Monthly Archives: September 2010

Demo Reel

Jordan recently commented on an old post about cover letters:

Is it presumptuous to include a demo reel link in a resume if it is relevant?

“If it is relevant,” I don’t imagine it would be presumptuous, but I can’t imagine a circumstance when it would be, at least for a production assistant. (Maybe you appeared in “Within a Minute“?)

In the same post’s comments, Nathan the Location Manager wrote:

If you have experience as a Set P.A. doing lockups, you don’t need to explain how you “interacted with the public to facilitate the proper environment for the filming of crucial scenes.”

You’ll look like either a jackass trying to make yourself seem more important than you are, or a dumbass who doesn’t know how unimportant a PA is.

Any sort of visual aid, whether it’s pictures of you working on set or footage from the last film you worked on, is irrelevant.  A list of credits and a simple cover letter are all you need.

Single Parents

Ki recently commented on an older post:

I know that PA have long work hours. Do you think that it a single parent could handle this job?

I’m not sure how to address this question with my usual sardonic wit. Being a single parent is difficult in ways I probably can’t imagine, and there’s nothing really funny about that situation.

Being a PA, and really, any other position in the business, is more than a full time job. 60 hours a week, at minimum; 70, 80 hour weeks are not unheard of. It’s hard to have a girlfriend with those hours, much less raise a child.

And the pay is… not good. The take-home is better than your average minimum wage, but mostly because of the long hours. Most PAs struggle to make ends meet living with roommates in Koreatown. Paying for yourself and a child on a PA’s salary would be a challenge, at best.

I’ve already written that it’s impossible to be a college student and a PA at the same time. Being a mother is much more difficult, and more important. I wouldn’t recommend you trying to be a production assistant, either.

90% of success

Script Goddess had a fun post last week about filling as an AD on a commercial. This passage in particular caught my attention:

Day 3 Exterior House. My first time directing trucks and production vehicles. As I was arriving at the location My key P.A. called in and said he’d be late. How late I asked “Oh, not more than an hour!” he says. Not more than an hour! I wonder what The Anonymous Production Assistant might say about that! But having our other PA be a no show, I was in no position to fire him.

Ah, I’m such whore for links.

Here’s what I think: that PA is darn lucky Script Goddess isn’t regularly an AD. An hour is a long time, especially at the start of the day, when you’re trying to get everything set up.

Most ADs have a stable of production assistants that they can call on at the last minute. They wouldn’t be in the position of just accepting a late PA.  They’d be on the phone with replacements in minutes.

Obviously, these may be second-stringers in the AD’s mind; otherwise, why wouldn’t she have hired them in the first place?  If you call your AD at call time, you may wind up on that second string list.

On the other hand, if you’re able to jump in at a moment’s notice, and help an AD when she needs it most, you’ll probably be the first person she calls on the next show.

Her pink clashes with despair.

Her pink clashes with despair.

Don’t Be a Doormat

Something I neglected to mention in yesterday’s post– There must be, unfortunately, a limit to a PA’s kindness. Certain departments (I’m just gonna come right out and say it’s usually costumes) like to take advantage of friendly production assistants, if you’re not careful.

For instance, sometimes mail gets delivered to the production office, rather than the department it’s intended for. You call them up and say, “This is Anonymous in the production office.  We received a package for you.”

They go, “Oh, we’re suuuuper busy right now. Could you be a doll and bring it up to us?”  You, being a nice guy-or-girl, take that box right on upstairs.

Then, it happens again the next week, and again you helpfully bring them their box. But they’ve also got something to go back to the mail room. Could you be a peach and run on over there?

Pretty soon, they’re asking you to run to set, the writers’ office, Starbucks. Basically, you’re doing PA work for two departments.

You need to set boundaries early. One easy out is to say, “Let me just check with [Production Coordinator Name], first.” This keeps him in on the loop on who’s trying to steal his PAs.

Another option is to say, “I’ll get right on that,” and then… don’t. As Jared pointed out the other day, your responsibility is to the coordinator. What’s the costume supervisor going to do? Call your boss and say, “Hey! Anonymous is doing a terrible job ignoring you and working for me!”

