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.

Welcome to Los Angeles

Jeremiah writes:

I’m moving to LA in 2 weeks to do the PA thing and possibly do some extras work with Central Casting (while I pursue writing and directing). I know, it is ill-advised to move out there right now but I’m doing it anyway. I was wondering if you could tell me your thoughts on a few issues.

1) I read the PA Handbook that you posted on your site recently. It mentions that wearing a fanny pack full of useful things is a good idea. What do you think? Would I be the laughing stock of the crew to arrive on set wearing a fanny pack? I’ll already be the new guy and don’t want to be “the fanny pack guy.” How about a messenger bag? How do you keep track of all the stuff you use? I’m sure holding sides as well as everything else you might need to keep track of can be tough without a bag?

2) I have the opportunity to stay in West LA near where the 405 and the 10 intersect. Or I can stay in Studio City about a mile from Universal. Where would you advise staying if given the choice? Rent is exactly the same in both places. I’m not one for the night life so that really doesn’t factor in. I just want to be in the right area for work.

Now is really not the worst time, Jeremiah. While the economy is bad, it’s bad everywhere. If you’re not going to have a job, you might as well not have a job here.

Besides, production is picking up, at least compared to a few months ago. Nobody shoots in December. Pilots are getting picked up to series, so they’ll be hiring soon, and there are movies here and there. You just have to know where to look.

Regarding your first question, well, the PA Handbook is a little old. It also recommends you carry a roll of quarters and call the production office every half hour. It’s like they didn’t have cell phones in 1999! (I plan on writing an annotated version, soon, to bring it into the 21st century.)

Your instincts are right– a fanny pack is a ridiculous idea. In fact, I don’t carry any kind of bag at all (other than my computer bag, if I’m in the office). Like most PAs, I wear carpenter jeans or cargo shorts, which have more than enough pockets for a production assistant’s needs.

I always carry at least two pens (because the director will want to borrow one, and he’ll never give it back), a sharpie, a small notepad (for my poor memory), and my cell phone (on vibrate, of course). Depending on the type of gig, I’ll also bring a flashlight and a pair of gloves. Work gloves from OSH or Home Depot will do. Don’t bother spending money on Set Wear; it’s not like you’ll be carrying hot lights.

As for your living location, either of those places are fine. The thing is, you never know where you’re going to be shooting. Even if you are working on an NBC show, that doesn’t mean they’re filming on the NBC/Universal lot. You could be shooting at Hollywood Center Studios, like Heroes.

I’m surprised that you say they’re the same price. West LA is usually quite expensive. Have you looked at the apartments? I’d be willing to bet the Studio City place is nicer.

Good luck, and welcome to Los Angeles!

Who Needs a Car?

Reader Jeff writes in:

I’ve been interested in film for so long, however after graduating from college as an English/Film major, I still don’t really have a production skill I’ve mastered, so I think my best resort is to start out as a PA.  Of course, I want to move out to California where all of my fellow film friends have already gone to, but what’s been holing me back is not having a drivers license.  I hate driving, but after such a long wait, I finally got my license last week.  So now I plan on moving out soon.  But I still don’t own a car, and at 23 years old, I’m pretty much a first time driver.

So my question is, will I be able to become a PA out in CA if I don’t have a car / am not a very reliable driver?

No.

Driving is an important part of living in Los Angeles, period.  Los Angeles was the first American city to be built after the invention of the automobile.  It was suddenly possible to have a home miles from your place of work.  We are a polycentric city.

For someone in the film business, a car is vital.  You will be working in different places all the time, even on the same show.  One day you’ll be shooting in Culver City, the next in Sherman Oaks.  You can’t plan on living near work.  Our public transportation system is horrible, and taxis are ludicrously expensive.

For a PA, a car is a job requirement.  Someone once told me, “Every PA should have three things: a computer, a car, and a cell phone.”  (Note the conspicuous absence of “a brain.”)

Runs are a part of the job.  A large part.  You’ll be putting a lot of miles on your car, and you’ll be burning a lot of gas.  (Make sure you get reimbursed for mileage!)

On a real show, with teamsters and stuff, you’ll at least be delivering scripts, and picking up incidentals.  On a low-budget production, you’ll probably be picking up equipment and props, too.

Kate offered this little anecdote a while ago:

PAs who “aren’t good with directions” quickly become unemployed. Google maps and a GPS make life a ton easier.

I once worked on a series where the UPM hired a runner who didn’t have a car, but he did have a bus pass. Guess who got fired? That’s right–both of ‘em.

Get used to driving.  Find stations with music you like.  Start listening to NPR.  Take your wallet out of your back pocket.  Get a headset, and call your friends back east; they’re getting done with work while you’re still in the middle of your day.  Buy a Thomas Guide.

Learn to love your car.

