Assistant directors (known in the industry as ADs) support directors by organising and planning everything on a film set. The role is usually divided into 1st, 2nd and 3rd ADs.

1st ADs - have the most important supporting role to the director. They take care of the practical management on set so that the director is free to concentrate on the creative process. Before production begins, the 1st AD:

• works with the director to break down the script into a shot-by-shot ‘storyboard’ and decide the order of shooting
• draws up a filming schedule, taking into account the director’s creative ideas and the available budget
• oversees the hire of locations, props and equipment
• recruits the cast and crew.

During filming, the 1st AD is responsible for:

• making sure that filming stays on schedule
• coordinating all production activity
• supervising a team of 2nd and 3rd ADs and runners
• motivating the cast and crew.

2nd ADs - support the 1st AD and make sure that their orders are carried out on set. They main responsibilities include:

• producing each day’s call sheet (a list of timings and everything that is needed for the next day's shoot)
• acting as the link between the set and the production office
• distributing call sheets, so that all cast and crew know exactly when they are needed on set
• dealing with paperwork and organise transport and hotels
• making sure that all cast members are in make-up or wardrobe or on set at the right time
• on smaller productions where there is no 3rd AD, finding and supervising the extras.

3rd ADs - support the 2nd and 1st ADs and location managers on set. Their main job is to make sure the extras are on set at the right time and place. They prepare and cue the extras, and may direct the action in background crowd scenes. 3rd ADs also act as messengers on set.

The Skillset website has more information on the many job roles in the film industry – see the Further Information section for contact details.

Hours and Environment

As an assistant director you can work long days of up to 12 hours or more during shooting, including early mornings, evenings and weekends when necessary.

You could be working in studios, or inside or outside on location. This means that working conditions will vary depending on where the production is being filmed.

Skills and Interests

To be an assistant director, you should:

• have good communication and 'people skills'
• be assertive and able to lead and motivate others
• be well-organised and able to plan ahead
• be able to think on your feet and solve problems
• be patient and tactful
• be health and safety-conscious
• understand budgets and scheduling
• have good computer skills
• be able to keep calm under pressure.

You will also usually need a driving licence.

Entry

You do not need any specific qualifications to become an assistant director - employers are usually more interested in your personal qualities such as enthusiasm, common sense and initiative. The key becoming an assistant director is to get practical experience and develop a network of contacts in the industry.

You will usually begin in an entry-level job such as runner or production assistant, but to do this you will be expected to show your commitment to working in the media. You can do this by:

• getting unpaid work experience
• working on student films or TV productions
• building a portfolio of the productions you have worked on

Because employers are usually more interested in your practical work experience than in your academic qualifications, it can be helpful to take a media course that includes practical skills and work placements. Colleges and universities offer BTEC National Certificates and Diplomas, HNCs/HNDs, degrees and postgraduate courses in media production, film making or media studies.

See Skillset's website for details of industry-endorsed courses.

Training

You will usually train on the job, learning from experienced assistant directors and crew. For example, as a 1st AD you would need to understand how scheduling affects budgets, and you would learn this best on the job.

Film and Television Freelance Training (FT2) runs apprenticeship-style two-year training programmes for new entrants to the technical and production areas of film and TV. They offer New Entrant Technical Training Schemes for production assistant and assistant location manager, jobs that could be a good starting point for people who want to become a 3rd or 2nd AD.

Places on FT2 are strictly limited and the selection process is tough. You do not need any specific qualifications, but you must be:

• able to touch-type at 40 words or more per minute, and ideally have shorthand skills
• aged 18 or over
• prepared to live in London during training
• able to prove that you are committed to finding work experience in the film and TV industry.

See FT2’s website for more details.

You can also take short courses in production skills for assistant directors. These are run by film schools, regional training organisations and private training providers. Skillset and the British Film Institute jointly provide a database of media courses - see Skillset’s website for this and for information about how to fund your training as a freelance director.

Opportunities

Competition is fierce for jobs in the film and TV industry. As a runner you will often have to work for free or for little pay. Most assistant directors are freelance and work on short-term contracts for each production, but some major broadcasters may offer longer-term renewable contracts.

Over half of the TV and film workforce is employed in London. The rest of industry is mainly based in the south east and north west of England, and major regional cities in England, Scotland, Wales and Northern Ireland. Because the film industry is becoming increasingly international, you will also find more opportunities if you are prepared to go anywhere in the UK or overseas to work. 

Large TV and video production companies and the BBC tend to recruit experienced assistant directors. If you are making a speculative application you should target small independent production companies as they often do not have the budget to advertise vacancies.

Despite the job title, working as an assistant director is not usually a stepping stone into directing. This is because the job is organisational rather than creative. Assistant directors are more likely to become production managers or producers. You can often progress from runner to 3rd AD fairly quickly if you get enough experience, work hard and learn on the job. You will normally build up your experience and reputation in 3rd and 2nd AD roles before becoming a 1st AD.

Annual Income

Freelance assistant directors are usually paid a fee per contract, and they may experience gaps between contracts.

Freelance rates within the media vary widely and may be calculated on a daily or weekly basis. You could negotiate your own fees based on your experience and track record, the type of production and the budget available, or you may be paid according to Broadcasting Entertainment Cinematograph and Theatre Union (BECTU) guidelines.

See BECTU’s website for current minimum rates (details in Further Information section).

People working on films may agree to work for little or no pay on the understanding that they will share in any profit that the film makes. You should check the exact terms before going ahead with this type of contract or agreement.

Further information

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