Livin' the Dream with Stacey K. Black

This week my guest blogger is Pete Diamond, Assistant to Andy Sacks and Ronnie Chong. I have written about Pete in previous blogs. He has always been my go-to-guy in the production office, and my joke is when I call to ask Pete for something, it's already done before I disconnect the call. He is THAT good.

Here is Pete's life "On Set," in his own words!

Forging Relationships:

When I meet people who do not work in production, I dread the inevitable awkwardness that accompanies my explanation of what I do as the Assistant to the Line Producer/UPM. The times when I have to explain my job, I just smile big and defer to an apt description of my position courtesy of G. W. Bailey, “We don’t know what Pete does here, but if he didn’t do it, it wouldn’t get done.” Everybody has a chuckle, and we move right along in the conversation. The truth is how do you tell someone that you do a little bit of everything?

People need specifics. For them, you need a definable role. If I had to tell someone what I really do here, I would say I forge relationships. Now, I know everybody has relationships at work and in their personal lives, but I feel like the working relationships are supremely important in television productions. Like the actors, we all have our roles: Transportation drives, Writers write, Editors edit. All of us playing our specific role must come together to make a television show.

Sounds easy enough. But, as in life, those lines get blurred. I work in those blurs and try to get things done the best I can. Which gets me back to forging relationships. The only way I can do my job effectively is to have a good relationship with all of the departments. Despite common the misconception, everybody is important. Mutual respect, if not admiration, and empathy must exist to accomplish the task at hand: making a great television show. Over the years, I have built those relationships. Those people make me better, and that is the primary reason I am good at what I do here. Whatever that might be at that moment.

On some productions, certain types of “class warfare” between departments can and does exist, but it is not a part of Major Crimes, or any successful show. If Major Crimes was that way, I would not want to be a part of it.


Stacey K. Black has been burnin' hair on Hollywood TV and Film sets since 1996. She is a three-time Emmy nominee for Outstanding Hairstyling on the series "GLEE," and "American Horror Story."

Her other hairstyling credits include the feature films "THE STEPFATHER," "RUNNING WITH SCISSORS," "THE MINUS MAN," and TV series "NIP/TUCK," "JAKE IN PROGRESS," "THE D.A.," "EZ STREETS," "PROVIDENCE," "CSI:NY," "TOTAL SECURITY," and TNT's "THE CLOSER." She is now enjoying season 2 of "MAJOR CRIMES" as Department Head Hair Stylist.

Stacey also made the unconventional jump from Hairstylist to Director during season 6 of "THE CLOSER" on the episode "Last Woman Standing," and since the episode didn't suck, she was handed the reigns again for her second episode, "Star Turn," this time during season 7. She somehow snowed the powers-that-be into letting her direct an episode of "MAJOR CRIMES" during season 1, which aired on October 8, 2012, entitled, "Cheaters Never Prosper," and this season, her episode "Risk Assessment" will air on Dec. 23.

Her methods of persuasion remain a mystery.
Stacey's documentary feature film "Send My Mail To Nashville" is currently in post-production.

She also enjoys making movies and music, and curried lentil stew. 

The opinions expressed are solely those of the writer/speaker and do not necessarily represent the opinions of Turner Entertainment Networks, Inc.