Sarah Lezito’s career shows one possible path into motorcycle stunt riding—not a repeatable recipe or a promise of work. In a 2024 interview, she describes learning through practice and other riders, gaining attention online, taking live-show offers, then moving into film work, competitions and video production. Her account also shows the trade-off: stunt riding can bring creative opportunities, but it carries serious injury risks and no universal route into paid work is established by the available profiles.
How Sarah Lezito got started
Lezito says her family was not involved in motorsports and her parents initially opposed her interest in motorcycles. She began practicing at around 13, first riding her father’s agricultural quad at 14. At about 15, she bought a Yamaha 125 DT and says she practiced every day to improve. She learned by watching stunt videos, attending local shows and, later, training with other riders. These are details from her own account, not a recommended progression for a young rider.
In a 2024 interview with AXA Passion, Lezito describes social-media attention bringing offers to perform at shows. Roughly two years later, she says, she received a call for a film. Her first major film job was Avengers: Age of Ultron, which involved travel and preparation. She says that experience was followed by a year of intensive motorcycle training, and later opportunities to work with brands and sponsors.
This sequence illustrates how her own visibility and skills led to particular opportunities. It does not establish that posting videos will lead to bookings, that a certain number of years of practice is enough, or that there is a standard credential or audition process.
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What stunt-riding work can involve
Lezito’s profiles describe several distinct settings. The work is not limited to performing tricks: it can also involve preparing material, traveling, training and producing content. The following is a practical comparison of the kinds of work in her story, not a measure of their typical pay, risk or availability.
| Work setting | What her accounts describe | What to consider |
|---|---|---|
| Film doubling | Motorcycle stunt work for productions, including Avengers: Age of Ultron, with travel and preparation. | Film work is performed within a production environment. Lezito says her film experience and personal practice did not always have the same conditions. |
| Live demonstrations | Show offers followed the online attention she describes; BMW Motorrad also recounts shows and international travel. | Public performance brings an audience-facing element. BMW’s profile mentions stage fright and the strain of frequent travel. |
| Competitions | Lezito took part in stunt competitions. BMW Motorrad reports her ninth place among 75 riders at the 2015 Stunt Grand Prix in Poland. In her 2024 recollection, she describes a different result: eighth overall among 100 participants, as well as the women’s title. | Those are separately attributed accounts with different participant counts and rankings; the sources do not explain the difference. They do not establish that “world champion” names one standardized championship across stunt riding. |
| Online video production | Lezito says she later focused more on making motorcycle videos in her own setting, including work with her partner Charlotte Consorti. | Self-produced videos offer more control over the setting, but they are still motorcycle stunt work and should not be confused with a safety guarantee. |
Social-media figures are time-bound. AXA Passion’s 19 November 2024 introduction described Lezito’s combined following as “more than 60 million people”; in that interview, Lezito said some of her pages had “up to 8 million followers.” These are not current counts, and the latter is not a total across platforms.
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What her story says about risk and progression
Stunt riding involves a real risk of injury. BMW Motorrad’s profile recounts Lezito tearing her ACL after a crash. In the 2024 AXA interview, she says an accident during a film prompted her to reassess her work and focus more on videos made under her own conditions. She also says protective equipment was not always required on film sets; that is her account of her experience, not a general rule about productions.
For her own video work, Lezito says she wears a helmet, knee guards and gloves. Those details are not a complete safety protocol, and protective equipment cannot make stunt practice risk-free. Neither profile provides a full set of safety standards or a guarantee against injury. BMW quotes Lezito on developing “step by step and not too quickly,” a principle consistent with patience but not a substitute for qualified instruction or a controlled practice environment.
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What an aspiring rider can take from the example
There is no universal entry route, credential, licensing requirement, union pathway, insurance rule or current training program established in these profiles. Anyone exploring the discipline should seek qualified instruction and practice only in lawful, controlled settings; these are prudent safety recommendations, not requirements verified by the profiles.
- Separate skill-building from career expectations. Lezito’s early practice and later work show her own progression, not a reliable employment funnel.
- Understand the work setting. Film doubling, live demonstrations, competitions and online production differ in preparation, public performance and travel demands.
- Treat visibility as uncertain. Her online reach preceded show offers in her account, but it does not establish that social-media success is necessary or sufficient for paid work.
- Account for risk before pursuing performance. A helmet and other protective gear are not proof that a maneuver or practice setting is safe.
Lezito’s story is useful as a case study in persistence, evolving work and adaptation after injury—not as a step-by-step promise. Her profile also illustrates how a stunt rider’s career may span entertainment, live performance and self-produced media, with no single route shown to be standard.
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