The Unit Publicist - On Location, Location, Location

Hack For Sale:: The Unit Publicist - On Location, Location, Location
The Tale of a Unit Publicist: What is a Unit Publicist?

Since the merger with Local 600, we unit publicists have enjoyed the camaraderie of being part of the International Cinematographers Guild and thought it might be a good thing to give our brothers and sisters in camera a better understanding of who we are and what we do.

First and foremost, we are the liaison between the outside world and the set. Primarily, we coordinate all press visits, handle public relations and make sure that the studios have the tools they need to successfully promote the movie. To accomplish this, the unit publicist must work both on-set and off-set with a variety of cast, crew, studio and outside agencies.

We create the written materials, which include extensive production notes that cover all aspects of the creation of the movie: from the inspiration of the writer, the vision of the director, the creative style of the cinematographer as well as the design of sets, costumes, special effects, stunts etc., and includes the bios of the key cast and filmmakers that will be used by the studio to market the film. These production notes often involve not just interviews, but extensive research as well and are used by the studio to market the film through a variety of media and formats, including traditional print press kits, electronic and internet or online information. In addition to marketing the film, these notes are used by journalists as background for interviews, reviews, special feature stories on the film, and later as a basis for the DVD release campaign.

Another integral part of our job is acting as the liaison or production contact for the needs of various studio departments, including publicity, creative advertising, website/internet (publicity) development, national promotions, consumer products and the like. In order to accomplish this, we work closely with not just the cast, but especially with the crew to facilitate the execution of on-set interviews and photography, EPK shooting and interviews. So, if we’re not on set gathering information, coordinating press visits or working with photographers, we are in the office writing, working with the photos as well as answering the myriad phone calls and emails that we receive on a constant basis.

We work very closely with the unit still photographers as they are the ones authorized by the studio to take pictures on set. We ensure that their work goes through the contractually required cast and filmmakers’ approval process, which involves getting every still image reviewed by a variety of individuals inside and outside the studio. Because the studio’s photo department doesn’t see dailies but rather only have what is usually a very early script to rely on, we must also identify those actors and/or crew members in each still image. Depending on the specific requirements of each production, identifying each still image can be a time-intensive job requirement, ranging from identifying dozens to thousands of frames. When we work together, still photographers are attuned to both the mechanics of production and the requirements of publicity and prove to be extremely helpful in providing information by which we, the unit publicists, can negotiate and balance the two.

Then there is the issue of dealing with the paparazzi, who seem to know our every move-especially when filming at exterior locations. Since the law does not prohibit anyone from taking photos while on public property, we work with production security, the A.D. and locations depts. to prevent invasions of the areas we legally control. We also strive to keep annoyed actors and filmmakers out of real-life courtroom dramas by reminding them that they cannot restrict press photographers in any ways that don't apply to the public in general. We may, occasionally, help out the A.D.s and security team by suggesting to particularly pesky paparazzi that if he/she thinks they have special set access because they carry a press card, there is a nearby police officer who can straighten them out as to their legal rights.

Many times, we are seen as the "go-to" persons who are asked to remind the crew that personal cameras are not allowed on set. This may seem like part of our job description but it's not. More than other crew members, we are aware that the commercial success of a film rests, at least in part, on strategic marketing. But we share the responsibility of preventing intentional or inadvertent leaks of unauthorized photos with every member of the crew. Photos or footage that is taken on the set becomes the property of the studio unless permission is given otherwise. And, of course, with the phenomenal growth of digital technology, this is becoming increasingly problematic. So it is crucial that we all work together on this very critical issue!

In the same way that we are often asked to ensure that an EPK crew or camera person belongs to our union, we’d appreciate your help in alerting the union should you find yourself on a show with a non-union publicist. All it takes is a simple (anonymous) call to your union rep.

If something happens that could garner good (or bad) press attention—i.e., an actor makes a donation to a local charity, a bar fight between actors and locals, or God forbid, an accident—we are the ones who field the phone calls and write or issue statements regarding the incident.

