Representing the Crew

The diminishing role of an on-set crew rep is a concern to many in the industry. Mike Westgate gives us some insight into the importance of crew reps and a few tips on doing the job.

Our Technicians’ Guild was registered in 1988 and it continued the pursuits of The Academy that had gathered momentum in the 70s. A code of conduct was first presented at a meeting in an Elliot Street studio circa 1979 chaired by Paul Leach, an experienced camera operator. These early guidelines were based on common sense and experience, gained both here and overseas by Academy members. These guidelines were not mentioned in early contracts and contract conditions varied regarding meals being in the working day. During the 80s some companies allowed that tea breaks and the length of working days and weeks differed from a basic 10-hour or 6-day basis. Since the mid-90s, the guidelines (The Blue Book and The Safety Code of Practice) are normally given mention in contracts – although not always. It should be noted that as an industry of self-employed people, individual contracts apply and the terms of each contract may differ due to the role or its seniority. But all contracts are possibly subject to negotiation, hence a crew rep is essential to iron out problems during the shoot at times.

**Selection of the crew rep. **Crews seem to favour the choices made during the early days of shooting. It often starts with a casual crew meeting. Candidates are approached to seek willingness and then a vote may be taken. A 1st AD can’t be selected as they are the producer’s representative on set. But they are a valuable ally to the crew rep as they shape the schedule and sense overtime needs, and in so doing need to understand the feelings of the crew in advance. Junior technicians may not have the experience or confidence to chair meetings or face up to producers so a senior technician may be the choice. It is good to remember that some technicians face additional duties in addition to the shooting day or face longer pre-rig or wrap times so are best not pressed to shoulder the additional task of crew rep. The crew rep may also face times of additional work or they simply may not want to deal with a small issue so the selection of an assistant crew rep works well, as a supporter and colleague to help discuss issues, priorities, tactics and timing as well as mustering the crew for meetings.

A crew rep’s function is to deal with important concerns fairly in order that the crew feel listened to and honestly represented. On the other hand, they must understand the needs of the production and the reasons behind them – all done with the guidelines firmly in mind. If this is achieved then the production will be more enjoyable and successful.

**Crew meetings **need to be held when the most crew can attend. This may be at the end of lunch or tea breaks or even briefly during the working day (if a sudden request for a longer working day has been received). Only crew can attend – no senior production staff, director or actors. For an initial meeting it is best if department heads present their team’s issues to minimise time taken. It is important that questions are formally presented to the crew rep and that discussion across the meeting are not allowed to turn the meeting into a free-for-all. The crew rep should consider and clarify each item on the agenda so that clear points can be defined, ready to be raised with the producer. It is easier to develop rapport with one producer and always deal with that person unless bigger issues arise. Alternatively, minor items might be sufficiently answered by the production manager.

Likely issues are overtime; health and safety; studio or location problems; transport; mileage; travel days; delayed meal breaks; invoices or financial factors; lunch menus; domestic issues; accommodation and per diems in the case of away shoots; variance of shooting week days and advanced scheduling.

Meeting with a producer should be pre-arranged as producers are busy both on set and off, but if the topic is simple then a quick question may suffice. This moment will be a meeting where two sets of priorities need a mutual solution and should be held as a frank and friendly discussion.

Not all battles can be won and compromises on both sides should be considered carefully in a way such that the crew rep can judge the existing attitude of the crew on a particular topic in order to adopt the right stance.

Politics is the art of the practical.

Meeting the crew. Presentation of the producer’s decisions to the crew is hopefully the second-to-last step and should present a balanced summary of each answer, solution, option or compromise. The crew may then enter into another round of discussion at this point and it is good to weigh up suggestions on the spot so that topics do not go round in ever-increasing circles. Decisions have to be made and accepted, even if it comes down to a vote, otherwise a crew can get disenchanted and negative about the process, with the crew rep being seen as ineffective.

Last shot! Being a crew rep is a great experience and worth the time and effort. You get to understand problems on both sides. You also get a glimpse of the complex maze that makes up any production. There are negatives if handled badly, so it’s not a job for the faint-hearted. I have had caterers changed, been cursed for presenting major safety issues, been told I was a hard and fast unionist, and also fingered for dismissal for not pushing crew into ridiculous overtime. I have been in the middle of a huge financial meltdown with overseas crew not being paid. There are no medals, awards or bottles of bubbly (or even a credit as crew rep) but I have been a part of crews and producers seeing eye to eye, establishing a happier work place and a successful production, with dignity!

Reprinted from NZTECHO 53, Winter 2012.