I am taking with my trusty iPhone 7 along with some fascinating pieces of equipment for use in Filmmaking. Going to scout various locations for my novel sequel too. But one great thing in Paris is that you can’t help but turn in any direction to get architecture and beauty in a shot.
Paris is one of the greatest cities in the world. For a brief overview, you can see the Architecture of Paris (Wikipedia).
Filmmaking is simpler here in Paris. I shot a film here in 2002, my first experience in the capital. The crews were great. They don’t really have films unions in France like in the United States, which is organized into national unions with regional locals. The IATSE and the Teamsters have extensive locals. DGA, SAG and Camera 600 are national unions. But in France, the crews belong to the national employment setup which also sets their hours and conditions. The hours of work are generally 10 hours, maybe 12. But not the long hours of the United States film production model. It’s wise to limit those work hours. The extensive and excessive work hours in the U.S. have been responsible for a half-dozen deaths due to a lack of sleep when crews were driving home.
Shooting in Paris is easier in terms of transportation. In Los Angeles, a massive transportation department would post entire blocks to place the various trailers, working trucks and other transpo needs of the film. In Paris, they basically hire drivers in vehicles who watch the street. Then these drivers take parking spots as they open up. They are called “voiture venteuse”. As a result, you eventually park your trailers and work trucks – but up and down the block or wherever available. As a result, transportation on these narrow winding French streets is more challenging. So the smaller transpo units are more nimble and pliable. The American transportation trailers would be a parking nightmare in more ways than one.
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