The second AD is also responsible for setting background. "Take a
scene from The Godfather, where Al Pacino is talking to James Caan at the
wedding. Behind them are 300 to 400 people dancing, partying, eating,
and having a good time: young and old, men, women, and children are
running around in tuxedos and dresses. Our job is to place those people
in the frame and give them direction of what do to in the scene. It's the
only part of our job that people see on screen."
Special Skills
The second AD must be a good listener and communicator. "Keep things
simple when you communicate and try to treat everyone with respect," says
Tignini, "whether they are the highest paid actor on the show or the lowest
paid crew member. You just try to give everyone respect. Most of the time
you'll find out that people are very good at their jobs and know exactly
what you need. You just tell them where you're shooting and when. You
have to be something of a diplomat on the set. You listen to a lot of people's
problems. You have to stay calm, be clear and polite."
Advice for Someone Seeking This Job
One way to become a second AD is to first serve as a production assis-
tant. "It's one of the best ways to get into the business," says Tignini.
"If you are applying for a job, I wouldn't even bother lying about your
experience." Some students fresh out of film school make the mistake of
trying to present themselves as jacks-of-all-trades, proficient as a camera
operator, a key grip, in set dressing, and any other position. "People will
realize right away that you're not good at any of those things. Jobs on
films are very specific; you specialize in your field. As a production assis-
tant, you are allowed to see how all the different departments work. Then
you can choose where you wish to stay as a production assistant and
become an AD, or branch off and get into a specialized field. Your eager-
ness and personality will get you the work."
Professional Profile: Eric Tignini, Second AD
From the time he was a youngster, Eric Tignini knew he wanted to be
a filmmaker. Born in New York, his family moved to Arizona when he
was 10. There, he began making movies with his parents' Super-8 camera.
"We made three-minute rip off versions of other movies, like Planet of the
Apes. It would be a few kids in the neighborhood and me, wearing were-
wolf and monkey hats, chasing whoever we deemed to be Charlton
Heston. It always ended with kids wrestling on the ground, but we
thought they were spectacular."
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