Fight sequences, warriors on horseback, complex jumps, and dangerous falls – this is everyday life for stunt performers, without whom cinema would be unimaginable. Action scene coordinator Saulius Janavičius could speak endlessly about tough decisions and spectacular stunts. He is one of the founders of “Vilkas”, Lithuania’s first stunt team, and has contributed to dozens of Lithuanian and international films and TV series.
The work of S. Janavičius’s stunt team, as well as scenes performed by actors under his supervision, can now be seen in director Romas Zabarauskas’s latest film “The Activist”. As the film begins its journey in cinemas, the Vilnius Film Office invited S. Janavičius to talk about how the riskiest shots on set come to life.
– Saulius, tell us how your path as a stuntman began. What were you like back then, and how do you see your work on set today?
I came from an equestrian background; others in the stunt world came from acrobatics, martial arts, or different sports. Initially, my youthful enthusiasm was immense, but there was a lot to learn – and there still is. At first, everything seemed very romantic, but later I realized it’s a fascinating work, yet extremely demanding.
My family worried I’d be crippled by the time I turned fifty. But now I’m past that age and still active on set – sometimes even goofing around with colleagues. I’m glad that our stunt group “Vilkas” has lived and breathed this craft since the very beginning.
– Today you work as an action scene coordinator. What does that mean, and what makes such scenes unique?
Action scenes are high-risk scenes – the danger is always there. We decide what the actors can safely perform and which tasks should be handled by stunt performers.
The rule of thumb is simple: if there’s a risk that actors could get injured, we usually double them with stunt professionals. While actors could manage many things themselves, their safety is crucial. After all, if an actor gets hurt, the whole shoot stops. And of course, some stunts require the stamina, skills, and physical training that only stunt performers have.
– And if an actor is not doubled – how do you prepare them for the scene? What’s important to know or practice?
In that case, the actors train together with stunt performers. Imagine a scene where someone is walking down the street and gets shot. If the actor has no experience with such a fall, we teach them – with protective gear and mats.
Falling is about knowing when to relax the body and when to make precise movements. As they progress, the mats become thinner, the protection lessens, until it eventually disappears. If stunts are performed outdoors on grass, sometimes the ground is loosened to make the impact softer.
– Last week, R. Zabarauskas’s latest film, “The Activist”, premiered. Here, difficult scenes were performed not only by stunt performers but also by actors. Can you tell us more?
Viewers will see chase scenes, high falls, and fight sequences. Some of these were actually performed by the actors themselves, including Robertas Petraitis. We rehearsed extensively for “The Activist”, – practicing reactions, realistic falls.
When you work with actors who are eager to learn and genuinely dive into the technique, the process is a joy. By the way, some of the fight rehearsals took place on a rooftop – once even during the 2023 NATO Summit. That time we had to stop practice because of a helicopter flying overhead (laughs).
– Do you also contribute to creative decisions and help the director and team?
Whether you want to or not, you end up involved. I can suggest a few options: how to shoot something more impressively, or how to do it more economically. If the scene is unusual and untested, we prepare carefully, see what works, and adjust what doesn’t.
A lot depends on the film crew – the director, cinematographer, first assistant – they set the tone. In the case of “The Activist”, I was very pleased that Romas Zabarauskas joined every rehearsal, and we started preparations very early. Great communication, solving issues on the spot, and keeping the character in mind – that’s what brings results on screen.
– How do stunt performers feel before executing a difficult stunt?
Usually you feel the adrenaline – that’s the body’s natural reaction. At first, the psychological barrier is tougher, but once you know everything is safe, it becomes easier.
High falls or dives into water aren’t so scary once trust is built and psychology is no longer the main factor. When you know exactly when to tilt your head or straighten your body, muscle memory takes over – the body moves almost automatically. I always say: the key is to befriend your thoughts and your mind, and never take unnecessary risks.
– Do stunt performers train every day?
We have to know a bit of everything. The more skills you have, the more valuable you are professionally. We share tips with one another, hold group sessions to practice falls or acrobatic stunts, but most often we train individually.
You can never become the ultimate professional who knows it all. Some things require deep dives, sometimes calls to colleagues abroad. Every complex scene requires homework and preparation. And each of us adds our own “flavour” – every stunt looks slightly different depending on body type, sensations, and skills.
– Which project or scene has left the strongest impression on you over the years?
One of the largest projects I worked on was Ridley Scott’s Kingdom of Heaven, which was filmed in Morocco and Spain. We worked six days a week – it was fascinating, but by the end, we were exhausted.
I vividly remember one battle scene: a ten-meter tower with a drawbridge, and stunt performers – on fire – falling from it all at once. We had to ensure fifteen people didn’t land on each other, extinguish them quickly, and still make the scene look convincing.
– How are advancing technologies, special effects, and AI changing filmmaking?
They’re changing it a lot. There was a time when we shot on film stock – now we can do many more takes. It’s easier to digitally remove or adjust things. For example, if an actor can’t ride a horse, crew members might lead it beside them. Later in post-production, the extra person is simply erased.
– What kind of films or projects are you most looking forward to today? Do you have a favorite genre or a director you’d like to collaborate with?
I miss a good comedy or fairy tale, something that bends the rules of logic. I’d love a film where you don’t have to justify every action – where you can just play around a little during shooting.
