Workin’ on the Night Shift

Call time is when?!

One of the worst things you can read in next week’s script is, “EXT. [WHEREVER] – NIGHT.”

Say goodbye to your weekend.  Say goodbye to your wife and kids.  Say goodbye to good, old fashioned sunlight.

You see, we can fake a lot of things in television, but when you’ve gotta shoot outside, day is day.  Oh, sure, we can shoot an actor’s close up against a wall and make night look like day by blasting him with HMIs, but making the daytime look like night?  That doesn’t really fly anymore.

So, we shoot outside.  At night.

You might be thinking, “Big deal, one night shift.  So what?”

You gotta look at the whole week.  The AD’s aren’t going to schedule four days of 9:00 AM calls, then make Friday a 6:00 PM call.  No, it’ll be more like 9:00 AM Monday, 11:00 AM Tuesday, 1:00 PM Wednesday, 3:00 PM Thursday, and then 6:00 PM Friday.  If your husband or wife has a regular job, you’re not going to be seeing them from Tuesday on.

‘Course, if you’re single, you obviously can’t go out Friday night (which we now affectionately call “Fraturday”).  Sure, you’ll sleep most of the day Saturday, but don’t go crazy Saturday night– there’s a 6:00 AM call on Monday, and you need to get back on a day schedule.

It’s even worse for the office PA’s.  When you’re on set, you’re at least surrounded by people in the same sleep-deprived zombie state as you.  In the office, the writers go home around six or seven, the rest of office crew is gone by eight, and you’ve got the next ten to fourteen hours to spend some time with your thoughts (or, in my case, blog).  Maybe if you have friends in Australia, they can keep you company via Skype.

On my show, this only happens once every couple of episodes.  I don’t know how the folks on 24 do it.  They’ve got twelve episodes in a row of nothing but night shoots. I’d go batshit if I was their night shift PA.

On the other hand, it’s been a hit show for eight seasons; I’d love that kind of job security.

Anonymous Assistant’s Annual Academy Awards Analysis! Part II

As happens every year, most of the talk around the office for the last few days has centered on the Oscar nominations.  (Well, that and Lost.)  Camera guys are bitching that District 9 didn’t get a cinematography nomination, writers are mocking Avatar for getting a best picture nomination but not a screenplay nod (which didn’t hurt Titanic any).  Me?  I’m just happy that the majority of the best picture nominees are actually enjoyable movies.

I like that this whole top ten thing goes back to the first Academy Awards ceremony, where they actually gave away two best pictures: Most Outstanding Production and Most Artistic Quality of Production.  A split like that would’ve made years like 1999 much more palatable– Saving Private Ryan could’ve won Outstanding Production while Shakespeare in Love would’ve gotten the Artistic Quality award.

For my money, Hurt Locker should win both, this year.  But my batting average in Oscar predicting is well below .500, so don’t put any money on it.

On a side note, Mark Harris wrote a horrible article in Entertainment Weekly a few weeks ago, regarding Avatar’s chances of getting any acting nominations.

When Saldana was ”playing” the role, she may have widened her eyes in fear or narrowed them in disgust; she may have recoiled in horror or crumpled in sorrow. Did she sigh, swallow hard, or express conflicting emotions? Beats me, since Cameron could easily have added, eliminated, or altered anything she did.

Does Harris even understand how movies are made?  Actors do several, many, dozens, or scores of takes of a single line.  Directors and editors rearrange, alter, and/or mangle performances from multiple takes all the time.  Not to mention ADR, a complete rerecording of the dialogue to adjust a reading (or just cover up for a an airplane flying overhead on the day of shooting).  In a movie, you never, ever, ever know if what you’re seeing is what the actor did or intended during production.

Lee Daniels did not use a computer to give Mo’Nique’s voice the unpredictable pitches of rage, fear, shame, and self-justification she brings to the shattering climax of Precious.

Yes, he did.  I promise you, there was a sound mix on that film.

Kathryn Bigelow’s work on The Hurt Locker, for all its technical mastery, makes plenty of room for Jeremy Renner’s unsettlingly jovial/creepy rhythms.

I would love to know how much of that jovial/creepy rhythm was created by Paul Ottoson.  Harris certainly has no idea.

