Thank you IATSE for keeping us prepped!
Check your enthusiasm at the door.
This was an interesting debate started by a bunch of old and new film people.
“Oh those guys are just a bunch of whiners! Let me get on set and show you how it’s done!”
“I could camp out doors during the whole movie and never complain!”
When I was young, I wanted to be on every set, doing anything I could, to be able to join a crew on the next set. Long hours, no pay, sign me up. But as I learn and become good at my job, my first instinct to an article like this is “Well... why is no one listening to all these people?”
You have a current report on at least 20 people quitting the film, an IA rep on set to make sure that the wellfare of the crew is being respected, and the accounting stating that the film is at least $40 million over budget. We can all agree that something is wrong. But suddenly my feed is lit up with all the kids saying “But I would do this and survive! I’d do it for free!”
I’m not jaded. I’m experienced. I know what filming on mountains is like, what going into the wilderness is like. What it takes to film in -25 degree weather. So while everyone jumps at the chance to work on, what they’re certain will be the next Oscar movie, check your enthusiasm at the door and say “Why are the veterans of my industry pausing at this, or warning me to be safe?”
Because while you’re talking about how much fun it’ll be to get that perfect shot no matter what, we already had a film crew do that last year. And it didn’t end very well.
How to break in to the business, lesson 1.
Lesson 1: There is no right way. Only a whole lot of wrong ones, until finally someone lets you in the door.
I've been looking through this thing and the one question we get asked a lot is "How do I break into film?" or how do I get experience? There's so many ways it's endless. Almost as endless as the amount of No's and no thank yous you'll be hearing back.
Breaking into this business requires one thing: The ability to keep going. I've been fired, I've not been hired. I've been told that they're hoping for someone who can blend in with production more (re: white.) But I got where I am by driving forward. So here's a few places you can start
1: Los Angeles. If you can survive the 90 degree weather, the shoebox apartment, the random neighborhoods of gang violence, 7am on the 405, or the rotating parade of shifty room mates you'll have to crash with, this is where they make films. Everyone in the business. Everyone has an idea for a script, or works the day job, and chips away at their Sundance script at night. Being on 24/7 is both exhilarating and exhausting. But this is where the work is. And if you can compete with the million other people working to get on top, then you'll find all you need to succeed. Provided you survive.
2. Craiglist, the other cesspool: I've received work off of Craigslist. Actually, a few large jobs that were no more than "Hey anyone around?" kind of postings. But it's a crap shoot unfortunately. Just as I've done well, I've also been sitting on sets where the camera dolly looks like something off Shittyrigs.com and crafty comprises of zip fizz and hand sanitize (No water). But you will get experience. There's no way to learn, like the wrong way. Do enough of these weekend warrior projects, and you'll either level up, or find someone deep in the industry, who's helping out a friend but normally works on Empire. And those are the ones you email and be nice to.
3. Your local film office: Most cities and states actually have a film office. Some even have film incentives. So research your city and state, and see what kind of projects go on in your area. Most have monthly meetings, mixers or other get together that you can attend, hand out business cards, and get to know more people in your industry.
4. Facebook groups: Lots of them out there. Production, web series, Sound mixer boards, Producer boards. Little searching leads to big results.
5. Websites like Staffmeup.com or Mandy.com or others: Again, Bing Search pays off.
Just remember when emailing, Be professional, be polite, be upfront with what you want. I've had a few PAs email me and ask for work or to even volunteer, and when I can, I get them on set. But if they don't email back, move on to the next. Keep at it, but be professional.
-Griffin
Crew members, like Bryce Dion of "Cops," are often abused, injured, or worse (and unable to pay for treatment).
I worked my last reality job a couple years back. Insane hours, so much abuse coming from the office, and a producer died a year later from a heart attack. No show is worth it, and it's about time these ones unionized.
From 12on/ 12 Off Facebook page:
A victory for 12on12off, crew members, and all those who have been fighting to have the industry-wide health and safety issue of chronic long hours officially acknowledged --- the Long Hours Resolution was adopted by the 67th Quadrennial IATSE Convention, the 805 delegates in attendance passed the resolution unanimously.
I am posting the resolution in full below for those who have not read it. Officially adopting this resolution will do little on its own to combat the scheduling of 14 and 15 hour days routinely working all Friday night into Saturday, week after week on movies and episodic TV shows, but it does give a big boost to the movement as we publicize the significant adoption of this resolution at the I.A. Convention.
