Meet the Key 2nd AD - Emily Perowne

Stepping Off Set With Key 2nd Assistant Director, Emily Perowne

🎬 How did you break into the film industry/what was your first job?
​A mix of being in the right place at the right time—and finding the confidence to pick up the phone!

At the time, I was working as a production runner on the National Television Awards, which was essentially work experience—unpaid and very hands-on, running around doing a bit of everything. Bridget Jones 2 was looking to feature an NTA award in the film, I plucked up the courage to call the number of the Props team (can’t remember where the number came from) and props gave me the 2nd ADs number (that wouldn’t happen today!). I called him and got work experience. And then it went from there.

🎬 Did you always know you wanted to work in the AD department, or were you interested in another path before becoming a 2nd AD?​
​Nah. I wanted to be a zoologist! I fell into this industry (not clever enough to be a zoologist!). Back then, I didn’t know you could do it as a job. It was even harder to get in without knowing someone. Now you’ve got CallTime which is amazing!

🎬 What advice would you give to PAs or new crew members who want to move up into the 2nd AD role specifically?​
​Take your time. You might think you’re ready, but to be a great AD, don’t rush it. Listen to those who’ve done it before—discipline is everything, and so is respect. When I started, we shot on film, so the pressure was huge. You didn’t get many chances to get it wrong, which forces you to be prepared, focused, and precise. It’s different now with HD and digital, but that discipline is still what sets great ADs apart.

🎬 What skills do you think are most important for a strong 2nd AD (organization, communication, multitasking, etc.)?​
​Communication is key for an AD—not just as a 2nd, but at every level. You’re the link between departments and often the one setting the tone under pressure.

Kindness and friendliness go a long way. You may not always get it back, but that’s not the point. Staying respectful and approachable helps create a better working environment for everyone—and it shows in the work.

You can’t control others, but you can set a standard.

🎬 What do you look for when building your AD team—especially in PAs and Floor 2nd/3rd ADs?​
​Working only on big shows doesn’t automatically make you a good AD. Variety really is the spice of life. Often you don’t learn as much as you think, because you’re too far removed from the day-to-day workings of the production.

Locking off is important, but if you’re stuck there too much, it can stop you feeling part of the core team. I really value people who’ve worked across all levels—comedies, TV, drama, and film—because it gives you a broader understanding of how sets actually function.

And interestingly, the fewer PA’s there are, the more you tend to be involved with and learn from.

🎬 What’s a common misconception people have about what a 2nd AD actually does?​
​Well, I don’t drink coffee, so it’s definitely not about sitting at Unit base drinking coffee chatting to Actors! As a 2nd AD, you have to know what’s happening across all departments in order to properly support the 1st and pass on accurate information to the floor.

You can be the first point of contact for many so you need to have all the info on hand and if there’s anything you don’t know, it’s never a ‘No’…it’s a ‘let me find that out for you!’

🎬 What’s the most rewarding part of being a 2nd AD?

I love the pressure of working as a team to a deadline—not something measured in weeks or months like many other careers, but in hours, sometimes minutes. There’s a real energy and bit of a thrill in that!

When it works well, it’s because people are communicating clearly, trusting each other to do their jobs and staying focused under pressure. You quickly learn that it’s not about any one individual—it’s about the strength of the team and how well everyone supports each other to keep things moving.

🎬 Since the 2nd AD often runs unit base, how do you keep things moving efficiently while still making sure talent and crew feel supported and informed?

Honesty is important. You do sometimes have to massage the truth, but I try to be as honest as I can be. That applies to cast and all departments—we’re making films as a collective, so we should all be working together.

Creating a calm, efficient unit base is key, not just for actors preparing to go in front of camera, but for the crew too. They need clarity, stability, and support to do their jobs properly.

Mistakes will happen—it’s natural doing such long hours! What matters is how you respond. You can’t avoid every problem but you can stay calm, fix things quickly, and move forward without panic.

🎬 What’s the most challenging part of being a 2nd AD, especially during busy production days?

The hours are rough. Gotta be honest about that! Then there’s running a unit base, where requirements can change minute by minute, demands flexibility, calm thinking, and above everything absolute teamwork. Nothing works in isolation. Everyone relies on each other—costume, makeup, caterers, crowd team, unit drivers, facilities and the key…communication with the floor team… all pulling in the same direction,. I kinda thrive on all the changes that happen daily, hourly. But sometimes a quiet day is a dream!

🎬 What’s one lesson you’ve learned in your career that you wish someone had told you early on?​
​Know your boundaries. I’ve met some of my best friends on set, but with the long hours it’s important to stay mindful that not everyone is your “mate”—you’re still there to do a job and be paid for it. Be friendly, but professional.

Also no matter who you’re talking to, whether that’s fellow runners, a Supporting Artist or an Exec Producer. It’s also important to treat everyone equally, regardless of job title!

🎬 Can you share a memorable or “pinch me” moment from a project where you felt proud of your work as a 2nd AD?

I think a real pinch me moment was when Ron Howard & Paul Greengrass praising my crowd work when I was on the floor.

As a key 2nd though, there’s been a few - recently flying to Japan business class on ‘Neuromancer’ and working in such a fascinating culture was a real treat. Plus getting paid to turn left!

To see more of Emily's career journey whose credits include 'Slow Horses', 'Mission Impossible:Rogue Nation', '28 Years Later' and the upcoming 'Neuromancer' click here:

​https://www.imdb.com/name/nm2258754/?ref_=nv_sr_srsg_0_tt_1_nm_7_in_0_q_emily%20perowne​

*CallTime Company have made a donation to the UK Film and TV Charity on behalf of Emily Perowne to thank Emily for her time, knowledge and insight https://filmtvcharity.org.uk/​