On the Set: The Hidden Rules of Movie Making Etiquette

Ethan

INTRODUCTION

As I began working on this newly revised and expanded 3rd edition of ON THE SET one of the things that kept hitting me was that everyone had a fascinating story to tell about how they started working in the industry. If it were possible for a book like this to have a theme this one’s would be "Everyone has a story."

So, considering that I have worked in the industry for over 22 years and have worn many hats in that time, it felt natural to share mine.

How exactly does a nobody from a small town in Massachusetts with absolutely zero industry contacts go from being a make-up FX artist to a Writer/Producer and eventually to an Executive?

It was quite simple . . . Well, not really.

When I was 5 years old my parents took my brother and I to see a double-feature of STAR WARS and LOGAN’s RUN at a drive-in and, as they recount, my eyes completely bugged from my head. I was hooked.

Fortunately my parents were very supportive of my interests and together we would watch THE TWILIGHT ZONE, THE OUTER LIMITS, STAR TREK and SPACE: 1999. Though my all-time favorite was the BBC’s DOCTOR WHO, which I have been obsessed with my entire life.

I grew up in Natick, MA and when I was 13 years old my father took me to a horror convention in Boston. One of the guests was MakeUp FX Goremeister, Tom Savini. His name was synonymous with the blood and guts films of the 1980’s. Famous for DAWN OF THE DEAD, FRIDAY THE 13TH PARTS 1 & 4 and CREEPSHOW among others.

Savini did a presentation in one of the main halls and brought a table full of his props and creations. It was just amazing. A moment in time etched into my brain.

This guy was paid to make monsters for a living!

MONSTERS!

I made up my mind right then and there that I would follow in his footsteps.

As you would expect, I first experimented with my new craft during Halloween making elaborate costumes. While in high school, I worked at a movie theater and a video store and both places allowed me to make displays and costumes for upcoming horror releases.

When looking at colleges there was no question that I wanted to attend a school in Los Angeles. I was lucky enough to get into my first choice, USC. I didn’t immediately get into the Film School but that didn’t stop me from filling out my schedule with as many film classes as they would allow.

One of the most frequent sayings in the industry is "It’s who you know." Well that couldn’t be truer and going to USC introduced me to a great number of fellow students who have gone on to greatness. That’s why it’s so important to treat everyone with respect and consideration. The person you treated nicely might be in a position to help you out one day and conversely, the person you treated poorly could be the one that keeps you from getting that dream job.

After working on a number of student films, I was introduced by one of the Directors to his friend Taylor White (of the website CreatureFeatures.com) who was working as the coordinator for Tony Gardner’s Alterian Studios, one of the bigger make-up FX shops. Taylor got me an interview with Tony and I impressed him enough that he hired me as the shop runner.

When I was not out running errands, I got to work on the movies including THE ADDAMS FAMILY, The SWAMP THING TV series and MOM & DAD SAVE THE WORLD. I never imagined that I would get to work on movies at such a young age (I was only 19 at the time). I decided to jump in headfirst and worked in FX pretty much solid for 14 years, working at over 25 different FX shops, on over 40 Films and 10 TV series, not to mention more commercials than I can remember.

I never thought I would be fortunate enough to work on so many great projects so early in my career. I decided that even though I enjoyed doing FX, I wanted to look for other avenues to explore in the industry.

I loved writing and set my sights on becoming a Screenwriter. I taught myself the craft while I was still early in my FX career and just kept writing, getting better and more confident at it with each script I wrote. My first 3 scripts were crap, but I kept on working at it until people started to take notice of my abilities.

Because of the connections I made at school and on the job, I was able to get my scripts read and eventually produced. With these produced credits as well as a collection of unproduced spec scripts, I was more desirable to Literary Managers and Agents. Keep in mind, a lot of the industry game is about perception. If you are perceived to be an up-and-comer then people are going to want to hitch their wagon to you.

I got my Manager first, and with his guidance, I was able to secure more jobs as well as get my first Agent and Entertainment Lawyer. Mind you this took some time, but I now had a team behind me.

Because of the organizational skills I learned working in special FX, I realized I had abilities as a Producer and I started getting asked to produce short films and videos for people I had worked for in the past. As I filled out my resume even more, I then started producing DVD special feature content and soon feature films.

Then out of left field, my friend Garrick Dion, who was working as a Development Executive for David Lancaster Productions, called me up and said they were looking for a new V.P. of Production to take over from the one who was leaving. The thought of being an executive had never crossed my mind. Furthermore I had zero experience. Garrick was extremely persuasive and told me that my years working on set and my organizational skills made me a perfect candidate. So I met with David Lancaster and we hit it off. The next thing you know I was an Executive working on such films as Wes Craven’s THE BREED and HOLLOW MAN 2.

