OVERALL RESPONSIBILITY

Under the supervision of the Unit Production Manager and Assistant Directors, the Assistant Director Trainee
provides managerial, administrative, communication, and facilitation support to all of the actors, crew, and
production personnel working on a production.
I. Essential Job Functions
A. As a Trainee, you would be expected to constantly communicate the on-going status of all elements of
production to everyone associated with the production.
1. Distribute paperwork, schedules, scripts, and revisions (as prioritized by the ADs) to actors, crew,
and atmosphere (extras).
2. Inform ADs constantly as to your location and the location of actors and crew, as well as what
tasks you've completed and when they are completed.
3. Relay changes in schedule and plans to actors, crew, atmosphere, and production office.
B. Organize the movement of actors and atmosphere in and out of the makeup, hair, and wardrobe
departments.
1. Check that actors, atmosphere, and crew arrive on the set when they are due.
2. Deliver them to the set prepared and on time.
3. Sign out the actors and atmosphere when dismissed.
C. Work in advance of each scene, monitoring the progress of the crew's work, to ensure that all elements are
ready for the on-going shoot; and anticipate, report, and help solve any problems that occur in this regard.
D. Assist the ADs in running the set.
1. Help set background action.
2. Coordinate crowd and traffic control.
3. Maintain quiet on the set during rehearsals and shots.
4. Relay loudly and clearly instructions given by ADs on set, address large groups of extras,
and make announcements.
5. Help solve problems that interrupt actual shooting.
E. Facilitate production continuity.
1. Respond to departmental requests.
2. Monitor set safety and communicate safety problems.
3. Ensure the fulfillment of union and guild contractual requirements.
4. Take orders for breakfasts, lunches, and dinners, and see to their delivery.
5. Answer phone, beeper, radio, and walkie talkie communications; find people; and take
messages and deliver them.
F. Accurately complete detailed paperwork daily and deliver to production office at day's end.
II. Working Conditions
Location of Work
1. When shooting on studio lots, trainees are expected to perform their tasks in and between areas which can
include:
a. Sound stages with cables, ladders, construction materials, lights etc. (This equipment may be
shifted quickly and often);
b. Rehearsal areas, production offices, makeup department, commissary etc. (These buildings may be
blocks apart or connected by narrow corridors);
c. Rolling stock: equipment trucks, mobile dressing rooms, wardrobe trailer, etc. (Their locations
may change from day to day).
2. When shooting on local or distant location, trainees are expected to perform their tasks under the following
conditions:
a. At a variety of places, such as:
1) Crowded hotels, malls, airports;
2) Ranches, fields, deserts, wilderness areas, mountains;
3) High crime areas.
b.

On differing terrain, such as:

1) Gravel parking lots;

2) Dirt hills;
3) Sandy beaches;

4) Grassy lawns;
5) Rocky terrain.
c.
d.

In all kinds of weather - fair to inclement.

At/between the same rolling stock (mentioned in A.1.c. above), parked in various and sometimes
widely spaced sites.

A. Hours
1.
2.

Typical work day is 12 to 16 hours.

The work schedule within a given project can shift radically, such as:
a. From working Monday through Friday to working Wednesday through Sunday;
b. From working 6 a.m. to 8 p.m. to working 5 p.m. to 7 a.m.
3. Long periods of near-constant movement.
B. Organizational Context
1. Trainees must fit within (and usually at the bottom of) a supervisorial hierarchy.
2. Trainees interact with, motivate, serve, and solve problems for a large group of people, with the
following results:
a. They handle multiple tasks, are constantly prioritizing, and are frequently interrupted;
b. They need to be alert, positive, and approachable by everyone;
c. They must cope effectively with widely diverse personalities.
C. Work Availability
While trainees are allowed to seek alternate employment while unassigned to a project, trainees must
always be available for work. Work assignments are on a free-lance basis and are often assigned on a
moment's notice.
D. Wage Rates
Effective July 1, 2003, trainee weekly wage rates are:
1 - 100 days
$558/week
101 - 200 days
600/week
201 - 300 days
643/week
301 - 400 days
686/week
A good source of information about the work of an Assistant Director is a book entitled "The Film Director's Team"
by Alain Silver and Elizabeth Ward. It's published by Silman-James Press.
For a comprehensive guide to the day-by-day details of film production, including all essential forms for launching a
production office, see "The Complete Film Production Handbook" by Eve Light Honthaner. It's published by
Butterworth-Heinemann.
SAMPLE QUESTIONS
The questions that follow will give you an idea of the kind of questions to expect. The questions within a test usually
vary in difficulty, starting with easy questions and progressing to very difficult ones. Most have multiple-choice
answers. Because we change and develop the test battery each year, a type of question not illustrated here may
appear in the test, or a type illustrated may not appear.
Verbal Comprehension
Directions: This is a test of how well you understand the meaning of words. In each item, look first at the
word that is underlined and think about what it means. Following it are five other words, labeled A through
E. Select the one that has a meaning most like that of the underlined word. Choose the letter that goes with
the word you have selected.

