Assistant Director

Working Schedule

Assistant Directors typically work long, intense days on set, often 12 hours or more, and sometimes on nights, weekends, and holidays when a location or actor is only available then. Feature films and TV series shoot on a set schedule that can run for weeks or months, followed by a gap while the next project is lined up. Much of the work happens on location, such as soundstages, city streets, deserts, hospitals, and schools, so travel is common. Most Assistant Directors are freelancers who are hired project by project, though many are members of the Directors Guild of America and get steady work through guild contracts. Prep time before the shoot is a mix of office work in production offices, location scouts, and meetings.

Typical Duties

• Breaking down the script to identify every cast member, prop, vehicle, stunt, and special effect needed in each scene
• Building the shooting schedule, which decides what gets filmed and in what order, and updating it as problems pop up
• Creating and distributing daily call sheets that tell the cast and crew when and where to show up
• Running the set by calling out "quiet on set," "rolling," and "cut," and keeping the day moving
• Relaying the director's creative vision and instructions to every department on the crew
• Coordinating with the 2nd AD, 2nd 2nd AD, and production assistants (PAs) to manage the cast, extras, and set flow
• Watching the clock and the budget and alerting the producer or Unit Production Manager when the day is running behind
• Leading safety meetings and making sure stunts, special effects, and dangerous scenes are properly planned
• Directing background actors (extras) and managing crowd scenes
• Making sure child performers and actors with special schedules follow labor laws and union rules
• Tracking the progress of each day in daily production reports and time sheets
• Solving surprise problems, from weather delays to missing actors to broken equipment, and finding a Plan B on the spot

Additional Responsibilities

• Attending location scouts to decide what places will work for filming and what permits or road closures are needed
• Running table reads and rehearsals and helping actors prepare for key scenes
• Helping the director prioritize shots when time or light is running out
• Communicating with studio and network executives about progress and any problems
• Training and mentoring PAs and junior assistants who want to move up the ladder
• Following union rules for meal breaks, turnaround time, and overtime
• Keeping tight records of who was on set, what was shot, and any accidents or incidents
• Staying current on new safety guidelines, intimacy coordination practices, and health and wellness standards on set

An Assistant Director's day usually starts before the sun comes up. The 1st AD arrives early, sometimes by 5:00 or 6:00 AM, to meet with the director and the department heads and walk through the plan for the day. They check the call sheet, review the weather forecast, confirm that cast and crew have arrived, and make sure the first shot of the morning is ready to roll. Meanwhile, the 2nd AD checks that actors are through makeup and wardrobe and on their way to set, and the 2nd 2nd AD is gathering the background actors and sending them to the right spots.

Midday is where the 1st AD's skills really shine. They run the set, working closely with the director and the Director of Photography to line up each shot. They tell the crew when to be ready and keep an eye on the clock to make sure the day's pages are on track. If the actor needs another take, the 1st AD may quietly recalculate the schedule and adjust, perhaps combining shots or moving a scene to tomorrow. They call lunch at the right moment so nobody goes hungry or into expensive overtime. Questions from every department come at them nonstop, and they answer quickly and clearly.

In the late afternoon and evening, the pace speeds up as the light fades and the schedule gets tight. The 1st AD pushes to finish the last shots of the day, calls a wrap, and checks in with the producer and the Unit Production Manager. The 2nd AD creates and sends out the call sheet for tomorrow and the daily production report for today, then gets a few hours of sleep before doing it all over again. Between all the radio chatter, the Assistant Director's whole job is to keep everyone calm, informed, and moving toward the finish line.

*Episodic TV refers to television shows where nothing happening in one episode significantly impacts later episodes. It is unlike serial TV (like soap operas) where if you haven't watched the previous episode, it is harder to understand what is going on in the current episode.

“Monday mornings are usually an early start to the week.  I go into my "office," which often varies from day to day (studio lot or on a location).  I look over the call sheet when I come in, which is a one sheet summary of the scenes shooting today, background actors, principal actors, crew members and their respective call times.  I also read the "sides" (script pages for the day’s work).  

I grab the background actor vouchers and check them in.  I make sure all the background actors are present and get them ready by taking them to wardrobe, hair and makeup.  I make sure it happens in a timely matter and that the director and other creative heads do a final check and approve the look of the background actors.  I have a staff of production assistants to facilitate this process.  Some days there may be 5 background actors and other days there may be 500 background actors.  ADs direct background actors on their movements according to the camera frame and also direct their role in the scene.  I work closely with all department heads to make sure they have everything needed for the scene.  I also inform the principal actors of any major changes or to communicate any the notes the director may have for them.” - Alicia Cho, 2nd 2nd Assistant Director

