The real Thelma and Louise

Olivia Summers and Dee Bryant each have 20 years’ experience of performance driving and have worked on numerous ads, blockbuster films and major TV series. The rocky road to their success has not been an easy one. 

After putting themselves through expensive stunt driving schools, they encountered resistance working in what has long been – and continues to be – a man’s world. Here they reveal the challenges they’ve encountered along the way, including such covert industry practices as 'wigging' and 'paint downs', which keep women and minorities from stunt gigs.

Do you think female stunt drivers are sometimes kept off the road due to gender bias in the industry? 

DB: I do believe that stunt coordinators still prefer to utilise men for driving big rigs and motorcycles, regardless of whether or not the role is gender specific. Also, they still tend to hire mostly men for non-descript (ND) driving roles, such as police officers. For example, if there are 20 ND police officers hired for a chase sequence they might hire just one or two women.

Because of the boys' club, I was left to drive a minivan and put in the back of the shot.

OS: Female stunt drivers are often sidelined in shoots involving large trucks or buses. I have a CDL (Commercial Drivers License for operating tractor trailers, big rigs and trucks) and on one occasion I was booked to drive a large truck at high speed. On the day of the shoot, one of the male drivers said he would drive the truck even though he didn't have a proper license. Because of the boys' club, I was left to drive a minivan and put in the back of the shot. 

Dee Bryant with Angela Bassett on the set of TV series 9-1-1.

Have you noticed any difference between working on advertising shoots and feature films or TV? 

DB: The main difference that I see between our advertising jobs versus TV and film is the fact that commercials drivers are more of a tight-knit group and can be sort of cliquey. Whereas the TV and film industry is more spread out and seems to be less cliquey.

I had long fake nails on, so I was struggling to shift the gears.

OS: With features and TV I notice some coordinators putting their relatives or non-stunt drivers in nondescript (ND) driving positions that should go to actual drivers. It is difficult for us professional drivers to snake through traffic in a high-speed chase scene when these other ND drivers don't know how to space their vehicles out properly. It is a common complaint with all stunt drivers and can cause accidents.

Summers encountered a spot of fake nail trouble while doubling as Kylie Jenner in an adidas commercial.

Would you like to share any memorable/challenging/amusing moments from your careers?

DB: While shooting a TV series called The Rookie I was cast to play a bus driver and I had to drive a 40-foot bus through the narrow streets of Echo Park in LA. After the first take, the stunt coordinator cued me to "go back to one" [ie. to go back to the first position in a shot or scene]. The streets were so narrow that I found it easier to just reverse the bus up around the corner. The stunt coordinator questioned why I hadn’t just gone forward around the block. I told him a little white lie saying "Oh! I thought you said back up [as in reverse] to one." In the next take, a mail truck blocked my path so the stunt coordinator then asked me to "back up to one...again." I retorted, "It's a good thing I already have experience backing this thing up!". 

I'm certain that my career has suffered due to me taking a stand but I truly believe that my voice has made a difference.

OS: I was doubling as Kylie Jenner in an adidas commercial that involved technical driving. I was doing donuts in the dark on the sand and couldn't see anything. It was like being in a sandstorm. I had long fake nails on too, so I struggled to shift gears and hit the talk button on the radio. When I stopped to get out of the car to talk to the director I couldn't get my seatbelt off because of the long nails and I could hear someone yelling, "Hurry up, Olivia." 

Summers with Drea de Matteo on the set of Desperate Housewives (left) and Bryant with Regina King on the set of Miss Congeniality 2.

Has the industry changed for female stunt drivers since you started performing? And what are industry practices that keep women and minorities from stunt gigs?

DB: I do believe that there are more opportunities for female drivers in TV and film than there were 20-years ago, due to more action scripts being written with female lead actors. However, we do still encounter obstacles in being hired due to the rampant nepotism in our industry. 

Women of colour are still sometimes being doubled by Caucasian drivers.

Stunt coordinators often hire their wives, girlfriends and daughters to double as actors in driving sequences when they are very rarely qualified or skilled drivers. ‘Wiggings’ are also still a problem particularly with driving doubles, this is when a male doubles as a woman rather than a qualified woman being entrusted to do the job. It was a common practice back in the day and I guess it's hard to teach old dogs new tricks! 

Also, women of colour are still sometimes being doubled by Caucasian drivers [a practice known as a 'paint down'] when no one is on set who is willing to speak up against this violation of SAG (Screen Actors Guild) rules. I have always been an advocate for fair hiring practices in our industry. I'm certain that my career has suffered due to me taking a stand but I truly believe that my voice has made a difference. 

Guys hire their wives, girlfriends, or children who aren't trained drivers to keep the residuals in the family.

OS:  Since the work slow down there have been fewer opportunities for white male driving roles in commercials and I’ve run into situations where a camera car company is insisting on using their own recommended driver. Ad agencies and production houses should be aware that sometimes the guy who owns the camera car company is on a stunt driving team. 

Guys hire their wives, girlfriends, or offspring, who aren't trained drivers, to keep the residuals in the family. If it's a commercial where you don't see the actor driving, why not hire a female driver instead of always going with a male driver?