If you do not know the answer to any item, you may guess, but avoid wild guessing. If you finish before the
time is called, you may go back to check your work.
Sample:
sincere
A. fair
B. naive
C. genuine
D. guilt-free
E. honest
Answer: C is the best answer. While E is close, C has the meaning most like 'sincere.'
General Reasoning
This section assesses your ability to reason logically with numbers. The directions are similar to those for
the Verbal Comprehension test.
Sample:
Three people dig a trench twenty feet long in 3 days. How long would it take two people to dig the same
ditch?
A. 2.0 days
B. 2.5 days
C. 3.6 days
D. 4.5 days
E. 6.7 days
Answer: D) 4.5 days
Spatial Reasoning
This section assesses your ability to think in two or three dimensions. You will be asked to examine shapes
and determine similarities and differences in shape and orientation.
Social Perception Test
This test will ask you to make judgments about the appropriateness of certain actions involving people. One
test we give asks you to examine a cartoon strip in which one picture is missing. You are then asked to
select which of four alternative pictures would make most sense to the story.
In-Basket Task
The purpose of the in-basket task is to assess your ability to handle complex problems in a fast-paced
simulation. You might find yourself an emergency radio dispatcher, or a nursery school principal, or the
assistant manager of a fast-food franchise. In the exercise, you will be presented with an in-basket of
messages to which you must respond in a specified time period. You will be asked to prioritize the items
and decide how you should respond to the messages.

Creativity Test
One or more creativity tests may be given.
Sample: How many uses can you think of for a brick? You have 2 minutes to write your answers.
Sample: What would be the consequences if the earth had no moon? You have 2 minutes to write your
answers.
Management Style
One or more tests may be given to assess your style of behavior in social situations. These tests have no
right or wrong answers. There are a variety of styles of effective assistant directors.
Samples:
I prefer parties which are:
a. large
b. in between
c. small
While in the "10 items or less" lane at the supermarket, you notice that the woman in front of you has a
shopping cart full of items. You have only one item. You:
a. wait and see if the cashier notices.
b. tell the woman about the item limit as tactfully as possible.
c. ask the woman if you can go before her.
d. tell the cashier.

Third Assistant Director

Description
The third assistant director (3rd AD) is responsible for the preproduction aspects of a film set. They act as an assistant
responsible to the first assistant director with special emphasis on
floor and set duties. A third assistant director is responsible for
everything from assembling start packages and coordinating the
cast to escorting actors to their trailers and handing out script
revisions. The job of third assistant director can be very stressful
and very rewarding.
There are many responsibilities allocated to third assistant directors,
they prepare for each day's shooting schedule by making sure the
information such as call times and locations are correct on the
actors' schedules. They may also need to call actors at home to
alert them of changes in their 'call time' to set. Third assistant
directors also prepare daily production reports, transcribe call
sheets, and production schedule changes and make sure the
production office, crew and actors are alerted to any changes. What
seems like a small duty, such as getting actors to sign in and out, is
a vital step to them receiving proper payment and therefore an
extremely important and occasionally stressful task for the 3rd AD.

Related Careers
Administrative Assistant
Boom Operator
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Court Clerk
Desktop Publisher
Executive Assistant
Film and Theatre Hair
Specialist
Film Projectionist
Gaffer
Grip
Law Clerk
Lighting Technician
...
Click here to see all the related
careers

The ability to multi-task is necessary for this position. Third assistant

directors need an awareness of all the aspects of pre-production
work. From writing out call sheets, and shooting schedules, to
escorting actors to the set and alerting all crew and cast to schedule
changes, the third assistant director has many responsibilities vital
to running a production. They need good written communication
skills to perform office and scripting tasks and excellent
interpersonal skills when constantly working with different people.
This is a good starting point for those interested in working towards
first assistant director or director positions.

