In the world of television production, the grueling 12-hour workday has long been the norm. But for Diane Farr, a veteran actress and now first-time director on Fire Country, these long hours are taking a toll on both the mental health and morale of cast and crew. With a career spanning over three decades, Farr is not only concerned about the physical exhaustion these extended work hours create but also about the lack of consideration for the human side of filmmaking.
Fire Country, a series that follows the lives of a unique firehouse crew, has chosen to elevate cast and crew members into directing roles, a move that is historically rare but an important step toward diversifying leadership behind the camera. But despite the increased efficiency of using multiple cameras—sometimes up to five at a time—on set, the 12-hour workday remains commonplace. Farr points out that while technology has made it easier to capture various angles in less time, it hasn’t reduced the number of hours on set. In fact, the introduction of more cameras has, in many cases, only led to longer days.
Farr’s role as Sharon Leone, a mother, wife, and the commanding figure of the show, puts her in a unique position. As a woman over 50 and an actress with decades of experience, she’s seen the evolution of television production from the inside. She recalls the days of shooting with a single camera, a process that could stretch production time to 12 hours or more due to the need to shoot each angle individually. Today, with multiple cameras in use, shooting days are just as long, if not longer, despite the advancements in technology. This inefficiency isn’t just a result of outdated practices; it's the culmination of directors who fail to plan ahead, opting instead to capture as much content as possible and "find the story later."
Over the years, Farr has come to understand the importance of balancing work with personal life. Having spent the majority of her career as an actress, she knows firsthand that consistently working beyond a 10-hour day can disrupt family dynamics, ruin personal relationships, and drain the physical and mental energy required to create great art. A healthy work-life balance, she argues, is vital to sustaining a long and successful career in entertainment.
In her transition to directing, Farr was determined to keep production times reasonable while maintaining the quality of the final product. Through shadowing other directors who advocate for the health and well-being of their cast and crew, she learned that it’s possible to keep the hours down without sacrificing creativity. For example, she focused on shooting two to three setups per scene, rather than overwhelming the crew with endless angles of the same shot. The result? Most of her shooting days clocked in at a manageable nine to 10 hours, with one particularly challenging “fire day” lasting a full 12 hours.
This brings Farr to an important question: Why aren’t 12-hour days treated as overtime anymore? In the past, a 12-hour day was seen as the norm for television production, but with the increased use of multiple cameras and the rising awareness of mental health and safety concerns, it’s time to rethink what is considered a standard workday. According to Farr, the 12-hour day should be the exception, not the rule. She suggests that unions, particularly the Directors Guild of America (DGA), should reevaluate how these extended workdays are handled, particularly when stunts, difficult locations, or large group scenes are involved.
Farr isn’t the only one calling for change. Many in the industry are concerned about the physical and emotional toll long shooting days have on everyone involved. With mental health at the forefront of conversations about workplace safety, it’s time for producers, executives, and guilds to step up and advocate for a more balanced approach to filming. By treating 12-hour days as overtime, producers can reduce burnout and promote a healthier, more sustainable work environment for everyone on set.
This conversation also extends to the importance of training new directors to manage their time and resources effectively. Elevating less experienced crew members to directing roles without proper preparation can lead to mistakes that waste both time and money. If new directors aren’t taught to respect both the creative process and the well-being of their team, the industry could end up with a revolving door of exhausted, overworked professionals who are less likely to be rehired.
As Farr completes her first directorial episode, she reflects on how far the industry still has to go. With her experience both in front of and behind the camera, she knows that making thoughtful choices about time management can have a significant impact on the final product. If directors and producers can learn to prioritize efficiency without sacrificing quality, the entire industry stands to benefit. It’s time to reconsider the 12-hour day—and, perhaps, reimagine what a healthy, sustainable production schedule could look like in the future.
As television production continues to evolve, Farr’s message is clear: Let’s stop glorifying the 12-hour workday and instead focus on what truly matters—creating great content while maintaining the health, safety, and well-being of the people who bring that content to life.
