Producing : Working With A Technical Advisor by Bobby Chacon

Three things writers should know when working with a technical advisor.

The term technical advisor in Hollywood has a broad definition in many people’s minds but in reality the work they do is often much more narrowly defined. My first job in Hollywood, after retiring from 27 years as an FBI Agent, was as the Technical Advisor for a new spin-off series called Criminal Minds Beyond Borders. I was living in Rio De Janeiro at the time and flew back for filming. I still recall my very first day on set showing Gary Sinise how to safely tackle a bad guy running along a dock and onto a boat. Working with the cast, the director and the writer I walked through how it would be done in “the real world”. From bringing the suspect under physical control to placing handcuffs on them and helping them up and walking them to the car, we walked through the whole process. That first few episodes were a huge learning curve for me but after several talks with the line producer about how much, per minute, a network drama costs to shoot, I developed a plan that started at the table read. I would comb the script for areas where I thought the cast might need some guidance. I would work with the stunt coordinator and get their take on it and I would send any notes to the writer and 1st AD for that episode. Any consultation with the cast would be cleared with the director and writer and be done in their trailers or elsewhere and during “downtime” so that shooting was never delayed in order to discuss a tech advisor issue.

As writers and producers, there are a few things to understand that will make your interactions with a tech advisor more effective, efficient and productive.

First, bring any tech advisor you may have, into the process as early as possible. As I alluded to above, the earlier I can discuss potential issues (like say a crossfire situation where a writer writes a scene that ends up with two cops in positions where they would be pointing their guns at each other) with the writer the better as issues early on can be dealt with simply by changing the action lines so that the cast and director won’t even need to be bothered with it. If I have to start answering questions on set after the shot is setup, it can be very costly and often too late.

Second, on-set tech advisors are there to guide and correct operational and logistical issues only. This is what “who and how” of it. I would often explain who would be the one to approach a suspect to cuff them as who would stand back and cover them and show them how that technique would play out. Writers should not be asking their tech advisor the “what, where and why” questions. When writers do this, they are asking tech advisors to weigh in on story problems and at that point the tech advisor becomes a story consultant and should be employed as such. As we know everyone on set has a very specific role and those roles are guarded very carefully by union rules. Simply because the tech advisor is usually a freelance person not covered by a union doesn’t mean they should be asked to contribute outside their scope of work. If they are needed as a story consultant then their work agreement should be modified and they should be compensated accordingly.

Third, when in doubt, have the tech advisor on set. Often, a tech advisor is paid a daily rate. The line producer and 1st AD often try to save money by limiting the amount of days the tech advisor might be needed on a particular episode. I’ve been asked countless times by cast members “where were you yesterday?” and “we could’a really used you yesterday” only to find out that there was a major discussion between the cast and director that delayed the production 20 or 30 minutes. And it was a day where the line producer told me I wouldn't be needed. I've also heard producers, first ADs and stunt coordinators say things like, "It'll be ok, I've done cop shows for ten years I think I can walk the cast through it". And thats when I realized why I was seeing the same mistakes for the last ten years. I can tell you that 20 or 30 minutes of filming a major network one- hour drama costs exponentially more than the paltry daily rate the tech advisor earns. This is a case where it’s much better to be safe then sorry. Writers should huddle with their tech advisor and stunt coordinator right after the table read and list the days of the episode shoot they want the tech advisor on set. Know that that 1st AD and/or line producer might attempt to limit it (this is truly pound wise and penny foolish) but as the writer you should be able to consult with the director and have that tech advisor on set with you whenever you think they might possibly be needed. Be an advocate for your tech advisor.

As a writer on an episodic show you are building that episode (usually over 7 or 8 days) and your tech advisor is that specialty tool in your toolbox that isn’t always needed but when it is you’ll be very glad it’s there. Follow these three steps and you will maximize the benefit of having a tech advisor on your project.