Peter Trevor

Education

About me

From the beginning of April I will be joining Calltime Connect's Calltime Foundation runners training scheme, so please contact me through them.

Basic Information, Skills and Qualifications

Basic Disclosure Certificate.

Languages: Japanese – intermediate spoken and written: 4 years’ experience living in Japan, followed by:

Graduate Diploma in Modern Japanese, School of Oriental & African Studies, Grade of Merit.

Japanese Language Proficiency Test, level 2, 76% score achieved.

French – basic.

Licences: Car & Motorbike with experience of driving all sizes of vehicle from car to large VW Crafter and Luton Van in the UK and on the continent. Sailing experience from dinghy to 12-metre racing yacht.

I have received driver training for a role involving vehicles and have driven on set. Familiar with manual and automatic transmissions.

London College of Communication, University of the Arts, BTEC unit Digital Imaging Skills (Photoshop).

London College of Communication, University of the Arts, BTEC units in Introduction to Photojournalism and Portraiture of Reportage.

Extensive photography experience with photos published in a number of books and a CD cover.

Experienced with Hugin panorama software which has taught me how to achieve a harmonious balance of elements across the picture frame.

Computer Skills: Extensive professional usage of Microsoft Office, plus training as follows:
Excel: Advanced & Expert courses at the City Lit.
Access: Advanced & Expert courses at the City Lit.
PowerPoint: Essentials course at the City Lit.

Touch typing (50wpm) with extensive use of Word and Japanese Word.

I have worked with horses on set.

Based: Wapping.

BSc Physics.

Career, Experience and Motivation Outline

After working on over 70 productions as an SA I am beginning to combine the on-set experience I have gained and my creativity to move to the production side of the industry, and have recently worked on a branded content shoot and a music video. My experience is in drama, though I am interested in all areas that will allow me to use the experience I have gained.

My previous career was in a very high pressure industry which required that I constantly devise creative solutions under time pressure and in which I achieved results in sink or swim situations – for example, a year after leaving university I was posted to Tokyo and successfully established and managed a new division for the company I worked for – so have no fear of being thrown in at the deep end and told to get on with it. I managed teams and co-ordinated across teams effectively, winning industry awards for the excellence of our work.

By close observation and conversations with ADs over more than 2 years performing SA roles I have gained a deep insight into what is required to creatively direct SAs in order to fulfil the aims of a given production in a manner that will enhance the visual presentation of the script’s intentions.

I believe the greatest contribution I have been able to make to the productions I have worked on is my ability to improvise, sometimes in an instant, a skill I am sure would prove valuable when it is necessary to devise SA positioning, moves and reactions under time pressure.

From experience the more information about a scene and its intentions SAs have the more commitment and dedication they bring to a project, resulting in a better performance. To aid this I would outline to the SAs the type of production and what is required of them when they are hired for a production.

Within the constraints of secrecy surrounding the story demanded by all productions, I would explain the aims of a given scene and its mood, then direct the SAs in the appropriate direction in the knowledge that most have the ability and creativity to carry out their given roles effectively. To point out any tweaks or individual mistakes with humour, reserving criticism for those SAs (fortunately generally a tiny minority) who regard this kind of work as a lark or ignore the demands of secrecy or the production company's code of conduct. To achieve this I combine the person management skills gained managing in my previous career with the experience gained working as an SA myself.

Practical experience I have gained includes a knowledge of FAA regulations and the process of signing SAs on and off plus, always learning the layout of the set and the location of facilities and any dangers that the filming process may present to SAs and other staff. I am aware of on-set etiquette and the way the AD function contributes to the overall filming process and the necessity to be on time and to retain focus at all times.

My experience has driven home the importance of establishing the camera’s field of view so that SAs can be directed within the appropriate space on set, and of noting the timing of actions during scenes so that, for example, if it is necessary to repeat a scene starting from a later point in the action, I will have taken note of the appropriate starting point for the actors at any stage required for a re-take. This experience will prove invaluable when it comes to preparing call sheets for individual days or scheduling an entire film’s shooting run.

I am familiar with the conventions and abbreviations used on call sheets, have used a radio on set and know the etiquette to be observed when using them, while I have also received driver training and driven on set and also have experience of working with horses.

I have intermediate spoken and written Japanese plus basic ability in French.
My SA experience will prove invaluable in situations where it is necessary to provide advice and guidance to less experienced SAs, for example by sharing the techniques I have developed for myself through my acting experiences in difficult situations such as miming.

I am able to respectfully deal with people in order to effectively deal with problems as they arise in accordance with the conditions of employment in force on each project, such as managing difficult SAs and when it is necessary to escalate problems to a higher level if required.

Crew Experience

Sound Factory, Set Production Assistant and Runner, Music Video, Nov 2019, 1 day

Set Production Assistant for a music video handling lights, props and continuity, managing one
other runner and assisting the Camera Operator and Director. Converted the storyboard to a call sheet with numbered scenes, lighting cues and prop placement and timings, plus talent and costume requirements.

