Vetting Safety Coordinators and Understanding Producer Liability When Disaster Strikes
Posted on: Jul 23, 2024
Photo Credit: guruXOX // ShutterstockBrendan Cochrane is a director, producer and owner of the New York-based production company Digital Seven. He was a finalist in the DGA Mentorship Program, an eight-month program for those interested in developing episodic television. Brendan saw a need to start a safety standard and protocol, which would lead to a more universally accepted list of criteria when dealing with safety on-set.
As a result, Safe Sets NYC was formed. Cochrane remarked that through his work, he found it shocking that there are no universal standards for safety on-set.
In a worst-case scenario, poor set safety can result in loss of life. In general, many producers and crew members are unaware of the liability that can fall on them when accidents strike, or of how some safety failures may void their insurance. Cochrane referenced the widely known tragedy on the film set for Rust, where a gun discharged with a live bullet that killed the cinematographer and injured the director, and in another film titled Motherless Brooklyn, where a firefighter died after a fire broke out on-set—two examples of where it’s likely that poor safety protocol led to disaster.
Cochrane said the fireman on Motherless went into the situation and became trapped due to disorientation within the false walls built into a residential building, while five others were injured. The Motherless production company was sued over the death of the firefighter, with plaintiffs claiming the set was built into a residential building without taking certain precautions, such as installing a sprinkler system.The Rust incident resulted in involuntary manslaughter charges for Baldwin, whose trial was recently dismissed, and the armorer, who was found guilty and sentenced to 18 months in prison.
These stories indicate that safety isn’t just a small indie film issue. Even some bigger productions operate in fly-by-night manners without proper safety protocols. It’s also why Cochrane decided to form Safe Sets, so he could be a leader in important conversations and consult for both production safety and for operational activities.
Here are a few things Cochrane said producers can do when vetting a safety coordinator:
Break Down the Script
Producers should examine the script thoroughly to identify potential safety needs. There should be considerations any time there is a built set, locations off stage, stunts, driving, water, weapons, animals, outdoors movement, etc. Carefully think about each scene and what may be a concern related to actions or location and sets. Film elements such as aerials, fire, water, weapons or drones may seem obvious, but safety needs aren’t just related to stunts. Even seemingly safe scenes may need safety measures in place. For example, a simple Baptism scene in shallow water should have a lifeguard nearby. Even a talking heads scene could benefit from a safety meeting so that all cast and crew know where the fire exits are, and what to do in case of power loss, storm or fire.
Clear instructions to talent and crew are vital. Cochrane reminisced about a major film franchise he worked on where a cab driver was utilized as a lead driver to a bunch of cabs behind him. They had given the driver a radio and told him to go, but they failed to tell him what to do once they yelled “Cut!” So, the cabbie just kept on keeping on across town with the other cabs in line. No one told them how to “return to one.”
Pre-considerations of your needs extend to considering allergies and the health needs of your talent and crew. In case a problem arises, what provisions need to be on-set, such as EpiPens or specific medical response protocol? Lastly, contingency plans should be in place. A sudden change to a new location due to unforeseen circumstances could lead to all sorts of new safety concerns.
Ask Candidates About their Experience
Cochrane said a surprising number of films fail to have even general meetings, much less safety meetings. The producer should ensure there is a safety chain of command, and the coordinator should be able to lead that chain. Some productions mistakenly think hiring an armorer or another individual who deals with stunts should be enough, but you really need someone to oversee all of these professionals to review plans and ensure the specialists are holding up appropriate standards and practices. The safety coordinator should be able to identify the need for, and communicate with, additional personnel for different scenarios such as armorers, animal trainers and lifeguards, but they should also possess leadership, organizational and planning skills.
After your script breakdown, you’ll be better prepared to speak with your potential safety candidates about your specific needs, their services and how they work with third parties or the crew you have in place. For example, Safety Sets NYC offers two paths. One is à la carte service for specific shoot dates that involve driving, water, firearms, etc., or to make sure holding rooms or a specific set complies with necessary regulations. The other option is to completely indemnify an entire production, absolving producer liability. They would take on the responsibility and put together the plan, hold safety meetings and inspect equipment, resources and logistics. Safety coordinators should be able to work with all of your department heads to review their plans, inspect props, sets and weaponry, and stunts. They should be able to make the call for when a production needs padding, training, landing equipment or additional staff, such as lifeguards or medical professionals.
Union Staff Doesn’t Guarantee Safety
There’s a big push for union productions. There are reasons only electric department crew should touch electric matters, or the art department should handle the props and associated matters, but that doesn’t mean that union crew automatically know how to work together to ensure safety without a plan in place. Cochrane said he’s worked on union productions that are blatantly unsafe, and on non-union productions that are very staged. He said the Screen Actors Guild is really the only union that wants to know who your stunt coordinator is and see your safety plan. The other unions don’t really ask those questions. The Director’s Guild of America does offer a safety course, but allows for online instruction, which just isn’t enough in Cochrane’s opinion.
Ultimately, the producer needs to set the tone, hire crew dedicated to safety and make sure the production is focused on safety. A production is only as safe as its weakest link, so it’s imperative that everyone is committed to operating safely. That being said, vetting and hiring a proficient safety coordinator to lead the way is a necessary and potentially life-saving step to protect everyone involved from liability and catastrophe.
Brendan is available as a consultant both with his company and independently.
Jessica Mathis (AKA Divinity Rose) is an award winning screenwriter/performer/producer from Louisville, Kentucky. She is the CEO of She Dreams Content Development and Production, which focuses on female forward projects in comedy, docustyle and genre entertainment.
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