This small autobiography actually
started as a cover letter to a locally prestigious stunt performer and
coordinator and turned into more than I thought. I’ve never spoke of my early
stunt training and the continuation throughout my life. I’m really glad I wrote this.
As a child growing up during the
70’s and 80’s I was influenced by television and film’s great stuntmen and
coordinators. I knew then at such a young age, I wanted nothing more but to be
apart of this amazing performance artistry. In secrecy from my three older
brothers I would continue to educate and sharpen my skills on all aspects of
the stunt industry. Though I would try to persuade them into choreographed staged
fights; being teenagers they just wanted to hurt me for real, so for the reason
I kept my training a secret. Pulling the cushions off the sofa and placing them
on the ground at various distances I would practice my falling and flying
techniques from whatever I could climb on top of, and I was a good climber too.
In the early 80’s the only reality
I could base stunt work on was “The Fall Guy” with Lee Majors; I just assumed
everything else unexplained was to camera work, editing, slight of hand, car
ramps, choreography and practice. Then my family got cable TV and all of my
intuitions were correct, revealed in Leonard Nimoy’s behind the scenes show “Standby,
Lights, Camera, Action!”. I learned so much about squibs and bullet hits, car rollovers
and safety, wire work, air rams, partial and full burns, fight choreography, mechanical
effects; and how to fall downstairs, into a bag, into boxes, into water, and
with only a cable attached as protection.
Growing up in a modest household, I
did not have the luxury of taking ongoing classes of gymnastics, martial arts,
acting, or other beneficial studies that most stunt professionals start in
their early teens and continue throughout their lives. But one summer I was
given the opportunity to take a beginner Judo class at the local community
center. It was only a beginner class meeting once a week for six weeks comprised
mostly of how to fall without hurting yourself through dive rolls, tumbling,
being flipped, and hard falls; it is here where I truly began my authentic
hands on training. My martial arts training with a teacher ended that summer,
but it did not stop me from still being a student.
Whatever material I could get my
hands on I would study to the fullest; from a 1950’s Karate handbook, Chuck
Norris magazines, and all the Kung Fu I could watch on TV. I would study these moves
with deep focus and later practice the staged sequences with a friend in the
neighborhood. The poor guy had a full leg cast and could barley move, but he
was a good sport with a lot of patience. Eventually I started to make my own
martial arts weapons to practice my chorography with nunchucks, boe staff and
swordplay. Being self trained I actually became pretty good and would start to
develop different techniques to progress in my education including being
blindfolded.
As a teenager there were not much extracurricular
programs in rural Florida
that had only one flashing traffic light, not even a community center. But I
did have the good fortune of having a large river and the wilderness as my
backyard. It was a daily recreation for me and my friends to jump off bridges
and out of trees into the river to cool off from the heat and to do other out
of the ordinary stunts to pass the time. Additionally, hunting equipment such
as firearms and archery were always practiced and safety protocol trained by my
father (ex military, law enforcement). I continued my self training of stunts
and the martial arts secretly from my family whenever I could find the chance.
One day I was caught by one of my brothers meditating and he would not stop
laughing, I knew I had to find a better outlet for my creative passions.
At 23 I moved to New York City to find my place and to sharpen
all of my skills. Beginning primarily as a painter and traditional artist I
became more involved with installations, performances, choreography, writing,
and developing. As well as continuing my self training of stunts, the martial
arts, and swordplay; I would also take whatever programs I could afford, mostly
this consisted of improvisational classes and “first lesson free” Kung Fu and
Tai Chi. Though I was limitedly trained, it was my strong passion for the
performing arts, stunts, martial arts, and my background as a craftsman that led
me to becoming “the go to guy” needed for small productions. Suddenly I was in
my world that I was trying so hard to find. My life’s training began to take
life; from writing, directing, fight choreography, mechanical effects, blood gags,
acting, practical stunts, and anything else I could be apart of. This
eventually led me into the career of film and television working within the art
department as a set dresser, carpenter, scenic, prop master, and effects.
Knowing the ins and outs of the business now, I knew I was a small fish in New York to make it in the stunt industry and I was not
about to move to Los Angeles.
My new home and friends were in New
York; but after time went on there was a time for
change. Besides escaping form the relentless cold weather of New York, it was time for me to think of my
future and the outlook of starting a family.
I now live in Honolulu,
Hawaii on the beautiful island
of Oahu where most of my New York friends that I
still connect with now live or are originally from. I still continue my self
trainings when I find the time and will be enrolling in more acting classes,
CPR, First Aid, Gymnastics, Parkour, Kendo, Iaido and other martial arts programs in the
future. Even though the stunt community in Hawaii
is much smaller than that of L.A.,
it is still a hard industry to get into. But I believe my passion, self
training, education, and skills are beneficial to Hawaii,
and Hawaii to
be beneficial to my creative outlet. I am willing to travel outside of Hawaii for performance
work but this is my home now. Whether I can make a living by being a performer or
not, Hawaii
will always be my home.
My mission is to keep our local
stunt performers and coordinators working, and working locally. By adding new
and diverse faces and skills into the community, local productions will not be
forced to hire from L.A.
and the mainland. In turn bringing more production work to Hawaii so that locals are not forced to seek
work on the mainland away from their families. Don’t get me wrong, it is great
to travel and be apart of diverse creativity, when it is a choice. I know that
sometimes the reason for hiring non locals is a matter of specific skills and
training. That is why I am personally in the beginning stages of developing Hawaii’s first and only
stunt school and training facility. Though
stunt coordinators would not make as much as they would on set, they would be constantly
working in their field of expertise and to help sharpen the skills of local
stunt performers to today’s and future industry standards. It would not only
house stunt classes but also multiple martial arts, gymnastics, hand combat,
and other industry programs taught by local instructors for an affordable
rental fee and most of all to be a strong community organization.
Eric West
(c) 2008 Eric West EwestHawaii@hotmail.com Honolulu, Hawaii
