Getting Jobs in Entertainment question 885: Where can I meet Editors?

If you live in LA, they're all over the place. I'd start at the Editors Guild and then work your way to Film Independent and then go with referrals and social media.

It's also going to depend on why you want to meet Editors. If you want to hire them, they're going to be really easy to find. If you want to be hired by them, then it may take some time.

If you don't live in LA, you can still check with the MPEG because it's national, as well as any local filmmaking organizations, and social media.

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entertainment industry coach question 727:How do I get a mentor if there are only a few people who do what I do...

"...and I already know as much as they do?"

This brings up a very universal issue. When it comes to getting mentors, while it's great to have mentors who are doing what you want to be doing already, if you are in this person's position, at the same level, they're not the type of mentor you need.

In this case you'd be seeking out business advice and guidance from either:

1. The classification of people who hire you (so unless you know everybody who hires your classification, this type is good for you)

or

2. Any parallel classification who gets hired by the same classification as you. For example: If you're an Editor, a parallel classification (ones who also get hired by producers and directors) would be a DP, Production Designer, Actor, Writer, Key Hair & Makeup, etc. Why? Because if they are successful, they can give you advice on what they do. You're all in the same boat, just different classifications.

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entertainment industry coach Question 518: Where can I meet Editors?

If you live in LA, they're all over the place. I'd start at the Editors Guild and then work your way to Film Independent and then go with referrals and social media.

It's also going to depend on why you want to meet Editors. If you want to hire them, they're going to be really easy to find. If you want to be hired by them, then it may take some time.

If you don't live in LA, you can still check with the MPEG because it's national, as well as any local filmmaking organizations, and social media.

www.theGreenlightCoach.com FIND ME

www.twitter.com/GreenlightCoach FOLLOW ME

www.TheGreenlightMentorProgram.com JOIN ME

For more tips and articles by top entertainment industry career coach, The Greenlight Coach, visitwww.TheGreenlightCoachBlog.com

To stay current on The Greenlight Coach's speaking engagements, recommendations, and work success articles, sign up for her free newsletter at the top of the page and get a great bonus 1-hour MP3 on creating powerful business partnerships when you do!

entertainment industry coach Question 440:What is the pay scale for an editor?

Questions like that should be directed to the Guild, in this case the Editors Guild. If you go to their site www.TheEditorsGuild.com, under employers is a section titled wages. I don't know that every Union offers the wages online, but you can always call a union and ask to speak to someone regarding wages.

Know that these are union wages. If you are working non-union there are no set rules, but using the union wages as guidelines can help you when putting in a bid on a job.

For more tips and articles by top entertainment industry career coach, The Greenlight Coach, visitwww.TheGreenlightCoachBlog.com

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entertainment industry coach Question 412: How important is it for me to separate the different things I do (act, direct, produce, write, edit)?

It depends on the conversation you're having. If you're talking to a casting director whom you don't know very well, you want to present yourself as an actor. It's not important to them that you edit because that's not what they're hiring you for.

If you're talking to a producer as a writer/director, be careful about mentioning that you're an actor because the first thing they'll be concerned about is that you want to connect yourself to the project and it will be a deal breaker.

If you are talking to someone about partnering on an independent film that you've written, want to direct, and have a small acting role in, it would be advantages to mention that you edit because so many projects fall apart in post.

The bottom line is, you have to assess the circumstances and the relationship with the person, before revealing all of your hats.

Whatever you do, make sure you have separate marketing materials. Any business card that has all of those slashes can make someone think that you do a little of everything but don't have fabulous talent in one area.

For more tips and articles by top entertainment industry career coach, The Greenlight Coach, visitwww.TheGreenlightCoachBlog.com

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entertainment industry coach question 366: How do I get a mentor if there are only a few people who do what I do...

"...and I already know as much as they do?"

This was asked on my teleclass this morning and it brings up a very universal issue. When it comes to getting mentors, while it's great to have mentors who are doing what you want to be doing already, if you are in this person's position, at the same level, they're not the type of mentor you need.

In this case you'd be seeking out business advice and guidance from either:

1. The classification of people who hire you (so unless you know everybody who hires your classification, this type is good for you)

or

2. Any parallel classification who gets hired by the same classification as you. For example: If you're an Editor, a parallel classification (ones who also get hired by producers and directors) would be a DP, Production Designer, Actor, Writer, Key Hair & Makeup, etc. Why? Because if they are successful, they can give you advice on what they do. You're all in the same boat, just different classifications.

