Bring Back Snacks to Boost Morale
How healthy food boosts productivity for all
There’s an old saying popular with film producers:
“A crew runs on its stomach.”
I know this true, having produced both $1 million cable network documentaries and low budget passion projects for directors and writers whose work I admired.
Before I left the corporate media world to become an independent producer, career coach and adjunct film professor, I learned about the power of food from the best boss I ever had—Michael Bloomberg. Bloomberg was an expert at feeding employees well as an affordable way to boost both productivity and morale.
In the late 1990’s when I arrived in New York for my first full-time TV job, Bloomberg LP’s original headquarters on 59th and Park Avenue, was known for a bustling and welcoming lobby. There was a long counter always overflowing with high-end snacks, fresh fruit and veggies, Lindt Chocolates, hot and cold drinks. In addition to comfortable chairs, guests had access to free phone calls, long distance included. Guests on various Bloomberg shows arrived early and lingered in the lobby long after their appearances on the nascent network.
Before holidays, the quantity and quality of the refreshments soared. My kids enjoyed foot-tall chocolate Easter bunnies, delicious Cadbury cream-filled eggs, chocolate chicks and delicious chocolate Christmas trees. By the time my son, Evan, started working for Bloomberg Business Week in the early 2000’s he complained that the sugary treats of his childhood were replaced by air-popped popcorn and too many celery sticks and fresh fruit. (This shift to healthier snacks was during the time then Mayor Bloomberg outlawed super-sized sugary soft drinks in New York City).
Based on my years working at Bloomberg, I took Bloomberg’s strategies with me to the independent film world. (I also learned from him to sit in the middle of the chaos and be available to anyone who wanted to share information with the boss).
On sets big and small, I soon realized that serving healthy and tasty snacks and meals was the best way to keep traditionally underpaid cast and crew working 10 to 12 hours a day. I learned all about the importance of craft services, the welcoming table or two or three tables that serves as the town square and center of any good production. Before booking cast and crew, I sent out a questionnaire asking people to share their food allergies, preferences and other food-related requests and details. This paid off in many ways, preventing serious health issues and digestive disorders.
I always set up my on-set office at one end of the snack table. I usually shopped and personally chose and displayed the mix of sweet and savory snacks, hot and cold drinks, and other special treats. Besides supplying refreshments, crew members and talent knew to visit the craft services table to find me (or ask the production assistant on duty to call me). It was where to find the first aid station and complaint department.
I kept a clipboard with lots of paper and pens for anyone to document a complaint or concern. I found that asking people to write things down not only defused what could escalate into a big fight but gave me a chance, during the limited quiet times during the chaotic day, to think of a response and propose solutions.
I planned the meals based on the pre-hiring questionnaire, which people questioned but soon appreciated. I learned from experienced line producers never to serve pizza unless it was a second meal after 10 p.m.
During location scouts, I visited every bodega, café and restaurant within walking distance of our set to pre-order healthy grab- and -go breakfasts, good, fresh coffee and catered lunches. In New York City, a few years ago, it was easy to provide meal money in cash and send the crew of to buy their own lunches, but now that takes more time and money than feeding people on set.
I learned to follow trends in craft services. A few years ago, dried seaweed was a must-have. Power and protein bars are also popular. I also learned to hide the Red Bull and Monster energy drinks so only I could distribute them upon request. On blistering hot days, I made smoothies and icy drinks in a blender and passed them around myself. I learned to mix a five-pound bag of ice with three bottles of Sea Breeze after shave to dip bandanas in— to make a cooling neck wrap. This cooling trick turned more than one grumpy grip and electric crew member into a happy camper.
On one super low budget film shot in Kentucky, the temperature hit more than 100 degrees for days. Fearing a mutiny, I asked the local supporters of the film to bring coolers filled with ice cream and ice pops to the location for a quick afternoon break. The lovely women who funded the film, were happy to help and loved meeting the cast and crew during these important ice cream breaks.
On my first shoot as an assistant line producer, I was on my knees outside a mini-fridge inside Matthew Modine’s trailer because his rider, the list of must-haves in an actor’s contract, required that he have a supply of Vitamin Water arranged in order of the rainbow spectrum. I was desperately trying to remember what I learned in first grade, when he walked into the trailer.
“What, may I ask, are you doing?”
“Ah, I’m trying to arrange these Vitamin Waters in rainbow order,” I stammered. “That’s what your rider requires.”
He laughed.
“I don’t ever drink that stuff. So, please pack it up and take it back to craft services,” he said.
I was so grateful and relieved. I asked him if I could handle any other special requests.
“I’d love one warm chocolate chip cookie when we wrap,” he said. “My wife doesn’t like me to eat sweets, but that would be a treat.”
I made finding and warming up that cookie a top priority.
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