It all began for me with the practical workshop organized by Dan Gibling who regularly runs a Floor Runners Boot Camp. I was chosen to be one of the runners and stand-by props, so I received hands-on experience learning about the roles and hierarchy on set along with what it means to be a runner. "Your floor runners are like your limbs and we would be useless without them." (Gibling et al., 2015) – this is true for every single role on the film set. It is important to stick to your job but at the same time to be flexible and adaptable because anything can happen and a runner could suddenly be promoted.
Dan Gibling is a professional first Assistant Director and he taught us that in fact it is the first Assistant Director who is the main voice on the floor, or as described in Running the Show: The Essential Guide to Being a First Assistant Director, "a ship's first mate". "The director may have the vision of the destination, the production manager maybe calculating the budget, but the first mate has to be the director's support, the producer's representative and the crew's inspiration" (Gill 2012:1). It is extremely important as a producer to pick a first Assistant…show more content… The workflow was much more divided and equal. We were both involved in the development and line processes. After the initial pitch from the director we all worked together on the story and a final pitch package (PAGE 12).
YANA's script went through a lot of changes. There were seven drafts in total and the last is clearly better than the first (PAGE 13). The changes depended on the budget and the length of the project. We did our best to stay true to the director's vision because "A good producer is one who understands the creative vision of the director"(Grove 2004:184). The director was extremely flexible and together we decided to cut a lot of scenes and extra characters that did not add much to the
