Inside the life of a stunt driver

Story by Jeremy Fry

It is as near to an actual, literal switch as you can get. I make a conscious decision to flip this switch and stop thinking about all of the things that could go wrong–of the reasons not to crash this car–and to only think about what exactly I need to do to accomplish the job at hand. And the job at hand today is crashing this car.

Not every day is like this. In fact, as a professional stunt driver in features, television and commercials, I only get to crash cars a handful of times a year. But while every job is different, most days on set follow a similar routine. They often start with a call time around 6 a.m. Some start later and sometimes we work all night, but last night I set my alarm for 4:30 a.m.

If you’re early, you’re on time, and if you’re on time, you’re late, so I plan to arrive at least 30 minutes early to allow for any unforeseen delay. Early call times mean I should beat the traffic that makes Los Angeles so famous.

Our location today is north of the city, a road that is often used because of its remote location and scenic surroundings. Being easy to “lock up” and secure means the police can make it safe–safer than we could do in town.

I also like arriving early so that I can grab a bite to eat from catering before I officially begin. Rumors are true: The food on set is fantastic. Catered breakfasts and lunches, along with a fully stocked craft service snack table and/or truck, are par for the course.

After grabbing a bagel and lox (a breakfast burrito is my other go-to), I like to get eyes on what I’ll be driving that day. I want to make sure that I’m familiar with any quirks or nuances the car may have, and that everything I’ll be relying on is in place and working properly–like the brakes and steering. No loose items inside the car, either.

Picture vehicles are usually either rentals from companies that supply cars to shows or are recent used car purchases. Either way, there’s plenty of room for surprises–and as my mentor, Rick Seaman, said, there are no good surprises in stunt driving.

Often there are several cars I need to inspect. Any crash car needs to have proper belts and padding installed, but the hero vehicle that I’ll be using for most of the stunt driving must also be in good shape.

Of particular concern is the e-brake. It is vital to executing a large portion of our stunts, so it must work well and consistently. No matter how clear I make my request in advance, I always cross my fingers when I test it.

Fortunately, we previously tested the crash car and it’s already belted up with my five-points. I verify that nothing has changed, and everything is ready to go.

I locate the hero car and peek inside. It looks almost identical to the crash car on the outside, but unlike the fully caged and gutted car that has only hours to live, this one has a full interior and a shiny, brand-new hydraulic e-brake.

At call time, I usually change into my wardrobe and go through the “works.” That means having hair and makeup guys and gals transform me into an actor’s double. Or maybe they’ll just do me up as a non-descript–an ND, as we call them.

From there, I meet with the stunt coordinator and the rest of the team to discuss the plan for the day: What will we be doing, how will we do it, and in what order?

These conversations happen with everyone involved, including any camera vehicle personnel. The drivers of these specialized vehicles–and the operators of the crane and camera hanging off them–have a job that’s often just as difficult as ours. Maybe even more.

While technology has brought us ways of using graphics and cartoons to illustrate the action that we will shoot, usually the easiest and quickest way to visualize the sequence is simple: Pull out the toy cars and draw a quick diagram with some chalk, right there on the ground.

If a series is particularly complex, we walk through it by literally walking through it. Even a great-sounding plan can have flaws, and walking through the motions can quickly and safely reveal these issues early on.

Next, we do a half-speed rehearsal in the cars to make sure everything can work as we expect. Oftentimes, finding room for the camera car to get its shot but still remain out of the way requires a plan revision.

Once everyone is happy, we move to a full-speed rehearsal. If it hasn’t already happened by now, usually cameras start to roll. You never know what little pieces can be usable, even when the speeds are slower or the action looks a little sloppy.

Photograph Courtesy Lionsgate

Prep for the Big Crash

Today’s work is broken into two parts: the leadups that we’ll do before lunch and the big crash that happens afterward. Today’s sequence features just me and one other stunt driver dicing it up on a two-lane road with a few ND cars in the area to liven the shot a bit.

Working with skilled and experienced drivers in the cars and camera vehicles typically allows us to move through the shot list quickly, and that happens today. In a rarity, we have some extra time and get in a few bonus shots before lunch.

As smooth and efficient as today is, most days are rarely so. A lot of downtime while electricians adjust lights, actors act, and set designers make changes means there is often ample time for storytelling, pranks and grazing at craft service.

