VIC ARMSTRONG MASTERCLASS: WHERE ACTION MEETS STORY

Last week, our Directing & Cinematography students heard from one of the industry’s true legends: stunt performer, stunt designer, second unit director and action director Vic Armstrong, in conversation with director and producer Andrew Delaney.

If you’ve ever watched an action sequence and wondered how it was made, Vic’s answer is simple: it’s never “just action.” It’s story, planning and teamwork — at scale.

“I think the great thing about Vic’s reputation in the industry is he understands a stunt must have a partner, and that partner is the camera angle and choice of lens. And that’s what makes me want to hire Vic over and over again.” - Steven Spielberg 

Vic Armstrong & Andrew Delanay with CMS Directing & Cinematography students

Action starts long before the camera rolls

A key theme throughout the masterclass was preparation. Action doesn’t magically appear on set — it’s designed, tested, rehearsed and refined long before filming begins.

Vic spoke about how some projects involve him from the earliest stages, while others throw him in late with immediate problems to solve. Either way, the expectation is the same: arrive prepared, understand the consequences, and know exactly what you’re filming.

“When it comes to really big stuff, Vic is right there at the top off the list.” - Harrison Ford

Frame by frame: inside iconic stunt sequences

A standout moment of the session was the way Andrew and Vic broke down Vic’s work in real time, using his showreel to go frame by frame through some of cinema’s most iconic stunt sequences.

From the James Bond motorbike jump over a helicopter, to Vic stepping in for Harrison Ford on Indiana Jones when an injury threatened to shut down production — saving weeks of filming time and significant cost — the focus was always on problem-solving under pressure.

Explosions, fight choreography, car chases, working with animals, complex rigging and safety-critical decisions were unpacked shot by shot. What became clear very quickly was that none of these moments were improvised bravado. Every decision served story, safety and believability.

For students, this was a rare insider look at the craft behind the spectacle — the decisions that happen just off camera, where illusion is carefully built and risk is tightly managed.

“He’s a problem solver, I depend on people to come to me with solutions. You’ve got to be inventive. He’s an artist” - Tom Cruise

Storytelling beats spectacle

Vic spoke candidly about how modern tools can make filmmaking easier, but also tempt productions into overshooting. More coverage, more takes, more “just in case.” Whether working in action, drama or documentary, the principle remains the same: know what you need, shoot with intention, and respect everyone downstream.

At the heart of Vic’s approach is a simple truth: action is storytelling. The audience needs to feel jeopardy, stakes and emotion — not just admire choreography. When action becomes disconnected from character or consequence, it risks becoming weightless.

This is where practical stunts still matter. Cinema has been solving physical problems since its earliest days, and that history is embedded in what we believe on screen. Technology can enhance that work, but it can’t replace it. Real stunts give action mass, texture and authenticity — and the audience feels the difference.

“He understands the impact of cutting one shot to another and what it means visually to the drama of a story” - Martin Scorsese

Teamwork and breaking in

If there was one message repeated throughout, it was this: action is never a one-person job.

Great sequences are built by teams — riggers, SFX, camera, ADs, safety leads — all solving the same problem together. You don’t need to know everything, but you do need to communicate clearly, trust the plan and understand the story you’re serving.

When asked what he’d tell someone starting out, Vic kept it practical:

• Get your first job however you can

• Be enthusiastic and reliable

• Learn by being close to the process

• And build your network by meeting people in real life
  

You can’t network in theory. The industry runs on relationships — and those relationships start by turning up and doing the work.

The CMS takeaway

For our students, this masterclass wasn’t just inspirational — it was a clear insight into how the industry really operates: preparation, problem-solving, collaboration and story clarity.

That’s exactly what we focus on at CMS: not just teaching craft, but developing the mindset and professionalism that turns talent into employability.

Learn from the best at CMS, explore our Directing & Cinematography course.