what exactly does a 1st AD do?

V

vvalverde

Hello everyone :)

I am here again to get my many millions of questions answered by all you wonderful people..but lucky for all parties invovled I am just asking one question at a time.

Anyway, what exactly does an Assistant Director do? I mean, responsibilities, who they deal with, ect. Is it true they really have nothing to do with "directing" per sa. Any past AD's that wouldn't mind talking to me about their job, experience, ect I would be so grateful :D and of course to everyone who always helps me out.
 
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It's really at the discretion of the director... Some may just be glorified Production Assistants (ie: coffee porters). Some may just be a "gift credit" although those tend to be 'Producer' credits more often it seems.. Some may very well help with many aspects of the direction of the film.

But what it all boils down to is, the Assistant Director does what the director needs done, but can't do him/herself, and thus delegates it to the assistant. It could be making sure people shut up on the set, getting all the actors into positions, some of the continuity jobs can be done by AD's..

I have also seen them used to help with the direction of extras. In my younger years I was an extra in a film, and they had at least 2 people directing the extras, it may have been three.. but I was paying more attention to the cute girl I was walking through the scene with than anything else. ;) I do know for certain that they were not the "director" as he was busy about half a block away with the "talent" and crew.

Hope that helps a bit. even though it may not be the "right" answer, it's my answer, and dammit, as a director, my assistant better do what I need done, or they won't be my assistant anymore! :lol:
 
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The AD is the time keeper and traffic manager for the set and the director. He makes sure the director stays on schedule, but also works to make sure the director has the time they need to get their vision. It's not all that creative, but more management. AD's usually move on to become production managers or line producers. A good AD is worth their weight in gold and I've only worked with a few. Some become clock watchers and other are tyrants who think yelling is the only way to get things done. It's a balancing act between the clock and art and the best ones know how to keep that balance.

Scott
 
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I agree with Scott that the 1st AD's main job is to keep the production running to schedule, but a good one is so much more than that.

The key personnel at the heart of the feature will be the DOP, Director and 1st AD (The Producer may be on this list as well). All key creative decisions during production will go through this team.

The 1st AD, depending on their levels of experience, will write the schedules and the call sheets during the planning stages. Once on set their jobs is to make sure that the production keeps rolling. They do this by being the main communications link between the cast, crew and the key team. This really important, the director and DOP are focussing on getting the footage right and need to concentrate on that. On set actors and crew will always believe that their problem needs immediate attention, if you don't put a buffer between them and the director, the film suffers. A good 1st AD will have an overview of the production and will know the director well enough to gauge the right time to ask the director about, for instance, costume for the next scene.

The 1st AD keeps the pace of the shoot up, knows when the crew needs a break and also watches everyone's back, so if the director misses something, a good 1st AD will pick up on it.

I'm lucky, I think I've got one of the best 1st AD's in the business. He's both a skilled director in his own right and a superb editor and knows from the set ups done on any scene whether he has enough coverage to cut the scene. I like the fact that he'll suggest additional pick shots to make the edit easier, not every director would be as comfortable.
 
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Assistant Director
AKA: AD, First Assistant Director, 1st Assistant Director
An assistant director's duties include tracking the progress of filming versus the production schedule, and preparing call sheets.

*** from IMDB
 
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I’ve never thought of a first as a “gift credit” or as a glorified PA. And despite what many people think, the assistant director doesn’t help the director direct the movie.

scott and clive are correct.

Even on my no budget DTV “freebees” I always pay at least four people: the first, the sound/boom team and the scripty. The first is a vitally important aspect of getting a movie done on time and freeing the director form all the little details.

clive - I’ve never had good luck with a first who is a director. Though I have worked as a first on other peoples films. (maybe they think the same way about me...) But I have used a first who was also an editor and; wow! - what a great combination!
 
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I once had a location scout tell me that his job was the most thankless in the industry, but I think it is the 1st AD position. That seems to be the position where no one likes you. The 1st AD has to keep pushing everyone forward. The director doesn't like to be told it's time to move on and the crew don't like being told they have to stay late. It seems like the 1st AD is always the bringer of bad news.
 
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Okay I am starting to see the picture. so in terms of keeping the director on schedule, the 1st AD is sort of then also trying to keep the film in budget, so does that mean they work closely with the production manager since the PM is more about $ and the AD more about trying to get the director's vision done? OR am I way off target. BTW, thanx everyone for all your input; it is definately very helpful:)
 
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Even though this is an older thread I thought I would throw in a couple of things, pretty much everything that was said was true.