Typical Tasks

Coordinate cast
Assemble start packages
Prepare for shooting day by ensuring rooms are open and complete
Check information on actors' time sheets is complete
Ensure crew is ready for cast, assists in placing extras
Coordinate information to cast and crew
Sign performers in and out, escorts actors to trailers or set
Distribute script revisions, schedules, communicates daily changes
Coordinate with production office by submitting daily report and timesheets, relaying
messages and informing office of shooting schedule
Complete daily production report by transcribing timesheets and call sheets, obtaining out
times and collecting technical reports.

There is no consistency when it comes to film and television production. A third assistant
director can expect to work a 10- to 16-hour day depending on the production company and
project deadlines. They will go to whatever location is acting as the set at that time and
coordinate most of their activities from there. This can be a very high stress industry with long
periods of waiting combined with bursts of extreme activity to get the job done. From dealing
with schedule changes and script revisions to getting actors to their trailers and rounding up
the extras all of these are potential tasks a 3rd AD will do in a day.

Interests and Skills

People wanting to work as third assistant directors must be interested in all aspects of pre-production.
Most people who work in the film and television industry really enjoy these media and they want to be
a part of creating something. Third assistant directors must work well under the direction of others, be
meticulous with details, able to multi-task and be able to work well under the pressure of long irregular
hours and deadlines.
They are interested in being part of a production team and enjoy the challenge of a constantly
changing work environment. Third assistant directors have very good interpersonal skills, which is very
important in this relationship driven industry. Word of mouth is a common hiring practice in the movie
business. If they do a good job on one production, chances are they will be hired for the next
production with that crew. Third assistant directors are hard workers with good attitudes committed to
making the art of movie and television magic flow smoothly. Generally, people who work in this
industry are passionate about film and television and that is the driving force behind the long hours
and stressful deadlines.

Workplaces, Employers and Industries

Third assistant directors are employed by film production and television production
companies.

Long Term Career Potential

Third assistant directors have the opportunity, with experience and/or additional classes, to move into
the position of first assistant director or even director.

Educational Paths
As with most positions a solid foundation is the place to start. A grade 12 education is preferred, a
grade 10 or equivalent education including English 10, Mathematics 10 and Science 10 is
recommended. At this point, this career, is considered a craft and not an neccesarily an apprenticable
trade. Check with your career counselor or local industry training and apprenticeship office for the
status of this craft. You can get started by applying to IATSE (International Alliance of Theatrical Stage
Employees) for permittee status - film orientation courses, hazardous materials, and first aid training
are assets. If this position is apprenticeable in your area, then your next step is to find a job in the
industry that will allow you to participate.

Assistant Directors are responsible for the assembly of all the elements needed for filming and for the
daily operation of the shooting set. Their objective is to provide the Director with everything he or she
needs to put his or her vision on film.
Their duties are supervisory, organizational, administrative - and multifarious. Working within the structure
that is governed by budgets, union and guild contracts, industry custom, and so on, they make schedules,
attend to the cast, direct extras, oversee the crew as each shot is prepared, create detailed reports of
each day's events, among may other things, and are looked to by cast and crew to solve the many
problems that continually arise.

The First Assistant Director is the Director's right hand. The Second Assistant Director is the First's right
hand. The Trainee is a member of that team and learns by active participation in the process.
Assistant Directors are not Directors in the making. Although some Assistant Directors have become
Directors, the managerial/administrative road more often leads to becoming a Production Manager and/or
Producer. In fact, being an Assistant Director is a career objective in itself; it is a highly revered, lucrative
position with excellent benefits that enjoys considerable status in the industry.
The primary duty of a Trainee is to assist the DGA staff as well as the producer in the performance of their
duties. A Trainee must be flexible in interacting with the various personalities on a set and in coping with
quickly changing circumstances and conditions during the workday.
S/he must take direction well, have an ability to organize and prioritize, and be able to withstand high
levels of stress. A Trainee must be able to read, write, and communicate very well and must have basic
mathematic and accounting skills.

