Production Assistants Handbook

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The P.A. Handbook. 1999-2000 Caleb John Clark ,

The

Production

Assistant'sPocket Handbook

By Caleb John Clark

Second Edition. First E-PublishingCopyright 1992-2000

Cover art by Ocean Quigley

Read on screen, or

1. Print2. Fold in Half3. Put in Back Pocket4. Read on Set (but

only on breaks!)


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TABLE OF CONTENTSABOUT THE HANDBOOK................................ 3

THE BASIC IDEA USING BIG VAGUE

WORDS................................................................. 3

THE BASIC IDEA IN FOUR WORDS

(S.T.A.R.).............................................................4SET ETIQUETTE 101.......................................5

SET ETIQUETTE 102.......................................5

Make sure you understand.................... 6

Anticipate......................................................6

Never spend your own money.............6

Save all receipts..........................................6

Remember peoples names ....................6

Ask ...................................................................7

Respect............................................................7

Don't get involved...................................... 7Never become complacent ..................... 7

Help those in need.....................................7

Know where the nearest hospital is...8

Carry phone numbers .............................. 8

Check in often..............................................8

RADIO ETIQUETTE.......................................... 8

When someone calls you by name: ....9

Responding to commands: ......................9

Radio Check:................................................1

LOCK DOWNS...................................................1 RUNNING TALENT........................................1

GRIPPING.........................................................1

MISTAKES........................................................1

DRIVING...........................................................1

THE TELEPHONE............................................1

"I UNDERSTAND" THE UNIVERSAL

RESPONSE.........................................................1

GETTING A JOB ..............................................1

CREDITS ........................................................1

RECOMMENDATIONS...............................1 RESUMES ......................................................1

VIBES.............................................................1

WHAT YOU'LL NEED ....................................2

"OPTIONAL" THINGS ...............................2

TOOLS OF THE FUTURE...............................2

CONCLUSION...................................................2


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kept in the entry level position. Being a P.A. also a weird test with only one question; Aryou willing to become the best P.A. you caeven though you know that you don't want tbe a P.A.? The logic behind this is that thpeople above you have paid their dues an

they expect you to do the same. The otheside of the coin is that a good P.A. is vervaluable because there is nobody else to dthe job. Therefore, take pride in all the littldemeaning tasks you will have to do. Take th

job seriously. You are an indispensable paof the production team (if you need to provthis to yourself just get all the P.A.s to hide ouwhere you all can see the set. Then watch aeverybody panics as soon as they can't finany P.A.s), Be honored and happy to ge

coffee, and remember who likes three sugarIf you are an exceptional P.A., you will gepromoted very quickly, and the coffee wcome to you.

THE BASIC IDEA INFOUR WORDS(S.T.A.R.)

SWIFT: Traversing space or performinmovements in a brief period of time. Actinwith readiness; Prompt. In other wordsboogie. Run to your car. If someone asks for 3/8 inch bolt, say "No problem" and leave at brisk gallop. Don't ask what it's for, or what is, or where to get it. Just leave and find a Grto help you.

TACTFUL: A quick or intuitivappreciation of what is fit, proper, or right. Skin avoiding what would offend or disturb

Considerate. Basically knowing when to keeyour mouth shut and smile, and when to add bit of valuable input. When to be where you'rneeded, and when to leave when you're the way.

AWARE: Conscious; cognizant. Aleand informed. Always pay close attention thow you are affecting others. Read the ca


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sheets so you know what is supposed to bhappening. When things get crazy, take deep breath and think clearly.

RESOURCEFUL: Capacity for findinor adapting. Skill or ingenuity in meeting ansituation. Versatile, and devious. Try to thin

of solutions to problems, even if they are noyours. Carry things people will need, likaspirin. Get a Swiss Army knife.

This forms the acronym, S.T.A.R.

Fitting for the business. I know it's cheesy buit's easy to remember.

