Le premier assistant réalisateur

8/2/2019 Le premier assistant ralisateur

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Lassistant ralisateur

DURANT LE TOURNAGE, LES SEULES

PROCCUPATIONS DUN RALISATEUR DOIVENTTRE SA MISE EN SCNE ET LE TRAVAIL AVEC LESCOMDIENS. LA TACHE DE LASSISTANTRALISATEUR EST ALORS DORGANISERLASPECT MATRIEL DU TOURNAGE AVEC LESDIFFRENTS DPARTEMENTS ET LESTECHNICIENS.
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Le premier est prsent des le dbut de laprparation et toffe son quipe au fur et mesure de lapproche du tournage quant a ledeuxime assistant cest lui qui assure la liaisonavec la rgie, laccessoiriste ; le dcor; lescostumes etc.Une bonne entente et une parfaite confianceentre le ralisateur et le premier assistant sontindispensables pour obtenir un travail efficace.

Linstrument de travail primordial de lassistantest le dcoupage ou, en labsence de celui-ci, lescnario.il en lire un dpouillement qui clarifietout ce qui concerne le future tournage : Lenombre dinterprtes ;la nature des dcors, laliste des accessoires, des costumes, de lamachinerie, etc. Evidement quelle que soit laminutie du dcoupage, sa richesse en dtails, une

foule de prcisions manqueront invitablement,prcisions que seul le ralisateur peut lui luiapporter. Dou de frquents changes entre eux.


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Quand les reprages sont suffisamment avancs,la distribution faite, lassistant; laide dudpouillements'occupe. Au plan du travail. Celui-ce dterminera lorganisation du tournage jourpar jour: Lieux de tournage. Numros dessquences et plan tourner, horaires, prsencedes comdiens, besoins en accessoires, enmachinerie.

Le manque de comdiens ou bien la location du

dcor aussi les problmes du mto, un bonassistant tache de rsoudre par ses propresmoyens et trouve des solutions deremplacement. Quand il russit, le ralisateurnest mme pas mis au courant des difficults.

Donc, lassistant est lun des pivots de lquipe.On attend de lui non seulement des qualits

dorganisateur et une sensibilit artistique maisaussi une autorit certaine, ainsi quesuffisamment de souplesse et dintelligence pourpouvoir se mettre dans la peau de chacun desralisateurs avec lesquels il travaille.

De son cote, le ralisateur ne doit jamais tre

avare dexplications, de clarifications, derenseignements .Dailleurs, plus, il parle de sonprojet et plus il provoque de discussions et dequestions, plus il peut tre assur, non seulementde la bonne comprhension de ses collaborateurs,mais galement de leur envie dapporter desides leur tour et denrichir luvre.
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Or, quand peut on prendre du temps pour cegenre de discussions sinon durant laprparation ? Pendant le tournage, stress, plande travail serr, problmes de toutes sortesimposent des rapports lus pragmatiques.

Lassistant ralisateur joue pourtant un rle depoids lors du tournage en soulageant lquipe desdifficults matrielles qui peuvent survenir

Le bras droit du ralisateurLe premier assistant travaille ds la prparationdu film et participe aux reprages. Lors de laprparation du film, il doit dpouiller le scnarioet, selon les cas, tablir un plan de travail enrelation avec la production. Lassistantralisateur doit tre dot dun grand sens de

lcoute pour comprendre dans quelle directionartistique et technique le cinaste dsire inflchirson film.Ds que commence le tournage, il en planifie lestapes et coordonne les diffrentes quipestechniques. Il lui incombe de faire respecter leplan de travail et de proposer des solutions deremplacement en cas dimprvus. Sa place est, tout moment, aux cts du ralisateur. Cest luiqui, par exemple, ordonne le silence avant ledbut de la prise. Cela peut sembler un dtailmais cela veut dire beaucoup en termes dehirarchie sur un plateau.


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Lassistant ralisateur est ainsi en premire lignepour grer les conflits au sein du tournage. Il sedoit donc dtre organis et de possder unecertaine autorit naturelle. Lautre qualit, et nonla moindre, est lhumilit puisque, quelque soitson investissement sur le film, celui-ci seratoujours sign du nom du metteur en scne.Le premier assistant dispose lui-mme dunequipe comprenant un second assistant

ralisateur et parfois un troisime selon lacomplexit du tournage.

Au second assistant est par exemple dvolue latache de raliser la feuille de service de lajourne. Cette feuille est un lment trsimportant puisquelle sert convoquer lestechniciens et comdiens pour le tournage du

lendemain et tient compte des imprvus tels quedes changements de dcors ou de squences.Une voie vers la ralisation

Le poste dassistant ralisateur est une des voiespouvant mener la ralisation elle-mme.Comme chacun sait, la constitution dun rseautant primordial pour les mtiers du cinma, lemeilleur contexte pour montrer sonprofessionnalisme demeure le plateau lui-mme.


