Chapter 17
Safety
SAFETY PROGRAMS
This is one of those chapters that may be boring to read, but the information it contains is vital to know. Safety is serious business, and like your parents might say, “it’s for your own good!”
In an effort to promote a safer work environment, numerous states have enacted legislation implementing injury prevention programs, the training of employees in general safe and healthy work practices and the adoption of occupational safety and health standards.
In addition to state safety guidelines, the AMPTP, various unions and guilds, major television networks and studios and many independent production companies have adopted their own safety programs, many in conjunction with an Industry-Wide Labor-Management Safety Board. Sponsored by CSATF, an Industry Wide Labor-Management Safety Committee meets monthly in the Los Angeles area to draft, update and disseminate a series of industryrelated Safety Bulletins. CSATF also administers the Safety Passport Program, which offers health and safety training to union and guild members. Upon completion of the General Safety Passport course, each worker is issued a Safety Passport, which contains the person’s photograph, name, address, emergency contacts and other pertinent information such as union affiliation. As a person receives training, that training is documented in the Passport as well as the Industry Experience Roster. For those working in Southern California who would like more information on Passport Health & Safety courses, contact your local business agent or call CSATF at (818) 995-0900. If you’re not from the Los Angeles area, check with the unions and/or guilds closest to you to see what type of safety training is currently being offered in your area.
Another aspect of the industry-wide safety program is that under the rules published by the Federal Motor Carrier Safety Administration and the Department of Transportation, studio drivers (those who possess a commercial class drivers license and who perform safety-sensitive functions) are subject to random testing for alcohol and controlled substances. This program is also administered by CSATF.
If you’re not working on a union show or for a studio or production company that has a safety program, you would be smart to adopt these industry-wide safety guidelines regardless, because there is nothing more important than the well-being of your cast and crew. And being safe is a conscious effort we all make to protect ourselves, our co-workers and our workplace.
The Safety Board bulletins (numbered in succession) detail safety precautions relating to specific potentially hazardous situations and activities. Most of the unions, guilds, studios, etc. use these bulletins as the basis for their own safety program, the most recognized being the producer’s On Production Injury and Illness Prevention Program (IIPP), which is designed to comply with state and Federal OSHA guidelines (or other local, provincial or national safety requirements). Specifically, the following eight elements should be part of any safety program:
1. Delineation in writing as to who is responsible for implementing the program (generally the UPM, although all department heads are responsible for the action of their employees)
2. Enforcement of safe work practices (zero tolerance for breaking the rules)
3. Communication (safety meetings, call sheets, AMPTP Safety Bulletins, MSDS)
4. Hazard assessment and inspection (location scouts, etc.)
5. Investigation of injury or illness (after accidents)
6. Correcting unsafe or unhealthy conditions (correct as soon as possible)
7. Record keeping (document as much as possible)
8. Training (safety pass, job-specific, when new hazards arise)
Industry safety programs require that a copy of the company’s safety manual be available at each work site. Safety posters and emergency procedures (including emergency numbers) must also be posted at each work site. Departmental safety guidelines and any applicable forms are given to each department head.
SAFETY MEETINGS
Safety meetings should be held the first day of each new location and on days when activities involve stunts, special effects, aircraft, wild animals or other potentially hazardous conditions; and all essential personnel should participate. (Note that some studios and networks require that a safety meeting be held each day.) All safety meetings should be documented on the daily production report or a specific Daily Departmental Safety Meeting Report form (see sample form at the end of this chapter). Potentially hazardous situations must be clearly identified on the call sheet and marked at the spot, if possible. If appropriate, an AMPTP safety bulletin or other special notification addressing the particular hazard should be attached to the call sheet or posted at the location. In all cases, every attempt should be made to eliminate any hazardous situation before it becomes a danger to cast and crew.
SAFETY TRAINING
In addition to the Safety Passport Program mentioned earlier, basic safety training should be introduced on each new film by emphasizing the company’s intent and attitude toward safety and by familiarizing new employees with all company safety policies, rules and procedures. New employees should be provided with written job descriptions and safety procedures pertaining to their specific areas of responsibility, reinforcing actual on-the-job training. Employees should be informed of all potential exposure to any major hazards, ensuring that they fully understand the degree of hazard and all necessary precautions. After initial orientation and training has been completed, employees’ work habits should be periodically evaluated, and all safety training and orientation should be documented.
