Hiro Koda Discusses Exciting Challenges in the Season 5 Battle Between Vecna and Eleven in ‘Stranger Things’

Netflix’s Stranger Things has concluded its run, but the memorable moments from its final season continue to resonate with fans. In Season 5, the beloved ensemble cast, including Eleven (Millie Bobby Brown), Mike (Finn Wolfhard), Lucas (Caleb McLaughlin), and their friends, faced off against formidable foes such as military factions, demogorgons, and the series antagonist Vecna (Jamie Campbell Bower), culminating in heart-pounding action.

The Emmy-winning stunt coordinator Hiro Koda played a pivotal role in crafting the season’s intense action sequences. Recently, Koda earned a nomination for Outstanding Action Performance by a Stunt Ensemble in a Television Series from the Actor Awards, highlighting his contributions to the show.

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DEADLINE: You’ve been with Stranger Things since Season 3 and tracking these characters and their combat styles for years. How did you expand on them in the last season? What conversations did you have with other members of the production?

HIRO KODA: In this last season, everything had to go as big as possible. The Duffer brothers always challenged me with what they wanted, and I felt they had a lot of confidence in my abilities. There was never any hesitation to ask, “Hey, can we do this?” With each season, the opportunities grew. It was a blast working with this cast, and they were all very eager to get involved and push the boundaries.

Will Byers (Noah Schnapp) and Vecna (Jamie Campbell Bower) Stranger Things Season 5

DEADLINE: I’m assuming you have to keep track of which actors like which stunts, on those rare occasions they are allowed to do their own stunt work?

KODA: Yes, it’s crucial to track how characters evolve and understand their capabilities as actors. Everyone on the cast wants to do everything, and I encourage them to engage as much as possible. However, due to the fast-paced nature of television, there’s often not enough time for extensive rehearsals. If an actor gets hurt, production halts, but if a stunt double is injured, we can easily replace them without incident.

I have to communicate with the actors about the risks involved. If something could go wrong, I prefer to let the stunt double take the lead first and then see how we can integrate the actors where it makes sense. Everyone ended up doing a lot of their own work as well.

DEADLINE: Where does coordinating the stunts start for you? Are you at home thinking of moves, or do you wait for time in a studio setting?

KODA: It’s quite a lengthy process for me. After reading the script, I break down all the stunts and begin to visualize what I want to create. Then, I hold meetings with the directors, whether it’s the Duffer brothers or Shawn Levy, to discuss the stunt beats and incorporate their ideas. This collaborative approach helps ensure we are aligned. We also conduct previsualization (previs) to present our vision, allowing us to address any concerns before filming.

Preparedness is critical when working with the Duffer brothers and Shawn, as they expect everyone to be on their game. I strive to be as well-prepared as possible.

Eleven (Millie Bobby Brown) and Vecna (Jamie Campbell Bower) in Stranger Things Season 5

DEADLINE: Let’s jump into some specific scenes. I’m thinking about the Vecna-Mind Flayer battle royale scene where Joyce delivers the final blow.

KODA: We called that set “The Pain Tree,” which was inside the Mind Flayer where Vecna was suspended. The sequence was intricate and took a year and a half to shoot, requiring meticulous coordination between the visual effects and stunt teams. We initially planned for it to be much larger but had to scale it down for time. Each movement had to be carefully choreographed to account for the monster’s actions and how they affected the battles inside.

Keeping track of everything was challenging, but creating a cohesive previs allowed everyone to visualize the scene and understand their roles, especially given the multiple locations involved. The finale came together with a thrilling wire action sequence between Vecna and Eleven, culminating in a climactic moment that resonated with the cast and crew.

DEADLINE: I loved the mid-finale sequence with the group trying to save the kids from the military and demodogs, but then Vecna shows up and just blows through the military, which ultimately leads to awakening Will’s powers. Talk about putting that together.

KODA: That sequence posed significant challenges, particularly with the demogorgons wreaking havoc inside the military base. The Duffer brothers aimed for a grand oner shot, and with 56 kills in the MAC-Z sequence, coordination was key. We had to ensure safety amid the chaos while capturing each cast member’s reactions—all while relying on creative solutions to represent the demogorgons accurately on set. Using pantomimes for the actors helped them align with their eyelines and choreography.

It was a team effort, and seeing the final product was incredibly rewarding.

Mike Wheeler (Finn Wolfhard) in Stranger Things Season 5

DEADLINE: The sound design really sells all of that too.

KODA: Absolutely. The music and sound effects enhance the experience. Behind-the-scenes footage reveals the lively atmosphere during filming, filled with directing comments, sound calls, and laughter—a stark contrast to the polished final cut.

The Duffer brothers ensured the set remained lively. They brought in a sound system to play vibrant music to set the mood, which also included monster sounds for the cast’s authentic reactions.

DEADLINE: What was a stunt that doesn’t look complicated onscreen but would surprise people to find out that it was?

KODA: The scene where Will is lifted and floats toward Vecna appears simple, but executing it required precise control. It involved highline setups, ensuring Will’s movement remained smooth and steady throughout the sequence. Thinking creatively was vital, especially considering the many unseen monsters, allowing us to create the illusion of supernatural interactions.

Throughout the production, it was gratifying to see the culmination of hard work, revealing a final product we could all be proud of.

[This interview has been edited for length and clarity]