On some movies, depending upon the requirements of the filmmakers and cast, we may also escort studio executives and other publicity-related VIP visitors on to the set. As such, an important function of our job is to outline the parameters of the visit and to do everything within our power to ensure that these visitors don’t interfere with the crew’s ability to work.

This responsibility requires that we develop strong relationships with the filmmakers, the talent and their reps as well as the cast and crew, so that everyone is aware of the “who, what, when, where and why” of publicity-related visitors on the set. We must maintain close relationships with the actors’ personal publicists in order to facilitate and secure cast cooperation on set visits, photo shoots, early material distribution, and to ensure the success of the film’s overall publicity strategy. We rely on and work with many crew members, especially the A.D. department to help us coordinate and execute set visits in the timeliest manner without interrupting production.

Our list of responsibilities is ever-changing, with each movie. For example shows filmed out of town or out of the country add additional duties. These duties range from working closely with the location, production coordinators and transportation departments, to dealing with traveling journalists and crews, as well as handling local and international public relations to placating overeager press often denied access to the most exciting thing that has ever happened on their turf.

Most importantly, we need to be careful that none of our activities interferes with the production schedule. Since we publicize to encourage audiences to see our movies, and hopefully, create big box office returns at the time of release, ultimately, we are promoting all of YOUR work in the process. More tickets, more rentals, more DVD purchases mean more residuals which then filter into OUR retirement plan.

So the next time a unit publicist walks onto your set or into the camera truck to make introductions, remember that we are part of the same team. We may be one of the few one-man or woman departments, but we’re crew like everyone else on the set.

We are happy to be part of the ICG team and realize that we are all working together towards the same goal—a fun and safe working environment, creating quality product while making a living to support our families.

In Solidarity,
Local 600 Unit Publicists

Unit Publicists (UPs) provide a vital conduit between Producers, cast, crew and the media during film shoots. By generating publicity, they help Sales Agents to sell films and to create public interest. UPs work closely with Producers, Distributors and Sales Agents to plan all press strategy for film shoots, making sure that only the right amount of information is released at specific times, so that the press coverage is not jeopardised when the film is released.

UPs are responsible for Unit press and publicity budgets which are set by Producers. UPs work on a freelance basis, and are hired only for the duration of each shoot, although they may also be employed to handle distribution publicity in the run-up to the film's release date.

What is the job?

Unit Publicists (UPs) start work on films between 4 to 6 weeks before the first day of principal photography. Their first responsibility is to issue a press release providing information about the film to selected press, and to ensure that details about the film shoot, cast and crew are printed in the Trade Press. Once the shooting schedule has been agreed, UPs work with the Producer, and often with the Actors' Agents (or Managers) to schedule visits to the set, on specific shooting days, by a number of selected journalists, who may represent a mixture of magazines, and regional, national and international newspapers and broadcasters.

UPs ensure that the Actors and Director are available to the journalists on these days, and that there is plenty happening to provide a good colour piece (an article that sets the scene and is full of lively descriptions of the set, etc.) The UP and the journalists, or sometimes the newspaper/magazine editors, discuss when each article will be published in order to maximise the film's publicity. During a set visit, UPs liaise with the 2nd Assistant Director to check actors' schedules and to deal with any last minute changes, which often occur on film sets, and help to facilitate the journalists' work. UPs may also work closely with the EPK (Electronic Publishing Kit) Crew.

UPs are also responsible for: the production of films' press packs, which involves interviewing cast and crew members (UPs may undertake these interviews themselves or hire a journalist to do so); preparing a comprehensive list of cast and crew; writing a long and a short synopsis of the film; writing production notes (containing information about the work histories of the Writer, Director, Production Designer, Costume Designer, Script Writer and key cast members).