SET ETIQUETTE 101

NeverSit

Down

SET ETIQUETTE 102

If you're not immortal, and you have trest now and then, make sure to do it in quiet out-of-the-way place that's within eashot, but not eye shot, of those who will cayou. Pick a time when you know that thchances of your being called are thslimmest, then check your radio if you havone, and relax. They will call you within 9seconds; it never fails. So learn how to loo

alert and really be relaxed.

Run if anybody is waiting foyou

It's fine to walk briskly if nobody waiting on you and you aren't supposed to bdoing anything else, and it's a nice sunny dayand you're relaxed, and the shoot is going asmooth as glass, and...


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Make sure you understand

Communication on the set is as cruciaas in a war. When people ask for somethinmake sure you understand or can find ouexactly what it is they want. It must bunderstood by person X that it is understooby person Y, so that both parties understanthat both parties understand. UnderstandWhen someone asks for a small flying saucewith one fake blue alien, repeat it to them, full, every word. It sounds silly and it feels silto do it, but it works. A simple "OK" will onresult in an "OK? OK what?"

Anticipate

Anticipate what people will need anyou can save yourself a lot of energy. It's thdifference between figuring out whasomeone is sure to ask for and going to get at your own pace, or suddenly being told trun and get it as soon as possible.

Never spend your own money.

You should never have to spend youown money for anything the productio

needs, even if the company says it will refunyou later. If you are asked to do this, say thayou don't have any money on you. The onexception would be if you judge the situatioto be an emergency and you trust that thproduction company will pay you back.

Save all receipts

Save receipts or anything remoteconnected to the production, such as gas ansupplies.

Remember peoples names

Not only the key to politics! It's the kebeing a good PA. Remember names and usthem. When you meet someone repeat thetheir name outloud back to them to thelp yoremember and make sure you get it righ


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Carry a crew list or ask other people beforyou call someone "dude" in a weak attempt thide the fact that you have no idea what his oher name is. Write down the names of peopyou might deal with again, so that when yocall or see them, you can use their names as

you remembered them. Production is abouinteracting with people. Remembering namelets people know that you respect them, anthat they were memorable.

Ask

Always ask before touching someoneelse's equipment.

Respect

Respect other departments' contributions tthe production. There's nothing worse then pompous P.A. who thinks that because he in the production department he is better thaother crew members.

Don't get involved

Stay away from set soap operapolitics, and gossip. These things ardangerous and can get you fired no matte

how good a worker you are. It's best to listeto everything and tell nothing. Besides, people know you keep things to yourself, yowill get to hear all the juiciest secrets.

Never become complacent

People will not usually tell you if yoare doing a mediocre job, They will just nevehire you again. This is why its a good idea task your superiors if they are happy with youwork and if there is anything that you can dbetter. Always try to do things better and fastethan the last time. Try new ways to do you

job, and learn about other peoples' jobs.

Help those in need

Never stand around while somebody struggling to do something.


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Know where the nearest hospitalis

The Production Coordinator shouknow this, but if you know it will save time

someone gets hurt. In addition you shouknow where the nearest grocery storehardware store, gas station, and print shopare located.

Carry phone numbers

Carry all the names and phonnumbers of the cast and crew. When yoleave the set make sure that you have somchange, and the production's calling car

number (if there is one).

Check in often

When you are off the set on a run or ouof contact for any length of time, check often. When you are off the set on missionscalling every 30 minutes is a good rule othumb. When you are returning from a run it sometimes good to check in and see anything else is needed. This prevents thacute paranoia syndrome that sets in whe

people can't find a P.A.

RADIO ETIQUETTE

You may be given a radio. After youhave learned to make machine gun andocean sounds with the static, you're going tohave to talk to people with it. The first andmost important thing to understand is thatradios are not like telephones. When you're

talking on the telephone you can hear bothpeople talk if they're talking at the same time.The radio, on the other hand, will block oneperson out if both people talk. This means thasomeone could say "Rolling" and if you werecalling at the same time you would not hearhim/her and he/she might think that


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you/he/she had, which could get sticky, not tomention confusing to read.

Radios usually use rechargeabbatteries that clip onto the bottom of the radioMake sure that you have a fresh battery or thayou know where the extra batteries are

Batteries should be drained before they archarged and they should be charged evernight.

