When you’re on set, everything is urgent. Everything is needed now. Or, if they’re really in a hurry, right now.
At least, that’s what it feels like, when you’re in the thick of it. You wanna get this shot before the sun goes down, before we lose the location, before the crew goes into overtime.
Hurry, hurry, hurry.
That’s all well and good, but never forget: nothing we do matters. As the original recipe TAPA pointed out, we’re not doctors or police or soldiers. Lives don’t hang in the balance. We’re making a goddamn TV show.{{1}}
But I’m not just talking about keeping your chosen profession in perspective; I’m also talking about safety.
There’s a lot of big, heavy, and hot equipment lying around a set. Running from one end of the set to the other because the director wants some coffee is a terrible idea. Best case scenario, you trip and skin your new. Worst case, you spill the coffee on an electrical box, shooting sparks everywhere, and electrocuting yourself, along with dozens of other people.{{2}}
The point is, bad things happen when you run. By all means, walk at a brisk pace. Hurry, even. But keep your head up, and eyes open (sets are dark, too), and be very, very careful where you step.
[[1]]If you’re like me, it’s not even a particularly good television show.[[1]]
[[2]]I don’t know if this is actually possible.[[2]]
2 Responses
I’d say there *are* times to run. Like when we’re looking down a city street, the sun is setting on the last shot we HAVE to get in, the AD is ready to yell rolling, but s/he stops and yells, “What’re those cones doing down there in the shot?!?!? Get rid of them!” That’s when you run your ass down that block, not walk, ’cause everybody is looking at YOU.
You’re also probably going to freak out other crew members. Why’s he running? What’s wrong?!