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Ainsi, on retrouve au gnrique de LAile ou LaCuisse de Claude Zidi, un premier assistant dunom de Jean-Jacques Beineix. Quant LucBesson, il fut lassistant de Raphal Delpard surla comdie Les Bidasses aux grandes manoeuvreso figurait en second rle un certain Jean Reno.Glorieuses ou non, ces annes dassistanatdmontrent que toutes les occasions sont bonnespour acqurir lexprience du plateau de cinma.Cependant, mme si le poste est un chelon

indniable vers la ralisation, il est galement unmtier part entire. Bien des assistants nenourrissent pas dambitions de ralisation etmettent leur exprience au service desralisateurs. Certains assistants ralisateurspeuvent seconder un cinaste inexpriment (uncrivain passant la ralisation, par exemple) ouse spcialiser dans certains types de films tels

que les gros tournages internationaux ou lesproductions effets spciaux.Formation

Idalement, aprs un BTS mtiers delaudiovisuel, option mtiers de limage ou unautre diplme bac + 2/3, le futur assistant suivraune cole comme lESAV ou ESCA.


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Plusieurs organismes proposent galement uneformation continue au mtier dassistantralisateur.De nombreux premiers assistants font galementleurs premiers pas professionnels commestagiaire, puis deviennent second assistant, etenfin premier assistant.Au bout de trois longs mtrages comme secondassistant, il est possible de demander au CCM une

carte professionnelle de premier assistant; aprstrois longs mtrages en tant que premierassistant, on peut demander au CCM une carteprofessionnelle de ralisateur

(First AD or First) Assistant-director ou AD

The First Assistant Director (AD) is the Director'sright hand person, taking responsibility for anumber of important practicalities so that theDirector is free to concentrate on the creativeprocess. During pre-production, First ADs breakdown the script into a shot-by-shot storyboard,and work with the Director to determine theshoot order, and how long each scene will take to

film. They then draw up the overall shootingschedule (a timetable for the filming period).Once the film is in production, Firsts are in chargeof making sure that every aspect of the shootkeeps to this schedule.


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Responsibilities

First ADs' main duties are assisting the Director,

co-ordinating all production activity, andsupervising the cast and crew. They are also incharge of a department of other AssistantDirectors and Runners. Overall, they provide thekey link between the Director, the cast and thecrew, whilst also liaising with the productionoffice, and providing regular progress reports

about the shoot.Before the shoot, the Firsts' main task is to createthe filming schedule, working in carefulconsultation with the Director in order to fulfil hisor her creative ambitions. When drawing up theshooting schedule, First ADs must also be awareof budgetary constraints, cast availability and

script coverage. Preparing the storyboard,overseeing the hiring of locations, props andequipment, and checking weather reports, are allkey pre-production duties for Firsts. Duringproduction, they must ensure that everyone is onstandby and ready for the Director's cue foraction.

First ADs' core responsibility is to keep filming onschedule by driving it forward, so they frequentlymake announcements and give directions to co-ordinate the cast and crew.


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They also control discipline on the set, supervisethe other Assistant Directors, and oversee thepreparation of the daily 'call sheet' (a documentdetailing daily shooting logistics, which isdistributed to all cast and crew). Firsts are alsoresponsible for health and safety on set orlocation, and must take action to eliminate orminimise hazards at all times.

Skills

First ADs must be authoritative team-leaders andmotivators, whilst also being approachable teamplayers. They need exceptional organisationaland time-management skills. The ability to planahead, trouble-shoot and pay close attention todetail is vital in this role. Being an excellentcommunicator, with tact and diplomacy skills, is

also essential as they must routinely deal withproblem or even crisis situations. They must alsoconstantly prioritise tasks, and may be frequentlyinterrupted, the ability to multi-task is crucial.Firsts work long and often unsocial hours on afreelance basis, so a strong commitment to thejob is essential. As they also usually work underhighly pressurised and stressful conditions, a

flexible and positive approach is highly valued.


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Qualifications/Experience

No formal qualifications are required to become aFirst Assistant Director. Extensive industryexperience gained through working on set or onlocation is the key route to develop the necessaryskills. Most First ADs start as Runners, beforeprogressing through the other Assistant Directorroles (Third Assistant Director and Second

Assistant Director). This route may take anumber of years.

In particular, Firsts need specific experience inplanning and budgeting (and how this affectsscheduling), as well as in-depth knowledge of,and qualifications in, current Health and Safetylegislation and procedures. Regular Health and

Safety training courses should be undertaken, inorder to keep this knowledge up to date. A fulldriving licence is generally deemed necessary.

