We’re excited to introduce you to the always interesting and insightful Jennifer Badger. We hope you’ll enjoy our conversation with Jennifer below.
Hi Jennifer, thanks for joining us today. I’m sure there have been days where the challenges of being an artist or creative force you to think about what it would be like to just have a regular job. When’s the last time you felt that way? Did you have any insights from the experience?
In a few months I will reach my 30th year as a professional Stunt Coordinator, Stunt Performer, and Actress with our union, SAG-AFTRA. Though the road getting here had its up and downs, and I’m continually grateful to the Lord for the opportunities that He has provided, I have struggled in recent years with the changes our industry has been undergoing, and how that affects our profession.
A primary concern has centered on the explosion of streaming platforms and influx of so many new productions. On the surface, this is a great thing, however in reality I’ve seen time and again that, due to the high demand for personnel, many people are being promoted to jobs for which they are not prepared. When these positions influence safety- such as Producers, Directors, ADs, Key Grips, Stunt Coordinators, and others, the potential for accidents on set can be greatly magnified. Many of these individuals are wonderful people who will, with more experience, be fantastic in such leadership roles in the future, but have been accelerated through the system too quickly to have gained the knowledge required.
I would like to think that this problem could be solved if we returned to more mentoring / apprenticeship systems which were often utilized in the past -at least in stunts. But I’ve seen a change in that too. The problem now is two fold (not including covid issues, social distancing etc). First, very few people are willing to take on the liability risk of training others. We’ve become such a ‘sue-happy’ society that it can just be too much personal risk involved when you share your equipment or knowledge with others.
Secondly, more and more often, we are encountering a generation of young performers who do not have a teachable spirit. They may have incredible talent, but unbearable etiquette…be fantastic at marketing, but unable to take, process, and follow direction. If they are unwilling to take notes and invest in improving all areas of their work so as to be as versatile and dependable as possible, few people will risk their reputations by hiring or referring them. They end up working for several people perhaps, but only one time, because they are not asked back. I’m saddened to see this change over the past decade because I feel that young performers are missing out on so many of the joys of our profession due to these issues.
30 years after starting as a child actress and then moving into the stunt profession at 16, I still am passionate about my work and have many days in which I am energized and engaged by the creative process. Having said that, watching the changes and, sometimes, decline from both the department heads and the newer members to our profession, there are days when I start thinking about what comes next. I pray about these things and keep going as God leads me. He’s inspired in me a love for ASL and a desire to serve the deaf community. As I continue to pursue my education in sign language and the deaf culture, as my filming schedule allows, I wonder if there will come a time when I might meld the two, and find renewed joy in bringing ASL to set, or in working on entertainment that is designed for deaf viewers.
Jennifer, love having you share your insights with us. Before we ask you more questions, maybe you can take a moment to introduce yourself to our readers who might have missed our earlier conversations?
After being a competitive gymnast and swimmer/diver as a child and teen, I began acting for Nickelodeon while quite young. I learned about discovered stunts when I was 16 and focused on learning as much as possible, gratefully training with a variety of people on a multitude of skills. I was hired to perform at the Batman Stunt Show at 6 Flags in Atlanta in 1993 and 1994. Later in 1994, at the age of 17, I was hired to stunt double for Angelina Jolie for the feature film, “Hackers” as they needed a good physical double who could ride motorcycles and rollerblade. Since then, I have worked full time, often combining my stunts with dialogue and physical acting, and have performed on shows internationally.
In 2004 I transitioned into Stunt Coordinating as well. This is the department head that is responsible for Action Design and for the safety of the performers and the crew working around the stunts. It was a difficult road for the first decade as there were so few women working in this position world wide. Opportunities have definitely increased in the past 5+ years and I have such a deep appreciation for my predecessors, who opened the door for me and others like me.
In the course of my career, I have 2nd Unit Directed, Stunt Coordinated, and Performed on over 250 film and television shows with over 600 episodes. This has been my full time job, and one that I have loved, but it is not my identity. I am also a follower of Christ, a wife of nearly 23 years, a mother to my 20 year old son, a daughter striving to help aging parents, an animal rescuer, and a thru hiker that loves being out in nature at every opportunity. I do think strongly believe that having an identity that goes beyond the industry is so very vital as NONE of us will be relevant in this profession for long. It is the things outside of it that we have to also invest in and hold dear.
What’s the most rewarding aspect of being a creative in your experience?
After decades of being a performer, and I still am, I’ve seen the wear and tear that stunt people incur. There are certain gags such as ratchets and car hits that involve a much higher risk of traumatic brain injury as well. Observing these circumstances over so many years has created in me a passion for designing and executing stunt sequences that appear incredibly violent, while being both safe and repeatable for the performer.
Is there a particular goal or mission driving your creative journey?
I have had such an amazing and long career, which I never could have achieved on my own. As I look back, I credit Jesus Christ for the opportunities I’ve been given, the times that I’ve been protected, and the many things that I’ve learned along the way. For these reasons, I work to operate with integrity, respect, and a love for others that spans from the biggest name producers to the day player background performer.
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