For more tips and articles by top entertainment industry career coach, The Greenlight Coach, visit www.TheGreenlightCoachBlog.com

CASTING CALL FOR ENTERTAINMENT INDUSTRY PROFESSIONALS

Casting Call: A new competition series starring Hollywood’s top entertainment career coach, is seeking skilled professionals in the entertainment industry, who know their craft and want to supercharge their rate of getting new contacts and jobs. Casting is looking for outgoing, driven, above and below the line candidates; actors, directors, writers, production designers, camera department, editors, costumers, etc. Participants must be available form April 27^th –May 10^th. Everyone chosen will receive prizes as the competition progresses, and the winner will receive a year of platinum coaching and a cash prize. The producers want to make it clear that this is an educational and empowering show, putting success tools in the hands of entertainment industry professionals. Participants must live in Los Angeles. To apply email casting@TheGreenlightCoach.com and include name, age, classification(s), and why you would be great on the show. Also include a recent photo and your contact numbers.

entertainment industry coach question 307:What's an out-of-the-box way for a freelance film/video editor to network for job leads?

...or relationships that lead to work? I've answered this question to many classifications in different ways, but this editor wants an out-side-of-the-box way to create relationships that lead to work.

Based on his IMDB credits, I see that his editing work has been non-union, low budget, and in a few cases, written, directed, & produced by him (bravo for that).

For someone at this level I have 2 suggestions for today's blog:

1. Find working actors who want to direct.

There are many working actors who want to direct. It may be a short, a pilot presentation, a web series, or a full length feature. The fact that they are working actors, gives them credibility so they can get other recognizable actors and actresses on their project, who will look good on your reel. If you work well with the actor/director, the plan is to create a future partnership.

2. Reach out on Craig's List to people with unfinished projects.

Most projects make it "into the can" and suddenly the funds run out and they never see the light of day. That's where you come in. Place an ad on Craig's List offering to finish a project in limbo. People interested have to fill out an extensive application. You decide what the criteria for accepting a project will be for you. Is there name talent in it? Is the material so good that you feel it has legs to actually move if completed? Is it a higher budget/quality than anything on your reel? How much of your time will be invested?

Then interview the directors and producers to see if these are people you want to create relationships with.

While everyone would prefer to be paid (and even in these cases you may be able to get something), the reality is that as you build your contacts and credits, freebies have become a way of the industry. With this method, you can be selective and strategic about the projects you take.

note: you may have to place the ad multiple times and in multiple places (other than Craig's List). You may even put in the ad, if you or someone you know has a project that is in limbo because you can't find an editor...

double note: you may receive angry responses from union editors who think what you're doing is wrong. I work with many union editors, and the bottom line is, if you don't do it, no one will. These are not union projects, you are not taking work away from a union editor. These are not stingy people who are holing out on the cash (you're interviewing them so you'll know that). These are people who you are helping complete their dream. And with some good marketing, that finished project can turn into union work for all of you.

For more tips and articles by top entertainment industry career coach, The Greenlight Coach, visit www.theGreenlightCoachBlog.com

entertainment industry coach question 269: I have multiple interests, but when looking for a job, I'm being forced in one direction. Advice?

If you have multiple interests, there are quite a few things to weigh out:

1. What is your fastest path to making a name and an income for yourself?

This is to be considered if (a) money is an issue and you need to support yourself and if (b) you have the networking skills (or are willing to develop them) to make a name for yourself in one area, and then make a transition to another. For example: television DPs who build relationships on their show and then ask for the opportunity to direct.

2. Can any of your interests be done simultaneously without causing conflict?

Consider this, if one of the interests is an "office job" while other interests can be pursued after work and on weekends and no one is the wiser. For example: A studio publicist with an interest in producing can produce short films on weekends, as well as read scripts before going to bed.

3. Can your interests be prioritized so you can create a long term plan?

When you think about where you want to be in 20 years, can you work backwards and see how the different interests flow into each other? For example: (Years 1-3): an actress who starts out doing indie films, (years 3-5) makes a name for herself, (years 5-10) creates a production company producing as well as acting, (years 10-12) adds directing to her resume, (years 12 and on) has a productive career wearing all the different hats she desires.