DESIGNATED AREAS OF RESPONSIBILITY
The DGA has deemed that unit production managers shall have the overall responsibility for administering the On Production Injury and Illness Prevention Program (IIPP) from pre-production through completion of principal photography, and that the First Assistant Director function as the On-Set Safety Coordinator. The delegation by the UPM of authority to others in order to effectuate the purposes of the IIPP does not alter such responsibility. The UPM, First and Second assistant directors are asked to meet with the person responsible for the overall studio or production company IIPP. In addition to, or in lieu of such a meeting, some studios or production companies may assign an individual to a specific production to assist in safety coordination.
The UPM and first and second assistant directors are each assigned different areas of responsibility in the administration of the IIPP. Together, they must: (1) make sure the entire shooting company is thoroughly familiar with the safety program; (2) ensure that the safety program is working; (3) troubleshoot as necessary, addressing all hazardous conditions and concerns; (4) ensure the documentation of safety program activities; (5) deal with emergencies and serious accidents; and (6) deal with OSHA inspectors and other safety investigators. The DGA provides their members with detailed guidelines relating to their individual areas of safety management.
During construction (prior to the start of principal production), the construction coordinator is responsible for set safety. He continues to administer construction safety throughout production as long as construction continues. In the production office, the production coordinator is responsible for keeping and distributing safety manuals as required, keeping a file of completed safety reports and securing the appropriate safety bulletins to be attached to call sheets when needed.
SAFETY BULLETINS
At CSATF’s website, www.csatf.org/bulletintro.shtml, you’ll find a complete set of safety bulletins issued by the Industry-Wide Labor-Management Safety Committee. Download the latest versions of each of the bulletins, print and attach copies to your daily call sheets whenever appropriate. And make sure that cast and crew members whose work and areas of responsibility involve the activities covered in the bulletins are fully aware of the detailed guidelines they contain.
The following is a complete list of safety bulletins.
General Code of Safe Practices for Production
1. Recommendations for Safety with Firearms and Blank Ammunition
2. Special Use of Live Ammunition
3. Guidelines Regarding the Use of Helicopters in Motion Picture Production
3A. Addendum “A” — Guidelines for External Loads — Helicopters
4. Communications Regarding Stunts
5. Safety Awareness
6. Animal Handling Rules for the Motion Picture Industry
7. Recommendations for Diving Operations
8. Guidelines for Insert Camera Cars
8A. Addendum “A” — Process Trailer/Towed Vehicle
8B. Addendum “B” — Camera Boom Vehicles
8C. Addendum “C” — Power Line Distance Requirements
9. Safety Guidelines for Multiple Dressing Room Units
10. Guidelines Regarding the Use of Artificially Created Smokes, Fogs, and Lighting Effects
11. Guidelines Regarding the Use of Fixed-Wing Aircraft in Motion Picture Production
11A. Addendum “A” — External Load Guidelines — Fixed-Wing Aircraft
12. Guidelines for the Use of Exotic Venomous Reptiles
13. Gasoline Operated Equipment
14. Code of Safe Practices for Parachuting and Skydiving
15. Guidelines for Boating Safety for Film Crews
16. Recommended Guidelines for Safety with Pyrotechnic Special Effects
17. Water Hazards
18. Guidelines for the Safe Use of Air Bags
19. Guidelines for the Use of Open Flames on Motion Picture Sets
20. Guidelines for the Use of Motorcycles
21. Guidelines for Appropriate Clothing and Personal Protective Equipment
22. Guidelines for the Use of Elevating Work Platforms (Scissor Lifts) and Aerial Extensible Boom Platforms
22A. Addendum “A” — Power Line Distance Requirements
23. Guidelines for Working with Lighting Systems and Other Electrical Equipment
23A. Addendum “A” — Power Line Distance Requirements
23B. Addendum “B” — Basic Electric Safety Precautions for Motion Picture and Television Off Studio Lot Location Productions by City of Los Angeles Mayor Richard Riordan
23C. Addendum “C” — Working with 480 Volt Systems
24. Recommended Safety Guidelines for Handling of Blood and Other Potentially Infectious Materials
25. Camera Cranes
25A. Addendum “A” — Power Line Distance Requirements
26. Preparing Urban Exterior Locations for Filming
27. Poisonous Plants
28. Guidelines for Safety Around Railroads and Railroad Equipment
29. Guidelines for Safe Use of Hot Air Balloons
29A. Addendum “A” — Guidelines for External Loads — Hot Air Balloons
30. Recommendations for Safety with Edged and Piercing Props
