On The Set: The Hidden Rules of Movie Making Etiquette

Ethan

INTRODUCTION

After working for more than nineteen years on well over fifty movie, television and commercial sets, I’ve discovered that there are many rules that you’re somehow expected to know but are never told. Now granted, many of these are common sense things (which I still included just in case), but many of them are codes of conduct specific for each Department.

To say I learned the hard way is an understatement. But considering these rules of set etiquette are not taught in film school, I figured it might be worth imparting them to a new wave of budding filmmakers.

They say ignorance of the law is no excuse. So, what I’ve tried to make is a quick reference guide about movie sets with the most important information right at your fingertips.

It is divided by the different Departments for easier access to the information. I also added definitions to a bunch of terms that are a part of everyday set work that you are automatically expected to know. Let’s face it, if you work as a Costumer how the hell are you to know what an inky is ? Well you better (see pg. 95), especially if someone tells you that you’re blocking one.

I, myself have witnessed many a crewmember get chastised for plugging a hairdryer into a hotbox without asking an Electrician or placing a drink on top of a camera case. It never fails on a set that someone at some point won’t yell Flashing when taking a picture.

I hope you benefit from the years of abuse I suffered to finally bring these hidden facts to the surface. So the next time someone knocks a cookie on a flex arm into a tweenie without notifying the Gaffer, don’t give him a piece of your mind, throw your arm around his shoulder and teach him all about On The Set.

Paul J. Salamoff

October 2008

MOVIE SETS:

A BRIEF OVERVIEW

There is nothing in the world to prepare you for what it is actually like on the set of a motion picture. The experience is truly like something out of a movie itself.

If you think I’m joking, just consider the fact that an average film costs in excess of $70 million dollars with many upwards of $200 million. Studios spend a great deal of time and effort into making sure that they see a return on their investment, sometimes even matching the budget of the movie with an equally expensive ad campaign. Not only are jobs at stake but also the studios themselves.

This fear of public and financial failure trickles down all the way to the set where the films are being shot. Studios watch over Executives, Executives watch over Producers, Producers watch over Directors, and on and on down the chain.

Now this isn’t to say that working on a set can’t be a fun and rewarding experience, it’s just important to be prepared for the type of environment it is. Even down to the most miniscule student film, you have to remember that somebody’s dime and/or reputation is on the line.

A good movie set becomes like an extended family where people work together for the well being of the group and a common good (i.e. completing the film on time and on budget). There will be squabbles and disagreements but the end result is people pulling together.

On the other hand, a bad movie set can become a war of attrition where people are constantly fighting and working against each other culminating in a general feeling of oppression and dissatisfaction.

Let’s face facts, movie sets are primarily made up of artists and most artists are known for their egos and stubbornness. Learning how to MOVIE SETS deal with people and be easy to deal with yourself is just as important as doing your job competently.

Be Prepared!

Now that that’s been said, let’s begin at the beginning. It all starts with the written word: The screenplay. A Studio or Production Company decides, for better or for worse, that it has faith in a story and would like to develop, produce, and then distribute it in the theaters.

They will next attach Producers and a Director to oversee the project. During Pre-Production the script is turned into a workable shooting script and a budget and schedule are figured out for the film. Key personnel are then hired to head the different departments and casting begins. Also during this period, which could take from two months to a year (or even longer), a Production Designer creates the look and feel of the film. Stages are rented and the construction of the sets is put in motion.

Once this process is complete, Production can begin. Unfortunately these days, Pre-Production time is usually shorter than longer and as they say, If you fail to plan, then you plan to fail. The less prepared a Production is, the more the unforeseen problems (like inclement weather) will wreak havoc on the schedule. It is possible for productions to spiral out of control. In the worst cases, a Completion Bond Company will take over the film and finish it with only regard for the money not the creative expression.

An average film can be shot in six to ten weeks but movies requiring a lot of stunts, special effects, or exotic locales can take considerably longer. Some films are years in the making.

During the actual shooting, most Productions have a First Unit Team that includes all the major key personnel and Lead Actors and a Second Unit Team which is more condensed and shoots footage that doesn’t require the main Actors and typically doesn’t require a lot of creative decisions. The Second Unit Director is usually a Producer, Director of Photography or Stunt Coordinator.

It is not uncommon to have more than two units going at the same time, especially these days with shorter production times and grander subjects.

A shooting day can average between ten to twelve hours long. Believe me, some days can be even longer. Most Productions like to keep their days at a comfortable length to avoid forced calls (which equate to more money), otherwise they have to start at a later time the next day. By the end of the week they might have to come in too late to adequately shoot exterior shots. Also, most Productions shoot a five-day week, but if they’re behind as the end of the schedule nears they can shoot six and seven days a week if necessary.