If you are on the set with a radio, turthe radio off when the camera is rolling. It very embarrassing to have your radio ruin shot. However, make sure to turn it back oafter the shot is over, because it's just aembarrassing to have to say "Well, I guessmust have been walking around with my radioff." The difference in the way radios work

why you have to talk like a cross betweeRambo and a truck driver. Here are a few othe most common examples.

When someone calls you by name

ASSISTANT DIRECTOR"Steve!"

STEVE"'Go', for Steve."

Always respond with "Go For_____". you say something like "Ya Here" you coube anybody with a radio.

Responding to commands:

PRODUCTION COORDINATOR"If you make it out of that town alive withour lunches, radio in about a quarter of

a mile out."

STEVE"Copy."

"Copy" is used to make sure peopknow that you heard and understood themSilence just makes everybody nervous.


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Radio Check:

STEVE"Steve here, I need a radio check."

DRIVER"Copy on that Steve."

The radio check can be helpful if, foexample, you were told to guard a generatofrom the local wood nymphs. Now you'vbeen waiting for two or three days for a woonymph to show up, during which time yohaven't heard anything on your radio

Wondering if everybody might have gonback to L.A. or maybe your radio's brokenyou calmly ask for a radio check. It's mucmore dignified then saying, "Is anybody outhere?"

Radios usually have several channelsThe A.D.s will determine which department on which channel. For example: Productiostaff on Ch.1. Transportation on Ch.2. Yoshould always be on the same channel as thProduction staff. Make sure that you switcback to your channel when you're don

talking to another department.Each show will have some differenradio language, so you will have to adapt ayou go. But as long as you remember howradios work and the basics that I havmentioned, you will never sound like an idiot.

LOCK DOWNS

Lock downs are a common P.A. jobYour mission will be to guard the perimeter othe set from interruptions that would ruin thshot. Usually you will be given a radio, somwater and 2 days' worth of food. You will thebe sent to a position near a door or some kin


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of entrance to the set. Report back to your A.Dwhen you are in position. Wait for the cu"Rolling!" and yell it out loud and cleamaking sure that anybody in your area cahear you. Now you are "Locked Down".

Once you're locked down and th

camera is rolling, use the hand signal forolling to tell any approaching people to stoand be quiet. The signal is made by pointinyour index finger straight up and twirling it. that doesn't work, try jumping up and dow(quietly) or pray really hard. The A.D. will ye"Cut!" when the take is over, and mayb"Going again real soon". Repeat what yohear loud and clear so people can get back twork until the next take.

When you are on location, things ca

get strained. You will be dealing with peopwho, strangely enough, might not care you're making a movie. They donunderstand the finger twirl, and they might nolike being told to be quiet. Be polite. Ask themif they wouldn't mind being quiet for a feminutes; explain why. Getting into confrontation would defeat the purpose oyour mission.

RUNNING TALENT

Running talent means shadowing camembers and knowing where they are anwhat they are doing. The first step is to finthem and introduce yourself; tell them whyou are and that they should find you if theneed anything. I know this sounds likchaperoning, and in a sense it is. The actorstate of mind is very important to thproduction. They need to stay focused and bkept calm, and that means sending a neutrP.A. to relay information. When shadowintalent or even dealing with them in any way, is your responsibility to make sure that theare content. If actors get pissed off they wwaste incredible amounts of time and moneIf production people find out that a P.A. pisse


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the actor off, they will descend upon that P.Awith a wrath equal to the amount of hasslhe/she indirectly caused.

Fortunately, there is the 5tamendment of the P.A. constitution, otherwisknown as the dont kill the messenge

amendment. Take the P.A. 5th whenevethings get tense with an actor. It will put yoand the actor on the same side, both beinenslaved by the evil unorganized productiopeople. Both in utter disbelief that they wananother take, and all youre doing is jusfollowing orders.