My wife has learned not to ask when I might be home because I never truly know until I’ve actually pulled out of the parking lot. And even then, I’ve found myself turning around when someone realized I’m still needed. Usually, though, we spend around 12 hours a day on set. Often more, and occasionally less.

After lunch, the pace grinds to a crawl. Not because people get lazy, but because setting up a big crash that we only have one shot at means that everything has to be just right.

Hours later, I suit up to start the rehearsal runs. We need to work out speeds, distances and shots for me and the camera vehicle that will lead me in. If he goes too fast, he’ll lose me, and the crash will be too far away. Too slow, I’ll be forced to check up, and the crash won’t be as big as it could be.

Photograph Courtesy Sony Pictures

After a few lead-ups, the other driver and I feel ready to do it. It’s not uncommon for shows to provide multiple crash vehicles so they have an option to do the crash a few times. But not this show. We have a small budget: one car and one take.

I pull to my number one (the start mark), where one of the safety guys double-checks my belts, pads and mouthpiece. He tells me to have a good ride, slams the door, and heads to the camera closest to the crash site to help safety the operator. (Earlier today he told us a story involving grabbing the keys out of the ignition and tossing them to the group before jogging away while laughing hysterically, and fortunately that doesn’t happen here.)

Up until this point, everything seems somewhat normal. My breathing is calm and my heart rate, while feeling a bit elevated, is steady.

But when the walkie-talkie that my buddy taped to the roll cage within arm’s reach starts barking for everyone to find their places because we’re about to go, I feel everything inside of me start to protest.

It is precisely at this point, like every time, that I begin to wonder why I didn’t follow my mother’s advice about becoming an accountant. And then I start questioning the wisdom of driving this vehicle in precisely the manner all of the disconnected safety systems were designed to prevent.

I remind myself every day: People with fewer safeties in place find themselves in larger wrecks and emerge fine, albeit probably scared.

And I flip the switch.

Stunt Car Prep

What about preparing the vehicle itself? Another crash stunt, another car primed for destruction.

It’s been about 15 minutes since we exchanged money and keys, and the picture car coordinator expects me back at the shop soon. But my new friend is detailing the list of modifications made to the car, and we’re only at the rare JDM side marker lights that took three weeks to ship in from Japan.

I smile and nod at the appropriate times, in genuine appreciation of the love–and money and time–he’s poured into this 1990 Toyota Celica All-Trac. But I could never tell him that his now-former car has only days to live. In one week, it will slide off the road and roll down the hill. And a few days later, it will be dumped in the import section of the closest pick-n-pull.

Stunt drivers usually have nothing to do with the purchasing of cars, other than specifying what they need and want. But when my career was young, I had a plan: I (incorrectly) hoped that by taking the time to find and buy the car, I would be chosen by the commercial producer to drive it. In this world where the supply of stunt drivers vastly outnumbers the demand, you take chances that don’t always pan out.

Productions don’t always buy cars. If they need a car for a long time or plan on crashing it, buying makes sense. But often they will rent a car if it’s cheaper or easier. Specialized companies that rent out picture cars have or will procure what is needed for a shoot. Sometimes production companies simply rent them from the same companies you’d find at an airport.

Wherever the car comes from, it has to work. The level of prep that a car gets depends on what the script calls for and what the driver will need to accomplish it.

The most common request is that working e-brake. Most slides begin with the rear wheels locked up. On newer or unabused cars, the stock e-brake often suffices.

Photography Credit: Jeremy Fry

Older, worn-out or electronic e-brakes can pose issues of performance and longevity, so we might have a hydraulic e-brake installed. Passthrough e-brakes are generally easier installs, but a dedicated system comprising of a master cylinder, lines and separate calipers is the most desirable.

Some car prep guys have dedicated e-brake systems that can be quickly installed in cars and operate via a switch. Some of these are air over hydraulic and others are electric over hydraulic, but they’re usually all designed to allow the car to be easily returned to stock.

Once the e-brake is properly working, the next obstacle with most cars is overriding the ABS, traction control and stability control to allow the rear wheels to lock up and slide without affecting the front wheels. Sometimes these systems can be turned off via the factory switches, while others might need fuses, sensors or electrical connections unplugged.

In some cases, we have reached out to the manufacturer for assistance. Even if they are willing to help, sometimes their engineers cannot make the car work as desired.

