I attended a talk with Rory Stewart, a working assistant director on films like Under the Skin and Trainspotting 2. I took pages of really interesting notes.
Types of Assistant Director
Runner/Floor Runner:
- Assist 2nd Assistant Director (2nd AD) and 3rd Assistant Director (3rd AD) at Unit Base at breakfast, lunch and wrap.
- Look after (and keep track of) cast and other key crew including the Director and 1st Assistant director (1st AD).
- Pass information from 1st Assistant Director/3rd Assistant Director to crew.
- Generally help out (particularly the 3rd Assistant Director).
- Be eyes and ears of Assistant Directors’ department.
- Clean, stock and transport the Tea Table!
- Keeping set quiet and locked off.
Stand-in/Runner:
- As above but also stand-in for lead actors during camera setups/lighting.
Runner/Driver:
- As above but also picks up/drops off lead actors and Heads of Department.
Crowd Runner:
- As above but mainly looking after and running extras at Unit Base and on Set.
Base Runner:
- Stays at Unit Base.
- Assists the 2nd Assistant Director.
- Help coordinate Costume/Makeup for Cast.
- Meals for cast.
- Fittings.
- Arrivals at Base.
- Departures for Set (including Cast, Crew, costumes etc.).
- Might help with AD report/ Callsheet.
3rd Assistant Director:
- 1st Assistant Director’s assistant on Set, 2nd Assistant Director’s assistant at Base.
- Recce in preproduction (passes info to 2nd Assistant Director).
- Many responsibilities (travelling Cast, looking after Cast) but delegates through runners.
- In charge of extras on set (working to the Director/1st Assistant Director/ Script Supervisor).
- Passing information to Crew. Usually based at monitor.
- Can be a stand in.
- Pass information to 2nd Assistant Director/Production Manager including times and any problems.
- Pass information from 2nd Assistant Director to 1st Assistant Director (or vice versa).
2nd Assistant Director:
- Budget, allocated by Production Manager. Usually just for Extras.
- Responsible for cast in preproduction (in conjunction with Production department) including fittings.
- Licencing (in conjunction with Production Department), usually only concerned with licencing any child extras.
- Transportation of Cast and Crew. Do we have enough vehicles?
- Responsible for ensuring there is enough accommodation for Cast at Unit Base. Checking schedule and Day out of Days (also known as “Doods”) to ensure there are enough 3-ways and trail
- Help Cast through breakfast, costume and make-up and on to set ON TIME!
- Complete the AD report with the previous days shoot information.
- Callsheet - rough draft in morning, show to 1st Assistant Director at lunch, show to Heads of Departments after lunch, show to 1st Assistant Director for any corrections, show to Production Manager, pass to Production, print and be on set by wrap.
- Look after Cast at base.
- Communicate with Crew at base (including Facilities, Costume, Make-up and Caterers).
- Assist 1st Assistant Director with scheduling.
Crowd 2nd Assistant Director:
- Extras budget for department (in conjunction with 2nd assistant director and Production Manager).
- In charge of extras at Unit Base.
- Contacts, make deals with and hire from extras’ agencies.
- Coordinate Costume/ Make-up fittings.
- Organise, distribute, collect and collate Chits (in conjunction with Production and Accounting departments).
- Arrange call times.
- Run crowd base (including signage and putting extras through costume and make-up).
- Transportation.
- Look after the extras!
- Featured extras (castings, fittings etc.)
- Licencing of any child extras (in conjunction with the Production department).
- Coordinate Crowd Runners
1st Assistant Director – Head of Department:
- TIMEKEEPING! Knowing how long things take.
Pre-Production
- Breaking down and marking up the script.
- Scheduling, incorporating travel and weather cover if possible.
- Communication with all departments with information you have, also finding parameters that affect schedule.
- Information from the Director, a shot list is essential for saving time. Is there a tracking shot, stunt etc?
- Technical recce, writing down information, tracking shots, cranes, best time of day for
filming in that location. Do we need construction or potentially a pre-light? Is there weather
cover.
- Risk assessments.
- If you are working with children or animals, what kind of licences do you require, and
how much advance notice does the local authority need? Discuss with Production department.
