DON’T YOU (FORGET ABOUT STUNT PEOPLE)
Written by Mark Brennan
Every film project carries with it an element of risk, but let’s be honest, no one faces more risk than the stunt professionals dazzling us with thrills and spills.
Now the Academy has finally offered some long-overdue recognition of the unsung heroes of film & TV, is there any chance we’ll start to see an impact on short films and more stunts appearing in a medium where they previously couldn’t afford to tread/fall/somersault?
For very good reasons, stunts and short films do not make easy bedfellows.
It’s not that short filmmakers do not have the vision for the spectacle that stunts and action can bring to a story, it’s literally that they do not have the time or resources to explore them. When short film budgets are often so tight that the catering cost can bring producers out in a cold sweat, the idea of affording a stunt co-ordinator, stunt person, extra production time to plan and execute a stunt, and the experienced personnel to pull it off is a fantasy.
Short film projects almost never have the time to properly plan and execute a single stunt, let alone more, when the average shoot schedule is 2-3 days for the entire film. There is also a risk that, no matter how well intended and planned, stunts created on a shoestring budget will end up undermining the scene or story they are looking to serve. They may look a little staged, cheap, or over the top because of a lack of resources, and they’re not quite what audiences expect - especially now they’ve seen Tom Cruise dangle off anything taller than a bus stop if you give him half a chance.
It makes sense why short filmmakers would bypass this process altogether and focus on telling their stories in the most practical and efficient ways possible, over which they will have the most control.
That’s why when a short film does decide to take a leap and include sequences that others fear to attempt, some real magic can happen. Take The Gunfighter (2013) directed by Eric Kissack, Kung Fury (2015) directed by David Sandberg, or Officer Down (2020) directed by Simon Pearce as examples of how a film can stand out in a competitive field by doing what many filmmakers might consider to be the unthinkable. These are films that took the notion of action sequences being exclusively for big budget features and roundhouse kicked it to the face while shooting it multiple times until falling over a balcony.
But it’s a risk. Not just to the ambitions of the project, to the personally involved and to the squeezed budgets that can barely afford first aid kits for paper cuts got from a call sheet, let alone insurance cover for hurling stunt performers through windows/windscreens, leaping off rooftops, or donutting cars in a multi-storey car park. But with short films being the proving ground for the feature filmmakers of tomorrow, how/where are the aspiring John Woos or Gareth Evans supposed to learn their trade?
One thing that may help is that the Academy Awards have finally recognised the work of stunt performers and from 2028 will be honouring those who contribute to some of cinema’s most iconic moments. This inclusion follows years of campaigning across the industry to ensure these unsung heroes are finally seen as masters of their craft rather than simply eyebrow-singed adrenalin junkies.
“Since the early days of cinema, stunt design has been an integral part of filmmaking,” said Academy CEO Bill Kramer and Academy President Janet Yang in a joint statement marking the announcement. “We are proud to honor the innovative work of these technical and creative artists, and we congratulate them for their commitment and dedication in reaching this momentous occasion.”
Could the ripple effect of this new category find its way all the way to short films where newly trained stunt professionals collaborate with new filmmakers knowing their work may now be seen and appreciated in a whole new way?
That remains to be seen, but festival programmers everywhere would love for the opportunity to see more work coming through that is less kitchen sink drama and more kitchen sink thrown across the room and judo chopped in half. Again, though, it’s all a risk; as much to the credibility and feasibility of a short film project as it is to the real life risks stunt performers take to get that perfect shot. But when those risks pay off, they usually pay off big time.
Here’s a practical guide to safely choreographing stunts for a short film, whether you're working with professionals or just trying to make a bar fight look believable without ending up in A&E.
Getting Started: Safety First, Ego Last
1. Plan It Like a Bank Heist
Break the stunt down into beats, like a script:
E.g. “Punch → stumble → trip → hit table → fall to floor.”Storyboard or pre-visualise the stunt from different camera angles.
Ask: Can the same effect be achieved with editing, sound, or clever blocking instead of risk?
Core Safety Practices
2. Hire or Consult a Stunt Coordinator
Even if you can’t afford a full-time coordinator, many are willing to consult for a day or even volunteer on indie projects — especially if it’s for a reel. They bring:
Safe techniques for falls, fights, and impacts
Risk assessments
Knowledge of legal requirements (insurance, waivers, etc.)
3. Risk Assessment & Insurance
You must:
Complete a risk assessment (some film grants and festivals require it)
Ensure you have production insurance that covers stunts — or at least public liability insurance
Have first aid available on set
If someone gets injured, no amount of “We were careful” will help you legally or ethically.
Choreography Tips for Low-Budget Stunts
4. Sell the Illusion, Not the Impact
Focus on reaction, not contact — a good reaction sells a bad punch better than actual contact.
Use camera angles and cuts to hide wide swings and fake hits.
Add sound design (whooshes, impacts, crashes) to elevate every motion.
5. Shoot in Pieces
Don’t try to shoot the entire stunt in one take.
Break it down into safe chunks.
Shoot from multiple angles.
Add slow motion or fast cuts if needed for energy.
6. Use Distance
A punch thrown 12 inches in front of someone can look brutal if shot from the right angle.
Maintain safe spacing and let the camera cheat the impact.
Helpful Tools and Budget-Friendly Gear
Crash mats (hidden with props or costumes)
Knee/elbow pads (under clothing)
Breakaway props (sugar glass, soft balsa wood)
Foam floor tiles for hidden protection in indoor sets
If you can’t afford pro gear, borrow from local theatre companies or martial arts gyms — they often have crash mats and are more than happy to collaborate.
Training & Learning Resources
YouTube Channels:
Books:
Movie Stunts & Special Effects: A Comprehensive Guide to Planning and Execution by Andrew Lane
Fight Choreography: The Art of Non-Verbal Dialogue by John Kreng
Courses & Workshops:
Look for local screen combat classes, stage fighting workshops, or Parkour/free running groups open to collaborating.
Golden Rule: If You’re Unsure, Don’t Do It
It’s always better to scale back or stylise than to risk someone’s health for a 3-second shot. Even the pros rehearse endlessly and have medics on standby.
So, now you have some tips and a little inspiration, have a think about what smack to the face you could bring to audiences with your next short film. I for one can’t wait to see it.
