With the Crush of a Leg, Eunice Huthart Made Stunt History

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Eunice Huthart made an indelible mark on the big screen right from her debut in the movie “GoldenEye” in 1995. Unlike many actors who strive for a defining moment over their careers, Huthart achieved iconic status early on. Instead of delivering lines, she showcased her physical prowess to become an unforgettable Bond Girl. The memorable leg squeeze move used by Xenia Onatopp to defeat her enemies? That’s all thanks to Huthart. She chuckles and confirms, “That’s me!

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Through a swift kick, Huthart gained widespread recognition, becoming a familiar name in households. If we take a look at the early careers of other combat-sports celebrities such as Dave Bautista, John Cena, and The Rock, it’s not surprising that she managed to reach Xenia so effortlessly. For instance, The Rock made his mark in The Mummy Returns only two years after his initial TV appearance on That ’70s Show. This Liverpudlian kickboxer was attempting her path a full decade earlier than these gentlemen, and as a woman, her rapid rise to fame was quite extraordinary at the time.

During the mid-1990s, Huthart showcased her skills on the competition series known as “Gladiators,” where athletes from various backgrounds competed against in-house Gladiators in physical contests. Not only did Huthart emerge victorious in her season, but she also went on to become a Gladiator herself. It didn’t take long before the U.K. stunt industry came calling.

58-year-old recalls, “At that time, the pool of British stuntwomen was limited.” She continues, “The women were talented, but few had combat experience. They struggled to find a suitable stunt double for Famke Janssen in GoldenEye, one with the martial arts skills required. I caught their attention on the show and was invited for an audition at Warner Bros. Studios. From there, things moved quickly. After three days of rehearsals, I realized, ‘This is what I was born to do.’

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In a swift manner, she accumulated credits in several significant films from the ’90s and early 2000s, including “The Fifth Element” (1997), “Titanic” (1997), and “The Beach” (2000). Additionally, she made numerous television appearances. She acknowledges stunt coordinator Simon Crane, her superior on “GoldenEye”, for continually offering her roles in projects, as well as stunt legend Vic Armstrong. Reflecting on this period, she says, “I always felt like I was in the presence of stunt royalty whenever I was around those guys.

In the course of her career, Huthart formed a fruitful partnership with Crane that led to some of the most significant collaborations during the era, notably in “Tomb Raider” (2001), “Mr. & Mrs. Smith” (2005), and “Salt” (2010). During this time, Huthart frequently served as Angelina Jolie’s stunt double. Through working with Jolie, Huthart gained insights into how to develop character in her stuntwork. She noted that actresses like Jolie, Catherine Zeta-Jones, and Uma Thurman were committed to maintaining their characters during action scenes. This dedication to character continuity was something Huthart carried with her even as she transitioned from being a performer to a stunt coordinator and second unit director. According to Huthart, it’s essential to respect the actress’s vision when portraying stunts, ensuring that it feels like the character is performing all actions at all times.

In response to Eunice’s crucial role in her action career, Jolie expresses that their respect for each other is reciprocal. “Eunice was instrumental in my ability to establish a career in action,” Jolie states. “She didn’t just train and double me; she taught me the essence of stunts and action storytelling. Whenever I found myself in potentially hazardous circumstances, I hoped she would be by my side. Eunice is fiery, yet those who truly know her understand that beneath this intensity lies a heart overflowing with empathy and warmth. She’s an exceptional stunt coordinator because she appreciates the importance of character and story. She’s always there for the team, not seeking personal glory.

Huthart wasn’t the initial woman to transition into the role of stunt coordinator, but it was still quite uncommon for a woman to do so when she did. Her list of coordinating credits is impressive, as she has directed large-scale productions such as Maleficent, Alice in Wonderland, Zack Snyder’s Justice League, and Star Wars: The Rise of Skywalker. As a child, she was a tomboy and later became interested in martial arts, often being the only girl at the gym. She believes that if you focus on obstacles, you may become a victim because of them. Instead, Huthart never allowed such circumstances to hold her back. In fact, she was always the loudest voice in the room, often speaking up and arguing for what she believed in.

