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.

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.

Posted in About Me Tagged: comments ]]> http://anonymousassistant.wordpress.com/2009/11/12/elitist-prick/feed/ 10 anonymousassistant This is how I get to work in the morning. http://anonymousassistant.wordpress.com/2009/11/10/nyc-vs-los-angeles/ http://anonymousassistant.wordpress.com/2009/11/10/nyc-vs-los-angeles/#comments Tue, 10 Nov 2009 18:24:56 +0000 anonymousassistant http://anonymousassistant.wordpress.com/?p=1464 ]]>

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.

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.

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.

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?

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.

Leala writes:

Ok, I keep reading “no experience” needed to PA. So why it so hard to land a PA job?

I actually have some experience -film school, student projects, independent projects, game show pilot, award shows, major network webisode and even dayplayed in the production office of a network TV show.

I get Production Weekly and PRS, contact the offices and fax/email resume, make sure it’s received and follow up til I get “we’re currently crewed up”. I’ve tried pilots, shows already on air, award shows, films and nothing. I’ve even offered to work for free just for the experience but since I’m currently not a student that doesn’t help.

I’m still working on independent projects but how do you make that leap from those to features/tv? Obviously I’m doing something wrong. Any ideas?

I must admit, I am being a little cheeky when I say things like, “A monkey could do my job.”  PAs get fired all the time, for slacking off, for screwing up, for having the gall to speak to a producer when he’s having a bad day.

There is a certain amount of skill involved, even if the main skill is simply being able to stick to it long enough to get promoted.  Not everyone has that skill.

That being said, a lot of people do have that skill, or at least think they do.  On my show, we get at least three PA resumes a day, and we’re in the middle of the season!  At the beginning of the season, we could fill a binder with resumes.

This is also why, by the way, PAs get paid so little (as I explained in a post a few weeks ago).  While there’s always a demand for a good PA, there is an even greater supply of good PAs.

Note the lack of a "Hard Work" curve.

I don’t think you’re actually doing anything wrong.  In fact, it sounds like you’re doing everything right.  There’s no secret or trick that you’re missing. You have to be good and smart and experienced, it’s true.

But you also have to submit your resume at the exact moment that they’re looking for a PA with your exact qualifications.  You have to connect with the AD or coordinator some indefinable way.  You have to be ready when they need you to be ready.

In short, not only do you have to be good, you have to be lucky.

I wish I could be of more help than that, but I can’t.

Kyle writes in:

I recently stumbled across your blog and have really enjoyed the reading. I have a few questions I was hoping you might give some advice on. I have interned as a P.A. on a few different occasions for editing studios in Atlanta, Ga. However, now that I have graduated I am finding it extremely difficult to find any production jobs (I found it easier as a student). Maybe I am going about this the wrong way, do you have any advice? Should I pursue a larger market than Atlanta?

Hard to say.

I don’t know if you’re going about it “the wrong way.”  Times are tough all over; you may just be yet another victim of the economic downturn.

Atlanta has a fairly large production base.  Ted Turner’s companies are there, and Tyler Perry just built a fancy new studio.  I’m sure there are a bunch of smaller, local companies there, too.

But that it doesn’t come close to what we’ve got in Los Angeles.  We have thousands of productions companies.  You could make a whole career and earn a pretty good living working for production companies nobody’s ever heard of.  Even with all the runaway production, no where else in the world has the film community we have, outside of possibly Mumbai.

That being said, there are a lot of people out of work here, too. You can’t expect to get a job right away.

I assume you made some connections during your internships? Why not use those to your advantage?  You’ll be starting from scratch here.  It’s tough all over, and you should use an advantage you can get.

Adam writes in with another age-related question:

How old are most office and set production assistants?  I mean, ignoring the happenstance of Hollywood, not to mention just finding those first few jobs, isn’t one looking at a commitment of several years just as PA before even the possibility of moving to a position higher up shows on the horizon?

And speaking of finding those first few jobs–I doubt any tv show or movie will hire someone with no volunteer-PA experience, correct?  Or is that at all plausible?  Of all my questions this is the worst.

Have you befriended any other PAs or is there really no opportunity to?

How much has networking on the set helped you find other jobs?

Lotsa questions there.

Almost all PAs are in their twenties.  I’ve met a few older ones, and they were either people who waited a long time to decide on their path in life, or people who just failed at life generally.  A thirty-five year old PA is a sad sight.

That being said, it can (and does, in my case) require years of work to be promoted.

Due to various labor laws, you can’t work on a show for free.  You can, however, intern in exchange for school credit.

Of course I’ve made friends with other PAs.  It’d be kinda weird if you didn’t make friends at work, right?

But that kind of networking doesn’t tend to lead to jobs.  Since just about anybody can be a PA, just about everybody knows someone who wants to do it.  When a set PA spot opened recently on my show, I asked the AD if I recommend a friend.  He said, “Sure, but there are about thirty other people who also have recommendations.”

And all thirty of those people outranked me.

You’re not going to get a job by networking with your peers.  (At least, not anytime soon.  If I make it as a writer, and one of my friends becomes a studio executive, then I suppose he can get me a job.)  You also need to network with your superiors– ADs, coordinators, even producers.  They’re the ones who make the decisions that actually affect your job.