Set Etiquette
by Ron Dexter
Ron Dexter is a world renowned Director/Cameraman.
He has been an owner of a very successful Hollywood based
commercial production company since 1977. Ron is an innovative
equipment designer, mechanic and teacher. He has shot in
20 foreign countries and 35 US states. His video tapes on
various aspects of film production are available. For information
contact: Dexter's Trix's 1-800/274-8749
ROAD MAPS, CARTES ROUTIERES, STRASSENKARTEN
In the entertainment business, set etiquette
is a must. For a newcomer on a set it can be like being dumped
in a foreign country. The language alone is a struggle. The rules
are often different and the glamour factor can distort one's
views. Without a carefully defined structure, a large shoot would
be absolute chaos. On small shoots, departmental lines can become
blurred, but certain rules of etiquette still apply.
These are not elaborate theories, but are observations
and opinions from many years working in the business. There are
definitely different ways that things are done on the different
size and types of shoots.
GETTING ALONG WITH LOCALS
Don't think that just because you are in the
TEE-VEE or MOVIE business that you are something special. To
a local person, you may be a once in a lifetime opportunity to
fame or emissaries from Hell. Your success on a location and
the success of future crews on that location depends on your
behavior. Everywhere you are treading on someone's turf. Tread
lightly. Their opinion of you will determine how cooperative
they will be.
The first impression is often the most important.
Send in your most diplomatic person with the most in common with
the area to make that first contact. Maybe . . . "Hello,
how are you . . . You might be able to help us . . . We are trying
to find out who owns . . . " NOT . . . "We're from
Hollywood and we're going to . . ." They may see Hollywood,
TV and movies and the big cities as the reasons that their children
are tempted by drugs and sin. To a shopkeeper, you could be a
potential customer or shoplifter. Clothes appropriate to the
area make you stand out less as a city slicker.
Start any conversation with a perturbed local
with, "I'm sorry, let me get these people out of your way." NOT, " We'll
just be a minute." Being LEGAL or having permission from
a higher authority, may not apply locally.
Drivers should park out of people's driveways
and parking spaces. Get permission. Don't block traffic. When
about to leave, find out the direction of the next location,
get turned around and ready to roll.
Treat motels, etc, with respect. Use heating,
cooling and lights as needed. Don't "borrow" towels
for your own or company needs. Close the door, and turn off lights,
etc, when you leave. Be quiet, especially early and late. Keep
a low profile with the camera gear. Don't tempt. Word gets around
a small town about your behavior.
COMPANY VEHICLES
Don't abuse a company or rental vehicle just
because it's not yours. If you hear strange sounds, find out
what they are. Occasionally turn the radio down so that you can
listen for knocks and grinds. If you suspect a problem tell someone
in production or transportation so things can be fixed. If on
the road, stop and get it checked. Call production immediately.
When you get gas, check the oil and radiator
fluid. Engines die for the lack of either one. Check the tires
for proper inflation and if the radiator needs water. Watch the
gauges and warning lights.
Don't trash a good vehicle with props and equipment.
Protect the floor, roof and upholstery. Lock it up if you are
not in it. Props, tools or anything stolen at night can mean
a disaster on the next day's shoot.
CREWS AND THEIR OWN EQUIPMENT
Buying equipment to supplement one's income
can be wise, but don't assume that it will help you get work.
Would your employers be glad to rent from you AND would you then
become competition to YOUR own regular suppliers? If a camera
assistant buys filters and batteries to rent he is cutting into
one of the money makers for the camera rental house. The rental
house loses money on camera body rentals, but makes it up on
accessories such as batteries and filters. You might be jeopardizing
your own standing with the rental houses.
It's tough deciding how to charge for equipment
that you happen to bring along to the job. If something is requested,
a rental price should be agreed upon. If you happened to bring
along something that saved the day, be careful about how you
collect for it. Some producers are fair and some not, no matter
how much time and money you might have just saved them. Sometimes
your future job may be at risk. It can be assumed that because
you are not in the rental equipment business and that what you
bring along might be regular tools of the trade.
Remember that your garage operation is in competition
with the established businesses with more overhead to support;
insurance, rent, employees, etc. In short, be cautious with your
side line business. Don't let it interfere with your job that
is your major source of income. If your toys make you a better
technician, they are worth the cost even if you don't make a
lot on them. You can't spend all your efforts on the set just
watching out for your equipment. It's there just like anyone
else's stuff. Everyone's equipment should be taken care of.
