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So, you wanna job in film and commercial production? (Or what's a PA?)
Job Description
A production assistant (PA) is the entry-level position on a film or commercial crew. PAs provide support and assistance to almost all areas of the production. Although the following is by no means an all-inclusive list, here are a few examples of what your duties as a PA may include:
Set PA: works on the set, and may: assist Security with crowd control; escort actors to and from their trailers; deliver film to the airport or the processing lab; and help load and unload equipment. Set PAs assist in every department, as needed, and that's a great advantage. Your varied experiences can help you decide if you want to specialize in a particular department.
Office PA: works in the central production office, and may perform general office work; answer phones; make copies of scripts, contracts and other documents; run errands; and assist with scheduling, shipping and other office duties.
Transportation PA: drives a rented van, car or truck; delivers/picks up packages all over town; takes actors and crew to and from the set; runs errands.
Art Department PA: assists the Production Designer, Set Decorator, Prop Master, or Art Director with office duties; assists with researching, locating, painting, or constructing scenery, set dressing, or props; assists on set with unloading and setting up props, sets, or set dressing; runs errands.
Wardrobe PA: assists with costumes for extras; organizes and labels costumes; washes/irons costumes; assists with making costumes; runs errands.
Location PA: photographs locations; delivers contracts; puts up signs to direct workers to the set; makes and distributes maps to locations; cleans up locations after filming; runs errands.
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Skills
- Dependability -- the most important skill of all.
- Punctuality -- absolutely essential. No excuses. If you're early, you're on time. If you're on time, you're late. If you're late, you're fired.
- Ability to follow directions precisely.
- Willingness to work long hours (12-14 hour days are the norm).
- Cheerful and professional attitude.
- In-depth knowledge of the Charlotte region (directions, etc.) is helpful but not necessary. However, if you do not know your way around, make that clear so tasks can be assigned appropriately.
- Ability to "think on your feet," that is, to make a quick decision when you have to, rather than waiting helplessly for someone else to take over.
- Another important skill: if you make a mistake, own up to it and take responsibility.
- Good communication skills and the ability to get along with many different kids of people.
- Organization -- you must be able to prioritize and stay on top of a list of things asked of you.
- And here's a really important one: a thick hide. Sooner or later, you're going to get yelled at, whether or not you deserve it. Don't take it personally--get over it--everybody else does.
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QUALIFICATIONS
- Previous experience is not necessary (you will be told what to do and how to do it).
- A dependable car is an asset. If you have one, say so in your resume. PAs do a lot of driving. If you have a good driving record, keep it that way, and say so on your resume. ---Have an answering machine or voice mail, and make your outgoing message short and professional. If you have a silly message, that's the first impression that sticks with your (maybe) employer. If you have a cell phone, put the number on your resume.
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EDUCATION
A PA doesn't have to have a college degree, though it can be helpful. With or without a degree, you greatly increase your chances of being hired if you have a usable skill and a lot of enthusiasm. Although you may have made straight A's in college in directing, lighting and editing, the fact is, production companies don't hire beginners to direct or edit--they hire them as PAs.
On the other hand, time spent in film school, or making films or videos on your own, puts you in touch with other people with similar goals. In many cases, your paying jobs happen because of someone you know, so it's worthwhile to spend your time with people who are already in the business or are at least headed in that direction.
Beneficial courses at high school or college include film/video production and theater. Learn as much as you can about the technical side of theater (lighting, makeup, set construction, etc.), because much of this knowledge is directly applicable to film production too. Other worthwhile studies, depending on your interests, may include computer classes, art, photography, sewing, carpentry and metalworking. Almost any professional skill can be used to some degree in film production. Accounting, interior design, architecture, fashion design, music, computer programming, sign painting, aviation, hairdressing, welding, catering...it's a long list.
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WORK ENVIRONMENT
Weather: An office PA usually works indoors, in the production office, but runs outside errands too. Set PA's spend most of their time out in the weather, just like the rest of the crew. So, whatever your department, dress appropriately for spending time outdoors, no matter how rotten the weather might be. Shorts and T-shirts are the norm, but look at what others on the crew are wearing, and follow their example.
Hours: Very, very long. Sixteen-hour days are common. To repeat, you will not have any social life while you're working on a film or commercial.
Job Mobility: The necessary skills for a PA are the same anywhere you live. However, a lot of your work comes from the people you know (that's the value of networking), so can be difficult to start over in a new area.
Job Security: PAs are self-employed freelancers, so real job security does not exist. Once the job is over, it's over. You depend on your good performance and professional reputation to bring you the next job.
Travel: PAs are almost always hired as "locals." Production companies do not pay hotel/living expenses for locals, so there's not much travel for PAs. However, if you have a friend, grandma, or someone else who will house you in another city, you can always apply for PA jobs in that city, as a local. If you do, be sure to change your resume to show a local address. If your resume has an out-of-town address on it, that's the first thing the production company will see, and they'll put your resume in the "forget it" pile.
Advancement Opportunities: Great! Many, many crew members started out as PAs and moved up through the ranks. Of course, once you're known as a PA, you're more likely to be offered PA jobs than other positions. Low-budget films are often the solution, offering the chance to work at a higher position than you'd qualify for on a big-budget film.
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WHO'S HIRING
There is some contact information of productions in the area on this website under Current Productions.
You'll find that on many low-low-budget films, the crew and actors are not paid; they're just working for the experience. Other films might offer "deferred payment," which means that you get paid when, and if, the film ever makes a profit. That could take years, or never happen at all, so you shouldn't expect to realize any income from a deferred payment contract. But you may want to consider these unpaid jobs as internships--it's up to you.
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WHY WORK AS A PA?
You probably know the answer to this one already. It's lively, fulfilling, fascinating work, and it's about as far from an 8-to-5 office job as you can get. You have a great deal of personal freedom in making your career choices, and there's plenty of room to advance into positions with more creativity and responsibility. And finally, most people who work in film and television production love the work they do and wouldn't want to do anything else. Whatever career you choose, in film production or not, isn't that the way you want to feel about it?
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RECOMMENDED READING
There are many terrific books available on the topic of working in film production. Any library, bookstore or on-line bookstore can help you find appropriate titles. Listed below are a few brochures and books that have specific information for PAs.
Sandy Curry, Production Assistant Guidelines. (Sandy Curry, 217 North Henry Street, Brooklyn, NY 11222; 718-389-6610; 1996; 45 pp., $7.50 plus $1.50 Shipping and handling fee.) Email at SBCURRY@aol.com or visit the web at www.paguidelines.com.
April Fitzsimmons, Breaking & Entering: Land Your First Job in Film Production. (Lone Eagle Publishing Company, 2337 Roscomare Road, No. 9, Los Angeles, CA 90077; (310) 471-80661997; 1997; 204 pp. $17.95.) You can also order it online at www.loneeagle.com.
Michael Horwin, Careers in Film and Video Production. (Focal Press, 80 Montvale Avenue, Stoneham, MA, 02180;1990; 191 pp.)
Phillip Nemy, Get a Reel Job. Angel's Touch Productions, 4827 Topanga Canyon Blvd., Suite 344, Woodland Hills, CA 91364. $19.95 plus tax. www.reeljob.net |
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