Saturday, February 23, 2013
Production Assistant Needed!
One of the best things I ever did for my career was get a job as a PA. That is a Production Assistant. Which is movie talk for some person who is paid $125.00 per day +/O.T. if your lucky. To direct people around the edge of a set when doing large exteriors in a populated area, not direct traffic-that's a cop's job. Even though I've done it on most(99.99%) of the large feature films I have worked on. Basically it's one of the MANY catch 22's for PA's and production. You can't direct traffic legally but if officer McSleep in passed out and your to busy working your ass off to notice and the AD/Director/Producer/rest of the world is waiting for traffic to stop. You block traffic, even if you then get yelled at by the locations manager. That's the job, and hey the entire show knows who you are now. Your a PA, really this is what happens when the director wants a shot you don't have permits for and the producer tells locations to "Do it anyway". So, it's not actually your fault, just try not to get anybody killed.
Why do this, this not very rewarding job? Well for one, it's getting paid to work in industry and two it's REALLY, REALLY important for you to learn how to be on a set. You actually get to see real set work flow as opposed to classroom set work flow. More important almost than both of those things is the opportunity to network. HINT: OTHER PA'S FIND YOU PA WORK No matter how cool the 2nd 2nd AD(or 3rd AD Canada, A) seems with you they will always go to there favorites first, and if it's your first show with them, IT'S NOT YOU! Don't take it personally and don't let that detour you from building as much of a relationship with your AD as possible. PA's will consistently look out for each other and give each other work. AD's will get you good work.
Back to the networking thing. If your not social, if you got into film and your kind of introverted. You have to push. Get out of your comfort zone. If you have an amazing reel at what ever you want to be and you can't carry a conversation your in trouble because the odds are less that anybody on or associated with the project will see it. That said, hopefully you have it on-line so it's working for you some how.
That's it just a shorty about being a PA.
Just say "NO!!!!", to the project.
Just say "no", "no thanks", "not right now", "I have to wash my hair", "clean my toenails", "get a root canal". The single most important thing I have learned this year, is that I have an obligation to say "No" to projects that are a bad fit for my life. Yes, I said "my life" not "my career". Believe it or not your career is directly tied to how you manage the rest of your life. At some point your going to have to do an indie feature that is going to be garbage. It's going to have to little a budget to big a scope and the script is gonna be less than what it should be. Say no to this project, because these kinds of projects are like un-popped pop corn, you know there are a ton of them at the bottom of the bag and you still manage to chew on one. What that means is that you will have plenty of chances to work features if you've got yourself out there and are working. I know , you just got out of film school and all you can think is "what now?", and your kind of panicking about student loans and moving in with your parents, ect. Moving to LA and NY are great starts or any city with a film scene of some sort can work. There is no formula to this business in terms of geography. More so this is true now then ever before. With the option of the Internet as a distribution model and better equipment getting cheaper it's a global film market that grows daily.
If your barely scraping by in an apartment and working at Best Buy 30 hours a week, you might not be in the best position to produce a feature. This is the part where I remind you that "Clerks" was made for nothing and there are no rules. BUT! It's a big one, "Clerks" would not make it in today's indie film world. Kevin Smith would stand zero chance of getting that movie into any festival that most people have heard of and less than 10% chance in all the rest. With the market expanding so much it's actually the most competitive it's ever been. Now if you have been working and you've saved a ton of money, and your buddy has a script and he can direct, you may have something, or you just might have to say no to that also. Yeah I know that's not helpful exactly. Just wait for it I am getting to the good stuff, sheesh.
So your cautious and you have some money saved what's the deciding factor. Well, money that's the first one. When your producing you will absolutely undoubtedly have to take time off from work. You cannot do the right/effective job as a producer if your working. No, you don't HAVE to quit your job but you will need days off. Usually during production you don't want to be on set, but at the indie film level, especially your first one you should be available 24/7 during principle photography. A day off here or there can work for pre-pro but more and more you will need full days committed to aspects of production. Also you have to try and plan for surprises. Don't get me wrong, there are days that seem to be way less productive than other's. Those days are not the goal. As you do this more the better you get a predicting how long things take and what needs need to me met when.
Ideally you have two chunks of money saved. One to help with the pre-production costs associated with the film, and the other for you to live on. Now this is just to be a producer on a film where the director has put on his/her big "boy/girl" pants and is acting like an adult. Which means they have thought of things other than the "Awesome shot" that is stuck in there heads. If you have a great script and the directory has done some of there homework, your two chunks of cash might have found a reason to be spent. Now, don't fund the project with the money your living off of. The director/writer/other producers and yourself should discuss how to raise the money. Yes, sometime you will have to help out with stuff. Don't neglect pre-pro because the Director of Photography only wants to rent from an expensive rental house.
