Below the Line (eBook)

A film crew survival guide

Melanie A. Ragone (Autor)

eBook Download: EPUB

2024 | 1. Auflage
216 Seiten
Bookbaby (Verlag)
979-8-3509-3688-9 (ISBN)

Infos

Below the Line, a film crew survival guide is a personal memoir and practical guide is filled with real-world advice and expert insights. With this informative new book, learn invaluable first-hand knowledge written by veteran below the line crew member, Melanie A. Ragone. Providing readers an honest look behind the scenes, equipping you to thrive in the elusive world of Hollywood. If you've ever wanted a true insider's perspective on the film industry, look no further.

Melanie A. Ragone spent over a decade of her career as a Union first unit Grip. She worked her way up from Production Assistant to Best Boy Grip on some of the largest feature films and television sets in the world. Melanie worked as a Grip on Union feature films and television shows such as The Walking Dead, The Vampire Diaries, The Hunger Games, and Black Panther: Wakanda Forever. Her work was featured in the New York Times article 'What is a Grip? The Few Women Doing the Job in Hollywood Explain'. As a woman who achieved success and leadership roles in a heavily male-dominated field, Melanie is passionate about telling womens' stories and encouraging women to pursue careers in the film industry. She has been a writer for over 20 years and currently resides in Los Angeles. Below the Line is Melanie's first book.

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In this candid and practical field guide, Melanie pulls back the curtain and shares her experiences from working on feature films like Black Panther: Wakanda Forever and Captain America, as well as television shows such as Doom Patrol and The Walking Dead. With nerves of steel, Melanie thrived in one of the toughest boys' clubs, becoming a leader on some of the largest film sets in the world. If you seek unfiltered and actionable advice, Ragone's authentic narrative unveils the gritty reality and demands of working on set, as she generously passes on her battle-tested wisdom, sharing her vast knowledge of working below the line.

Textauszug

1: THICK SKIN

Right out of the gate, the first thing to discuss is that fucking important. Navigating this business requires a thick skin for survival. It’s brutal, and the ability to let things roll off your back is essential. Working on set is highly stressful, and the hours are extremely long. This business will push you past your mental and physical limits. It is not for the faint of heart and takes a certain tough type of person to work in this industry. It’s simply not for everyone.

I vividly remember when I was green and someone on crew said to me, “If you’re getting in this business and are not willing to slit the throat of the person next to you, don’t get in this business.” While I would not slit the throat of my crew, the stark realization set in: I had entered a highly competitive environment.

There Will Be Yelling

People will say and do things that can be infuriating, frustrating, and sometimes insulting under the pressure and stresses of set. It can be difficult not to take things personally.

Certain people thrive in this environment and you may or may not be one of them. Crew works notoriously punishing hours. There isn’t time to take things personally or to worry about insulted egos. Plenty of people throw their egos around, and if every little thing bothers you, it will be difficult to make it in this business. You shouldn’t tolerate disrespectful behavior, but you won’t be doing yourself any favors reacting to every little thing.

You may be yelled at individually ; other times there is yelling collectively at the entire crew. Sometimes yelling is necessary because the location is loud; sometimes there is yelling because the Director simply likes to yell. My own crew has yelled at me, along with: Talent, Directors, DPs, Producers, Line Producers, Juicers, ADs, Sound, PAs, Gaffers, Key Grips, Dolly Grips, Riggers, and Teamsters. Inevitably, when you mix a bunch of highly skilled creatives with long hours and harsh conditions, there will be yelling and cussing.

I recall working on a pilot episode for a TV Series with an irrational Director who was a screamer. He screamed at the crew and talent whenever he became frustrated. But unlike some who yell when it’s truly necessary, this Director yelled in ignorance. He didn’t have a clue about or respect for the process involved in shooting a scripted series. You will deal with irrational Directors yelling too.

I was working on The Walking Dead, season five at a notoriously hated location, Crook Road. Logistically, it was difficult, and we had numerous moves up and down the road. There isn’t a lot of shade, and trucks were not allowed on the road. Our stake bed truck was parked about two miles from set, and gators were bringing the gear from the truck to set. It was already a long day, we were on splits, and it was cold. I was the truck bitch. It’s common to ask guys to leave gear on the gate to alleviate it being put away in the wrong spot. However, leaving a piece of speedrail on the gate is very dangerous. This was the second time it happened that night. The first time I saw it, but this time, I didn’t. The gate was at the top floor of the truck, about five feet off the ground, downslope. I turned around on the gate, and my foot caught the speedrail. I nearly rolled off the end of the gate at full speed. I picked it up and started yelling at two of my crew standing at the back of the gate. I then proceeded to throw the speedrail into the woods like a javelin. Not my proudest moment. Although hearing my crew re-tell this story years later was hilarious.

