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Heidi Louise Moneymaker ist eine Stuntfrau. Heidi Louise Moneymaker (* 9. Februar in Santa Rosa, Kalifornien) ist eine Stuntfrau. Inhaltsverzeichnis. 1 Leben; 2 Filmografie (Auswahl). Tsd. Abonnenten, folgen, Beiträge - Sieh dir Instagram-Fotos und -Videos von Heidi Moneymaker (@heidimoneymaker) an. Heidi Moneymaker. Gefällt Mal. The official fan page of Heidi Moneymaker, stuntwoman and actress known for her work in The Avengers, Fast &. Heidi Moneymaker · 5. Oktober um Always so full of laughs @critter_rides_barrels thank you for being such a bright light in this world. RIP friend. Heidi Moneymaker. geboren am US-amerikanische Stuntfrau. Darstellerin in Serien. Entdecke alle Serien und Filme von Heidi Moneymaker. Von den Anfängen ihrer Karriere bis zu geplanten Projekten.
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Heidi Moneymaker Contribute to This Page VideoJeff Wolfe \u0026 Heidi Moneymaker - The Avengers (2012) stunt rehearsal
Both of you have done parts where you've kind of been attached to one particular actor over multiple films.
How does that that process happen, and what kind of relationship develops over time with an actor who you're working with across multiple films?
Heidi: You know what? It's sort of probably different in every experience. I have been with Scarlett for almost 11 years now.
That just started off as a luck of the draw. Tom Harper, really amazing coordinator, brought me in for Iron Man 2 and basically had her select between myself and Bridgett Riley, another very good stuntwoman, and Scarlett happened to pick me.
We did that film together. Then, I think the next one was the first Avengers and it was just like the coordinator thought, "Okay, well, who doubled her on the last thing?
It started off less about me and Scarlett having that relationship of her bringing me along and more like me just always being there, but Winter Soldier , I think she was like, "You know what?
We work really well together. I really think that we should work together on everything that we do.
Call me. If I'm available, I'm there for you. She has a little bit different experience, so she might have a different answer there.
Renae : The start with me and Jennifer, I got hired to double her on the first Hunger Games and we got along really well.
We were close in age. I was a really good match for her. The same action team was on Catching Fire , so they brought me back along.
That again continued a good relationship with Jen. Do you think you can? Dream come true. Are you kidding me?
At first, it was more the action team bringing me along and then creating the relationship to where Jen was then saying, "Hey, you're coming with me.
I talked to the coordinator and he asked, "Well, are you dual citizenship? Then she wrote a bunch of letters and basically really fought for me to get on that.
It sounds like you do develop, though, a bit of a close bond with these people who you work with in some capac ity.
Heidi : Yeah. I'm sure Renae is like this, too, but my role is you go to work and it's business. Obviously, there's great relationships here and there, but I don't even have a bunch of stuntwomen that I spend a lot of time with.
I try to keep my work life my work life. Most people I go work with, we get along really well, but I try to keep it a little more businesslike, but some people, you just end up bonding with, and especially having been with Scarlett for 11 years.
We did Infinity War and Endgame and that was over a year of filming straight and we're in different countries and you're going through different life things and stuff, so you do.
You end up bonding over those kinds of things. I wouldn't say that I bond like that with every single actress I double. Renae : Also, coming up my sister as my mentor, she told me that as well, "Keep your relationship professional.
Don't blur your lines too much. I do think that Jen respected that about me because I think it made both of us let our guards down a little bit.
Again, me and Jen have done eight films together. After a while, we're like, "Okay. Heidi : "Fine, let's be friends.
Okay, fine. We're friends. Fine, I'll be your friend, Jennifer Lawrence. Renae : No, not like she's banging down my door to be friends, but you know what I'm saying, right?
Obviously, there's the technical side of executing these stunts, but it would seem there's also a certain amount of mimicry that you have to work with in terms of selling that person's mannerisms in the midst of a stunt or something like that.
Is that part of the craft of what you do? Renae : Yeah, I did. It absolutely plays a role and I think the more that you can become the character or adopt certain mannerisms, the closer of a match you're going to be with the other person, so you can essentially trick the audience into being one person.
Heidi : I remember on Iron Man 2 doing that fight scene that we did with all the guards and everything. At the end of that fight scene, spoiler alert, Scarlett or Black Widow walks down the hall and someone pops out and she just sprays them with I don't know what we're spraying?