LONG HOURS RESOLUTION
WHEREAS, there exists indisputable evidence from scientific, medical and empirical studies linking sleep deprivation and fatigue to critical safety and health hazards,
WHEREAS, workers continue to work excessive hours,
WHEREAS, an AFL-CIO report on the state of safety and health protections for America's workers entitled "Death On The Job: The Toll Of Neglect" states that "Long hours of work and the way work is organized are emerging as major health and safety issues affecting workers across many industries and occupations."
WHEREAS, the IATSE has acknowledged the safety, health, and well-being of our members to be of the greatest concern,
WHEREAS, overtime was created as a deterrent to excessive hours, not merely as a supplement to income,
WHEREAS, this is a critical issue of health, safety and life that despite efforts has yet to be treated in a substantive way,
WHEREAS, our health and safety should be beyond compromise.
THEREFORE BE IT RESOLVED, that the IATSE continue to communicate these concerns to labor-management safety committees and make efforts to increase awareness that long hours of work cause injuries, illnesses and deterioration in job performance, as part of the IATSE Entertainment and Exhibition Industries Training Trust and CSATF Safety Pass Programs, and
THEREFORE BE IT FURTHER RESOLVED, that efforts be made to require all signatory companies to recognize fatigue as a health and safety hazard in their safety guidelines.
Callsheets Part One: What is it?
The callsheet is, simply put, the defining document of that day's shoot. A callsheet is done on legal paper, and has a front and a back. If you have a small shoot you can sometimes do a letter sized callsheet. Callsheets are different depending if you are doing a commercial, short film, movie or television show. There are different formats for each. I do not know of ANY AD that uses a pre- formatted callsheet. Callsheets are created in Excel using your wits, good sense, formatting and lots of formulas and tricks.
Sometimes you are required to use a production company's callsheet. I also have my own that I far prefer.
The callsheet is a legal document and must be exact. Even the slightest error can be a dangerous problem and/or cost you thousands of dollars.
This is why interrupting the AD when they are working on the callsheet is not great. And it is why not reading prelims, or answering back to the AD department regarding questions for tomorrow's callsheet or ignoring the office. This document MUST be precise in spelling, formatting and content. It is a huge amount of pressure on the AD department as you are making this document as you are filming and you MUST know what you are doing when you make this document.
The front of the callsheet has:
- The production company name and information
- The names of the producers, executive producers, etc.
- Sunrise/sunset, civil sunrise/civil twilight & weather report, including an hourly update if there is a dramatic change.
- Crew call time
- Any precalls, done in a "banner" (more on this later)
- A section that contains the scenes for for the day in order that you are shooting them (and it includes a small description of the scene), who is in the shots (each actor is assigned a number when you do the initial breakdown of the script. These numbers are listed beside the scenes so you know who is supposed to be in them) and the script location.**
- The actual location we are shooting at and any parking or location notes.
- A section with each department that lists any special or unusual things happening for that department. ie if you have a fire stunt that day, or any police arriving to help with a driving scene.
- Any picture vehicles and/or significant props for that day.
- The page counts for each scene and a total number of pages that will be shot that day.
- A list of all actors in NUMERICAL order, with cast name and real name, pick up time, time that they go into Hair, Make Up and Wardrobe.
- The "Advance Schedule" for the next two days which is the the **.
- Any safety or warning notices.
- The Second Assistant Director's phone number ALL OVER THE EFFING THING. And their name.
- What channels each department are on.
The back of the callsheet has:
- A listing of every single person who will be on set, by department and their title.
- For some styles of callsheets, the contact number or email for every person.
- A call time or notation for that person
- Crew call times
- Pre-call times (more on this later)
- Actor pick up times if you have a transpo department
- The caterer's info, and lunch time, as well as where lunch is being served.
- The quote of the day or picture of the day or movie trivia.
- A listing of all picture vehicles and their call time as well as all special equipment and their call times.
- A listing of all drivers.
- Sometimes your vendor information and numbers.
- What channels each department are on.
- Sometimes a walkie/headset count.
- Notes regarding the courtesy breakfast, who, notes about the Non Deductible Breakfasts and reminders to people to come 15 minutes prior to call to eat the damn breakfast.
This document is updated DAILY for the next day while you are on set, also dealing with on set issue. You must have a "Prelim" callsheet done by lunch time and present it to all Keys (department heads) for notes.
Now on to call times, which isn't half as easy as you would think....
-Val