You don’t know them and they don’t get the big bucks or grace the pages of celebrity magazines, but they are the amazing people who make your favourite actors look like superheroes on-screen.
Say hello to the stunt doubles – you won’t watch an action sequence with any of these actors in the same way again.
The British actor is not afraid to admit how important stuntmen are to his on-screen success, even doing interviews with the one who stood in for him during ‘Mad Max: Fury Road’.
This is him with Lloyd Bateman (‘The Revenant’ ‘Tomorrowland’) on the set of 2012 action comedy ‘This Means War’.
So much did legendary stuntman Vic Armstrong look like Ford as Indiana Jones, that when Harry injured his back during ‘Temple of Doom’ and was laid up in bed for several weeks, Steven Spielberg carried on shooting with Armstrong taking his place.
He’s now a celebrated second unit director for movies like ‘Thor’, ‘Eddie the Eagle’ and ‘The Amazing Spider-Man’.
Did you really think Fisher did all that running and jumping in Jabba’s palace by herself?
No, that was Sandi Gross, who also had to endure the gold slave girl bikini, though at least they had time to catch some rays on set in Tunisia.
Cumberbatch is a great actor sure, but even he needs some help kicking Spock’s butt. Step forward Martin de Boer, who doubled for Ben in ‘Star Trek Into Darkness’.
De Boer also stood in as Jai Courtney in ‘Terminator Genisys’ and Jack Reynor in ‘Transformers: Age of Extinction’.
Angie’s double Eunice Huthart got her break as a stuntwoman after winning TV show ‘Gladiators’ back in the 1990s.
She’s since gone to stand in for Jolie several times, as well as becoming a successful stunt co-ordinator in her own right on movies like ‘Pan’ and ‘In the Heart of the Sea’.
Here she is with the actress during the shooting of spy flick ‘Salt’.
So committed was stuntman Billy Lucas to representing Arnie properly that he even wore a facial prosthetic to make them look more similar, which you can see in the picture, taken on the set of 1994’s ‘True Lies’.
Lautner may have honed his six-pack to play a werewolf in the ‘Twilight’ series, but that doesn’t mean he’s a skilled parkour merchant, which his character in ‘Tracers’ was required to be.
Gabriel Nunez was the one to don the T-shirt and boyband hairdo for the 2015 pic and did the same for Lautner in ‘The Ridiculous 6’.
Stuntman Bobby Holland Hanton was a gymnast and high diver before being Thor alongside Hemsworth in sequel ‘The Dark World’ and had to wear lifts in his shoes to stand the same height as the 6’2” actor.
Still, he’s getting used to playing superheroes – he also doubled for Christian Bale in the Batman series.
This daring chap doubled for Daniel during the spectacular aerial fight sequences at the beginning of ‘Spectre’, which is why he also has strange dots on his face (most likely so that Craig’s face can be mapped on by CGI later on).
He’s actually one of several people who stood in for 007 in the movie, depending on the different skills the secret agent was supposed to show off.
She was one of the great Bond women and even got to have a proper tussle with 007 himself in a hay barn.
But while Blackman is a tough cookie, she’s not as good a fighter as Phyllis Corner, who was the other Pussy Galore in ‘Goldfinger’.
Anthony Molinari is basically a dead spit of the man he’s doubling, something which Ruffalo seems to find mightily amusing on the set of ‘Now You See Me’.
Molinari will do the same job in this year’s sequel and will also get more authentic credits as a cop in ‘Jason Bourne’ and for playing Buzzcut (whoever he may be) in ‘Jack Reacher: Never Go Back’ opposite Tom Cruise.
How good are they? To find out, I decided to compare photographs from the S7 with those produced by the iPhone 6s (which also has a much-lauded shooter), to see which handset offers the best overall image quality. I took pictures of a variety of subjects in a variety of settings with both phones.
In the end, while the iPhone 6s gets points for color accuracy, I think the Galaxy S7’s camera comes out on top, thanks to more vibrant colors, greater contrast, sharper details, and superior low-light performance.
To my eyes, the S7 is the clear winner. But check out our shots and let us know what you think in the comments.
In Galaxy S7’s image you can see how the blues and reds on Captain America’s statue are more saturated. Blacks also look deeper.
Both phones offer fairly similar images, though the colors on the S7 pop more, especially on the right side of the apple.
The iPhone 6s is the clear winner of this round, as it is able to better white balance the image. The S7 makes the white background look yellowish.
This round isn’t even close. The S7 is able to take a far better shot in low light without using a flash than the iPhone 6s. You can even make out the subject’s colorful hair.
The S7 is able to capture finer details than the iPhone 6s, particularly around the brass medallion. The black of the horse’s hair is also deeper in the S7’s shot.
These photos have been blown up to their full size to focus on a small area. You can see how individual grains of salt in the center of the shot are clear in the S7’s photo, but look a bit blurry in the iPhone’s image.
In these images, you can see how Samsung’s camera tends to exaggerate colors. In this instance, though, it makes the blue look almost purple toward the left side. The iPhone’s shot offers consistent color throughout. Point: iPhone.
Again the Galaxy S7’s image offers a more dynamic contrast. Specifically, the black on the bike’s back tire cover is deeper in the S7’s shot than the iPhone’s. The white in the S7’s photo is also brighter.
For a time, people measured site 'traffic’ by the number of page views on that site. So, any time someone opened a page on that publication, it counted as one. Shortly thereafter, people started juicing the pageview stats by throwing up a bunch of pictures and asking people to click through them. It was a lot easier to generate 20 pageviews with 20 photos than it was to bring 20 people to the site by other means.
Of course, the fact that these pageviews are not all worth the same is obvious to everyone: readers, writers, editors, advertisers, advertising agencies, etc. So, many forward-looking media companies like Gawker went away from pageview metrics back in early 2010. The company’s head Nick Denton wanted to focus on unique visitors to his site. Many of us have followed suit.
And yet still, today, nearly halfway through 2012, we find this story on The Atlantic Wire. The president of the Washington Post, Steve Hills, told his team that “awards 'don’t matter’ [and] urged more traffic-driving slideshows."
Now, I’ve got nothing against slideshows. At their best, I see them as a kind of horizontal storytelling. They are a tool you can deploy to tell certain stories. In fact, as storytelling widgets, I think they’re actually underexploited. You can embed them as a sidebar to convey some complicated set of ideas without interrupting the main flow of a narrative. And I’ve got nothing against a well-curated set of images a la our own In Focus or BuzzFeed’s random weirdness.
But that’s not what the WaPo’s slideshows are all about. Instead, they are seen as a cheap and fast way to produce "traffic.” The problem is that they are not producing “traffic” – which in any other context would mean the number of people in a space – they are producing page views. This is not a simply academic distinction. The company’s president is calling on his workers to juke the stats, effectively. These companies want you to think that more pageviews equal a larger, more engaged audience, but that’s a quantitatively and qualitatively shaky proposition.
President Obama in a heartbreaking embrace with Congresswoman Gabrielle Giffords of Arizona in the House Chamber shortly before he made his State of the Union address to a joint session of Congress on January 24, 2012 in Washington, DC. Giffords resigned her seat in Congress to concentrate on recovering from her injuries from an assassination attempt last year.