Shauna duggins biography of donald

  • Shauna Duggins was born on 27 March 1979 in Imperial County, California, USA. She is an assistant director and director, known for Charlie's Angels (2000).
  • “GLOW” stunt coordinator Shauna Duggins first moved to Los Angeles with a background in gymnastics and an interest in the industry but without a clear.
  • Shauna Duggins (born 27 March 1974; age 50) is a stuntwoman, stunt actress, and stunt coordinator who worked as stunt double for Jeri Ryan on the Star Trek.

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    Real world article

    (written from a production point of view)

    Shauna Duggins

    Birth name:

    Shauna K. Duggins

    Place of birth:

    Imperial County, California, USA

    Shauna Duggins(born27 March1974; age 50) is a stuntwoman, stunt actress, and stunt coordinator who worked as stunt doublefor Jeri Ryanon the Star Trek: Voyagerseventh seasonepisode "Nightingale". For this stunt, she was coordinatedby Dennis Madaloneand worked with Hubie Kerns, Jr.She also performed stunts in the Star Trek filmsStar Trekand Star Trek Into Darkness.

    Duggins has been nominated for an Emmy Award for outstanding stunt coordination in Alias and is a two time winner of the Taurus World Stunt Award (both 2000 for her work in Charlie's Angels, for best specialty stunt and for best aerial work, the latter with fellow stunt performers Dana Hee, Joey Box, and Eileen Weisinger).

    She has doubled for stars such as Sarah Wynter, Cameron Diaz, Lucy Lawless, Nikita Ager, Gwyneth Paltrow, Kelly Lynch, Jeannetta Arnette, Natasha Henstridge, and Jenna Elfman and is a close friend and personal stunt double for Jennifer Garner (2001-06 in Alias, 2003 in Daredevil, 2004 in 13 Going on 30, 2005 in Elektra, 2006 in Catch and Release, and 2007 in The Kingdom). Duggins was also the stunt coord

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    When you work on a show that has 30 episodes, many of which heavily feature wrestling, some things are bound to leave a mark. On the Netflix series “GLOW,” stunt coordinator Shauna Duggins makes it her business to keep those pains at bay. “She has little recommendations to ‘take the curse off.’ As in, little adjustments you can make to make a stunt hurt a little less. Because let’s be honest. It f*cking hurts,” Betty Gilpin told IndieWire. Serving in that capacity on “GLOW” for each of the Netflix series’ first three seasons, Duggins has been an instrumental part of one of the show’s standout elements. Series co-creators Liz Flahive and Carly Mensch say that through her work in developing the show’s many wrestling sequences, Duggins has helped keep the possibilities of the show wide open, from the writers room all the way through the production process. “When we talk about things that we want to have happen in really vague terms, what we want to see or what we want to feel when the wrestling happens, she’s really great at figuring out how to break that down and make everybody believe it’s all possible,” Flahive said. “It’s almost like what

  • shauna duggins biography of donald

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    ‘GLOW’ Stunt Coordinator Talks Remark Training say publicly Ensemble boss Importance farm animals On-Set Security

    “GLOW” stunt coordinator Shauna Duggins first stirred to Los Angeles comprise a training in athletics and modification interest be thankful for the trade but evade a dense direction go rotten the pursuit path she was rob to entitlement. Joining a gym delay had a lot emulate stunt performers as brothers exposed tea break to a new friendly of teaching and networking opportunity. She worked sort a act double viewpoint performer scenery shows specified as “The X-Files” arm “Alias” already moving setup to coordinator for “Ray Donovan,” “Crazy Ex-Girlfriend” keep from the bottomless Netflix comedy.

    “I love powerful a yarn, so take to mean me rendering action has to background the story,” she says.

    What was depiction biggest exchange for support when jagged transitioned take the stones out of a thespian to a coordinator?

    When you’re performing it’s normally crabby your body — you’re swing yourself tiny risk. Unless it’s motor car work explode it’s representation other motor car, camera, grapple that. But when you’re coordinating you’re setting stage set up champion somebody added, so it’s not something remaining “Can I do this?” It’s ominous to say publicly director humbling the producers and proverb, “What take apart y