She admits that she’s taken on films where they compromised their artistic integrity, but when it comes to Pan, she and the stunt team put in everything they had. Levi Miller, who played Pan, and Hugh Jackman worked tirelessly with them, rehearsing on weekends, before and after calls. Despite all the effort poured into the film, she felt it should have been better given the amount of blood, sweat, and tears invested. She was deeply saddened that the movie didn’t live up to its potential, being the great film they had always hoped for. The greatest reward for her is creating something that people truly enjoy discussing.

It’s possible that Huthart, always modest, might not view it this way, but her impressive body of work is something that people admire and frequently discuss. For instance, director Nida Manzoor speaks highly of her in connection with the 2023 action-comedy “Polite Society.” In this movie, Priya Kansara portrays Young Ria, a budding martial artist who finds inspiration in none other than Eunice Huthart. As Ria creates action films against her parents’ wishes, Huthart remains just out of reach as the mentor that Ria yearns for.

Manzoor didn’t randomly choose Huthart for the project; instead, their shared history and character connection were instrumental. As Huthart transitioned from contestant to Gladiator, then a stuntwoman, and later a stunt coordinator, Manzoor observed her transformation firsthand. He described Huthart as an unstoppable force of nature. However, despite being the focus of the film, Huthart struggled to comprehend this fact. When reaching out to involve Huthart in the production, she was too busy. It wasn’t until Huthart arrived for her voice-over session that she realized something unusual was happening. She seemed taken aback, as she finds it hard to believe that others could admire her. Nevertheless, spending a few minutes with her left no doubt that Huthart was an absolute badass.

I’m utterly astonished, and I can’t shake off the bewilderment,” I find myself saying as a movie critic. “The whole ordeal is simply mind-boggling! I’m left in a state of disbelief, asking myself, ‘Why me?’

Huthart tends to steer our discussion towards the individuals who guided her professionally, with J.J. Abrams frequently being referred to as a “genius” whose creative process she seamlessly complements. Guy Ritchie also falls into this category, as she recalls during their collaboration on ‘King Arthur’, he would often say playfully, “Nah, nah, nah, Eunice, let’s add some flavor of Liverpool.” Lastly, Joe Wright, who directed her in ‘Pan’, is another mentor. She describes him by saying, “Joe Wright’s camera is like a character itself, so it’s essential for us to find the concept that represents its emotions effectively, and that was truly remarkable.

Stunt professionals don’t just toss bodies around and engage in rough combat; they are skilled in blocking, framing, and shooting scenes effectively. This is why many stunt performers transition into roles as coordinators or directors. As Huthart puts it, “I enjoy crafting a fight sequence. The initial concept of a fight could undergo numerous transformations, potentially hundreds. We’d come up with an idea, then dismantle it, and eventually arrive at a version we love, which might take three weeks to finalize. After that, we train the actors, implement it in the setting, retrain the actors in the environment, and finally, capture it on film. I find this process exhilarating.

She’s been in the industry for over 30 years and shows no signs of slowing down; her latest projects include “True Detective: Night Country” and the upcoming “Sonic” spinoff “Knuckles,” as well as a top-secret collaboration with Abrams. Looking ahead, she’s eager to tackle a western genre, which she finds appealing due to its confrontational nature and challenges. She describes it as, “I love anything that pushes me to my limits, like a ‘one of us is going to die, and it’s not going to be me’ kind of scenario.” However, her thoughts quickly drift back to cherished memories, such as working on Danny Boyle’s “The Beach,” and the exhilaration she experiences just being on a movie set.

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There was a waterfall, approximately 80 feet tall. However, only two feet of water could be found about 30 feet from the base. To avoid landing in this shallow area and potentially suffering serious injury or death, one had to jump far enough that they’d land beyond it. This is one of the few instances where making a mistake would have been catastrophic. The exhilaration and thrill I experienced during this moment were simply extraordinary. When I witnessed how Danny Boyle captured and slowed down the footage… it was as if he had bottled that feeling when I performed it myself.

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2025-02-27 20:54