What I Learned from a 2-Day Workshop with Assistant Director Joe Burns

It is often said that the director isn't really the one who runs a film set—it's the assistant director. And after speaking with one of the most experienced ADs in the business, it's clear why.

Last month, I had the privilege of attending a two-day workshop led by Joseph "Joe" Burns, a now-retired AD who is something of a legend in his craft.

Although he's said goodbye to Hollywood, Burns remains a prominent voice among the film community. In fact, he was recently quoted in Michael Lee Nirenberg's latest book (Cinematic Immunity: An Oral History of New York Filmmaking As Told by the Crews that Got the Shot) about his background work on the famous "Copa shot" in Goodfellas.

It's a scene so iconic that, 30 years later, it's still a top contender for the best one-take in movie history. But what isn't talked about is the behind-the-scenes work that made that shot possible: it's the work that often goes unnoticed, the work that assistant directors like Burns do every day.

I went into this workshop not truly understanding all that being an AD encapsulated; I walked away with a newfound appreciation one of the most demanding roles in the industry. I hope that you can glean some helpful information from these notes, and feel the same awed respect I now do for the real "director" of the set.

The Qualities of a Successful AD

A "good" assistant director looks different for every production, but there are a few key traits that make people like Burns the best of the best. And to fully understand the qualities of a successful AD, it's important to define what exactly an AD's job is.

Although the name may be misleading, an assistant director shouldn't be confused with an assistant to the director. On the contrary, many of the first AD's responsibilities lie in coordinating the countless other departments and managing production logistics. Thus, the most essential factor: communication.

Joe Burns is quite a presence. There's an undeniable gravitas to his character, even while he totes around an Owala with Dog Man stickers slapped onto it. He commands the room with a thoughtful, gravelly voice, and leaves his listeners hanging on to every anecdote. For Burns, that aplomb wasn't learned: it was something he was born into.

"I think that kind of came to me naturally," Burns said about confidence. "I have 11 brothers and sisters, so I sort of grew up in chaos."

Burns explained that to keep a set under control, you have to counteract the cacophony with composure.

"You have to be able to keep calm if you're gonna be an AD," Burns said. "The good ones, anyway."

Shea Rowan, a former second AD under Burns, joined the workshop virtually to chime in with her own advice.

"That quiet authority can go a long way," Rowan said, echoing her mentor. "Some of it comes with patience: a lot of it comes with listening."

Rowan has since risen to the rank of first AD on large-scale productions like American Horror Story and The Flash. Throughout her time in these high-stress work environments, she's come to realize that the job requires a great deal of emotional maturity.

"It's not our show—it's our job to run the show." Rowan explained. "A set is a big sandbox. It's just like real life. Sometimes you need to need to have 'that conversation,' to be a grown-up and do what you need to do."

Prepping and Shooting

Pre-production and production are the two main stages of an assistant director's workflow, also know as "prep" and "shoot." The AD is essential to the execution of both—but the importance of prep within the big picture can't be understated.

"Success is in the prep," Rowan quipped, a motto she's coined over the years. "You'll fix it in post? No, you'll fix it in prep."

Paul Bernard, an AD turned EP and another of Burns' disciples, shared Rowan's sentiments. Since becoming an executive producer on popular shows such as S.W.A.T. and The Night Agent, Bernard has witnessed the comprehensive duties of an AD from both sides of the fence.

"Early prep is the key to every shoot," Bernard said over video call, explaining how he regularly meets with the creative team in pre-production to streamline filming.

Rowan finds "timing meetings" conducive to a productive shoot, during which she dissects the script with the first AD, director, and DP (director of photography) to set times for each scene. She uses Scriptation for her script breakdowns—providing her marked-up screenplay of The Flash as an example—while Burns uses Movie Magic to create his shooting schedules and call sheets.

Regarding script breakdowns, location scouting, and tech scouting, Rowan identified preparedness and creative problem-solving as paramount. Assistant directors must have a plan B, C, and D in case shooting goes south.

"There is always a reason why that camera's not rolling," said Burns. "You always want that to be rolling, and you're always moving in that direction to make that happen."

Stunts and Safety

One of the most vital aspects of an assistant director's responsibilities is on-set safety. The first AD is also the designated safety officer, and must take account of all potential hazards to debrief the cast and crew at daily meetings.

Burns walked us through an elaborate explosion he helped execute in Die Hard with a Vengeance. He explained the meticulous measures taken to ensure a smooth shoot: positioning PAs at every storefront, equipping all crew members with radios, and casting stuntpeople as extras, to name a few.