Occasionally we pinch off the front brake hoses with Vise-Grips, allowing the main brake pedal to operate only the rear brakes. But the dramatic loss in braking capability makes this a last resort.

Beyond that, it’s common to throw in a set of lap or five-point belts if the car will or could come into light or moderate contact with something else. We’ll drill or punch holes through the floor and use bolt-in eyes with large washers on the bottom. Unless the seat bottom has a full metal pan, we’ll cut a hole through the fabric and padding to run the anti-sub belt. Experienced drivers usually carry at least one set of belts along with chain, webbing, shackles and quick-links to allow for installation in a variety of configurations. While perhaps not SCCA- or NHRA-legal, these installs are adequate for the smaller gags.

Larger crashes find us having cages of varying complexities installed. They run the gamut from a full double-hoop, multiple-diagonal cage that extends through the firewall down (for a high-speed rollover) to simple reinforcements, such as a set of door bars to protect the driver in the event another vehicle might contact that side of the car.

A driver’s personal prep usually mirrors the car’s. Minor impacts might find drivers wearing small pads on their elbows and knees. Large crashes often have them wearing full fire suits, gloves, pads, mouthguards, helmets and head-and-neck-restraints.

What catches most car enthusiasts off guard is how quickly–and ruthlessly–cars are prepped. Guys will unceremoniously cut out large sections of carpet to make room to install the handbrake mount. Interior panels are torn from their mounts, leaving behind broken clips and fasteners.

Form doesn’t just follow function in this world–it has been lapped. Some guys, understandably, just can’t bring themselves to embrace it. If you’re one of those guys, be very wary of who you sell your next car to. If you’re not careful, you might just see it die on the big screen.

Photograph Courtesy Sony Pictures

THE STUNT DRIVER GAME: BREAKING IN

I lost count years ago of the people who’ve told me they would love to do my job, harkening back to how they “grew up in the snow and like to drive really fast.” Breaking into the world of professional stunt drivers and performers takes more than just a heavy right foot.

Five different drivers will give you five different stories, but regardless of how they got started, everyone who manages to get into the stunt world had someone they knew or met usher them in. Even with connections it’s not an easy world to enter, and it has only become more difficult over the years.

Having a successful relative in the industry never hurts, and seeing the same last name in the credits isn’t uncommon. Others have parlayed professional or collegiate sports into careers as stunt performers. Many successful performers began as nationally ranked martial artists, Olympic gymnasts or X Games competitors.

But for those not blessed with either the right last name or the high-level awards to open doors, good old-fashioned hard work and personality are common tools used to pave the way. Some have been fortunate enough to look like an actor who needs to be doubled and have gotten work that way, but regardless of how you get in the door, one job does not a career make. So, what separates those who keep getting the calls from those who fade away?

First, you must have talent–some kind of talent. You don’t have to be the best in the world, but you have to be able to get the job done. And getting to this level takes a lot of work. Hours of training. Even those with staggeringly impressive resumes have areas they can improve in.

In the last 15 years or so, the stunt industry has evolved into a more specialized world. Rarely will you see one person doubling an actor and performing all of their stunts. Rather, the stunt coordinator will bring in a fight double for the bar brawl, a freerunner for the escape out of the collapsing cabin, and a driving double for the police chase.

This means that people don’t necessarily need to be experts in a lot of areas to have a chance of making a career. But it does mean that their skills and capabilities in their area of expertise need to be exceptional.

But even with the talent and connections, working on camera on most shows requires membership in the Screen Actors Guild. There are several ways to gain SAG membership, and it can take anywhere from a few weeks if you get lucky to many years.

Being eligible and capable won’t get the phone to ring. The television and film world is one of relationships. It’s not so much who you know as who knows you: Your name has to come up when a need arises.

My story is this: At the age of 25, I decided that I needed to do something different. I had enjoyed years of fun and rewarding seasonal jobs, such as guiding whitewater and rock-climbing trips, but I did not want to spend the rest of my life living in a Subaru in the outfitter’s parking lot. So I made a decision to move to Los Angeles and give a year’s earnest effort to trying to become a stuntman.

With a solid (but purely recreational) background riding motorcycles, I figured that bikes would be my in. However, after working for a year at a small studio cleaning stages, I felt no closer to my dream. I decided not to give up and started working at a stunt driving school. This, ultimately, started the ball rolling.

