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THE WHEELS OF JUSTICE

By Sgt. James Post

“You Ought to Be in Pictures”

 Hours upon hours of sitting around with acute boredom are punctuated by short bursts of adrenalin pumping action. Do you think I’ve just described police patrol work? No, this is a description of a normal day in showbiz – making movies, to be precise. Maybe that’s why so many officers are attracted to the movies; it really does resemble police work.

I just completed a month of work with a production company which was filming locally and I learned a lot about “showbiz” – both good and bad. I rented them some of my police cars; secured others for them; provided advice; coached actors; and advised the art, wardrobe and prop departments. I want to share some thoughts with you should your agency be approached by a movie production company.

More and more movie companies are filming “on location” and away from the big cities. Even though they have to have equipment shipped in – and the stars and crew flown in – it is still cheaper than filming on “the Coasts” because of cheaper labor costs and other expenses such as lodging and raw materials which are lower, too. Most states, and even some cities, now have film offices, or film commissioners, whose job it is to attract production companies to their areas. A movie being shot locally can inject a lot of money into a community in a short amount of time.

Depending on the size of the production, your agency could be asked to provide a number of services, including officers (as actors); vehicles; traffic control; coaching and other technical advice; security for equipment and personnel; and crowd control.

Before you shout “No, absolutely not!” hear me out. Working with a movie company can be a positive experience; can create great positive PR for your department; and put some needed funds in your budget.

Square One

When a movie company representative comes knocking on your door, there are a few questions you should ask immediately:

1. Is the project an independent production or from one of the major studios? Independent productions have produced some of the greatest movies of the last decade, but their budgets tend to be a lot smaller, a lot more fluid and the projects a lot more speculative.

2. What is the budget? Your visitor might not even know the answer to this query, but he/she can certainly find out. Generally speaking, 1.6 million dollar (and less) productions are “made for TV”; independent productions can run from 1.7 million to two or three million dollars, and, of course, the biggies can be tens of millions of dollars and more.

3. Is the movie set in a fictional jurisdiction? This might seem unimportant, but I guarantee you, if your department’s logo appears in some B grade horror flick, you’ll never hear the end of it.

4. Ask for a copy of the script. Again, the person who calls on you may not be in a position to supply this, but they know someone who can. This request is not meant simply to provide you entertainment while sitting by the fire at home; it is probably the most important thing you can do.

Before you get involved in any movie project – no matter the size – you have to know the content. You won’t want to be involved in any project where the cops are the bad guys – on the take, killers, drug dealers, whatever. You won’t want to be involved in a project which promotes drug use or condones crimes. You owe it to the people who elected/appointed you to keep your department’s nose clean and you certainly don’t want to support an anti-law enforcement project. The news media does enough of that.

The Cars Are the Stars

You may be approached to provide police cars for a project. These could be used “as is” or with your department’s logos covered with “door skins” (magnetic coverings bearing the emblem of the agency in the script). Again, this request will probably come to you from a smaller budget production which doesn’t have the funds to have rental cruisers shipped in from either coast.

Let’s assume a modest budget production wants to rent a couple of squad cars for a few scenes and it’s OK with the folks that fund you (city council, county court, etc.).

First of all, you will be relieved to know that any project, regardless of size, has a lot of insurance. To get bonded for the project (so checks don’t bounce), they have to be insured into the millions. Your cars will be covered, but you start getting into grey areas when you talk about drivers, type of use, etc.

Here are the questions you will want to ask and the reasons for them:

1. What will they pay for rent? There is no set fee for movie car rentals and the fee is always negotiated. It can range from $100 to $500 per day. Typically, the film industry works twelve hour days. If your car is there the full twelve hours, but not used, you are still due the rental fee.  If you are prohibited from accepting outside funds directly, you may be able to channel them to an activity you sponsor, such as D.A.R.E. or P.A.L. Handle these funds as you would reward monies or drug forfeitures.

2. Who will be responsible for getting the vehicle to the location? Typically, each production will have a transportation unit (or crew) responsible for moving all the trucks, apparatus, and movie cars. If your policies prohibit outsiders from operating your vehicles, you’ll need to arrange for your personnel to deliver them and pick them up.

3. What will the vehicle(s) be used for? You must get an in-depth response to this query and it begs even more questions to be asked.

Will it be moving or stationary? If moving, who will be driving it? Will it be in a car chase?

If the vehicle is for background only and not moving, either the transportation crew or your personnel can move it and place it on the set.

Moving scenes are different. If the scene calls for an actor to drive the car, you’re backed into a corner and your rules and regs will either permit it or not. This decision will probably fall on the shoulders of your legal department or advisors.

If the moving scene does not require an actor to be seen, I recommend you specify that your officers be allowed to drive instead of someone from the transportation unit. It just makes sense; your officers can take directions verbally or over a radio – they do it all the time. They certainly are more familiar with the vehicle (and the operation of the equipment) and they are less likely to “hot rod” the car or “see what it will do.” This decision will probably also be made by your legal advisor and, if officers are used to drive vehicles in a production, they should be compensated by the movie company.

