As the guild fights for increased compensation across the board and the stunt coordinators and performers’ look for parity, they note that their work on set is essential: 'I have to make sure that everything that I do doesn't kill somebody.'
Eliminating the exclusion of stunt coordinators from residuals on network reruns, foreign television and high-budget streaming programs is one of three proposals SAG-AFTRA submitted to the group that reps studios, the Alliance of Motion Picture and Television Producers, that specifically pertains to those individuals responsible for choreographing stunts and casting stunt performers on productions.
“We have a regular contract which says that after eight hours of work you get overtime, and then we have what’s called a flat deal which is one rate for the whole day. When it comes to the regular non-flat deal, theatrical stunt coordinators get paid the exact same minimums as the TV streaming coordinators. But when we move over to the flat deal, the TV streaming coordinators get paid 26 percent less per day and 29 percent less per week. We want to equalize that,” says Hessler.
“TV streaming stunt coordinators actually work more hours because they prep and shoot at the same time, whereas your theatrical stunt coordinator preps, then the entire production preps, and then they start shooting,” Hessler adds. “When we’re shooting one episode, we’re prepping the next one.”
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