I finally met a lot of working stuntmen and stuntwomen and was continually surrounded by cars and stunt driving. My years spent evaluating, demonstrating and coaching students ingrained techniques and abilities that I rely upon with nearly every job I do.

I eventually rose to the level of lead instructor. I saw the arrival of drifting in the early 2000s and immediately bought a 1996 Mustang GT so I could learn this new, amazing art of keeping a vehicle in a controlled slide. As a slow learner, it took years to develop a proficiency that I felt comfortable putting on screen.

The cost of this training–as often as four times a month–required a flexible job and massive financial control and sacrifice. To afford the gas, maintenance, tires, track fees and upgrades to a gray-market 1990 Nissan 180SX on a stunt instructor’s salary meant, among other measures, living in a less desirable part of town, not eating out, and shopping at thrift stores.

When I first started this journey in 2000, I figured it could be a fun but short-lived trip. Twenty years later, I am excited and look forward to every day I get to work. Would I recommend it to someone now? That’s a tough call. The unpredictable schedule and time away are hard on families, to say nothing of the absence of anything resembling job security. I am unemployed after every job.

But in spite of the shortcomings, I wouldn’t trade it for any other career. Liking to drive fast is a good start, but won’t a career make. As with anything good in life, it takes a lot of work with a bit of luck and good fortune thrown in. If a slow learner with zero connections like me can do it, anyone can.

Photography Credit: Jeremy Fry

YOUR CAR AS THE STAR

Photography Credit: Amie Kitman

See all those cars in movies, TV shows and commercials? They don’t magically appear on set.

In many cases, they’re rented from private owners. Jamie Kitman, longtime automotive writer with bylines in Road & Track, Automobile and more, is president of Octane Film Cars. His New York City firm supplies cars for shoots–often in the metro area but sometimes worldwide.

Kitman acts as owner, broker and consultant in these deals. What car is right for what project? Ultimately, he says, the director and producers make the call, but companies like Kitman’s provide options. “There is usually a coordinator who acts as a go-between, so it is to them that I might make a case one way or the other,” he explains. “Often, as with the show ‘The Marvelous Mrs. Maisel,’ the creators have a pretty specific idea of what they do and don’t want.”

Kitman says period-correct cars are often in demand–especially what would normally be considered run-of-the-mill vehicles. “Always a big demand for old box trucks,” he says. “They just don’t seem to survive.

“Good commercial vehicles are always of interest, as are cars and buses and trucks,” he continues. “Fifties pickups are well represented, but four-door sedans are harder to find.”

How to offer up your car for consideration? With Octane Film Cars, the process starts with a simple online form. And, yes, you can get paid for this. The fee, Kitman explains, depends on the project, the budget and the use. “Hero cars get more,” he says. “Things that are truly rare and valuable get more. Modern cars tend to get less. On the low end, you get to drive your car in a TV show and we pay you as an extra, plus $50. On the high end, something old, big and super rare could be $3500 a day or more. Shoots can range from half a day to months.”

Submit your car, he says, and one day, maybe, it will be on the big screen.

Octane Film Cars
octanefilmcars.com

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Comments

View comments on the GRM forums

AngryCorvair (Forum Supporter) GRM+ Memberand MegaDork
5/20/20 10:20 a.m.

i regret that i have but one thumbs-up to give

R56fanatic (Forum Supporter) New Reader
5/20/20 10:34 a.m.

jfryjfry - can you provide more details about the structure strapped on top of the car? Is that a remote control setup so you can drive while the pretty faces act?

SVreX (Forum Supporter) MegaDork
5/20/20 10:34 a.m.

Thats a great article!

Justjim75 Dork
5/20/20 10:46 a.m.

Wait, that looks like John Wick and Baby Driver, did you drive for thoses movies?

Can my 14 yr old son have an autographed piece of a car from a big time movie....PLEEEZ?

SVreX (Forum Supporter) MegaDork
5/20/20 10:50 a.m.

In reply to Justjim75 :

Yes he did.

Baby Driver thread

Justjim75 Dork
5/20/20 11:09 a.m.

Just told my son about this as we just rewatched Baby Driver last week (killing time during lock down) and sent him the link. He is very hopeful about my request

pilotbraden UltraDork
5/20/20 11:19 a.m.