Fight for pre-production, and fight for the edit. Post Production Supervisor is a job that is neglected and lack of it can sink a projects aspirations super fast. The PPS is going to basically do the UPM's (Unit Production Manager[which is the business version of the director]) job after the film is "in the can". Basically, this person is the answer to, "Ok we've shot everything what's next?" It may seem obvious that the Edit would be next. That's true only if you have hired an editor. A lot of time Director's will take this on them selves or the DP will. Personally that is a huge mistake, the issue really is that the director/DP both usually have some sort of creative control issue that doesn't allow them to intrinsically trust other people with there project. It should be mandatory in films school for people to only do one job when they are directing. If the DP is good he/she will leave it to the director unless the director starts to panic then the DP will panic and that's how DP's end up editing stuff. The point is you have all of this to work out before the first shot ever happens. You should have a vision of the footage work flow in your head once you have gotten through the script a couple of times. This also means that you should be looking at an editor before the first day of shooting as well.
Now maybe your saying that your not sure what the director should be doing during pre-pro. Well no worries I've got you. Overheads, Storyboards, Blocking, Rehearsals, Stunt Rehearsal, Shot list. This is the stuff the director should be working on that you don't need to really have anything to do with. The UPM/Casting Director and DP can be involved. Ideally your not doing much with each of those.
Look, pre-production only happens once, the more of it you do the better the film will be. Period. It's one of the few formula's/laws in film and as a producer you live and die by this. If you have heard different, well prove it. I have been doing this for 8 years and no one I have ever talked to has said contrary to this. Yes, there is more to it than that. Ineffective pre-pro can also be useless to a film. The point is, it always happens even if your pulling the film out of your backside you had to at the least have logistical conversations.
The final words:
Have your life squared away, if you can't afford to take a month off of work, save more or look at other work. Film is not a hobby, many people treat it like that because they want to BE famous. Behind the camera most of us have to earn it. It's hard, you have to sacrifice, a lot, everyday. If you love it, it's worth it. If you don't you'll know very quickly and well, get the hell off the set. Don't be afraid to wait, if a project comes along and your not ready don't force it. That's the right to say no, the power of no is when you have waited and your ready. Sometimes the money won't be perfect but you lined up your living situation and you work flow fits with most of the contingencies you've though of for your life. IF YOUR MARRIED, YOU HAVE TO EXPLAIN THIS TO YOUR SPOUSE!! If you don't and they leave your ass, that's bad communication on your part. That's it for now, more Plus to post later.
If your barely scraping by in an apartment and working at Best Buy 30 hours a week, you might not be in the best position to produce a feature. This is the part where I remind you that "Clerks" was made for nothing and there are no rules. BUT! It's a big one, "Clerks" would not make it in today's indie film world. Kevin Smith would stand zero chance of getting that movie into any festival that most people have heard of and less than 10% chance in all the rest. With the market expanding so much it's actually the most competitive it's ever been. Now if you have been working and you've saved a ton of money, and your buddy has a script and he can direct, you may have something, or you just might have to say no to that also. Yeah I know that's not helpful exactly. Just wait for it I am getting to the good stuff, sheesh.
So your cautious and you have some money saved what's the deciding factor. Well, money that's the first one. When your producing you will absolutely undoubtedly have to take time off from work. You cannot do the right/effective job as a producer if your working. No, you don't HAVE to quit your job but you will need days off. Usually during production you don't want to be on set, but at the indie film level, especially your first one you should be available 24/7 during principle photography. A day off here or there can work for pre-pro but more and more you will need full days committed to aspects of production. Also you have to try and plan for surprises. Don't get me wrong, there are days that seem to be way less productive than other's. Those days are not the goal. As you do this more the better you get a predicting how long things take and what needs need to me met when.
Ideally you have two chunks of money saved. One to help with the pre-production costs associated with the film, and the other for you to live on. Now this is just to be a producer on a film where the director has put on his/her big "boy/girl" pants and is acting like an adult. Which means they have thought of things other than the "Awesome shot" that is stuck in there heads. If you have a great script and the directory has done some of there homework, your two chunks of cash might have found a reason to be spent. Now, don't fund the project with the money your living off of. The director/writer/other producers and yourself should discuss how to raise the money. Yes, sometime you will have to help out with stuff. Don't neglect pre-pro because the Director of Photography only wants to rent from an expensive rental house.
Fight for pre-production, and fight for the edit. Post Production Supervisor is a job that is neglected and lack of it can sink a projects aspirations super fast. The PPS is going to basically do the UPM's (Unit Production Manager[which is the business version of the director]) job after the film is "in the can". Basically, this person is the answer to, "Ok we've shot everything what's next?" It may seem obvious that the Edit would be next. That's true only if you have hired an editor. A lot of time Director's will take this on them selves or the DP will. Personally that is a huge mistake, the issue really is that the director/DP both usually have some sort of creative control issue that doesn't allow them to intrinsically trust other people with there project. It should be mandatory in films school for people to only do one job when they are directing. If the DP is good he/she will leave it to the director unless the director starts to panic then the DP will panic and that's how DP's end up editing stuff. The point is you have all of this to work out before the first shot ever happens. You should have a vision of the footage work flow in your head once you have gotten through the script a couple of times. This also means that you should be looking at an editor before the first day of shooting as well.
