Because nobody has time to tell you what you need to know.
By Caleb Clark, 2008. 3rd Edition, updated and expanded. Written by Caleb while he was a Hollywood P.A. Caleb's personal site.
Learn how to:
- Get your first job in the film and TV industry.
- Survive your first week.
- Get promoted as soon as possible.
Get the PA Handbook
Print quality 63 page file.
Such a deal! Support self-publishing.
Feel good all day.
Oyi, the value!
Chapters Back Cover
The Basic Idea in Lots of Words
The Basics in 4 Words
Set Etiquette 101
Set Etiquette 102
Talking to the Public
Grips and Gaffers
Getting a Job
I Really Want to Direct
What to Have
Gear Check List
Tools of the Future
About the Author
From the Introduction
Think of it, to try and make movie. What a crazy idea! This popular
handbook has been freshly revised and designed to give new Production
Assistants (P.A.s) an edge in the insane world of movie making. Topics
include how to get your first job, the basics, lock-downs, radio
communication, running talent, what to bring to a set, driving, etc.
Written by a P.A. while working on major studio and independent
features, commercials, TV shows, and low-budget films, this handbook is
full of advice and stories from the trenches. This 3rd edition has been
expanded and checked by industry professionals and instructors at film
schools. P.A.s do everything nobody else wants to do. It is an
entry-level job, in other words, you’re in the proverbial mailroom,
digging ditches, washing dishes, making copies, and entering data. So
don’t kid yourself, you’re at the bottom, baby! But the good thing about
the bottom is that there’s only one way to go from there: UP! Like all
entry-level jobs, the object of being a P.A. is to work yourself out of
the job by making yourself too valuable to be kept in the entry-level
position. Being a P.A. is also a weird test with only one question; Are
you willing to become the best P.A. you can, even though you know that
you won’t be a P.A. for long? The logic behind this is that the people
above you have paid their dues and proved their passion (to themselves,
not just to others) and they expect you to do the same. The other side
of the coin is that a good P.A. is very valuable because there is nobody
else to do the job. Therefore, take pride in all the little demeaning
tasks you will have to do. Take the job seriously. Be honored and happy
to get coffee, and remember who prefers three sugars. If you are an
exceptional P.A., you will get promoted very quickly, and the coffee
will come to you.
PA Pocket Handbook Endorsements and Reader Reviews
The University of Central Florida bought 500 copies for their film program. Used at a workshop by the Association of Independent Commercial Producers.
Line Producer Alton Walpole recommends it. It is required reading for Lisa Cook 's classes at University of Central Florida's film program. Michael Fischer uses it in his advanced film production classes at Burlington College. The Texas Film Commission also likes the P.A. pocket handbook.
Unsolicited Quotes Sent to Author:
- "Loved the book. I'm working as a 3rd/2nd AD and Production
Coordinator now. I will be sure to recommend your book to new PAs! -
Jessica in New Zealand."
- "My name is Charlee Collins, I am from
Northland, New Zealand and am a big fan. Just writing to say thank you.
Your 'The Production Assistant's Pocket Handbook' is great. I know when I
move over to LA in a few months your book will be with me as I embark
on the journey that is hassling every darn production in the country
until I get a job. Kind Regards, Charlee."
- "I have been working in
Production for many years and had a blast reading this handbook, could
relate myself to so many stories. I also find it extremely useful for
those who will be working in my team, I wish I had had this book when I
started! Thanks for writing it!" - Belen G., Spain
- "I produce photo shoots and have
had many production jobs over the past 17 years. How I wish every PA
was required to read this. I love this booklet! I loved it in 1992 when
it first came out. Nice job!" - Helen, Los Angeles
- Thank you Caleb for this wonderful piece of PA art! I mean it! It sums up the whole process wonderfully and
prepares you be a proud shit-kicker (as they say in Australia). I worked
my way up as a runner to production coordinator to UPM in Australia
after I finished film school." - Sameer, Australia.
- "I read the free pages and I
will purchase the handbook. I want to say thank you, because I am
getting started. I have been a production assistant for 3 productions
and completed some internships. My situation is unique, I am not a
twenty something individual; I will be turning 40 in May; however I
don't look my age. Your handbook gives me hope that I can be successful
in this field." - Dawn.
