JOB DESCRIPTION
A production assistant (PA) is the entry-level position on a film 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 often assist in every department,
and that's a great advantage when you're getting started. Your varied experiences
can help you decide if you want to specialize in a particular department.
- Office PA: works in the production office, and may perform general office
work; answer phones; make copies of scripts, contracts and other documents;
run errands; and assist with scheduling and shipping.
- 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 with office duties; runs errands; may assist
with construction of props or set dressing.
- Wardrobe PA: assists with costumes; organizes and labels costumes; washes/irons
costumes; runs errands; assists with making costumes.
- Location PA: delivers contracts; puts up signs to direct workers to the
set; makes and distributes maps to locations; cleans up locations after filming;
runs errands.
SKILLS
- DEPENDABLITY -- 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 your town (directions, etc.)
- 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.
- 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.
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 résumé.
- PAs do a lot of driving. If you have a good driving record, keep it that
way, and say so on your résumé.
- Have an answering machine, 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 or pager, put the number on your résumé.
If they can't find you, they can't hire you.
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 jobs will usually come to you through someone who knows you, 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.
WORK ENVIRONMENT
- Weather: An office PA usually works indoors, in the production office, but
runs outside errands too. Set PAs 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. You will not have
any social life while you're working on a film.
- Job Mobility: The necessary skills for a PA are the same anywhere you live.
However, since much of your work comes from the people you know (that's the
value of networking), it can be difficult to start over in a new city. And
you have to live where the business is. There's usually a lot of film production
work in Austin and Dallas, but virtually none in, for example, Abilene --so
don't move to Abilene expecting to work on film crews. Texas' busiest film
production centers are Austin, Dallas/Fort Worth, and Houston.
- Job Security: None. 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 or relative who will house you in another
city, you can always apply for PA jobs in that city, as a local. When you
do, be sure to show a local address on your résumé; if your
résumé has an out-of-town address on it, that's the first thing
the production company will see, and they probably won't read further.
- 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 move up the ladder on
higher positions than you'd qualify for on a big-budget film.
EARNINGS
How much you earn depends on how much you work. PAs are typically paid by the
day, with the fee varying between $75 and $200, depending on the budget of the
film. But even at $200 a day on an eight-week job, it might be months before
another job comes your way.
Very important: Many production companies will withhold your income taxes,
but some may not. For any paycheck you receive that hasn't already had your
income tax deducted, you're going to have to pay federal income taxes. They're
due every April 15, and not paying it can lead to more trouble than you would
ever want to deal with. Be prepared, and set some money aside to cover the taxes.
BENEFITS
- Time off between jobs, whenever you wish. (But if you're not working, you're
not being paid.)
- Health insurance: no. It's almost never provided.
- Three free meals a day, while you're working, plus all the snacks, fruit
and soft drinks you want.
- Great connections, great friends.
- The job is never boring!
- Very casual dress is the norm.
WHO'S HIRING
Take a look at the Texas Film Commission's Job
Hotline for a list of film and television projects currently hiring
in Texas. The information is updated often with new projects, so keep
checking back.
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 day might never come, 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, providing you with hands-on experience and introductions
to film professionals.
WHY WORK AS A PA?
You probably know the answer to this one already. It's 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?
RESOURCES
There are many resources available on the topic of working in film production.
Search the Internet, library, bookstore or online bookstore to help you find
appropriate resources. Listed below are a few suggestions that have specific
information for PAs.
- Caleb John Clark, The Production Assistant's Pocket Handbook (Visit
www.noendpress.com/caleb/edtech/index.php
to download a free PDF copy.)
- Web site: So You Wanna Work in Movies at www.cineman.co.uk
- 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/handling fee.)
- 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) 471-8066; 1997; 204 pp. $17.95.)
- 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
- Guidelines for Freelancing the Film & Video Industry. (Texas Association
of Film/Tape Professionals, 504 Business Parkway, Richardson, TX 75081;
(888) 630-7373; 12 pp., free).
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