Wanna' read along? Here’s a machine-generated transcript you can use. Yes...expect a few mistakes, especially with funky industry terms, interesting names and tagging whoever's talking. If something sounds weird, trust your ears. But...sometimes that really is what we said!
Biagio: Hey, everybody. She is joke. He’s Biagio. We’re married. We make unscripted film and television and want to help you do the same.
Joke: Hopefully by teaming up with us.
Biagio: All right. Well, it’s episode 77. And as always, we are so happy to have you. Thank you for coming back time and again today, I think is a really cool podcast, because a great article popped up in Filmmaker Magazine while back called The Seven Arts of Working in Film a Necessary guide to onset Protocol, or as we often call it in the industry, which is a funny way of saying set etiquette. So joke emailed it to me and said, this is definitely a podcast, and I completely agreed with her.
Joke: Yay! No, I did send it to him because it’s one of those things we always talk about. You know, fair or not, you know, most people get judged with how they behave on set. And, you know, it’s a big part of how well of a job they do is also how will they are to work with on set. So we thought, hey, you know, this seems obvious to us, but let’s let’s talk about it.
Biagio: Yeah. Now I’m going to link to the original article in the show notes, which you’ll be able to find at today’s podcast notes will be producing unscripted seven seven. Since this is our 77th episode, I can’t believe it’s our 77th episode and you should check out the whole thing, but we thought we’d pick out a few things that really stand out to us as, you know, things we see a lot, and things that we see both from newbies and people that should probably know better and maybe just forgot or tired or aren’t thinking. But the fact of the matter is, someone’s always looking at you, especially on a set. And unless you own the place, I you know you can you can be thought of in a less than positive light for, you know, for some of these things. So we’re not we’re going to try and put a positive spin on it and present these as tips. So let’s start as set a kit. Tip number one use cell phones appropriately.
Joke: Listen, cell phones are crucial thing in our current life right now, right? Oftentimes we use it to, you know, discreetly text to each other about, you know, hey, you know, so-and-so is about to walk in, you know, or, you know, can you go get X piece of equipment from the van, especially if it’s just on a pilot or a small shoot and you don’t have walkies. So, you know, it’s not that cell phones don’t have a place on set. They do. It’s just you have to be adult about how to use them, right? So if you’re the low guy on the totem pole and you are just getting your feet wet, you probably shouldn’t use your phone at all. You know, unless someone directly, you know, instructs you have your phone handy because I might call you then obviously have your phone on, but you don’t want to be seen. Like checking the score for, you know, texting, making plans for after work. Like it’s just that’s not that’s not the point. I mean, even network executives who have a ton of stuff to do often find themselves on their phone because someone at the office needs them to maybe put out another fire. But even for them, it’s like they have to find the time and a place, because if someone’s rolling, you’re in the eye lines. That’s not the time to start checking emails or to respond to that text. You know, it’s it’s about wait till it cuts called or, you know, remove yourself from the room and then then go take care of some of that business. It’s just it’s it’s just important to know why you have the phone. And if it’s not for the business at hand, then you probably don’t need to have the phone in hand.
Biagio: Perfectly sad, perfectly sad. Because it’s not just newbies that can fall for this trap. I mean, I’m not going to lie out. I have on occasion, you know, caught a sound guy who should be listening to the sound first and foremost, you know, also on Facebook or, you know, or a camera op who is locked off a, you know, an interview shot is, you know, looking at their phone and it’s that’s not really the best use of their time. It’s not why they’re being paid to be there. And little things like that can slip through the cracks. Now, yes, cell phones are ubiquitous. Yes, they make our lives much easier. But like joke said, if you’re not using it for the business at hand, just put it away because you’re just opening yourself up to get to get in trouble if someone catches you doing something wrong.
