Miscellaneous
This final chapter covers a few subjects that contribute to the smooth running of a production. From making sure your craft services will satisfy a crew to providing proper medical attention in case of an emergency, these extra items are sometimes afterthoughts, but contribute to the morale of a crew.
Finally, this chapter includes a brief discussion of unions and guilds, what they are for, and how to become a member.
CRAFT SERVICES
Craft services are the foods you provide your crew throughout the day. This food could range from potato chips to hot hors d’oeuvres. The quality of this service can either raise or lower the morale of your crew. Skimpy craft services may leave your crew feeling cheated, while abundant and wisely chosen craft services keep the crew happy and productive.
THE CRAFT SERVICE PERSON
Craft service people vary in experience. The craft service person could be someone looking for a way to break into the industry or a union member who does craft services for a living. In very low budget, when paying a craft service person is a luxury, this job may unfortunately fall to the producer. In not-so-low to medium budget, usually one craft service person will suffice. On higher budget shoots, a few craft service people are hired to ensure each unit and location that is shooting will be covered. Make sure there is enough of the right kind of craft services for the specific location. For instance, I once worked a shoot in the Mojave Desert that shot on a dry lakebed, in August (not the greatest scheduling!), so we made sure that craft services had an overabundance of water to keep the crew hydrated. I also worked a shoot once in the summer. It was over 90 degrees outside and the crew shot outside all morning. Around midmorning the craft service person came to set with a snack: homemade, piping hot chocolate pudding. While the thought was appreciated, the choice was not.
It is a good idea to make sure your craft service person is familiar with the Industry Wide Labor Management Safety Committee Safety Bulletins, which has an addendum called the “Guidelines for Food Service Providers and Craft Services.” The duties and responsibilities of the craft service person are as follows.
Pre-Production
■ Checks with heads of departments for specific requests such as vegetarian preferences or favorite foods.
■ Purchases craft service supplies.
■ Rents craft service supplies such as a coffeemaker, hot plate, etc.
■ May need to rent a vehicle to transport craft services (low budget). In higher budget shoots, craft service companies own vehicles for transporting equipment and food.
Production
■ Arrives on set a half-hour before crew call to set up. Craft services should always be ready when the crew arrives, not just setting up.
■ Works with the 2nd AD to determine the location for the craft services table.
■ Prepares any mini craft services. For instance, the director may send the cameraperson off to get some shots, or a small crew may need to travel to get driving shots. The craft service person always makes sure a small cooler of drinks and snacks can go with them.
■ Replenishes craft service supplies throughout the day.
■ May bring snacks to the set periodically.
■ At the end of the day, wraps out the craft services table.
■ Prepares craft services for the next day.
Choices for Good Craft Services
■ Always have coffee ready when the crew arrives. Also, make sure coffee is available throughout the day.
■ On hot days, supply more salty snacks, juice, and water. The salty snacks help the body retain fluid better, which fights against dehydration.
■ On very cold days, provide hot chocolate and have the craft service person bring it to set periodically.
■ Choose foods appropriate to the season, such as fruits and vegetables.
■ High-energy drinks are expensive, but crews love them.
■ With the low-carb craze still going strong, having these items is a good idea.
■ All snacks should be finger foods, easy to eat on the run.
■ While some crew claim that they want healthy foods on set (and some will actually mean it), most really want the Twinkies and cookies. Provide both to keep them happy.
■ Vary the selection of snacks from day to day so the crew will not become bored.
■ Always keep the craft services table neat and clean. Presentation makes a difference.
CATERING
Catering, as opposed to craft services, is used when you provide your crew with a meal. This meal could be lunch, breakfast, or dinner, depending on what time you begin shooting. Quite a few catering companies specialize in providing food for production crews. These caterers understand that they might be called on to provide a hot meal for over one hundred people in the middle of the night (because shooting began at 6 p.m.!).
Hiring Catering Companies
Catering on a production is used for the one sit-down meal of the day. This meal may come at any time of the day, depending on when you start shooting. A general rule is that the crew will have this meal no more than 6 hours after crew call. You may sometimes run into a situation where you will shoot overtime. Six hours after the crew has come back from lunch, if you do not wrap, you must offer them a second meal. In most cases, this is considered a walking meal. In low budget, this could consist of pizza or hoagies. In higher budget projects, you have the option of having the caterer do the second meal.