The position of Trainee can be physically demanding. A Trainee must be able to be on time for all calls
and to stay on a set for long hours, in extreme weather conditions (heat, cold, rain, snow and wind) with
little rest time. There is no flexibility in establishing a schedule. Trainees are at the beck and call of the
producers and directors and must be available for calls seven days a week, 24 hours a day. A Trainee
may be required to stand for long period of time, to run, to climb, and to lift and carry equipment.
A Trainee must understand that the film business in NY is not constant. Acceptance into the Program
does not represent a guarantee of consecutive assignments. Trainees must be prepared to cope with
periods of unemployment, like many people who work in the entertainment industry. When not assigned
to a production, Trainees may need to supplement their income with short term employment.

The Assistant Director

Training Program, Los
Angeles
Directors Guild of America
AICP, Association of
Independent Commercial
Producers

http://www.dgptp.org
http://www.dga.org
http://www.AICP.com
http://www.aicp.com/

http://www.schoolsintheusa.com/careerprofiles_details.cfm?carid=1033
http://www.toptwothreefilms.com/employment/assistantdirector.html
http://www.filmtracker.com/theZine/wiwpart3_body.cfm

15 Rules To Be A Perfect Assistant

by Julie Winters
The world of assistant-ing is more complicated than it seems. Not only will you be assisting an executive of
(hopefully) greater experience and (dare we suggest) intelligence than you, you will also be defending
yourself from the perils of inter-office relations. This includes getting fired, ruining your reputation or worse,
ending up on internet gossip boards that call you an incompetent know-nothing. Below is a list of guidelines
to help you navigate your way through the assistant world (relatively) unscathed. Learn them. Live them. Be
them.

1. Be Discreet
The utmost important thing when you are working for someone else is to never reveal anything to anyone
about your boss. If someone calls for your boss and asks where he or she is, simply say that he or she is
"unavailable." Never assume that any information is okay to give out, even if its to your boss's parents or
wife/husband. Some people are weird like this, and as an assistant, it is your job to cater to that weirdness.
The longer you work for your boss, the easier it will be to decipher to whom it is okay to give any
information. Please also refer to Rule #2, as described below.

2. Don't Be Afraid to Play Dumb

Never be afraid to play dumb. Especially if the person you are talking to has never spoken to you directly
before, pretend you are the new intern who is "just covering." That way they won't question you when you
don't know anything. People expect that interns working for free are stupid. EXPLOIT THEIR EXPECTATIONS.

3. Never Panic
Many smart and tricky assistants/agents/execs/family members will try to pressure you into giving out
information. DO NOT GIVE OUT INFORMATION, and DO NOT PANIC. Panic causes you to fuck up. Whenever
in doubt, put someone on hold to give yourself time to figure out what to do. Chances are, in an emergency
situation, you can reach your boss faster than anyone else. Get a phone number where the person can be
reached and tell them you will notify your boss that there is an urgent situation. Just because something is
urgent to the person calling, it doesn't mean that it will be urgent to your boss. Let the person calling decide
if you should present the situation to your boss as an emergency and then let your boss decide what to do.

4. Be a Perfectionist (a.k.a. Don't Be An Idiot)

Your utmost attention must go into EVERYTHING that you do (especially the stupid stuff). It's the most
simple mistakes that make you and your boss (and your company) look bad. Don't let these simple things
get between you and a good recommendation (or another paycheck). For example:

Make sure all names are spelled correctly (even if you have to call the person's office).

Count ALL pages of the scripts that you copy. If the script is going to someone extremely important,
count the pages twice.

Make sure everything coming out of your office is neat (nothing crossed out, no white out, no
wrinkles, etc.). People who do not know you and/or your company will judge you solely on
presentation.

Develop an organization system for your office so that you can find ANYTHING on a moment's
notice.

5. Always Take the Initiative

There is nothing more annoying than someone who waits to be told what to do. It is your job to anticipate
your boss's needs and what needs to be done before it becomes an issue. If there is down time, do not talk
to your friends on AIM (until you've been at your job at least 6 months). File, read, boss the interns around.
Do something. Anything.
If you need a question answered, try to find the answer yourself before annoying your co-workers or other
people's assistants. You will be surprised at how many people expend more energy trying to get other
people to do their job for them than they would doing it themselves. Don't be one of those people. They are
annoying and everybody hates them.

