Guerilla filming: Giving movie production a bad name
Guerilla filming is filming without proper permission, which usually results in community concerns, risk to the public and filmmakers, safety issues and of course, in general, it gives filming that is legitimately done, a bad name.
Last month the story I am telling was printed in a column of the Union-Tribune. Since the San Diego Film Commission presents the public and government regarding filming, this story was probably one of the worst nightmares we can imagine.
A woman writing her second suspense novel nearly got herself arrested recently when she decided she was a filmmaker and jumped right into filming her webisode story. She gave no thought to getting permission, insurance, or thinking about what the public perception might be ultimately causing a life-threatening situation for the actors, public and law enforcement.
For the sake of the story we will call the writer-turned-filmmaker Jane. Jane and her husband, working as amateurs, hired actors wearing ski masks and carrying what looked very much like real guns. These actors were directed to climb over rocks and a fence into a Point Loma residence. To an innocent bystander this could easily look like a home invasion. Someone reacted to this activity as if it were the real thing and called law enforcement. The actors and residents in the immediate area were put at risk and their lives were threatened when officers arrived, prepared for the worst. This was unprofessional and irresponsible to not take the public perception into consideration. This gives movie production a bad name and is, frankly, dangerous. Think how many people own guns and under what conditions they might feel threatened, taking matters into their own hands.
This is why there is a Film Commission and why even student filmmakers know to prepare for any on-location filming through the experienced staff of the Film Commission. Weapons and ski masks would require neighborhood letters, prepping the neighborhood, law enforcement presence and guidance and insurance for the city. Think of the helicopter that was sent to investigate, as well as the police officers who acted on this incident and the cost to taxpayers, not to mention the risk of life if an officer felt he needed to fire because the actor didn't drop the prop gun. No experienced director would have participated in such unprofessional behavior in the public. His career would be over. Even reality television prepares a neighborhood for this kind of sensitive filming.
This is everyone's worst nightmare and for us at the Film Commission, this is the kind of insensitive, negligent activity that causes neighborhoods to scorn filming as a bad experience. Our mission and goal is to keep citizens safe, avoid risk and liability, and communicate with the community and law enforcement.
The reality is that this incident created real physical risk to the people in the area, incurred a cost to taxpayers in unnecessary emergency response, and encouraged renegade filming. At no time would the Film Commission support this type of irresponsible filming. Had the writer, Jane, contacted the Film Commission, we would have reviewed the story line, identified the risk and safety issues, brought in fire and law enforcement to evaluate the safety and risk issues, and discussed how best to approach the public and community to prepare them.
A neighborhood letter would be prepared and the impacted neighbors would receive a personal visit and explanation. Police would be on the set at all times and weapons checked to see if they are safe and unloaded. Police and fire substations would be notified and a Film Commission representative would be present to help with public perception.
Unfortunately this happens more than one can imagine. You may remember the student filmmakers that simulated a bank robbery after work hours in a real bank using ski masks and real guns without notifying the Film Commission and law enforcement. Luckily, no one was shot when the police arrived with guns drawn.
In conclusion, we are in the process of contacting Jane to see if she plans any more filmmaking adventures, so we can assist her. Oh, and by the way, our service is absolutely free -- so there is no reason a filmmaker would avoid our expertise.
Anderson has spent much of her life in theater, writing and film production, as well as serving as film commissioner and CEO with the San Diego Film Commission. Send comments to editor@sddt.com. All letters are forwarded to the author and may be published as Letters to the Editor.
