It’s a pair of firework-launching teenage girls that set Firewatch’s story in motion, and you can choose to talk to Delilah at almost any time by bringing up your two-way radio. He is fully capable of matching wits with Delilah, who uses humor as a shield for the personal life she doesn’t like discussing as they get to know each other over the course of the summer. Henry – or Hank, as she sometimes defiantly calls him – comes across as a good man at heart, but a flawed one – a man not sure about whether or not to go back to the life he left behind in Boulder, Colorado. “Right from the jump, their relationship feels real, despite the fact that they’re communicating entirely via radio, with no faces on screen to lend emotional cues. Her emotional armor is thick, and she shows the cracks in her personality we’re allowed to see as we play without resorting to being overdramatic. Henry’s boss – and primary point of human contact for the entire summer – is Delilah. Rookie lookout Henry is given a playful vulnerability you can choose to play him serious or funny, and the performance is up to the task either way. Firewatch sounds as good as it looks, thanks to a world-class script acted to perfection by its two leads. In fact, only the strange absence of almost any wildlife whatsoever betrays the convincing setting. It is a testament to both Moss and Firewatch’s level designers that, even despite the stylized look, the Two Forks Woods sticks in my mind like a real place: the narrow passage through Thunder Canyon, the serene calm of Jonesy Lake, the comically small size of Pork Pond, and the unexplained mystery of the Medicine Wheel. That allows bold reds, yellows, and oranges to color this fictional Wyoming forest’s beautifully painted scenery (a contribution by renowned illustrator Olly Moss) – all in a comfortable and immersive first-person perspective. The story takes place over the course of an entire summer, with different “days” – which are treated as chapters of the story – playing out at different hours of the day and night. If you’re modifying your resume, you can modify IMDb at the same.“Once you arrive there, Firewatch’s powerful ambiance takes hold. You can create an account and fix your IMDb page yourself. And, of course, IMDb will tend to reflect that mistake. And I mean literally, the on-screen credit at the end of the movie can be wrong. Everyone knows you’re sometimes not given the credit you deserve. If you’re new to the industry, you might be concerned if your IMDb page doesn’t match your resume. This will likely come up the first time you apply for an office gig, since your first experiences are almost always on set. ![]() If you really need to demphasize the other side (like, for example, if all of your credits are set PA gigs), you can simply change your title to “production assistant.” Don’t even mention the type of PA. If it’s a set-type job, emphasize your set experience if it’s an office-type job, emphasize your office experience. It matters because you want to tailor your resume to the job you’re applying to. You might be thinking, “That’s interesting trivia, but what does it matter?” Art PA’s and costume PA’s may spend more time on set or in their respective offices, depending on the needs (and size) of the production. Again, it’s not unusual for someone to start as a set PA before specializing as a camera PA. Still the best show ever.Ĭamera PA’s are on set all day, too. They do occassionally have to work on their laptops in the AD trailer, but mostly, they’re on their feet all day, every day, handling issues on set nonstop. Their hours vary with the shooting schedule, and they work workever the production is shooting. On the other end is set PA’s, who help run the set (obviously). Writers PA’s and post PA’s generally fall into this category, and it’s not unsusual to see someone move from one to another of these departments. They work on their computers a lot, and do runs. Office PA’s tend to work more-or-less regular hours at the same location every day. Two Types of PA’sīroadly speaking, most PA’s fall under two main categories: set PA’s and office PA’s. What you definitely don’t want is 10 camera PA credits when you’re applying for the art department. What you’re looking for is a good middle ground, with at least a couple of credits in each department that you’re interested in. On the other hand, you don’t want every single credit to be a different job that looks scattershot and indecisive. Generally speaking, working in different departments is a good thing. ![]() if I’m applying for a Day Player Set PA position should I downplay the specific PA credits and just make it a general PA credit? I’ve held positions in the camera department, art department, prod office, post. Jim writes in about how he should handle varying credits on his resume–
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