If you want to be taken seriously as a professional, then you'll need to get an 8 x 10 inch black and white headshot. You may need to invest some money in a professional photographer, or be careful about finding a trusted and talented friend with a stellar camera, but it will be worth it. You won't be taken seriously if all you have is a selfie or a cheap Polaroid, so make sure to follow through on this part. A good headshot can help you look like a professional, and can also help stunt coordinators or producers see whether you have the look they want. A headshot is like your business card as a stunt man; if you don't have one readily available, then how do you expect people you meet in the business to remember you? You may think that you don't need a résumé to be a stunt man because so much of the work is physical, but that's not the case. You should treat your career just like any other, where a résumé is crucial to helping the people who are hiring you to figure out if you're good for the part. The most important thing is remember is that you have to be honest. Don't try to impress people by saying you have skills you don't really possess, or you will be in trouble -- and even possibly in danger -- if you're picked for the role. Here are some important elements that you should list on your résumé:  Your height, weight, shoe size, and any other physical measurements Your union affiliation (more on this later) Film and TV credits (if you have any) A list of skills or special abilities, such as rock climbing, scuba diving, boxing, or martial arts If you want to find work as a stunt man, then you have to join a union, so that you can be legally hired to perform in films, music videos, or television. In America, the two major unions are the Screen Actors Guild (SAG), which is the more prestigious of the two, or the American Federation of Television and Radio Artists. In England, you will have to join the Join Industry Stunt Committee's Stunt Register (JISC); look into the guilds in your country if these do not apply to you.  Getting into a guild is hard work. One way you can get in, if you're lucky, is to get waved in in case a stunt coordinator isn't able to find a person with the combination of skills and build that you have to do a certain job (for example, if you're four foot five and can climb a mountain). Another way of getting in is to try to get work on a SAG or other union film as an extra for at least three separate days. Get an extras voucher after every day and turn in those three vouchers to make yourself eligible to join a union -- though this still doesn't guarantee that you'll get to join. If you get lucky, you can land a gig with a great headshot and impressive résumé on a non-union project. But if you want to hit the big leagues and find work on a union project, then you have to obtain a production list from the union you've joined; this will contain all of the local union productions that are shooting near you; you will have to sent the stunt coordinator your headshot, résumé, and a brief letter, and hope to get picked for the job.  Even if you don't get picked, the coordinator will have your résumé on file for future gigs. While you're waiting for a call, you should try to get some more experience on (union-only) sets, to get a feel for what the job is like. You may not land your first gig right away. Or you may get lucky and land your first gig, and then there's the months-long radio silence before you hear from a producer again. That's perfectly natural. This is an extremely hard business to break in to, especially if you don't have any connections, and waiting is part of the game. Though you should continue to put yourself out there, you should be prepared to find other work in the meantime, and to stay motivated to succeed, even if you haven't gotten a gig in a while. Being a stunt man is exciting work, but you may not be able to do it forever, whether you're becoming prone to injury, getting older, or just no longer wanting to be part of a risky profession. If you're tired of being a stunt man or a stunt driver but you've gained a lot of experience, then you don't have to quit your field completely; instead, you can find a way to take a more management-related role while still staying in the stunt world. Here are some other roles you can take on:   Stunt rigger: To be a stunt rigger, you should not only be an experienced stunt performer, but you should have an understanding of the mechanics of stunt equipment. You should have safety as your first priority, and will perform a variety of tasks, from testing and tearing down stunt equipment on the set to arranging landing pads for falls and positioning wires and harnesses correctly.  Stunt coordinator: This is the head of the stunt department, the person who works closely with the director to create the action sequences in the film, or even to suggest alternative stunt scenarios when it is necessary. The stunt coordinator designs the desired stunts, hires the stunt crew, manages the budget, and makes sure all of the stunts are performed safely.  Second unit director: The person in charge of filming the stunt scenes, as opposed to the stunt coordinator, who is responsible for staging the actual stunts. As the second unit director, you will film scenes of the stunt performers in action as well as exterior shots of the scenes which can be used in post-production. Although these directors may have experience in stunt work, then must also be experienced in filming and directing.
Get a headshot. Build your résumé. Join a union. Land your first gig. Be patient. Consider another career in your field.