entertainment industry coach question 778:How does going to a Union movie screening help me when I'm watching a movie?

This must be someone who attended one of my speaking engagements recently, where I suggested union screenings as a place to network.

Here's how I see it. Going to the movies in a regular theater, you can be attending with anyone: students, plumbers, financial planners, stay-at-home-moms. When you attend a union screening, at least one out of two people have to be in the union (I say 1 of 2, because members can bring a guest). That means, one of the two people to your right and one of the two people to your left, are potential relationships, right?

No more sitting quietly in your seat waiting for the movie to begin. Say hello to your neighbors. And while you're at it, come early and stay late. And no... NO networking during the movie (unless it's a thriller and you can't help but grab someone).

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entertainment industry coach question 620: Why are there so many layoffs when profits are higher than ever?

This is a question angering many in the industry right now. From the PA up to the Executive level, jobs are being sacrificed in the name of consolidation and saving money, and it is not clear why. Unions are doing their best to protect the staffing numbers on films and television productions, but studio employees are not protected by anything but the laws of the land which are built to protect the big corporations. So basically I have no answer for you.

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entertainment industry coach question 598: If I have a celebrity in my film do I have to get her a trailer?

If this is a union film, you'll have to check if there is anything in the contract. If it's not union, you don't "have to" do anything. Did the actress request a trailer? Is it a deal breaker for her? If it's budget inhibitive, discuss it with the actress or her reps. Ultimately, only you can make the decision.

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entertainment industry coach question 574: I'm in a new city and out of work, what should I do?

Here's how the conversation started on Facebook, and my answer follows...

KB:It's been 5 months since I've worked, came all the way from San Francisco to Louisiana because this is where the industry is right now, and even joined the union, and still can't find work!

Me: When you moved to Louisiana, did you have contacts there who could hire you? Just because there is work in a location doesn't mean that you will get hired, because people have to know you, like you, and trust you before they bring you on to their million dollar set. Their jobs, reputation, and lots of money is on the line. If you don't know the people who can hire you well, and plan to stay there, I would suggest getting a supplemental income job and focusing on building relationships with people who can hire you.

KB: Thank for your quick response. I did not have any connections when I got here 5 months ago, but now I have several. From set medics, Teamsters, sound, and electricians. I teamed up with people that I have certifications and licenses to work with. I'm two weeks away from being voted on to be part of the union, after months of establishing residency and submitting all paperwork. Wow! What a lot of work! I have been maintaining all contacts and trying to network like crazy. I think once I'm in the union, things should start to break. Is there anything else I can do in the mean time?

Okay, the first thing I noticed in the response was the word "several." It's all a numbers game. What you can be doing in the mean time is turning "several" into 50... minimum! I know that may sound like a lot, but it's just the tip of the iceberg. You don't have to be in the union to reach out to Union members, so why wait two weeks. People are going to have to get to know you before they hire you anyway, so you may as well start the process immediately. Have your contacts who are set medics, Teamsters, sound, etc., invite you for set visits so you can meet new crews face to face.

Remember, as you are getting to know people, resist the urge to ask for work when you meet for the first time. Instead, ask questions about the "work climate" and being new in town, smart strategies for generating work in that market. This way people will know you're looking for work without you putting them on the spot or worse... putting them off.

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entertainment industry coach question 533: What is the proper way to go about sending mentor letters?

The proper way is the most direct way to get it in their hands. Therefore, there are numerous and professional ways to do it. Here are a few:

1. If you have an address for them that was given to you by a referral.

2. Through their agent (almost all agencies forward mail to their clients, but you may want to check with the agency before you write your letter just to be sure).

3. Through their production company.

4. Through their union (if their union forwards mail- check before writing the letter).

5. Through a friend, if a friend is willing to pass it on.

6. You can hand it to them personally, if you know you're going to a Q&A where they will be speaking, if they stay after to speak with people.

7. You can "friend" them on Facebook, and if they accept, send it in a personal note.

This is not in order of "the most direct way to get it in their hands." It will vary depending on the person to who it's being sent.

DO NOT- find out where they live and put it in their mail box or knock on their door

DO NOT- carry it around with you because you see them often at a local restaurant and whip it out while they're enjoying their personal time [while this has been done, it doesn't fall under "best practices"]

DO NOT- do anything that could freak them out or scare them!

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entertainment industry coach Question 473:I'm an actor and got yelled at for moving something on a set that was in my way in the scene. What gives?

What gives? A Union member whose job it is to move the set pieces, I imagine. Just like your Union (SAG and/or AFTRA) has rules to protect you, your position as an actor, your rights, and your safety, other Unions have rules to protect their members' jobs.

On non-union, low-budget sets, you may find yourself acting one minute and moving sandbags the next, but when you step up to Union productions, you have one job to do and that's act. If you need your sandwich replaced for continuity, the script supervisor will let the prop department know.

