Realism is important in The Man in the High Castle 鈥� which might sound surprising, considering the locally shot Amazon Original series is dystopian fiction.
The Man in the High Castle takes place in an alternate reality where the Allies lost the Second World War. It鈥檚 the 1960s, and what was once North America is now divided into the Greater Nazi Reich and the Japanese Pacific States. Fascism is the status quo, but a resistance movement is rising.
While The Man in the High Castle (the third season of which hit Amazon earlier this month) is dystopian fiction, it also rings true. Fascism is having a moment; we鈥檙e one election, war, or missile crisis away from living The Man in the High Castle. And when The Man in the High Castle leans into that realism, it鈥檚 doubly terrifying, and doubly engrossing. 聽
Thus, realism was top of mind when stunt coordinators Jeff and Maja Aro first read the fourth episode of the third season and noted the presence of an unnamed character they鈥檇 come to refer to as the Burning Monk.
The character was inspired by Th铆ch Quang Duc, a Buddhist monk who self-immolated at an intersection in Saigon in 1963 to protest the South Vietnamese Diem regime.
In the High Castle script, a robed monk walks purposely through a violent riot. He pours a circle of gasoline on the pavement, sits within it, and lights himself on fire.
It was up to the Aros 鈥� a married couple who run Sea to Sky Stunts and have been involved with The Man in the High Castle since its first season 鈥� to recommend a course of action to the producers. Should they create the Burning Monk with computer-generated imagery? Light a mannequin on fire? Or attempt the stunt with a human being?
Their preference was for the latter, because of that aforementioned commitment to realism.
In fact, Jeff wanted to be the one to self-immolate.
鈥淚t鈥檚 exciting as a stunt performer to be able to do something that exciting,鈥� says Jeff. 鈥淚t鈥檚 a challenge for me mentally and physically.鈥�
The Aros suggested to producers that, once lit, the monk could move into a prayer position. 鈥淧art of our job is to figure out the non-verbal physical action that matches the tone of the show,鈥� says Jeff. 鈥淸The monk鈥檚 self-immolation] was the most selfless sacrifice that a person could do. Obviously he鈥檚 trying to draw attention to a particular issue. You鈥檙e fighting your natural instincts to run and scream and yell. The monk chooses to put his hands together and pray.鈥�
Once they鈥檇 made their recommendations 鈥� and production green-lit their course of action 鈥� the Aros immersed themselves in research and development.
R&D meant studying videos of Th铆ch Quang Duc (鈥淚t was a statement,鈥� says Maja, adding that she found the videos difficult to watch. 鈥淗e wasn鈥檛 hurting anyone else. People had to watch. People had to start paying attention鈥�), and also bringing Colin Decker of Fire For Hire onto the team.
Decker 鈥� along with business partner Dustin Brooks 鈥� was nominated for a technical Academy Award in 2007 for developing a fire-barrier gel that can be applied onto human skin and lit on fire, creating the illusion that the flesh itself is burning.
With Decker鈥檚 assistance, they calculated how long Jeff would have before the fire would get too hot. They arrived at a number: 10 seconds.
鈥淥nce we understood that amount of time, then we could work backwards and make sure we had a procedure for extinguishing me,鈥� says Jeff. 聽
The scene presented a key challenge: the monk was seated. 鈥淎nd when you鈥檙e not moving, the fire gets way hotter and you can鈥檛 move away from it, and you鈥檙e stuck in it,鈥� says Jeff.
They planned to start the fire low on his back, and ensure his robe was comprised of natural fibres (鈥淎ny synthetic fibres would melt and cling-wrap to you and burn you worse,鈥� says Maja).
On the day they shot the Burning Monk in Gastown, Maja says she was the calmest person on set. 鈥淪ome of the producers were giving me hugs. They were like, 鈥楬ow are you not nervous?鈥� But I feel calm. I feel confident.鈥�
Calmness and confidence aside, she did have an ambulance on standby.
鈥淲hen you鈥檙e breaking down a stunt like this, you鈥檙e always thinking worst case scenario,鈥� says Maja.
Eventually, the first assistant director handed the set over to Maja. She called for the cameras to start rolling. The team fuelled Jeff (who was already covered in the fire-barrier gel) with the accelerant, and applied the gel to his nose and mouth, at which point he had to start holding his breath.
And with that, they set Jeff on fire.
They鈥檇 prepared for two takes, but got what they needed in 10 seconds 鈥� and the Burning Monk was subsequently extinguished.
鈥淓verything went according to plan,鈥� says Maja. 鈥淭he stunt turned out great. Everyone was happy with it. What shows up on screen, it turned out really well.鈥�
Jeff ended up with a few blisters. He鈥檇 shaved his head that morning. 鈥淭here was nothing holding the gel behind my ears, so that gel ran off quite quickly, and behind my ears is where the heat became too much,鈥� he says.
Maja is currently stunt coordinating The Man in the High Castle鈥檚 fourth season; Jeff is stunt coordinating on Lost in Space.
The Burning Monk represents a career highlight for them both, but it鈥檚 one they鈥檙e quick to share with the High Castle team.
鈥淭here was a lot of trust,鈥� says Maja. 鈥淭here were a lot of people who brought that to life.鈥�
The Man in the High Castle is streaming on Amazon Prime.
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