GRIPPING

You might be asked to help the Gripout. You will most likely pick up heavy stufhaul it, and put it down. As soon as you stathese chores you are under the Grips' ruleListen to them; do things exactly the way thetell you to. There are reasons you may nounderstand at first for the way things are doneso just do what they tell you and figure ou

why later. Use gloves if you have to wracable, but don't keep them! Gloves hanginoff your belt will make you a grip P.A. fastethen a Producer can dial a phone.

MISTAKES

You will screw up. What's important how you handle yourself after it happens. was up to my thighs in a river in Maine. Mproud mission was to catch plastic rats if thefloated out of the frame line (and to act as lifeguard for the 4 real rats we had). I was tire(excuse), the bugs were thick (excuse), andwas watching the shot because wet rats are funny sight (excuse). While we were rolling,


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mistook a plastic rat for a real one and quick jumped into the shot. The director screameso loud I fell into the river trying to jump backLater, when they had the take they liked, went straight to the director to be fired. figured since I was definitely out of a job

might as well be honest and brief. I said I wasorry that I screwed up. He said it was not problem (I was lucky he was in a good moodThe point of this story is that you never makexcuseswhen you screw up.

The first time that I directed a 2nd unwe were shooting insert shots with aanamorphic lens. On one of the shots the FirCamera Assistant (First AC) forgot to do aeffect with the anamorphic lens. This was ocourse discovered months later while w

were editing. I immediately blamed the FirA.C. and received no response from thdirector. I then said that I was sorry, I meant tsay that it was myfault. This brought a smile tthe director's face, and he said that it was finehe could work around it. This illustrates thfact that as you climb the ladder and get morresponsibility, you have to take the heat fomistakes that the people belowyou make.

When you screw up as a P.A., act likthe big boys and don't make any excusesJust take full responsibility and apologize. It

a signal to those above you that you cahandle the responsibility of being a leader.

DRIVING

When you drive, the key is to drivsmoothly. You should be able to drive atypes of cars, light trucks and big vans (at thvery least). When you drive on runs, get tyour destination as fast as you can withouendangering your license and job/life. Wheyou drive crew members, be cool going twork, and get them home fast after work.

When you drive cast or directoproducer types, pretend you are professional limo driver. Drive as if they ar


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drinking a gin and tonic, and want to relaxThat means smoothly accelerating, smoothcruising, smoothly stopping. The big cheeseare on edge all day, and the last thing theneed is for some P.A. to keep jabbing thbrakes and doing things that make the

nervous. Sometimes the big guys need tthink in silence, and sometimes they want ttalk. Don't talk unless they start it, and be brieIt's a nice touch to get to know the radistations in the area before you do a pick upso that you can find whatever your chargeare in the mood for.

Driving with production people crucial, since they will be evaluating you fofuture driving missions. When the big stars odirectors need a ride, they will pick the bes

drivers from the crew to do it; P.A.s they rodwith who were smooth and didn't make themnervous in traffic will have the best chance. may sound like we're getting trivial, but I havwitnessed people being slowly pushed out othe business for little trivial things that thekept doing wrong. People won't tell you thayou stab the brakes too much; they will junever give you driving jobs. When donwrong the little things are like bees. One hardly a bother, but a hundred can kill you.

THE TELEPHONE

If used properly, the phone is the mopowerful tool in the world of productionLearning how to use the phone is a cruciapart of being a P.A. In general, be aware ohow you sound, and be careful. It is easy tirritate other people when you are stresseout, and it is also easy to go beyond you

jurisdiction once you get in the swing things. You will have to use the phone to deverything from finding strange props like a foot slab of flank steak (it happens that flansteak is cut so that it simulates muscle tissuewhich makes it useful in horror movies) tsecuring locations.

Whenever you use the phone tcontact new businesses, locations, or group


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etc. make sure to get the names of the peopyou contact, and then write them down as thcontact to go along with that number. Thsaves time when you or someone else calthem back.

