Image: Cassandra in front of a Blue Screen on Set of Lost & Found.
Background in the Film Industry:
I’ve spent more than a decade as a script supervisor, but my journey has been a kaleidoscope of roles – from the whirlwind chaos of a production assistant to a transcriptionist for reality TV, and I’ve delved into the technical side as a sound assistant, camera assistant, and even flexing some muscles as a grip. Transport, directing, production coordinating, and even behind the lens as a photographer – you name it, I’ve probably tried it. And that is one of my biggest pieces of advice that I hope you can take from this. Experiment, try different things. Especially if you want to work on a film set in a position of power (*cough*director*cough*). The more you understand and appreciate the roles of the crew around you, the better you’ll be able to orchestrate the team to create the best product you can. Which leads to the conversation around Art as a Business. Your art is a product, designed for an audience, and you are a business. But we’ll get more into that. People often equate art with passion and forget that there is a lot of money and business involved in the industry, in fact only about a quarter of the filmmaking process actually takes place during production. From concept to distribution there is so much going on behind the scenes, and all of those cogs and wheels need to work in tune.
If I had remembered to keep track of all the shenanigans, I’d have quite the memoirs by now. Working in film and the arts is dramatic and you’re gonna get really familiar with the phrase “Hurry up and wait,” in many situations. As I mentioned in a blog post a few weeks ago, burnout is a big thing in the film industry, which I will touch on briefly here as well. I hit my limit recently and moved away from working directly on set to more support and film adjacent roles but I think I have a few experiences others can learn from and I am happy to share. If you want to learn more about me, check out my other blog posts or my about page.
Role of a Script Supervisor:
Expanding a bit on the role of a script supervisor, I want to give you a glimpse into the complexities of my former job. It’s not just about making sure actors say the right lines or if the props are in the correct hands or placed in the correct part of the room, it’s about working with all of the departments on set to help maintain the continuity of the story world. From eyelines to camera angles, where are the actors coming from and where are they going, reading the off camera lines and keeping track of all the changes to the scripts, blocking, slates and the number of shots and where they fall in the scope of the script, there’s a method to the madness. Unlike what a lot of people expect of a script supervisor, though we work with the directors and can be their greatest allies, ultimately don’t answer to them. We answer to the producers and editors. We’re the editors eyes on set. We work to collaborate with all departments to maintain the sense of the story world. And often, the script supervisor’s role isn’t fully understood by the crew. Every job on a film set is necessary for one reason or another, but we all work together and have our time to do our jobs. Script Supervising is also a department of one. Very rarely do you have more than one script supervisor on set at a time, and though there is a union category for assistant script supervisor, it is under-utilized and limited as a position.
If you are interested in learning more about script supervising, I have some great referral links listed at the bottom of this post and on my affiliates page. I highly recommend Danila Saioni as a teacher, she taught me how to script supervise years ago in person. She is a dynamic and engaging person with endless entertaining and informative stories from her tenure as an IA script supervisor.
Source: https://www.kevincsnyder.com/what-success-really-looks-like/
Career Path and Progression:
Forget the idea of a straightforward path – it’s almost a cliche to say now but most careers are more like a maze with unexpected twists. I started in nonunion productions, tackling whatever came my way before moving into more established roles. My first job was as a PA for a TV showcase of Festivals around North America and they were featuring Toronto Buskerfest. Fresh from graduating Windsor’s Drama & Communications Studies program, I felt right at home behind the scenes in the performers area.
A quick note on my choice in University. Back in 2002/2003 when I was applying for post secondary education, University of Windsor was the only school that allowed me to take both Drama & Communications Studies as a double major. Most other schools said that they had nothing to do with one another, but I always saw them as intrinsically connected. Where Windsor allowed any double major combination and promoted intersectional education, most schools seemed to resist it. Art and media exist in all industries, and art has always been an intersectional common ground for industry. Everyone needs a communications department and a lot of the skills taught in “traditional” arts are actually in demand, in conjunction with other “serious” skills like math and science.
But back to my story (for now) Over my early years building up my resume, I worked part time jobs for years while trying to collect enough experience on set to apply for bigger and better things. I volunteered with the CFC for various shorts and student showcases. I took ridiculously low rates of pay, just for the privilege of being on set at first. I was always aware of how easily I could be replaced, and often pushed myself harder, both mentally and physically; which, years later, I am definitely regretting as I now have to make time for illness, instead of maintaining my wellness over the years.
Also, if not for my own self down, I might have jumped in head first way sooner. Since then I have worked with enough first time directors who knew way less than I did when I was just applying to be a PA.