After First Unit wraps, Second Unit usually continues to shoot or a new reduced unit will finish. This unit may or may not involve the film’s original Director and is a mix of both First and Second Units. When they are done, Production is wrapped…but not necessarily over.

As Post-Production begins, editing is usually already underway. As the raw elements come together, holes in the film may appear where needed footage doesn’t exist or the existing footage just doesn’t cut it. At this point, production will start up again for reshoots and pickups. This can happen almost immediately or even a month before the film is to come out in theaters. Trust me, this happens more times than you would believe, especially with test screenings becoming so important. But I’m getting ahead of myself.

During post-production, the film is edited and the real bulk of the Visual and Sound Effects begin. Once the film is locked, which means that the Studio, Producers and Director are satisfied with the version of the film, the final sound mix is completed.

A Music Composer writes and records the score for the film and songs are added if necessary. Once all the elements are completed, an answer print will be struck. This is the first print of the film received from the laboratory that has been color and light corrected with the soundtrack synchronized to the image.

At this point, release prints can be made. Now I say can, because "it ain’t over till the fat lady sings." Like I said before, eleventh-hour changes have been made at this point. If a Studio is nervous about a movie, it would rather tinker with it until the last minute than take the risk of releasing a potential bomb.

These days the typical way of gauging a film’s potential is by test screening it. They hire an outside company to recruit members of the general public (people who work in the industry are barred from these screenings) and show them a rough cut of the film. The audience fills out cards that rate different elements of the movie. The tallied information gives the studio a sense of what the reaction is…in theory. Trust me, this is a shoddy process at best and many decent films have been butchered because of this method, but that’s the way the cookie crumbles.

Once the studio has signed off and all the t’s have been crossed and the i’s have been dotted, the release prints will be manufactured and shipped to a theater near you.

So there you have it folks, from conception to birth. The film’s future now rests in the hands of the fickle general public. A real bomb may not even last a week in the theaters while a real winner will not only turn a profit but also leave a lasting impression for generations to come.

Movies can be magic and what goes on behind the scenes can be just as fascinating as what rolls on the screen. If you are or want to be a part of the madness, remember that celluloid is forever and as you toil the long hard days on set, don’t lose the love or enthusiasm that got you there in the first place.

CHAPTER ONE

Who asked for the Martini?

THE

PRODUCTION

DEPARTMENT

A BRIEF OVERVIEW

This Department is the core of a movie set. Without these individuals, chaos would surely ensue. Obviously, the Director is the key element of a set. The proverbial Captain of the ship, it is his/her vision that drives the entire production. Everyone is supposedly on set to support this ideal and see it to fruition.

The vision begins with the screenplay, which is the blueprint for the movie. The Screenwriter has spent time crafting a story on paper that must now be translated on film. Sometimes things that look good when written don’t translate well visually. A good Director will recognize these problems and endeavor to work with the Writer to fix them before shooting begins. But as with many films, especially these days, they are rewritten on the set or sometimes even in Post-Production.

If the Director is captain, then the Studio is the Commander-in-Chief and the Producers are the Generals. These entities are in charge of the monetary aspects of a production. Not only do they provide the boatloads of cash necessary to make a film, but they control it to make sure that it is spent properly.

It’s typically the Producer’s head on the chopping block if the movie goes too far over time or over budget. Needless to say, the job is quite stressful and most Producers are not known for their people skills.

Assisting the Director on the set is a staff of individuals whose responsibility is to make sure that the schedule is adhered to and everyone is where they are supposed to be at all times. They are called A.D.’s and what they do is quite a daunting task. The chain of command is very important. Each A.D. has a specific job ranging from completely overseeing the set to running around and doing odd jobs.

What usually ensues is controlled chaos, though a skilled staff is prepared for all types of curveballs and will always deliver a finished film.

THE PLAYERS

Director: Translates the written screenplay visually by guiding the Actors and crew. The Captain of the ship.

Screenwriter: Author of the screenplay.

Executive Producer: Individual who owns the rights to the screenplay or is hired to oversee the production.

Producer: Helps to turn the screenplay into a shootable script. Assembles the creative team to bring the story to the screen.

Line Producer: Deals with the day to day production of the film and responsible for making sure the movie is completed on time and on budget.

Unit Production Manager (UPM): Oversees the hiring of the crew, the rental of equipment and its return at the end of Production. Also helps to determine the budget of the film and that the Production adheres to it.

1st Assistant Director (1st A.D.): Responsible for all activity on a movie set. It is their job to ensure that everything stays on schedule and on budget.

2nd Assistant Director (2nd A.D.): In charge of all the actors on a set. Makes the call sheet and makes sure that script revisions get to the appropriate people.

2nd 2nd Assistant Director (2nd 2nd A.D.): a.k.a. 3rd A.D. Makes sure the cast is where they are supposed to be. Schedules pick-ups and drop-offs and tracks the crew’s in and out times.