Sightings

The thing people in Los Angeles like to talk about most, besides an earthquake, is the last time they saw a celebrity.

I’m not really sure why. Seeing famous people is a fairly common occurrence, here. (How we’re the 9th best city for people watching, I’ll never understand.)

Just today, I passed an three-time Oscar nominee in the hall. Celebrities drop kids off at my wife’s school every day. I ran into Bryan Singer at a college party. The weirdest celebrity encounter was when I saw Jackie Chan riding a segway with his mom.

And yet, even though I try not to talk about the lives of celebrities, it’s still fun to see Matthew Perry three rows up at the Imax. (This was last year, at I Am Legend; seeing Perry was the coolest part of the evening.)

So, if it’s so normal and commonplace, why do Angelinos get excited about celebrity sightings? Especially those of us who work with these actors on a daily basis?

Parking

As much as I love Los Angeles, I truly hate parking in this city. It’s hard to find, and expensive (two things that I suspect are related, somehow).

Street parking is the worst. Downtown, a nickel gets you two minutes. Which is about enough time to get to the door of the building, turn around, and refill the meter.

I even have trouble with non-metered parking, because I’m colorblind. Half the time, I can’t tell whether or not the curb is painted red.

Parking and traffic enforcement seems to be the LAPD’s main concern. We have a 41% solve rate for murders in this city, but God help you if you park in a loading zone too long.

I feel like I’d be less nervous plotting a murder than parking on a permit-only street. I’d be all, “Okay, I’ve got an unregistered gun. I loaded it while wearing gloves, so there’s no prints on the bullets. I know they’re inside the house, asleep right now, and… What’s that? Street cleaning on Tuesdays? There’s no fucking way I’m gonna get away with this.” <peels out>

An Earthquake? In Los Angeles? My Stars!

Yes, I survived the earthquake. I was driving at the time, and I didn’t even realize it had happened until my sister called me to ask if I was okay.

Jesus, it was a 5.4. The only reason I wouldn’t be okay is that I got distracted picking up the phone because you called to see if I was okay.

I immediately called my mother, because I knew her call would be next; she calls when there’s an earthquake in San Fransisco. Which is more on target than my wife’s family, who called to see if we were okay during hurricane Katrina. They’re sweet, but they don’t have a firm grasp on American geography.

In other cities, people talk about the weather. Since we don’t have weather, Angelinos talked about the quake all afternoon.

I hate small talk like this. “Hey, did you experience the geological disturbance this afternoon?”
“The one felt by over 18 million people? I sure did! You?”
“Yup!”

It’s not even small talk.  It’s tiny talk.  You’re just reaching for the absolute lowest common denominator. You’re admitting, I don’t know you at all, so what can I guarantee we have in common? I know! The ground!

You might as well be like,
“Hey, how’s gravity working out for you?”
“Pretty good. You?”

Or,

“You’re here? Now? Me, too!”
“That’s amazing! I’m here, too!”

Ugh.

Sneak Preview

I had a chance to see The Dark Knight last night, at a screening on the Warner Brothers lot. It was for employees, mostly executives and their assistants. Usually when I see movies ahead of time, it’s with LA Weekly or Campus Circle; the crowd is mostly wearing flip flops and t-shirts. Last night was a more staid affair, with most people in shirts and ties (or skirts and heels).

I won’t go much into what I thought, other than to say that the audience cheered, actually cheered, at a certain point in the movie. It’s quite a compliment to the filmmakers that this bunch of jaded studio folks could still get excited. (You’ll know the part I’m talking about when you see it.)

Screenings are free and plentiful in LA, which is why I went to a lot of them as a poor film student. Besides the movie itself, there are often guest speakers, too. I saw Kevin Spacey at a screening for American Beauty in my first month at school. I even got to ask him a question! If I recall correctly, it was something along the lines of, “Mr. Spacey, why are you so awesome?” (This was before 21, mind you.)

A couple years ago, I went to a screening of King Kong.  We weren’t expecting any special guests that time; just a big monkey, some dinosaurs, and maybe Naomi Watts in a skimpy white dress. But while we were waiting in line, I heard a voice I definitely recognized.  It took me a minute to place it, and then I realized it was Brad fucking Bird!

I pointed him out to my friend, who responded, “That’s not Brad Bird.”

“Yes, it is.  I recognize him from my Incredibles DVD.”

“I don’t think that’s him.”

“I’m sure it is.”

It went on like this for a while, until I finally went up and asked the guy, “Excuse me, are you Brad Bird?”

“Yes.”

“SEE?”

That’s pretty much the end of that story.  I said I liked his movies, he said thanks, the end.

In any case, my point is, if you start going to these screenings, you too can meet minor celebrities and prove to your friends that you listen to way too many commentary tracks.