In the early 1990s, filmmaker Sydney Lumet inspired stuntman Jack Gill with an idea: stunt performers should have their own Oscars category.
Gill approached the Academy’s leadership as the first step in what would evolve into a decades-long journey. “They said, ‘OK great. It will probably take three to five years. Are you ready to put that much effort into it?’” Gill recalls. Without hesitation, he replied, “Heck, yeah, I was. Now here we are, 34 years later.”
Today, Gill and the stunt community are celebrating the recent announcement that stunts will finally receive recognition with a stunt design Oscar in 2028.
While Gill and many others have tirelessly advocated for this recognition, the momentum has surged in recent years, thanks to influential figures in Hollywood like David Leitch, the filmmaker behind The Fall Guy. Leitch’s ascent to A-list director status, along with his collaboration with stunt designer Chris O’Hara, has been pivotal in pushing for the stunt Oscar. They presented their case to the Academy’s board of governors and lobbied its members, gaining support from Academy CEO Bill Kramer and president Janet Yang.
“A lot of it is educating branches that aren’t in physical production that may not understand how essential stunt design is to all movies, not just action films, but also comedies, dramas, and arthouse projects,” Leitch explains, reflecting on their efforts.
Leitch and O’Hara took cues from casting directors, who successfully gained their own Oscar category last year. Their work required political savvy and coalition-building skills. The presence of around 100 stunt professionals in the production and technology branch, with support from governor Wendy Aylsworth, also contributed to their success.
Their advocacy coincided with the release of The Fall Guy, which Ryan Gosling humorously introduced as “just a giant campaign to get stunts an Oscar” at its Los Angeles premiere last April.
The well-received film featured an energetic marketing campaign that highlighted the importance of stunts, exemplifying the concept of “educating through entertainment,” as noted by Leitch, who is also a prolific producer through his company, 87North Productions, alongside Kelly McCormick.
Now, Leitch, O’Hara, and other stakeholders are contemplating the next steps, particularly how nominees will be selected. Branches like visual effects utilize a bake-off format, where shortlisted films present their work, and a similar approach may be adopted for stunts.
O’Hara emphasizes that, like production design, the stunt Oscar should evaluate contributions to a film as a whole, rather than focusing solely on individual sequences. He is eager to see the submissions for the 2027 films that will be eligible.
“I think now you’re going to see professionals really honing their craft and focusing on the big picture of what the Academy Awards represent, as well as how they can enhance their filmmaking skills as stunt designers to create memorable, seamless moments driven by the story,” O’Hara states.
All the stunt performers interviewed highlighted that this category should not be limited to blockbusters or action films.
In 2014, stuntman-turned-director Chad Stahelski collaborated with Leitch to direct John Wick, a film credited with reigniting public interest in stunts.
Stahelski, who has directed three additional Wick films, believes the Oscar will acknowledge the unique position of the stunt team within a production: a group that operates both behind and in front of the camera across various departments.
Historically, there has been a perception that stunt performers should remain in the background, with some actors hesitant to break the illusion that they handle all aspects of their roles.
“We’re meant to be the quiet ones, the covert operators, the ninjas. We don’t need the accolades; we’re here to enhance the magic of Hollywood,” Stahelski asserts. “However, in recent years, thanks to the internet and behind-the-scenes videos, it has become more acceptable to recognize stunts and the individuals who perform them.”
Before the announcement of the stunt Oscar, many stunt professionals expressed concerns that the actors’ branch might never support it.
Jeff Wolfe, president of the Stuntmen’s Association of Motion Pictures, recalls that when he doubled for the late actor Ray Stevenson in 2008’s Punisher: War Zone, it was unusual for Stevenson to publicly credit him, saying, “I am the voice; you are the body.” Today, it is increasingly common for actors to acknowledge their stunt doubles.
“It doesn’t seem as hidden anymore. It’s rare to hear an actor say, ‘I do all my own stunts,’” Wolfe notes.
For Gill, a legend in the stunt community with an impressive resume that includes First Blood, Beverly Hills Cop, Fast Five, and Fast X, there have been multiple instances when he believed a stunt Oscar was within reach.
In the early ’90s, he gathered signatures from big names like Dustin Hoffman and Martin Scorsese for a petition advocating for a stunt category, but it went nowhere. Decades later, while overseeing stunts for Fast Five (2011), he and his colleagues were convinced that not only would there be a stunt category, but they would win it. Unfortunately, that did not happen. In 2016, Gill and dozens of colleagues protested outside the Academy’s headquarters in Beverly Hills, presenting a petition with 50,000 signatures in support of their cause, yet no one came down to meet them or accept their petition.
So Thursday was an emotional day for him.
Looking ahead, Gill reflects on films that could have been contenders in the past: “Raiders of the Lost Ark, True Lies, Mad Max: Fury Road, and the original Mad Max. Fantastic.”
Stay tuned for more updates from HiCelebNews as the stunt community celebrates this long-awaited recognition!
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