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Running the Show

Book Description

Whether it's a crew of two hundred shooting a cast of thousands on horseback, or a crew of twelve filming one person in a room, each and every successful movie production requires a strong First Assistant Director (AD) at its helm. In Running the Show, veteran First AD Liz Gill walks you through the entire filmmaking process through the perspective of the First AD, from pre-production, shoot, wrap, and all in between. This essential guide is the only book that gives you the first hand knowledge to become a successful first assistant director

Table of Contents

  1. Cover
  2. Halftitle
  3. Title
  4. Copyright
  5. Dedication
  6. Contents
  7. Acknowledgments
  8. Preface
  9. Chapter 1 Pre-pre-production
    1. What Is an Assistant Director?
    2. How Do I Start?
    3. Getting the Job
  10. Chapter 2 Pre-production
    1. Week Minus Four (Week One)
      1. The Production Office
      2. Reading the Script
      3. Breaking It Down
      4. The Breakdown Sheets
      5. Meeting the Director
    2. The First Schedule
      1. Sets, Locations, and Stages
      2. Cast Deals
      3. SAG—The Screen Actors Guild
      4. Minors
      5. Crew Deals
      6. Continuous Days/French Hours
      7. Special Equipment
      8. Other Considerations
      9. The Shooting Schedule and the Strips
      10. The Day-Out-Of-Days
      11. Consultation
      12. Publishing the Schedule
      13. The Bond Company (Part 1)
    3. Week Minus Three (Week Two)
      1. The Production Calendar
      2. Production Meetings
      3. Directing the Director (Part 1)
      4. Art Department
      5. Locations and Scouts
      6. Costume
      7. Storyboards and Shotlists
      8. Sex Scenes and Nudity (Part 1)
      9. Stunts (Part 1)
      10. Special Effects
      11. Health and Safety
      12. Extras
      13. Tests and Retests
      14. Prep Week Two (Week Minus Three) Checklist
    4. Week Minus Two (Week Three)
      1. The Current Schedule
      2. Tech Scouts
      3. Running Your Team: the Assistant Directors
      4. The AD’s Meeting
      5. Week Three Checklist
    5. Week Minus One (Week Four)
      1. The Call Sheet (Part 1)
      2. Walkies
      3. Week Four Checklist
  11. Chapter 3 Production
    1. Running the Shoot
      1. Starting the Day
      2. The Rhythm of the Set
      3. Right of Way—or, How to Keep the Crew from Killing Each Other
      4. Lunch
      5. The Call Sheet (Part 2)
      6. Back In
      7. Company Moves
      8. Wrap
      9. Overtime (OT)
      10. Dailies
    2. Running the Set
      1. Some Common Phrases and Practices
      2. Smoke & Mirrors
      3. Don’t Touch My Stuff
      4. Blacking Out
      5. What to Wear
      6. Your Kit
      7. Slowpokes
      8. Knowing Your Place
      9. Set Politics
      10. Loving the Cast
      11. Enormous Changes at the Last Minute
    3. The Departments
      1. Directing the Director (Part 2)
      2. Video Village
      3. The Producer, Line Producer, and Production Manager
      4. The Camera Department
      5. Grips and Gear
      6. The Script Supervisor
      7. Lighting and Electrical
      8. Sound
      9. Video Playback
      10. Hair and Makeup
      11. Blood, Sweat, and Tears
      12. The Costume Department
      13. Props and Art Department
      14. Locations
      15. Stills
      16. Transport
      17. Visual Effects
      18. Catering
    4. Additional Elements
      1. Sex Scenes and Nudity (Part 2)
      2. Children, Animals, and the Elderly
      3. Background Action
      4. Stunts (Part 2)
      5. Weapons
      6. Cameras and Cars
      7. Tanks, Pools, and Water Work
      8. Food Styling
      9. Unusual Locations: Underwater, Mountaineering, Extreme Weather
      10. Helicopter Filming
      11. Second Units and Splinter Units
      12. Union Rules and the Shop Steward
      13. International Variations
      14. Coping with Disasters
      15. The Bond Company (Part 2)
      16. Paperwork
      17. Schedule Drafts
      18. Rushes Clearance
  12. Chapter 4 Wrap
    1. The Wrap Party
    2. Getting Paid
    3. Getting Fired
    4. Commercials, Music Videos, Corporates, Shorts, Student Films and Demos
    5. How Low Can You Go?
    6. Conclusion
  13. Appendix 1 SAG Tier Budget Thresholds
  14. Appendix 2 Filmmakers’ Code of Professional Responsibility
  15. Appendix 3 Some Filmster Jokes
  16. Glossary
  17. Websites and Other Resources
  18. List of Illustrations
  19. Index