Now maybe your saying that your not sure what the director should be doing during pre-pro. Well no worries I've got you. Overheads, Storyboards, Blocking, Rehearsals, Stunt Rehearsal, Shot list. This is the stuff the director should be working on that you don't need to really have anything to do with. The UPM/Casting Director and DP can be involved. Ideally your not doing much with each of those.
Look, pre-production only happens once, the more of it you do the better the film will be. Period. It's one of the few formula's/laws in film and as a producer you live and die by this. If you have heard different, well prove it. I have been doing this for 8 years and no one I have ever talked to has said contrary to this. Yes, there is more to it than that. Ineffective pre-pro can also be useless to a film. The point is, it always happens even if your pulling the film out of your backside you had to at the least have logistical conversations.
The final words:
Have your life squared away, if you can't afford to take a month off of work, save more or look at other work. Film is not a hobby, many people treat it like that because they want to BE famous. Behind the camera most of us have to earn it. It's hard, you have to sacrifice, a lot, everyday. If you love it, it's worth it. If you don't you'll know very quickly and well, get the hell off the set. Don't be afraid to wait, if a project comes along and your not ready don't force it. That's the right to say no, the power of no is when you have waited and your ready. Sometimes the money won't be perfect but you lined up your living situation and you work flow fits with most of the contingencies you've though of for your life. IF YOUR MARRIED, YOU HAVE TO EXPLAIN THIS TO YOUR SPOUSE!! If you don't and they leave your ass, that's bad communication on your part. That's it for now, more Plus to post later.
My Producer +
My Producer + is a blog about producing that goes on and on about my experiences as a producer/film maker living in Chicago, having moved from LA in 09 and trying to not move anywhere else until I get it to work where I am at.
That said I do all sorts of jobs in the industry mostly freelance PA, but have done everything from Dolly Grip to dish washing, and all the props/FX in between. Now I am not saying I have done every job, V.F.X. for instance, or media manager. But a lot of them nevertheless. In case you have not noticed I am using industry jargon a bunch. If you don't know what it means then ask or I've heard people use Google(heh capitalized itself) to look things up nowadays. Crazy world I know.
Right now, and I mean RIGHT FN NOW. I am THE producer on and independent Indie) film entitled, "Buckle UP PUNK!". Which outlines the story of a community college drivers education teacher "Ed". The story is set in a fictional more nasty Chicago circa 1985. Buckle Up Punk (Link) The blue is of course the link to the site where you can see the log-line synopsis of the story ect.
So basically the above paragraph is why I am qualified to talk about any of this stuff because right now I am living it. Hard. Previously I had a producers blog The Castle Muse, which is still up but has now been converted to my writing blog. Why the change, well "what's in a name...". Really, it's the name,The Castle Muse. Which is more indicative of feelings and some crap. Plus it's a pain in the but to S.E.O. (Search Engine Optimize). Recently I've had pressure to write more (this is a good thing) and I seem to be cranking out the blog stuff (My third blog is GTEiN which is hopefully my last, most this one is about video games/culture and entertainment culture, ect.). So The Castle Muse is where I will self publish a bunch of my writings and literary musings. Which of course now makes the title of that blog make waaaaaaay more sense.
OK, so that is the nuts and bolts of this thingy now onward! With the producing stuff I mean, (cough) of course.
That said I do all sorts of jobs in the industry mostly freelance PA, but have done everything from Dolly Grip to dish washing, and all the props/FX in between. Now I am not saying I have done every job, V.F.X. for instance, or media manager. But a lot of them nevertheless. In case you have not noticed I am using industry jargon a bunch. If you don't know what it means then ask or I've heard people use Google(heh capitalized itself) to look things up nowadays. Crazy world I know.
Right now, and I mean RIGHT FN NOW. I am THE producer on and independent Indie) film entitled, "Buckle UP PUNK!". Which outlines the story of a community college drivers education teacher "Ed". The story is set in a fictional more nasty Chicago circa 1985. Buckle Up Punk (Link) The blue is of course the link to the site where you can see the log-line synopsis of the story ect.
So basically the above paragraph is why I am qualified to talk about any of this stuff because right now I am living it. Hard. Previously I had a producers blog The Castle Muse, which is still up but has now been converted to my writing blog. Why the change, well "what's in a name...". Really, it's the name,The Castle Muse. Which is more indicative of feelings and some crap. Plus it's a pain in the but to S.E.O. (Search Engine Optimize). Recently I've had pressure to write more (this is a good thing) and I seem to be cranking out the blog stuff (My third blog is GTEiN which is hopefully my last, most this one is about video games/culture and entertainment culture, ect.). So The Castle Muse is where I will self publish a bunch of my writings and literary musings. Which of course now makes the title of that blog make waaaaaaay more sense.
OK, so that is the nuts and bolts of this thingy now onward! With the producing stuff I mean, (cough) of course.
Subscribe to:
Posts (Atom)