- Do you have to hire in specific contractors as additional Crew, their availability may
affect the schedule?
- PRODUCTION MEETING over the scheduling weeks it is prudent to have them at the
end of each week depending on the length of the shoot. It gives the heads of each
department a chance to air their concerns as well as a progress check on how the
production is shaping up.
- When your schedule is complete, have a production meeting, with all departments just
in case there are some changes that you are not aware of that may affect the smooth
running of the shoot. For example road digging, construction work, bank holidays or
even the availability of actors and locations may have changed.
EVERYTHING WE DO IN PRE-PRODUCTION IS TO SAVE TIME ON THE FILMING
DAYS
SHOOTING DAYS
- Set etiquette. Set an example.
- Stress management! No need to raise voice, until it’s really necessary.
- The “Holy Trinity” of Director of Photography, Director and 1st Assistant Director on Set.
- On Set responsibilities: keeping thoroughfares clear, making sure equipment is stored
neatly and safely. Making sure the crew respect the location. HEALTH AND SAFETY
- Working a Set, start of the day. (Momentum is the key as time is already running out.)
Health and Safety on Set. Fire lanes.
Running a scene (see separate handout for more detailed explanation):
1. Director’s rehearsal with actors and script supervisor.
2. Head of Department viewing (all crew depending on size of location)
3. Clear set for lighting department, especially access to building and Set.
4. Invite in Camera department and grip to set up camera equipment
5. Then a camera rehearsal with props, appropriate costume, sound,
making sure everything is doing what it is supposed to do. Putting your
team in the right place.
6. Mobile phones off, then start shooting, in your head planning ahead for
the next scene(s), making sure what is required. For example, are the cast, props are on
stand-by?
7. If there is a problem, communicate! Heads of Department are there to help, the Production Manager and Producer are there to make the BIG decisions.
- Agree where you want to be by when with Director at the start of the day (for example: “we should be at the third scene by lunchtime”).
- Call sheet meetings with 2nd Assistant Director at lunch and if necessary on set later in the day.
- Communicating with Production Manager (through the 3rd/2nd Assistant Director as required)
COMMUNICATION AND TIMEKEEPING!
mjjooo
Working With Extras
- Is there a budget? Discuss this with the Production Manager. Remember to discuss whether budget has provision for feeding extras (on professional shoots) and whether you are paying for transport.
- In professional shoots, remember to see if the company you work for has set rates and terms. For example, the BBC has different rules and rates of pay for Supporting Artistes (The Supporting Artiste is not required to give individual characterisation in a role or speak dialogue other than crowd noise or reaction) and Walk-ons (Walk-on Artist is not required to give individual characterisation in a role but may be required to impersonate an identifiable individual, to accept individual direction and to speak a few unscripted unimportant words where the precise words spoken do not matter). Both have different rates of pay. FAA/PACT, ITV and other companies have different rules.
- How many extras does each scene require? Remember to look at the location to help determine how many extras are required. Can you use the extras for multiple scenes? Decide in conjunction with the Director for artistic input and the Production Manager for budget input.
- Where can I find them? (agencies/specialists/schools/clubs/friends) and the pros/cons of each.
- Do they need fittings? Is it a costume drama? How should they come dressed on the day (no logos, stripes, bright colours etc). Discuss with Costume and Make-up departments.
- When do I Call them in? How long do Costume and Make-up need? Are they being fed before going to set? Do they need transported to set?
- How do I look after them on set? – Treat extras with respect! Will they need a Green rooms, tea coffee and meals?
- The 3rd Assistant Director sets the extras (or “dresses the extras in”) with help from the runners. You can speak to the 1st Assistant Director and the Director for stylistic preferences or any specific action that the scene requires. The Script supervisor can help with continuity.
- How do I dress them in? – hint and tricks for getting the most out of extras. Have a plan beforehand. How long do you have to set them? If time is short, “sketch” them in quickly and then go back to add details. Does the Director like crosses in front of the camera? Use the depth of the shot.
- What is the camera coverage? Where will you get the most use of you extras. Remember to keep some back for any reverse shots.
- Get any extras to sign release forms. This should be discussed with the Production Coordinator beforehand. Do they require passports and NI numbers?
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