6. Know When To Think and When to Shut Up and Do What You Are Told
There is a fine line between thinking too much and not thinking enough in the assistant world. When in
doubt, do exactly as your boss tells you (not the way you think something should be done, especially if you
work for a psychopath). That way, it will be his or her fault if it goes wrong. However, if there is clearly a
"better" way to do something, and utilizing that way will avoid getting you yelled at, do that, but never
reveal that you were thinking on your own. For more information on why you don't want your boss to know
you are thinking on your own, please refer to Rule #8, and the dangers of your boss feeling threatened by
you.

7. Know Who Your Boss Is (or Who Pays You)

If people who call you get pissed off at you (and believe me, some of them will think of a reason), don't
worry about it (unless that they are mad about something your boss would be mad at, too). YOU WORK FOR
THE PERSON WHO PAYS YOU, not all of his or her friends and colleagues. Be polite, but always put your
boss first. Feel free to mention, "I'll let my boss know you feel that way," as a way to stop their bitching.
Also, whenever you need to say something offensive or condescending to someone who is convinced they
are more important than you, always preface it with, "With all due respect" This is one of the most helpful
prefaces, as "all the respect that is due" to him or her might be none at all. However, as these self-important
pricks always assume they are owed tremendous amounts of respect, they will take it as a compliment.
Alas, the ability to insult someone without them even knowing it -- an important skill for surviving the
assistant world.

8. Only Admit to Guilt When There's No Alternative

The best policy to utilize when you fuck up (and you will) is COVER IT UP. If there is any way to strategically
hide your mistake & keep as many people from discovering it as possible, do it. YOU MUST USE EXTREME
CAUTION when doing this, however. The consequences of getting caught can be disastrous (i.e. losing your
job), even worse than taking the heat for the actual fuck up. If people find out you "cover up" they will no
longer trust you and think that you lie about everything. Your boss will be threatened by the idea that you
are smarter than he or she. Especially if it's true (and especially if you are a woman working for a woman -you all remember ALL ABOUT EVE, don't you?). That being said, only do this if you have a relatively high IQ.
As an amendment to Rule #8, never rat out someone else to save your ass. Aside from being completely
immoral (for those of you scumbags who need more of a reason), you never know where that "scapegoat"
will be in a year, or who they are friends with now. Your reputation is all you have in this town. Protect it.

In defense of the idiots who will rat you out (and they will), know that many assistants live in constant fear.
In one moment they can go from their comfortable "just-squeaking-by-on-an-assistant's-salary" status to
homeless and "back-to-mom-and-dad's-in-the-valley." You can see why the latter option is less appealing to
them than blaming the scheduling (or whatever) screw up on you, even if it isn't your fault. Never sink to
these idiots' level - your boss is the only one who matters, let them deceive their own if need be. Beware of
these people, and remember who they are. It's important to always know with whom you are dealing.

9. Save Everything (a.k.a. Cover your ass)

And I mean everything. Especially fax confirmations. This rule should protect you from the idiots described
in the rule above. Always have proof to back you up when you are in the right. Also, you don't want to be
put in the position of having to tell your boss that you were stupid enough to throw away that spec you
passed on last month which has just sold to Dreamworks for $1.5 against $2 million.

10. Never Pretend to Know What You Don't

If your boss asks you a question to which you have absolutely no answer, don't make up stupid shit because
you will most likely get caught later. Then you'll exhaust yourself covering it up, and all that useful energy
(that you could be using to post horrific rumors on iFilmpro about your co-workers) will have been wasted
for nothing. Every once in awhile, it is okay to say, "I don't know, but I'll find out." This way, your boss will
trust that you actually know what you are talking about when you do have an answer. Even if you made it
up.

11. Know Who Your Friends Are In Hollywood, that means no one.
A wise (but drunk) man once said, "Never trust a person who says to you, 'I would never fuck you over,'
because that means they already have." Everyone has an agenda and something they want to "get" from
you. Learn to distinguish between these people and the ones who still like you when you have nothing to
give them but friendship. Hang onto these people. Recognize the others for what they are, and use them to
the same degree. Don't feel bad, that's what Hollywood is all about.