Soft Skills

• Leadership that inspires confidence without being bossy
• Calm under pressure when everything is going wrong at once
• Clear, loud, confident communication, especially over a radio and in a crowd
• Strong organization and time management
• Diplomacy, since you are the link between the director, the crew, the cast, and the producers
• Decisiveness when time is short and a choice has to be made right now
• Problem solving and quick thinking
• Attention to detail, from the tiniest prop to the biggest crowd scene
• Stamina and energy for long, physically demanding days
• Empathy and people skills, because every cast and crew member needs to feel heard
• Reliability and a strong work ethic
• A sense of humor that keeps morale up when the days are long

Technical Skills

• Script breakdown and scheduling using programs like Movie Magic Scheduling, StudioBinder, and Gorilla
• Creating call sheets, production reports, and daily progress reports
• Understanding of camera, lighting, and sound departments and how long each setup takes
• Knowledge of union rules, such as those of the Directors Guild of America, SAG-AFTRA, and IATSE
• Knowledge of set safety rules for stunts, firearms, special effects, and working with minors and animals
• Reading storyboards, shot lists, and floor plans
• Budgeting and cost control basics
• Understanding of film terminology and the shooting process, from pre-production through wrap
• Radio and walkie-talkie etiquette
• Using spreadsheets, scheduling apps, and messaging platforms to keep teams in sync

• 1st Assistant Director (1st AD): The person who runs the set, controls the schedule, and keeps the shoot moving all day
• Key 2nd Assistant Director (Key 2nd AD): The 1st AD's right hand, who builds the call sheets, manages the cast, and prepares tomorrow's day
• 2nd 2nd Assistant Director (2nd 2nd AD): Handles extras and background, helps with paperwork, and keeps the flow of people on set organized
• Additional 2nd AD: Brought in on big days to help with large crowds or complicated scenes
• Stage Manager or Floor Director: Runs live and multi-camera TV, such as talk shows, sitcoms, and awards shows
• Associate Director: A live TV role that cues cameras, graphics, and commercial breaks from the control room
• Commercial and Music Video AD: Runs fast-moving, highly visual shoots for ads, brands, and artists
• Unit Production Manager (UPM): A related management role that handles the budget, hiring, and logistics rather than the set itself

• Major film studios like Disney, Warner Bros., Universal, Paramount, and Sony
• Streaming platforms such as Netflix, Amazon, Apple TV, and HBO Max
• Television networks including NBC, CBS, ABC, and Fox
• Independent film production companies
• Commercial and advertising production houses
• Music video production companies
• Reality TV and unscripted production companies
• Live event and broadcast companies, such as sports and award show producers
• Animation and visual effects studios that film motion-capture sessions
• Corporate video production companies
• Theme parks and live entertainment companies
• Universities and film schools with production programs

Assistant Directors are the ones everyone turns to when something goes wrong, so the pressure never really lets up. The 1st AD is responsible for the safety of the entire cast and crew and for keeping the production on schedule and on budget. When a scene runs long, a star is late, or the weather turns, you are the person who has to adjust, communicate, and keep morale up. You will be asked to make decisions fast, and sometimes you will have to be the one to say no, which means your people skills need to be as strong as your scheduling skills.

The hours are long and unpredictable. Twelve- to fourteen-hour days are common, and early call times, night shoots, and weekends are part of the job. Because most work is freelance, there are gaps between projects, and it can take years of building relationships to get steady work. Time away from home on location shoots can be hard on friendships and family life, and the physical demands of standing, walking, and being outdoors in every kind of weather can be tiring.

Still, the payoff is enormous. Assistant Directors build deep trust with directors and producers, and those relationships lead to the next job. Union membership with the Directors Guild of America provides fair pay, benefits, and protections that make a long career possible. For people who love leading teams and solving puzzles in real time, there is nothing else quite like the rush of wrapping a complicated day on schedule.

• Growing use of digital scheduling and call sheet apps that update cast and crew in real time
• Expansion of streaming production, creating more series and more demand for experienced ADs
• Greater emphasis on set safety, including intimacy coordination, stunt oversight, and wellness protocols
• Virtual production and LED volume stages, which change how scenes are planned and shot
• Focus on diversity, equity, and inclusion in hiring and set culture
• Increased use of remote and hybrid pre-production meetings and virtual location scouts
• Rise of international co-productions and shooting in new filming hubs across the U.S. and the world
• More demand for AD skills in live events, esports, and streaming broadcasts
• Increased use of drones, motion capture, and complex technology that need careful scheduling
• Union efforts to improve working hours, rest periods, and fair wages for crews

Many Assistant Directors were the kid who organized the neighborhood talent show, directed the school play, or kept the group project on track when everyone else was distracted. They loved planning, making lists, running games, and leading teams, whether that was captaining a sports team, running a club, or being stage manager for the school musical. They were often the person friends turned to when they needed someone to take charge.

Others grew up filming movies with friends, making videos on a phone, or working crew on school productions and loving the behind-the-scenes energy more than the spotlight. They were fascinated by how things got made and by the teamwork that made it possible. They enjoyed puzzles, scheduling, and strategy games, and felt energized, not stressed, when plans changed at the last minute.