The entire sequence was rehearsed before filming, which called for extremely fastidious crowd control in the busy streets of Manhattan. Burns claimed that they may have "created the largest traffic jam in history."

The sheer scale of this operation would be unheard of today, especially considering the industry's safety reform efforts in response to on-set tragedies. Burns cited the Safety for Sarah movement and the Rust shooting incident as two major instances of set safety negligence.

While both are extreme examples of poor risk management, they prove how necessary a cautious and circumspect AD is to a safe working environment.

Working with Directors

As the title suggests, assistant directors work very closely with the director to help achieve their creative vision. ADs often act as the liaison between the director and the rest of the crew.

As a veteran of the business, Burns has quite a few big names under his belt: Scorsese, Stone, Redford, Howard—each with their own distinct directing style. A director's temperament significantly impacts the tone, speed, and operation of a set, thus affecting how the AD manages production.

"Martin Scorsese keeps everything very quiet," Burns said. "Oliver Stone, he's the opposite. He sits there the whole time, doesn't leave the set, and loves the chaos, sort of loves the noise. He feeds on it."

Burns also explained how scouting can vary from director to director.

"Oliver, he'd come into a room [that] may not be exactly what he wanted, but he'll make it work," said Burns. "Whereas Scorsese's already seen the movie in his head, and it's got to match that."

When asked if he had an "ideal director" in mind, he gave a nod to the late great Robert Redford.

"Redford was a very laid-back guy," Burns said. "He was on his own time. He might come in an hour late, but he would get us out of there. And he was just a super nice guy."

Working with Actors

Managing the talent as an assistant director is a different story. While communication is key on set, sometimes withholding information is necessary to keep things running smoothly.

"You never want the actors to know anything is wrong," Burns said. "They live in another world… They're the artists, and we are in a different realm of reality. And you just keep them out of our reality."

Burns shared some amusing set stories about working with the stars: Like how Bruce Willis would find the nearest ice cream shop on Die Hard, hand over his credit card, and treat the entire crew to dessert. Robert De Niro, on the other hand, was infamous among ADs for suddenly restarting a scene at his own leisure and confusing the extras.

As second AD on The Age of Innocence, Burns once had to swiftly escort Daniel Day-Lewis to their shooting location before they lost light. Day-Lewis imparted this piece of wisdom: "Joseph... no one ever got an award for doing it quickly."

It takes a special kind of talent to handle the talent, especially considering the wide range of personalities, methods, and maintenance levels the job demands. Still, it is a treat to watch the field's masters at work.

"Do I get starstruck with actors?" Burns asked. "I mean, you can't help it."

Climbing the Ladder

Unlike many filmmakers, Burns never intended to enter the industry: He was a bartender in New York City when he booked his first role as an extra. From then on, he looked for any odd job he could get as a production assistant.

"I started as a PA, and worked my way up," Burns said. "Whenever I was asked to do something... I did it very quickly and efficiently. And I was never late, and I never missed a day, and my career took off."

"Everybody was probably a PA at some point who's established in the industry," Bernard said. He described being a production assistant as a rite of passage. While traveling along the PA-to-EP pipeline, he adopted an old-school work ethic in which ADs "take care" of their PAs.

If the first AD lives in today, the second AD lives in tomorrow. They're in charge of prepping items for the next day of shooting—chiefly, constructing the call sheet. They are two very dramatically different positions: But after being a second AD, Rowan says she can now appreciate being a first.

It's no easy feat to climb the career ladder. The entertainment industry is a highly hierarchical and connections-based field, and there are very few avenues that expedite the journey upwards. The Director's Guild of America is one route aspiring ADs take.

"The DGA is the way to go," Burns said. "I had to do 600 days as a PA in order to get on their qualifications list: then people can hire me as an AD. And if they hire me, then I get to join."

Burns urged budding filmmakers to track down local productions, do some research, and present themselves as a willing candidate.

"You don't want to be a pain in the neck, so you don't want to cross that line," Burns advised. "But at the same time, it's the squeaky wheel that gets the grease."

"I know we're all in a rush to get to the next time and make more money and get more respect," said Rowan. But she also countered that extrinsic mindset, claiming that finding "your people" in the field can get you to that "sweet spot" of personal and professional fulfillment.

Reflecting on his eventful film career, Burns shared what he missed most of all from his days on set.

"In all the years I'd worked, there was never one day that was like any other day," Burns said. "It was the adrenaline of it all... It was the camaraderie."