I don't know. I forget. Anyway, when we were shooting the pre-viz for that, I was marching down the hall super-fast and like Linda Hamilton, Terminator 2 , and sprayed the guy and walked out.
I was watching the pre-viz with Scarlett and she asks, "Hey, do you think I walk like that? Renae : I just have one more thing to add on.
When you're wearing a superhero costume You are a replica, basically. In a sense like that, where you are the only person on set that's playing that character, it's very important to be able to I'm thinking back to when we were doing the car chase and I'm in the back of the van as Wasp and she's shooting out the back, you have to do it exactly how she would.
I know that for her, she really wanted Wasp to be very elegant and strong, but also really bring the feminine. I knew how important it was to her and I didn't want her to see dailies and, "What is she doing?
Who's an actor that you've worked with or has there been an actor you've worked with who surprised you in terms of either their proficiency with stunt stuff, or how game they are for some of the trickier beats?
Heidi : Most of my actors have been fairly game to do stuff, but my number one would be Halle Berry, because I trained her for John Wick 3 and we trained together for six months.
We were in Morocco during her fight scenes. Her stunt double rehearsed everything, but there were only two parts of that that Halle didn't do.
One was a slide under the table because she could potentially cut her face and we didn't want her to do that, and the other was a dog jumping off her back.
It was just because one of the dogs that was supposed to jump off her back, he wasn't able to make the jump that day and we had to put the very aggressive dog in and it was just a matter of, "Oh, if for some reason that dog got freaked out and bit her, we didn't want that to happen.
She's incredible. Renae : Yeah, I have two. Brie Larson and Margot Robbie. I'll start with Brie. I was really impressed with not only how much she trained once prep started, but she trained with a trainer six months before that, on her own, just trying to get strong for the role and getting strong so that once she got to stunt training, she could adapt.
That was very beneficial to us because we didn't have to start from ground zero with building strength and endurance.
She came in having that. We could always tap on more and more and more. It was just really impressive watching somebody who had never done really much action or really any martial arts or sports or anything like that, just really take on a little bit more.
She'd come in everyday and say, "I'm going to nail this kick today. If she couldn't get it, she was very, very hard on herself. You see that with other star performers or athletes.
It was the first time I really saw somebody'd come in every day. She never canceled rehearsal. She always, always showed up when she was supposed to do it and really just gave it everything she had.
We did, I think, three months of prep and then three months of shooting, so it was a six-month action film. She held up through that whole movie and long days.
We were able to do so much with her more than I had ever seen up to that point with an actress. Then moving on to Margot Robbie, she is a specimen.
She really is. You can demonstrate something, let her practice it three times and then she got it. I caught her one time before she came into practice in the car and she was reviewing like reference videos from the training before.
When she came in, she already knew the choreography. It was fresh in her head. It was just very impressive. She was next-level with all that stuff.
On Birds of Prey , she was the star of the film. She was a lead producer. She was a busy girl, right? Sometimes, she'd come in and say, "I'm sorry, guys.
I got 25 minutes," and she set a timer and she'd be like, "But I'm here, so let's go. Got a meeting. Is there something that characterizes what it was like working stunts within the MCU versus within a Hunger Games movie versus John Wick?
Do they have their own distinct character each time other than, obviously, having different actual actions that you had to do?
Heidi : Every film is different, even if it's within the same franchise because you don't always have different producers, especially in the MCU, but you often have different coordinators and different people involved.
Things are always a little bit different. I would say we got into quite a rhythm with the Marvel stuff towards the end of those last few movies, just because it was a lot of the same people.
With the John Wick series, it's a different ballgame because you've got your lead actor, Keanu Reeves, who's training harder than anybody else on the whole film and just giving it his all, not 24 hours a day, but every single moment of every training session.
You're trying to make sure that you're staying up to speed with them. We don't have to do as much training because we already have a lot of skills that he's learning, but at the same time, you've got to put in the same effort and you've got to show up, especially when your lead actor is getting thrown around and everything The John Wick prep and training is really intense.
Totally worth it. Really, really intense. I'd say that's the difference there. Not that the Marvel stuff is not hard and we don't do a ton of rehearsals and everything else, but you don't have your lead actors literally doing all their own stunts a little bit different.
What about for you, Renae? Renae : It was so long ago, I'm trying to think back to it. I would say that The Hunger Games , it wasn't any kind of specialized stunt work.