Bonfire Films, Runner, Branded Content, Nov 2019, 1 day

Runner for a branded content promotional film. Assisting talent and the Director and crew plus helping with studio setup and de-rig.

SA Experience.

Note: I have given a breakdown underneath those roles in which I feel I have gained particularly valuable experience.

Reuters TV, foreign exchange analyst trial, Jul 2010, 14 days

Bastille Day, Anarchist, Jun 2015 , 1 day

War Machine, Press Photographer, Aug 2015 , 1 day

Nike Advert, Football Fan, Oct 2015, 1 day

Victoria TV Series, Parliamentarian, Mar 2016, 1 day

National Treasure TV Series, Restaurant Customer, Mar 2016 , 1 day

Virgin Trains Advert, Marathon Spectator, Apr 2016 , 1 day

Betfair Advert, Golf Spectator, Underground Train Passenger, Jun 2016, 1 day

Ladbrokes Advert, Cheering Sports Fan, Jun 2016, 1 day

The Crown Series 2, Film Cameraman, Conservative Party Activist, Apr 2017, 2 days

Stan & Ollie, Jewellers Shop Window Shopper (walk-on), Interested Passer-by, Apr 2017, 1 day
Learnt: timings to give the required flow to a scene.

The Crown Series 2, Film Cameraman, Country House Party Guest, May 2017, 2 days

Electric Dreams TV Series Episode: The Hoodmaker, Market Trader, May 2017, 3 days

Electric Dreams TV Series Episode: Human IS, Military Captain, Jun 2017, 4 days

The Angel, Passer-by, Jun 2017, 1 day

Trust TV Series, Funeral Mourner, Country House Guest, Jun/July 2017, 3 days

Black Earth Rising, Legal Practise Receptionist, July 2017, 1 day

Justice League, Businessman, July 2017, 1 day

Peterloo, Rioting Tradesman, August, September 2017, 13 days
Learnt: safety protocols surrounding horses used on set, precautions to be taken during inclement weather, the correct use of potentially dangerous props, SA placings to ensure the action fills the frame, green-screen work, replications.

Bohemian Rhapsody, Crowd Member, September 2017, 2 days

Fantastic Beasts II, Cruise Liner Passenger, Henchman ( stand-in role), October/November 2017, 6 days

A Very English Scandal, Juror (creative reaction), October 2017, 3 days

HSBC Advert, Passer-by, December 2017, 1 day

Vanity Fair, Soldier Attending a Ball, December 2017/January 2018, 3 days

McDonalds Rugby Indents, Rugby Fan, January 2018, 1 day

Bohemian Rhapsody , Top of the Pops Cameraman, (creative reaction), January 2018, 1 day
Learnt: Use of motion within a scene to draw attention to a specific object in co-operation with the principal cameraman, suppression of extraneous sounds to keep the recording track clean, co-ordination of moving elements in a scene with a moving steadicam to create the most effective dramatic movement between camera and cast, co-ordination between props and a moving camera to maximise the visual presentation of a scene.
Mission Impossible VI, Passer-by, February 2018, 1 day

Judy, Waiter, Night Club Stage Manager (various walk-ons: on-screen dialogue plus solo scene), April 2018, 8 days
learnt: Setting up of props to match the mood and length of a scene, appropriate interaction with the principal cast of a major production, camera setups for solo scenes on self and others, continuity between main takes and their reverses, continuity between scenes in order to maintain the flow of the story.

Britannia II, Roman Servant, May 2018, 2 days

Sulphur and White, Securities Trader, May 2018, 3 days

Turn Up Charlie, Stressed Teacher/Social Worker (walk-on: solo scene on-screen dialogue, creative reaction), May 2018, 1 day
Learnt: Making an effort to learn the names of all the people I was working with, so that calling them by name during a take ensured a strong reaction.

Big Ears/Dumbo re-shoots, Railway Worker, June 2018, 2 days

Holmes & Watson Reshoots, Gym Food Vendor, June 2018, 2 days

Cheat, Party Guest, June 2018, 1 day

Summer of Rockets, Bookish Man in a Restaurant (walk-on, creative reaction), July 2018, 2 days
Learnt: Choice of appropriate props when given the brief for the role, following timings and actions as directed by the 1st AD.

Wonder Woman: Bloodlines, Taxi Driver (driving role), July/Aug/Sep/Oct 2018, 8 days
Learnt: Use of an automatic transmission, safety protocols for driving on-set, radio cues.
The Crown Season 3, Royal Mail Official, Aug/Sep 2018, 5 days

Learnt: Tact, to explain to an SA who started laughing when a principal fluffed his lines that it most certainly wasn't appropriate, rather than bawling him out.

NPX Project, Surgeon, Aug 2018, 1 day

Rocket Man, Flash Restaurant Customer (walk-on: singing role), Aug 2018, 2 days
Learnt: Learning song lyrics as requested before the shoot to ensure a smooth delivery during takes.