There are many catering companies across the nation that specialize in catering for film crews. An Internet search will reveal many that you could contact. In low budget, if you cannot afford a catering company, you might hire individuals as independent contractors who will handle both craft services and the catering. The best way to make your choice is through personal reference. If you don’t know anyone who has used a specific company, then go with the caterer who best fits your budget and food style. Most caterers feature their chefs on their website and in their promotional materials. Many caterers own mobile kitchens so they can prepare the food on site. Subsequently, some caterers serve only a certain area of the country, although some larger caterers will go anywhere.
Contact the caterer and he or she will send you sample menus to give you an idea of what can be done. Once you choose the caterer, sign a contract for the duration of the shoot. Caterers generally charge by the person, so one piece of information they will need is the average number of crew and cast they will serve. This information will give them a better idea of what they can provide. During production the 2nd AD will call the caterer each day with the exact number of people to expect the next day.
The Last Supper
Traditionally, the last day of shooting warrants a big last supper for the crew. Many producers splurge for a special meal such as steak or lobster. The meal becomes a small celebration for the crew and cast. This meal can be ordered at any time during production. However, be sure to give your caterer plenty of notice in case the food has to be imported.
SET FIRST AID
First aid on a set is crucial. Accidents happen frequently, and immediate and appropriate first aid may save a life. I once worked on a shoot in Oklahoma where I was hit by a car almost head-on during the lunch break as I was crossing the street. A witness told me I flew and flipped approximately 20 feet into the air. Luckily, the nurse on set knew enough not to move me until the paramedics arrived. She attended to me and kept me calm. Fortunately, I escaped the incident with only minor cuts and bruises. There are a few ways to ensure that you have proper first aid. In very-low-budget productions, you may only have a first aid kit. If you can’t hire a first aid person, it’s a good idea to poll your crew and find out if anyone has experience in this area. Furthermore, make sure the crew knows who is in charge of administering first aid, to avoid confusion if something happens. In medium to high budget, you can hire a nurse or emergency medical technician (EMT) to cover first aid on set. You can find EMTs through the National Registry of Emergency Medical Technicians (NREMT, www.nremt.org). This registry represents members of the National Association of Emergency Medical Technicians (NAEMT), an association for EMTs, paramedics, and emergency medical service educators and administrators. NAEMT holds educational programs for its members, coordinates liaison activities with different industries, and works to develop national standards of emergency medical care.
Emergency Procedures
If an emergency were to occur on set, there should be standard emergency procedures in place, regardless of whether you are shooting a low-, medium-, or high-budget project. Events that would qualify as emergencies include, but are not limited to, equipment or vehicles that injure a crew or cast member, sudden illness of a crew or cast member, stunts or special effects that go wrong, and any other kind of accident. Following is a general guideline for emergency procedures:
1. Notify the EMT or nurse that an event has occurred.
2. Allow the EMT or nurse to evaluate the person’s condition.
3. On the advice of the EMT or nurse have the 2nd AD call 911.
4. Keep other crew and cast from surrounding the event.
5. Pull the person’s emergency form (see Figure 20.1) from the set box.
6. Cease all shooting until appropriate aid is given to the person.
7. If the person does not require an ambulance but needs to be escorted to a hospital, provide a crew member with a map to the nearest hospital so he or she can transport the person.
8. Make sure the crew member calls the production once the status of the person at the hospital is determined.
9. Notify the person’s emergency contact person (found on the emergency form).
10. Note the event on the production report.
11. Report the event to the insurance company using an accident/injury report (Figure 20.2).
12. Be sure to follow up with the person’s condition the following day and/or until the person is able to return to work.
SET MASSAGE THERAPIST
Crews work long hours in often stressful situations. Some productions, high budget mostly, will hire a set massage therapist to minister to crew members throughout the day or for a couple of hours per day. Again, this is a luxury, but your crew will love it.
PRODUCTION ETIQUETTE
Every production is different. Because each script is unique, new situations arise that lead to varying confrontations, conflicts, and procedures. However, some guidelines are common to most productions, from low to high budget.
■ Unless you are the director or 1st AD, always work quietly and keep personal conversations to a minimum. Professional sets are kept very quiet.
■ Do not bother the director with problems, suggestions, or unnecessary questions.
■ If you are new to production, always ask for clarification if you do not understand an instruction. Pretending to know more than you do only makes you look foolish.
■ Never make assumptions; clear communication is crucial to the smooth running of a set.
■ Humility works better than pride. People will respect you more if you don’t try to be something you’re not. Don’t go around dropping names and credits. There will always be someone who has more experience than you.
■ Follow-up is very important. If you give someone a task, check with him or her to make sure it is done. This is not an insult but competent production behavior.