Yelling at people is unacceptable and unprofessional unless it’s warning someone about danger. Yelling is amateur, disrespectful and shows a lack of control. It’s going to piss off your crew and they will stop listening. Have I ever yelled at my crew? Yes, I have totally yelled at my crew. Sleep deprivation is real. Knowing yelling is prominent in this industry is important because when things go sideways and people are shouting, remaining levelheaded and professional is essential.

Green

Every single person working in this industry was green at some point in their career. Every. Single. Person. Those same people are the ones who can detect when someone is green and it’s not wise to pretend to have skills you haven’t acquired yet.

When you finally get your first big break, you may feel like a fish out of water. There is no shame in asking someone how to do something properly and safely. Seriously injuring or killing someone because of your mistake is the worst thing that can happen, and a real possibility on film sets. Telling your crew member, “I don’t know what you are asking,” or “I am unsure of how to do this,” or “I am green” will earn you respect because it signals you are aware of your competency level. In departments where you are performing complex rigs or tasks, it’s especially important for your fellow crew to be aware of your expertise level.

Working insane hours and taking whatever gig under any conditions shouldn’t become the norm when you are green. You may feel desperate for work, and it’s hard sometimes to know which gigs you should or shouldn’t take. Be smart about who you accept work from, otherwise you may find yourself screwed out of a paycheck, or working in unsafe conditions. Productions can take advantage of crew being green and offer an “opportunity for credit” to book them for work. Working for credit, or meal plus credit means you receive a meal and a name credit only. It can be an opportunity for certain productions to exploit crew. It’s certainly an excellent way to gain experience but try not to fall into the trap of working for a “credit” too often.

When you are green, be at staging, be on the truck, be available, be where you were stationed. If you don’t know what you should be doing, ask. Have a good attitude. Organize gear and clean to make your crew’s job easier. If your Key or department head wants it done one way, do it. It doesn’t matter how you did it on another show. Be hardworking and valuable to your crew when you are green. You will find yourself with more callbacks as a Day Player.

Everyone has bad days and everyone complains, but when someone complains constantly, it brings down crew morale. Don’t complain that the work is hard. We know it’s hard. We know it’s hot and cold and wet and dirty. If you find yourself complaining a lot, it may be time to take off some days.

This industry desires individuals who work independently and well with others. Who are not only stellar at their day-to-day responsibilities but at problem-solving. People who solve problems before problems arise, being proactive and not reactive. Figuring out things on the fly in a pressure cooker environment at a fast, everchanging pace are also desirable assets. Within reason as it relates to your job responsibilities, this is the business of “yes.”

Glamour

Oftentimes outsiders have a notion that working in the film industry is a glamorous job because we work on set with actors and actresses of notoriety. Simply put, it is not as glamorous as it seems. Productions send crew to work in beautiful locations, with actors and actresses known all around the world. However, the reality of logistics in getting cast, crew, and gear to a location, setting up practicalities, managing risks, tolerating the long hours is anything but glamorous. Day-to-day life on set, especially when filming on location, is physically challenging, down-in-the-mud, blood, sweat, and tears type of work.

In the heat, cold, rain, or shine, the crew works until the sun goes down into the next morning capturing shots. Then they come back to do it all over again early the next day. Crew’s shooting schedule is anything but glamorous. Production schedules can take days, weeks, months, even years to complete, with multiple timelines to manage including: development, pre-production, production, post-production, and distribution.

After you work hard and long on a show with hundreds and hundreds of crew in the trenches together, it feels rewarding to receive a screen credit, but this isn’t guaranteed. Most TV Series only list Keys/Department Heads and Best Boys by name. Sometimes you can work the entire run of the show as part of the core crew and still not receive a screen credit.

I am not the type of person who puts too much stock in the on-screen credit, but I am proud of my work. Still, having your name roll up on the silver screen gives you a certain sense of accomplishment.

As much as this industry isn’t glamorous, I’ve had more than my fair share of surreal moments meeting actors and actresses or directors I admire. I’m not the type of person to become star-struck when seeing an actor, but I admit it was pretty cool to work alongside Norman Reedus, someone who I have admired as an actor since The Boondock Saints (1999). Another surreal moment meeting talent I respect was on the feature film Solace (2015). Anthony Hopkins and Colin Farrell stopped production to thank the crew for working so hard. Every day Anthony Hopkins, a true gentleman, walked through the set saying “Good morning and how are you?” to everyone.

Hard Work

Getting steady work in this business is difficult even once your foot is in the door. It’s an eat-or–be-eaten atmosphere. Even working hard on productions, gaining experience, and mastering your craft is not enough. A constant hustle is required because the work is never guaranteed. You can pursue any department and become anything you...

Produkt-Details

• Erscheint lt. Verlag: 12.4.2024
• Sprache: englisch
• Themenwelt: Literatur ► Biografien / Erfahrungsberichte
• Themenwelt: Kunst / Musik / Theater ► Film / TV
• ISBN-13: 979-8-3509-3688-9 / 9798350936889