31. Safety Awareness When Working Around Indigenous Critters
32. Food Handling Guidelines for Production 32A. Addendum “A” — Health Advisory
33. Special Safety Considerations when Employing Infant Actors
34. Working in Extreme Cold Temperature Conditions
34A. Addendum “A” — Wind Chill Charts
35. Safety Considerations for the Prevention of Heat Illness
36. Guidelines for Miniature Remote-Controlled Camera Helicopters
37. Seat Belts and Harnesses
38. Guidelines for Inclement or Severe Weather
39. Guidelines for Using Foam(ed) Plastics in Set and Prop Construction
40. Guidelines for Non-Camera Utility Vehicles
Procedural Guidelines
1.Special Procedures For Minors Performing Physical Activities
Informational Fact Sheets
Safety & Heath Awareness Sheet — Guidelines for Handing Freshly Painted Backdrops and Other
Graphic Arts
Safety & Heath Awareness Sheet — Photographic
Dust Effects
GENERAL SAFETY GUIDELINES FOR PRODUCTION
Your production’s safety program should include the following general safety guidelines in addition to the Injury & Illness Prevention Program. Although most are common sense, others are derived from federal, state or local laws and regulations. Failure to follow these guidelines and the IIPP could not only result in serious injury, but could also cost valuable production time and expense due to delays and/or shutdowns enforced by either regulatory agencies or management personnel.
As you know, your working conditions may change from day to day, especially on location. To reduce the risk of accidents, be aware of your work environment and the equipment that’s being used. Pay special attention to call sheets as they often contain important safety information for the next day’s shoot. And if you have any questions or concerns, or notice anything you believe could be hazardous to the cast and crew, don’t hesitate to notify your supervisor or call the producer.
General Rules
• Obey all “No Smoking” signs. Smoking is not permitted on any stage. Observe designated smoking areas and always extinguish cigarettes in butt cans. Dispose of all other trash properly, not in butt cans.
• Wear appropriate clothing and any necessary protective equipment. A shirt and shoes should be worn at all times. Don’t wear loose clothing, and long hair should be tied back if working around machinery. Nonessential jewelry should be left at home. Eye and/or ear protection must be worn when operating equipment or performing other work where damage to sight or hearing could occur.
• Don’t work while under the influence of illegal drugs or alcoholic beverages. Medication that might interfere with your alertness or ability to work should be used only under the direction of your physician. If you feel any medication is impairing your work, discuss this with your doctor. Don’t put yourself or your coworkers at risk.
• Pranks and horseplay should be kept in check. Distracting crew members operating tools or working with specialized equipment can result in accidents.
• Maintain clear walkways and exit passageways. Maintain at least a four-foot perimeter around stage areas. Keep all exit doors unlocked when working. All overhead equipment, fixtures and props should be properly secured with safety wire if needed. Cables on the floor or ground should be ramped in foot traffic areas. Fire extinguishers, hoses and hydrants must remain accessible at all times.
• Familiarize yourself with emergency procedures for each location, and be aware of emergency evacuation routes.
• Remain aware of your surroundings. That includes all personnel working above and below you. All overhead equipment fixtures and props should be properly secured.
• Maintain a neat, clean and orderly work area.
• Make sure that all visitors remain a safe distance from construction and filming areas.
• Attend all on-production, off-production and/or individual department safety meetings.
• Production days can be long and grueling, so make sure you’re getting adequate sleep. Exhaustion can cause accidents too.
• Report all accident, injuries and illnesses to your department head or the responsible safety person immediately.
Lifting and Moving
Don’t attempt to lift excessive or awkward loads without getting help. Whenever possible, use dollies, carts, hand trucks, etc. If an object is too heavy to move without strain, ask for help! Proper lifting techniques can help prevent back injuries and other strains (lift with your legs, not your back).
Common Fall Risks (Catwalks, Runways, Floor Openings, Guard Rails, Scaffolds and Stairwells)
Stair railings and guard rails are required by law for any elevated surface or around pits or holes. Ensure that lighting is adequate and warning signs are posted when necessary. Use safety harnesses or other fall protection equipment when needed, especially when operating above ground level or outside areas with guard rails.