I really enjoyed reading the article and I too want to know is that Flying Bridge unit Truly a Flying Bridge to control the car?

friedgreencorrado UltimaDork
5/20/20 11:40 a.m.

Well done! I recall an ancient issue of Car and Driver where Pat Bedard was talking about stunt drivers in his column.

"The Harlem Globetrotters never won an NBA Championship, but you don't hear a lot of people saying they can't play basketball."

David S. Wallens Editorial Director
5/20/20 4:31 p.m.

I know that I need to remain impartial (actually, do I?), but I totally loved this piece.

alfadriver (Forum Supporter) MegaDork
5/20/20 5:46 p.m.

Super fun article to read. If you are ever in a small movie and invited to Cinetopia, come- I'll buy you a drink. Rarely to stunt people come to film festivals.

Mndsm MegaDork
5/20/20 7:33 p.m.

A question I may have asked before, exactly how does one become a stunt driver? I can't imagine it's on indeed or shiftgig.

ronholm Dork
5/20/20 9:23 p.m.

Vise grips to pinch off brake lines works pretty well... but around here the trick for blocking off one end of braking or the other quickly is a small nail, like a drywall nail or small siding nail (brass tacks would be better) installed in the line at the right flare fitting. Just unscrew the fitting, drop the nail in and put it back together.

Totally reversible, and cheap, with no worry about damage from vise grips, or vise grips coming loose. Only risk is overtightening and wrecking the flare, and of course the safety issues from disabling the brakes.

I promise I have never ever in my life attempted to drive anything with a previously leaking brake line around on the street.. ever..

SVreX (Forum Supporter) MegaDork
5/21/20 8:06 a.m.

In reply to ronholm :

That's a good trick. But don't assume the film industry cares if they damage the car.

They care about the shot.

jfryjfry (Forum Supporter) Dork
5/21/20 9:26 a.m.

Just ran across the thread.... glad my ramblings weren't terribly nauseating. It was nice to exercise my journalism degree a little after all of these years.

I can expand later, but how to get in the business? Know someone. I knew no one so I moved to Los Angeles and starting asking around.

there is actually a sidebar in the print magazine about getting in

and there are several shots of pod cars in the spread. They are a removable (usually) driver's pod that has steering throttle and brake. Sometimes shift and sometimes start. I like having a horn and mirrors too.

I don't enjoy driving them much. Risky, heavy, challenging and valuable cargo. And rarely built well. John wick's pod was great but I didnt drive that one. I didn't even drive the baby driver one. That pic was snapped when I jumped in it to move it. Hence no helmet.

and an autograph?? I don't know why anyone would want one, but I don't have any pictures! Maybe I could print one out..... shoot me a pm!

Tom Suddard GRM+ Memberand Director of Marketing & Digital Assets
5/21/20 9:48 a.m.

Mndsm said:
A question I may have asked before, exactly how does one become a stunt driver? I can't imagine it's on indeed or shiftgig.

Did you check out the attached sidebar to this article? It's on the right side of the page (or below on mobile).

RevRico PowerDork
5/21/20 10:15 a.m.

In reply to jfryjfry (Forum Supporter) :

I still think you have the coolest job on the forum.

Unless there's someone lurking that does crash safety testing and never mentioned it.

Justjim75 Dork
5/21/20 11:27 a.m.

In reply to jfryjfry (Forum Supporter) :

What you do is WAY cooler than what most actors do. And how many of them write bitchin' articles for us?

Mndsm MegaDork
5/21/20 11:34 a.m.

Tom Suddard said:
Mndsm said:
A question I may have asked before, exactly how does one become a stunt driver? I can't imagine it's on indeed or shiftgig.

Did you check out the attached sidebar to this article? It's on the right side of the page (or below on mobile).

I did not

Mndsm MegaDork
5/21/20 2:40 p.m.

Ok, I have another question. Seems like you've worked on a lot of cool movies (I love the John wick series, and I actually just watched baby driver again)....Is there a movie or stunt scene that you've done that you're particularly proud of?

Gearheadotaku (Forum Supporter) GRM+ Memberand UltimaDork
5/21/20 3:43 p.m.

I enjoyed reading the article. If you come to the challenge, I'm sure you will have many folks asking you to sign the issue!

jfryjfry (Forum Supporter) Dork
5/23/20 5:34 p.m.

