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Abusive Behaviour Of Some Crew Members, & How To Deal With It!I would like to ask this question very sincerely of my fellow subscribers of CML.
The thing I would like to open up to discussion somehow is : How do we identify what is fair and unfair to be treated like in the workplace and : How do we make some kind of motion to set a limit, to those around us as to what is fair and what is not??? Its very difficult. I think what's on most people's minds in that sort of a situation is 'I am a freelance, and this arse-hole might want to hire me again, so I'll put up with the shit.' It shouldn't be that way. That's what unions are for, but as we in the UK have no union worth the name, its incumbent upon all of us, particularly highly paid DP's on high end jobs, to nip that crap in the bud. I don't work in commercials, I work mostly in documentaries and I've been lucky in that I've never seen an incident such the one you described, so I've not had to make that kind of a decision, but I think you should speak up. The abusive characters who appear from time to time are allowed to get away with it time and again because no one calls them to account. It might be that all it needs is a quiet friendly word at an opportune moment letting them know that that sort of behaviour is unacceptable. It's probably a good idea to do it in private so that the a-h in question doesn't lose face in front of the crew. But I'd say you have to do it. The DP is the top crew man, so has the responsibility. My two cents, Chris Merry This is an excellent issue to tackle among this group. Despite the unique circumstances of film production, this kind of situation can best be handled by simply applying good people management practices. I don't have a tremendous amount of experience as a DP, but I do have many years of management experience from large corporations to small startups. I've also worked on numerous productions as a producer, a director, a DP, or a Steadicam operator. Most of the stuff I've worked on is very low budget, so the dynamics may be different. But since the money is nothing to get excited about, keeping everyone on the set happy is always an important consideration. Here's how I would look at this situation: The specific definition of what is and isn't fair can be difficult. I suspect that different baselines may apply based on the makeup of the crew, the specific atmosphere of the production on that particular day, and the personal styles of the individuals involved. I think most individuals who have demonstrated the knowledge, judgement and management skills to be able to work as a DP have a pretty good idea of what is reasonable and what is not. Based on your description (and the fact that it concerned you enough to post your message) the specific incident in question clearly crosses the line of what's fair and acceptable behavior. No one should be subjected to such treatment, and the net result is detrimental to the entire production. So how does a DP take action in such as situation? If the DP has an established relationship with the director, the issue should be addressed directly with the director, in private away from anyone in the cast or crew, and as quickly as possible. (This would also be the right approach if the director was responsible for getting you the work on the project.) A good director (or a good friend) should always be open and receptive to this kind of feedback. Odds are that the director doesn't want to engage in behavior that offends the crew, creates tension, and generally upsets the smooth operation of the set. It's likely that he/she just got a bit too riled up over something and suffered a momentary lapse of judgement. Given that the director acknowledges that the action was inappropriate, and that as DP, you're reasonably confident the behavior will be curtailed, it would then be appropriate to take personal ownership to talk to the member of the camera crew and express the appropriate apologies or do whatever else might be appropriate to defuse the situation and get things back to normal. It's also appropriate to consider the victim's circumstance. Was he/she an innocent victim -- simply the closest ass when the boot started swinging? Or, might it also be appropriate to talk with this individual about their behavior and work style to help them be a more effective member of the crew? Now, if the director blows you off, that's a more serious problem, and really starts to deal with your personal relationship with that director. However it is handled should probably be based on that relationship and how you would like it to evolve in the future. Is the director just having a really bad day and you should cut him/her some slack and help them get through the tough time? Or is this person really a jerk and you should seriously reconsider the value of your current relationship? Or the most difficult question: is this director your meal ticket to lots of good work, so regardless of how much of a jerk he/she is, you'll put up with it and do your best to maintain the relationship? In this last case, your actions most likely need to be the same as if the director is your best friend -- you need to do your best to help the director cope and be successful, and you must also do your best to defuse the problems created, and defend the director's position as the boss on the set. Even if you have never worked with this director prior to this job, it's still appropriate to take the initiative to talk with the director, address your concerns and help find a resolution that helps everyone and the production. If it's impossible to solve anything by dealing with the director, and there is no relationship that it is that important to establish or repair, it's time to escalate. In most productions, the boss is the producer. The director, although in a position of importance, is just another employee. If the shit hits the fan in any way (production is stopped or delayed, lawsuits ensue, etc.), the producer is the one that has the largest financial and legal exposure. Therefore, any decent producer (oxymoron?) should be concerned about maintaining a smooth, productive and safe production. So raise the issue with the producer. Make your concerns very clear. Also, make it clear that you're prepared to assist in any way to help find a resolution to the problem. Let the producer deal with the director. If everyone outside of your crew is a total jerk, then there's likely a bigger problem. What if this had been an issue of safety rather than the dignity of a crew member? All the same management practices apply? How would you deal with it if the director was knowingly demanding actions that endangered crew members? In most cases, if you don't take actions to fix problems like this, they just continue to get worse. When the "jerk quotient" gets too high, it may be time to walk. All of this is usually driven by one final maxim: The difficulty of the decision is inversely proportional to the balance of your checking account. Bill
Crow Yes, one should
never underestimate the value of "F.U." money...