You also might have to find people. Fo

example, Carl Sagan (the 'billions anbillions of stars' guy). All you know is that thguy has something to do with astronomWhat do you do? Grab the yellow pages anfind a telescope shop, because the workermust love astronomy, and know more thayou do about Mr. Sagan. They tell you thahe's involved with Caltech, the Jet PropulsioLaboratory, KTVK ch. 28, and the PlanetarSociety. You find their numbers frominformation (or find one of the numbers an

coax the rest from friendly secretariesCaltech tells you he's at Cornell Universitybut you don't know where that is. You donhave time to go to the library; what can yodo? Call up the nearest high school and tato a guidance counselor. Call a universityCall the operator. Check 800-555-121information. Remember, all you need is tharea code. You find the number and get hoffice, telling his secretary you are calling obehalf of a director in Hollywood, you donwant to talk to him-just a fax number an

address (this makes them think it could bimportant). She is happy to help, and yohave tracked down Carl Sagan in 20 minutewith only a name.

People will help you immensely if yoapproach them right, something like this: "Mname is Caleb, we're making a movie" (thexcites most people). "I was wondering if yocould help me?" (people love to get involvein exciting things, especially if they havboring jobs). You'd be surprised how muchelp you can get if you do it right.

I have found that people at smabusinesses tend to help you more thaemployees at the big chains who usually donknow what they are doing, where they are, owhere anything else in the area is, and thedon't care. Small businesses, on the othehand, survive on their own merit and artotally dependent on every customer. If the b


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department stores don't have a 123.gigawatt phase two turbo infusion pump, caJoe's Hardware, and they will either havone, get one, or tell you all their competitorwho do have one. That's how they survivagainst the big guys. Always call th

production office before you return from a ruto make sure nothing else is needed.

"I UNDERSTAND" THEUNIVERSAL RESPONSE

A seasoned First Camera Assistanicknamed "J-gor" once told me what thuniversal response to any human utterancwas. He had heard it from a famous DolGrip, and felt it necessary to pass it on to mseeing as it was my first job as a P.A.

The response is, "I Understand". Bvarying the speed and tone "I Understandworks as a response in situations ranginfrom, "what a sunny day" or "here's a milliodollars", to "my feet hurt" and "get a C-standTest it out for yourself. I haven't found another two words that cover as many situations

GETTING A JOB

The business, by its very nature, is catch 22. You can't get a job withouexperience, and you can't get experiencwithout a job. Therefore the only way to breainto the business as a P.A. is to get somebodto give you a chance to prove your abilities

The positive side of trying to find a P.A. job that if you are good you are a rare commoditysince good P.A.s get promoted quickly.

The first step is to find a productionVariety, Drama-Logue, and the HollywooReporter all have sections on current and/ofuture productions. Your state and local filmcommissions should know who is in, ocoming into, the state.


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Once you get a number, and hopefula name, have your resume in hand and caProductions will usually accept resumes buthat will probably not be enough. If you wafor someone to call you back, you will ginsane and those around you will get tired o

not being able to touch the phone. Call thproduction company often. Push it to the edgof harassment. A once-a-day, "just checkinon that job, sorry to bother you" will worKeep it up until you sense annoyance in thevoices, then lay off for a couple of days. Keecalling and asking politely until you get "Yes" or a "No!" answer. Dropping by the se"when you're in the area" , or if you see ohear about a shoot going on, is a good moveOnce on the set, ask around and try to find a

A.D. a U.P.M., or the Production CoordinatoThen briefly introduce yourself, and ask if theneed any help. Production people alwayneed help. If you can get your name and offeout before they cut you off, you might staworking before you can finish saying "help". this happens, don't ask any questions; juwork hard and wait until the end of the day tsee if you're really hired.

Offering to work for free on your firsshoot is a move that some will debate. I thinit's a great move if at all possible. The mone

you lose will be offset by the contacts yomake who will get you the big jobs lateOffering to work for free shows dedication norelated to money, and there's a good chancyou will get paid soon after you start workingSometimes production companies just want tsee if you're good before you add to thepaper work by signing a contract. Besidesyou always get good food and it's hard tspend any money when you're busy 90 houra week.