4. Do the skill sets compliment each other or are they on completely different paths?

Some jobs in the entertainment industry compliment each other. For example: an editor who tells the story by putting the pieces together (literally) could take those skills and transition to directing. He may even save time in post because he's editing in his head as he creates his shot list.

Or are they completely different paths, like a camera operator who wants to produce. While it's absolutely possible, the skill sets are different. The learning curve it takes to perfect your skills as a camera operator (as well as staying up to speed on the latest equipment) can take just as long as learning how to produce a movie (factoring in development, scheduling, budgeting, and having a knowledge of the different departments). With producing, sometimes, the smaller the budget, the more you need to know. That's because on a studio film there are different people for the many different components to producing a film. With a low budget indie, you could be doing everything from raising the money, to filing in for a boom operator who doesn't show up.

5. Is one of your interests the "big dream"?

If so, consider the skill or craft that needs to be developed. Is that something you can do with a full or part time job? If yes, work on your craft and build relationships while maintaining financial stability. If no, are there opportunities to work your way up the ladder (in a studio system or a crafts department like in camera and production design) to make money and learn from mentors?

The good news is, today's version of the industry allows people to wear different hats and move up in departments. The "less-good" news is that it doesn't make your choices any easier.

For more tips and articles by top entertainment industry career coach, The Greenlight Coach, visit www.TheGreenlightCoachBlog.com

entertainment industry coach question 264: Can you always move up within your department?

If you're asking me if it's possible to move up in classification (camera assistant to camera operator, assistant editor to editor, AD to director, background performer to co-star, writers assistant to staff writer), the answer is YES, it is possible.

That said, you must be strategic about making the move. People who stop their "bread and butter" income classification cold turkey, when they don't have enough contacts to hire them as the next classification, spend anywhere from 2-5 years minimum trying to build the trust with people who can hire them.

Have a plan for making the move up, and if you need help, that's what I'm here for.

For more tips and articles by top entertainment industry career coach, The Greenlight Coach, visit www.theGreenlightCoachBlog.com

entertainment industry coach question 242: I'm thinking about sending business postcards (In addition to phone calls) as a follow up to a resume.

The question continued: Is this a good idea? If so, are there things I should keep in mind when doing so?

The person who asked this is an editor. Many actors have postcards, (their headshot photo) that they send when they have announcements or to stay in touch.

Postcards are one way to stay in touch with people. They are a more costly way. I say that because you have to pay to have them printed and mailed. Many people's follow-strategy is email, which is free. That said, emails aren't always opened and postcards are usually seen. You have to decide if the investment is worth it.

Two things I want to address:

1. Why the follow up postcard after sending the resume and making the phone call? Is this a "cold-call" resume sending/call/postcard? If it's cold resume, the postcards are just as cold. The only difference is that after a resume and a phone call, the postcard would be the 3rd contact from you. Still, you know my feelings about putting a large percent of your "work" into pursuing cold leads. I'd rather see you strategically go after 10 jobs than pursue 100 jobs cold. You'll have better results.

2. What to put on a postcard? The same contact info you'd have on a business card and resume and then you have more freedom with the image. Perhaps, something that is unique to you and what you do, something personal (a cute picture of "you" in an edit bay with "your dog"), or a beautiful image that they would put up to look at. My allergist's postcard, to remind me it's time to come in, is a picture of a desert island with a palm tree and a clear blue ocean surrounding it. I have this postcard up in various locations and think of him, and my clear sinuses, every time I see it.

For more tips and articles by top entertainment industry career coach, The Greenlight Coach, visit www.theGreenlightCoachBlog.com

question 190: How do I create my own web series if I don't have money?

Collaboration! I happen to know that the person who asked this question is an actress.

Because she's an actress with an idea, to create a web series, the bare minimum she needs is:

1. a writer(s)

2. a director

3. a producer

4. a camera person

5. an editor

On many web series, 2 people can be all 5 of those. She also needs equipment for camera, sound, and editing.

With no money, she'll be looking to collaborate with people who want to build their credits and skills/experience, believe in the idea, and want to create relationships with others working on the project. They will volunteer their time, equipment, and resources.