Hazardous Materials
Fuels, explosive materials, solvents, paint products, acids, compressed gas cylinders, aerosol cans, isopropyl alcohol, glues, resins, dyes, certain make-up products, lubricating oil and mineral oil are just some of the substances that fall under the category of hazardous materials (or “dangerous goods”). They’re in a class of materials that are capable of posing a significant risk to health, safety or property if not handled properly.
These substances should be stored in approved containers (UL-Listed flammable cabinets or explosive containers) and not be allowed to accumulate on stage floors, under platforms or in other work areas. Eating, drinking and smoking should be prohibited in areas where hazardous substances are present. It’s also imperative to dispose of these materials in an approved method by a certified hazardous waste hauler.
Material Safety Data Sheets (MSDS) should be obtained from the manufacturer for all such substances. They should be reviewed and kept on file, and proper handling and storage procedures should always be observed.
The shipping dangerous goods is highly regulated by the FAA and the federal government. These goods must be declared, identified, classified, labeled and packed by someone specifically trained and licensed to handle and ship hazardous materials. Nothing happens until material safety data sheets are submitted to your authorized packer and shipper. Check with your Safety representative or shipping company to get more information on the procedures for shipping these substances — including all restrictions, regulations, time frames and costs. And although most dangerous goods can be safely transported by air if they’re in approved quantities and properly packaged and handled, you’re much better off purchasing these materials on location (as long as they’re available) than to ship them. (You’ll find more information on shipping dangerous goods in Chapter 22.)
Hand Tools and Related Equipment
Use the right tool for the job. Ensure that all equipment is in proper working order and that protective guards are in place and in good condition. Tag and report any damaged or malfunctioning equipment. Store all equipment in the proper manner and place. Avoid areas where others are using power tools unless your job requires you to be there. Watch for flying debris.
Don’t handle or repair tools, machinery or equipment unless you’ve been trained and authorized by your supervisor.
Don’t use the top two steps of ladders. Make sure ladders are in good condition and properly supported (don’t leave them standing against walls — secure them). Ladders should be properly stored when not in use.
Filming Equipment (Booms, Camera and Insert Cars, Cranes, Dollies, etc.)
Use the proper equipment for the job. Be aware of and observe all load capacities. Never allow more than nine people (including the driver) on an insert car. Operators and passengers of all vehicles should always use safety belts or harnesses.
Filming Vehicles (Aircraft, Helicopters, Cars, Trains, etc.)
Be especially cautious when walking, driving or traveling in congested areas. Proceed slowly and watch for sudden movement. Be cautious when working around helicopters. Remain at least 50 feet from helicopters unless you’re instructed to be closer. Under no circumstances should you approach a helicopter or aircraft without permission from the ground safety contact or the pilot. Whether the rotors are turning or not, always approach and leave a helicopter from the front. Never walk near or around the tail rotor of a helicopter. And no smoking is allowed within 50 feet of aircraft.
The use of aircraft, trains, cars or boats may require special permits and/or operator certification. All vehicles and their safety equipment must be inspected on a daily basis by qualified personnel.
Electrical Safety
Ground and properly maintain all electrical equipment and wiring, use only for its intended use and maintain sufficient access and working space around electrical equipment. Be cautions around water. DC may be required for work above, in or near water.
Water Hazards
All cast and crew members working on or above water should wear life vests or other safety equipment. Safety lines, nets, divers, observers or other precautions should be taken when working in rivers, streams or other bodies of water with currents.
Obey boat crew members’ instructions at all times. Observe capacity limits on all boats. Persons not essential for filming should not be on the water. Know as much as you can about the water — quality, animal life or other hazards.
Stunts and Special Effects
Stunts and special effects require an on-site dry run or walk-through with all involved parties before filming. The walk-through, safety meeting and rehearsal should be documented on the daily production report. It’s the policy that all stunts and effects be reviewed by all participants prior to execution to help ensure that they’re performed in the safest manner possible. The appropriate safety bulletins must be attached to the call sheet and reviewed at the safety meeting.
Effects involving pyrotechnics must be noted in advance on the call sheet. Permits must be obtained in advance as required. Performance must be by qualified, licensed persons only. Regulatory agencies must be notified in advance as required by permit.
Appropriate safety equipment — eye, ear protection, shields, etc. — must be provided as needed to protect cast and crew. A planned escape route must be kept clear. Only persons necessary for the shot should be in the area.
