Go Read the Credits
We were going to write you a piece full of crew numbers. How many people it takes to make a blockbuster, who's on the call sheet, all of it. Then we went looking for figures we could actually stand behind and found mostly recycled lists getting copied from one article to the next.
So instead of throwing made-up numbers at you, here's something more useful. Go count for yourself.
The full credits of any movie you love are one of the best free career maps in this business, and almost nobody starting out reads them.
Pick one film and open the full credits
Go to IMDb and click through to the full cast and crew page, not the short version on the title page. TMDB is a solid free cross-check if a page looks thin.
Now scroll. Slowly. You'll see the whole production broken into departments: camera, grip, electric, art, costume, sound, locations, production office, post. Most people have never looked past the director and the DP.
Read the bottom of each department, not the top
The names at the top have twenty years in. The names at the bottom are the jobs you can actually apply for. Trainees, assistants, seconds, dailies, PAs. That's the line you're aiming at.
Take camera. DP at the top, then the operator, the 1st AC, the 2nd AC, and at the bottom, the camera PA. Everyone above that name was standing there once.
Write down the exact titles you find. Those are the words that show up in job postings, and they're the words you should be using when you email people.
Then find out who covers that job where you live
Once you've got a title you like, check whether it's a union role in your market. IATSE covers most below-the-line crafts and has locals across the country, each with its own rules for how new people get in. Directors, ADs and UPMs sit with the DGA. Their sites will tell you the real entry route, and it's rarely what people assume.
Do this today
Forty minutes. One title, full credits, five entry-level job titles that made you curious. Then look up two or three of the people in those positions and see what they did before. The pattern shows up fast: most of them started at the bottom of that same department and stayed in it. Very few jumped tracks.
That's forty minutes to stop applying for jobs that don't exist.
And if you land on a department you want, reply and tell us which one. We'd rather help you chase a specific job than a vague plan to "work in film."
This industry can be a lot to navigate alone — you don't have to. Reach out with questions or just to talk through your next steps. We're here.
All the Best,
Liv
olivia@myfirstjobinfilm.com