FILM PRODUCTION ASSISTANT JOBS

production assistant

An entry level position, production assistants are generally assigned menial tasks such as making photocopies, fetching coffee and lunch, and running errands.
A production assistant, also known as a PA, is a job title used in filmmaking and television for a person responsible for various aspects of a production.
Individual responsible for various odd jobs, such as stopping traffic, acting as couriers, fetching items from craft service, etc.

film

movie: a form of entertainment that enacts a story by sound and a sequence of images giving the illusion of continuous movement; “they went to a movie every Saturday night”; “the film was shot on location”
make a film or photograph of something; “take a scene”; “shoot a movie”
a medium that disseminates moving pictures; “theater pieces transferred to celluloid”; “this story would be good cinema”; “film coverage of sporting events”
A thin flexible strip of plastic or other material coated with light-sensitive emulsion for exposure in a camera, used to produce photographs or motion pictures
Material in the form of a thin flexible sheet
A thin layer covering a surface

jobs

Steven (Paul) (1955–), US computer entrepreneur. He set up the Apple computer company in 1976 with Steve Wozniak and served as chairman until 1985, returning in 1997 as CEO. He is also the former CEO of the Pixar animation studio
(job) a specific piece of work required to be done as a duty or for a specific fee; “estimates of the city’s loss on that job ranged as high as a million dollars”; “the job of repairing the engine took several hours”; “the endless task of classifying the samples”; “the farmer’s morning chores”
(job) occupation: the principal activity in your life that you do to earn money; “he’s not in my line of business”
(job) profit privately from public office and official business

Louis Jouvet

French postcard by Editions O.P., Paris, no. 123. Photo: Paramount.

Louis Jouvet (1887 – 1951) was a living glory of the French theatre. He made a huge impact as both a stage director and an actor. His character, his eagle-like profile and his unique way of speaking made him also an unforgettable film star who appeared in some of the masterpieces of the ‘poetical realism’, the Golden Age of the French cinema.

Jules Eugène Louis Jouvet was born in 1887, in Crozon (Bretagne), France in a devoutly catholic family. His father, from Brive, was an engineer, his mother Eugénie was from the Ardennes. As a youth, he had a stammering and diction problem. When he was 14, his father was crushed under rocks while he was overseeing the digging of a tunnel. After this tragedy, Louis left with his mother to live with an uncle in Rethel in the Ardennes. From 1904, he studied pharmacy in Paris, but he spent all his spare time in the theatres. His first job was as a pharmacy assistant, but he longed to be an actor. Louis auditioned for the Conservatoire National Superieur d’Art Dramatique de Paris but was rejected three times. He was reproached for his bad diction and his physical appearance. In 1908 he started to work for a theatre company as a administrator, setdresser, assistant, and in 1910 he finally made his stage debut in a production of The Brothers Karamazov. In 1912 he married Else Collin, with whom he would have three children, among them actress Lisa Jouvet. That year he also played a minor role in the film Shylock (1913), starring Harry Baur. In 1913, Jacques Copeau engaged him as a director for his Théâtre du Vieux-Colombier. This meant the turning point in his career. For a while, he was better known for his lighting design than for his acting (he even designed a new kind of lamp that bears his name). But critics and public alike soon take notice of the great talent of Louis Jouvet, the actor, in memorable productions of Molière ‘s La Jalousie du Barbouillé, and Shakespeare’s Twelfth Night (La Nuit des Rois). He masked his diction problems with a staccato, syncopated diction which made him instantly famous. From 1919-1921 he was in New York, appearing with his troupe in a repertory of productions that received much acclaim. In 1922, he broke with Jacques Copeau, and started his career as a stage director. He founded his own theatre company at the théâtre des Champs-Élysées. Here, he had his first great success the next year, with Knock ou le triomphe de la médecine by Jules Romains, which he played 1500 times. In 1928, he met author Jean Giraudoux of whom he would go on to direct several plays. In 1934 he also became teacher of acting technique and theatrical history at the Conservatoire de Paris . From 1935 on, he managed the théâtre de l’Athénée where the first performances took place of Giraudoux’ La guerre de Troie n’aura pas lieu (Tiger at the Gates) (1935), and Ondine (1939)

Louis Jouvet would dedicate his life to the theatre. He is reputed to have said that he acted in films only so that he could raise the money to finance his stage work. Yet his 32 films, many of which are undisputed classics of French cinema, provide an enduring record of his talent and enable us to appreciate this great actor. He made his first significant film appearance in Topaze (1932, Louis Gasnier), an adaptation of a play written by Marcel Pagnol, whom Jouvet admired greatly. The following year, he enjoyed his first commercial film success with the adaptation of his stage hit Knock ou le triomphe de la médecine/Knock (1933, Louis Jouvet, Roger Goupillières) opposite his later wife Madeleine Ozeray. Soon more successes followed, such as La kermesse héroïque/Carnival in Flanders (1935, Jacques Feyder) and Un Carnet de bal/Dance Program (1937, Julien Duvivier), but his subtle, forceful, witty performances redeemed also some poor films. His finest performances were in some of the masterpieces of the poetic realism cinema: the farce Drôle de drame/Bizarre, Bizarre (1936, Marcel Carné) opposite Michel Simon, Hotel du Nord (1938, Marcel Carné) with Arletty, and La fin du jour/The End of a Day (1939, Julien Duvivier) with Jean Gabin. Jouvet also appeared in two films by Jean Renoir : Les bas-fonds/The Lower Depths (1936) with Jean Gabin, and La Marseillaise/The Marseillaise (1938). In 1941, having experienced serious problems with the censorship of the German occupier, he took his repertory company for a tour of South America. After the war, he returned as the director of the théâtre de l’Athénée and created there La Folle de Chaillot (The Madwoman of Chaillot) (1945). He also helped the new theatre figures like André Barsacq, Jean-Louis Barrault and Jean Vilar. Jouvet’s most significant success in post-war cinema was in the atmospheric thriller Quai des Orfèvres/Quay of the Goldsmiths (1947, Henri-Georges Clouzot) with Suzy Delair. In 1950, he received the Légion d’honneur. Louis Jouvet died of a heart attack in 1

Production Assistant

I was a PA for a David Wain short film shot in New York City. This is me sitting behind a beer store which we were shooting next door to. My job was to turn the air conditioner off during takes. This is what I looked like most of the time.