The little details of creating a project like this, that I'm not going into, will be discovered when you begin collaborating. You will probably need some money (for batteries, lunch, etc.).

BE SURE to have non-disclosure agreements when discussing your project as well as contracts for all involved. EVEN IF YOU'RE WORKING WITH YOUR BEST FRIENDS!!! You can even download these for free on the internet and make them fit your needs. Protect your project! If you want to make everyone equal partners in it, fine. Just put it in writing!

For more tips and articles by top entertainment industry career coach, The Greenlight Coach, visit www.TheGreenlightCoachBlog.com

Question 179: Can I teach myself to be an editor on my Mac or do I need more skills?

This is more of a technical question than a career coaching question, but I'll give you a career coaching answer. You can teach yourself to be an editor on a Mac, you can watch their tutorials, you can even go into the Mac store (one of my favorite places on earth). The question is: What is your long term goal as an editor? Do you want to work in the entertainment industry at the Union Level? Until I know where you want to be, I can only advise you to seek out mentors who are working editors and ask them what skills you need, what equipment you need to know how to use, and anything else that pertains to the the type of work that you want to do.

For more tips and articles by top entertainment industry career coach, the Greenlight Coach, visit www.thegreenlightcoachblog.com

question 157: what is the minimum number of people I should know?

why are you asking about minimums? It sounds like you want to meet as few people as possible. I always suggest a minimum of 100 people to my new clients who only know a few people. That works out to meeting less than 10 people per month over the course of one year. I encourage them to be strategic about who they meet, in other words, focus on meeting people who can hire you or know people who can hire you.

That said, I'd like to address the "wanting to meet as few as possible." There are so man GREAT people in our industry to meet. I know what you're thinking, I've heard it all. People in each classification have their schtick: Editors: we like to be alone in dark rooms. Camera: There's a reason we're behind the camera. Writers: we write so we don't have to talk to people. Actors: I'm fine when I'm in charater, but I don't want to meet people if I have to be myself. And on and on...

I've heard every classifications reasons for not enjoying meeting people including the old faithful "I'm shy." The bottom line is, it's necessary for your career, so instead of filling your head with reasons you don't wa"nt to meet people, ask yourself, "Who can I meet today, whose life I can change for the better?" Ask better questions and you'll get better results.

For more tips and articles by top entertainment industry coach, The Greenlight Coach, visit www.thegreenlightcoachblog.com

question 135: How can I make my career transition without reverting back to entry-level wages?

Unfortunately, when you are changing classification, it may be necessary to start at an entry level job. Let's say you are an editor who has worked your way up after being an assistant editor and now you're interested in getting into development. Yes, as an editor you have to have an eye for creating story, BUT, in the studio world that probably won't transfer. You will have to start as an intern or an assistant to learn the skills of doing coverage, giving script notes, observing how your bosses interact with writers, agents, and executives.

Just because you've worked as a production designer on big budget union films doesn't mean you can easily transition into being a post production supervisor. Different classifications have different skills that you learn as you move up the ranks. You don't always have to move up the ranks, plenty of film students come right out of school as directors of photography without starting as a loader.

It's up to the "industry standards" and it's also up to you. Do you feel you'd be a better director if you understood what all the other departments heads that you hire (DP, editor, prod designer, script supervisor, etc) do? Do you think you'd be a better department head if you'd already done the jobs of the people you're managing?

There are no right and wrongs, just choices for you to make.

For more tips and articles by top entertainment industry coach, The Greenlight Coach, visit www.thegreenlightcoachblog.com

Question 84: I don't have the reel to get work as a DP, but I'm afraid to take other work for money. Am I wrong?

The people who hire DPs are not the same people who hire you in other classifications. I don't know if the work you're referring to is within the camera department (AC, OP), as a gaffer, or something else. Unless you are working for money as another head of department (Editor, Production Designer, etc.) who are also hired by the people who hire DPs, you're okay.

Here's what I suggest:

1. Keep making money in your classification to support yourself and save for the future

2. Build relationships with the people who will know you and hire you as a DP

3. Build your reel as a DP

4. Keep the two separate unless you are 100% sure that your current crew is supportive of your desire to transition

For more tips and articles by top entertainment industry coach, The Greenlight Coach, visit www.thegreenlightcoachblog.com