■ On professional sets, there should be a sense of urgency. People who work slowly will not survive a shoot trying to get twenty scenes in 1 day (low to medium budget).
■ Make sure the crew knows its jobs. Most problems come from either someone not doing his or her job or someone doing someone else’s job.
■ There are three kinds of people in the industry: those that work well, those that work fast, and those that work well and fast. It’s the last category of people that keep getting work.
UNIONS, GUILDS, AND ASSOCIATIONS
Many unions and guilds may be associated with your shoot. Generally, union crew members are employed on productions that shoot in states that are not “right-to-work” states. Right-to-work states are states that guarantee that any person has a right to work in that state. Thus, no one can be excluded from employment by the presence of a union. Often, medium- to high-budget shoots will have union crew members. Low-budget shoots may not. It is always wise to check with the local film office in the area where you are shooting to find out if unions need to be involved in your shoot. Each union has its own governing rules, by which a production must abide. When using union crew, you must become signatory to that union for the duration of the shoot.
Guilds and associations are organizations to which crew members may belong. Each organization has rules regarding employment for its members. Most associations are a place for members to network and take part in workshops and seminars that are intended to keep them updated on the state of the industry or to discuss certain issues. An outline of the various unions, guilds, and associations follows. As membership requirements can change over time, they are not included here. Visit their websites for the most updated information on membership.
American Society of Composers, Authors, and Publishers (ASCAP)—www.ascap.com
ASCAP is the association that protects the rights of composers, lyricists, songwriters, and music publishers. It should be contacted if you are using the music owned by any of its members. Royalties may be necessary for the artist if you use his or her music.
■ Has over 100,000 composers, songwriters, lyricists, and music publishers.
■ Licenses and pays royalties (minus their operating costs) for public performances of copyrighted works, including on the Internet.
■ Gives out scholarships, grants, and awards.
■ Provides health, life, long-term care, instrument, equipment, and studio insurance.
■ Provides access to a credit union.
■ Provides online registration of music titles.
■ Has a database (called ACE) of song titles, including information regarding the publisher of the song along with contact information.
■ There is no cost to join, just annual dues of $10. These dues have never increased since the association began in 1914.
International Alliance of Theatrical Stage Employees (IATSE)—www.iatse-intl.org/home.html
IATSE is a union for crew members. Nearly all below-the-line personnel on a production would belong to IATSE or National Association of Broadcast Employees and Technicians (NABET), another union described later.
■ Exists to protect laborers’ work rights.
■ Provides health benefits, vacation pay, and a pension plan.
■ Requires contractual contributions from employers. In other words, the production pays for benefits for the crew member.
■ Holds production seminars for its members.
■ Publishes a quarterly magazine called The Official Bulletin.
International Brotherhood of Electrical Workers (IBEW)—www.ibew.org
IBEW represents workers in utilities, construction, telecommunications, broadcasting, manufacturing, railroads, and government, with members in the United States and Canada. Membership includes workers in radio, television, and recording.
National Association of Broadcast Employees and Technicians—www.nabetcwa.org
NABET is a union for people employed in broadcasting, distributing, telecasting, and cable, and sound recording. It is the broadcasting and cable television workers’ sector of the Communications Workers of America (CWA). The CWA is a union for communications, broadcasting, cable, television, journalism, publishing, electronics, and manufacturing.
■ Provides wages and benefits such as health and pension.
■ Monitors working conditions and employment security provisions.
■ Headquartered in Washington, DC.
Casting Society of America (CSA)— www.castingsociety.com
The CSA is an association for casting directors in film, television, and theater. It has more than 350 members throughout the world, including the United States, Canada, England, Australia, and Italy. Membership can have the following benefits:
■ Use of the CSA designation in screen and print credits.
■ Awards such as the “Outstanding Contributions in Casting Award,” the “Casting Society of America Award,” and the Method Fest “Heart of Performance Award.”
■ CSA-sponsored events.
■ Mail forwarding.
■ Business contact referral service.
■ Posting of members’ resumes, the CSA Episodic Assignments List, and a membership directory online.
■ Access to a CSA publicist.
■ CSA-sponsored committees.
Actors’ Equity Association (AEA)— www.actorsequity.org
The AEA is a labor union for actors and stage managers in the professional theater.
■ Publishes an equity booklet.
■ Membership requires a fee and previous employment under an equity contract or prior membership in various performing arts unions.
■ Provides email services, a production rulebook, and a document library.
■ Provides pension and health benefits.
