your phone number in the main body of the email—if they need people quick, they might not have time to search through your résumé to find your number. As well, make sure to explain your availability! If you can't work Tuesdays and Thursdays, tell them so upfront. You will be working full days, so saying you're free “Wednesday after four o'clock” isn't going to help anyone. If you get a text or a phone call, be sure to reply in a timely manner. They will be calling multiple people; if you don't answer right away and they need to fill a position, they will undoubtedly contact someone else. You will likely be asked if you have reliable transport; if you want the job, answer “yes,” then make sure you definitely have reliable transport. If you don't have a car and can't drive, this could mean asking a friend to give you ailift to work if it's far from transit's reach. If you can't get a ride, call a cab. The important thing is establishing your reliability. The Director's Guild of Canada (DGC) is the union covering PA work. However, you don't need to join to get the job. If you're looking to move up, though, you may want to start looking into applying. After a certain position level, they won't be able to promote you if you aren't a member. It's a long and expensive application process, requiring you to take certain courses and receive several certifications, but it's worth it if you're looking to move forward in film. Something very important to note for safety reasons are TCPs: Traffic Control Permits. PAs who have completed traffic control training are invaluable to film sets, as they are able to help control cars on locked-down streets. However, there have been problems in the industry with untrained PAs winding up in traffic control positions. If you are asked to take up a Stop/Slow paddle and control the flow of traffic and you aren't certified, explain that to your boss immediately. Not only is it illegal for you do so and could result in the production encountering some major ramifications, but it is wildly unsafe to try and direct cars if you don't know how to do it properly. It's not as intuitive as you might think. DOS AND DON'TS * Come prepared! Wear comfortable, durable clothing DO that you don’t mind getting dirty {as someone who has come away from set literally covered head to toe in mud, believe me, it can get messy). If you're able to afford it, buy yourself some wet weather gear, such as waterproof pants. Trust me. You'll thank me later. Pack light, but pack smart. You'll likely get moved around from location to location, so try to keep everything to one backpack. Smart things to include would be a water bottle, a phone charger, several pens, and (if the weather looks particularly nasty) a change of clothing. Listen and ask questions! The learning curve can be steep, and when you're thrown onto set for the first time it’s easy to get overwhelmed. Your Key PA is the first person you should go to if you have a question; often the ALMs will be busy elsewhere. Show up early! Seriously, you'll want to aim to be at least 15 minutes early for your call time, if just to be absolutely certain that you aren't late, as that kind of thing is really, really not appreciated on set (or any job, really). Keep a positive attitude! This can be hard, especially on long, uncomfortable days, but believe me when | say positivity goes a long way. Try not to get sucked into drama or negativity on set. People will be relieved they can rely on you even when everything is going sideways. DON'T « 7 | high-stress environment already, and sometimes tempers can boil over. Take it all in stride and if you do have a valid complaint (such as a conflict with a co-worker ora safety concern), take it up with your Key PA calmly and in private. ¢ Complain. Being a PA is hard work, and it’s not meant for the faint of heart. You're working ina Harass the actors. Seriously. If you're looking to work in this field so you can meet famous people, not only are you often going to be disappointed, but you're in the wrong line of work. Actors are your co-workers, and when they are on set, they are at work. They are not expecting to have to sign autographs or smile for pictures, nor should they be. Post pictures of the set to social media. This is becoming a bigger problem in the age of Twitter and Facebook, and many people have not only lost their jobs, but wound up blacklisted for irresponsible social media habits. Not only do you risk spoiling storyline points if you post set pictures, but worse, you could alert set stalkers and paparazzi as to where you're filming and who is there. The hard and fast rule that will never, ever get you in trouble is to keep everything under wraps. If passersby ask you what's filming, say something mundane like a sour cream commercial. Discretion is key. Leave your lock-up. You will often be given an area to watch, either to keep an eye on equipment or to maintain visual and sound quality of the shot (essentially, keep people from walking and talking through set). If you aren't paying attention, or if you wander away without telling anyone and something happens, it will be entirely on you. Believe me, you don’t want that. If you need a spell-off (a break to use the washroom or grab food), ask your Key when things on set are quiet so they can find someone to replace you. Be unreliable. Again, | can’t stress enough how important it is for you not to bail last minute in this line of work, or leave halfway through the day. Dedication is incredibly important in film, and you'll find the people around you are often ready and willing to work through sickness, exhaustion, and personal problems outside of set. If you're not able to do this, that is fine and understandable, but it might mean that film is not for you.