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    Twelve pieces of advice from the film industry

    By BronweN

    First, understand that I totally love all things film. Participating in a film shoot is a lot of hard work and also a lot of fun. Having said that, this industry is a strange beast a lot of the time, so here are some tidbits of advice from the front lines. 

    -  The key to a smooth film shoot is planning. If you work with scatterbrains, you will spend most of your days putting out fires. Do your research before accepting a job, and make sure that if you decide to work for a poorly organized production that you are able to handle huge amounts of stress.

    -  Make sure you have a copy of your signed contract before you start working. You should insist on it; it is the proof of what you will be paid, and without a copy of your contract, you have no proof should you require it. Contracts are signed so that both parties have proof of a "meeting of the minds". Make sure you have a copy of that proof.

    - Be prepared. Casting for extras should be done at least one week in advance. Don't overlook these crucial people (they are part of your shot unless you want to shoot a ghost town). Do not leave it until the last minute, and make sure that you have money in your budget to pay people. All prop elements should be gathered, built, whatever, before the first day of shooting. The only props that should be modified on the day of a shoot are last minute requests by the director. Any planning that you leave until the last minute will either reduce your quality or increase your cost.

    -  Everyone is living in the moment of the next shot. It doesn't matter how many great things you have done in the past week on set to save money or save a day of production. On a film set, people are so fried from stress that they only remember what happened in the last half hour. Don't take it personally if someone treats you like crap. Give them sympathy. Not everyone can handle the stress of a film shoot without taking out their crap on someone else. It's better to show them how a real professional acts, than it is to win the argument of the day.

    - As an addendum to the previous point, if you are assaulted or threatened, don't expect the producer to mediate. They have more important things to do, like making sure the film gets shot properly. If someone commits a criminal act against you (such as assault) call the police and have them charged. A film set is no place for that kind of behaviour (no matter who the guilty party is, or thinks they are).

    - Know your role. If you are props, take care of props and stay out of wardrobe issues, and vice versa. When an element is brought into a shot, it should be clearly defined which department is responsible for that element, in case something happens to it. Sometimes what looks like a piece of wardrobe is actually a prop. If you allow other departments to blame you for their screw ups, you are just inviting more blame to fall on you in the future.

    - Communication is crucial. There is a reason everyone on set has a walkie talkie. If there is a problem, communicate it. Breakdowns in communication can cost a production a lot of money unnecessarily.

    - Everyone on a film set is important to the making of the film, or they wouldn't be on the set. Having said that, some people have more important jobs than others. If the head of electrics decides he or she does not like you, and you are just a PA, they can make your life hell just because they want to crap on someone. You have a choice. You can either take it on the chin and work your way up to a higher position where you will be able to demand respect, or you can find another industry.

    - The most unprofessional thing you can do during a film shoot is walk away in mid-production. Sometimes there is a really good reason to walk away; sometimes verbal and written contracts are broken and walking away is the only option. If you have to quit, make sure you have a really good reason and that key people (like the producers) are well informed and given as much notice as possible. Threatening to quit or leaving suddenly (and thereby holding a production hostage) will earn you a reputation that will be very hard to escape down the road.

    - Film sets are hot beds of gossip. Learning how to keep your ears open will teach you who to avoid. Learning how to keep your mouth shut will help you stay employed.

    - Expectations lead to disappointments. It's a nice feeling when you are appreciated, but don't ever expect it. One day your co-workers will love you for all of the fires you are putting out, the next day it will all be forgotten amid the current crisis. Don't take it personally. If you want to work in this business, get used to bending over backwards on a daily basis.

    That last tidbit of advice <Expectations lead to disappointments> really applies to any situation and any person one can encounter. In life as in film, expect nothing and appreciate all that is offered.