Smoke
Be aware that the use of atmospheric smoke is regulated. Efforts should be made to reduce smoke where possible. Provide adequate ventilation and respirators where needed.
Firearms
Treat all firearms as if they’re loaded. Don’t handle firearms unless required and qualified to do so. Follow the direction of the property or weapon master at all times. The use of firearms may require special permits and certifications. Know all operating features and safety devices. All firearms must undergo safety inspections by qualified personnel. Live ammunition must not be used!
Animals
Animals are unpredictable. Animal trainers should address the cast and crew regarding safety precautions that will be in effect and to answer questions about safety. Don’t feed, pet or play with any animal without the permission and direct supervision of the trainer. When working with animals, the set is to be closed to outside visitors and so noted on the call sheet.
Environmental Concerns
Your location should be free of hazardous materials or chemicals hazards. All hazardous waste generated by the production company (including paint) must be disposed of properly. Proper documentation of the transportation and disposal of hazardous materials must be maintained. If in doubt, ask. Read more about environmentally responsible filmmaking in Chapter 31.
Preparing for an Emergency
• Familiarize yourself with emergency procedures for each location.
• Keep a flashlight nearby and ready to use. Check it frequently to make sure the batteries are fresh.
• Keep other personal supplies (protein bars, water, an extra jacket and pair of shoes, etc.) in a drawer or backpack.
• Maintain clear fire aisles around the perimeters of all stages.
• Know the locations of available fire extinguishers and first-aid kits.
• Be aware of more than one way to exit any location or work area.
• All disaster plans should include contingencies for evacuation, ransportation, food and shelter.
• Know where the nearest available medical attention is available.
In an emergency:
• Protect yourself first before assisting others.
• Think before reacting and take a deep breath.
• During an earthquake, look for a place to safely “duck, cover and hold.”
Make sure all cast and crew members receive a copy of these safety guidelines and that all safety procedures, bulletins and programs (as well as local, state and federal regulations) are adhered to. All employees should be required to sign an Acknowledgment of Safety Guidelines (sample included in this chapter) attesting to having received, read, and understood these procedures.
All studios and production companies should provide their production units with a supply of Safety Checklists and Worksite Safety Reports to be filled out on a daily basis. Other forms have been devised to note safety concerns while breaking down a script and for documenting safety meetings, training sessions and various safety inspection and compliance measures. If the production company you’re working for can’t supply you with these forms, design your own that will specifically address the safety concerns pertaining to your production.
SCREEN ACTORS GUILD — SAFETY REGULATIONS
• A qualified first-aid person must be present on all sets where hazardous work is planned. The producer shall properly equip this person, establish the capabilities of nearby medical facilities and provide transportation and communication with these facilities.
• Where any of the following conditions are planned as part of a driving sequence and special expertise is necessary in order to perform such driving sequence in a safe manner, the on-camera driver shall qualify as a stunt performer under Schedule H of the SAG Agreement.
• When any or all wheels will leave the driving surface.
• When tire traction will be broken (skids, slides, etc.).
• When the driver’s vision will be substantially impaired by dust, spray (when driving through water, mud, etc.), blinding lights, restrictive covering over the windshield, smoke or any other conditions that would substantially restrict the driver’s normal vision.
• When the speed of the vehicle will be greater than normally safe for the conditions of the driving surface, or when other conditions such as obstacles or difficulty of terrain will exist, or off-road driving (other than normal low-speed driving for which the vehicle was designed) will occur.
• When any aircraft, fixed-wing or helicopter is flown in close proximity to the vehicle, creating a hazardous driving condition.
• Whenever high speed or close proximity of two or more vehicles create conditions dangerous to the drivers, passengers, film crew or vehicles. Nothing herein shall require the performer to be doubled where the performer has the special expertise to perform the sequence in a safe manner.
• When for safety reasons a performer is doubled oncamera as the driver of a vehicle, the double shall qualify as a stunt performer under Schedule H of the SAG Agreement. This would also apply to passengers in a vehicle who must be doubled for their safety.
• When stunts are required, a person qualified in planning, setting up and/or performing the stunt must be present on the set. Persons involved in the planning and execution of a stunt shall be entitled to inspect any vehicle, mechanical device and/or equipment to be used in the stunt on the day prior to its use, provided it’s available. In any event, such persons shall have reasonable time for such inspections. No payment shall be due for any inspection. The non- stunt performer shall have the opportunity to consult with this person before being required to perform a stunt.