Joke: And I think it’s also one of those things where that’s a perfect time for you to follow story, right? Because even if you’re hired in a technical position, whether it’s DP, camera, audio, yes, you’re there for the technical thing and you’re like, well, I’m getting audio, so that’s it. But you can go a step beyond, right? If you are following story and maybe you’re picking up on something that then you can share with the producers and be like, by the way, I heard this or by the way. Well, you were looking down at your notes to ask the next question. I saw so-and-so doing this. You know, those are all really kind of crucial things that make you a a better DP or better camera up or a better, you know, audio supervisor or mixer. Like it. Just those are the people you that you want to work with that get hired again because they’re actually, you know, not just doing the technical skill at hand, but they’re also being a part of the bigger storytelling team. So, you know, yes, some games are quite addicting, but you should just not even start that while you’re on set. You know, go when you’re on your potty break or you’re going your lunch break if you need to check the scores. And obviously, the very obvious one is make sure you’re on vibrate or silent, you know, just oh my God, that ringer off.
Biagio: Okay. Yeah, that goes without saying. All right. So there you go. If you’re going to use your phone outside, it better be for the business at hand okay. Moving on to set a tip number two work first learn second. Now what do we mean by this. Like yes learning on set is great. Every job you take you should learn something. But you have to remember the set is primarily a place of business. It’s not a place of schooling. So you have to do your job first and foremost. And there are people that will say, and it was funny, it was referenced in this article that we’re talking about, but we’ve also seen it firsthand. Who will who will complain because they’re like, well, I feel like with this task, I’m not learning anything new. No, you’re probably not. You got hired to do a job. And yes, we want you to learn. We want you to to spread your wings and fly high. And, you know, we’ve all been there. We’ve been. But but the point of being on set isn’t just so you can learn. There are jobs that need to get done. That’s why you’re being paid, you know. And sometimes you might want to also you might take a job on set really hoping to learn from another department. Maybe, you know, you’re an audio guy and you really, really want to move in the camera department. Is there the opportunity for you to learn? Yes, I think as long as it’s okay with your direct supervisor and as long as it’s okay with, you know, camera team. In this example I’m using, it’s fine for you to spend a little time helping out or, you know, earning extra credit as long as your job is done first and foremost. And I think that what we’ve seen more and more is a lot of people who will take a job on set, you know, and we hire them for a position, but they really have an agenda of just trying to do as little as possible in that particular position while trying to learn as much as they can in another. And you can’t really you can’t really sneak that by, because what’s going to happen is your own job is going to suffer.
Joke: I think it’s also one of those things where, you know, maybe you’re trying to to ranch out from post to field or field to post or, you know, but all your experiences are in one field and you’re getting ready to move to the other field. You know, a great a great thing is, is to to really kick butt at the job that you’ve been hired for, show that you have all the, you know, the work ethic, the discipline, the all of those those skills that you want in every position. Right? Show your bosses that that’s what you have and then let them know, hey, by the way, I’m glad you know. Do you like the job I performed? Yes. You think I did a great job. Awesome. Just so you know, I’m looking to move into exposition. Like we have given people chances in new positions. If we’ve worked with them in another position where they really did show as they worked hard, they learn, they they were on time. You know, all those things that, you know, you have to do in every position. So. So while, you know, yeah, sometimes you’re ready to move on to the next thing and it’s like, oh, how do I break into that next position? It’s just do really good at the one that you got hired for and then let your employers know, hey, if you’re happy with how I worked, just so you know, I’m looking to move over into this part. Would you give me a shot? And people will give people a shot way more if they’ve worked with them already and know that they’re good and hard workers. You know, one other thing to this point, though, in terms of the learning on set, I am all for it. I learned probably so much as an intern. I wasn’t even getting paid. I was doing the job, you know, that they wanted me to do there. And then every extra minute I was trying to learn and learn and learn and learn. And that’s good. That’s great. But it’s knowing when to approach the people you want to learn from, right? So if you’re on set and you’re like, wow, what’s that deep doing? I want to I want to learn what they’re doing. You know, I want to become an AC, or maybe you’re an AC and you want to become a cam up and you’re like, oh, what are they doing? If they’re in the middle of setting up a shot, that is not the time to go. Hey, why are you doing this? I’m really curious. Like, can you tell me what’s going through your mind? That is not the time, right? The time is to observe. Pay close attention. Don’t interrupt him. Let them do their thing. And then during a break or at lunch or after, you know, wrap, you approach them and say, hey, I just saw you doing this two hours ago. Three hours ago, earlier this morning. I was really fascinated. Can you explain to me why you did certain things? I’m just trying to learn and you’ll get way better response than if in the middle of them doing their job. You’re trying to learn. Because, again, it’s not about you learning at that point. It’s about the job getting done.