My first Script Supervising gig was taking over half way through a 5 day CFC short film shoot I showed up on set, with only a vague understanding of the position, having never seen the script and no one had sent me any of the images for matching action or notes from the first two days of shooting. So I pulled one of the best fake it til you make it moments of my career. I showed up with confidence and really got along with the cast and crew and though my paperwork at the end of the day was seriously lacking, the film looked amazing in the end. Five years later, when I was once again working with that young, up and coming director (who is still one of my favourite people I had the pleasure of working with) on another project, he mentioned how I “saved” the production and my experience and professionalism had really made an impression on him. He was even more impressed when I told him the truth. (Also, advice for future directors, or anyone working on their feet for more than 8 hours a day. Bring a change of shoes. Change your shoes at lunch time. Your feet will thank you.) Since then I have worked across Canada on various projects. I was based in Northern Ontario for a while, and moved to Vancouver in 2019. I was a member of several film unions over the years (and I will get more into the benefits of unions below). Eventually, I had to step back from working on set in 2022 after going off the road driving to/from work twice in one year. I didn’t want to be the next obituary being sent out to all union members about another crew member dying in a car crash heading to work (It happens way more often than anyone is comfortable with). Since then I have been working to develop new skills and various income threads, as well as working as a Production Coordinator in Animation and re-immersing myself in my favorite things (like visual arts and photography) as I prepare myself for the next chapter in this adventure called life.
So, as you approach your career, embrace the chaos of your journey, be open to diverse opportunities, and understand that perseverance, flexibility, and a willingness to explore are your toward establishing yourself in the film industry. Embrace your interests and passions. As I mentioned before, the arts are intersectional and there are so many more stories out there that haven’t been told and you could be the one to bring that knowledge to the world. Study things that interest you, see the world. Who knows, you could have the next “Love. Laugh. Love” or “Big Bang Theory” when you’re done.
Art/Film/Theatre – You are a Business:
Time to debunk the myth – the arts/film/theatre/music/etc are all businesses, not just passion-driven artistry. Think of yourself as a brand, a business entity with expenses, investments, and yes, taxes. It’s a reality check that many artists overlook. We love to create, we love to make art, but it’s way more than that. To anyone who thinks the “creative” arts are not a valid career path: challenge them to live without music, podcasts, television, news, or the internet for 30 days, and watch how quickly they realize the importance of entertainment. We saw this recently with the writers and actors strike. Everyone is mad about their shows being delayed/canceled/etc while the people who are on the very front lines of making this content aren’t getting paid fair wages or having any protections around the sanctity of their job, especially with the explosion of AI (which I will get more into in a future blog post.) Networks have put on reruns, Jeopardy has been reusing questions from past shows while the writers walked the picket line. There is a lot of money going around in the film industry but it doesn’t always get spread around evenly. Sometimes you need to fight to get paid your due. I am lucky that I never had a production straight up refuse to pay me after shooting, but I have heard horror stories from other creatives who spend years trying to get paid for their work. Some eventually give up.
So, find a balance for yourself between your creative passions and the background work needed to sustain living. There are lots of ways to do this, and this was a lesson I learned a bit too late in the game. Make it part of your strategy now and save yourself the grief and struggles.
Building Your Brand and Networking:
As mentioned, YOU are a brand. Whether you are an actor, writer, above the line or below the line creatives or crew, how you behave and present yourself in person and online matters. Like a lot of industries, getting work in film and theatre is often more about who you know rather than what you know. (Not always, but it always helps to have a connection.) I once got a call offering me a PA job on a film, but then an hour later they had to call back and rescind the offer because they hadn’t known that one of the producers had already hired their nephew for the role. It sucks, but there’s not much you can do about it. So, get out there to networking events. There really is no substitute for being in the room. You never know when opportunity might knock. Make yourself known in the best ways possible, be kind, responsible and a team player. This a new era where showcasing your work, maintaining an updated portfolio, and flaunting your following can actually make a difference. Understand who you are and what you stand for, especially if you are presenting yourself as a writer/actor/content creator. Your online presence becomes as important as any resume or official demo reel. But here’s a word of caution – be mindful online, understand the permanence of the internet, and engage in purposeful, positive interactions.
Continuous Learning and Adaptability:
Experiences shape your journey which in turn shapes your creativity and content. Life is a continuous learning process where every project, every setback, and every triumph contributes to your growth. Even when you leave high school or university and join the workforce, in any field, you never truly stop learning. And the more you learn, the more effective you become in the future. This is true for all industries. There is always a new skill or credential you can obtain, formally and informally. In software, coding languages are constantly evolving and often what students learn in university is already obsolete by the time they graduate. Obtaining a degree is not the end of education, it’s a stepping stone towards future opportunities. In film they have started offering Micro credentials through universities in BC and Ontario to fill the labour gaps in production management, content creation, social media management, accounting and more. Even now, I just signed up for a new micro-credential course starting in a few weeks in accounting. I used to sleep through high school math, and script supervising I was adding fractions and time. So, who knows where this new skill will take me, but regardless, everyone probably could use a little accounting training in their lives.