UPs usually oversee the work of the Unit Stills Photographer with whom they work closely, selecting the best days for the photographer to be on set. After the film has wrapped (been completed), UPs must provide captions for all the photographs, and ensure that the agreed number of colour and black and white prints/negatives are delivered to the production or Distributor.

Typical career routes

Although there is no typical career route for this role, good UPs must have excellent contacts within the film media, and it is vital to begin building these links as early in their careers as possible. UPs may gain experience working for Film Press and Public Relations Companies, starting as junior Assistants and progressing to more senior roles. Alternatively, they may work their way up from Assistant levels in the Publicity department of Film/Distribution Companies.

Experience can also be gained by working in the Press offices of Arts organisations, broadcasters and film festivals. In-house Press Offices (of Film Production or Distribution Companies) and Film PR Companies advertise Office Junior or Assistant roles in the media pages of national newspapers, and in the jobs pages of the Trade Press.

Essential knowledge and skills

UPs must be computer literate and have excellent knowledge of all film media (regional, national and international) and of the tastes and opinions of specific film journalists. They should have an understanding of the demographics of publications (and broadcasters) and be able to tie this in to their knowledge of film markets. They must also have excellent contacts and good working relationships with key personnel in the film and media industries.

Key Skills include:

Ability to pitch and sell ideas
Understanding of what journalists and editors need from a story
Understanding of Producers'/Directors' ambitions for films
Excellent literacy skills
Effective communication skills
Diplomacy and tact
Ability to work well under pressure
Good organisational skills
Knowledge of the requirements of the relevant Health and Safety legislation and procedures

Training and qualifications

Although there is no specific training for this job, UPs are usually graduates of English, Arts, Theatre, Communications, Media or Film Studies courses. Individual course accreditation in certain subject areas is currently being piloted. As part of Skillset's and the UK Film Council's Film Skills Strategy, A Bigger Future, a network of Screen Academies and a Film Business Academy have been approved as centres of excellence in education and training for film. For more information, please log onto the Skillset website.

Where to go for more information

Skillset is the Sector Skills Council for the Audio Visual Industries. The first sources of information for all jobs in the industry are the National Occupational Standards. For information about training, links to the Skillset network of training partners, and access to the comprehensive Skillset/BFI course database, visit the website www.skillset.org. Skillset Careers is the UK's only specialist media careers advice service; for detailed media careers information and advice, visit the website www.skillset.org/careers

Publications

Regional, national and international newspapers, magazines, radio, the internet and broadcast media all feature reviews by regular critics.
Screen International, a weekly publication for the film industry also offering a daily on-line news service. Screen Daily
Variety, a weekly publication for the film, television, music and interactive entertainment industries. Variety
Campaign, magazine containing news and articles about the media industry. brand republic
Sight and Sound, a monthly magazine featuring articles, reviews and full credit lists for international cinema. British Film Institute

INTERVIEW WITH...

Susan d'Arcy, Unit Publicist

Credits include: Indiana Jones and the Last Crusade, Robin Hood Prince of Thieves, Memphis Belle, The Secret Garden, Saving Private Ryan, Tomb Raider, The Tailor of Panama, Sahara.
How did you become a unit publicist?

I got in via journalism, which is one of the time honoured ways of getting into publicity. I'd been a journalist for ten years and I'd worked as assistant editor for Films Illustrated magazine and freelanced for The Sunday Telegraph, The Guardian and many women's magazine. I thorough enjoyed life as a showbiz journalist and it never occurred to me to want to do anything else.

I was enticed into unit publicity by Gordon Arnell, the top publicity director of his day. I'd got to know him because I'd visited many of the films he worked on, interviewing actors and directors. It was 1976 and he was about to start on A Bridge Too Far. It was a massive job and he was looking for a journalist to help him and he asked me. I'd never worked so hard as I did on A Bridge Too Far and I'd never had such a good time.

