Working Hours and Welfare

No matter how important, experienced or talented someone is, they cannot make time go faster or slower. This chapter, in particular, is important, not only for the physical crew but for broadcasters, financiers, executives, producers, line producers, heads of department and anyone involved in financing, scheduling, budgeting or planning a production. Long before any shoot, it is crucial that the director, producer, and first AD take full responsibility for allowing enough time and resources to achieve what's needed and for everyone to realise that a failure to sufficiently fund compromises the schedule, adds stress, risk and danger with health and safety being compromised.

Health and safety should never interfere with that creative workflow. Instead, it should be factored into budgeting and planning early on, so that it needs less consideration on the day.

It is common at the contract stage for you to be asked to waive your rights under The Work Time Regulations 1988 to an 11-hour workday. Most commonly contracts will say the production company will endeavour where possible to keep to an 11-hour turnaround. Almost all crew agree to this and trust in the production to guide them through each working day with a level of respect for an 11-hour turnaround. Travel time plays an important part of the equation and needs to be taken seriously.

Heads of the department should manage pre-calls, prep and wrap times to share responsibilities and make sure you do not infringe on your 11-hour turnaround. No matter what role you play on set, no matter how senior your position when you wrap for the day and climb into your car, you are governed by the Road Traffic Act 1991, which clearly states that you must not drive while being overtired. It also says you must not drive under the influence of alcohol or drugs, legal or otherwise.