The Plight of the New York PA

The thunderous explosion sliced through the quiet of the pre-dawn, frigid January morning.  Several moments passed and another, louder blast rang out, this one accompanied by a flash that lit up the sky.  Despite the fact that my fingers and toes were numb from the cold; regardless of the fact that I was standing alone on a deserted road, winding through the hills outside Newberg, New York; notwithstanding the fact that earlier mentions of a bear-sighting left me jumping at the slightest rustle of leaves – I was happy to be there.

A few moments later, my walkie crackled and a male voice came over the radio, “Cut!  Check the gate!”  Hearing that they got the money shot of the exploding Mercedes, I began walking back to base camp for a cup of coffee from Crafty and an asprin for the headache that served as a reminder of the previous night’s cast and crew impromptu karaoke party.  But, for me, it was all worth it to be a part of Michael Clayton.

For the New York freelance set production assistant, the job’s allure is a love of the business, the thrill of being on a set, and the desire for the ultimate prize of joining the Director’s Guild of America – it is certainly not the remuneration for services rendered.  Taking into account the long hours, a PAs salary (more often than not) breaks down to a less-than-minimum-wage hourly rate.   It’s a fact that few PAs are earning a living wage.

On average, a PA working on a union show in New York (film or television) earns anywhere from $130 - $150 per day, and the day minimum could be anywhere between 12 and 18 hours.  Sometimes, it’s a higher rate, with no guarantee on either a double day after 16 hours (the daily rate times two if the day goes into the 17^th hour) or overtime after 12-14 hours.   Apropos the latter, overtime is usually computed at time-and-a-half off the day rate.  For example, if the day rate is $130 and the day minimum is 14 hours, pay for the 15^th hour onward would be slightly less than $14/hr.  SO, to make rent for the month, dedicated and determined PAs might take work on a different show each day, Monday through Thursday (if they’re lucky!), pick up a Fraterday and a Sutunday, only to start the cycle again the next week (again, if they’re lucky).

“What about benefits,” you ask?  Well, the majority of PAs are asking the same thing, except those lucky enough to be on a show in which the producers and/or production company offer health and welfare independently or through the Producers’ Health Benefits Plan.

Generally speaking, overtime and additional perks provisions are at the discretion of the producers, and the producers’ decision can be influenced by what other shows are doing (i.e. getting away with), the economy, the size of the show, and even what an individual producer feels PAs are entitled.  Alternatively, a strong Assistant Director who has a good relationship with the producers is occasionally able to negotiate on behalf of his or her staff and establish a “bargaining agreement.”

…but all this typically only applies to PAs on staff (i.e. one of the 4-6 PAs hired for the duration of the show).  By and large, additional PAs “day-playing” on a variety of shows will earn the only daily rate. 

Period. 

Bear in mind that almost ALL PAs use “additional days” to survive, especially at the start of their careers.

Oh, and did I forget to mention that Production Assistants working toward joining the Directors’ Guild (the only way to be hired as an Assistant Director on a union show) must work and log 600 days as a PA?  You heard me right:  SIX HUNDRED DAYS.

“That doesn’t seem right,” you say, “PAs are the nuts and bolts of any production; the first to arrive and the last to leave; the right and left hands of the directing team; the one’s who put their lives on the line with their lock-ups as they face-off with irritable New Yorkers who just want to cross the street and could care less if they ruin the shot, incurring a firestorm of reprimands from the ADs, Director, and Producers, and an exasperated, audible sigh from the grip standing nearby!”

Then you ask, “When there exist so many inflated salaries above-the-line,  is there really not enough in the budget to allocate a wee bit more to these hard-working, lowly denizens of the Belowthelineville?”

Again, a question being asked by many PAs and fortunately, a few ADs who have “been there” and are taking the initiative, albeit informally, to speak up.

Of course it’s been suggested that officially unionizing PAs would be one way to go:  After all, Canada’s Directors Guild DGC/CFTPA Standard Agreement covers their Production Assistants.   However, with so many State-side union issues stalling production at various times over the last few years, it is unlikely this option would garner much support…at least, not right now.

Jennifer Truelove, Matt Power and a number of other New York ADs, having themselves survived the 600-day DGA approval process, agree that, at the very least, it would be favorable to establish a universal base rate…and one that is commensurate with the increased cost of living.  (Ms. Truelove recently noted that the money she earned as a PA in 1999 varies only slightly to not at all from the amount on checks she distributes to her staff today – 10 years later.)

From there, the ADs suggest compensating PAs on a “sliding scale,” after all, it is not unheard of for a PA to throw in the towel, with 400 days logged, because they “just can’t do it anymore.”  For example, on the sliding scale, a Production Assistant who has worked 0-200 days could earn $180/day, 200-400 could equal $200/day, and so forth, giving weary Production Assistants incentive to forge ahead in pursuit of their goal.

It might not be the perfect solution, but it is certainly a step in the right direction – and one that hopefully will find legs in the production world.

In the meantime, if you are PA seeking information on benefits currently available to you, click HERE to visit the Producers’ Health Benefits Plan website.