OCCASIONS→FILM AND TV PRODUCTION

Chauffeuring for film and TV: call times, cast moves, and the discretion a set runs on

A shoot runs on the call sheet, and the call sheet does not care about traffic. The work is getting the right person to the right base at the right minute, quietly, whether that is a lead who has to be in the chair by six or an executive dropping in for the afternoon. Nobody on set should be thinking about the car.

Professional film camera on a tripod between two production lights on a wet city plaza at night — on location after dark, the kit and the people a production runs on

What we actually do

The early call. Hair and makeup often starts before dawn, so we start earlier. Pickups timed to the call sheet, not the optimistic version of it, with the buffer built in for the one road that is always shut.

Cast and talent, discreetly. A quiet car, tinted where it helps, and a driver who does not ask for photos and does not mention who was in the back. For a lot of productions that discretion is the whole point.

Executives and the money. Financiers, producers and studio guests dropping onto set for a day, met at the airport or the hotel and delivered to a base that is rarely near anything. We find it before you have to.

Unit moves and the odd hours. Wrap comes when it comes, not when the schedule promised. The car is on call through the day and there at wrap, however late it runs, so nobody is left at a location at midnight.

How we prepare

a production runs on the call sheet and the NDA. we work to both.

WHEN YOU BOOKThe call sheet, not the guess. Send the schedule and we work back from the call: pickups, bases, the airport runs for incoming talent, and who must never be late. One point of contact for all of it.

THE DAY BEFOREThe base, found. Locations and unit bases are rarely somewhere you would recognise on a map. We confirm the exact gate, the parking the location manager allows, and the route checked against overnight closures and any road shuts of your own filming.

DISCRETIONWhat happens in the car stays there. We sign your NDA without being asked twice. Drivers do not post, do not name names, and understand that the person in the back is working, not making conversation.

THROUGH TO WRAPOn call, not on the clock. The car holds near base and moves on a message. When wrap slips three hours, as it does, the plan does not change: we are still there when the last person needs the ride home.

Honestly, though

We are not a picture-car or stunt outfit. If you need a car in shot, or a precision driver on camera, that is a different specialist and we will say so. We move the people, not the plot.

A production day is a booked day. The car and driver are yours from the pre-call to the wrap, so this is priced as a day, not a single transfer, and the price does not change when the day overruns. We tell you that up front.

for the shoot

Send the dates, the bases and who needs moving, and we will come back with a plan for the run and a fixed daily rate, under an NDA if you would rather.

plan the shoot →