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working as both a stunt performer and a stunt coordinator. With movies and TV shows such as Splash, Ransom, A Beautiful Mind, Law & Order: SVU, The Departed and The Bourne Ultimatum on his resumé, he is now the one offering advice to newcomers, and he warns that in this line of work, the danger is real. "I remind them, if you really want to get in this game, there is scenes on the set of The Wanderers, and his destiny was set. Since then, Gallin has built an impressive list of credits, a potential of something going wrong and someone getting hurt or killed," he said. Sometimes, it doesn't matter how good you are. While Magnotta's life would serve as an inspiration to Gallin and other stunt performers, so would his death serve as a reminder to everyone in the business that things can go terribly wrong. Magnotta died in 1987 while performing a stunt on the set of the film The Squeeze. The stunt called for Mike Russo, Michael Keaton's stunt double, to jump a car into Tim Gallin has doubleD for Steve Martin. the Hudson River. Magnotta, who was stunt coordinator for the picture, decided to take over the stunt for him, since Russo was due to be married soon and he didn't want him to have any cuts or bruises on his face from the stunt on his wedding day, Gallin said. The car's windshield had been replaced with Plexiglas, and when the car went in to the river upside down, the force of the water tore the plastic off, striking him in the head and killing him. Trust Stunt & Safety Committee Co-Chair Conrad E. Palmisano, who has spent decades in the business, working on TV shows and films such as Lost, 21 Jump Street and Transformers: Dark of the Moon, said sometimes the mental demands of a stunt can be greater than the physical. It can come down to a matter of nerve — and trust. "There are two basic kinds of stunts. One is where you're I f you focus on what could go wrong, climbing back up on that horse or into that car can be difficult. SAG-AFTRA National flipping a car or jumping off a building or diving off a cliff or doing a fistfight in a bar — that's all about your talent, your physical capabilities. Then there are other stunts where you're SAGAFTRA.org | Fall 2012 | SAG-AFTRA 27 SAG-AFTRA Protections for Performers Working Under Hazardous or Dangerous Conditions ✔ A medic with visible ID must be on set when a performer is working under hazardous conditions. ✔ First aid equipment must be readily accessible. ✔ A vehicle with a stretcher and first aid equipment must be standing by to drive to the nearest emergency medical facility. ✔ A stunt coordinator or qualified individual trained in planning, setting up and/or performing the type of stunt involved must be present on the set. ✔ A performer is allowed to consult with the stunt coordinator before performing the activity. ✔ The performer's consent is needed before performing a stunt or hazardous activity. ✔ The producer must obtain copies of the Industry Wide Safety Bulletin Guidelines recommended for the safety of cast and crew during production. Examples of the safety bulletins are for use of blank ammunition, helicopters, stunts, water safety, venomous reptiles and animal safety, safety for young performers, hot air balloons, pyrotechnics, etc. The above is not a comprehensive list of the protections required under a TV/theatrical contract. For a complete list, contact the SAG-AFTRA Stunt & Safety Department at (323) 549-6855. Andy Schwartz Doug Hyun/Turner Entertainment Networks, Inc.