Interview with Briana Dodson for ProductionHub. Final article can be read here.
1. When building a Florida crew for an out-of-state agency, how do you actually source people? Walk me through where the names come from: your own list, referrals, someone’s reel, or a database.
When an agency reaches out, I look at the location and type of shoot, then head to my Excel sheet of crew members I know and trust. In the sheet, I list the shoots I’ve worked on with them, expertise, how we first met, their location, and general notes about past experiences and personality.
To me, it’s important to match someone’s personality and way of working with the client. Some of my favorite crew members might not jive with a shoot that has 15 clients on set, but they may be exactly the get-it-done person I need for a lean shoot with only one client present.
I rely on people who live anywhere from Orlando to Miami, including the smaller towns in between. If the agency is asking for a role I don’t have a recommendation for, or my usual recommendations aren’t available, I reach out to reliable crew members for referrals and look through ProductionHub.
For a Tiger Woods golf commercial earlier this year, the agency requested a director who fit a particular style and was comfortable with golf. I wanted to send them three options. I immediately knew one director who was a good fit from the local golf scene. To find the other two, I asked crew members for ideas and used ChatGPT recommendations as a starting point before reviewing their work and experience.
Sourcing the right crew is the most time-consuming part of organizing shoots for out-of-state agencies. There is no single call sheet that works for every shoot.
2. What’s the honest constraint on widening that list? Is it who’s available, what the budget allows, or the risk of putting someone untested on a paid shoot day?
I feel like there is an endless supply of reliable crew members to pull from. Need two 1st ACs and two 2nd ACs? Chances are, your top picks won’t all be available on a busy winter weekday. So I’ll ask the person who isn’t available, “Do you have any ideas for someone who could be a good fit?” Ninety-nine percent of the time, they have a couple of people in mind.
It’s still possible that those recommendations also won’t be available. That’s when I start getting nervous. But those people usually have suggestions too. They might be people I’m less familiar with, but I’ve found some amazing, top-of-the-list crew members this way.
If I haven’t worked with someone before, I’ll talk with them on the phone, look through their ProductionHub listing and hopefully a review or two, and decide whether they’re a good fit. On set, I like to pair newer crew members with someone who already knows my workflow. It helps them settle in quickly, learn how the team works, and build relationships as the shoot progresses.
I don’t see many constraints to widening the list. Crew budgets are typically formed using my recommendations about the going rates in the area. I’m seldom unable to meet a crew member’s preferred day rate.
3. When you’re calling the day as a 1st AD, does the crew’s makeup change how the floor runs? I’m after the practical version, not the talking points.
Absolutely. There are early mornings when I’m hugging crew members and spending moments here and there catching up. In those cases, I’m calling the next steps on a first-name basis for the entire crew on one radio channel.
When it’s a really big crew, I’m more likely to be in introduction mode that morning. I’m handing out name tags with names and roles, ensuring everyone knows their direct department lead, and writing radio channels on the back of my hand.
I don’t love calling people by their titles over the radio, but on larger crews with new crew members, or when the agency has handled some of the hiring, that’s exactly what I sometimes end up doing—and feeling terrible about at the end of the day.
4. Has there been a shoot where someone on the crew caught something that would otherwise have gone wrong—a detail, a misread, or a client-facing problem?
Gaffers! Thank goodness for gaffers. They’re holding reflectors, pulling ladders, handing over gear I didn’t think we would need but they brought anyway, and quietly pointing out things I might not have seen. The crew member I’ve been working with the longest, Rick Meister—gaffer, electric, everything-you-need extraordinaire—has caught background disturbances on numerous shoots, and even inconsistencies with wardrobe. You can never have enough gaffers.
5. Are agencies and brands bringing crew requirements to you now, and how has that changed? I’m curious whether it’s a real brief or a box-check, and how you handle it either way.
Agencies tend to have a list of the roles they want to fill—and honestly, it’s usually more people than I would have suggested. Most of the time, they’ll ask for rate recommendations to finalize their budget, assuming Florida rates will be different from their local market. Usually, the rates end up being about the same as what they’re used to, except for PAs. PAs are almost always more expensive than they expect based on their LA or New York market.
I’ve never been given much more than a role title. There’s typically no job description or list of expectations for the crew member, so I usually pull that together myself to make sure everyone has a clear understanding of the role.
6. How does someone new get onto your call list for the first time? What actually gets you to take a chance on a person you haven’t worked with?
I add new people all the time who reach out by email or Instagram to introduce themselves. If they’re eager enough to make a proper introduction, I add them to my list and give them a call to chat before hiring them.
7. Since 2015, has the South Florida pool gotten deeper, thinner, or just different?
I’m not sure whether it’s a change in the industry or simply a change in my outlook, but I’ve started hiring people from farther away than I used to. People seem willing to drive to a job in Palm Beach from both Miami and Orlando. In 2015, I never would have assumed that level of interest was there.
Crew members generally don’t expect hotels. They tend to prefer an early-morning drive and heading back home after the shoot.
8. What would you tell a producer who says they want a broader crew but has a tight schedule and a fixed budget?
I’d tell them to consider reducing the day count by condensing the shot list or shortening the length of the shoot day. Crew members may be willing to flex on their rates for a 10-hour day rather than a 12-hour day.
Bio
Emily Thorsen is a South Florida producer and 1st assistant director who brings creative insight and operational leadership to commercial productions. Her work includes projects for leading brands such as Target, Vineyard Vines, Bushnell Golf, Consumer Cellular, TruGreen, and Husqvarna.
A trusted Florida production partner for out-of-state agencies and production companies, Emily takes projects from early planning through wrap. She builds experienced local crews, manages complex logistics, and keeps productions moving with a calm, solutions-focused approach.
Emily grew up on commercial sets with her photographer father, earning pocket money holding reflectors and carrying gear. After studying graphic design at Flagler College, she built a career that bridges creative development and production execution.
Based in South Florida, Emily provides production support throughout Miami, Palm Beach, Orlando, and across the state. She is also available for projects nationwide.