Directors Tell the Story

by Bethany Rooney

  Grip Department

  Key Grip: Supervises the “workmen” of the crew; building and facilitating camera and electric crew requirements (for example, flag lamps and lay dolly track for the camera); is the go-to guy for set problem solving.

  Best Boy: Second in command, may scout and prepare locations, ordering equipment and manpower.

  Dolly grip: Physically pushes, pulls, and otherwise manipulates the dolly to achieve the shot.

  Grips: Does any physical labor on set, can be known as “hammers,” may be four or more on crew.

  Rigging crew: Prepares locations and sets ahead of time, often by “hanging blacks” to block out windows.

  Sound Department

  Mixer: Operates the recorder to capture the dialog separately from the video or picture, supervises the sound crew.

  Boom operator: Physically holds a pole (boom) with a microphone attached over the actors’ heads, sound is carried via cable to the recorder; can apply and adjust wireless microphones (“mics”) to the actors if that is the method chosen by the mixer.

  Cable operator: Facilitates the cabling necessary to connect the various sound equipment pieces.

  Playback operator: Plays whatever music or video is required for the scene.

  Stunt Department

  Coordinator: Choreographs scripted stunt action in consultation with the director; hires the stunt performers, supervises for safety, and effectiveness during the shoot.

  Casting

  Director(s): Consults with director/producers on casting concepts, sends out casting breakdown, listing which parts are available and their physical requirements, initiates contact with talent agents and sets up auditions, culls the best choices, supervises producer session, point person for network/studio approvals, negotiates actors’ deals.

  Assistants: Researches actors’ availability, runs camera during sessions, answers inquiries, and files submissions.

  Background Casting

  Coordinator: Casts extras, or background artists who populate the scenes with the actors.

  Wrangler: Supervises the extras cast during the shooting day.

  Choreography

  Choreographer: Designs dance sequences and teaches it to the actors/dancers.

  Associate: Illustrates the moves for the dancers and supervises their physical welfare during the shoot.

  Special Effects

  Supervisor: Designs and creates unique physical happenings of the script; often uses water, fire, smoke, blood, explosives; generally a team of multiple SPFX (special effects) artists are needed. (Known as the “wizards” of filmmaking, the SPFX team works in and with production and their contributions are on set, not in postproduction.)

  Visual Effects

  Producer/Supervisor: Designs and creates VFX (visual effects) of which just one element is in production and the other half of the equation will be created in postproduction; often uses “green screen” or “blue screen” in production, which in post becomes an artistic rendering of whatever background or environment is needed, which is joined to the production footage. (Depending on the project, the VFX team could be three people or three hundred. There are many subspecialties of skills on the team, depending on the methods used. For example, if your VFX uses miniatures, your team could be comprised of modelers who sculpt or build the tiny set piece. If you’re making a product like Lord of the Rings or Avatar, your specialty crewmembers would include computer artists and animators.)

  Makeup and Hair

  Artist: Designs appropriate look and style in consultation with actors and director to augment character presentation; generally, there is a head of each department and assistants reporting to the head; besides being skilled artisans, makeup and hair crewmembers must be ad hoc psychologists who interact with the egos and vulnerabilities presented to them by the actors every morning in the makeup trailer.

  Costumes/Wardrobe

  Designer: Creates the clothing “look” for each character; head of the department, will shop or originate designs.

  Supervisor: Oversees logistics, including most communications with production.

  Costumers: Dresses the actors; often assigned to individuals, so a large cast requires many costumers; some specialize in prep and being “on the truck,” that is, keeping track of inventory and cleaning, others are “on set.”

  Seamstress/Tailor: Performs repairs and fitting adjustments to the costumes.

  Art Department

  Production Designer: Designs the sets and coordinates the overall “look” and color scheme of a production.

  Art Director: Oversees communication to and from the art department; may coordinate research.

  Set Designer: Creates the blueprints and double-checks dimensions and other set requirements.

  Coordinator: Facilitates communication.

  Graphic Designer: Designs any logos, specialized identification needs, video displays and prop paperwork.

  Set Decoration

  Decorator: Chooses all furniture and decorative objects in a set in consultation with the director and production designer.

  Set Dec Buyer: Shopper.

  Leadman: Responsible for the logistics and physically getting the set ready.

  Dressers: Move furniture and place set dressing; prepare sets which have been previously shot so everything matches.

  On Set Dresser: Works in production to move furniture and objects to make way for the camera or equipment and then reset to match.

  Properties

  Prop Master: Procures or has made any object that an actor/character physically touches; consults with director for choices.

  Assistants: Handle props and reset them after takes; often called upon to creatively rig or find props when it’s a last-minute request; can be two or more on set.

  Buyer: Shopper.

  Paint

  Coordinator: Works with the production designer to obtain and furnish sets with required paint.

  Leadman: Oversees crew that paints the sets.

  Scenic: Specializes in designs (murals, etc.).

  Greens

  Head: Supplies and oversees care of plants, flowers, trees, and grass, whether natural or synthetic; places greens on sets.

