Maybe it’s the end of your first full year in the film industry. Maybe you’re finally starting to pick up more Key Set PA positions. Or, maybe you just want to get a leg up on the waves of high-level competition in the production world. Whatever your reasoning is, it’s time to turn into the all-star PA that you know you can be.
With this post, you’ll learn the techniques that will allow you to hone your PA skills to a standard that’s above and beyond what can be considered “normal.” Breaking down each primary PA position, and providing helpful tips in being a personality that thrives in this industry, this blog post can serve as a strong foundation as you move up in the AD department or work to impress department heads in other areas of production.
[Note from the writer: If you’re brand new to the world of production and are looking for a guide on what to do on your first set, I highly encourage you to first read my piece on beginner PAing, “The PA’s (Sort of) Ultimate Survival Guide,” then come back to read this piece!]
Let’s set the scene: You’ve done days on a couple features, maybe a commercial or two; and, have racked up a fair amount of day player days on some larger projects. You’re driven enough to know that you can do better and know that you deserve to be staff on shows you want to be staffed on. Maybe you’re gunning for consistent Key Set PA gigs or are trying to convince that 1st AD friend of yours that you can be their new go-to guy/gal. Regardless of what situation you find yourself in, it’s time to take that step and become the all-star PA you know you can be. Let’s break down how you can do that.
Strong PAs, also known as “consistently employed PAs,” are familiar with the patterns of their department regardless of the production they find themselves on. On most productions, the following PA positions are present:
- Key Set PA – The lead PA. The Key Set PA is tasked first with setting the lock ups of all PAs. More than that, they collaborate with the the 2nd AD (or the 2nd 2nd, on some larger jobs) to delegate tasks (like collecting timesheets) to the rest of the PA team. Further, a Key Set PA is often the person in the department that works with the 2nd on set to make sure all the PAs are performing as efficiently as possible.
- Basecamp PA – The PA in charge of . . . you guessed it, basecamp. The Basecamp PA oversees the inner workings of basecamp. Primarily, this involves taking care of talent (actors) while they’re at base. Other tasks include but are not limited to: making sure the vanities (Hair, Makeup, Wardrobe) get talent on time, inviting talent to set from their trailers once the AD calls for them, and receiving and keeping an eye on talent once they step back from set. Further, a Basecamp PA is often in charge of preparing the PR (production report) for the 2nd AD during the day.
- First Team PA – The PA in charge of talent on set. The First Team PA is tasked with all things related to “first team” on set (“first team” is fancy film-talk for talent/actors -- I know, there are a lot of different names for actors). Primarily, it’s a First Team PA’s job to communicate with on-set vanities and the sound department to make sure the talent has exactly what they need to be on camera (i.e., hair/makeup/wardrobe touch-ups and mics, also known as “wires”). Further, it’s the First Team PA's job to keep track of and invite first team from on-set cast holding to their marks when called for. I should note here that while it’s always important to keep a good rapport and strong relationship with fellow crew members, it is especially important to have this while being a First Team PA. The First Team PA is an important vein of information for those they communicate with. If vanities and sound are being told the wrong things and get frustrated, it can really slow the day down (trust me, I’ve been there).
- Background PA – The PA in charge of the background process ("background" is another fancy film-talk word for extras). The Background PA oversees checking in the background actors, going through their paperwork, putting them through hair/makeup/and wardrobe, and being with them as they get invited to and dismissed from set. The Background PA also works directly with the 2nd AD (or the 2nd 2nd, on larger/more complex shoots) to set background for the scenes. I should note that it’s immensely important to keep background happy and on your side! Not only is it immensely fun and rewarding, but it’s also a key factor in moving the day along as quickly as possible.
- Walkie PA – The PA in charge of . . . big surprise, walkies. The Walkie PA oversees and keeps track of walkies (film’s standard form of on-set communication). Generally, the Walkie PA is given a prep day to organize and assign the walkies to crew members in each department and a wrap day to package it all up for production. Here, your organization skills are key. I recommend finding an Excel or Google Docs template you like to use and assigning the walkies based on serial number, crew member name, and department. Keeping track of walkies, batteries, and production-owned headsets using your template is incredibly important and will save you from having to track them down at the end of the show. Though crew members generally keep their same walkie through the run of a show, I’ve always found it helpful to do a mid-show inventory by checking that each crew member still has their same walkie. I should note, walkies are certainly more expensive than you think they are. You DEFINITELY DO NOT want to lose them and cause an L&D (loss and damaged) report to be filled out. It’s not a good look (again, trust me, I’ve been there).