On the flip side, don’t be a dick. At this stage in your career, you don’t know where you’re going to end up. Maybe you discover you like the camera department, but if you make an AC come to the office every time they get a box of lens cleaner, that crew isn’t going to want to hire you in the future.

Focus

Jared commented on yesterday’s post:

I generally pick favorites and cater to them. There’s just no way i’m going to make everyone happy, so why try?  When lunch is in my hands I cater to my bosses (POC, APOC,) and the ADs wants and needs. Those are the people who hire PAs in the future on other shows. If the construction coordinator complains about the food, I’ll listen. But if the 2nd AD has a complaint, I feel called to action.  This goes with everything else too, not just lunch. Coffee, distro, etc. I operate always thinking about how I’m going to help myself get my next job. Lunch is just another opportunity.

I don’t like to think in such crassly self-serving terms as that, probably because, while I may be spiteful towards individuals I’ve worked with, I tend to be Pollyannaish  about the business as a whole.

Jared is, of course, right.  Your boss hired you to work for them, not the entire crew.

Now, if you can help somebody out, go right ahead and help.  That’s just being a good person.  But if, like Jared said, the construction coordinator’s desires conflict with the production coordinator’s, go with your boss.

Lunch “Break”

I’m a people pleaser, which is why ordering lunch is very stressful for me.

On most shows, the office will eat off the catering truck, like the rest of the crew. But that only works if the company is on stage, and shooting daylight hours. If the crew is shooting a split day, you can’t expect office workers that came in around eight to wait until five o’clock for lunch.

Thus, the office will order lunch for themselves, post, sometimes art and the writers, too. (It kinda depends on how these various departments are laid out around the studio.)

I’ve heard some shows will just pick a restaurant and pass around the menu, letting people pick out whatever they want (as long as it’s under $X, where X is whatever the producer thinks she can get away with).  I’ve never worked on one of those. I’ve always been on shows that order catering-sized dishes from restaurants, then serve those buffet-style.

On the one hand, ordering one large meal takes far less time. No waiting around for people to hem and haw about whether they want the caesar or garden salad.  On the other hand, it means I have to pick out food that everybody’s going to like.

Now, I realize this is all in my head. People are getting free food, and as long as it doesn’t violate a few basic dietary requirements (religious or otherwise), they shouldn’t complain. I’ve been told as much by most every coordinator I’ve ever worked for.

But that’s just not how I’m wired. I want everybody to be happy. I can’t just order what I’d like to eat. I desperately want everyone to enjoy their lunch.  Which is, basically, impossible; someone will always complain about the food.

And then there’s the logistics of how many people are eating. When you look at a catering menu at most restaurants, they’ll say a given dish serves between, for instance, ten and fifteen people. Order three of those, and it might be enough for thirty people (not enough) or forty-five (way too much).

If you don’t order enough, the APOC goes into a panic, and sends you off to pick up another tray of food. By the time you get back, nobody’s hungry anymore, because they realized there’s a kitchen full of snacks that are just as free. So you end up getting yelled at and wasting forty-five minutes of your life, and the food doesn’t get eaten, anyway.

On the flip side, if you order too much food, the producer (who can barely remember your name at the best of times) gets in your face about wasting the show’s money.

Essentially what I’m saying is, there’s no way for this to go right.

I have a friend on another show whose APOC orders lunch. Man, I would love that. The next time someone is all, “Hey, why isn’t there any more X?” or “How come there’s so much Y?”, I could just shrug say, “Ask the APOC. All I did was pick it up.”

That would be nice.

The Factory Floor

Rachel writes:

First off I love your blog!  It’s comforting to hear that another PA is dealing with the same stuff I deal with. :)

I have been working as a PA for the past year on different reality shows.  My resume is obviously OK (or at least decent) otherwise I wouldn’t be getting any work, but I never really know if the way I have my resume is the best way for production.