4. Will emergency equipment be used? This question is important for a couple of reasons. Your state law dictates the use of emergency equipment on the open road. If the car is in a moving scene, the roadway should be barricaded so that no civilian traffic is near the action. All other vehicles in the scene should be operated by movie personnel, i.e., actors, stunt drivers, transportation crew.

If the vehicle is to remain stationary, and with emergency equipment operating (such as a staged accident scene or drug raid), there is another important consideration. Most of the time, the car’s engine will be shut off because engine noise interferes with their sound equipment. Without the benefit of your heavy-duty alternator, the car battery will soon die out. If your vehicle will be used in this fashion, you need an agreement in advance to replace the battery at the end of production. A fully drained battery can never be charged back to 100%. And each subsequent recharging has worse results.

5. Will the vehicle’s structure be modified in any manner? Depending on how the police car is used, the film company could add a tow dolly; remove the wheels to put it on a process trailer (for special effect moving scenes where occupants appear to be driving); mount cameras inside or outside; and even remove components, from as small as an inside rearview mirror to entire windshields and crash bars. They are responsible to return the unit to you as good as (or better than) when rented, but you may want your own mechanics to make the modifications – or at least oversee them.

Sometimes, these modifications may have to be made in the middle of a shot and at a moment’s notice. For example, at 3:00 a.m., the director of photography might decide there is a reflection off a side glass which interferes with the camera and the glass must be removed. The movie company should be provided a name and phone number of someone who can authorize modifications on a 24-hour basis. This way, you have no surprises when the car is returned and the production is not held up, either.

6. Will your department markings be used? You’ll need to know if your markings will be used or if they will be covered. Simply covering graphics will not harm them, but if portions (or all) of your graphics have to be removed, then you will have to be compensated for their replacement.

If your graphics are covered with movie skins, they will probably use their own license plates, too. Just be sure yours get replaced on the car. Ditto for any equipment removed or modified.

Not on My Watch

Your agency may be asked to provide officers for security for movie equipment during off-hours or traffic control and/or crowd control during filming. No matter how small the budget of the project, or how sold you are on it, none of this should be provided pro bono. They can afford it.

Preferably (if your agency allows moonlighting), security of all forms should be provided by off duty officers. You avoid possible overtime and other headaches that way. The officers should be paid the going rate for your area. If there is not an established rate for off duty employment, they should at least receive the hourly rate you pay them on the job.

If your agency does not permit off duty employment, you will have to either get permission to use on duty personnel or recommend a competent private security firm.

All security, other than the actor’s personal bodyguards, is hired on location. If they do hire private security, you should request a filming schedule which lists dates, times and locations of filming. Be sure to alert your officers patrolling those areas to the increased vehicular and pedestrian traffic.

Don’t Take Your Guns to Town

You may be asked to provide officers to “play” officers in the movie. This could even include speaking a few lines. As above, the ideal way to handle this is for the officers to do this off duty and be paid by the production company. (Again, there is no set standard, but they can expect to earn at least $50 a day, work 12 hours and be fed one meal.) If your policy states personnel cannot work off duty, you’ll have to pass or use on duty personnel.

There are two very important considerations when real police officers play police officers in the movies:

Uniforms

You will want to know if your department’s uniforms will be worn, or if the production company will provide their own. This includes all of your issued uniform equipment, such as hats, vests, handcuffs, batons and leathers. For example, they may already have generic uniforms, but want to use your leather and other gear. This all goes back to what kind of movie is being made and if you want your department identified with it. If they are using your uniforms, you’ll also need to know if they plan to use your badges and shoulder patches or use their own. If they cut your patches off, they will be responsible for sewing them back on. You’ll want to ask about name tags, too. If an officer appears with his own real name tag, there could be repercussions.

The bottom line about uniforms is that if yours are used – and they are department issue – you will want something in writing to guarantee repair or replacement. If the officers purchase their own gear with some type of allowance, they will need the same type of guarantee.

Weapons

Any police officer on a movie set must be aware of the firearm regulations in the movie industry. Due to highly publicized tragic firearms accidents on movie sets, rigid standards have been adapted and must be followed to the letter. The following policy was enacted January 26, 1995, and is titled Safety-Bulletin No. 1 – Recommendations for Safety with Firearms and was written by the Film Industry – Wide Labor/Management Safety Committee.

