Step 1: Identify What You Actually Need

Before reaching out, break down your script and identify the action sequences. Be specific: how many scenes involve physical action? What type: fights, falls, car work, wire work, something else? Are any of these sequences where a principal actor needs a double, or where a trained performer needs to be in frame?

This information determines whether you need a single fight choreographer, a stunt coordinator with a team, or an action designer who can handle the full scope. For most short films and commercials, one person covers all three roles.

Step 2: Reach Out Early

The single biggest mistake productions make is contacting a stunt performer or choreographer the week before the shoot. Bring them in during pre-production. Early involvement means:

  • The choreography is rehearsed before shoot day, not figured out on set
  • The director and choreographer agree on coverage strategy in advance
  • Safety risks are identified and mitigated before anyone is on set
  • Shoot days are used for filming, not planning

Step 3: What to Prepare Before the First Call

Come to the first conversation with:

  • The script or a scene breakdown, or at minimum a clear description of each action sequence
  • Shoot dates, and how many days are allocated to action sequences
  • Location details: indoor/outdoor, surface type, available space
  • Budget range, even a rough figure helps the conversation
  • Principal actors involved: their physical condition, experience, and availability for rehearsal

Typical Rates

Rate ranges for stunt work in Norway are available on the stunt rates page. Key figures to budget around:

  • Stunt performer: 6,000–10,000 NOK/day
  • Stunt coordinator: 9,000–14,000 NOK/day
  • Action designer: by negotiation, discuss directly
  • Prep and rehearsal days are billed separately, typically at the same day rate
  • Travel, accommodation and meals are covered or reimbursed by the production

What a Stunt Performer Needs from Your Production

  • Time. Enough rehearsal days to build the choreography properly before the camera arrives
  • A clear point of contact. One person from the production who communicates with the choreographer, ideally the director or 1st AD
  • Access to the actors. Rehearsal time with the principal performers before shoot day
  • Location access for rehearsal. Or a comparable space to rehearse in
  • A written agreement. Covering scope, dates, rates, and cancellation terms

Ready to discuss your production? Battleblade handles choreography, direction and performance, from short films to commercial campaigns.

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