
Death of a stuntman: It's about time there were safety standards for film sets
The case probably gained widespread attention as a video clip capturing the fatal accident was shared by someone present on the film set. But such deaths during film shoots are not as rare as might be imagined, although in the absence of similar video evidence, they hardly make news. Last year, in another high profile film, Sardar 2 starring actor Karthi, a stuntman died in an accident. Much earlier, in 2020, during the shoot of filmmaker Shankar's Indian 2, starring Kamal Haasan, three individuals — an assistant director, an art assistant and a production assistant — were killed while mounting a heavy-duty light on a crane, while another 10 were injured. It is important to note that the three individuals were killed not during a risky stunt sequence, but merely during the erection of a set.
Film Employees Federation of South India (FEFSI) president RK Selvamani stated that between Indian 2 and Sardar 2, as many as 20 stuntmen have been killed in on-set accidents. However, these deaths hardly make it to the news, except in the case of high profile films. While senior stunt masters have repeatedly pressed for better safety standards, they have also invoked the Tamil saying 'Karanam thappinal maranam (Death is assured, even in the case of a small slip)', reflecting an internalised readiness to accept the risk of death as intrinsic to the job.
Ideally, FEFSI should be pressing producers to implement better safety standards for all stunt sequences performed in the industry. Thus far, however, there has not been much pressure on producers or the producers' council on this matter — given the way power is skewed in the industry, FEFSI is forced to save its negotiating edge to handle several other workers' issues.
In such a situation, the onus to maintain the safety standards ends up on the stuntperson performing the risky action sequence. We have to remember here that most stuntpersons aren't formally trained or qualified to certify the safety standards of their own performances. Many of them, in fact, willingly put their own lives at enormous risk to ensure the sustenance of their families and themselves. In the event of their death, compensation is handed out — in the case of the Indian 2 incident, Shankar, Kamal Haasan and Lyca Productions handed over Rs 4 crore to the families of the deceased. But this cannot be the model for how the film industry functions. Handing out huge sums to the families of deceased stuntpersons cannot take the place of continuous investments and maintenance of better safety standards for all.
As long as the current model works out economically, the industry will continue to function in the same way. The only solution is for the State or Union government to institute a Film Set Safety Standard Board that would inspect every film set and issue certificates based on the safety standards maintained. Such a board should be adequately equipped with manpower and expertise to examine, understand and advise on the safety standards of the film set or stunt sequences performed. And it should be made mandatory to get a clearance from the board to ensure the public release of a film.
There was a time when film productions received backlash for mistreating animals during shoots. But today, to use animals in films or advertisements in India, filmmakers need to obtain pre-shoot permission and post-shoot clearance from the Animal Welfare Board of India (AWBI). And this has to a great extent ensured the ethical treatment of animals during film shoots. It is high time that safety standards are put in place, and enforced, so that stuntpersons don't have to place themselves in harmful situations to ensure that the audience gets the adrenaline rush it craves.
The writer is a Chennai-based filmmaker
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


Mint
an hour ago
- Mint
Anirudh Ravichander's Hukum Tour finale postponed due to overwhelming demand
Massy music composer Anirudh Ravichander's much-anticipated 'Hukum' concert in Chennai has officially been postponed to August 23, following overwhelming demand and venue capacity limitations. Originally scheduled for July 26 at Thiruvidanthai, the concert was delayed just a week ahead of its original date, leaving fans eagerly awaiting updated details. The revised date and venue have now surfaced on the District app, where tickets for the concert were originally being sold. According to the listing, the concert will now take place at Marg Swarnabhoomi in Kuvathur, East Coast Road, with a 6 PM start on Saturday, August 23. Anirudh had taken to social media on July 20 to announce the postponement, citing massive demand for tickets and challenges in accommodating the audience at the previously scheduled location. He wrote, 'Due to overwhelming ticket demand and limitations in accommodating more audience at the current venue, the Hukum Chennai concert scheduled for July 26 at Thiruvidanthai is being postponed (sic).' The announcement about the reschedule as shared by Anirudh. Fans, while initially disappointed by the delay, have expressed understanding and enthusiasm over the move to a potentially larger venue. Many have applauded the decision as a way to ensure a safer and more enjoyable experience for the massive crowd expected. Anirudh, known for chart-topping hits across Tamil cinema, enjoys a massive fan base, and the 'Hukum' concert has been one of the most anticipated live music events in Chennai this year. With the new date set, expectations are even higher for a spectacular night of music on the ECR coast.


