The Art of Organization: How Assistant Director Fanni Fragner Keeps Productions on Track Without Missing a Beat

In the high-pressure world of film and television production, few roles are as demanding — or as crucial — as that of the Assistant Director. And few ADs handle that pressure with as much calm precision and insight as Fanni Fragner.

With over five years of experience on sets ranging from international dramas to major studio blockbusters, Fanni has earned a reputation for being a steady hand in controlled chaos. Her resume includes credits on high-profile productions such as Dune: Part Two, Moon Knight, and FBI: International, where she has worked across multiple units, departments, and even countries to help keep complex shoots running smoothly.

“I see the AD role as the connective tissue of the set,” she says. “Everything flows through us — scheduling, communication, coordination. We’re there to make sure creativity can happen within structure.”

And structure is something Fanni understands intimately. On FBI: International, she worked across seasons and countries — from France to Norway to Portugal — guiding cast through preparation, relaying schedule changes in real time. Her work required constant communication with beauty, wardrobe, and camera departments to ensure everything was ready before each scene.

“She’s a natural at managing pressure and reading the room,” notes one 1st AD who worked with her across multiple productions. “It’s not just about logistics — it’s about leadership and emotional intelligence.”

Her work on The Last Kingdom: Seven Kings Must Die is a perfect example. During a multi-unit shoot, Fanni served as the Third AD, handling walkie coordination, writing daily updates, and relaying key communication between the director, DOP, and 1st AD — ensuring everything stayed aligned from video village to set.

On Dune: Prophecy, she worked closely with cast and departments alike, leading talent through their daily prep — radio mics, wardrobe tweaks, makeup touch-ups — making sure actors hit the set camera-ready and stress-free. The same attention to detail carried over to House of Spoils, where she kept departments synced and the cast informed about upcoming scenes and changes, often anticipating needs before they arose.

“There’s a rhythm to set life,” she explains. “If you find it — and protect it — the whole production moves with you.”

Whether she’s managing extras on an action-heavy Marvel unit, supporting a lead actor during high-stress shoots, or stepping in as a 3rd AD during a last-minute absence, Fanni brings a level of calm and clarity that elevates the entire production.

“She doesn’t just keep things running,” says one colleague, “she creates an environment where people can do their best work.”

It’s that combination of logistics, leadership, and emotional awareness that sets Fanni apart — and why she’s quickly becoming a go-to AD for international productions with high stakes and even higher expectations.