Right now I basically have three columns.  One with my position, the next with the name of the show, and the last one with the production company/producer/month and year I worked on it.  Is this the best way?  Should I be describing what I did I set?  Is there a different format I should use?  Should it look more like how imdb puts your credits?

Have you seen the new IMDb layout? I won’t even link to it, it’s so ugly. Now it looks like something designed in the mid-nineties. It might as well have animated gifs and midi music.

As I’ve said in the past, the three-column look is what I have, and what I most commonly see everyone from PAs to DPs use.

There is no reason to describe your duties. A PA is a PA, with minor variations. The same is true for just about any crew position.

I was talking with a civilian friend of mine the other day, who is applying for a new job. She’s currently a “project manager” at a major car company, but she wants to work at another company as… a project manager.

It sounded like a lateral move to me, but she explained that it was a completely different job. This confused the hell out of me, because I’ve been working in film and TV my entire adult life. The editor does the same job whether it’s a short film or an epic feature.

My friend explained that I was thinking about it wrong. She’s not part of the crew; she is equivalent to a studio executive.

At a car manufacturing plant, apparently, everyone is in a union, and every position has a very standard set of tasks.  In other words, the stage is actually the factory floor.  Of course, it’s not often that the factory foreman makes several times more than the CEO.

Who wears a hat from his own movie?  Seriously.  Don't be that guy.

What? Like I'm gonna put up a picture of Lucas.

We often get caught up in the “art” of what we do.  Sometimes it’s good to remind ourselves that, despite all the glamour and excitement, we’re really manufacturing a product.

Wow, this post drifted really far afield of Rachel’s question.  Ummm, let’s see… Oh!  Be sure to include your phone number and email at the top of the resume, too.  People forget that a lot.

We Were Driving, Driving in Your Car

Colin commented on the bus story:

I’ve been living & working in LA for almost 2 years now, car-less… Yes it can be more complicated, but as a working cinematographer/director on small projects, I find people either give me transportation, (or you fly to another city) or I’m on a 2-day shoot and then editing from home most of the time.

I’ve PA’ed on features and I guess being an on-set PA meant runs wasn’t what they wanted me for, presence on set was… (maybe that was a choice made due to my lack of car…)

either way, If you are smart or talented enough, you can figure it out without one… (though I guess I haven’t figured it out QUITE enough to purchase my own yet… : )

Yes, if you’re above the line or a department head, you can probably find a ride.

But even between set and office PAs, you’re comparing apples and oranges. In fact, those are too similar. Apples and oranges are both sweet, round fruit that your stupid, hippie neighbors put in your bag on Halloween.

Set PAs and office PAs have different requirements. Doing runs is a major part of an office PA’s job; set PAs, like you intimated, almost never leave set. You’ve probably never been required to bring your own computer, either.

It has nothing to do with how clever you are. Even though both fall under the category of “production assistant,” Hollywood has a very clear division of labor. Our jobs are just different.

As far as getting around town without a car, that’s pretty impressive. It limits one’s freedom, but it also helps keep Los Angeles from looking like this:

Man, it hasn't looked like that here in... days.

According to Wikipedia (which is never wrong), the Chumash called the area "the valley of smoke," because of smog caused by campfires.

Thanks, Colin!

PA vs. Intern

Haley commented recently:

Thanks for your Blog of awesomeness!

So, I just got an interview to be an Art Dept. intern on a new Showtime series (yay!), and I had two questions for you. 1) What is the difference between a PA and an Intern on set?

Legally, it means you can’t work. No, really. Don’t take my word for it:

In order to qualify as an unpaid internship, the requirement is simple:  no work can be performed that is of any benefit at all to the company.  That is, you can not deliver mail, sort files, file papers, organize a person’s calendar, conduct market research, write reports, watch television shows and report on them, read scripts, schedule interviews, or any other job that assists the employer in any way in running their business.

That’s from the Labor & Employment blog, which sounds official enough to me. You’re supposed to get college credit for interning. Which means you should be learning something.

Now, in reality, movies and TV shows hire “interns” all the time as free labor. This is accepted practice because… well, mostly because they can get away with it. It’s a question of supply and demand: thousands of people are trying to get started in this business. When supply in any market is saturated, the price goes down.  Be thankful, I guess, that you don’t have to pay to be an intern.