Hans India
an hour ago
- Hans India
Chaurya Paatham Creates Sensation on OTT — Crosses 200 Million Streaming Minutes
After winning hearts in theatres, Chaurya Paatham is now creating a massive buzz on OTT. Streaming on Amazon Prime, the film has surpassed 200 million streaming minutes, setting a record for a small-budget movie with no star-studded cast or extravagant production values. Helmed by debut director Nikhil Gollamari, the film has impressed viewers with its strong narrative and emotional depth. Indra Ram, who played the lead role of Vedanth Ram, has garnered praise for his mature and compelling performance—remarkable, considering it marks his acting debut. Though the plot revolves around a theft, Chaurya Paatham delves into deeper themes of trust, morality, and human values, making it resonate strongly with audiences. Produced by Trinadha Rao Nakkina and V. Chudamani, the film was released in Telugu, Tamil, Kannada, Hindi, and Malayalam, expanding its reach across linguistic and regional boundaries. The music and background score significantly enhanced the film's emotional impact, complementing its subtle storytelling. Its success has proven that good content can triumph without commercial trappings. With this breakout success, Indra Ram is reportedly preparing for his next film, which will feature a bigger budget and a unique storyline. Expectations are running high for his sophomore project, fueled by the remarkable success of Chaurya Paatham.


Time of India
2 hours ago
- Time of India
‘Ahaan Panday would fully deserve Rs 100 crore,' says ‘Gupt' director Rajiv Rai as he opens up on fees of stars, says actors should charge money based on their box office returns
The rising cost of entourage of stars and the exorbitant fees of actors has been a topic of discussion for a while now, especially because the industry has been suffering since Covid. Tired of too many ads? go ad free now Now film-maker , known for making Kajol, starrer 'Gupt', 'Tridev', 'Mohra' has weighed in on the matter. Rai didn't mince words in a recent interview with Bollywood Hungama, where he took aim at the growing trend of exorbitant actor salaries in Bollywood, a system he believes is propped up by corporate producers chasing glamour instead of substance. He said, "Money has become too important here now. Nobody cares about the script." 'I would blame the producers because they are willing to pay. An actor can even quote Rs 1,000 crore. It's basic demand and supply. Since there's more money in the market now, everyone's chasing glamour over substance,' Rai remarked, pointing to a shift in industry priorities. He criticised major studios for putting blind faith in star power, often at the cost of strong storytelling. 'They think audiences will show up just because a certain actor is in the film. But glamour doesn't sell alone. They don't even bother to look closely at the script,' he added. He highlighted the disconnect between stardom and actual ticket sales and said, 'There might be lakhs of fans gathered outside a star's home, but these same people won't buy tickets to see their film. They're not loyal. They won't open their wallet unless the content connects.' According to Rai, the only fair way to determine an actor's worth is to tie it directly to performance at the box office. 'Here's how I calculate an actor's fee: whatever I pay them, they must recover for me on Day 1. If I want to be generous, I'll give them three days. If I've paid Rs 100 crore to an actor, then the film must make that back within three days of release. That's when they truly deserve the money.' Thus, he quipped that a newcomer would fully deserve Rs 100 crore, if he could bring that kind of return on opening. 'So, when someone comes to me and asks for ₹10 crore, I simply say: I'll give you my first day's collection,' he said.