Most stunt performers don’t stop getting hired because they lack talent. They stop getting hired because, somewhere along the way, a stunt coordinator quietly decides not to call them again.
That decision almost never comes with drama. There’s no explosion, no yelling, no moment where the entire film set freezes and everyone knows something went wrong. More often, it happens subtly. During a rehearsal. Between takes. In a conversation you’ll never hear. A stunt coordinator notices something small. A concern settles in. And the next time names are being discussed for a stunt job, yours simply doesn’t come up.
In the stunt industry, getting re-hired has very little to do with how hard you hit, how fearless you appear, or how good you look doing something dangerous. It has everything to do with trust. Trust that you can perform stunt work safely on a film set. Trust that you understand the job beyond your own performance. Trust that bringing you back onto a stunt team won’t introduce new problems on a day that already has enough.
One of the most common misunderstandings stunt performers have is believing that intensity equals professionalism. Going full out in rehearsal feels committed. It feels like you’re proving you care. But to someone responsible for safety, schedule, and budget, uncontrolled intensity is a warning sign. If you can’t dial it back, if you can’t give different levels on command, you become harder to manage and harder to protect. Film sets don’t reward maximum output. They reward control. The ability to adjust in real time, to repeat a performance accurately, and to stay composed when conditions change. Power without control doesn’t build confidence. Control does.
Another quiet deal-breaker for many stunt performers is a lack of camera awareness. Many still approach stunts as if physical execution is the final measure of success. It isn’t. Everything is filtered through the camera. Missing marks, breaking eyelines, facing the wrong lens, or over-rotating because you’re trying to sell the move all cost time. And time on a film set is not an abstract idea. It’s money, pressure, and a ripple effect that impacts the entire crew. The stunt performers who get re-hired understand that the job is not just to perform the stunt, but to perform it for the frame. They know where the camera is without being reminded. They know how to cheat safely. They understand that what reads best on screen matters more than what feels biggest in the body.
A flashy first take doesn’t mean much if the second take doesn’t match. Film and television stunt work depends on repeatability. Multiple angles. Safety resets. Continuity. Editorial needs. If your performance changes every time, you create problems no matter how impressive that first take was. The ability to repeat a move precisely, safely, and consistently is one of the most valuable skills on any stunt team. It keeps people safe. It keeps the day moving. And it tells a stunt coordinator that you understand the work beyond your own moment. Reliability often goes unnoticed when it’s present, but it’s impossible to forget when it’s missing.
There’s also a reality about safety on set that some stunt performers struggle with: it has a hierarchy. Film sets are collaborative, but safety is not democratic. There’s a chain of command for a reason. Changing choreography on the fly, improvising without clearance, or “just trying something” introduces variables that put other people at risk. Surprises are the enemy of safety. The stunt performers who last are the ones who communicate early, ask questions when it matters, and respect the structure in place. Discipline on set isn’t restrictive. It’s protective.
Then there’s attitude, which many performers underestimate. How you listen matters. How you take notes matters. How you handle stress matters. Ego isn’t just annoying; it’s a safety issue. Stunt coordinators notice who adjusts quickly, who stays calm when plans shift, and who contributes to a steady working environment when pressure builds. They also notice who becomes defensive, who resists direction, and who makes the day harder than it needs to be. Your personality becomes part of your safety profile, whether you like that idea or not.
Being good once is never enough. A stunt career is built on consistency over time. Showing up prepared. Managing injuries responsibly. Staying conditioned. Communicating clearly. Being reliable with logistics, paperwork, and availability. Stunt coordinators don’t just hire physical ability. They hire peace of mind. They hire people they don’t have to worry about.
Every rehearsal is an audition. Every day on set is a quiet interview, not just for the stunt job you’re on, but for the next one. Word travels fast in the stunt industry, and it usually travels quietly. Coordinators talk, but not about who looks the bravest. They talk about who feels safe. Who can be trusted. Who makes the team better simply by being there.
The goal isn’t to be impressive. The goal is to be trusted. That’s what gets stunt performers re-hired.