Instead of being put off by it, be empowered knowing that there are organizations out there working to preserve the jobs of all of their members.

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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.

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entertainment industry coach Question 398: Why is it such a Catch 22 to get into a Union?

Because being a union member means that you have a level of experience that you have to prove. Producers who hire union members expect that level of expertise. Therefore you have to work a certain number of days to get the experience to be allowed into the union.

entertainment industry coach question 346: How do I get contact information for potential mentors?

This was a question I didn't have time to answer on my tele-class call today. There are many different resources for finding contact information for potential mentors. It depends on their classification.

Start with the people you know to see if anyone is "Six Degrees of Kevin Bacon" to them and can get you the contact information. If not...

If they are in a union you can contact the union. You may be sent a directory, given information over the phone, or be allowed to send a letter which they will forward.

If they have a production company, you can get that information from IMDBpro, the Hollywood Creative Directory, and in some cases, Google.

Last resort would be to go through their agent if they have one. Before investing the time of researching them, call the agency to confirm that they DO forward their client's mail.

entertainment industry coach question 282: Please provide me with tips on how to negotiate health benefits on a non union movie.

How to negotiate for health benefits on a non-union film, is not my area of expertise. However, I will give you advice, based on three things:

1. That I've produced non-union projects

2. That I worked for the camera union for 11 years

3. That I am now a small business owner/independent contractor

Here's my advice:

The first thing I would do is evaluate the budget of the non-union project. As a producer of ultra low-budget projects, I can assure you, there was no money for health insurance no matter how much I wanted someone on my project or how great a negotiator he/she was. Therefore, if the money isn't there, there's nothing you can do.

If you do believe the money is there, you can anonymously call your union (if you're in one, if you're not, you can still call). Because the IATSE is an alliance, you can speak to a union representative about organizing a show without the producers knowing it was you. The reason they won't know is because, once the rep sees the possibility for organizing, he/she will call reps from other IATSE locals. When reps from 3 to 5 locals show up to organize, there's no way for a producer to know who tipped them off.

If organizing is not an option you want to consider, then if you're not already, you can consider becoming an entity. Without getting too technical, by becoming an official business, (which you are as an independent contractor), you can get health insurance as a small business owner. My suggestion is that you speak to the following before going this route:

1. SBDC- the Small Business Development Center, a non-profit organization for small businesses. This is a FREE service.

2. A Small Business Tax Accountant who has experience with people in the entertainment industry.

Again I want to reiterate, I AM NOT AN EXPERT in this area. I am like you, a small business owner (S-Corp), who works in the entertainment industry, and is in a union in addition to having worked for one. I am speaking from my own experience, and advise you to talk to at LEAST 5 people before making any decisions.

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

question 187: How do I get into the Union?

This particular person is referring to the MPEG (Editors Guild), but I will answer it generally because there are different criteria for different Unions. Here are just SOME of the entertainment Unions: SAG, AFTRA, WGA, DGA, IATSE (which covers most below the line unions such as Locals 600, 700, 80, and many many more).

So first of all, you have to research the website of the union you're interested in. If it's "hair and makeup" or "production design" and you don't know how to find them, check with IATSE.

Once you know what union you want to join, check their website to see if they have the instructions for joining. If not, call the union and ask to be connected to the person who can give you new member information.

Deciding whether it's the right time for you to join the union is a whole other topic, one I covered early on, so check the archives.

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

question 183: I'm a college student and I don't know what to expect if I come out to LA to be a screenwriter. Can you tell me?

I'm so glad, that as a college student, you recognize that there are expectations to address. Too many people move to LA with unrealistic expectations and then give up quickly when they're not met.

My advice is to expect what you can control:

1. Expect to find a job that will give you financial stability (this may or may not be in the entertainment industry- see a previous post when I covered industry jobs for writers)

2. Expect to commit to a writing ritual- in other words how much writing do you plan to do and how often?

3. Expect to invest in your career- this may mean joining networking organizations, becoming a guild member, taking educational courses for both your craft and your business, and the material costs of having a writing business

4. Expect to update your material often, adding to your writing portfolio- this may mean new scripts or re-writes on older ones

5. Expect to be a business which, like a business in any industry, requires relationships, product, marketing, patience, perseverance, and a team (just to name a few)

Even though I answered this for a writer, this blog applies to all classifications in the entertainment industry.

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

question 152: I work in movies but I don't go see movies. Is that bad?

I suppose it depends on a few factors. I recently coached an editor who spends most of his time in a dark room editing movies and in his spare time wants to do something else. Can you blame him? That said, you are the CEO of your company and you have to make the best decisions for your company. If the CEO of McDonald's wasn't staying current on what was going on in the fast food industry, he wouldn't have kept it competitive. Now McD's serves coffee drinks and "healthy choices." So, do you want to be up to date and current in your industry?