Prepare before you go near a set o

production office. Wear clothes that make yolook like you are already working on the crewSince P.A.s do everything, try looking like yocan do anything, from picking a big star up athe airport, to picking up branches in thwoods. Jeans, running shoes or day hikers, nice T- shirt, a rugged jacket, and a fannpack should do the trick.


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Don't make the mistake a friend of minmade. She got an office P.A. position and dnot accept it immediately because she wanteto be a set P.A. She tried for that positionthinking she could fall back on the office job she had to. She didn't get the set P.A. job an

when she turned around there was nothing tfall back on and she was out of a job. If yoget a P.A. job...take it. The object is to get the system and to meet people. You can try tchange jobs once you're on the crew, or afteyou have at least one gig under your belt.

CREDITS

Screen credits are something to writhome about. They're a statement of youaccomplishment and a boost to your ego, bu

thats about it. Credits wont help you gework, because nobody goes out and rents movie to see if your name is on it. Low budgemovies will offer you credits in absence omoney (or food). They might even offer yocredits for something you really didn't do.

My friend was a driver (because he haa car) on a low budget movie and since hwasnt getting paid the Line Producer offerehim A.D. credits. Even though he wasnt othe set more than a few minutes, he thoughe was a real live A.D. Only after the shoo

was over did he realize that although thcredits made him feel great, they didnt meaa thing because he didn't know how to do thwork.

RECOMMENDATIONS

You should have at least one goorecommendation from a Director, First A.DU.P.M.(Unit Production Manager), ProductioCoordinator, or Line Producer. It should be ocompany letterhead that has a phone numbePeople actually call sometimes so make sur

you have a real reference with a real phonnumber. Try to get the highest- ranking persoto give you a recommendation. An easy wato do this is to write your own letter and simphave the person read and sign it. Try to get letter of reference before the shoot is ovewhich is when everybody disappears and thbest intentions are lost in the shuffle


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Recommendations should be copied angiven out whenever you give out your resume

RESUMES

You can put anything in your resumas long as you can do what you say you cado. Ive always found it best to put down whatreally did, with a little creative writing tspruce it up. There are many different stylefor resumes, but make sure you have thbasic information: What you did, who you dit for, and when you did it. Picking a style is uto you and your creativity.

Whatever style you pick should be oone page, and be easy for people to glance afor 15 seconds (while you're standing in fronof them nervously) and get a general Idea o

what you have done.I think it's a good idea to have businescards. Pass your cards out at the end oshoots to everybody . Always have some oyou in case you meet someone working on shoot, or you see a production in progressBusiness cards work because they are a sigthat you are serious enough about youcareer to spend the time and money to go ouand have them made.

VIBES

After you have had some contact witthe people with whom you will be workingtrust your gut feeling about the project. I oncdrove from Hollywood to Roswell, NeMexico because I had met 3 people who werworking on the show and they were all verexcited about it. They loved the director anthe script he had written, and the cast wagreat. I felt like I would be proud to have mname on the credits. Theres nothing wronwith working shows for the experience anmoney only, but if you can find a project tha

feels good, it makes the work much morsatisfying.


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WHAT YOU'LL NEED

Things like a screwdriver may seem

totally silly to lug around, but they aren't. I waworking on a Ford commercial, and addition to being a P.A., I had to drive a netruck through a river, on camera. I had juscleaned the truck, and we were all set to gwhen somebody realized that the wronlicense plate was on the front. If I hadn't had screwdriver, I would have had to walk througthe river, get one, and walk back, all while thdirector watched the sun get lower and loweThe moral of this story is that you shouanticipate what you might possibly need anbring it. Then bring all the stuff you think yomight not need but that you have room for.

Here is a list of the things you will needMost are cheap and can be found easily. Puyour name on them if possible, and if you lesomeone borrow something, get it back thsame day.

1. Clipboard. For holding paper and makinyou look important to those people wh

don't make movies. The aluminum kinthat closes over the paper is the morugged and also is good in the rain.

2. Technology. PDAs, cell phone, laptop etcDepending on company's preferenceUse durable technology, buy extrbatteries. Make frequent back-ups of adata.