Then I spent four years working for Lew Grade at ITC. I've been a freelance unit publicist since the beginning of the 1980s. My first film as a freelance was Local Hero, followed by Greystoke: the Legend of Tarzan, Lord of the Apes. I went directly on to Indiana Jones and the Temple of Doom and several years later worked on the third Indy - Indiana Jones and the Last Crusade. My other films include Memphis Belle, The Russia House, Robin Hood Prince of Thieves, The Secret Garden, Saving Private Ryan, The End of the Affair, The Tailor of Panama.

Image of Susan D'Arcy with Steven Spielberg and Sean Connery, on location in Jordan for Indiana Jones and the Last Crusade.In Jordan, on location for Indiana Jones and the Last Crusade. (Photo: Murray Close)
I've been doing the job for so long now that fortunately I get repeat business from studios and film-makers. It is a great privilege to watch great directors like Steven Spielberg and Richard Attenborough. In this business you tend to get known for certain kinds of movies and that is, by and large, what you get offered. If I like the sound of a proposed production, I might declare an interest with the production company, or producer.

One of the great pluses is the travel. The two Tomb Raider movies took me to Cambodia, Kenya, Hong Kong and Santorini; Seven Years in Tibet took me to Argentina; Gorillas in the Mist was shot in Rwanda - before the genocide; and I've just spent four months in Morocco and a month in Spain for Sahara.

What does a unit publicist do?

A lot of people - mostly journalists - think it is all about looking after journalists when they visit a film set! In fact on more than one occasion when I've been working on 'closed set' movies, journalists have asked what I do with my time. If only it was that easy...

My remit includes working closely with the stills photographer, captioning all the photographic material. I work with the documentary team making the EPK (Electronic Press Kit) ensuring they get the material they need. I also write all the publicity material for the film. This involves interviewing all the actors and key crew to produce production notes for the press that explain the film and profile the people making it. With production notes, I always aim to have enough direct quotes and authentic flavour so that any journalist who might not have visited the set can write an accurate piece about the film.

I like having journalists visit the set because material gained then has far greater impact. But of course it very much depends on the filmmakers and the talent. Set visits are quite intrusive, so you have to pick your days carefully. Certain directors find it very hard to have the press on set - and of course they call the shots. Obviously you are also very reliant on the goodwill of the talent. Angelina Jolie on Tomb Raider and Matthew McConaughey on Sahara, for example, understand the process and are very open.

It's easier, say, on action films because they are not so intimate and there's usually a lot going on and plenty to see.

On Sahara I worked closely with the production company, Crusader Entertainment and the US distributors, Paramount Pictures, as well as the filmmakers. We discussed which days would be best for the press. Much of the film was shot deep in the desert and would have taken journalists four days to get there and back so we concentrated on the locations in Marrakech and Spain.

For several weeks we did two or three press days a week and brought out about eight journalists each time. They would watch the filming for a day and interview the actors. One of the aspects you have to take account of these days is that most actors have personal publicists, so part of the job is reaching agreement with them over meetings with the press.

When we are away on location, part of my job involves acting as conduit between the production and the local authorities, as well as dealing with the press. Very often the Mayor and local dignitaries might visit the set and I would help facilitate this.

What advice would you give to someone trying to get into the business?

Pierce Brosnan and Richard Attenborough take questions from the assembled Canadian journalists during a press conference on the Ottawa locations of GREY OWL. Publicist Susan Darcy is just to the rightA Press Conference on the Ottawa locations of Grey Owl (Photo: Alex Bailey)
It's very hard for people coming in. The advice I always give is to try to get a grounding either in PR, with one of the film PR agencies, or with a distributor, or in television. There is almost no formal training so you learn by example, honing your organisational, writing and communication skills. You need to build up your contacts and your experience before venturing into the chilly climate of the freelance life. My time with ITC was invaluable - there's very good stuff happening in television. You get to do on a smaller scale what I now do on a feature film.

Unit publicity is a fantastic job: you need tenacity and enthusiasm and energy. And a lot of luck!

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