- Additional On-Set PA – If you’re reading this, you already know what this is. An Additional PA is a PA brought on to be a “swing PA,” meaning, they do lockups where needed and assist the staff PAs and ADs wherever help is required.
Now, that we’ve broken down each primary PA position, here’s the most important piece of advice in this whole article: Though the motions and tasks associated with each position remain generally constant through each production, the people and situations surrounding each production are ever-changing. Because of this, PAs MUST REMAIN FLEXIBLE. Ride the wave, roll with the punches, trust the process, whatever you want to call it. Remaining flexible and understanding that each day, each set, and every crew member you encounter is different is absolutely key to your success as a PA trying to move your career forward.
As a writer, I look at it like this: know your outline (the motions/tasks in each position) and build your essay (your workflow) from there; adding the fluff and finer points as you work through the essay/work day. In short, as you evolve and get better at the basics of each position, learn to apply flexibility while finding your own groove and way of doing things.
Now, to break down more helpful tips:
- At the end of the day, a good PA is an extension of their 1st AD. In brief, this means that a PA’s job is to make sure the 1st AD’s schedule (call sheet) is being met in the way they need it to. As you grow as a PA, you’ll find that this encompasses more than doing the basic tasks of your job. There’s a level of attitude and what I like to call finesse that can be applied to PAing that eventually leads you to be a PA that’s known for watching your AD’s back (something I absolutely look out for as an AD and PA).
- Just Chill. Though I mentioned this in the original piece, this is one of the keys to success as an advanced PA. Though it may seem like a surface level sentiment at first, it’s significantly more important than one may think. It’s important to do your assigned job as a PA as efficiently as possible, yes; but it’s equally important to keep an attitude that people want to keep being around. Most productions don’t care to admit it, but the PAs that are hired again and again are often those that the rest of the department has a strong rapport with. Yes, this may seem like a glorified popularity contest; but, would you want to be around someone with poor attitude for 12-14 hours every day during the work week?
- Learn the patterns. Though every production is different, commonalities are found. Learn the patterns, familiarize yourself with them, think ahead, and start to put fires out before they begin. There’s something to be said about a PA that can go onto a brand-new set and perform like they’ve been there since day one of prep.
- Never stop learning. I’ll keep it brief: the day you think that you know all there is to know about production is the day some new kid on the block starts swiping up all your offers for work.
To wrap this up, I should also let you know that much of this is learned from experience. Though you’re reading this article, there’s no set rule book that creates great PAs. Most of the best PAs I’ve ever worked with are PAs that put the time in to be great. They’re PAs that didn’t take it easy on themselves. They worked harder on smaller productions where they had more responsibility and took that “can do, no problem” attitude with them to large productions. They worked hard, didn’t complain, “just chilled,” and did so production after production before turning into great PAs. Then, when they finished that and either did six hundred days as a PA or one hundred and twenty days as a non-union AD, they turned in their DGA “book” (a pack of call sheets and pay stubs that literally prove you put the time in), and became full-time ADs that work just as hard on their two hundredth show as they did on their first show.
Put simply, being an advanced PA isn’t easy, but it is possible. It takes a ton of work, time, and an attitude that’s often hard to come by and keep up with. Like every other position in the film industry, however, there are tons of people who’d kill to have the chance that you have. That said, I’ll end with the same sentiment I ended the last piece with: do the work well, respect your coworkers, trust the process, just chill and you’ll be on your way to moving well past PAing.
I’d love to hear your thoughts and experiences on PAing in the comments below. Let’s talk and share tips! Good Luck.
--
Note From Tongal: “The Advanced PA Survival Guide” is part of a series of Tongal Community-written blog posts that were originally sourced in the Tongal Blog Open Call Project. Read more Tongal Community-written posts here and then Pitch us a topic you'd like to write about for the Tongal Blog!