American Federation of Television and Radio Artists (AFTRA)— www.aftra.org
AFTRA is a union, affiliated with the AFL-CIO, representing actors in news and broadcasting, entertainment programming, recording business, and commercial and nonbroadcast industrial and educational media. Members include actors, announcers, news broadcasters, singers, dancers, sportscasters, disc jockeys, talk show hosts, and others. They have their national headquarters in New York and an office in Los Angeles.
■ Negotiates bargaining agreements.
■ Provides health and retirement benefits.
■ Gives out scholarships through the AFTRA Heller Memorial Foundation.
■ Holds seminars and training programs.
■ Provides access to credit unions, low-fee credit cards, and financial services.
International Documentary Association (IDA)— www.documentary.org
The IDA supports documentary filmmakers with a variety of services. Its members include producers, directors, writers, editors, camera operators, musicians, researchers, technicians, journalists, educators, distributors, cable and broadcast executives, film festivals, and members of the public in forty countries and forty-six states. Membership includes:
■ A subscription to the IDA magazine, published ten times per year.
■ Discounts on the Millennium edition of the IDA Survival Guide and Membership Directory.
■ Discounts on seminar transcripts, books, and audiotapes.
■ Discounts on admission to events such as the annual Awards Gala and the annual celebration for documentaries that have been nominated for “Best Achievement” at the Academy Awards.
■ Discounts on health insurance, a credit union, post-production services, transcription services, and tape-to-film transfers.
IDA also does the following for its members:
■ Holds the InFACT Documentary Showcase, which shows documentaries to various venues.
■ Provides support and information on fiscal sponsorship of documentaries for nonprofit organizations.
■ Posts jobs.
Directors Guild of America (DGA)— www.dga.org
The DGA represents directors, unit production managers, assistant directors, technical coordinators, associate directors, stage managers, and production associates.
■ Monitors guild requirements for directors, such as having the director’s name appear in all advertising and publicity associated with a project.
■ Provides legal information, representation, and arbitration.
■ Monitors residuals.
■ Holds seminars for its members and programs for its minority members.
■ Instituted the Artists’ Rights Foundation.
■ Has minority committees such as the African American Steering Committee, Asian-American Committee, Ethnic Diversity Steering Committee, Independent Directors Committee, Latino Committee, and the Women’s Steering Committee.
■ Provides networking through events and meetings.
Writers Guild of America (WGA)—www.wga.org
The WGA is a labor union that represents writers of motion picture and television screenplays. It also has a widely used script registration service, open to anyone. The WGA will register your script with the guild for 10 years. Some of the services WGA provides include:
■ Contract negotiation.
■ A WGA newsletter.
■ Health and pension benefits.
Screen Actors Guild (SAG)—www.sag.org
SAG is the union for actors in television and motion pictures. Some of their membership benefits include:
■ A national newsletter, The Screen Actor Magazine, published quarterly.
■ The John Dales Scholarship Fund, which is a grant for members and their dependents to go to college or graduate school.
■ A Membership Assistance Fund, which provides emergency financial aid to eligible SAG members in need.
■ Catastrophic Health, which provides financial assistance in the event of a life-threatening illness.
■ A speaker series.
■ Financial seminars.
■ Pension and health insurance.
■ A credit union.
■ Eligibility for an annual SAG award.
Academy of Motion Picture Arts and Sciences (AMPAS)—www.oscars.org
The AMPAS exists to advance the arts and sciences of motion pictures. The membership includes executives, producers, directors, writers, actors, art directors, cinematographers, editors, music producers, publicists, and animation, sound, and visual effects personnel. In addition to holding the annual Academy Awards, the academy has other functions:
■ Recognizes outstanding achievements of its members.
■ Fosters educational activities such as workshops and seminars.
■ Owns film research facilities.
Membership is by invitation of the board of governors for those who have achieved distinction in their field. Two members must sponsor a new membership.
Academy of Television Arts and Sciences (ATAS)—www.emmys.tv
The ATAS is a national organization dedicated to various pursuits in the professional advancement and education of television. Membership consists of executives, producers, performers, announcers, newscasters, writers, craftspeople, directors, artists, designers, photographers, editors, academics, and entertainment attorneys. In order to join, you must have 1 year of professional television experience. ATAS also has associate memberships for academics and students. Some of the academy’s activities and benefits include:
■ The annual Emmy awards.
■ A subscription to Emmy magazine along with newsletters of ongoing activities.
■ Internships for students.
■ A yearly faculty seminar that brings faculty from around the country to meet with industry professionals.
■ Support with insurance and job listings.
■ Various seminars and screenings.
