ART DEPARTMENT

Job Overview

Swing gang members, under the direction of the lead man, are responsible for moving furniture, accessories, pictures, props, and various objects used for set decorations, on and off the set.

Special Skills

Swing crew members must be physically able to lift and carry furniture and other heavy objects. They should be willing to take direction and have the ability to get along with people of varied personalities and temperaments.

Advice for Someone Seeking This Job

“Meet as many people as you can and stay friendly with all of them,” says Brian Erzen, who works in the art department. “Much of getting work in this business is meeting people and their taking a chance with you. When you meet someone, ask if you can give them a call. If they say ‘Yes,’ call every two weeks for the rest of your life.

“I never turn down jobs, no matter what it is; even if it's at the last minute, I still do it.

“Take any opportunities that are given to you—even working for free, to gain experience and contacts.”

Professional Profile: Brian Erzen, Art Department Production Assistant, Art Department Swing, Set Dresser

Although he was uncertain about what career to pursue, Brian Erzen knew he “wanted to work in the entertainment industry.” A Connecticut native who studied communication at Middletown Community College, he was intrigued by the visual aspect of movies, television shows, and some music videos.

After his best friend moved to California at the end of 1998, Erzen set a goal to do the same by the following August. “It was a weird pipe dream—I had never been to California, but I knew I had to go.” A few months later the friend phoned to say he was sharing a place in Venice and they were looking for an additional roommate. Erzen committed to be there in six weeks.

“The key thing I did was ship all of my stuff to California—30 boxes of clothes, CDs, DVDs, my computer, sound system, everything—to my friend in Venice. I sold off a lot of my furniture and gave other pieces away. Then I threw myself a going away party!” With a friend, Erzen drove cross-country to California.

“It was extremely difficult when I first came to California,” he says. “I had a job set up and it fell through.” Undaunted, Erzen obtained a copy of the LA 411 [411 Publishing, published yearly] directory and called every postproduction house in Venice and Santa Monica, eventually landing an internship. After three weeks, he was hired full time: 9 to 5, Monday to Friday, for $300 a week.

Slowly, Erzen began to meet people and was hired as a production assistant. He also worked as an extra. “I'd never been on set. Working as an extra was the easiest way to get on set and see what really goes on. I talked with everyone on the crew and eventually landed more work as a production assistant.” Called upon to help paint, hang something on a wall, or bring in a piece of furniture, he was introduced to the art department.

Erzen continued to network, landing better and better jobs. While working at a postproduction facility, he was sent to deliver a package to a downtown Los Angeles address. There he inquired at the production office if they needed a production assistant for the following day. Instead, he learned they needed someone for that evening. “I got four days’ work. Sixteen hour days, all night long, blocking off a section of downtown LA for a Backstreet Boys video shoot. That is how I get a lot of my work—creating an opportunity.”

Erzen sees each job as an opportunity to learn more about the craft of filmmaking and to make new contacts that might lead to his next job. He gained experience working swing, in the art department, on commercials for Kraft, SlimFast, Mastercard, and other products. He has also worked on videos for Destiny's Child, Jessica Simpson, and Genuine; he helped build a set for the opening ceremony of the 2002 Olympics, and on the film A Piece of My Heart.