A Quote by David Oakes

The thing about being on a long-running series is that you get to know all the stunt men and the stunt coordinators, and they let you pretty much do everything you want, as long as they trust you.
Having been a stunt girl for so long, a big part of my job, when being a stunt double, was to not just make the other person look as cool as they could, but also to act as support.
I took a whole stunt course and pretty much got certified as a stunt driver. It's ridiculous how easy it is once you understand the car and know how to do it.
I love the physical roles. I have the utmost respect for stunt people and stunt doubles, but I like to do as much as I possibly can with what's become some pretty significant training.
Everybody has a stunt except me. Every single person has a stunt, but I don't have a stunt, there's nothing. No wire, no pulling. I try to get in on the danger, but there's nothing.
The vehicle-stunt world is so specialized. But when you spend so long in it as a stunt coordinator, you're exposed to all the disciplines, so it's always fun to combine the two ideas - a car chase and a fight scene - and make something more dynamic.
It never occurred to me that being a stunt girl would get me recognized in any way, because the whole purpose of a stunt person is to not be known.
Some men and women are inquisitive about everything, they are always asking, if they see any one with anything they ask what is that thing, what is it you are carrying, what are you going to be doing with that thing, why have you that thing, where did you get that thing, how long will you have that thing, there are very many men and women who want to know about anything about everything.
I will do anything, and I do almost everything myself. But when there is something extra heinous to do, I have a great stunt double, Eddie Davenport, and a great stunt coordinator, Jeff Wolfe.
I'd work with soccer coordinators at Game Changing Films and have one or two combat training sessions with my stunt double, who's a wushu master.
Being a stunt girl is very much my comfort zone, so I had to remove the comfort zone to step fully into the slightly scarier zone. Also, just being perceived as an actor by the outside world, rather than as the stunt girl who does dialogue, has been a part of the challenge in front of me.
When I was a young stunt guy the director would say: "You're useless..." But I wanted to be the best, I wanted to be a super stunt guy. That's how I built myself, because of martial arts and everything.
Some people out there think everything I do is a publicity stunt, they think when I go to the bathroom it's a publicity stunt.
I once said that CGI makes you less inventive. At the time I was bemoaning the loss of the practical stunt. If a stunt can be done practically and safely, I'd rather do it old-style.
The character and the actor in a long-running series slowly become one. I think there must be funny stories about actors who, in the pilot for a TV series, did some weird thing with their eyes, or some speech impediment or something, and the next thing you know, it's eight years later, and they're still doing that freaking gag.
Repetition on things like that becomes quite painful. If you do a stunt sometimes it can look like a stunt.
I have talked to stunt drivers all my life, 32 years of talking to stunt drivers. There's a craziness to them.
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