Individual course accreditation in certain subjectareas is currently being piloted. As part ofSkillset's and the UK Film Council's Film SkillsStrategy, A Bigger Future, a network of Screen

Academies and a Film Business Academy have
http://www.skillset.org/film/bigger_future/http://www.skillset.org/film/bigger_future/


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been approved as centres of excellence ineducation and training for film.

The role of an Assistant directorinclude tracking

daily progress against the filmingproductionschedule, arranging logistics, preparing daily callsheets, checking cast and crew, maintainingorder on theset. They also have to take care ofhealth and safety of the crew. Historically the roleof an assistant to the director (not the same as anAssistant director) was a stepping stone to

directing work;Alfred Hitchcockwas an AD, aswasJames McTeigue. This transition into filmdirecting is no longer common in feature films,but remains an avenue for television work,particularly in Australia and Britain. It is morecommon now for ADs to transition coproductionandproducerroles than to directing.

An "assistant director" can also take on manydifferent roles. Responsibilities of an assistantdirector in theatre may include taking notes toactually staging parts of the play. Many aspiringtheatre directors begin their careers assistantdirecting, although the responsibilities in theatre

are usually completely different to therequirements offilmmakingand should not beconfused.
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Often, the role of assistant director is brokendown into the following sub-roles:

The First Assistant Director(First or 1st AD)

has overall AD responsibilities and supervisesthe Second AD. The "first" is directlyresponsible to the director and "runs" the flooror set. The 1st AD and the unit productionmanagerare two of the highest "below theline" technical roles in filmmaking (as opposedto creative or "above the line" roles) and so, in

this strict sense, the role of 1AD is non-creative.

The Second Assistant Director(Second or2AD) creates the daily call sheetsfromtheproduction schedule,[citation needed] incooperation with the production coordinator.The "second" also serves as the "backstage

manager", liaising with actors, putting castthrough make-up and wardrobe, which relievesthe "first" of these duties. Supervision of thesecond second assistant director, thirdassistant director, assistant director trainees,and the setting of background (extras) areparts of the "second's" duties.

The Second Second Assistant
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Director(Second Second or 22AD) deals withthe increased workload of a large orcomplicated production. For example, aproduction with a large number of cast mayrequire the division of the aspects of backstagemanager and the call sheet production work totwo separate people.

The Third Assistant Director(Third or 3rd AD)

works on set with the "First" and may liaisewith the "Second" to move actors from basecamp (the area containing the production, cast,and hair and makeup trailers), organize crowdscenes, and supervise one or more productionassistants (PA). There is sometimes no cleardistinction between a 2AD and a 3AD. Althoughsome industry bodies (American DGA) have


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defined the roles in an objective way, othersbelieve it to be a subjective distinction.

The Additional Assistant Director(AAD orAdditional) orFourth Assistant Director(4AD or"Fourth") or "Key Production Assistant" (KeyPA) may have a number of duties. Mostcommonly, the AAD has two broad jobfunctions. One is the contraction of the dutiesof an AD where the AD acts as both 2nd AD and3rd AD simultaneously

. For example, a production with a largenumber of cast may pass the 2AD call sheetproduction work to that of the AAD, especiallywhen the 2AD is already performing theadditional work of a 3rd AD. The other main use

of an AAD is as an adjunct to the 3AD and 1ADfor logistically large scenes where more ADsare needed to control large numbers of extras.The "Additional" may also serve where thecomplexity of the scene or specialized elementswithin it (stunts, period work) require or arebest served by a dedicated AD in most respectsequal to a 1st AD - directing and controlling a

number of other ADs to direct action to thesatisfaction of the 1AD and the director. Aproduction assistantis one of the lowestcrew in a film's hierarchy in terms ofsalary[1]and authority[citation needed]. Theyperform various duties required of them byADs.
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The sub-roles of assistant directors differ amongnations. For example, the distinction betweensecond second AD and third AD is more commonin North America. British and Australianproductions, rather than having a second secondAD, will hire a "second" 2AD experienced in thesame duties, and trained to the same level, toallow a division of the duties.

3ADs in Britain and Australia have differentduties from a second second AD, and the termsare not synonymous.For example A "third" mayjust be a crowd scene specialist, with seniority,and even higher pay than the second AD of thatproduction.[citation needed]

Many times, in Hollywood film making, especiallystudio productions, the First A.D. is the firstperson hired on a film, often as soon as the

project has been green lit for production. Anassistant director must be very good atestimating how long a scene will take.(Sometimes a scene running a few pages long onthe screenplay can be shot relatively quickly,while a half page emotional key moment maytake all day.)

