We caught up with the brilliant and insightful PeiPei Alena Yuan a few weeks ago and have shared our conversation below.

PeiPei Alena , thanks for joining us, excited to have you contributing your stories and insights. Are you able to earn a full-time living from your creative work? If so, can you walk us through your journey and how you made it happen?

I am PeiPei Alena Yuan, an entertainment professional. I’ve worked as a stunt actress, stunt double, fight coordinator, stunt coordinator, and indie filmmaker. Prior to my career as a performer in TV/Film , I worked on movies as a Pre-vis Animator (CGI storyboard animatics) for 8 years. I’ve always had a passion for working in movies, as I grew up watching some of the best films of the 80s and 90s.

I’m incredibly grateful for the passion and drive that led me to pursue a career in entertainment. It’s been a long and rewarding journey, but no, it wasn’t like that from day one. Asian women represent less than 2% of speaking roles in Hollywood, which makes this path even more challenging. Being part of that small bracket has been a bold choice, especially since my parents, who immigrated from China under President JFK’s policy for foreign students in sciences, encouraged me to take a more stable path. They often warned me not to pursue acting, saying things like, “Hollywood doesn’t like Chinese women.”

In school, even though I was part of the AP science programs, my heart was in the performing arts. I loved being in the annual production of *Musical America*, singing in the Madrigals (our school’s professional acapella group), and participating in lip sync contests and rallies. I was good at math because my father made me do workbooks before play, but my passion for creativity never left me.

While I did take a few science-related classes in college, I quickly realized I wasn’t cut out for research. At one point, I wanted to be a Walt Disney Imagineer and even worked as a 3D architectural previs artist at Imagineering. I worked on the Alien Abduction outer structure concept and thought I was close to where I wanted to be, but it wasn’t quite it. I also worked as a previs artist on *Matrix Revolutions* and several epic movies like *Van Helsing*, *Superman Returns*, *Pirates 1, 2, 3*, and *Spiderman 3*.

While working long hours at a computer, I was always active on the side, training in breakdancing and Kung Fu. This led to a pivotal moment while working on *Pirates 3*—I asked to be in the movie when I saw a group of Asian actresses auditioning. That experience shifted my focus toward the stunt world. Soon after, I booked my first commercial as an actor and stunt double in a Farmers Insurance commercial.

Taking that leap into stunts was a turning point, but I didn’t completely leave the previs world behind. After tearing my Achilles in 2016, I returned to previs editing to stay active while recovering. My background in animation and previs has been invaluable in my career as a stunt performer and coordinator. It has given me a deep understanding of camera angles, VFX, and the technical side of filmmaking, which has helped me create my own action shorts—something I’m deeply passionate about.

Looking back, I could have sped up the process by trusting my instincts and not second-guessing myself. But those obstacles shaped who I am today and helped me grow. Every step taught me something invaluable, and now I’m proud of the creative life I’ve built.

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PeiPei Alena , 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?

I got into this industry most likely because of my perseverance and my willingness to push through a lot of stressful situations, problem solve, deal with technical problems, and most importantly have integrity and great communication. On top of that I embraced that rejection did not define my worth or my talent. 

For me, believing in my craft and having the discipline to finish what I start was also paramount to my success. Having leadership skills to start projects that would be beneficial to my knowledge of film making and growing in my kraft while work was slow, was and still is paramount to my enjoyment of this hustle. 

My parents, Ph.D . Engineer Father from Taiwan and Mother Masters in Geology/Library Sciences from Hong Kong, instilled in me the importance of completing tasks from a young age, having good work ethics, and study habits, which has carried through every aspect of my creative projects.

From age of 3, to middle school Drama, and musical theatre all through high school , I felt pure joy being onstage performing and really became addicted to inspiring the audience to laugh cry, shout, express whatever emotions came up from my performances.

Later this addiction to share my ideas and stories inside my head to the public, was what motivated me to finish projects, whether it was a narrative short film , or a live performance.

Whether it’s staying up all night to finish a short film or prepping a fight scene from concept to camera, I’ve always believed that if I saw it through, something magical could happen.

Now as a fight coordinator and stunt coordinator for music videos, commercials, and film, I bring that same work ethic and passion to every production. I don’t just choreograph fights; I help directors and producers design action that fits their story, style, and budget. I design action by creating Stunt Visualizations , including suggested camera angles and movement, so everyone involved has a visual blueprint. That saves time, money, and stress on shoot days, and elevates the quality of the final product.

On set, I ensure performers are executing action that looks powerful, realistic, and—most importantly—safe. I check playback to make sure the hits sell, I collaborate with the DP to guide how the action is framed, and I advocate for both performance and safety .

