PHOTOS:
(CLOCKWISE,
TOP
LEFT)
COURTESY
CHARLES
WASHBURN;
BRIAN
DAVIS;
DGA
ARCHIVES
(2);
AMPAS
"
(Now) there are so many
talented women in the Guild.
In my day, they waited till I
graduated the training
program before having
another woman come in.
They wanted to see if I
would make a career.
Obviously it all changed.
"
Arthur Jacobson
1ST AD
"In those days, the first assis-
tant ran the show. He broke
down the script, cross-plotted
it, and with the various depart-
ments made the whole budget.
Then, when you went on the
stage, you directed everything
but the actors. You picked the
extras and directed them."
Charles Washburn
1ST AD
"The crew and casting director
[on Star Trek] called me 'Char-
lie Star Trek.' Working closely
with all the extras was a big part
of the job, even to the point of
knowing who would be getting
a 'bump' or 'double whammy,'
which is what we called an
added amount of time to an
extra's base pay rate if he or she
was given some pertinent story
business."
Abby Singer
UPM
"Working in TV, we made
many moves per day—
from the backlot to the
stage, or from one stage to
another. I'd say to the guys,
'One more shot and then
we're moving,' so when we
moved, they were all pre-
pared. The time saved could
add up to a full hour of
shooting for the director."
Francisco "Chico" Day
1ST AD
"The perfect assistant
takes care of every detail ...
[and] knows the importance
of keeping the cast, crew,
and staff working together
in perpetual harmony. ... He
does not distract the direc-
tor with budget worries or
minor decisions, but leaves
him free to concentrate on
story, camera, and action."
THEN
dga quarterly 19
Daisy Gerber
1ST AD