We did a bunch of wire work, a lot of falling down the hills, lots of tree climbing. You're learning the practical side of it as well as the on-the-screen side of things.
Renae : Yeah, definitely. I think it was three hours in, 45 out, if I remember correctly. Heidi : Oh my god. My longest day was a little over 24 hours, but it was in China on a film where there were literally no rules.
Heidi : Sure enough. I did a fight scene at the end of the hour day. I don't recommend that. Renae : No, I'd say on X-Men , my average day was around 15 to 18 hours.
Then if I got out at 12 hours, it felt like an early day. What, to your mind, characterizes the difference between a movie with good stunt coordination, good stunts and a great stunt film?
Then, do you have an example for each of you, a movie where you're like, "This movie I worked on nailed how to do stunts?
Heidi : You know what? I think you can have a really amazing stunt coordinator and a really amazing team, and if everything is not cohesive from the top down, you can run into problems.
For me, one of the smoothest run films was a movie called Sucker Punch. Our stunt coordinator, Damon Caro, had a really good relationship with the director, Zack Snyder.
They worked very cohesively. Damon was able to get his six or eight weeks of prep which we needed with the actors, with us. Zack actually came in and would shoot our pre-viz.
It would take us way longer to shoot the pre-viz, but he'd figured out and shoot it exactly the way we're going to shoot on the day. Storyboards, when we went in, were literally like pictures taken from the pre-viz that he shot, put up on a board and we knew exactly what we're going to shoot and exactly how we're going to shoot it because he already shot it.
For me, yeah, that was one of the best-run movies just because we had this flowing, cohesive thing and it started from prep and it went right into shooting.
I would say if you can get everybody working together like that, then you're golden, but that doesn't always happen. That's not always the way things work.
I've worked with really amazing coordinators and amazing teams. For example, on I want to say Civil War , we were on stage outside, but we had this massive cement tarmac that they built for us.
We're out there, we're prepped, ready to go and shooting, and then all of a sudden, a lightning storm comes in.
It would happen every couple of days and it was shut us down for most of the day and put us behind schedule and then it's raining and we're cold and wet.
Then, fine, we've had enough time in between lightning strikes that we can go back out and shoot. Now, you're wet and cold and you're trying to fight in cement.
Those things can come up and really destroy the flow. Renae, do you have a particular film you worked on where you felt like, "Man, this is really the stunt experience"?
Renae : Absolutely, the reshoots for Birds of Prey were actually similar, I think, to what Heidi was describing. Chad Stahelski directed the reshoots.
Also, you know, he put together the stunt team. It trickled down from him. We always had a very clear idea of what we were going to do and how we were going to do it.
There wasn't a lot of guessing. I'd say, when everything's running smoothly and operating, how it should be, it's just this feeling of, "I just need to do my job.
Everyone's just doing the job that they're there to do and it's all working together. It's that feeling where you just have to worry about what you have to do and not be thinking, "Oh, should I check this?
Should I check up on that because I'm not sure if this will happen or whatever? One of the great things about the fights in Birds of Prey was the long takes and wide shots, because it seems like went through this period in which, with the Bourne films, the really quick cuts became a thing with fights and you lost a lot of what was happening.
How do you guys feel about that as performers? Do you like the longer takes? Do you like it more when it's chopped up? Renae : Well, it's great when they say, "Hey, we're going to just do fight beats and cut it all to pieces," because you're just thinking, "Great.
I want to do fight beats and that's it," but the longer takes are because when you get into the flow of something and you can see the big picture of what's happening, sometimes great things happen.
The problem with long takes is that, if you're doing one big long take, it's really hard to hide bad performances. There's often bad performances — not always — and sometimes you throw a punch and it's just off.
With John Wick , Chad does very long takes and uses his actor. The only reason he can do that is because he's trained his actor so proficiently that he's very good at what he's doing.
You can watch it wide and it does look good, but it doesn't always work. I don't know the reason behind the Bourne stuff, but I know that within what they were doing, you can hide a ton.
You can make it look really exciting without having a lot of amazing performances in them. Heidi : I'll just add in, sometimes, even if your stuff gets all cut up, you're doing longer takes.
It's not just, "Okay, we're going to do this punch and we're going do these three beats. I'd say like very rarely are you just doing a few beats at a time.
We're usually doing a section of the fight. Renae : Also, you have to choreograph. If you're going to do a long take and you're going to make it look good, you can't just choreograph anything and say, "Great, we're going to do one big long take.