Avatar deserves applause for many things, including its huge leap in making CG creatures plausible by turning its cast into face-voice-and-body puppeteers. But that’s a breakthrough in animation, not screen acting. Performances ”captured” the old-fashioned way still set a standard of excellence that this film, for all its innovation, can’t touch.

Aaaaaand, this is where Harris completely loses me.  No movie in the last twelve months affected me as deeply or moved me to tears like Up.  You can’t tell me that those first twenty minutes would have been better with two child actors.

Ultimately, this is why I like the Oscars, as opposed to the Golden Globes, or any critic’s top ten.  For all its flaws, the Academy is composed entirely of people who make movies.  People who know how hard Barry Ackroyd worked to film those amazing explosions for the Hurt Locker, or how ingenious Mark Stoeckinger and Alan Rankin were in both creating new and repurposing classic sounds for Star Trek.

Harris doesn’t know who any of these people are, or understand their jobs.  Hell, the Golden Globes don’t even give awards for below-the-line crew.

I’ll take the Academy any day, even if they do occasionally give the Best Picture award to Forrest Gump instead of The Shawshank Redemption.

It’s a Habit

So, I haven’t written here in a while, and the reason is… there is no reason.

Between being unusually busy at work and working on personal projects in my free time, there were a few weeks there where I just didn’t have time to blog.

Another factor is the unrelenting series of emails that boil down to “I just graduated from film school.  How do I get a job?”  It’s almost as if I don’t have a search bar, or a category labeled “Finding a Job.”  It reminds me how writers’ blogs are constantly getting the question, “How do I get an agent?”  Except infinitely more sad.  A guy can write, “Craig’s List/Mandy/Coordinators’ 411″ only so many times before he starts going crazy.

Like going to the gym or balancing your checkbook, not posting became a habit.  It got to the point where I would think, Jeez, if I haven’t written in two months, my next post better be fucking FANTASTIC.

I started getting emails from people asking what happened to me.  Did I get fired? (No.)  Did I get promoted? (I wish.)  Did the big meanies in the comment section make me cry, so I just took my ball and went home?  (Maybe a little.)

But really, I stopped writing and continued not writing.

Then, last week, I got this email:

Wanted to send a quick note of congratulations for being named one of MovieMaker Magazine’s “50 Best Blogs for Moviemakers.” We reviewed a lot of blogs and I can tell you that the competition was fierce this year!

Just wanted to give you a quick heads that you are more than welcome to let the world know about the accolade. The issue was launched at Sundance last week and is on newsstands, so will certainly have a lot of additional eyeballs. Though the full article is not online yet, we do have a brief rundown on our website, if you’d like to let others know about this.

So now, even though I don’t know how I came to be on their list, let alone placing fourth (strange how the top 5 blogs all start with the letter “A”), I kinda feel like I have to get back to blogging.

So, watch this space.  More will be coming soon.

Hearing, But Not Listening

Passing out the latest draft of a script, I often wonder, who really cares?  I’m not saying the script doesn’t matter; I’m saying it doesn’t really affect most people.

The camera guys, the grips, the electrics– they’re just gonna show up where and when the call sheet tells them to.  They’ll set up where the DP tells them to set up.  What the actors do doesn’t really matter all that much.  The same goes for hair, make-up, costume, pretty much anybody.

If there’s a big change that actually affects the work, the department heads usually know well in advance.  Our construction coordinator told me, “If the first I hear of a new set is in the latest draft of the script, then something has gone horribly wrong.”

I was talking about this with our sound guy.  (Who, by the way, is always referred to as “the sound guy.”  What is his actual title?  Sound mixer?  Isn’t that done in post?  On every set I’ve ever been on, people always call the sound department the boom operator and the sound guy.  What’s up with that?)

Anyway.

The sound guy tells me he actually reads every draft, but skips over the dialogue.  That surprised the hell out of me.  ”Don’t you mean you only read the dialogue?”

“Hell, no, I don’t care what they’re saying.  Are they walking?  They need pads on their shoes.  Are they driving?  Are they going to be on a process stage, or actually riding down the road in a tow car?  If so, are the windows open?  All of that stuff that effects how we record is in the description.  The words don’t matter.”

