Pierre Paumier presents his work as Marine Coordinator, a key function of filming at sea.
Pierre, how does one become a Marine Coordinator?
Basically, I am a yacht captain. I then founded a company "Events Boats", which is specialized in events at sea. We organize corporate or personal events, on board sailing or motor boats. We operate mainly on the Mediterranean coast, between Marseille and the islands of Hyères.
I approached this activity by making myself known to production companies and intermittent workers, to provide them with boats or other services. Then, little by little, as we gained experience in this sector, we specialized in the coordination of shoots.
What does the Marine Coordinator's job involve?
We use our knowledge and our network to organize a shooting at sea. We intervene for the cinema, but also for the shooting of series, short films or commercials.
We provide logistical and administrative support to ensure that filming at sea takes place in good conditions.
In concrete terms, how does the organization of a shooting take place?
After having been informed of the scenes to be realized and the specifications to be respected, we define the means to be implemented.
There are two types of boats needed for a shoot:
- technical boats: they are used to support the film's technical teams. It can be a semi-rigid for a camera support, a catamaran or a small yacht for a dressing room boat, cab boats to bring the teams, a boat with a large front deck for drone shootings or even diving supports, if underwater scenes are to be shot
- game boats: they are an integral part of the script and will be featured in the film.
Then, we have to settle the whole administrative part. We can't shoot when we want and where we want. We have to obtain authorizations from the authorities concerned. For example, the famous 300-meter strip is the responsibility of a city hall, and beyond that, we are in the maritime domain.
As soon as the shooting concerns the maritime environment, I become the main link and the teams have to adapt to this so particular environment. You have to know the cinema business.
I am also the guarantor of all the maritime safety around the shooting. We carefully follow the weather forecasts, because insurance companies are very strict on this point. But we also use our marine sense. If we think that a scene is too complex to realize, we postpone it or we submit proposals to the director.
What are the latest shoots you have participated in?
I worked on the shooting of a Walking Dead spin-off, which took place in Martigues. We had to recreate a set on the city's quays, using a dozen boats that had been transformed into wrecks. We had to clean them up, find ways to transport them and grill them. About ten days of preparation were necessary for two days of shooting.
I also collaborated with the production of Stillwater, with Matt Damon. The script required a lot of underwater shots.
The financial stakes on these big productions are very high, with each day of shooting involving large teams and very well-known actors.
I also work on the realization of series or advertising. The Mediterranean coastline, by its beauty and diversity, lends itself readily to filming.
How do you manage a film crew that doesn't have sea legs?
We communicate a lot. As the central element, I go around to all the participants. I give instructions, but also positions. We deal with the unexpected and we have to adapt quickly. And I also have a good supply of mercalm, which helps the operators fight seasickness.
But the teams are generally happy to shoot on the water. The sea is a unifying place for filming.