You have to know the camera's path. You have to know where you're going and what you're doing and you have to know what's going to look good.
Not everything looks good wide. Some things look good, close up, some things need movement and all that. We talked a bit earlier about falling, but what would you say is another stunt skill that looks deceptively easy on camera but is not?
Heidi : My answer to that would be with regards to driving. A lot of the bigger sliding around corners, reverse , all the tricks. Mind you, you have to be good at those, especially if you're in a tight space and you can't hit anything else, though sometimes, you have more energy and power and a little bit of room to play, whereas when you have to come in a very specific mark with a car and stop.
Or, recently, during a Nissan commercial, I had to parallel park really fast all in one movement in a tight spot.
On camera, watching it back, it just looks like she goes, "whoop! I did a reverse in that, too. I did other stuff in there that was what you think might be harder and that was the hardest day for me.
It was trying to not hit the other two cars and do one movement of a parallel parking. For me, it's the little things in the car. Renae : Yeah, I think a lot of the time, it's the little things that you underestimate.
I haven't done a lot of driving, but yeah, I would say sometimes just maintaining distance with a camera car, or just those little things like that.
Sometimes you're focusing so much on the big gags that you put a lot of time and effort into that and then you underestimate some of the smaller stuff.
Heidi : Sometimes, the smaller things are what you end up getting hurt on because your focus is not You're not being unfocused, but you're so focused when it's a big deal.
When it's a smaller thing, you're thinking, "I did this all day. I'll be fine. That's why I did a stair fall for the Boss Bitch challenge, because I didn't want to get hurt.
I think Renae and I both were thinking, "Okay, if we're going to do this, what's at stake? Heidi : The most memorable for me at this point would be the reshoots for Black Widow.
I went into the video village tent and talked to Scarlett and I said, "Hey, are you be doing more of these Black Widow movies? I was jumping 16 or 17 feet off the platform and rolling and crashing, but yeah, it was the most memorable because we both knew, "Oh, this might be the last Black Widow stunt, and it might not.
We even had the behind-the-scenes camera and stuff, and video. We're hugging and crying and being girls. I ran and jumped out of an exploding warehouse.
Is it hard to walk away from an explosion looking cool when something is on fire behind you? Heidi : Honestly, for me, I really don't love pyrotechnics unless I'm dealing with somebody I know really well, because it's a science.
It's not a perfect science. Some people are really, really good at it and some people are okay at it. There's a couple of special effects coordinators that I really love.
Dan Sudick is one of them. He does a lot of Marvel stuff with us. I know you've worked with him a bunch, Renae. It's just like you feel very, very comfortable when he says, "You can stand here.
You cannot stand there. I remember one of the first times realizing how great he was. We were on, I want to say, the first Avengers , and I think it was the last day of shooting, and it was second unit.
It wasn't even main unit. There were no actors there. Basically, I think there were aliens in the air and they were stomping things down into New York.
In order to create the same kind of vibe, we had these I-don't-know-how-many-ton metal things in the air that they were dropping down.
It was his job to design this. He could have very easily sent his team, who were also very proficient, to go and handle this.
If a six-ton metal thing falls on you, you're dead. We're standing under it, running around it. I remember him being there and just looking at every single piece of thing that's flying in the air and talking to every stunt person, shaking their hand and saying, "Guys, be here.
Don't be here. I remember thinking, "All right, that's somebody who not only cares about his job, but cares about the people around him.
Renae : With Dan, I feel very comfortable to ask him anything. He doesn't have an ego or an attitude about it. He'll sit there and explain it to you, answer any question you have.
I remember the first time I was around mortars. There weren't even explosions. Renae : It was on After Earth.
That was my first experience with that. I remember we walked through the scene. We were just citizens in this area, a bunch of us. We walked through the scene and where we were going to run.
Everyone knew our paths and camera and everything, where the mortars were, and then, I remember when we went and everything started going off.
I think at one time I fell down and a shoe came off. I just remember being Heidi : Explosions are scary. Even though we take precautions and there's a very calculated way that we do things, you still blow things up.
It's still an explosion. I remember the first time I was on set with an explosion, I was thinking, "Oh, so we just blew that up.
We really do get hit by cars. Granted, they're not going 40 miles an hour, but we really do these things. Unless you're on set to see it, it feels like it's fake in a movie when you watch it, but when you're there and you see it happening, you're thinking, "Oh, damn.
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