- "I found out about this booklet
shortly after getting hired for my first set PA job in New Mexico. I
didn't have much experience and was a bit nervous, but after reading
this great booklet I felt confident that I could do the job without
worrying about my shortcomings."- Miguel, Albuquerque, NM
- "I've ordered your book from the
writers store and have found it very helpful. I was a production
assistant duing my last year in college. That was back in 1996. I have
taken a long brake from the business because I needed steady income.
After getting this handbook about 3 weeks ago, it has motivated me to
get back into the film industry. I have gotten a P.A. gig with BET's
"Sundays Best Season 3" in N.O. Louisiana. This will be a month long
production but I feel very comfortable with your book to refresh my
memory. Thanks, that was a good thing to provide."- Trey Williams.
- "I just bought your book! I was
observing a workshop Justin Muller did in the Dominican Republic this
week. He made reference to the book. I just got hired as a P.A. I
devoured your book before I went into set. Every single piece of
information in it is useful and every detail you should keep in mind. I
kept repeating to myself STAR. Swift, Tactful, Aware and Resourceful.
That is ALL you need. They love it in a set when you are quick and get
things done before anyone else does. It someone needs something make
sure you bring it first. IF someone else has done it first, then its
useless. The levels of stress and concentration managed on a set NEED us
PAs to be discreet. Know when you are not interrupting or bothering. No
chit chat in the morning transportation while riding with the AD,
Director or any cast member. You must always have 20 eyes on everything
that moves around set. You must never let a pedestrian walk into set. If
you are asked to block a street you BLOCK it. Get to know everybody,
specially drivers, gaffers, set medic, and those people that are always
out of the SPOTLIGHT but in a second could be needed in case of any
emergency on set. It always looks good when you know who is who and
where they went while everybody else was paying attention to the scene
and the star. That is being aware of everything. Sometimes production
forgets certain details. Or maybe there just isn't time for you to run
over and get things. Be resourceful. Make a tool out of everything you
can. Who said being a PA isn't being creative? No scissors? Try cutting
in half that pile of dailies with a knife. It won't look great. But if
you're shooting in the middle of the jungle and production forgot those
scissors, something must be done. Always bring ALL production phone
directories with you. Every paper yo get your hands on. Save it. You
never know. There should be a whole part on radios. Some PAs get to do
the radio coordination. Giving out radios and keeping the set full on
fresh hot batteries. Always carry some of those around." - Marivivita
Submit your review or comment to the Author at "calebjohnclark (at) gmail (dot) com" or post a review of the PA Handbook on Amazon.com
Production Assistant resources
Books on being a Production Assistant
Getting a PA Job
Production Assistant Training
Movies About Making Movies
Hearts of Darkness a filmmakers apocalypse
(1991): This is my favorite movie about movie making. It is about one
of the most famous location shoots of all time, the making of Apocalypse
Now by Francis Ford Coppola in the Phillipines in the late 1970s. It is
an extreme example of what it can be like on a set to be sure, but all
movies have a bit of what you'll see happening here. Movie making is
always an adventure and story unto itself with interesting characters,
drama, comedy and intrigue. There's not much about PAs directly, but you
can see the PAs in the background if you pay attention.
Burden of Dreams (1982).
From IMDB.com, "A documentary on the chaotic production of Werner
Herzog's epic Fitzcarraldo (1982), showing how the film managed to get
made despite problems that would have floored a less obsessively driven
director. Not only does he have major casting problems, losing both
Jason Robards (health) and Mick Jagger (other commitments) halfway
through shooting, but the crew gets caught up in a war between Peru and
Ecuador, there are problems with the weather and the morale of cast and
crew is falling rapidly. Written by Michael Brooke."
State and Main (2000). Nice little comedy about a film crew that goes to Vermont to shoot a movie. Directed by David Mamet.
Hijacking Hollywood (1997): I haven't seen it, but I hear it's about a PA.
The Production Assistant (1994): A funny 1 minute short featuring a PA.
Copyright Caleb Clark 2015