Picture vehicles are usually either rentals from companies that supply cars to shows or are recent used car purchases. I want to make sure that I’m familiar with any quirks or nuances the car may have, and that everything I’ll be relying on is in place and working properly–like the brakes and steering. Catered breakfasts and lunches, along with a fully stocked craft service snack table and/or truck, are par for the course.Īfter grabbing a bagel and lox (a breakfast burrito is my other go-to), I like to get eyes on what I’ll be driving that day. Rumors are true: The food on set is fantastic. I also like arriving early so that I can grab a bite to eat from catering before I officially begin. Being easy to “lock up” and secure means the police can make it safe–safer than we could do in town. Our location today is north of the city, a road that is often used because of its remote location and scenic surroundings. Early call times mean I should beat the traffic that makes Los Angeles so famous. If you’re early, you’re on time, and if you’re on time, you’re late, so I plan to arrive at least 30 minutes early to allow for any unforeseen delay. Some start later and sometimes we work all night, but last night I set my alarm for 4:30 a.m. They often start with a call time around 6 a.m. But while every job is different, most days on set follow a similar routine. In fact, as a professional stunt driver in features, television and commercials, I only get to crash cars a handful of times a year.
And the job at hand today is crashing this car. I make a conscious decision to flip this switch and stop thinking about all of the things that could go wrong–of the reasons not to crash this car–and to only think about what exactly I need to do to accomplish the job at hand.
It is as near to an actual, literal switch as you can get.
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