SOME ETIQUETTE FOR LEADERS
Say "Hello," introduce yourself,
and get to know people a bit before you give orders. Ask about
the families of people you know. Use names. (Make a list.) Thank
people. "Yes Sir" and "Thank you Sir" (or
Ma'am) implies respect. Try it. (Works when you have forgotten
a name.)
Appreciate people's efforts EVEN if they make
mistakes. If they are trying, give them credit for trying. Maybe
your instructions were inadequate or confusing. Assume that people
are trying to do a good job and that they are trying to please
you. Even if you think that your instructions were clear, it
is wise for you to take the blame for not communicating. Try
to understand their side first. It will give you time to plan
your own approach. Your ideas will be better accepted if people
are given a chance to contribute.
Let's say a director has very carefully researched
and planned how to do something mechanical. Instead of telling
the crew exactly what to do, he might start with, "I'm sure
that you have a better way of doing this, but I had to plan this
before you were on the job" or "I didn't get a chance
to ask you about this. Let's go through it and see if my idea
will work at all." You can reduce their resistance to your
offering expert information by being humble. Even if your way
is best, a crew may be able to add shortcuts and insure safety.
Do listen, and let them do their job.
For runners and assistants, make sure that
they understand instructions. Instruct them to call back if there
are problems finding something or if things cost a lot more than
expected. Sometimes the limited availability of things will require
finding substitutes. Often suppliers, or unexpected things found
out there, will offer better solutions. Tell them to call in
repeatedly as things change.
Ask for forgiveness if you have to repeat things
or explain things they may already know. Some egos are easily
insulted. Use "I'm sure that you already know . . ." or "Forgive
me for repeating myself . . ."
"THE BIG BREAK"
Most people are preparing and waiting for the
chance to move up the ladder. Often that next chance is just
a trial step to see if you are ready. Usually that chance is
given when the opportunity giver thinks you are about ready,
not when you think that you are ready. Your talking about moving
up may be taken as normal ambition or a swelled head.
Once given a chance, don't assume that you
have made it too soon. You may have to step back down to your
old job for a little longer because of not being quite ready
or just because there is no need for you in that new position
at the moment. Breaks are often given on less demanding jobs
so that you will have a better chance of succeeding.
Too often a break goes to people's heads and
they think they are an old pro in just three weeks. Knowing the
mechanical skills of a job is only part of the job. Every advancement
requires additional communications and management skills. Running
a crew is a skill that takes time to learn. How orders are given
is very important.
SUCCESS AND EGO
Success in the entertainment business can be
rocket propelled. But DPs and directors often don't know how
to handle success any better than a rock star, politician or
other whiz kid. Making big bucks and having everyone desiring
one's services goes to most people's heads. Ghandi kept his humble
by doing humble things every day. It's human nature, power corrupts.
One of the casualties of the demise of the
studio training system is the progressive rise of people through
the ranks. Now people can move too fast, sometimes from bottom
to top in one or two steps.
A little advice other than be humble. Don't
be a threat to people. Let them feel worthwhile. Let them succeed
too. Give them plenty of credit for their efforts.
MY, MY, MY
A "my crew," "my set," "my
shoot" attitude by a production manager or production coordinator,
rubs most people the wrong way. Often, along with the "my
crew" attitude, is an attitude that jobs are dependent upon
making that production person happy. "Do things MY way,
treat ME right and I will see that you work in this town again."
First of all, people are very uncomfortable
working under such a condition. A director, producer, DP, key
grip, gaffer, etc can call their crew "my crew," but
not the AD or production coordinator, who only puts out the work
calls. The crew is usually selected by the director, DP, etc.
The coordinator is just making the calls.
Often, along with this ME, MY, I attitude is
never making a mistake. A scapegoat for any mistake must be found
and admonished, often along with a job security threat. "If
you want to work for me you must make me look good in the boss's
eyes."
For a DP or department head to talk affectionately
about "my crew," he is saying "You had better
take care of them," "Don't abuse them," "Don't
try to take advantage of them."
FINANCIAL RESPONSIBILITY
One measure of success is the ability to buy
things that we couldn't afford on the way up. All the goodies
out there to buy sometimes straps the technician, camera assistant
or budding director with payments that can be a chain around
his neck when the "real break" arrives. One often has
to work for a lot less money or none at all when making that
next big step up the ladder.
Lots of vans, boats, and even houses are lost
for payments when the economy gets a little slow. Losing hard
earned things is a blow to one's self esteem. You can blame the
economy, some union out on strike, or changes in the business,
but how far one extends oneself financially is one's own decision.
|
