixth Sense remains deservedly legendary for its final twist. At the end of the ghost story, in which little Haley Joel Osment can see dead people, it turns out that the psychologist (Bruce Willis) who’s been working with the boy is no longer living himself, the result of a gunshot wound witnessed in the opening sequence.

9. THE OTHERS (2001)

The Sixth Sense’s climax was spooky, but not nearly as unnerving as Nicole Kidman’s similarly themed ghost movie The Others, released just a couple years later. Kidman gives a superb performance in the elegantly styled film from the Spanish writer-director Alejandro Amenábar, playing a mother in a country house after World War II protecting her photosensitive children from light and, eventually, dead spirits occupying the place. Only by the end does it become clear that she’s in denial about the fact that she’s a ghost, having killed her children in a psychotic break before committing suicide. It’s a bleak capper to a genuinely haunting yarn.


David Lynch’s surrealist movies may follow dream logic, but that doesn’t mean their plots can’t be readily discerned. Mulholland Drive is his most striking work precisely because, in spite of its more wacko moments, it adds up to a coherent, tragic story. The mystery starts innocently enough with the dark-haired Rita (Laura Elena Harring) waking up with amnesia from a car accident in Los Angeles and piecing together her identity alongside the plucky aspiring actress Betty (Naomi Watts). It takes a blue box to unlock the secret that Betty is in fact Diane, who is in love with and envious of Camilla (also played by Harring) and has concocted a fantasy version of their lives. The real Diane arranges for Camilla to be killed, leading to her intense guilt and suicide. Only Lynch can go from Nancy Drew to nihilism so swiftly and deftly.

Hollywood's 5 Favorite Movie Villains

Movie villains are meant to bring out the best in a hero, but with the right script, director, and performer in place, these bad guys can sometimes steal the show from their clean-cut rivals.

Take any horror movie, for example—chances are you’re not watching Friday the 13th to root for the absentminded teenagers down at Camp Crystal Lake. And Steven Spielberg certainly didn’t become a household name by directing a shark movie titled Three Guys on a Boat Drinking Narragansett.

The Hollywood Reporter set out to celebrate these iconic agents of evil by surveying 1000 professionals in the entertainment industry (directors, producers, entertainment attorneys, etc.) on their favorite movie villains. A rogues' gallery of murderous AI, mafia bosses, and a diabolical fashion magazine editor all made the top 25 list as the worst of the worst, and while they’re all deserving, the top five are the gold standard. They include:

5. Nurse Ratched: Played by Louise Fletcher in One Flew Over the Cuckoo's Nest (1975)
4. The Joker: Played by Heath Ledger in The Dark Knight (2008)
3. The Wicked Witch of the West: Played by Margaret Hamilton in The Wizard of Oz (1939)
2. Hannibal Lecter: Played by Anthony Hopkins in The Silence of the Lambs (1991), Hannibal (2001), and Red Dragon (2002)
1. Darth Vader: Played by David Prowse and James Earl Jones in the Star Wars movies (Prowse 1977-1983, Jones 1977-present)

That top spot might not come as a surprise to most, unless you’re still in your twenties: According to The Hollywood Reporter, survey respondents in that age group put Darth Vader in the sixth spot—behind Regina George from Mean Girls.

To check out the entire list, head to The Hollywood Reporter.


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