Recently, I had a situation in which a very large production employed a loader to work with a 435. They ordered no extra mags and had 3 different stocks. The guy had only used a 400 mag twice before, BUT was said to be a good guy. NOT a trained guy.
Whilst I agree with this in general it has to be borne in mind that the DP has a living to make as well. Standing up for my crew nearly 2 years ago cost me the next years work with that company and a much reduced amount of work since then. As they spent around $50,000 with me in the year before the incident standing up for my crew turned out to be very expensive. It was made very clear to me that this was going to happen I've luckily been able to retaliate and arrange to have their star director poached by another company since then. Cheers Geoff Boyle. It seems to me that no matter how many times the more established DP's "put their foot down," there's going to be some kid right out of film school who's willing to work under those same conditions without breathing a single complaint, and that same a** hole director will probably be willing to hire them. Maybe Geoff's experience is a pretty good example of what can happen to anybody. It seems to me that you just have to take the good with the bad, and pick your projects as best you can. --Douva Wow. I've worked with a lot of assistants (...one of them lurks here...) who would REALLY have a problem with that. To the point where, I would think, a somewhat vehement response would be the least of the director's problems. I'm a pretty relaxed person, but I'll walk away from a job before I'll watch anyone physically assault my crew. THAT is definitely crossing a line and, frankly, I'm suprised to hear of it happening WITHOUT a physical retort. We all need to be secure enough in our abilities to KNOW we can walk if we are ill treated. An assistant who doesn't strike back after being kicked is REALLY being nice to his boss, the DP. If the DP doesn't set things straight... I know what MY reaction to being kicked in the butt would be. I must say
that I feel this is a most interesting thread. We're really looking
at the dynamics of a very difficult work enviroment and it's helpful
to hear different points of view on a situation we've all been subject
to at one time or another. Of course, no one should have to work in
an abusive situation. But sometimes it's worth the special attention
such abusive individuals require if the work proves to be worth it.