  Locations

  Manager: Seeks and finds practical locations that visually tell the story and fit within the producer’s budget, negotiates all contracts and supervises any preparation.

  Assistants: Troubleshoots on set during production; handles logistics in prep.

  Crafts Service

  Head: Provides food and drink to cast and crew; cleans up any spill or mess on set; may provide first aid service if medic is not specifically assigned.

  First Aid

  Medic: Provides first line of defense in case of injuries.

  Production Office/Accounting

  Coordinator: Oversees staff and logistics.

  Assistant: Helps the coordinator.

  Production Assistants (PAs): Do diverse tasks from getting coffee to copying scripts to answering phones.

  Accountant: Supervises all expenses and income; writes the budget.

  Payroll Accountant: Cuts and delivers checks—the one the whole crew likes to see on Thursdays!

  Clerks and assistants: Do office work; bigger budget shows need more manpower.

  Producer assistants: Answer directly to individual producers and assist them in any way necessary.

  Transportation

  Coordinator: Procures “picture cars,” which will be seen on film, oversees the department, making sure the trucks that carry a production’s equipment are where they’re supposed to be on time; choreographs pickups of others who may need transportation, especially actors, directors, and producers when on a distant location.

  Captain: Coordinates schedules and equipment; immediate boss of all the drivers.

  Drivers: Drives assigned truck, also ferry actors and crew from place to place; can be a crew of ten (minimum) to thirty.

  Catering

  Chef: Cooks
and supplies whatever meals are needed; typically both breakfast and lunch.

  Assistants: Prepares and serves under the chef’s direction.

  Construction

  Coordinator: Oversees the building of sets; works closely with production designer.

  Foreman: Responsible for workers’ safety and daily output.

  Carpenters: Builds the sets; usually at least four on crew.

  Additional Labor

  Teachers and social workers (if child actors are working), and animal wranglers (to supply and train animal actors); could also be specialized labor such as a crane driver.

  Whose Job Is It Anyway?

  Choose a partner. Make flashcards from the duties column in the previous list of jobs. Put them in a hat. Play a game to see whether you or your partner can name the right job title to go with the job description. To play a more advanced version of this game, describe scenarios of things going wrong on the set. Your partner has to figure out which person or persons will be needed to resolve these problems.

  Often, crewmembers are identified literally and figuratively by their job description. First, they often own the equipment and rent it to the production company as a means of augmenting their income and controlling the viability of the product. So the transportation coordinator may own the trucks, and the Steadicam operator may own his own rig. (If a crewmember does not own the equipment a production wants to use, it can be rented from a company that specifically provides material to the production industry.) Second, most crewmembers are known by their first name, and their new last name is their position. So you may find yourself on set calling out for “Frank Greens” or “Joe Props.” People take pride in what they do. No disrespect is intended by referring to them this way; it’s just a shorthand communication method used on set.

  As you can see, it takes many cogs in our lineup of crewmembers working together to turn out the finished product that serves your vision. You—the director—cannot do it alone. You need the help of all of these departments—all of these people. They are all experts in their specialized fields; once they have been enlisted to service your vision, they will work very hard to make it a reality. And when you appreciate their efforts, you truly are a team.

  Most crewmembers are known by their first name, and their new last name is their position. So you may find yourself on set calling out for “Frank Greens” or “Joe Props.”

  Insider Info

  How Do You Interact With the Director?

  I can’t tell you how happy it makes me that Bethany and Mary Lou are introducing you to the role of the script supervisor. Many film courses don’t teach what the script supervisor does, so as a new director, when you first arrive on set, you may find yourself wondering, “Who is this person and why are they still talking to me?” I am the person who sits next to you. I am your extra set of eyes and ears: the recorder and the reporter!

  As a script supervisor, it is my intention to make the director’s life easier. It is my duty to ensure that we maintain the continuity and integrity of the script, keeping clear and concise logs, as well as noting your preferences and comments after each take or setup.

  Before I meet you on set, I will have been given the script in order to do a breakdown, which will be distributed to all key departments—wardrobe, hair, makeup, props—so that we are literally “all on the same page.”

  I track the specific days in which the story takes place (Day 1, Night 1, Day 2, Night 2, etc.) as well as the time of day. This tracking keeps us in agreement and is critical for maintaining the continuity. For example, if the script says, “The clock strikes midnight,” it’s my responsibility and that of the prop department to make sure that the clock reads midnight!

  Once on set, I note dialog changes, screen direction, and camera angles, as well as wardrobe, hair, makeup, and prop details for matching. Some matching notes, for example, would be: “Hair style changes—in front of the ear, behind the ear? Costume changes or alterations—buttons up, buttons down? Specific props—gun in the right hand, gun in the left hand?” Or say there’s an accident. At this point in the storyline, would the bandages be on, or would the bandages be off? If the director turns to me, I have the answer.