Live, experience, try to make smart financial choices, and seize every opportunity that comes your way. The film industry, and the arts in general, are dynamic, unpredictable, and ever-evolving. Embrace the uncertainty, be open to the unexpected, and keep that hunger for learning alive.
Reality of the Film Industry:
There is often a prevailing image that working in film is all at the level of the glamorous film festivals, galas and award shows. But the truth is very few of the people involved in the various levels of production actually get to attend and experience those. Day to day, working in film (and many other arts) can feel like a very blue collar job. Construction works, estheticians, electricians, food services, transport drivers and locations departments are just some of the examples. Not to mention the long hours, in all weather types. If you are working in North America, you are going to be working long days. Unless you have a schedule constraint out of your control (child actors location restrictions) you are likely going to be working minimum 12 hour days. The shortest shoot days I’ve ever been offered are 10 hours (though there are minimum calls for union members but I will touch on that below.) The longest day I ever worked was 26 hours (on Canada Day even, I made bank that day). I was a Location Support Pa at the time, and in that case they had just forgotten to officially wrap us, and we couldn’t get a hold of anyone to find out if we were allowed to leave. But I have known other people who have worked 36 or more hours straight on set or as a driver for a set. The hours are brutal, and for non union productions it can be even worse. I have worked on shoots that promised no more than a 12 hour day but didn’t pay overtime and worked us 16 or more hours a day, because they could. Because of the unique situation of the film industry, regular labour laws don’t apply. What you negotiate and have written in your contract is your only defense in those situations. Know your worth, and don’t settle for less (especially if your mental or physical health is at risk).
As we witnessed recently with the WGA and the SAG strikes, the industry is not stable. The economy, politics, and even the seasons affect the ebbs and flows of the industries. No matter what department you are in, it’s always good to plan for unexpected lulls in the industry. I often joke that I either have time to do things, or the money to do things. But never both at the same time. Many crew members I know take jobs in various departments, many people have side hustles to fill the time and make up for any lost income. When I first started in the industry I was given the bad advice of, “if you have a Plan B, you won’t dedicate yourself to Plan A, so don’t make a plan B.” Well I am here to tell you, have a Plan B, and Plans C, D, E, and F. Honestly if you can find yourself 4-6 different income streams to fill in for the ebbs and flows of the industry you will be way more secure than I ever felt. Especially in the early years of my career.
Importance of Unions and Worker Protections:
I’ll hit you with a sobering fact: the average age of death in the Canadian film industry is apparently only 55. Which is definitely a wakeup call. I’ve seen it firsthand, especially in physically demanding departments like transport, camera and grips. Long hours and physically demanding work in unforgiving conditions. Luckily in Canada we have a strong union presence in the film industry. Unions, such as IATSE, Nabet, ACFC, Actra, teamsters, the DGC and many other organizations play a crucial role in providing protections around working conditions, rates and overtime, training and other crucial benefits for workers. By banding together and bargaining collectively the unions are able to secure stable income for its members, with regards to inflation/cost of living/etc; things non-union crew members have to negotiate on a 1 on 1 basis. In many positions there is always someone there willing to do it cheaper. I once heard that “if a high schooler thinks your job looks cool, the pay is going to be low and the competition is going to be high.) Industry standards and undercutting are constant conversations in so many facets of the arts, which adds to the struggle of making a living.
A big problem is that a good percentage of the industry is still not unionized, for various reasons. Budgets aren’t always big enough to qualify for union participation, corporate films, animation, reality TV and so much more often are left to fend for themselves. There have been shifts towards changing this, but the non union market will always be there in one form or another. And most workers start in non union environments to even get the experience to be able to join the unions in the first place.
Unions can also be limited though. By that very collective contact and by the fact that it’s not responsible for the quality of the production, just the workers. If a show doesn’t hire enough crew, it shouldn’t be the fault of the existing crew. Though, for myself, I struggled with this. It’s my name in the credits even if I was overworked and under-crewed. I just felt like there was an increased pressure on my own shoulders because it was my name on the show, and I didn’t want my work to be anything less than professional quality. I didn’t know how to wipe my hands clean of things I had no control of. Part of that was my PTSD and ADHD. My aforementioned early experiences feeling like I had to push through even when I was sick or in pain, didn’t translate well to when I was older and needed to assert myself for my own wellbeing. But even after being diagnosed it took a few years and an almost complete separation from the industry for me to start to heal. And I hope no one who reads this has to go through that same experience I did.