Oh, wait.

So, in practical terms, there is no difference, other than the whole not-getting-paid thing.

On to Haley’s second question:

2) This comes after weeks and weeks of sending resumes and NO response. When I originally called about the job, it had been referred to me by a well known Production Designer (after many annoying emails asking if he had any contacts for me). This definitely gave me an in, and when I sent in my resume, they said that I had an amazing resume and were so excited to meet me. Does this mean that NO one looks at resumes unless they’re referred, and all the sending-resumes business I’ve been doing has been for nothing?

There are a few possibilities you’re not considering– they could be lying; maybe your resume is not amazing, but they want to suck up to the well-known PD.

Another option– perhaps you’re amazing, but there was someone slightly more amazing applying to those other shows. Remember what Jerry Seinfeld said:

"Maybe if this shirt is witty enough, someone will finally love me."

I can't believe "I'm Telling You for the Last Time" came out more than a decade ago.

In any case, a good recommendation can’t hurt.

Here’s the priority of hiring people:

  1. People who you’ve worked with in the past.
  2. People who’ve worked with people you know in the past.
  3. People who attended the same school as you.
  4. People who sent in their resume first.

A recommendation doesn’t trump #1, but it does put you in slot 2, which isn’t bad. Barring either of those, there’s still a non-zero chance that you’ll get a job by sending your resume in quickly. That’s how I got my current job.

Between your connections with a well-known designer and your current internship, you should be able to hit the first or second spot on your next job hunt.

It’s Not All About You

Not long ago, I was working casting on a reality show.  It’s very different from (read: “less professional than“) a scripted show.  In scripted, the actors have scheduled appointments; they have scenes that they’re supposed to have prepared; they’re polite, but focused on the task at hand.

For reality shows, it’s basically a cattle call.  These people who have no actual job to attend to on a weekday morning come in, hang out in the waiting room, chat, chow down whatever snacks have been laid out.  Nobody seems to have put any thought into what they’re doing here, other than the women in too much makeup and not enough clothing.

I'm ashamed to say I spelled "Kardashian" correctly on my first try.

Like this, only less demure.

As much shit as I give actors, at least there’s a talent involved.  A reality show contestant is just a narcissist.  But those aren’t the narcissists I actually intended to write about today.

As we were setting up the office, the casting director sent my fellow PA down to the Barnes & Noble to pick up some magazines for the waiting room.  (It’s not like the applicants were rehearsing their sides.)

Here’s what she came back with: People, Us Weekly, In Touch,  Star, OK!, Allure, In Style, Vogue, Teen Vogue, Vanity Fair, Cosmopolitan, Marie Claire, Seventeen.

Seriously, I’ve only heard of half of these magazines.  I thought Marie Claire sold pies, and OK! looks like a fake magazine from a movie about celebrities.

In fairness, Get Him to the Greek was pretty funny.

I'm not actually convinced Russel Brand is a real person.

Plus, Teen Vogue?  Holy shit.  Something has gone seriously wrong, when teenagers are reading Vogue.

Back to the point, do you notice a pattern in these selections?  Maybe the lack of, say, Car & Driver, Popular Mechanics, or hell, even Esquire.  What about a goddamn Time Magazine or Newsweek?

Yes, a number of the applicants would probably enjoy gossip magazines; many of them did, in fact.  But several flipped through the selections, then dropped them in annoyance.  I’m sure some of the readers picked them up for lack of anything else to do.

Look, we’re talking about reality show contestants.  I’m not expecting The Economist or the New England Journal of Medicine.  But this girl was obviously buying magazines for herself.  It was a Barnes & Noble, not the supermarket checkout; she had other options.

This is exactly what a production assistant shouldn’t do.  A PA’s primary job is to serve others, even if what they want is stupid and ridiculous.  And when you’re given a vague request, like buy a bunch of magazines for the waiting room, using your own judgement doesn’t mean buying what you like; it means buying what you think other might like, too.