Renfield Interview: Stunt Coordinator Chris Brewster

ComingSoon recently had the opportunity to sit down with talented stunt coordinator Chris Brewster to delve into the thrilling world of action-packed filmmaking.

After talking to Chris Brewster, we gained insight into the experiences and inspirations that led him to become a stunt coordinator, as well as his approach to creating breathtaking stunts in various productions, from incredible work on films like Fright Night and Daredevil to Brewster’s latest project, the horror comedy Renfield.

ComingSoon: What led you to become a stunt coordinator?

Chris Brewster: When I first began my stunt journey, I had no intention of stunt coordinating. I absolutely loved performing and hitting the ground. There are so many elements in the stunt world – fight choreography, rigging, stunt driving, etc. – and I was fully enthralled learning everything that I could. I took a genuine interest in how everything was done to safely execute action on camera and fell in love with the creative process of storytelling through action design.

My father gave me the best advice when I was 18; when I was graduating high school and was unsure about my “purpose” or path in life, he told me to take money out of the equation. He asked me if I had endless money, what would I do every day? I told him I would train, do martial arts, find fun and exciting challenges, and impact others. He told me to find a way to make that my career and it would never seem like I had to “work”. I stumbled into the world of “full contact make believe – aka stunts’ and was able to do exactly that. I am forever grateful for that advice and feel like it is my responsibility to share that message with the world.

Was there someone who inspired you or your approach to the work?

I had some amazing mentors and inspirations along the way. I trained at 8711 under Chad Stahelski and David Leitch, both of whom have grown from stunt performers, to coordinators, to massive and incredible directors. Bob Brown was one of the first stunt coordinators to give me a chance. He is an absolute legend in the stunt world and really helped me rise in the ranks of stunt performing. Tom Harper elevated me in every single way in the entertainment world. He raised me as a stunt double, and then trained me as a stunt coordinator and 2nd unit director. I am blessed by being surrounded by an unlimited supply of inspiration. Just about every person that I work with inspires me.

What are some of the most incredible stunts you’ve worked on?

On the movie Fright Night, I got to do an entire fight scene on fire. I was tied to another stuntman (Mark Wagner), and we were ratcheted all around a room, smashing things and crashing while on fire. We did about 36 full body fire burns over the course of a few days. It was awesome.

I also got to choreograph and perform all of the fight scenes in Daredevil (the Netflix/Marvel series).

What drew you to the horror comedy Renfield?

The only thing I needed to hear about Renfield was that Chris McKay and his team were doing it. Chris is one of those directors who makes every person on his set feel like a valuable and necessary part of the magic. Of course, reading the hilarious and awesome script and noting the amazing cast was icing on the cake!

What was your approach to the stunts of Renfield, and did it change throughout production?

My approach to stunts on any film starts with telling the story. I was lucky enough to get lots of zoom time with Chris McKay early in prep to get into his head and understand his vision. We brainstormed together and built the “rules” for the action. Then I brought together some of the most creative badass stuntmen on the planet, and began piecing it all together. We choreographed and prevised (previs is an action concept video) each piece of action and showed them to Chris. Chris would give us notes and we created storyboards so that we knew exactly what we would shoot on the day.

What was the most challenging stunt of the production, and how did you achieve it?

The most challenging stunt of the film was the moment when Dracula catches fire and keeps fighting. This would have been completely impossible without the help of every single department. All filmmaking is a collaborative effort but this crew went out of their way to make this possible, safe, and fun.

Were there techniques you utilized on this film that you hadn’t done before?

To me, the best part of making Renfield was less about the technique and more about the mindset. Chris McKay asked for the most fun, creative, and unexpected style; so we had no handcuffs holding us back. This was the most open and limitless opportunity an action team could ask for.

There is a back-to-the-basics approach to stunt work in modern cinema, where filmmakers rely more on practical effects — does this make your job easier or harder?

Using practical effects was such a breath of fresh air. A huge amount of films nowadays are shot in rooms filled with green or blue screens, where everyone is reacting and interacting with imaginary objects. Having practical effects to work with is so much fun. There is a time and place to highlight every department and I think the best movies are the ones that combine it all.

Any upcoming projects you can discuss?

I just directed Sanctuary, starring Jackson Rathbone, which I’m incredibly stoked to share soon. I am slated to direct Relentless with Thomas Jane soon and have a bunch of fun projects being lined up.

My father gave me the best advice when I was 18; when I was graduating high school and was unsure about my “purpose” or path in life, he told me to take money out of the equation. He asked me if I had endless money, what would I do every day? I told him I would train, do martial arts, find fun and exciting challenges, and impact others. He told me to find a way to make that my career and it would never seem like I had to “work”. I stumbled into the world of “full contact make believe – aka stunts’ and was able to do exactly that. I am forever grateful for that advice and feel like it is my responsibility to share that message with the world.