12. Always Return Favors

When people go out of their way to help you, let them know you will do the same for them. Sometimes even
the smallest gesture (like sending them a video of your company's last movie) will reaffirm their faith in
humanity, and more importantly, make them want to help you out again. On an obvious side note, don't
continue to help people who don't go out of their way to help you. If you act like a carpetwell, you know.

13. "Don't shit where you eat, don't fuck where you work."
The great Aristophanes has spoken. Enough said. And yes, that includes blow jobs.

14. Know When to Leave

There is no better way to ruin a relationship than by sticking around too long. You don't want your boss to
feel about you the way you felt about that freshman year girlfriend/boyfriend that JUST WOULDN'T GO
AWAY.
Sure Signs That Your Time Has Come to Move on Include:

When you tell people how long you've been at your company, they all ask when you are going to
leave or get promoted. If the latter isn't looking possible, get a new job.

More than 1 year has gone by since you started.

You start arriving to work later & later each day

Your boss comes in every morning and says, "You still here?"

15. Never Sell Your Soul

The most important thing to remember is no job is worth compromising your morals, whatever they may be.
If you have a serious problem with lying, you may want to consider getting out of the entertainment
industry now, as it is a skill required from all execs, agents and assistants. You can try to avoid it, but you
probably won't get very far because no one will like you.

Something to remember for the future: Just because you win an Academy Award doesn't mean
there's no room for you in hell.
Everyone will tell you, the hardest job to get in Hollywood is your first. After that, it's all who you know, and
who people-you-know know. For your first job, this is the best advice I can give: GET AN INTERNSHIP. I
know, working for free is not the most appealing option imaginable, but if you are relatively sane and normal
(I know most of you probably aren't - but that's ok), an internship will most definitely lead to a great job.
Even crazy interns that I have had and/or fired have gone on to be assistant trainees at ICM, Writers &
Artists, UTA and AMG (please refer to the "how to hire an intern" section on how to avoid hiring one of these
crazies yourself). Most companies accept aspiring interns' cover letters & resumes via fax. Always call to
follow up, as the biggest companies get hoards of these letters, and many lazy internship co-ordinators
regularly toss intern resumes in the trash just to clear off their desk tops. However, just remember, you ARE
offering to work for free, so just give a polite call and offer to come in for an interview. Don't be pushy, don't
be funny, just be NORMAL.
Things that qualify your resume for direct deposit into the trash can:

Misspellings or errors in grammar (especially in the company name or addressing the letter to the
wrong company)

An inflated ego (i.e. someone who thinks they are really funny or creative in their cover letter when
they are really not)

Mentioning sex or sexual preference in the cover letter (you'd be surprised)

Shock tactics (i.e. beginning the cover letter with a personal insult just to "get your attention")

Once you are an intern, you are in the fortunate position of winning the love and support of the assistants at
your new company. BE NICE TO THESE PEOPLE AND DO ANYTHING THEY SAY (within reason - please recall
Rule #13 if you feel your assistant-bosses might be getting carried away). This means copying, faxing,
counting pages, going on runs, cleaning the office -- all the things that people with college degrees thought
they would never have to do again (Did I mention it helps you get a job if you have a college degree?
Especially from NYU or USC, but if any of you people have degrees from these places and are still
unemployed and reading this, I don't think I can help you after all). DO THESE THINGS HAPPILY AS IF THEY
GAVE YOUR SHALLOW LITTLE LIFE MEANING. If you can do this, you will make a wonderful assistant some
day. Whether you want to do this or not is another question entirely.
Once you have completed your internship, it is time to look for a job. First you must decide in what area you
are interested in working. There are four main categories for office-assistant positions: Agent's Assistant,
Development Assistant, Studio Exec or Producer's Assistant, Director's/Writer's/Movie Star's Assistant. As
with everything in life, there are ups and downs to each of these options. Each are described briefly in the
next section, The Types of Assistants.