My background is what makes me unique in this space. I’m not just a stunt performer , Dancer, Martial artist—I’m also an editor, and have written produced and directed my own action films, so I understand how to shoot AND edit action, which greatly helps save time , so that you don’t shoot too many multiple angles of the same action.

I understand storyboards, camera blocking, and VFX. I bridge the communication gap between performers, directors, and producers.

 My specialty is designing impactful, story-driven fights, but I know exactly who to bring in for the rest. I also have a strong network of professionals to call on for any kind of stunt—whether it’s fire, car hits, wire stunts.

Some of the fights I choreograph involve women in raw brawls—scenes where actors may end up on the ground or in close contact. These moments require clarity around consent, boundaries, and safety. I serve as both a creative ally to the director and a safety buffer for the actors. I also have been stepping into intimacy coordination, especially when it overlaps with stunt coordination. 

With my years of indie film fight experience and my blue belt in Brazilian jiu-jitsu, I understand both the physicality and the sensitivity needed for those scenes.
Ultimately, I’m passionate about stunts, filmmaking, and designing action that tells a story—not just entertains.

Have you ever had to pivot?

One of the biggest pivots in my life was transitioning from being a full-time computer animator and previsualization VFX storyboard artist to becoming a full-time performer—an actor, dancer, and stuntwoman.

At that point, I had already spent eight years in Los Angeles working in the VFX and animation world. I was working on major films like Spider-Man 3, and while the experience was amazing and creatively fulfilling at first, the grind started to wear on me. Sitting 10 to 15 hours a day animating, problem-solving intense action sequences, and working under tight deadlines took a toll—not just physically, but emotionally. And there was no overtime. What started as my passion had become draining.

Meanwhile, outside of work, I had a growing love for martial arts and breakdancing. Every Saturday, I’d train with Reel Kick, a stunt team at a local gymnastics facility. I learned to build tables to wreck into, practiced fight reactions, took falls, and applied my gymnastics background to learning screen stunts. I was having so much fun—this part of my life lit me up in a way animation no longer did.

I had already earned my SAG card during this time after working as background in the Singapore scene of Pirates of the Caribbean: At World’s End (Pirates 3), which I had been prevising on for Pirates 2 and 3. I took two weeks off to be on set, and that’s when I met a bunch of Asian stunt performers who generously gave me tips on how to hustle and break into stunts. That experience planted the seed.

Soon after, while working on Spider-Man 3, I started visiting the stunt team and even took three days off to work on a TV show. My final film as a previs artist was National Treasure. During that time, I booked a national commercial where I acted and performed my own stunts—and that job changed everything. It paid really well with residuals, and I realized: I can do this.

That commercial gave me the confidence and financial cushion to take a break from computer animation and fully commit to performance. It wasn’t just a creative shift—it was a lifestyle change. I could finally move my body, express myself physically, and tell stories not just with pixels, but with my entire being.

What can society do to ensure an environment that’s helpful to artists and creatives?

There are so many platforms available now that give artists the opportunity to share their work directly with the world—but we need community support to thrive. One of the easiest and most impactful ways to support creatives today is by subscribing to their YouTube channels, following them on Instagram, TikTok, or whichever platforms they’re active on, and engaging with their content. These numbers really do matter—they help with visibility, monetization, and opening doors to more opportunities.

If an artist is featured in a film, TV show, or project, please watch it legally—on official streaming services or in theaters. Avoid pirated content, because every view on the proper platform helps track analytics and often contributes to residuals, which are vital income for many working artists.

Also, if any of us are funding our own passion projects or short films, please consider donating to our crowdfunding campaigns. Even more importantly, re-share and repost our projects to help spread the word. That kind of grassroots support truly makes a difference and fuels the creative process.

At the heart of it, the best thing you can do is show up—watch, follow, subscribe, donate, share. Every little action adds up and helps artists keep doing what they love while contributing meaningfully to the culture and creative landscape.

Contact Info:

• Website: http://PeipeiAlena.com
• Instagram: https://instagram.com/PeipeiAlena
• Facebook: https://Facebook.com/Peialena
• Linkedin: https://www.linkedin.com/in/peipeialena
• Youtube: http://youtube.com/PeipeiAlena

Image Credits

David Muller Photography
Shaun Charney Photography
Jordan Hawk – Downtown Photography

other photos
BTS from stunt coordinating
BTS from “Nasty” Music Video by SicKick
BTS from Max Reload and the Neverblasters (The one with the Dungeon Master)
Last Star Trek Photo is the actual Uniform I wore when I was in Star Trek Into Darkness.
Screen shot from My Jedi Duel Short
BTS photo from Inquisitor Pursuit Short Film I was Fight Coordinator for
Rumble Date – A poster for my short film