The Invisible Backbone of Filmmaking: Reflections on the Role of the First Assistant Director

When people watch a film, they often admire the director, the actors, the cinematography, even the music. Rarely does anyone think about the person quietly holding the production together, anticipating crises before they happen, orchestrating chaos into order: the first assistant director (1st AD).

I have spent more than twelve years in this role, and I can tell you—it is both the backbone of a film and one of the most thankless jobs in the industry.

What the 1st AD actually does

The first assistant director is the engine that keeps a production moving. They are responsible for:

• Scheduling: turning a script into a realistic plan, balancing time, locations, and resources.

• Coordination: liaising between departments—camera, lighting, set, actors, costumes—to make sure everyone is on the same page.

• Problem-solving: anticipating issues before they derail the shoot.

• Execution: ensuring the director’s vision can actually be realized in the allotted time.

In short, a good 1st AD allows the director to focus on creativity, while quietly managing everything else that could make or break the production.

The reality in Morocco

Unfortunately, in Morocco, this role is often misunderstood or undervalued. On many productions, the first assistant director is brought at the last minute, after most decisions have been made. The consequences are severe:

• There is little time for preparation, meaning problems arise during the shoot rather than before.

• Scenes are sometimes filmed without the next location even confirmed.

• Equipment, sets, or permits may be missing or delayed.

And yet, when anything goes wrong—which is almost inevitable under these conditions—the blame almost always falls on the 1st AD.

I’ve been on sets where we were mid-shoot, and nobody knew where the next scene would take place. Everything had to be solved in real-time, under pressure, with no buffer. The job becomes less about planning and more about constant firefighting.

The international contrast

Abroad, a 1st AD is often involved from the earliest stages of a project, sometimes even during script development. They are trusted partners in pre-production, helping shape the schedule, the shooting plan, and the overall feasibility of the project. This early involvement:

• Reduces stress during filming.

• Makes the entire production more efficient.

• Allows creative decisions to be implemented realistically.

When the first assistant is treated as an afterthought, as is too often the case in Morocco, it’s not just unfair—it’s counterproductive. The production suffers, the crew suffers, and the film itself is put at risk.

Why this matters

The first assistant director is invisible by design: a good 1st AD is one who makes everyone else’s work possible, without needing recognition. But invisibility should not equal undervaluation. A competent 1st AD:

• Saves time and resources.

• Protects the director’s vision.

• Reduces stress for the entire crew.

Understanding and respecting this role is essential if a film is to succeed—not just technically, but creatively.

A personal reflection

After more than a decade in this position, I have seen how much impact a first assistant director can have on a film. I have also felt the frustration of being called to manage crises that could have been avoided with proper planning. Yet, despite the pressure and the lack of recognition, there is something deeply rewarding about turning chaos into order, watching a project move smoothly, and knowing that your work—though invisible—was the backbone of the film.

Filmmaking is a team effort, and every successful film owes as much to the 1st AD as it does to the director. Perhaps one day, in Morocco and elsewhere, this reality will be acknowledged more openly. Until then, the role remains demanding, vital, and underappreciated—a quiet force that makes the impossible possible.

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