In cinema, important roles are played not only by professional actors, but also by children. Their participation on a film set differs significantly from that of adults: minors work shorter hours, have longer breaks, and are cared for during filming and rest periods by a dedicated on-set professional. One of them is educator and teacher Augustė Baltrūnaitė, who ensures that working with children on film sets runs smoothly. According to her, this sometimes means inventing games, offering psychological support, and at other times explaining certain things to the adults working behind the camera.
– Augustė, what brought you into the cinema?
– I completed my film studies abroad, where the program focused on gaining an understanding of all film departments. In my final years, we could choose two specializations, so I graduated with a degree in documentary filmmaking and production design. During the pandemic, it became harder to enter the industry — many plans changed, and a need for stability emerged. I realized that children’s safety and rights were important to me, so I turned toward education. I became a teacher through the “Renkuosi mokytis” program and later a qualified pedagogue. I knew I wanted to stay connected to cinema, but I hadn’t yet found my place. Gradually, I began my journey in the Lithuanian film industry, searching for a role that suited me, until one project offered me the chance to work with children — and that’s how my path began.
– What encouraged you to return to film sets?
– While working as a teacher in a small town, I watched a lot of films at home and realized how much I missed being part of them. I also lacked creativity, freedom, and collaboration with film professionals in my daily routine. I wanted different challenges, a more dynamic environment, and constantly changing locations.
– What does your typical workday look like?
– It depends a lot on the production company. Some already have clear regulations for working with children, while others still need help establishing boundaries and procedures. When I arrive on set, I spend my time with children or teenagers. I’ve even helped care for a five-month-old baby — sometimes you never know what awaits you.
My role is to teach independence, empower children, provide a sense of safety, and create an environment where they feel comfortable asking questions. Sometimes it’s enough just to be nearby; other times I have to resolve conflicts, set boundaries, navigate relationships, or accompany young actors during filming trips. Quite often, I also need to explain behavioral norms to the adults working on set.
– How does working with children on set differ from working with adults?
– Children can work significantly fewer hours than adults and must have designated rest periods and separate spaces. During colder seasons, a heated environment must be ensured. It’s great when productions set up children’s areas with toys and books, but I often bring puzzles, coloring books, or games myself.
– What emotions do children experience during filming — excitement or curiosity?
– It’s natural for children to feel nervous, so I try to prepare them and explain what to expect. Teenagers are easier to talk to — they’re more conscious of their emotions and better able to articulate them. Some children don’t know what a film set is at all, but are expressive and extroverted — I believe those traits are exactly why they’re cast. Others are very scared, don’t want to separate from their parents, so we take time to adjust, talk things through, and explain how the filming process works.
I’ve noticed that a lot depends on the director. Some invest a great deal of time in building relationships with actors and helping them get into character even before filming begins. Sometimes separate rehearsals are held to explain why a scene is created in a particular way.
It’s especially important to explain to children that if a scene portrays violence, inappropriate behavior, or language, this is not the norm in real life. Younger children sometimes struggle to understand why they can’t look at the camera, so I have to explain in detail where to direct their gaze. Positive feedback is crucial for children — it fuels their motivation and desire to perform the scene as well as possible.
– What kinds of scenes do children and teenagers usually act in?
– There are many types of crowd scenes: children playing in a yard, students in a classroom, spectators watching events from stands, participants in marches, and so on.
In larger roles, children may play family members, and sometimes they’re involved in action scenes — running, hiding, reacting to danger. Films about teenage life often include scenes where characters make moral choices, experience firsts, or navigate difficult conversations.
– Are things done differently on set specifically because children are involved?
– There are many tricks. Sometimes, to prevent children from seeing staged violence while still having them follow the action, an entirely different scene is acted out. Sometimes scenes are filmed without sound, while the director or another crew member verbally instructs what to do. In such cases, my role is to provide emotional support, create a safe space for conversation, and assist the director.
In teenage films — for example, kissing scenes — intimacy coordinators are involved, part of the crew temporarily leaves the set, monitors aren’t watched, all to reduce pressure on the young actors. If needed, I can offer advice, but I never interfere unnecessarily — that responsibility belongs to the director.
– What could adults learn from young actors?
– Joy. It exists naturally in children. Adults are often weighed down by routine and everyday worries, which makes us forget how to enjoy things. In cinema, as in life, there is repetition — but it’s important not to forget the ability to play and to feel wonder.
– What would you wish for the film industry when it comes to working with children?
– Above all, every production company should have clear regulations for working with children. A child is not equal to an adult. Even if they are an actor, they are still a child. It’s essential to know in advance how difficult situations will be handled and how a safe environment will be created. Children don’t have the same endurance or internal resources, so the more prevention there is, the smoother the filming process will be.
Coming from the education field, I’d like adults to understand that appropriate behavior around a child is not optional. Every adult is an authority figure to a child. I like the saying, “All children belong to everyone.” Children are constantly learning — from our language, our behavior, even from simple actions like greeting others or crossing the street. I wish adults would recognize this and feel a sense of responsibility.
