LOT SEASON

THE FILM INDUSTRY IS ABOUT TO PICK UP IN A MAJOR WAY, AND IT’S RECRUITING

     

 

BY REBECCA PETERSON, HUMOUR EDITOR

Starting this month, the already busy Vancouver
film industry will experience a large upswing

in activity as it hurtles into a period of several
chaotic months known as “pilot season.”
Whether you're looking to start a career in

the field, or simply hoping to pick up some
work to help pay the bills, here's what you

need to know to make the most of it.

WHAT IT IS

Pretty much every TV series that has ever gone
to air has started off with a pilot episode—
some becoming part of the show as an
opening episode, or thrown in down along

the line somewhere. Some are dropped in as
an extra feature on the DVD, and some are
scrapped entirely (as was the case with the
Game of Thrones pilot). These pilot episodes
are generally filmed to “pitch” to networks,
who may or may not decide from that short
sample whether picking up the series is worth
it. As such, pilots are vitally important, and right
now is when producers want to film them so
they can start pitching as soon as possible.

As |'ve mentioned in a previous article,
things in the film industry are busy in general,
especially around Vancouver. The downside
with this, however, is that it often leaves sets
scrounging for workers, especially in departments
like Locations, which often need a lot of people.
This means an influx of new and inexperienced
people, which is not a problem in and of itself, but
can cause problems if new recruits don't know
what to expect. Film is not like other jobs. Long
hours are expected of you, as well as a sense of
focus, responsibility, and professionalism. These
expectations are high because of privacy and
safety concerns. Even in some of the lowest entry
positions, you'll often be tasked with watching
incredibly expensive equipment, keeping people
from wandering into set, and looking for and
marking safety hazards. Calling in to let your
boss know you're not coming the day you're
scheduled to work or simply not showing up at
all can throw a major wrench into the works (and
yes, this has happened on sets |'ve worked).

The film industry in Vancouver is busy,
certainly, but there is a sense of community,
and people tend to talk. Your name becomes
your résumé. If you exhibit lax work behaviour
during a busy season, you might still get
work just because the need for available
bodies is that high. However, once your
reputation is set, you shouldn't expect to
get calls when the demand dies down again,
nor should you expect a promotion.

    

In this article, I'll cover the most common
entry-level position, Production Assistant—what
it is, how to get hired, and how to keep the job.

WHAT IS A PRODUCTION ASSISTANT?

The things | could say about this job could
honestly fill a book, but as I'm sure the nice layout
folks at the Other Press wouldn't appreciate
me writing one, I'll keep things short.

This is the most basic of basic positions
in film—easy to get, easy to lose if you're not
careful. You've likely seen a few PAs around the
city without even realizing what they're doing. A
clue: If you see a bunch of pop-up tents, trucks,
traffic cones, lighting rigs, and college-age
kids wandering around in safety vests and with
radios clipped to their clothes, that's a film set,
and the safety vest folks are probably PAs.

The kind of PAI'm referring to is a Locations
PA. As a PA, your boss will be the Assistant
Locations Manager (ALM) and your Key PAs. You
will usually be the first to arrive and the last to leave,
entrusted with setting up garbage and recycling
bins, marking off safety hazards with flagging
tape and safety cones, guarding equipment, and
keeping sets clear of random passersby hoping
to make their big break by sneaking into camera
view behind the actors. You also make sure no
one ruins a take by making noise while the camera
is rolling, keep an eye on the location itself to
make sure the crew isn't damaging anything or
passing through off-limit areas... honestly, the
amount of work a PA does in a day is exhausting.
Your workday is usually about 15 hours, and no,
you don't get overtime until you surpass that.

The perks? Lots of free food, working outdoors
(if that appeals to you), excellent networking
opportunities if you want to work in a different
film department, and the outrageous stories only
a film job can provide (such as me once getting
a short notice call asking if | could watch a jaguar
for a day on one set, only to have to turn it down
because | was already hired on another shoot).

HOW TO GET THE JOB

I've already written on how to get one of these jobs
in a previous article, but to recap: Put together a
résumé (even if you don't have any film experience,
just showing that you're a dedicated worker is a
good first step). If you Google “DGC Production
List,” the first PDF result will be a list of what's
filming right now, as well as contact information.
You'll want to look for the production office's email.
Send them a message addressed to the show's ALM
(whose name will likely be on the production list)
with your résumé and a short cover letter. Give them