The pay check certainly figures but as a grip friend of mine says "I
made a living before I met this individual and I'll probably make
one after." IMHO the only criteria for how much abuse you're
willing to subject you and your crew to is the quality of the finished
product and how much or how little Honestly,
this made me chuckle. I worked as a gaffer for 15 years with some wonderful
and talented DP's from whom I've learned a ton. But I can't
say that most had a good idea of what was reasonable and what was not. Regards, Jim S. I think the rule of thumb is that if it feels like abuse, it probably is. I don't think most people will use this term lightly - the price is too high for being wrong, especially in the workplace. Another rule of thumb is that abusive situations tend to get worse over time, not better. If what you experience today is barely acceptable, chances are by tomorrow the situation will be totally unacceptable plus you will feel even more powerless to get them to change. However, taking
action against abuse carries certain risks. In business, you can lose
your job and be unable to find another one. If you do decide that the paycheck is worth the risk of further abuse, I suggest you find someone you can lean on for support because you'll most likely need it - being abused is very stressful, and will increase your risk of alcohol or drug abuse, injury, suicide or "going postal". Jessica
"the former social worker" Gallant On the subject of ethics . . . I'd like to recount a story when I was an assistant cameraman working with Conrad Hall, he actually turned down a project because the producer tried to offer his gaffer and I less money than our day rates. Goes to show you that greatness can't always be measured with a light meter. Jessica,
It is a tough call, indeed. One is also faced with the reality that while the crew may rally around the "spokesman" who speaks out against an excessively capricious and/or abusive dirctor, AD, producer, or whatever... that spokesman may well be branded for being "difficult" in subsequent conversations at which he/she is not present to defend him/herself and "difficult" can be a very dangerous appellation with which to be branded. Here in the US where the unions are quite strong in some jurisdictions I find no solace in their presence...they may "back you up" if it comes to litigation or a hearing...but they won't get you new clients to replace the ones that have heard that it is YOU who is a troublemaker. "They" have the jobs and the money to dispense at their pleasure. In a not totally dissimilar situation, I once shut down a location for safety reasons. We were filming with a laser that could cause immediate eye damage to anyone who was looking at his hand when the beam hit it...that is to say the energy impinging on an observer's retina from the beam reflecting off flesh was dangerous. We had cameras and actors moving in a room with twenty or so bounces of a single beanm off of mirrors that were stuck to things with gaffers tape, hot glue, and moretite. I knew that protective goggles with "notch filters" that would block the specific spectra of specific laser types were readily available and I suggested that production call three or four of the universities in New York whose Physics departments might have them to "borrow" to make it through the day. My union backed me up as to the need for protection for the camera, grip, electric, and sound departments (no one cared about the actors apparently) and the UPM claimed to be thankful that I had discovered both a serious safety issue and could suggest solutions. They did get some goggles from the schools around town and only lost an hour or so... the DP was angry with me for slowing down HIS picture (I was trying to protect HIS eyes) and I was branded as a "union hard case" by the producer. Oh, well. F**K 'em
if they don't get it...this is the best business in the world to
be in ...but it is just a job, and it is not worth getting hurt for...physically
or psychologically. Mark "not in the least bit bitter" Weingartner >How often I find myself on a set trying to concentrate, lighting a shot with a young >punk screeming "WHY CAN'T WE SHOOT RIGHT NOW!!! That one phrase can boil my blood quicker than just about anything.
--Douva There is a certain amount of abuse that goes on everywhere. I'm not condoning it, but it is part of our daily encounters.
Steven Gladstone My first years in Los Angeles were spent working as a production assistant for PYTKA. I was always amazed that there was never a shortage of crew willing to take the abuse in exchange for the great money of shooting 200 days a year. Even sicker was the steady line of ad agency personel who, knowing of Pytka's reputation, would purposely light a fire under Joe so that they could have a story to tell back home. I managed to avoid the direct line of abuse and justified my tenure as a great education. In my opinion the greatest amount of abuse which occurs in the business is the use of production assistants. Producers will put PA's into crew positions for which they have little training (loading film or driving a 5 ton) and subject them to brutal hours and conditions for a flat rate all under the guise of getting your foot in the door. Crew members gladly participate in the abuse as a ritual due paying process. Especially in commercial production where producers are regularly hired for their past experiences as travel agents, or for their good looks. I don't see the abuse which occurs ever changing. The manner in which entry level positions are filled- the lack of union sponsored training programs etc..., and the nature of this glamorous business produces the conditions which make abuse a normal and accepted aspect of the business. Lets face it- the process; 14 hour days, six day weeks, and long location shoots leaves little chance for a balanced and normal life. Most if not all of the people I have worked with are mentally ill to some extent. Either they are compensating for not having a life by joining the circus of a long location shoot or are unhappy because whatever life they have established is seriously compromised by the nature of this work. A vicious cycle..... Yup. This is what we call an "Asshole Surcharge". Vendor companies do it, too. A friend of
mine used to run a post facility, and actually itemized it on the billing,
"A.S. 5%" One time, after a job was over, one of the screamer
types called to ask, "What the F*** is this A.S. 5%?" The
bill had been paid, so my friend gave him the true explanation. The guy went
through the roof. "What the F***!!! Whaddaya mean only five F***ing
percent! For all the S**t I dumped on you?? It shoulda been more like
25%!" My friend
says it's a true story. Seriously,
though, these abusive types fall into three categories : 1.