Men in Black, Smart Parisian Park Stroller, Sep 2018, 1 day

Fleabag, Wedding Guest, Sep 2018, 1 day

The Nest, Restaurant Customer/Soho Street Stroller, Sep 2018, 1 day

Sainsbury’s Christmas Advertisement, Enthusiastic Nativity Play Parent, Sep 2018, 2 days

Potomac, Commuter, Café Customer, Sep/Oct 2018, 3 days

Killing Eve, Commuter, Passer-by, Oct 2018, 1 day

Wonder Woman: Bloodlines, Delivery Man (driving role), Oct 2018, 3 days

Greed, Up-market Casino Gambler, Nov 2018, 1 day
Learnt: Maintaining focus on timings as an improvised action unfolded to ensure that the directed movements happened at the correct point in the action.

MotherFatherSon, Surprised Print Worker (walk-on role), Nov 2018, 1 day
Learnt: Timings with props to ensure that the SA arrived at the point where SA, principal and steadicam were directed to interact. Precautions to be taken in a distractingly noisy and potentially dangerous filming location.
The Capture, Prisoner, Nov 2018, 1 day
Learnt: Improvisation to put a delay into a walking route to ensure that the coming together of camera, principal actor and SA occurred as requested by the AD directing the scene.
Magic Hour, Scared Pedestrian, Dec 2018, 1 day

Misbehaviour, Passer-by, Dec 2018, 1 day
Learnt: How to view the working area as a whole to ensure that focus remains on the principals and that SAs' movements do not distractingly obstruct them from the camera's line of sight.
Magic Hour, Driver, Dec 2018, 1 day

Last Christmas, Christmas Concert Singer (walk-on: singing role), Jan 2019, 1 day

Four Weddings And A Funeral, Gardener, Feb 2019, 1 day
Learnt: Changing the number of SAs in the background to gradually isolate and direct focus onto the principal actors as their dialogue moved from the general to the specific.
The Hitman 2, Gang Member, Mar 2019, 1 day

London/FINN, Blindfolded Truck Driver, Mar 2019, 1 day

Peter Rabbit 2, Passer-by, March, Apr 2019, 3 days
Learnt: Respectfully explaining to the public what is going on on a lock-off-less street scene. Patience in the face of an extremely variable schedule.

Reluctant Landlord 2, Billiards Player, Apr 2019, 4 days
Learnt: Positioning to ensure that the camera's sight line remains open to the principals, movement timings to ensure continuity of action between takes.

Pennyworth, Postman, Apr 2019, 1 day
Learnt: Pacing to ensure crossing movements interact with the principal's motion in a way that ensures an attractive fluidity to the scene.

Avenue 5, Mission Control Specialist, May 2019, 1 day
Learnt: Clear delineation of the zones within a complex set, adding in SAs to fill 'empty' spaces within a scene to create a more balanced composition, using my initiative to suggest those additions to the AD, removing SAs from the background to concentrate attention on the principals as the script becomes more intense.

Alex Rider, Pall Mall Club Member, Passer-by, May 2019, 1 day

Breeders, Stand in for a principal cast member, May 2019, 3 days Stand in for a principal cast member.
Learnt: Working effectively as an integral member of the production crew, insights into lighting setups, camera setups (positioning, movement and lens focal lengths) and types (Arri, GoPro, Ring Doorbell), framing for static and mobile shots, radio usage and protocol. Lock-offs and dealing politely with the public when filming in a public place.
Eastenders, Passer-by, May 2019, 1 day

Holby City, Wyvern Visitor, Jun 2019, 1 day

Big Smoke, Sleazy Club Member, Jun 2019, 3 days
Learnt: Improvisation of a creative reaction between fellow SAs to emphasise the action within the scene. Established timings to co-ordinate reaction movements with a moving boom-mounted camera and the discipline to maintain that over the course of long days. Respectful behaviour toward actors who could be embarrassed if inappropriate comments were to be made.

The Split 2
Learnt: Cueing SAs in sync with the script to ensure a uniform flow of of action across the background of a scene.

The Nevers, Ball Guest, Jul 2019, 2 days

Britain’s Best Parents, Voting Audience Member, Jul 2019, 1 day

Autopsy: Florence Henderson, Doctor/Musician/Parent, Jul 2019, 1 day

Quiz, Member of the Press, Aug 2019, 4 days

The Third Day, 1900s Working Man In An Old Photograph, Aug 2019, 1 day

355, Wealthy Attendee At An Event, Aug 2019, 1 day

Merry Go Round, Club Member, Aug 2019, 1 day
Learnt: Used my initiative to add interest to a scene by suggesting to another SA that we cooperate to handle props during a restaurant scene.

Cruella, Mechanic, Sep 2019, 2 days

Holby City, AAU Visitor, Sep 2019, 2 days

Industry, Upmarket Restaurant Diner, Sep 2019, 1 day

Cruella, Fashion Show Attendee, Sep/Nov 2019, 3 days

The Crown, Estate Resident, Sep/Oct/Nov 2019, 9 days

Sea of Ships, Boxing Match Spectator, Oct 2019, 1 day

Skills

Secondary Job Title	Scenic Artist
Job Titles	AD (3rd), Runner, Scenic Artist
Years in industry	1 to 3 years
Languages Spoken	Japanese
Licenses	Motorcycle