Cautionary Note on Burnout:
As I have mentioned, the film industry has very little glamour and red carpets in the day to day (unless the scene calls for it.) The work is grueling, with long hours and intense schedules. You’ve been warned (hopefully multiple times by the time you’ve read this blog). I’ve been there, felt the burn. The industry’s demanding nature requires a reality check on self-care. Early in my career I was convinced I had to be willing to go that extra mile or I would be replaced. Or called weak because I needed a bathroom break after being outside in the rain for 8 hours without access to a bathroom. I’ve been shamed for having to leave the set, injured or sick, having others brag that they have never had to take a day off. Like, thanks dude, that makes me feel SO much better. It’s like being kicked when you are already down. I pushed on when I should have backed down. I let myself get talked out of filling in a health and safety report after being injured, because I was tough enough to deal. (Spoiler: 15 years after the injury I don’t feel so tough anymore). I hope my cautionary tale is a reminder that success in the film industry should never come at the expense of your mental and physical health. It’s a marathon, not a sprint, and pacing yourself is key. The glitz and glam come at a cost, and maintaining a balance between your professional and personal life is non-negotiable.
Volunteer Work:
I have mixed feelings about volunteer work in the film industry. Some parts of the industry, like film festivals, the quality of the volunteers can make or break the events. But I worked for little to nothing on many projects that should never have been asking for “volunteers”. Volunteering can be the key to unlocking valuable experience and as a way to tap into the community, not all opportunities are created equal. Yes, you want to build experience and your network, but is the value of the experience worth the work? Things like the CFC and other educational organizations also rely on volunteers to provide their students with real industry experience and contacts and have way more value to the beginner script supervisor/grip/camera assistant etc than a short film that no one is going to ever see. And the food is gonna be better too. I’ve worked on projects where they promised a feast for breakfast and lunch to make up for the fact that it was unpaid or low paid, only to show up and find a banana and a warm bottle of tap water is the top serving offered.
Take the time to assess low/no pay “opportunities” when you are just getting started. Research who is making the project and what they plan to do with it. Is this going to be something you can use to help promote yourself? Is this something you will be proud to be a part of? Is it a friend or peer making a small project that you want to see their passion come to life? Is that the kind of friend who would also volunteer to show up for you on your indie project? In general, it’s usually good to beware of productions offering “exposure” in lieu of pay. Some people die from exposure.
To Sum Up:
As you step into this dynamic and ever-evolving world, be mindful of your well-being. Success is not measured solely by accolades but by the balance you maintain between your professional and personal life. Let the lessons from my burnout caution you against the pitfalls of relentless pursuit.
So, fellow storytellers, venture forth. Embrace the uncertainties, savor the challenges, and revel in the joys of creating art that leaves an indelible mark on hearts and screens alike. Your journey in the film industry awaits, and the adventure promises to be nothing short of cinematic magic. Roll camera, and action!
Advice (list):
- Be Nice (no one wants to work with a jerk)
- Understand the roles of the people around you. It will make you, and the team as a whole, more effective.
- Embrace and Explore your Passions and Interests, you never know where you will find a good story.
- Change your shoes at lunch. Classic advice for directors but great for ANYONE on their feet for more than 6 hours a day.
- You are a brand, You are a business. Think of what you stand for or represent and make yourself visible online so that others can find you.
- Never Stop Learning. You are a student of life and you’re experiences inform your story telling.
- Make yourself seen (online and in person)
- Get involved! There is no replacement for being in the room. Value networking opportunities.
- Multiple Revenue Streams – prepare for the ebbs and flows with other interests and opportunities.
- Jobs can go to other people, but there is no replacement for YOU! Take care of yourself.
Links and Resources
- Spreadsheet of Resources and Articles I have put together:
- Blog: Burnout in the Film Industry
- Kerri Coombs’ data spreadsheet on Life Expectancy for Film
- Daniela Saioni’s call for an 8-10 hour shoot day:
- Salty Animators
- Film/Media Job Sites/Resources (Canada)
- Mandy.com
- Media Job Search Canada
- IATSE 891 (Vancouver) and IATSE 873 (Toronto), 634 (Northern Ontario)
- ICG 667/669 – Camera Union
- Canada Writers Guild
- Directors Guild of Canada
- Creative BC
- Reel Canada
- Hot Docs Film Festival
- Creative pathways
- Toronto International Film Festival
- Vancouver INternational Film Festival
- NFC
- NFI
- FROM SCHTICK TO SCRIPT MASTERCLASS BUNDLE OFFER https://comedywriting.samcart.com/products/fsts-youtube-masterclass-offer/?sc_ref=L4PXvfuvSwPcj0OD
- Coffee Break MBA
- AM I COVERED? THE ART OF VISUAL STORYTELLING FOR FILM & TV
- Story Editor’s Studio
- Spinning your Pain into Comedy Gold
- From Schtick to Script & Script Dev Bundle
- AXIS SCHMAXIS
- 5-DAY FILM & TV PREMISE CH PWYW
- THE ROLE OF THE SS IN FILM & TV ZOOM
Cassandra Frechette 