I love romantic comedies, but to me, the classics are Pretty Woman, Working Girl, and While You Were Sleeping. When some of my clients hear this, they reprimand me for missing the classics of their generations. If I'm going to continue to market myself as the "romantic comedy girl," I have to at least give these older classics a chance (even though nothing can beat Pretty Woman!)

Unless you have a specific reason, like the editor, why wouldn't you support the people and the medium that keeps you working?

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

question 147: Should I change my name to sound like someone famous to get in the door?

You mean like change your name from Alexis Whisenstoneawitz to Alexia Jolie, so people may think you're related to Angelina and bring you in? I can't say it will get you in the door, but I can say, it could be to your advantage to change that last name, simply to make it easier for people to find you.

I've had clients with common names like "Smith" or "Jones" joke about changing their name to something foreign to give them an edge. Then I've had foreign clients seriously want to change their foreign last name so they'd fit in locally.

A name is not going to get you hired, unless you are actually related to a celebrity (and that's still no guarantee). Like the first example, if your name is too complicated it could hurt you. For example, as an actress, I've had to slate my name (when you say your name for camera at an audition). Because my name is a bit unusual, I've changed the way I pronounce it, specifically for slating, when I found people got more caught up in "what my name was" than my audition.

Be sure to check with the union you are in or may potentially join, to make sure there is no one else with the name you are choosing. While it may be tempting to get confused with an established celebrity, the pain in the butt to change your credits on IMDB, is NOT worth it. And people DO NOT take it lightly when people try to ride their coat tails, nor do the people hiring appreciate finding incorrect credits for you when they research you.

Changing your name is like creating a new brand--- CHOOSE WISELY.

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

Question 136: You say know "everybody," but I gotta tell you, there are some weird people in our business! What if I don't want to know them?

You know the old saying, "don't judge a book by it's cover?" Well, it's okay to judge weird people and not choose to form a relationship with them. What I mean by "everybody" is, "don't judge a person by their classification." Most people tend to only network with people in the same classification/union or with the people who can hire them. What they don't recognize is that there are people out there in other classifications who may not be able to hire them, but know the people who can. And someone who is not in your classification is far more likely to share his/her contacts with you than someone who is the same classification as you.

So when I say everyone, I don't mean that literally... Lord knows I don't! I simply mean know people in all classifications. And don't feel badly for the people you consider "weird," they find each other and create relationships. Like attracts like and everyone is happy.

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

question 118: I'm not involved in my union other than paying my dues. Does this really matter?

You tell me. Unions have a lot to offer:

1. Contacts in other members

2. Free movies

3. Content on website

4. Networking/family events

5. Educational/Technical seminars and materials

6. Discount tickets for movies, family trips, rental cars, etc.

7. Credit Lines

And much more... see if your union has an orientation that addresses all of the benefits of being a union member

There are also political decisions being made on your behalf. Wouldn't you like to know and even be a part in decisions affecting your income, benefits, safety, etc?

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

Question 97: What do I do if I'm in a remote state like Alaska to generate Union work if I'm not in the Union?

Depends on what union. SAG has different rules than IATSE, etc. You may be in a Catch 22 situation where you need union days to get into the union or enough non-union days (which are probably hard to accrue in a remote state). If you're trying to get Union work in Alaska and are not in the Union, there are Union rules that may inhibit you from being hired. After working for a union for 12 years, I can tell you that unions want to help. If the state you're in is remote, maybe there's an opportunity to organize a group of experienced workers and strengthen a union. 

If you live in a place like Alaska, want to work Union and there isn't Union work in your area, you may want to seriously consider relocating. 

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

Question 55: Can one get a steady job in the entertainment industry?

Is any job really steady this day and age? For the most part, positions in the entertainment industry are freelance. There are some studio and agency jobs that are contract jobs, but the reality is, nothing is truly stable in this industry. 

Some people are fortunate enough to get on a series that lasts for ten years. They, unfortunately,  have their own set of complaints.

If you were a teacher or a janitor and had tenure, your union would protect your job. In the entertainment industry, a union protects your contract and safety. An entertainment union can not guarantee/secure a job for you. Basically, you are a business owner, so the success of your business depends on you. 

Knowing this, I suggest multiple streams of income.

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

Question 1: How to generate Union work without Union contacts

Answer: In general- you don't.  If you want to work union jobs, it's imperative that you have relationships with people who hire union members.  I have clients who have been working non-union for over 20 years.  When I look at their list of contacts, everyone they know is non-union.  

The good news is, at least you know what's missing.  Create a target list of people who can hire you for the types of union jobs you want. Don't concern yourself with "how" you're going to meet them.  At this point, just become aware of who they are.

On today's teleseminar I'll be talking about how to figure out who you need to know and the importance of researching your targets.  We'll also cover where and how to research them.

To hear the archives and get on the live calls, sign up at www.TheGreenlightCoach.com and click on the And...Action! Teleseminar series.

To your success... 

For more tips and articles by the Greenlight Coach, visit www.TheGreenlightCoachBlog.com