Producers Guild of America (PGA)—www.producersguild.org
The PGA is made up of executive producers, producers, and associate producers. Most producers belong to this guild.
■ Provides networking opportunities.
■ Allows its members to put PGA in their credits.
■ Provides a pension plan.
■ Holds arbitration seminars.
■ Provides copyright services.
■ Publishes a news magazine.
■ Sponsors screenings.
■ Gives out producer awards each year.
■ Provides access to a credit union.
■ Provides opportunities to network with other industry personnel.
■ Holds quarterly meetings.
■ Provides discounts to trade shows.
■ To join you must provide two industry references, an application, and resume.
American Federation of Musicians (AFM)—www.afm.org
The AFM represents the interests of professional musicians. The organization works to negotiate fair agreements, protect ownership of music, and lobby legislators. AFM believes in the fight against online music piracy and is dedicated to protecting artists in record deals and recording contracts. Some of its membership benefits include:
■ Health and pension plans.
■ A part of the AFL-CIO union privilege program, which helps members with loans, credit, cars, legal services, and pet insurance.
■ Free music contracts.
■ A booking program that provides employers with information on artists.
■ A subscription to International Musician.
The Film Foundation—www.film-foundation.org
The Film Foundation is an organization of industry personnel interested in preservation and restoration of films. It merged with the former Artists Rights Foundation to form the Artists Rights Education Legal Defense Fund, which advocates for artists’ rights by holding public events, national campaigns, and educational programs.
■ Publishes a newsletter with special events listings.
■ To join, contact the Foundation and provide a donation of $50 or more.
National Association of Broadcasters (NAB)—www.nab.org
NAB is a full-service trade association that represents radio and television broadcasters. Their memberships include radio stations, television stations, cable and satellite companies, international broadcasters, and equipment manufacturers. Membership is also available to international broadcasters, educators, and students. Some of its benefits include:
■ Technical, research, and information resources.
■ A career center, newsletters, convention and conference discounts, and publication discounts.
■ A benefits program.
■ Discounts on insurance, car rentals, and credit cards.
American Film Marketing Association (AFMA)—www.afma.com
The AFMA is for makers of English-language independent films and television. This includes independent projects even if a major studio distributes them. AFMA is made up of over 130 production and distribution companies worldwide and promotes the idea that its producers retain ownership of a project.
■ Provides marketing support services.
■ Helps with government relations for international projects.
■ Has the American Film Export Association (AFEA), which is a division dedicated to opening new markets in Europe.
■ Can help provide arbitration for dealing with licensing disputes across borders.
■ Monitors box office data for independents.
■ Provides informational services. The AFMA sets standard definitions for licensing rights and territories.
■ Provides information for producers regarding financing and distribution companies.
■ Wrote the Producer’s and Distributor’s Guide to Product Delivery. This is a 150-page guide for independent filmmakers that provides information on film and trailer elements, delivery material, product protection, and critical records. The guide also includes templates for bank financing, certificates of origin, lab access letters, and a compilation of formats used worldwide.
■ Participates in the Federation of Independent Film Producers. This is a Paris-based association that protects and promotes the interests of the global feature industry.
■ Participates in the International Intellectual Property Alliance (IIPA). This is a Washington, DC-based trade association of the U.S. core copyright industries. The IIPA provides access to government agencies for trade discussions.
■ Has contact with over twenty financial institutions that support the independent film industry.
The American Film Market is an event where independent filmmakers can attempt to secure distribution for their projects. Filmmakers, production companies, and distributors from over sixty-five countries attend the market. They hold over six hundred screenings during this 9-day event. The market is usually held in late February in Santa Monica, California. During this time, the AFM holds luncheons and seminars for industry personnel. AFM also presents the AFM Independence Award to a producer who has exemplified the independent spirit.
Motion Picture Association of America (MPAA)—www.mpaa.org
The MPAA was founded in 1922 to restore a favorable image for movies and now works to protect content for filmmakers as well as deal with the American rating system and research. They have offices in various countries around the world.
SUMMARY
Craft services are a small but important part of your production if you want to keep a crew happy. Make sure your craft service people know and understand the specific needs of a production crew. Just as important is hiring the right catering company that understands the proclivities of a production schedule. First aid on set is necessary in any budget level. Make sure your EMT or nurse is licensed and understands the rigors of a production day. While all sets are different, there are certain aspects of production etiquette common to most productions, which include proper behavior on set and knowing one’s job. Finally, many different unions and guilds might be associated with your show. Each one provides networking opportunities, some provide benefits, and most help to monitor and protect their members.