  The director’s work method and temperament dictate the general tone on set. A lot of my interaction becomes intuitive as I get to know the director better. My general rule for working with a director for the first time is to ask, “How do you like to work with the script supervisor?” More often than not, most directors don’t have too many specifics, except for, “Make sure we’re covered before we move on.” Equally as important is the question of the handling of the dialog. If an actor speaks a line incorrectly, I let the director know. I always ask the director, “Do you prefer to give the actor the note or should I?”

  Besides the script breakdown, on-set matching and continuity, script marking, and various logs, I am also responsible for reporting to the Production and Postproduction departments an account of the day’s work, what has been completed, and what we owe.

  What Do You Wish Directors Knew About Your Job?

  Again, it’s my job to ask questions. I’d rather feel stupid asking a question than be stupid by not asking! More often than not, the thing I’m questioning is a legitimate concern.

  As the director, you’ll be bombarded with multiple questions at one time. You may look to your script supervisor for an answer. As we furiously refer to our notes, may I kindly remind you that generally we only get a few days to prep. Be patient with us. The script supervisor’s job is far more complicated than you may have imagined.

  What Advice Would You Give a Director Who is Starting Out?

  When you’re first developing your craft as a director, it’s safe to assume you’ll be directing low-budget/no-budget “labor of love” projects. When you are told you don’t have the money to hire a script supervisor, I implore you to emphatically respond, “Find the money.” Trust me, you’ll save money in postproduction, and if you’re saying to yourself, “I am post,” again, trust me on this one.

  Also, as we move further and further from film into digital, there are no “circles” or “print takes” per se. You’ll want to see everything—and that is the beauty of digital. Here’s where the script supervisor can be of great service to you. Give specific notes of what worked, what didn’t, and what your favorite “starred (best) take” was, before you move onto the next setup.

  And my biggest piece of advice is to recognize and appreciate your cast and crew. I can’t tell you how much a simple “Thank you, and good job!” inspires us to work harder for you.

  Nila Neukum

  Script Supervisor

  South of Nowhere, Hellraiser: Revelations

  Vocabulary

  boom

  cross camera

  cross the lens

  cross the line

  cut together

  extras

  looks

  screen direction

  slate

  SPFX

  viewfinder

  VFX

  Chapter 12

  All the Other Stuff

  It would seem the simplest kind of scene to direct is with two people, sitting quietly in a room, talking about some personal issue. (Bethany gets a lot of these on Brothers & Sisters.) But even two-person scenes can have hiccups that cause them to be difficult to shoot: the actors don’t like the script; they don’t trust you as their director; the camera operator is out sick and his replacement isn’t up to par; the backing outside the window is too close, forcing you to block the scene somewhere you hadn’t planned; and so on. The point is that directing even a simple scene can be tricky. And then you get the really tricky ones: those that include animals, children, intimacy, special effects, visual effects, choreography, or stunts. These types of scenes require additional knowledge of how to accommodate the special needs of those with whom you are working.

  WORKING WITH ANIMALS AND KIDS

  Animals can’t tell you what
their special needs are, but their trainer can. The trainer is the person who is the conduit for your direction to the animal. Let’s say it’s something fairly routine, like the dog crosses the room, picks up a toy in its mouth, and crosses back to the “mom.” First, you will have to cast the dog. Your prop department will contact the various animal actor companies with the breakdown. (“Needed: one medium to large dog, with happy personality, will interact with regular cast and do some simple action.”) The companies will provide you with pictures of their animals that meet the requirements. Then you will have a “casting session,” where you can meet the contestants and assess them for your needs. The trainer will put them through some simple exercises (sit, lay down, shake, roll over, etc.) and you will pick one. Be sure to tell the trainer everything that is going on in the scene, even if it doesn’t involve the dog. Mary Lou auditioned a dog that could do every trick perfectly at the audition, but she failed to mention to the trainer that even though this was an interior scene, there was a simulated hurricane happening outside. The actors would be wearing wet raincoats and have wet shoes. This dog hated walking on any wet surface. Oops!

  After the dogs have been duly complimented and handed treats, you will sit down with the trainer and the script and talk about what the dog needs to learn in the next week or two during prep. The trainer will be candid about what the dog may or may not be able to achieve. This is your opportunity to ask how you and the production might be best served in shooting the dog’s work. The basic thing to know is that an animal will get quickly bored with repeating the same action, so your best takes will be the first ones. Never rehearse with an animal, for that reason. Your prop department will supply some facsimile of the “animal actor,” usually a stuffed version in roughly the same size, for the DP to light and for the cameras to rehearse with.

  Animals are unpredictable, so your camera operator will need to be flexible and ready to go with whatever the animal does. Generally, the dog will have been trained at home for a particular gag, or specific action, using food or treats as his reward. On set, the trainer will show the dog the new environment and walk the dog through the basic concept, and then you and your actors are ready to shoot. Usually there are two trainers, one to start the animal and one where the animal finishes, who stand just off-camera and send commands to the dog via hand signals and small noises. The basic thing to know is that an animal will get quickly bored with repeating the same action, so your best takes will be the first ones. You never rehearse with an animal for that reason.