As a booking director at On Time Elite, I have witnessed the different stages of our development as a company as well as the growth of the entertainment industry in NYC. In this week’s blog, I will spotlight some of our biggest highlights (the ones I’m legally allowed to discuss, anyway), vehicle usage, and unit changes. Let’s take a look at One Time Elite–then and now!
On Time Elite in the 1990s
When I first started at On Time, they had well over 20 years under their belt and were known as seasoned veterans. When we first began, we had an extensive fleet. Our vehicles were massive in width and height, but this is largely attributable to the grandeur of the era. There was no minimalist mentality yet. In fact, it was just the opposite. We were at peak maximalism, and our vehicles represented that philosophy beautifully. Our sleek all-black coaches worked exquisitely for housing talent, especially in the 90s and early 2000s when music videos and fashion projects reigned supreme. We’d bring 5-6 units on set for a single music video several days a week. Clients had massive budgets, so the artist would have one trailer, their team would have another, the wardrobe would have its own unit, makeup would have two, and production would have its own.
We were at the forefront of supporting fashion shoots in the 1990s. Since print was at its prime, we were there for the ride. Our clients benefitted from all the built-in racks and multiple entries in our units. They were perfect for the hustle and bustle of photo shoots and filming.
Our units saw it all and were the newest and greatest in the market. We had so much business that, at times, we had to turn clients away.
On Time Elite in the 2000s
In the 2000s, there was no need to change, and we didn’t introduce anything new to our clients for some time.
Introducing a new vehicle was an uphill battle at this point. We were no longer throwing our bids to the regular work of on-location trailers; we were now a part of political campaigns and fashion shows using our units to showcase new collections. Additionally, we started supporting other events: the opening of the vessel in NYC, Superbowls, presidential inaugurations, you name it.
In large part, we owe our success to our innovation in creating units that weren’t standard in entertainment. I’ve spoken about this many times. Our units are unique and one of a kind; we take an extensive amount of time in drafting what we want our new creations to look like and what their focus will be, whether that’s fashion, production, or holding space for artists.
Our Recipe for Success
In addition to our creative direction, our moral compass has led to much success. We have never been attached to one specific thing; instead, we have been flexible and adaptable to every facet of entertainment. On Time has never discriminated against a project or a client. We have never been tied to halls or unions. Our independence and unshakable belief that integrity and good work will persevere have allowed us to continue working for our peers and fueled our creativity. For me, it’s created a place of constant, exciting change. Each client is special and unique, and their projects bring new ways for us to challenge ourselves. Throughout the years, we have not only managed to stay strong despite economic changes, but we’ve remained relevant in an industry that is constantly evolving. We feel lucky to have been able to grow with it.