Under the Director decision line dependeing on the type of production it can be the Producers discretion generally the 1AD is stradilling the line. For example for many Joel Silver films the 1st AD is also the line Producer.

I have had the oppurtunity to be a Non Union 1st AD in many circumstances and it has gone as far as me taking over the directing reigns some smart producers often give themselves a back up plan in case the Director dosen't work out. In my current position I work as a Producer/Writer/1st AD I joinded a company with a Director and I decided it would be good for me to work on my support skills, and still have creative input. The director knows that when I pressure him to move on that it is with an understanding of what he needs and what he needs to get.
 
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Will Vincent is correct on the AD...just finished shooting as an extra and the AD was in charge of extra placement on set, et al, Director handled the "talent".

Seems like everyone seemed to do alittle of everything.

Boots
 
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I've been a 1st AD for about eight years. Most of the above is correct. wanted to add - it's usually the 2nd AD that handles extras - also the 2nd 2nd.
 
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Having done AD work on two decent budget indies for the past few years I would say the AD is what Scott & Clive said. I would say there is two roles an AD plays and these vary with the budget and shooting mentality of the production team.

What Scott & Clive said (managing the crew, cast, time sheets, call sheets, who has the food, etc.) all happen on films where the budget is big enough to have a heriarchy (sp?).

In an indie situation the AD is more of a Line Producer. Since they will have more to do with the setting up of the shoots then just the day to day operation. They will hire/fire crew, scout locations with the Dir./DP, etc. in addition to the above daily tasks. They do get stuck with the Boom alot too! :)

I agree it's a job with very little win-win situations, the job makes you look like an a-hole a lot. I was just talking with a friend of mine who did work on "The Island". He had never seen an AD who wasn't me. He found it funny that people would complain about the AD being an a-hole for just doing his job. He called me up the day they wrapped and told me that he finally understood why I was always the guy who after the shoot was buying drinks! My friend did say "The Island" AD didn't buy anyone drinks and yelled alot which isn't really cool since I never yell (except at people who can't turn off thier cell phones!).

I don't think I'm an expert on what makes a good AD but there are somethings I try to do to make everyone who works on the shoots time more enjoyable. Don't yell at people a lot! Sometimes you have to get a job done and it's gonna make someone else mad, if you don't make it personal you can get more accomplished. Always ask people to turn off thier cell phones, pdas, watches, etc. BEFORE sound is rolling! Remember each person on the crew believes thier job is the most important so if they come to you with an issue you need to help them (NOT ignore them) since they wouldn't come to you unless they felt the problem was going to affect the production. Make things very clear in your meetings with the crew about how you expect people to approach you. How you expect them to NOT approach certain people. How you feel the shoot is going to go. Always have a check up meeting first thing before the director, talent and producers arrive. Remember to smile your making a FILM not flipping burgers or fighting a war. Your job is very easy compared to some of the potentials out there.

I find it cool that several people mention that they always pay thier AD since I am one. Anyone hiring?
 
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"The Island" AD didn't buy anyone drinks and yelled alot which isn't really cool since I never yell (except at people who can't turn off thier cell phones!).
Click to expand...

My sound guy fines anyone whose phone goes off during a take usually about £20 ($40). This is actually a step down from what he used to do, which was throw the offending phone over the nearest wall, into the nearest river or down the nearest loo.
 
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A very experienced 1st AD (who's never out of work -- does TV & film in US & Europe) explained to me that the main misunderstanding of the 1st AD is this: That he works for the director. I had thought that to be the case. Not so. The 1st is there to work for the producer, as he's the one interested in saving money (with time equating to money), and in the process, kicking the directors decisions about a bit. "You're taking to long, get moving," and things along that line of action. Of course, he told me that on big TV sets everyone that you may need at any given moment from any department, is right there behind the camera to be called on should he need them to fix the colour of a sets wall...Yes, telling the art dept their job if they're not on the case.
 
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Clive your sound guy and I have alot in common. Nothing more frustrating then being in the thick of a page of dialogue only to hear 50 Cent's "In da Club" being played by an 80's wannabe Casio!

What abouts in England are you located? I have friends in London, Bradford On Avon and around the border by Scotland.
 
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