In the bustling world of film production, where every minute counts and precision is paramount, Guy—a CHET graduate—has found his calling as a specialized driver and picture car coordinator. His journey showcases how proper training and determination can lead to an exciting career beyond the world of transportation, into the entertainment industry.
The Path to Professional Driving
Like many success stories, Guy’s journey began with a pivot. Working in shipping and receiving at Brandt/John Deere, Guy felt unfulfilled until a neighbour suggested an unexpected career path: getting a Commercial Driver’s License (CDL) to work in film. His experience with heavy equipment provided a solid foundation, eliminating the intimidation factor of handling large vehicles.
Why CHET Made the Difference?
After an initial experience with another school during COVID-19, Guy chose CHET for its comprehensive training program, particularly highlighting the simulator training for manual transmission – a crucial skill in the film industry. “There is a mandatory requirement in Film that drivers can drive manual trucks,” he explains, noting that many film industry vehicles are older models with manual transmissions. “When it was time to get my AZ, CHET was the logical choice,” stated Guy.
Life in the Film Industry Transport Department
Transport in film production is far more than just driving. It’s the backbone of the entire operation, responsible for moving equipment, coordinating vehicle placement, and ensuring crew mobility. As a picture car coordinator, Guy works directly with production teams and directors to source and manage vehicles that appear on screen: “In the transport department, the head driver, captain and the picture car coordinator’s job is to sit with the production team, usually the producers (the money people), and the director (the idea person) to talk about each scene of the film. Which way is the camera pointed, so you don’t have our tech trucks in shot, are there any vehicles they want to see or that characters are going to use on screen. As the picture car coordinator, it’s my job to find those vehicles and have them available for that days shooting schedule. Do they want a red SUV or a blue coupe? I coordinate with the rental companies to have the vehicles dropped off before shooting and picked up afterwards. Or to have the vehicles possibly modified to fit the director’s vision. Is it a lifted pickup? Does it have a light bar or a bush bar?”
A Day in the Life
Communication is paramount in film production. Using walkie-talkies, drivers must respond precisely to directions, whether it’s adjusting a vehicle’s position by inches or coordinating complex vehicle movements for a scene. The job demands attention to detail and reliability – as Guy notes, “The director, director of photography and the assistant directors will ask to have a vehicle moved inches forward, back or left to right. Or roll up or roll down the window. Drive at this speed and hit this mark before turning over that way etc. When the communication breaks down, people can get hurt. Any if you aren’t paying attention to requests, production gets delayed. If you aren’t safe or reliable, you’ll get replaced very quickly!”
Star-Studded Moments
One of the unique perks of the job is interacting with celebrated actors. Guy recalls a memorable moment with Dustin Hoffman: “When you’re on set, you get to interact with the cast. In the case of this particular film, I was resetting the “hero” car and Dustin Hoffman was my passenger. He was telling me about all the old cars he and his brother used to have. He mentioned they used to have a 39 Buick which was pretty memorable to him. I also got to tell him that he’s lived in my head rent free since 1988 when he did Rainman with Tom Cruise. I quoted the line, which to me was fitting as a member of Transport, “I’m a good driver!” to which he immediately corrected me without skipping a beat “I’m an excellent driver!””
Looking to the Future
The industry is evolving, with a growing emphasis on sustainability. “Shuttles are starting to go electric,” he notes, indicating the industry’s gradual shift toward greener solutions. As for Guy’s personal goals, he aims to master multiple positions within the transport department, aspiring to roles like Transport Coordinator and Head Driver. “I want to be the guy that can do it all, so that when there’s a hole that needs to be filled, they can call me and know the job will get done. Transport Coordinator is top of the department food chain. Responsible for renting all of the vehicles (outside of picture vehicles) that the production will use, the camera truck, the grip truck the star wagons, etc. including shuttles, and head of department vehicles, or anyone else that requires a vehicle.”
Advice for Aspiring Film Industry Drivers
Guy describes film work as “the best part-time job ever” but emphasizes the importance of patience and professionalism. Success requires union membership, which takes time and dedication to achieve. And, famously, the film industry carries long hours: “The other thing to keep in mind is the long hours, like a regular truck driver, it can interfere with family life. The flip side to that is you work hard for a month and a half (or 3 months if it’s a tv show) on a feature film, and then you can take a few weeks off before the next show comes up.”
Guy’s story demonstrates how specialized driver training, like that offered at CHET, can open doors to unique career opportunities. His journey from heavy equipment operator to film industry professional showcases the diverse paths available to those with the right training and determination.