• The stunt coordinator shall notify the Guild whenever scripted stunts are planned involving non-stunt performers.
• The producer must always get the performer’s consent before asking the performer to engage in a stunt or hazardous activity. They do not have to agree; and they may always request a double.
• All reasonable requests and requirements for safety equipment in connection with the performance of stunts shall be complied with by the producer or the producer’s representatives on the set or location.
• Equipment provided by the producer, for example, autos, cycles, wagons, etc., shall be in suitable repair for the safe and proper performance of the stunt.
• Smoke work must be approved by the performers involved at the time of booking or prior to the work. If this does not occur, a performer may refuse the work for legitimate health reasons. Material Safety Data Sheets must also be available on the set when smoke is used.
WORKING UNDER HAZARDOUS CONDITIONS
In addition to the SAG regulations listed previously, other unions and guilds impose their own regulations governing their members when they work under hazardous conditions. Many potentially dangerous situations require productions to make salary adjustments (pay bumps) for employees working under these conditions. The amount of the pay bump will vary depending on the union/guild and the dangerous activity. Pay bumps are generally paid for aerial or submarine work, working in (or under) water or under exceptionally cold conditions. Bumps are paid per occurrence with a maximum daily cap. Check your guild and union contracts to find specific regulations relating to any potentially hazardous work you’re planning.
ADVICE FROM AN EXPERT
In talking with Jim Economos, Vice President of Production Safety at DreamWorks about this chapter, he strongly suggests that filmmakers be keenly aware of the following three areas of concern.
• Asbestos: stay away from it! Know what it is and what it looks like. If you’re considering shooting in a building that was built before 1980, chances are that it has or had asbestos. So if you’re unsure, ask. This is a federal issue, and you don’t want to injure anyone or put yourself in a position to be sued.
• Logistics: make sure you have easy access to your shooting locations — that you can park your trucks close-by and easily get your gear in. The logistics of making this happen may be a location issue, but it can easily turn into a safety issue if proper access to a location isn’t provided to your crew.
• Regulatory Issues: do your due diligence when it comes to EPA (Environmental Protection Agency), DEQ (Department of Environmental Quality) and AQMD (Air Quality Management District) guidelines in the state where you’re filming. If in doubt, ask your film commissioner. If you’re working in a river, find out if it’s regulated. If you’re filming near wildlife, find out what the restrictions are. If you think you can get away without following proper regulatory guidelines, think again, because these types of situations have a way of coming back and biting you in the butt big-time.
Jim’s job is to make sure that the film units under his supervision remain safe, and for those of you who don’t have the luxury of having a safety executive or supervisor assigned to your show, it becomes your responsibility to make sure that no one on your cast or crew is injured. So do your homework and know what you have to do to keep everyone safe.
SEXUAL HARASSMENT
In promoting practices that provide for a safer and healthier work environment, the matter of sexual harassment must be addressed as well. It’s imperative to inform your entire cast and crew that sexual harassment won’t be tolerated on your production.
Under federal law, unwelcome sexual advances, requests for sexual favors and other verbal or physical conduct of a sexual nature constitute sexual harassment when: (1) submission to such conduct is made either explicitly or implicitly a term or condition of an individual’s employment, (2) submission to or rejection of such conduct by an individual is used as the basis for employment decisions affecting such individual, or (3) such conduct has the purpose or effect of unreasonably interfering with an individual’s work performance or creating an intimidating, hostile or offensive working environment. This can include verbal behavior such as unwanted sexual comments, suggestions, jokes or pressure for sexual favors; nonverbal behavior, such as suggestive looks or leering; and physical behavior, such as pats or squeezes or repeatedly brushing against someone’s body.
Although many assume that sexual harassment involves a male boss and a female employee, this isn’t always the case. Sexual harassment often involves co-workers, other employees of the company or other persons doing business with or for the company. It’s against the law for females to sexually harass males or other females, as well as for males to harass other males or females.