Biagio: Priceless advice Joe. Again, very well said. You were just on a roll. Can I just can I just just compliment you on how awesome you are? Okay, okay. All right, all right, moving on. Set a kit. Tip number three. Respect time. Above all else. Look, I firmly believe this. I had a I had a teacher at Parma Senior high School, Mr. Bush Co and Mr. Bush Co. He tricked all of us in our economics class. He said what is.
Joke: Even heard of this? Mr..
Biagio: Mr.. He was the man. Yeah. He was on you for.
Joke: 20 years. How have you not told me about teacher Butch.
Biagio: Co Mr.. Butch go he was listen he was a great teacher and but he taught me the most probably the most important lesson in life, which is.
Joke: And you still haven’t told me the most important lesson in life you learn from a man named Butch Co.
Biagio: Well, his last name was Butch Cassidy. And you’ve never.
Joke: Even told me about this.
Biagio: I’ve never told you about Mr. Butch. Go. Yeah. So Mr. Butch go. Okay. Senior year economics teacher. He asked the class what is our most precious resource? And, you know, someone threw out money. I threw out gold. I thought that was the answer for sure. Someone else said diamond. Yeah, yeah. No, someone said coal. No. He’s like, you’re all wrong. Your most precious resource, all of our most precious resource is time. Because you can’t make more time. You can’t find more time. The only thing you can do with time is spend the time you have wisely. And I thought that was like the greatest advice ever. And I got to tell you, that holds even more true. It’s never more clear than when you’re making a film or a TV show, because every second counts and therefore nothing is more frustrating. Nothing would make Mr. Butch go. I don’t know if he’s dead. I was turned over in his grave, but hopefully still alive. Nothing wouldn’t make Mr. Butch go more upset than seeing the way some people just waste precious, precious time on set. I mean, a minute here, in a minute, there can add up to a missed shot, a blown deadline, a great moment that you might have captured in a documentary. But now you did it because someone was either screwing around or misusing their time. And that’s why I say you always have to think about time. Above all else, it really is our most precious resource. Don’t your group, Mr. Butch, go?
Joke: Absolutely. I didn’t know Mr. Butch and I had so much in common, but we absolutely agree. No, I mean, it’s one of those things where, you know, it’s total common sense. And I feel like everybody will be like the, but it’s it’s too easy for something, you know, to, you know, someone shows up five minutes late. I’m so sorry. I’m so sorry. Okay. Well, great. You know. Sorry. All right. You know what? Am I supposed to be mad at you now? But it’s still not okay, you know, so those things add up. You know, it’s like you ask me the same question three times. It’s like, I want you to ask questions. I want you to communicate with every department head, in every member in the, in the department to make sure that things don’t get, get, get missed, you know? But at the same time, if people find themselves telling you the same thing over and over again, that’s extra time that they just don’t have, you know? And it’s like, okay, well, if I’d hired someone else, maybe I only had to tell them once, you know? So you have to know, like, okay, do I know this answer already? Can I find this answer out myself? You know, if no one’s told you, you don’t know, then by all means, ask. Because making a mistake is also a waste of time, right? So. So definitely communicate and ask. But you know, just use common sense as to people’s time. Your time, their time, the productions time, you know, there’s nothing more. There’s nothing more important on a set day than time. You know, we’re burning daylight. You know we’re going into overtime. Oh my God, meal penalty. You know, like people need to get fed. Things need to happen. Talent may need to leave. Talent already shows up, but you’re running an hour and a half late. That means they’re just hanging out for an hour and a half. So there’s so many things, you know, location needs you out. The time is literally the most important thing. So yeah, set etiquette is, you know, don’t waste it. Don’t waste your own and don’t waste anybody else’s.