So, the sound guy hears everything, but doesn’t actually listen.  I suppose it’s analogous to the camera operator, who’s making sure the frame is right, and doesn’t notice if the actor flubs a line.

Elitist Prick

I was planning on writing a different post today, until I received a comment on Tuesday’s post from “PA.”

I really liked this blog until your lecturing rant about the use of the word L.A. I can’t figure out if it’s just you trying to prove how smart you are or something else. People say L.A. everyday here, so really who cares but you. Let’s start up a posse of PA’S and rundown anyone who refers to our city as L.A. Give me a break elitist prick.

I tried to reply to PA directly, but the email s/he supplied didn’t work.  So, I’m writing a whole post about it.

I’ll be perfectly honest, I don’t get a lot of comments in this vein, and it kinda hurt my feelings.

I have some peculiar hobby horses, and the L.A./Los Angeles thing is one of the odder ones.  Of course, I was also exaggerating my passion on the subject for the sake of comedic effect.  Call me pedantic if you must (’cause it’s true), but “elitist prick”?  That’s pretty harsh.

And this is a limitation with the written word, I think.  How many times have you made a joke or a sarcastic comment in an email, and it was taken the wrong way?

My bad.

NYC Vs. Los Angeles

First off, I’d like to congratulate friend-of-the-blog Elana on her newborn.  You can read all about the birth/near-death here.  Also, if you haven’t read her posts “Life of a Pseudo-Writer” and “Life of a Pseudo-Writer II,” you should.

On to PA business.  Tom writes:

I have made the switch from being a stagehand to being a Set PA for a sitcom out here in New York. Currently on our show the majority of the producers, coordinators, writers and our first AD are from LA, while the rest of the crew is from NY.

While we all get along fine, I find myself getting caught in the middle of having my first AD instruct me to do something that a PA normally handles in LA, but here in NY it is a union responsibility. For example, my other set PA is from LA and she tells me that in LA the set PA’s handle the directors chairs, but here in NY they are handled by the Prop department.

I am curious to know if you or any of your readers have heard similar stories about the difference between the P.A. experience in LA vs. NY.

First of all, it’s not “LA,” it’s Los Angeles.  ”LA” is a diminutive assigned to us by poncey east coasters who don’t believe Los Angeles is a real city.  ”Los Angeles” is already cut down from “El Pueblo de Nuestra Señora la Reina de los Angeles del Río de Porciúncula.”  We’ve got this shortening thing down, thanks.

(For more on my feelings about New York, go ahead and take a look at one of my earliest posts.)

Okay, so, about your question.  Actually, directors’ chairs are technically handled by the props department in Los Angeles, too.  I have no idea why.  I can’t imagine a property manager complaining about a PA giving him a hand when the company is on the move, though.  I guess that’s New Yorkers for you.

The biggest difference I’ve heard between New York and Los Angeles PAs is that New Yorkers don’t drive nearly so much.  Perhaps my readers can expound on some other differences.

Secret Origins

Green PA commented on a post from a couple weeks ago, “The Curse of the Origin Story”:

I recently got very lucky and was able to finagle my way out of the mail room and into a sweet PA job on the lot. I have been scouring IMDB to find the origins of all of my producers, show runners, directors, A.D.s, etc, and none of them have any experience listed before they got to the level of “line producer.” Even the writers lack any listings before their first writing gig. Why do you think this is? Typical Hollywood -I -was -born -into -greatness BS, or should we take a page from their book and hide our true job titles when out of the office or off the set?

I’ve noticed this as well.  There is certainly an element of pride.  These guys aren’t going to add PA experience from the 70s to their IMDb page.

A larger part, though, is just that they’re old.  IMDb was only just getting going when I was in college.  While IMDb still doesn’t have all of my credits, it has a lot of them, including work on shows I’m embarrassed to admit I worked on.

If/when I someday become a famous writer, those credits will stay there.  I’m probably at the vanguard of filmmakers whose entire career, from PA to producer, will be available for all to see.  Thus is life in the internet age.

In Addition

Andrew writes in:

My fiance recently fell into a PA position and landed a couple days on a movie.  After day two/three she was told they had enough PA’s for the next day and they would call her.  It has been a few days and no word back yet.

