Production Assistant
Tips for getting your first job as a P.A.
by Ken Aguado
For an entry-level, low-paying job, a Production Assistant gig on a film or TV production can be surprisingly hard to come by. Very often, perhaps most often, a PA job is perks for the production’s filmmakers and the jobs are often filled by their friends and family. So, if you’re not related to, or best friends with, someone connected to a production, what do you do? Here are my tips for getting your first PA job.
DO: Have the right kind of résumé for this kind of job. If you don’t know what a résumé looks like, go online and find a sample résumé for a PA. Résumé templates come with the Microsoft Office Suite. A one-pager is all you need for a PA job. Your PA résumé should be a quick “snapshot” of who you are. Name, phone, email, education, work experience (if any) and qualifications. If you have work experience, list it by most-recent history first, adding the job title for each and a two or three sentence description. In this description it’s important that you make clear how each job demonstrates your qualification to be a PA describing your most broadly relevant qualities (such as “communication skills,” “honesty,” “technical abilities,” “work ethic,” “reliability,” etc.). You can include a section at the end that lists your special interests and skills, but just a list of things that might be relevant to a PA job: office skills, phone skills, technical skills, languages spoken, own a car, driving record, etc. It’s cool that you can ride a unicycle, but probably not relevant. If you’re a student and can work for school credit, mention it, but this is more relevant to an unpaid internship. If the goal is to get paid, leave it out.
DON’T: Do not “oversell” yourself on your résumé for a PA job. If you are a film student, that’s a plus, but no one will care how many student films you DP’d or directed. Ironically, saying you PA’d a student film may be more valuable. If you are not a film student, no one will care about the details of your accomplishments when you studied cooking at Le Cordon Bleu, unless it demonstrates your PA skill set, or you want to do craft services. It’s fine to list your accomplishments, but just a sentence — not a paragraph — and try to make your non-film experience an illustration of some admirable and relevant quality you possess. Lastly, do not make demands such as, “Seeking PA work on a camera crew” or, “Seeking assistant to the director position.” You may work on set, or in the production office. You’ll go where they need you.
DO: Network, but getting a PA gig requires a slightly different strategy than many entertainment jobs. As always, it’s who you know, but to get a PA job you want to connect with crew members who can recommend you and producers (line producers or UPMs) who can hire you. Also, PAs often get hired based on the recommendation of other working PAs, so try to meet them too. To meet the right people, events sponsored by the DGA and PGA are best. If you’re still in film school, you can also ask your fellow students and instructors for referrals. But if you’re not getting an “A” in my class, don’t expect much enthusiasm from me. That’s how it works in Hollywood, and life.
DON’T: Cold calls to production companies are very time consuming and usually a waste of time. Of course, if you are unemployed, you may have plenty of time, but don’t expect much more than, “Sorry, nothing available.” Or, “Sure, send your resume,” but then you’ll never hear back.
DO: Use online job boards. The best ones are Mandy, Staff Me Up, Production Hub, Production Beast, Crews Control and Entertainment Careers. Social media (like Facebook and Linkedin) are okay sources, but they have fewer listings for PA jobs. Still, the goal is to get real-world experience and build a resume. Be careful, but don’t be too picky.
WHEN: When you get the job, remember to have a great attitude. Be grateful, be focused, be present - stay off your cellphone, and be the person that everyone knows can “get it done.” If you are incompetent, the crew will hate you. They will torture you every day and ask the line producer or UPM to fire you. Being a PA is hard work, with long hours. Do a great job and you’ll be working as an entertainment professional and on your way to building a resume and career.
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Ken Aguado is an Emmy-winning producer, screenwriter and author. His most recent film, “Miracle on 42nd Street” and “An Interview with God,” which he also wrote. He is also the co-author of The Hollywood Pitching Bible, with screenwriter Doug Eboch. You can follow Ken on Twitter @kaguado.
