Production Assistant Duties

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.)
Film Crew 101: Tips, Tricks & Secrets for Success from Motion Picture Professionals, Peter Clarson. www.filmcrew101.com
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).