By Alicia Turner
For a Masterclass in exceptional stunt performance with a side serving of humility, level-headedness and self-criticism, you can check-in with local stunt performer, Jen Murray.
Jen is a 5’4”, 115 lbs powerhouse who, when our city is hopping, is tasked with stunt doubling some of the film industry’s biggest A-listers. I had a chance to chat with her about her career.
Do you have a plan B…or did you have a plan B when you began your career?
No, no, this just had to succeed. I had to work in film. There was no plan B.
What attracted you to a career in stunts?
Initially, I started acting and stunts was a way for me to act through physicality. I grew up doing sports so it blended the two together.
What sports do you think most contributed to your stunt career?
I think doing a variety of sports really helped because rarely is one specific sport THE one to do for stunts; every person has a background in something different. When you go to work, you aren’t often being asked to do a backflip or a hook-kick, it’s usually some random action that you may not have specifically trained for. Understanding movement itself is what gets you through it. When I started training parkour, I noticed a big difference in my abilities.
Was there one event that really moved you forward?
I did some stage combat courses through Humber College, where I met stunt coordinator John Stead. John gave me my first stunt credit.
You double Elisabeth Moss on The Handmaid’s Tale and also Erin Moriarty on The Boys. Describe the similarities and differences of those experiences?
Handmaid’s isn’t a stunt-heavy show, so when there is action, it’s very story and character driven. It’s more about the performance and not the gag (stunt) itself, which is my favourite style of stunts; it’s very acting-driven and grounded in reality. The Boys is more stunt and action heavy, which includes a ton of wirework and superhero fight choreography. You still always have action that is story driven, but these superhero moments tend to be large, very technical and highly stylized. These are also two shows that I would choose to watch in my free time because they’re so great, so that’s always a bonus. I remember one day in the first season of The Handmaid’s Tale, I was on set and there was a female director, DOP, writer, leads and stunt coordinator. I noticed this because it was the first time I’d ever seen females in every position at once. That was very cool. Also, why do I notice this? It shouldn’t be strange, but it was.
What are the types of stunts that you execute that worry you the most?
I’m going to generalize; anytime I do a wire gag. Wires for me are always a little stressful because when they go wrong, they tend to go quite wrong. They’re not the most forgiving to the body. I also tend to prefer solo stunts, personally, because I am the only one in control of the action my body is put through.
Who did you really enjoy working with or doubling for?
That’s hard because I’ve been very fortunate to work with many awesome actors. Doubling Lizzie (Elisabeth Moss) is great because she is the epitome of a boss-lady. She’s so badass, runs the floor and she’s just the coolest. Working with her is like being paid to witness a master class in acting everyday. It’s wild. Same thing with Tat (Tatiana Maslany) on Orphan Black. I learned so much about how to study actor movement (for doubling purposes), movement by watching how Tatiana shifted between her characters. My approach to performing changed on that show. And Erin (Moriarty)…we’ve done some fun, superhero, dream stuff on The Boys together!
What would you recommend to stunt performers who want to get where you are? What training? Mindset? Approach? What to not do..?
Having a good attitude and being humble is important, as it will help you navigate the industry in a positive manner. Take your time and enjoy the process while you are training and growing. When it comes to training, ask 20 people and you’ll get 20 different answers of what THE thing to train is. Try them all and then stick with whatever areas you are passionate about. You’ll never keep up a training regimen if you don’t enjoy what you are doing. You don’t have to be amazing at everything—learn the basics and then do what you enjoy doing the most. The first four years of my career, I was so stressed out because I was told [things like ‘you have to learn swords,’ the next person would say, ‘it has to be Kali.’ Then, ‘you want to be a top stuntwoman, you have to learn (stunt) driving,’ and on….
These are all solid and legitimate skills to have, but I felt like I was trying to learn so many different things. I was (a) not enjoying myself and (b) I’ll never be good at this many things. So, it’s ok. You don’t have to be amazing at everything. Just do the things you happen to enjoy and build a career around them.
Have you seen changes over the last decade? What are those changes?
Ten years ago, we wouldn’t have shot such in-depth previsualizations. Now we can spend a day, weeks, sometimes longer prepping a (semi) final product and we get to interact a lot more with departments, such as VFX and SPFX, when developing and figuring out how to deliver a director’s vision.
Is there anything in our industry that you wish would change?
More diversity.
You are probably/likely one of the top performers in the city and country. Many performers who are not nearly as talented or successful as you have a social media presence as a stunt person. Why not you? Your social media indicates you have a dog, a cottage, a partner and you like to travel.
Hahah!—I mean, first of all, thank you, that’s very kind of you. Look, social media can be a great platform to showcase your skills and show work you’re proud of. Nothing wrong with that. But we all know it can also be a bad place for mental health. I find more often than not, posting work stuff (more specifically showing that you’re currently at work) causes people to wonder why they’re not working. It’s this vicious cycle of no-one-feeling-good in an already intensely competitive business. I try to limit my work posts so as to not contribute to that feeling. And my dog, Koda, is way cuter to look at anyway.
What do you do with your time off?
Cottage, Dan, Koda, wine…not necessarily in that order.
As a new performer, it can be intimidating to express your opinion or perspective on a stunt. Did you experience this?
Yes. We all did. I would say the first few years of your career are actually some of the toughest. We inevitably get put in situations where we think ‘I am not comfortable with this; I don’t think this is safe.’ Then we do it anyway because that’s what we are taught to do. Unfortunately, your body is the one that takes the brunt of it; regardless of whether you were right or wrong. So, a reminder to new performers: if you’re not sure, just speak to your stunt coordinator. It’s a film set, so things can get hectic and overlooked on the day as people rush. Do your best to stand up for yourself and ask questions; it’s tough but that’s all you can do. Ultimately, everyone on set is there to just get through the day, go home safe, and get the best product possible.
Photos courtesy of Jennifer Murray.
Alicia Turner is a Canadian stunt coordinator and stunt performer and a member of ACTRA Toronto’s Stunt Committee. Her IMDB profile. Her stunt reel.