Production Assistant (P.A.): Carries out any and all tasks instructed by the A.D.’s. Set Gopher.

Script Supervisor: Meticulously oversees continuity and details script and dialogue changes during filming.

TERMS YOU SHOULD KNOW

Abby Singer

Term used to identify the next-to-last shot of the day. It is derived from stories about the Director Abby Singer who was notorious for claiming a shot was the last of the day and then doing another.

Action

Called by the Director after the cameras are rolling to indicate to the Actors that the scene should begin.

call sheet

Single two-sided document that contains all the necessary information about that particular shooting day.

Camera reloads

Signals that it is necessary to change out the film canister on the camera with a new magazine.

circled takes

The Script Supervisor keeps track of particular takes that the Director likes by circling the take number on the camera report. The lab will then know what footage to develop and what to discard.

continuity

Copious notes kept in order to ensure that the shots blend together seamlessly.

coverage

The various other camera angles that the Director might use to help stylize the finished scene when it’s edited.

cover set

An alternative shooting location used when the current location is unusable.

crew call

The time when the crew must arrive on set ready to work.

Cut

Called by the Director when the take has concluded. It signals the Camera Operator to stop rolling film.

dailies

a.k.a. rushes. Unedited footage from prior days shown to the director to ensure that it is usable.

martini shot

Term used for the last shot of the day. It is derived from the practice of having martinis at the wrap of the day.

On a bell

Yelled by the A.D. to alert the crew that a filmed scene is about to commence and that the stage is closed.

Rolling

Lets the crew know that the camera has been activated and film is being exposed.

Second Unit

A second, smaller film crew that shoots footage not requiring the main actors. Has a separate Director, A.D., etc..

take

Term used to describe the time between when the camera begins rolling and when the Director yells Cut.

wigwag

Electrical device that has a bell and a red light. When the red light is on and the bell rings once, it signifies that filming is in progress and access to the set is prohibited.

THE RULES OF SETIQUETTE

• When the wigwag (red light) is on never enter the set. A scene is in progress.

• One sound of the warning bell means that the camera is rolling. Two chimes means that the shot is over and it is safe to enter the set.

• Turn off your walkie and/or cell phone before the camera starts rolling.

• Never offer suggestions about how the film should be made unless you are asked. There are some Directors who do solicit the crew for suggestions from time to time (especially on comedies), but there is a reason why the Director is the Director. Respect that.

• Until they yell Cut don’t start talking or moving about, even if you think the shot is over. Some Directors keep the camera rolling in hopes of getting a magic moment. The last thing they need is for it to be unusable because you decided they were done.

• Guests are not allowed on set unless they are given permission by the Producers. Movies have become increasingly top secret for reasons of marketing and promotion. The last thing a studio needs is their secret ending revealed on the Internet by an unauthorized visitor before they even finish shooting.

• Try not to pester the A.D. staff with unnecessary questions. Almost all the information you need for the day can be found on the call sheet.

• Respect the A.D. chain of command. Know precisely what each person deals with so you don’t bother the 1st A.D. with something a P.A. should handle.

• If you are a key personnel, always alert an A.D. if you are stepping off set. It’s their job to know where you are and it can cause delays if you can’t be found.

ADVICE FROM THE EXPERTS

Wes Craven

Director / Producer / Screenwriter

(Red Eye, Scream Trilogy, Wes Craven’s New Nightmare, A Nightmare on Elm St.)

You’ve Entered Another Dimension…

To make a good movie, I need to be able to see it in my head and to get it through the camera. It sounds simplistic, but at times it’s difficult to stay focused on that concept, especially when there is so much going on around you. Everybody else on the set is interested in their little area of concern and it’s easy to get swept up in all those different aspects.

The Old Man And The Sea

The first thing I do when I arrive on the set is pass out the day’s shotlist to all the department heads. This way they can literally see where we are in the course of the day and can plan ahead. It also lets them know that the old man knows what he’s doing by instilling a sense that the Captain is at the wheel and that things will be okay. I’ve had so many crew members come up to me and tell me that I wouldn’t believe how many Directors come on set without knowing what they’re going to shoot that day. That’s astonishing to me.

Mother May I?

The Script Supervisor is your mother figure, your unofficial helper. They are typically a personal and sympathetic person on the set that sits next to you and watches over you in a maternal way. Because they write everything down, they tend to know what you’re doing and because they are not perceived as a power figure it allows you the opportunity to cultivate that relationship.

On Being A Director

Your creativity and all of your smarts are never quite in play as they are when you are on a set directing. It’s like being given a wonderful ship to pilot with the best crew in the world. If you have a really good script, you are well prepared and you know what you’re doing, nothing I can conceive of can compare. It is such a unique position