AUTOSERVICIO
2023. Directed by Sergio Palacios. Currently in post-production.
Assistant Director - Fernanda Oetling Santacruz
AUTOSERVICIO is a short film written and directed by Sergio Palacios. It explores the anxious and cacophonous mind of its protagonist through a fast-paced car chase, when all he wants is the refuge and peace of mind provided by his fast food drive through ritual.
Though I was not directly involved in making the screenplay for this short, working with Sergio was an enriching experience. It gave me a deeper understanding of the versatility of this format, and I gained some useful tips for my own writing. Working as one of his pilot readers as well as his assistant director was a valuable experience because I got to look at a screenplay from both an editorial and production lens. I first got to read it and focus on tone and mood; on characters, and whether the themes explored carried over to the reader. But then, I got to read it through a practical lens: what visual aesthetic and color palette will convey that mood, and where can we find the props and wardrobe that fit it? What lighting, music and camera angles will convey the tone? How do we make sure the themes translate in editing and acting? It was a revealing experience that has certainly informed the way I write screenplays, because they might be fun to read but are they producible? And when the answer is yes, wow is that an incredible feeling!
What I Learned working as Assistant Director
You will feel like you’re getting into everyone’s business. To an extent, you are, but that’s because you are putting together puzzle pieces. Every department believes everyone else is running on their time, and as an AD you have to organize and manage this to fit into the production’s time: locations, light, and equipment rentals don’t wait around. So you’ll be poking your head in and asking questions a lot. When you do, be firm, but not rude. Your attitude will be reflected back to you, so be warm, be polite, and be direct.
It is true that on set the job is mostly (hopefully) time management. But that is the easy part. The place to get the most work done is in pre-production. Spreadsheets will become a close acquaintance: script breakdowns, contact and location lists, budgets. Only towards the end of pre-production, will you approve the shooting schedule and ensure it is delivered and (to the best of your abilities) read by everyone involved in the production.
Communication is key. Remember it comes in many forms and is a two way street. You will get upset and that is okay, work with what you have. Learn to prioritize and set objectives for every location and every day of shooting. Communicate them to everyone on set.
When working outside, tan lines and timelines are inescapable. Expect some unexpected challenges and be ready to react quickly. Wear sunblock, and cover up any places you wouldn’t want a noticeable and weird tan line.