So the producer buys stuff, is what you're saying?
What stuff? The art department are going to buy or buy materials to make specific props, if it's not something that can be provided by Standby props. That gets charged to the Production and comes out of the budget rather than the Producer's own pocket - unless perhaps if you're talking about quite a low budget production where the Producer's own pocket
is the budget,
I see what you're saying about the desk and the telephone but how does everyone know that there even needs to be a desk with a telephone on it without a breakdown? Isn't the breakdown so that the crew can figure out what stuff they need to make the movie?
I don't work in Production Design, but every HOD gets and reads the script, and I imagine the Production Designer is going to create their own lists and breakdowns for what's needed, on top of the script/scene breakdown that would be provided if they wanted.
The experience of the art department will inform them with what they need to make a shot look good. They know that despite the breakdown or script only mentioning a desk and a telephone, that they're going to need a computer, some photo frames with family photos - perhaps degrees framed on the wall, a couple of plants, some folders and ring binders, in/out trays, books etc. etc.
What kind of look, what kind of colours, and colour scheme, what kind of era etc. are all discussed in collaboration with the Director, and the Production Designer will pitch looks, ideas, props, etc. to the Director, with the Director the one to say 'yeah love it' or 'no hate it' or 'I like this part, but not that' etc.
I was talking about shot lists in regards to scheduling because if the director is going to meet in person with a HOD, then a meeting needs to be scheduled, and if he's just going to send descriptions or drawings or something like that, there doesn't need to be a meeting.
I've never had a Director not meet with me during pre. I think it would foolish to not meet with your HODs, and I would push for one if the Director was not interested in meeting with me. How else are we supposed to decide on looks, colours, moods etc.
When I meet with a Director, it's not necessarily set up by a Producer. Sometimes it will be a midnight meeting over pancakes when the Director's texted me and said 'I've just had this idea'
A lot of the time, a Director and I will sort out our own meetings. However, sometimes a Producer will schedule them, and often a Producer will schedule Production meetings with a number of people there.
what is the difference between a production assistant and a grip?
A Production Assistant is part of the Directorial department, and reports to the Key Set PA and/or Assistant Director. Their purpose is multi-faceted and do a number of different jobs to assist the ADs. The tend to take coffee orders, run around and pick things up that the production might need, help co-ordinate extras, direct pedestrian foot traffic so they're not in shot, if shooting in a public place - i.e. crowd control, and in general assist the ADs in the small jobs that are crucial to the film being able to shoot.
A grip works in the grip department, and reports to the Key Grip. Grips roles and responsibilities vary slightly depending on where in the world you're shooting, but in general they oversee, cosntruct, set-up, or otherwise utilise camera support equipment. They are responsible for the set up and operation of dollies, cranes, jibs, tripods and heads, and other similar equipment. They're also responsible for ensuring the camera is safe when attached to such equipment. They are generally responsible for doing the 'heavy-lifting' - moving heavy camera rigs and tripods around set to where they're needed. They are responsible for the safe rigging of cameras. They will also assist the Electrics with certain lighting setups that need to be rigged specifically (for example on boom arms or pipe rigs, or clamped somewhere). Grips trucks will also always come with Apple boxes and other rigging equipment.
In some cases, they are also responsible for light modifying equipment - for example, flags, nets, rags and diffusion frames.
The Grips and Electrics generally work very close together.