In reply to Mndsm :

It sounds lame but baby driver was an amazing job for many reasons. My family came out, I got to coordinate second unit, my good buddy was directing, we were allowed a lot of input (vs. ring told what we had to do) and we got to do some cool gags.

my favorite single gag? The jump drift on john wick 2

the show that nobody watched that had some fun driving? The Last Stand with Arnold Schwartzeneger.

matthewmcl (Forum Supporter) Reader
6/4/20 9:54 p.m.

jfryjfry

You mentioned that the stand alone hydraulic handbrake is nicer than a passthrough. Can you elaborate on that? Is it a question of caliper size or do the passthroughs just not work as well as everyone might hope?

jfryjfry (Forum Supporter) Dork
6/5/20 9:02 a.m.

In reply to matthewmcl (Forum Supporter) :

For whatever reason, most of them - if not all - take a very large effort to get results. Vs a standalone system that usually (and always when set up correctly) works with very little to medium effort.

the pass through works much better when you preload the system by pressing the main brake first, then hitting the e, and then releasing the brake (while continuing to hold the e). But it scrubs a little speed which and takes a little extra time which could be undesired.

But most of the time we get the pass-throughs and the technique to use them isn't hard to learn to do quick.

but now the big issue isn't the ebrake setup, it's the electronic nannies that continually fight us. Sometimes they win, sometimes we win.

P3PPY GRM+ Memberand Dork
3/23/21 6:30 p.m.

In reply to jfryjfry (Forum Supporter) :

Huh. So does that ever impact the choice of car used? I guess related question: is the choice of car usually strictly dictated by the script?

californiamilleghia SuperDork
3/23/21 6:48 p.m.

I had a T shirt once from the Stunt drivers association ,

it went something like :

"to hell with dialog" , lets crash something

Gearheadotaku (Forum Supporter) GRM+ Memberand UltimaDork
3/23/21 7:45 p.m.

I think thats a quote from Hal Needham

jfryjfry (FS) Dork
3/23/21 11:25 p.m.

P3PPY said:
In reply to jfryjfry (Forum Supporter) :

Huh. So does that ever impact the choice of car used? I guess related question: is the choice of car usually strictly dictated by the script?

Sometimes, yes, we get to have say in the car they get. Sometimes we just specify rwd if they want drifting and other times we get to help pick it as more of a character.
But often (if not usually) we get what we get and good luck.
As expectations grow, there is more awareness of the necessity of sufficient equipment to achieve what they want. They start to see that they need certain things if they have certain demands!

SVreX (Forum Supporter) MegaDork
3/24/21 11:42 a.m.

Still love this thread! (And the article, and the cool guy who wrote it!!)

P3PPY GRM+ Memberand Dork
3/24/21 6:42 p.m.

jfryjfry (FS) said:
P3PPY said:
In reply to jfryjfry (Forum Supporter) :

Huh. So does that ever impact the choice of car used? I guess related question: is the choice of car usually strictly dictated by the script?

Sometimes, yes, we get to have say in the car they get. Sometimes we just specify rwd if they want drifting and other times we get to help pick it as more of a character.
But often (if not usually) we get what we get and good luck.

Man. That part of choosing a car for a character would be a fun discussion around a card table.

This may be entirely hypothetical since there aren't a lot of superstar FWD cars out there, but let's say they want drifting with something incapable of it-- cafeteria trays???

jfryjfry (FS) Dork
3/25/21 9:21 a.m.

In reply to P3PPY :

It happens more than you'd think: I get told I'll be drifting a car and I ask what kind. They don't know.... so I tell them what drifting is and how it needs to be a certain kind of car. (Rwd, ideally manual, and able to turn off the tc, sc, etc enough to do it.

I show up and it's a civic.

the good news is that there is a higher-end level of cafeteria trays - ezdrifts. They are plastic (delrin?) tire covers that can let you slide a Fwd a lot like drifting a rwd. It's a unique technique but it works quite well.

but sometimes they say drift but they don't know what they mean. They really just want it to slide and ebrake stuff works just fine.

jfryjfry (FS) Dork
3/25/21 9:22 a.m.

In reply to SVreX (Forum Supporter) :

Haha I'll send you your monthly check on the first.

SVreX (Forum Supporter) MegaDork
3/25/21 11:17 a.m.

In reply to jfryjfry (FS) :

My commission rate just went up!