When producers visit their production sets orfloors, the First A.D. is the one they will want tolisten to and get answers from.[citationneeded] Often, this person will provide theobjective view on progress being made, problemsthat may be foreseen, and solutions that may befound. The director is often insulated from thesediscussions, except when inevitable.[citationneeded]
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[edit]Calling the Roll

The 1st AD's responsibilities is to "call the roll".Over the years, special procedures have beendeveloped for this task to achieve maximumefficiency during shooting, which is usually somevariant of the following:

1. "Waiting on..." Though not technically

part of calling the roll, 1st ADs may keep theset focused by frequently calling out whichdepartment is responsible for a delay inrolling a take. If the lights need to beadjusted, the 1st AD calls out, "Waiting onlighting". If the actors are still in their trailer,the 1st AD calls out "Waiting on talent", etc.However, such calls can be regarded as

applying excessive pressure to thedepartment in question, and especially in thecase of actors, are often avoided.2. "Final checks, please" (or "Last looks").Once everyone is in place, and rehearsalsandblockinghave finished, the 1st AD callsout, "Final checks" or "Checks". This is the

signal for any last minute adjustments,especially to hair, makeup, wardrobe andprops.3. Traditionally, the 1st AD calls "Quiet onthe set". However, it is more common incurrent productions to hear first "Picture isup!" (or "Rehearsal's up" accordingly)followed by "Quiet please!" to alert everyone

that the take is ready and imminent.
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4. "Lock it down" is also a signal(particularly on location) to ensure nothinginterrupts the take, crucial for Third AssistantDirectors, as this is their primaryresponsibility during a take.5. "Turnover." While some ADs say both"Roll sound" and "Roll camera", "Turnover"signals both the camera and sounddepartments to start rolling. The sounddepartment will roll first (sound stock ischeaper than film, so this minimises the filmfootage used for the take). After a second ortwo, the sound recordist will confirm that therecording equipment is running at the correctspeed by calling "Speed". Hearing this, the

Clapper-Loader immediately calls out the"scene" and "take" numbers so that thesedetails are on the recording. Simultaneously(or within a very few seconds) the CameraOperator or Focus Puller will roll the camera,and immediately the camera is confirmed asrunning at the correct speed, will call for theClapper-Loader to "Mark it" (or "Smack it",

"Bang it", "Tag it", etc.). This is done byshowing the slate ("clapper-board") oncamera, and bringing the clapper down tomake a synchronisation point for audio (thesound of the clapper) and picture (the twoparts of the clapper being seen to cometogether).

6.


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7.

8.

9. With the slate quickly taken out of shot,and the camera refocused or repointed asnecessary for the opening framing, theCamera Operator calls "Set" or "Frame" toindicate that all is ready to capture theaction.10. Generally, it is the 1st Assistant Directorwho calls "Action", though on some sets theDirector does so. (The 1st possibly precededby "Background Action" if extras must be inmotion before the main action commences).

11. Usually the Director says "Cut", butCamera Operators may also "cut" to save filmif they know the take is unusable.12. After the Director has called "Cut", the1st AD will check whether the Director ishappy with the take, and conclude the rollwith a direction such as "Going again" or"That's a take two" if another take is

required. If the Director does not want


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another take, the AD will call "Check thegate" (a signal for the Focus Puller or CameraAssistant to confirm that the camera has notmalfunctioned during a take, and that thereis no hair or fluff in the aperture ("gate")where the film is exposed).

13. When the camera has been checked, the

call from the Focus Puller or CameraAssistant will be "Clear gate!". Then, if thescene is complete, the AD may call "Movingon" or "Next scene". These announcementscue all departments and the ADs on set as tothe next steps they must take. For example,"Going again" and/or "Back to One" mayrequire a reset of elements in the frameextras, cars - anything that moved) back towhere they started, which the 3rd AD willoversee.

The above roll sequence can be varied by, forexample, eliminating the sound calls and theclapping of the slate if the shot is mute or "MOS"("MOS" is a universal abbreviation for "MotorOnly Shot").[2]At other times, for expediency(e.g. if the shot begins with a closeup of a closeddoor which then opens), the slate may be shownat the end of the take rather than the beginning.In this case, once the sound is rolling, there is anaudible announcement of "End board" or "Endslate" (also "Tail slate") so that the editing

department knows to look for the sync marks atthe end of the action. At the conclusion of the
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action, the Director will still call "Cut", but the 1stAD (and possibly others) will immediately call"End board!" so that the camera and soundrecorder are not turned off before the clapper isclapped. Also, as a visual cue to the editors, theclapper-board will be shown upside down oncamera.

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