Biagio: I think if you honor this, you’ll almost commit no other set etiquette crimes. And by the way, if you are late, like, don’t wave it like a flag. There’s nothing worse than seeing somebody stumble in 15 minutes late. But they’re carrying a Starbucks cup, right? Well, you.
Joke: Got to work for a network. Otherwise you’ll most likely be fired.
Biagio: Yeah. I mean, at that point, you’re like, okay, so you didn’t have you you have time to get here on time, but you had time to stop at Starbucks. You wouldn’t believe how much that happens. But but anyways, I think that these are three small things that I think for us are at the top of the list because we see them so much. And I’m sure there’s a lot of you out there in middle America who are dreaming of moving to Los Angeles or New York, and you’re like, oh my gosh, I would never I can’t even imagine doing that on set. But then, you know, there are also a lot of people that, you know, have grown up around the industry and, you know, there are new to the industry. And maybe landing a job on a film or TV show doesn’t seem like anything that out of the ordinary, just know there’s so many people out there dying for those positions. And so the more you can sort of teach yourself not only to use that etiquette, but but to appreciate the fact that you’re getting an opportunity so many other people want the better mindset you’ll be in. Just do a great job and make sure everybody is happy with your work.
Joke: I mean, that being said though, I don’t think it has anything to do with LA or Midwest. I know you’re midwesterner and you have a special fondness for for those guys.
Biagio: I am, by the way, Clevelanders go Cavs. Congratulations.
Joke: But the thing is, it happens to all of us. Like, you know, I don’t it has nothing to do with newbie or be whatever. Like we also have to be reminded of it. You know things get stressful. You know we have our own ways of dealing with it. And it’s like, next thing you know, you know, like, I’m going to just dive into my phone and get lost for five minutes, you know? And you just can’t you just can’t, you know. So again, I think it’s it’s something it’s easy to say, oh I would never do that. And then you find yourself on set and things happen and you find yourself wasting people’s time, you know, or your own time. So I think these are good reminders for all of us.
Biagio: Yeah. So to wrap up our our top three things, you know, know that you do need to use a phone as part of your job, but use it correctly and responsibly. As Joe said, if it’s not for the business at hand, you shouldn’t be using it. Remember that set is a place of business, not a classroom. So yes, you absolutely can and should learn on every job you take. But that is not mission number one, you know. And finally, as Mr. Bucco once told us, once told me, and I’ve now passed on to my wife joke. You know, time is our most precious resource. If you respect the time, you respect your boss’s time, you respect the time. You know the precious time we have on set, you’ll commit almost no set of kit phobe pause. You know, by, you know, simply by doing that. So that’s it again. I’m going to link to the original filmmaker article, Filmmaker Magazine article, which you’ll be able to find at Producing Unscripted 77, along with a few other podcasts we’ve done in the last few years that I think also relate to this topic, especially one about the right way to ask questions on set. I think that’s a great podcast for those of you who haven’t heard it to also check out. Now, as many of you know who’ve been listening to the podcast for a while, the reason that we do this podcast is because there wasn’t a lot of information out there about how to create pitch work in unscripted television, which of course is mine and jokes, bread and butter. So we created this podcast not only to share tips and tricks with you, but to offer a pathway for those of you who are looking to pitch your own projects and concepts to get started, you can sign up for our newsletter at Producing Unscripted. Com and just follow the directions. And we’ve met some really good people through the podcast. Right, Joe?
Joke: Yeah, definitely.
Biagio: Yeah. So many who either we’ve teamed up with on show pitches or we’ve gone on to hire and worked together, you know, on on several projects. So that’s it for this, this episode. We’re going to be back in in two weeks. As always, thank you so much for taking the time to tune in and listen. We hope, whether or not we ever work together, that these tips and tricks are helpful to you. Whether you’re working in unscripted TV, film, web videos, whatever you’re making, we hope you find these tips helpful. So thanks again!
Unidentified Voice: Bye bye. Producing Unscripted with Joke and BiagioAjo.
