Schirmer Encyclopedia of Film

The large crews that are associated with modern big
budget Hollywood films reflect not only the scale and
scope of the production but also a sophisticated division
of labor. Early films were smaller and thus far simpler in
this regard. It was not uncommon in early films for one
individual to act as cameraman and director, performing
all the necessary duties: selecting the subject, shooting,
developing, printing, editing, and exhibiting the movie.
As films became more complex and increasingly relied on
staged rather than documentary subjects, a division of
labor appeared between camera operator and director.
This task specialization, which eventually gave rise to
distinct occupational categories, set the stage for further
specialization as production companies discovered the
economic advantages of simultaneously producing a
range of longer films. The key to realizing these advantages
was the accumulation and management of personnel
and resources on a large scale. However, making
efficient use of resources and personnel on this scale
depended on achieving labor economies. Influenced by
Frederick W. Taylor’s concept of ‘‘scientific management,’’
producers sought and promoted greater efficiency
by increasing task specialization in film production,
which by its nature is the most labor intensive, and thus
most costly, part of their business.
The rise of the studio system in the United States in
the early twentieth century reinforced the link between
economies of multipicture production and greater division
of labor. The studios were instrumental in creating
the system of labor division that has continued to characterize
most feature productions. The hallmark of this
system is the way that film crews are organized into
departments, each of which has distinct responsibilities
CREW
in the filmmaking process. Each of these departments
employs a range of individuals with specialized expertise,
who work as a team to create the finished product.
Technical innovations have altered filmmaking practice
and led to the creation of new roles while reducing
the need for others. For example, the introduction of
synchronized sound in the late 1920s required a whole
string of crew members to set up and operate recording
equipment and to edit the sound during post-production.
Conversely, the development of high-quality digital
cameras means that a professional looking film can now
be made without some of the crew previously required to
handle the more wieldy 35mm camera and the substantial
lighting it demands. The division of labor and occupational
structure of modern film crews are therefore
subject to changes in technology, expertise, and professional
regulations.
The involvement of some members of the team may
be confined to either the beginning or the end of the
production process. For example, the involvement of
scriptwriters often ends before filming starts, whereas
the visual effects team is usually not involved until the
shoot is over. In general, however, the stage at which
specialists become involved varies from film to film. Title
sequence designers, for instance, may work with the
director from a very early stage in the production, as they
did for Fight Club (1999), or may be brought in during
postproduction, when a less ambitious title sequence may
be one of the last elements to be added. There are some
crew members, most notably the producer and usually
the director, who tend to remain with the production
throughout the process, largely because they are essential
for the cohesion and continuity of the project.
SCHIRMER ENCYCLOPEDIA OF FILM 391