Agent's Assistant
This is the job in which you will make the most contacts. Everyone wants to know you when you work for a
(good) agency. There are two ways to start your way up in these companies 1) the agent trainee program
(minded towards those hoping to one day be agents, hence the name) and 2) as an assistant (no room to
grow, but higher pay and less "grunt work" involved at the get-go), which is good for those who would
eventually like to go the D-route. Obviously, if you want to be an agent someday, this is the perfect place for
you to start. Long hours and extremely low pay abound at the agencies. The worthwhile jobs are exhausting
and all-consuming. But like I said, everyone will want to meet you, which is a good thing. You just have to
find the time to do it.
Car Most likely to own: '94 Honda or Geo, probably with no insurance
Weeknight activities: staying late in the office, drinking
Dating situation: single, no time to care

Development Assistant
Reading, reading, reading. Did I mention reading? You will read a lot as a development assistant. And you
won't get credit for any of it. Your boss will pass on scripts only you have read, using your comments to do
it. Besides reading, this job is about meeting people and socializing. This is the job you will have for which

you truly ought to have an expense account but you don't. (A bit of advice: Try to go out with people higher
up the pyramid than you so that they can pay on their boss's dime.) You will have access to a lot of
information and - probably - time in which to absorb it. This is the assistant job from which it is easiest to
move up. Numerous development assistants have gone on directly to become DODs, story editors and CEs,
sometimes at his/her very own company (however, see the "moving up the pyramid" section for warnings
regarding this). You will schedule, roll calls and send out submissions. This is the most "creative" assistant
position available, sometimes involving the creation of writers and directors lists, & writing coverage and
story notes on your company's projects. Usually, your opinion matters here, not so much because your
company respects you, but because there simply isn't time for your boss to read and/or fix everything. This
can be one of the hardest assistant jobs to get, and the pay, while not as bad as agents' assistants' pay,
tends to be medium to low.
Something to consider when looking for a development assistant job, is the sub-categories of production
companies you can work for: star driven, high volume and studio (working for a CE at a studio can be
somewhat of a combination of a studio assistant job and a development assistant job, very cool). Obviously,
in any type of assistant job, the experience you have will depend on your particular company. It would be a
very different experience working in development for Scott Rudin or Jerry Bruckheimer than it would for,
say, Wildwood (Robert Redford) or Larger Than Life (Gary Ross). The more movies per year that your
company puts out, the more work there is to be done.
Car most likely to own: whatever car you had in college or a leased Saturn
Weeknight activities: reading, drinking, occasional premiere
Dating situation: single and looking and looking and looking

Studio Exec or Producer's Office Assistant

Can you say 401-K? Studio Assistants are the highest paid of the bunch. High profile producers' assistants
can also fall into this category. Much like the agent's assistant job, there is a lot of busy work and virtually
no creativity involved here. You will be in very early and leave late. You will roll calls, schedule, handle mass
amounts of paperwork, and quite often deal with an excess of office and/or studio politics. In this job, you
often have the opportunity to meet a lot of people as a lot of people will need favors from you. You will have
access to a lot of information and this makes you important.
Car most likely to own: leased SUV or older model Mercedes
Weeknight activities: sleeping, watching TV
Dating situation: good chance of a serious relationship, perhaps living with someone

Director/Writer/Movie Star's Assistant

This is a very cool and coveted position, especially if people have heard of your boss. The pay can be good
here, especially if your boss is overly concerned with you being discreet. You will be paid for your silence.
The egos in this area can be too much to handle, and often, when working for one of these people you are
viewed as a lackey or "yes man." You can be cut off from the rest of the assistant world, which can be a
good or a bad thing, depending on your POV. There are A LOT of personal errands involved in these kinds of
jobs (walking the dog, house sitting, washing the car, picking up dry cleaning, everything you can think of).
You will, however, have the opportunity to develop relationships with many other very high profile people your boss's friends & co-workers. This is also a good opportunity to learn the craft in which your boss
specializes. There have also been many cases where the boss in question has become so dependant upon
his/her assistant that they give him/her a fantastic title and/or promotion to keep them around. Good
examples of this are Amy Heckerling's former assistant Twink Caplan, Sean Connery's producing partner
Rhonda Tollefson and Cutris Hanson's former assistant Lisa Grundy (who is now an Associate Producer on his
films).
Car most likely to own: '76 Dodge Dart, Pinto or Corvette (a.k.a. "its in the shop"); may be seen in a Land
Rover when the boss is out of town
Weeknight activities: drinking, hanging out with the boss and his/her friends, occasional premiere
Dating situation: dating, probably a few people