Some of them are just big, stormy, expressive personalities.
They yell and scream for a while, and then it all blows over. You can
work with them once you get used to their dynamic range. In fact, I've
been told that it can be easier than working with a quiet, subtle sort
of person, such as myself. 2.
The second kind are like the first, but they don't really know it.
I know one director who has exquisite sensitivity and subtlety in working
with actors and getting the fine nuances in a performance, yet has no
idea at all, even after forty years, how she comes across to others.
It's a really bizzare blind spot, to be so sensitive to every human
interaction except your own. Still, there can be a salvageable working
relationship here. 3.
Finally, there are those who are downright evil and potentially dangerous.
The guy who kicked the assistant might fall into that category, especially
if there weren't any prior indications of anger or frustration.
If there are, you can take the guy aside and get him to talk about what's
eating at him. If not, or if that doesn't help, it's time to
pull the plug. If enough good people are hesitant to work with the guy
again, eventually the pattern will appear in the minds of the producers
who hire him -- or don't. Actually there is an additional type 4. Screamer . . . the incompetent insecure type who screams and faults others to mask his/her short comings. This person usually needs to shoot other people down to boost their own ego. Does this sound grotesquely familiar? -Mark Simon Reminds of the story about the director who yelled at a key grip for doing his job. The director told the grip not to do anything unless he told him to do it. Big mistake! Once, while
working as an electrician on a TV movie with Lucille Ball as a bag lady
I witnessed a very heated discussion between the gaffer and the key
grip. As they went their two different ways, the key grip said or rather
spat the following at me, "Mate, if you really want to f**k somebody,
just do exactly what they tell you!" Mark While I agree with you, it IS conjecture that THAT incident led to a loss of clients. You just can't KNOW that. Similarly, in Geoff's case, he can not know FOR SURE he would have gotten the same amount of (future) business from the client he peeved. There are LOTS of reasons people change collaborations. Anyone agonizing over operational decisions that are technically and morally sound is setting themselves up for an unhealthy situation. Hey, this can be a stressful business. All we can do is be honest, smart and safe. Anyone not happy with safety issues - or personal ones - is free to leave or stand up and fight. Sometimes it becomes a group thing - sometimes it gets personal. C'est la vie, D.P. Seems like what I went through so far. The first DP I worked with as a loader was a real diva. He let his anger about whatever was going wrong go right to the first assistant and consequently to me. On the one hand I did not care for it was not me making him mad. On the other hand I often felt treated unfair. I stood up to that DP once, because I could not take it anymore and surprise: He appologized and promised not to do it again. Of course he did, but I was sure he was not doing it deliberately, so I just did not care anymore. I now know it's a great education working with somebody who has a "difficult" personality, because after that, things can only get better.
How philosophic Matthias A. An excellent, very easy going co-worker of mine was called to work one day in the middle of a long, big budget feature. Not long after he got his equipment set up,(I think he was going for a cup of coffee) he happened to cross paths with the very big director/star of the picture. She proceeded to ream him out, screaming about his incompetence and other shortcomings. This went on for awhile until finally someone was able to pull her away and tell her that he was the wrong man.