A family member of mine works in the industry (in an unrelated position) as well, he recommended she try calling and contacting the person who hired her to ask for work.  She has tried phoning this person only to find the voice mail box full.  At this point I have a feeling she is a bit worried that with the lack of experience gained and the potential of not hearing back her PA career could be over as soon as it started.

Is this commonly how additional PA positions are handled?  Are the additional PA call backs usually done via some rotation or at the AD discretion?  How often is too often when calling to trying to get work?  Would it be considered crazy to show up on set if it becomes impossible to reach via phone?  Is there anything she can do with her couple of days experience that may open some doors that would otherwise be closed to someone without experience?  What types of experiences are usually desired on someones resume with little to no PA experience?

Additional PA days are always done at the discretion of the AD.  If they like you, they’ll call you back.  If they don’t, they won’t.

Calling to remind them that you’re still available is good advice.  It’s unfortunate that the mailbox was full, but there’s not really much you can do about it.  Just showing up on set would, indeed, be crazy.  Not ill-advised crazy, but call-the-men-in-the-white-coats crazy.  Unless they happen to be filming in your neighborhood, and you tell them so, I wouldn’t do it.

“Too often” is a tough call.  Depends on the kind of show.  If you’re talking about a sitcom, where they hardly ever leave the studio and need more than their usual compliment of PAs, I’d wait three to four weeks.  If they’re on location a lot, like for an action show or a procedural, maybe every two weeks.

If you don’t have experience as a PA, try to at least have some kind of industry experience.  Working the desk at an agency, being a personal assistant to a producer, something.  ”Starbucks barista” isn’t gonna do anything on your resume.

Paying Off Debt

If you’re curious about working in Canada, be sure to check out yesterday’s comments.  Which reminds me, I recently got another email from America Jr:

As a recent Canadian(Vancouver) graduate from film school I am in debts from upwards of 5000$.

I quit my regular serving job in the summer to be available for on-call PA work. I have only formally worked on one big feature for about 11 days and I am currently non-union.I have received little work but made many contacts who may call me in the future again.

My savings have dwindled, and I want to make a commitment to pay off those debts with another serving job and hopefully be able to have another shot at being an on-call PA again. I have begun training for my steady job, but unexpectedly, a film contact I met prior contacted me, asking if I could come in for a day call on a new show.I declined her offer, because of my other commitment, but I feel like I may have missed out on an opportunity.

So to my question,  Am I making a big mistake by declining work that could lead to future opportunities and contacts? Or should prioritize paying off my debts and making the habit of following through with the commitments I make?

First of all, what’s with putting the dollar sign after the amount?  Is that a Canadian thing?  So people know it’s your Monopoly money, and not real dollars?

Anyway.

This is always a tough question.  I’ve known many people who’ve tried to focus on their entertainment career for several years, only to eventually drop out due to debt, late rent payments, and so forth.

On the other hand, once you start working a regular job with regular hours and regular pay, it gets hard to give that up, even when your student loans are paid off.

My natural inclination is to pay off debts as quickly as possible.  If we were talking about credit card debt, I wouldn’t have any doubt at all; you’d lose a fortune with a 5000$ balance.  Luckily, student loans tend to be low-interest.

The question becomes, how quickly can you pay off your debt, and get back to working in whatever the Canadian equivalent to Hollywood is?

Oh, Canadia!

LB writes:

I will be relocating to Canada soon. Are all crew members of television productions shot in Canada, including set and office production assistants, required to be union members? If so, does this include American television productions shot in Canada?

My knowledge of Canadian unions extends only so far as to know that they exist.

But, since you’re writing to my blog, I assume you’re a PA, and not an active member of the DGA.  I’d be willing to bet that, like their American counterparts, Canadian PAs don’t have a union.

The reason?  Well, who would want to be a PA long enough to join a union?

On top of that, there are plenty of shows which are non-union.  Cable shows and reality are notorious for this.  Plus, one union’s jurisdiction has no effect on another’s.  An independent film can have a deal with SAG, but still not be a DGA or WGA signatory.  I’m sure the same holds true for Canadian productions.