3. A good street map of the area. BecausP.A.s do not get lost. In the West, ThomaBrothers' Guides are the best.

4. Fanny pack. To put the following things in5. Mini Mag flashlight. Or similar, water/shocproof flashlight that takes AA batteries. Fo

whipping out like a light saber, rescuinthose in the dark.

6. Black Sharpie magic marker. Everybodalways seems to need a Sharpie. Maksure to get the Sharpie brand; no othekind will do.

7. Small pad of Post-it paper.


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8. Sunglasses. Slide on a pair of bikeshades, grab your clipboard and butt pacpull your baseball hat down tight, and yowill at least look like one hot P.A.

9. Pens and pencils.10.Lighter. Even if you don't smoke, othe

people do. I recommend a Zippo. Thework in the wind, and make you look a littbit cooler than the average Bic-carryinP.A.

11.Swiss Army Knife. With a cork screwBecause there is nothing worse thehaving a bottle of wine and someone tshare it with, and no cork screw.

12.Pain reliever of your choice. You canthink with a headache, and it feels good thelp others who are in pain.

13.Chewing gum. Good for when you arnervous and want to hide it by looking likyou're calmly chewing cud.

14.Paper clips.

"OPTIONAL" THINGS

It has been my experience that nmatter what you bring to the set you will enup using it, and if you left something behinbecause you thought you wouldn't use it,

will be the first thing you need. So while thfollowing things may be "optional", I onmean optional in the sense that you caprobably survive for a few hours without them

1. Set bag. Usually a canvas briefcase typof deal, with lots of weird pockets. Black best because it hides evil set dirt stains.

2. Envelope for receipts.3. Small stapler.4. Regular and Phillips screwdrivers.

combination type screwdriver save

space.5. 6 inch adjustable wrench.6. Pliers7. Calculator.8. Old sweat shirt.9. AA alkaline batteries.10.Gaffers tape. Possibly the most usef

thing ever invented.


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11.Extra pens, pencils, Sharpies, paper clipspaper, aspirin, etc...

12.Local Phone Book. This is not necessarifor your set bag, but make sure one available wherever you are.

13.Small, inexpensive name and phonnumber computer. These things usualhold around 500 names and numbers, sput in all the numbers you can think oCrew, cast, local businesses, airlines, rena-car companies, etc.

14.A hat.

TOOLS OF THE FUTURE

It's always dangerous to talk about thfuture since it can date a work like this, sowill speak generally.

As technology becomes moradvanced, it will continue to work itself into thproduction world. Email reliance, Laptocomputers and hand- held organizerwireless PDAs, etc., will become aindispensable as Sharpies, (if they aren

already) and everything will continue to gesmaller and more powerful.

My only advice is to use the technologthat is most suited for your task, and that durableand not just cool with pretty lights anbuttons, but useful.

Technology makes it very easy twaste a great amount of time with bells anwhistles that you end up not really needingAnd while computers are fantastic at a greamany things, it's good to sit back every oncin a while to try and become objective. See

you are just obsessed with pushing buttonsor if you really are saving energy and time.

Since the set is a rough place and thais not going to change, make sure that whayou buy is built to take punishment.


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As people use more and mortechnology, it is important to remember thave hard copy and digital back-ups. It will ba few years before they come up with system that is as versatile as a pen and papewhich are very cheap, need no power source

are fully submersible, have unlimiteexpandable memory, unlimited fonts ansizes, are usable in any language, need nprinter, can be left as a note or made into hat, an airplane, or a boat, can start a fire, cabe used as a shim under a rocking lunctable, etc....etc...


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CONCLUSION

The P.A. position gives you a greachance to explore all the different areas oproduction, and to find out which of thesareas you like the best. The P.A. position also an excellent place to make the aimportant contacts that can help you once yochoose your path. Once you have decided, gfor it. There are very few old P.A.s in the worldThat is what being a P.A. is all about: Cominin cold, paying your dues, and moving on.

THAT'S A WRAP!

Production Assistants Handbook

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Transcript of Production Assistants Handbook