Amy Greene is at the top of her game in Hollywood, and she flipped, kicked, and fought for every inch that got her there.
A Screen Actors Guild member, Greene is in demand as a stunt coordinator and stunt performer who specializes in fight choreography, driving sequences, high falls, wire work, water work, and more. She has stunt-doubled for Meryl Streep, Laura Linney, Amy Adams, and others. And she’s an EMT and personal trainer, to boot!
On top of all this, she’s part of the award-winning duo—with her partner, Chris Stinson—leading Live Free or Die Films, an independent production company in Portsmouth behind the Oscar-winning movies “The Holdovers” and “Sound of Metal,” among others. Here, Amy describes how she got to the top of her field and gives us a glimpse of movie magic.
Amy, it’s no wonder your nickname is Greene Machine. How did you get here?
I was a dancer and gymnast from childhood, and got into boxing as a young adult. I moved to Los Angeles to pursue a career in the movie industry, working my way up from casting assistant to director’s assistant. A colleague who knew I boxed suggested I look into stunt work, and it was an “Aha!” moment. Over the next 10 years, I learned everything I could about choreographing stunts while continuing to train in boxing and gymnastics, and layering in new stunt skills.
Tell us about Live Free or Die Films.
Chris Stinson is the producer and I do what’s called “second unit directing,” which is directing all action sequences in our films. Our first step is to break down each film’s script, then I map out sequences before we leave for movie shoots. You can learn more about us and see a list of our films at livefreeordiefilms.com.
You’ve just returned from Cape Cod, where you wrapped your next movie. What’s it about?
We’re collaborating with A24 Films on a movie called “Tony” about Anthony Bourdain’s early life working at a restaurant on the Cape. Dominic Sessa plays young Bourdain, and Antonio Banderas also stars.
Tell us about a few memorable stunts.
My first big stunt was in a Kirsten Dunst film called “Woodshock” where I fell 50 feet (in a stunt harness) from a crane in the redwoods. For the horror movie “The Nun” I was ratcheted up a flight of stairs and down a hallway on a high speed winch, and then ‘drowned’ in a tank. I stunt drove in the memorable driving sequence from “Knives Out” and lately I’ve had a lot of fun doubling Meryl Streep in “Only Murders in the Building.” I’m also proud of the stunt sequences I created on my latest movie, Netflix’s “Night Always Comes,” released on August 15.
What’s something audiences are not aware of that plays a role in every stunt’s success?
Audiences might be surprised to learn that even a 10-second stunt represents weeks of planning and practice, and days of filming.
How does safety factor into stunt work?
Filmmaking is inherently dangerous. Everyone from cast to crew is on set working long hours, and there’s a lot of heavy equipment around us. I have a heightened sense of safety because I’ve trained in the rigorous physicality of stunts, so I take my time with action sequences. We set up distances and limits. With fire and water scenes, I bring in specialists. I also advocate for humane work hours, and I became an EMT and renew my certification every two years so I can help with an emergency on set, if needed.
How do you keep yourself in fighting shape?
My training in New Hampshire is very different than it was in New York or Los Angeles, where they have all kinds of facilities—from marine to aerial to driving tracks. I needed to locate the right facilities here, and design my own training. I have to cover a lot of bases.
I train at Nostos Mixed Martial Arts in Somersworth with Devin Powell and at New Hampshire Academy of Gymnastics in Hampton and Atlantic Gymnastics in Portsmouth. I do tactical and firearm work at the Sig Sauer Academy range in Epping, and I have scuba certification from Portsmouth Scuba.
Do you see any changes ahead for your field?
Well, you might have noticed that the Oscars’ technical categories have never included stunt work. I’m excited that starting in 2028, there will be an Academy Award for Stunt Design. I’ve got to keep training and learning so I can clinch that!
Audiences might be surprised to learn that even a 10-second stunt represents weeks of planning and practice, and days of filming.
A colleague who knew I boxed suggested I look into stunt work, and it was an “Aha!” moment. Over the next 10 years, I learned everything I could about choreographing stunts while continuing to train in boxing and gymnastics, and layering in new stunt skills.