Rejina Sincic: Director and screenwriter in San Francisco, California.

Yes same here :)

Thanks :)

Me too Rejina!

We...think they're unnecessary.....

Well he seems to be more of a shots guy. Anytime I come to him with something it's "yea, yea, yea, yea". And sometimes it's "yea, yea, yea" and I do it and sometimes it's "yea, yea, yea" and I do it and fifteen minutes later it's "what are you doing, no were not doing that." He's always running around, setting up lights, cameras, directing the cast. We have no DOP, he's the DOP...and the director. He only has camera operators, an audio guy and revolving door of PAs and make up artists. The last shot we had a person show up for special effects. He said hi, went on shooting. I took the initiative to talk to him and explain what was going on. Turns out he never told the guy to bring his kit, so they guy showed up empty handed. In panic, he said we would just scrap the gruesome death scene and went back to shooting. But after talking to the guy, we found some fake blood, coffee grinds, cooking oil and other odds and ends and made a pretty good plan for death scene. Which we executed well. I'm guessing that's good AD work or would that be more line producer? (which we also don't have). I've got paperwork together, but he says we don't need it. He doesn't want cast and crew to get deferred payment, so he doesn't want them to sign anything towards that. He doesn't want me to log their hours just get releases. I act script supervisor, meaning I slate - with my hands. No one writes down continuity, he says he makes a mental note. He did ask me to keep track of our one actresses paperwork, which I am happy to do. I'm new to this, never AD before. What else should I be doing?

First

You should be contacting people like the special exf make-up artist. Anyone coming to the set should have communication with you so they know exactly what is expected of them before that arrive. That way the busy director/DP/gaffer can just say,"Hi" and go back to shooting. At the end of each day ask the director who might be showing up the next day, get their number and call them. You are being asked to do much more than AD so this is a non-traditional project for sure. The standard AD responsibilities do not seem to apply in this case. You need to be scripty, first and second AD, line producer and more.

Have to agree. Some tremendous insight and course knowledge in this thread. Appreciate all who have shared!

Not only is it a chance to perform, if there are a lot of people in the room, that can be a plus. Clearly they are actually looking for people, as opposed to doing a required call, and you have an instant audience. As Lisa said, it is a chance to act - a mini performance. That said, it can be undaunting, so feeling confident in your choices helps with your confidence walking in. When it is over, moving on is the best policy...look for the next chance to act...until one pays off. It is clearly a numbers game. Cheers and break legs all!

From the other side of the table I could not agree more with Rebecca... If you do what you believe is your best job at the audition then be happy and move on to the next one. Learn everything you can from the one your at: how did you present yourself? What was the welcome like at the table? Did you always give them a more professional and personable presentation than the casting folks may have given you? Do your best to be your best and the right part will eventually fall in your lap!