Get into Construction if you wish to build the physical sets and large props.  A good fun industry for builders, but with long hours. Be prepared to work from unconventional plans, inconclusive plans where you will have to think creatively (time and constant changes mean plans are often just overviews) or just sketchs. One day you may be on a hill side building a Samurai village from pine and bamboo, the next in studio making repetitive MDF flattage.

Construction has a systematic approach to the shop floor, where it is possible to set out with a trade qualification, and work you way up from Hammer hand through Leading Hand and to Foreman, and Construction Manager. A good all round job with varied work and a nice balance of responsibility is mid way up the ladder leading your own team of several builders to complete your ‘own sets’, leaving hiring, pay and politics to the Art Directors and Construction Managers.

The ideal person who will progress and succeed within film construction is somebody who does not mind creatively working with designers, who often do not have a building or architectural background, helping them reach the outcomes they seek but without getting too pissed off at the constant changes and high or odd  expectations.  Constructively predicting problems and seeking efficient solutions that don’t compromise the look will always be appreciated by the Art Department designers, and will in the long term open the door to film jobs outside the construction department such as Art Director.

Carpenter /  Construction Foreman / Crane Driver / Craft Services / Fitter or Fabricator / Furniture Maker / Hammerhand / Health and Safety Coordinator / Head Cutter / Laborer / Leading Hand / Onset Carpenter / Runner / Steel Fabricator / Sculptor /  Welder / Set Finisher / Boat Builder

The work is common to most carpentry outside film with a few notable exceptions. Firstly sets require allowance for the movement and access of film crews and camera and for the collapsing and erection in kit set form. This means that sets are designed and constructed to include ‘break’ points that allow individual wall elements to be lifted out or ‘floated’ and other times are built complete in a different location than the shoot studio, and need to be moved in and quickly erected. In practice this means the methods of construction use much lighter timbers, and employ screws over nails in many instances.

The other variance from non film carpentry is the other trades that the carpenter must co-ordinate with. Rather than plumbers and electricians you liaise with sculptors and set dressers, instead of an architect you have an art director. As you develop skills within the field, you will learn the needs and concerns of each other trade and the technical requirements of camera crews. A favourite and coveted position to work towards is on set ‘standby’ carpenter, a job that gets you close to the action but which can be stressful when you are called upon to make changes whilst the director and crew are standing watching and waiting… but which has the perks of free food, and many hours of watching and not labouring, something which brings its own challenge of boredom!

If you want to break into film work volunteer on small amatuer films and theatre productions doing set building and equipment manufacture to develop your understanding of processes, and to demonstrate your enthusiasm for the field. Try and get the name of the art director or construction manager and get onto his phone list, like most film jobs persistance is the key because things can change moment to moment. If they have no work today, by tomorrow the scedule may have changed and suddenly they need 12 carpenters for a few weeks work.
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On larger jobs the development of a nursery might be required or the growth and sourcing of crops  months in advance. When working on The Last Samurai in New Zealand, the greensperson’s had to plan well in advance for the supply of traditional Japanese apple blossoms and wheat for making thatched rooves. On another production large fields of corn were required for indoor use on a raised platform, and on another fully mature trees are sourced, felled and cast as moulds for the construction of artificial forests indoors over steel armatures. Work can include making swamps, caring for potted plants, moving dirt or supplying drift wood.

The greensperson will typically oversee labourers and assist and consult with other film jobs such as sculptors (who may be carving in polystyrene fake branches) an steel fabricators who are making substructure for a huge tree and require guidance on the proper twists and turns to look authentic.

When on location work may involve the adaptation of existing landscapes or the dressing with greenery of buildings. It may require the removal of planting and care until the restoration so that the location is left in the condition it was found in. A greensman film job is varied and involves more than just greenery, the work extends to other landscape elements such as fences, or road sanding and the ‘greening out’ of unwanted visual elements, particularly on period films – for example a modern satellite dish on an 18th century cottage which will have to be disguised.

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PLEASE HELP DEVELOP THIS FREE INFO SITE: If you work in this film job or have further details I could add to this job description, or if you just wish to comment please use the ‘leave a reply’ space at the very bottom of this page.

Thanks Admin