Anyone who is being sexually harassed should, if possible, confront the harasser and ask him or her to stop. If this doesn’t stop the behavior, the UPM should be informed of the situation as soon as possible. If, for whatever reason, the UPM can’t be told, the producer should be informed immediately. Sexual harassment or retaliation can be reported in writing or verbally and may also be reported by someone who isn’t the subject of the harassment. If the UPM or producer is unable to curb the unwanted behavior, the situation must be reported to the studio or production company, and an investigation will be conducted. Where evidence of sexual harassment or retaliation is found, disciplinary action, up to and including termination may result. If an employee is found to have engaged in sexual harassment, or if you as a manager know about the conduct and condone it, you may also be personally liable for monetary damages.
“ON LOCATION” — PERSONAL SAFETY CONSIDERATIONS AND SUGGESTIONS
This information was prepared by Al Marrewa, president of Powerflex USA, Inc. of Los Angeles, California.
Visit Locations Prior to First Day of Shooting
Familiarize yourself with your locations — streets, buildings, police and fire departments, hospitals, gas stations, restaurants and pay telephones. Know the location.
Gang-Occupied Locations
• Notify the police department and/or the sheriff’s department gang detail unit of your activities in the area. Request an increase in security and visibility.
• Know which gangs can be found in the location area.
• Suggest to those in power that filming be avoided on Friday and Saturday nights.
• Remember that gang members can be as young as 12 to 13 years old.
• While on location, avoid wearing red/blue/black clothing, such as caps, bandannas, jackets (anything similar to gang attire).
• While on location, be aware of others wearing red/blue/black clothing, such as caps, bandannas, jackets or team clothing/colors.
• Be aware of two or more individuals wearing similar clothing of any kind. Many gang members will follow a particular dress code, including having similar haircuts.
• When gang members are used as extras, notify the police or sheriff’s gang detail unit in advance. Request additional security support.
• Be aware of a vehicle with three or more occupants that is parked or moving slowly down a street or alley.
• If nearby gunfire breaks out at any time, immediately drop to the ground, face first. Stay down until gunfire ceases. Then, get to a safe place.
Additional Suggestions
• Whenever possible, be with other people from your group or company. There is safety in numbers.
• Whenever possible, stay in sight of other group or company members.
• Know how you appear to others at all times. Do you stand out in a particular area because of your race, sex or dress?
• Never wear expensive or showy jewelry or clothing (i.e., watch, rings, bracelets, necklace, leather jacket).
• Carry small amounts of cash at any time.
• Whenever possible, use a buddy system while on location(“I’ll keep an eye on you, and you keep an eye on me”).
• Consider carrying a high-powered whistle with you at all times. This can be used to notify others in an emergency.
Taking Action
• Always walk down the middle of a street, especially at night; walking on sidewalks close to buildings, alleys, bushes and hidden areas can be dangerous.
• If you notice a group of men staring at you, glancing at you one at a time or pointing toward you — run or walk away quickly. (Know where safety is.) If you must walk near them, show no fear. Show confidence in your walk and don’t stop. You may choose to look directly at one of them, straight in the eye, acknowledging confidently that you see them. Remember, this should be a nonthreatening gesture.
• When dealing with street/neighborhood people, be aware of everything around you (i. e., people, physical environment).
If you get into a precarious situation, ask yourself the following questions:
• Am I outnumbered?
• Is he/are they outnumbered?
• Am I concerned?
• Can I get to safety if needed?
• Are tempers increasing?
• Is he/are they under the influence of alcohol or drugs?
• Can I see both of his hands (or are they hidden?)
• Can I see a weapon?
• How much distance is between this person and myself?
• Are my actions threatening/challenging him/them?
• Do I feel physically threatened?
• What/how am I feeling right now?
• Am I prepared to fight?
Conflict Resolution
• Treat the other person with respect.
• Listen until you understand the other person’s point of view.
• Express your own views, needs, feelings.
• Use body language to communicate with the other person (i.e., face him or her directly/maintain an “open” position/make eye contact).
• Avoid sarcasm.
• Negotiate.
Self-Defense
Self-defense includes the following:
• Awareness
• Assertiveness
• Communication (verbal and nonverbal)
• Instinct
• Intuition
• Planning
• Preparation
• Teamwork
My thanks to Jim Economos for his help with this chapter and to Al Marrewa, whose advice remains as relevant today as it was several years ago when he first allowed me to use it in an earlier edition.
FORMS IN THIS CHAPTER
• Acknowledgment of Safety Guidelines
• Production Safety Report
• Daily Departmental Safety Meeting Report
• Emergency Information Form (to be posted on the set at all times)
