with the U.K. and New Zealand a stunt person has to gain a recognized qualification in several different fields e.g. driving, martial arts, sky-diving, etc. More specific information can be found at the Australian Stunt Page .

There is no legal requirement for a stunt person to have qualifications. Realistically, no reputable producer or director will hire untested, new stunt talent - so the best way to try and break into the business is to work your way up from the bottom. The major hurdle is getting a Screen Actors Guild (SAG) union card to be allowed to work on film/TV productions (except for non union ones which can be dodgy). Competition is fierce. The American Stunt Page has some information.

The New Zealand Stunt Guild is up and running. The Stunt Council considers applications for membership twice yearly in January and June. People interested in becoming probationary stunt people should send their CV with details of relevant skills and qualifications to: The Stunt Guild of New Zealand, PO Box 19036, Courtenay Place, Wellington. Do not send originals as material will not be returned.

Primarily the director and first A. D. (assistant director). It is our job to get what the director wants to see on film, in a safe and timely manner. We also interact with set dressers, costumers, lighting and camera people regarding the safe positioning of the stunt action and potential safety concerns with crew, equipment, props, and costumes.

I am always open to accepting CVs from potential stunt people. Please remember I only do stunts and coordination part time (there are few full timers in any country). Do not expect to make a full time living doing stunts. I can only help out people who live where I am - in Wellington, New Zealand. I already have 15 people to call on as needed. If I have need for an extra person on a job, and if you have the right look and skills for the particular job, I may be able to use a new person.

The studios do not actually make films. We supply facilities for film makers to do so. Therefore, we generally have no involvement in production staff, including runners. Please contact productions directly via post (see FAQ above). The television studios occasionally require runners for television productions that use the studios, but this is on a part time basis. If you are interested, please send a covering letter, stating your availability with a C.V to tvrunners@pinewoodgroup.com.

There are lots of luscious babes on the screen in movies and TV, but those are about the only women to be found in the entertainment industry. Behind the scenes there are a few tokens, but nowhere enough cinematographers, screenwriters, directors, camera operators, etc., who are female and of color. We believe that any mass art form that discriminates to that degree should take a long, hard look at itself.

Actors trained for performance in the theatre can easily adapt to the needs of either film or television; it is not always easy for film and television actors to learn how to perform for a live audience. Marietta graduates are currently working in a range of positions in television and film in functions ranging from producer of major network programs to cameramen to story writers, editors, and loggers.

Crichlow Actors' Studio (CASt) has been operating since 2000. Before establishing the studio, Brenda Crichlow founded the Shoreline Actors' Studio. Brenda started CASt with more than 20 years experience in film, television, and radio as a professional actor and instructor. For more details on Brenda and the other instructors at the studio, see the Instructors page.

To be honest, not good. I've heard that every year something like 10,000 people attempt to break into the Los Angeles stunt industry. Currently there are about 600 people in the Los Angeles stunt industry - between 10 and 20% are women. About 200 make a full time living from it; the rest have real jobs and supplement their incomes doing occasional stunts. These figures are only approximate but they give an idea of the odds stacked against anybody - no matter how skilled.

This is one question guaranteed to cause controversy. Although the distinction can often be blurred, daredevils are generally accepted as taking more risks and being involved in live shows. Thus, Evel Knievel = Daredevil, person doing a motorbike stunt for a movie or TV show = Stuntperson. In real life, the answer is not so simple. Also, a daredevil has to take every possible precaution and train hard or they'll die young. I also have the greatest respect for live show performers/daredevils.

Feature films are another industry. The skills you gain in TV however, overlap massively and TV is often the way in. Begin to develop a serious and comprehensive interest in the subject and tailor your career in this direction from the start.

Typically, a stunt person eventually becomes a stunt coordinator, then sometimes goes on to become a 2nd unit director. Second unit directors are in charge of a smaller film crew who shoot action scenes or general location shots.

Yes. You can call customer service at 866-4-THE-LFA (866-484-3532) 24 hours a day 7 days a week. Or you can use our "Request Callback" feature and we will call you back when it is convenient for you.

Yes. In fact, all TV majors are required to serve an internship in the industry so that they will have some real world experience before they graduate. The good news is that many of our interns are offered jobs as a result of their work at these internships. That is why it is best to do your internship during your last semester on campus..

About a third of our graduates go into the commercial broadcasting aspect of the industry working as producers, writers, directors, editors, technicians, and unit managers for motion picture studios, TV networks, production companies, and TV stations (see TV Alumni and TV Graduates in Industry).

There are other Australian and State Government film/screen agencies. You can link to them from the Resources page in our Production section.

Yes. This website enables you to search a selection from the Film Australia archive but the Library has a database listing ALL the material available to commercial clients. Clients looking for footage can search this database themselves in the Library at Film Australia's Lindfield complex. Private viewing facilities are also available on site (bookings are essential and charges apply).

Film Australia does not employ editors on a full-time basis. Editors are usually selected by directors and producers to work on individual films. Film Australia is a small organisation and the resources used to make our programs are largely external to the company. (For example, all National Interest Program productions are commissioned from, and made by, creative and technical personnel in Australia's independent documentary sector.) This limits the kind of work experience we can provide.