One individual – the property (prop) master – has the responsibility for all firearms on a set. Period. He is the chief of police, the sheriff, the boss. The Film Industry Firearms Policy details his duties as follows:

The property master is the individual responsible for:

• Possession, control and distribution of all firearms on the set – all firearms to be used on the production, whether company owned or rented, or privately owned, are to be given to the property master;

• Designating individuals under his immediate supervision to assist him, if necessary;

• Being qualified to work with the types of firearms being used and being knowledgeable in their safe handling, use and safekeeping;

• Seeking expert advice if he (or she) is not familiar with the firearm to be used;

• Ensuring that current licenses and permits have been obtained for the possession and use of production firearms;

• Being knowledgeable about the laws governing transportation, storage and use of firearms and complying with those laws;

• Being knowledgeable of (and adhering to) all manufacturers’ warnings, expiration dates, storage and handling procedures for all blank ammunition;

• Issuing firearms – the property master will not issue a firearm until he (or she) has trained the person who is to use it. The training shall include handling and safe use, including the safety lock;

• Allotting a sufficient amount of time for training and rehearsal;

• Requiring that an actor, or weapon handler, demonstrate prior knowledge, if any, of the safe handling of a firearm;

• Personally loading, or designating an experienced person working under his (or her) immediate supervision to load the firearms. Firearms are to be loaded just before they are to be used in a scene;

• Allowing any actor who is to stand near the line of fire to witness the loading of the firearm;

• Using the lightest load of blank ammunition consistent with the need of the scene, and advising the director and other involved personnel;

• Notifying all present, including the sound mixer, prior to firing;

• Retaining possession of all firearms – except during actual filming or rehearsal. Afterward, the property master will immediately unload the firearm;

• Checking each firearm before each use. All firearms must be cleaned, checked and double-checked, and inventoried at the close of each day’s shooting. All weapons must be accounted for before personnel are allowed to leave the area. The production company needs to allow time in its shooting schedule for this procedure;

• Using simulated or dummy prop guns whenever possible; and

• Ensuring that firearms carried by off duty police officers working as extras are unloaded.

Your officers need to be aware of this policy and be prepared to surrender their weapon(s) for inspection. Simply stated, there is no live ammunition allowed on a movie set – ever. This applies to side arms, rifles, and shotguns.

Mother’s Advice

Another request you or your people may receive is to give advice on police policy and procedures. On my project, I began working with the art department on the types of emergency vehicles typically used in my area. Once the vehicles were picked, I then located them and negotiated the rentals.

I next worked with the wardrobe department to develop correct law enforcement uniforms for our area. This included typical uniforms for city, county and Federal agencies. This included such minute details as the correct placement of patches and badges and (when we experienced rain) the correct rain gear.

I then worked with the prop master to determine the correct placement of equipment on uniform belts and walkie-talkies and microphones.

I was also requested to coach an actor who had never played an officer. I “lived” with him for six hours, teaching him both classroom procedures and real-world procedures – basically, how to “walk the walk and talk the talk.”  I had to accompany him to makeup and advise the correct hair length. I also accompanied him to rehearsals and monitored several “takes.”

As the cast and crew became more accustomed to me, it seemed like they all had questions when I was on the set. I advised them on how to approach a house to execute search and arrest warrants; officer and vehicle positioning; carrying firearms; and much more.

It is possible you could be asked to perform similar duties. You may want to defer to a training officer, detective or several people. Whoever does this, do not do it for free. A fee or hourly rate should be negotiated in advance. In addition, these types of services fall within the definitions of “technical advisor” and that person should be acknowledged in the film’s closing credits.

It’s What’s Up Front That Counts

I hope you’ve picked up on the common thread woven through this entire article. Attempt to resolve every issue before filming begins. This applies to vehicle rentals, security, firearms – everything. You are not making unreasonable requests to get these questions answered and issues resolved before filming starts.

When a movie company lands in your backyard, they hit the ground running. Time is money and their biggest concern is running over budget. If asked, they will agree to complete the paperwork and agreements in advance; they do it all the time. They just might not volunteer it. Here are a few of the items you’ll want to secure “up front”:

1. If the film company is a LLC (Limited Liability Corporation), you’ll need a list of the officers of the corporation. This is a matter of public record.

2. If you are going to rent vehicles, obtain the following:

a. A copy of the movie company’s liability insurance naming your department as being covered; and

b. A signed and notarized letter of agreement articulating vehicle rent; if the car will be modified in any way; who will drive it/move it/ deliver it; that it will be returned as good as/or better than when rented and an agreement for a battery replacement, if needed.

3. If your officers are to be used, there are a number of items which need to be agreed to (in advance) in a signed and notarized document. They include:  

 a. Salary;

 b. Hours;

 c. Duties; and

 d. Uniformed/or not.

These suggestions are just guidelines and every situation and location might be different. Hopefully, they will serve as a catalyst for your own ideas to kick in should the movies come to your town.

The Parting Shot

Finally, if your rules and regs prohibit any outside use or rental of your vehicles, you can still help them out with the following advice. You might want to point out other sources for cop cars, such as dealers who specialize in used police cars, or local departments which may be preparing to sell off some of their fleet. Local car clubs could help, too, and one national car club, The Police Car Owners of America, has members with police cars in nearly every state who frequently rent their cars to the film industry.

Remember, don’t get too “starstruck” when Hollywood comes calling. Be realistic, fair and reasonable and you might have some fun, too!

For more information, visit the Web site at www.policecarowners.com

The author welcomes your comments. He can be reached at:

Sgt. James G. Post

15677 Highway 62 W.

Eureka Springs, AR 72632