Actually, you can divide all of humanity into just three categories: Those who
can count and those who can't. >1. Some of them are just big, stormy, expressive personalities. They yell and scream >for a while, and then it all blows over. This is so true. I used to work with a director who always laid into one or two people on the set. However, I got used to his "dynamic range". We became good friends and I socialized quite a bit with him too. But I always said to myself if he ever turns on me that is end of our relationship. Years later he did turn on me. When he phoned afterwards to "talk" my silence told him that the damage had been done. I haven't worked with him since. Oh, he's also been hounded out of the theatre and film. Being a resourceful man he has set up a theatre/film school. He invited me to become his Technical Manager recently. I've had two bad years in a row and was tempted to take the offer. But when I saw his school, very impressive, he had a meeting with some students whose production wasn't going too well. And sure enough he laid into one of them! I thought some people never learn. Needless to say I turned down his offer as I no longer want to be surrounded by such behavior. The odd thing
is when he is not "under pressure" he is one of the most gentlemanly
people you'll meet with a heart that is HUGE. >How
do we define abuse? This is not a term to be used lightly. I very much like this definition Jessica. However in practice it is almost impossible to give a rule of thumb. For instance :- One of my favorite clapper loaders had an "interesting" experience on the first film she did as a clapper loader. It was a low budget feature film (and a freebee at that) while they were checking out the equipment she thought that the focus puller seemed a little distant to the point that he appeared to be ignoreing her. While she was in the darkroom she heard him (the focus puller) and someone from the rental house talking outside. Apparently he hated working with "stupid cows". Now I can imagine (I didn't know her at the time) but I cannot imagine that she was technically incompetant (she had been a camera trainee for a while) and now has masses of enthusiasm for the job (which I can't imagine she didn't have then) she also smiles alot and works very hard. Just the sort of person you want to work with for four weeks on a freebee. So how after meeting her for only an hour could he have decided that she was a "Stupid cow". Basically he hated working with women. He didn't speak to her for the entire shoot except in monosylables. He did however manage to get a good moan in to all and sundry when she went off to get anything(although notably not the DP). She lived with this for four weeks tried to keep happy worked hard, smiled and tried to learn as much as she could. After four weeks (having not been paid a penny) they wrapped the final day. She said goodbye and went to shake his hand he said nothing and without shaking her hand walked away. Now this story made me really mad I don't know this moron (the focuspuller) but I do know and work with her. I am pretty sure. 1. She did not exagerate the situation (she is never nasty about anyone when she told me this she said the only thing that upset her was that he wouldn't shake her hand after the job was over.) 2. She is not an oversensitive feminist (she once described her feelings about being accidently locked in a room with mad dog for an hour as "safe") The question that arrises is "was this abuse?" the answer is of course it was .. and it was sexist and it makes me sick when I think about it. BUT if I were to play the devils advocate. What did the guy do? Nothing ... he slagged her off to the rest of the crew .. but he would say that was justified. Continuing in my role as devils advocate I could say that it was up to her to do something about the situation. What could she have done ? She could have right at the beginning of the shoot had it out with him. Did he have a problem with the fact she was a woman? Would he like to use another loader ? Then tell the production manager (a woman) that she had been sacked because of her sex. She could have had a word with the DP about the situation and seen if he could resolve it. Or she could have done what she did. Which was to lean on her boyfriend heavily for support and try to keep outwardly happy and be the best clapper loader she could be in the circumstances. She also had a really big laugh about how small his dick must be. She went for the third option. Why ? because she believed (I think wrongly) that if she made a complaint she would be sacked and because she believed that if she could get through this situation then she would never have it so bad again. According to gossip the moron of the piece never got any "Paid" work and left the film industry shortly afterwards. The question is by her inaction did she "bring this upon herself"? >I realize...I am having a hard time putting into words what abuse is, what too much >stress is and what is acceptable and what is not acceptable in the workplace. As Jessica said (in the bit I have just deleted) time is the thing here. I know a pop video director who is a so nasty it's frightening. A really abusive screaming shouting nutcase UNTILL .. we have the master closeup in the can. Once that is done he is calm and collected and reasonable and does some great work. Because we all know this the production always try and get the artist in at 9am and that is always the first shot of the day.
>If you do decide that the paycheck is worth the risk of further abuse, I suggest you >find someone you can lean on for support because you'll most likely need it... That is why if anyone is going to go "loco" in such a situation it will be the clapper loader. If the DP is being abused by the director he should always be able to rely on the focus puller for support (and his gaffer).
Also the person who is giving the support needs to use tact. Sometimes the person who needs support will take it out on the nearest person to them (ie the focus puller or the gaffer). It is a natural reaction to "make the shit role downwards". If the camera crew have some history together this makes it easier you simply take the DP aside at lunch and talk about it. I usually let that person know that I think the shit rolling downwards to me because the DP is himself in an abusive situation. Given that we have a history I let them know that I am quite happy to act as a human sponge if it will help the DP. Whatever happens this mustn't become confrontational because the last thing the DP needs at that point is the shit rolling at him from two directions. That way you can show the person who is being abused that you can see it happening and you support them.
Justin "the other former social worker" Pentecost |