As luck would have it, less than a year into that gig, Lancaster got tapped to become the new Co-President of BOLD Films and he brought Garrick and I into the deal. So now we were BOLD’s Director of Development and V.P. of Production respectively.

My first responsibility was to finish delivering four of their films. Up till that point I was completely unaware of what delivering a movie entailed, but I threw myself into it and soon became an expert at it.

I stayed at BOLD for a while working on the Golden Globe nominated BOBBY and MIDDLE OF NOWHERE, but left after STARSHIP TROOPERS: MARAUDER in order to refocus my efforts on writing because that is where my heart was.

I got a new Agent and hit the ground running. To supplement my income, I would work as a Producer overseeing trailers and marketing videos for upcoming video games at gNET Media. I was also being wooed by another production company called Rat Bastard Productions. After holding them at bay for a few months, I decided to join them as their President of Production when they made me an offer I couldn’t refuse.

Always looking for new avenues to explore, I then fell into writing comic books and graphic novels as well as short stories, novels and non-fiction books.

After almost a quarter century, I’m still going strong with no plans of stopping. I’ve learned a lot over the years especially from working on this book. Like I said, everyone has a story and boy there are some captivating ones within these pages. I hope you read each and every one of them and learn from them as much as I did and still do.

I’ll see you ON THE SET!

Paul J. Salamoff

September 2012

MOVIE SETS:

A BRIEF OVERVIEW

There is nothing in the world that can 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 $80 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 marketing 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, which culminates in an overall 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 deal with people and be easy to deal with yourself is just as important as doing your job competently.

Be Prepared!

Now, that being said, lets 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, locations are scouted 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 rather than longer and as they say, If you fail to plan, then you plan to fail. The less prepared a production is, the more that 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 regard only 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.

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.

During the actual shooting, most productions have a first unit team which consists of all the major key personnel and lead Actors as well as a second unit team which is usually more condensed and shoots the footage that first unit was unable to get or 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. Though with that said, bigger budget films can have quite large second units that are more complimentary to the first unit and utilize principal performers. 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.

After first unit wraps, the second unit usually continues to shoot or a new reduced unit will finish. This reduced 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 scheduled to come out in theaters. Trust me, this happens more times than you would believe, especially with test screenings becoming so important.

During post-production, the film is edited and the real bulk of the visual and sound effects begin. 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 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.

However, these days with the advent of digital projection, a major motion picture will rely heavily on digital cinema. For this, a DCP (Digital Camera Package) is created. The DCP, in essence, is the new release print. Essentially it is a digital file contained on a portable hard drive. Specialized projectors at the theaters download the DCP and then project the image digitally. The end result is a higher quality image and a less expensive means of distribution. It is also more secure than a film print because the DCP is encrypted and can only play on the projector it is assigned to for a specifically set period of time.

At this point, release prints and/or DCP’s 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.

Once the studio has signed off and all the t’s have been crossed and the i’s have been dotted, the release prints and/or DCP’s 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.

A BRIEF OVERVIEW

The Production 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, and 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 postproduction.

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 it is to make sure that the schedule is adhered to and that 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 adds their influence and business skills to helping the movie get cast, financed and produced but does not usually take the daily responsibility.

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 is 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 pickups 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. The set Gopher.

Script Supervisor: Meticulously oversees continuity as well as 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 or the 1st A.D. 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 or, in digital filmmaking, to load another data storage unit.

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 to keep the movie on budget and not falling behind schedule when the planned location is unusable. Film productions generally shoot all their exteriors first and use the interior scenes as cover in case of bad weather.

crew call

The time when the crew must arrive on set ready to work. Found on the daily call sheet.

Cut

Called by the Director or the 1st A.D. 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. Usually screened with the Director and key crew members at lunch or after the following shoot day.

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 / Lock it up

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 or digital media is being exposed.

Second Unit

A second, smaller film crew that frequently is used to capture stunt sequences, chases etc. often using Stunt Doubles of the main Actors. Second unit has a separate Director, A.D., etc. . . . and this shooting often happens parallel to the main shoot, thus keeping the pace of production economical.

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 (or set it to vibrate only) 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 member, 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

Bryan Singer

Director / Producer

(JACK THE GIANT KILLER, VALKYRIE, THE USUAL SUSPECTS)

REALLY Super 8

When I was about 11 years old, a friend took me out to take pictures with a 35mm SLR camera and the whole idea of taking photographs, doing time exposures and