entertainment industry coach question 690:Do you have to put someone's title in a letter?

It depends to whom the letter is being written. If you are writing to a network executive, or someone with a network, studio, or production company title, it is appropriate to send a business style letter. Therefore, the top left a few spaces below the date, will have the person's name, under that the title, and under that the address.

Depending on the nature of the letter you would address the recipient as Mr/Ms/Miss/Mrs or by their first name only.

When you are writing a letter to someone whose title is director of photography, it's a little formal to put that in a letter, HOWEVER, if they are in the ASC or another honorary organization, it is with respect, that you would include their membership letters after their name.

When deciding about including a title, think about what you would wear to an interview. Most crew members who interview in a business suit, "freak out" people because camera assistants don't wear business suits. So if you're a camera assistant writing to a camera operator, you probably wouldn't use his/her title, but you would put SOC after his/her name if it applies.

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entertainment industry coach question 607: Shouldn’t you just focus on 1 area in the industry?

This was a question based on yesterday's blog. The answer is there is no right or wrong answer. You pursue what you're passionate about. Who are we to tell an actor he can't write, or a director she can't edit. People must do what they love. That said, in your marketing materials, you should have separate cards and resumes for classifications that aren't perceived as complimentary like Writer/Director or DP/Operator.

Now, if your focus is all over the place and you're not getting any work because no one knows what you're doing including you, then you may have to focus on the area you're most passionate about first, get good at it, and then branch out.

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entertainment industry coach Question 460: How many years do I have to work as a loader before I can move up?

That depends on how many years film is around for you to load... oh, bad joke. Sorry. Seriously for you and for everyone who wonders about how long you have to work in a classification before you move, there's no standard answer. There's no rule book. It's time to move up when:

1. people are asking you to

2. you know enough people who are willing to hire you in the new classification

3. you are confident with your skills and ready (and have 1 or 2)

You can also look at demand. Do you want to be a big fish in a small pond and make a living working because the competition is slim? Or do you want to move up into a very competitive position? The other question is what is your ultimate goal? If you are trying to move up the ladder to be "politically correct" that model has been smashed. You're welcome to spend ten years in each classification working your way up the ranks the way the old schoolers did, but if ultimately you want to operate or DP, you have kids in high school making movies who will be light years ahead of you.

Just some stuff for you to ponder.

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 458: Why do so many crew members wear Hawaiian shirts on set?

I just found out the answer today since I've always joked around that the "dress code" for a camera operator is a Hawaiian shirt. Apparently there's a reason. And that reason is... drum roll please.

bdbdbddbdbdbbdddbdbd (that's a drum roll)

Because you can't see all the food stains they get all over themselves when they eat. Apparently stains just blend right in with the patterns on the Hawaiian shirts.

See? It pays to attend networking events. You learn useful information like this. After all you wouldn't want to be the only grip wearing a white collared shirt with spaghetti sauce splatters all over you.

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 376: Does it hurt my career if I don't watch TV? (I'm a camera operator)

I love that you're catching on and giving me the specifics. There are many classifications that should watch tv to know how they'd be cast in it, how they'd write for it, how they'd direct it, because while it's easy to get access to shows now, having prior knowledge does give you a leg up. But even for these classifications it's not a necessity to watch TV if it is a lifestyle choice.

As a camera operator, it's less necessary from your job perspective, because you could get called in for a dayplaying job, watch 2 episodes on Hulu and have an idea of the operating style.

So from the artists' perspective, not watching TV isn't a deal breaker. HOWEVER it's a huge rapport breaker, when you want to work in TV and the people who can hire you are passionate about TV and you tell them you don't watch it. It's like going to a couple's parenting weekend with a single parent as their moral support and telling everyone that you're not really interested in kids.

I personally love TV. I love talking about it with other people who are passionate about the shows I love, so yes, if I had the choice between bring you on my TV show or an operator who loves 30 minute single camera comedies, I'm not going to choose you. But I'm just one person.

On the one hand, you want to stay true to your values, and if you see TV as a "time-suck," then you shouldn't have to force yourself to watch it. On the other hand, you're in a highly competitive industry of people who are passionate about TV, so you get an edge when you're an expert in your field, and being able to talk about shows, is important.

Of course, you don't have to go after TV. If you're passionate about film, target those jobs.

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

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

entertainment industry coach question 328:Do you have to put someone's title in a letter?

It depends to whom the letter is being written. If you are writing to a network executive, or someone with a network, studio, or production company title, it is appropriate to send a business style letter. Therefore, the top left a few spaces below the date, will have the person's name, under that the title, and under that the address.

Depending on the nature of the letter you would address the recipient as Mr/Ms/Miss/Mrs or by their first name only.

When you are writing a letter to someone whose title is director of photography, it's a little formal to put that in a letter, HOWEVER, if they are in the ASC or another honorary organization, it is with respect, that you would include their membership letters after their name.

When deciding about including a title, think about what you would wear to an interview. Most crew members who interview in a business suit, "freak out" people because camera assistants don't wear business suits. So if you're a camera assistant writing to a camera operator, you probably wouldn't use his/her title, but you would put SOC after his/her name if it applies.

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

entertainment industry coach question 326:I own equipment and EVERYONE is asking to use it while offering me a pay cut?!?!

Not exactly in question form, but I get it. I am NO expert on the economy or the changes in technology, all I can say is that from a non-expert's view, I can make a few observations:

1. In an economic downturn, which I think we can all agree we've been in, people really don't have money to spend. So by you taking a pay cut and offering your equipment (if you have nothing else to do that could be bringing in income), gives you an OPPORTUNITY to create a new relationship with someone. The hope is that when the economy turns around and there is more money going into projects that your rate will go back up and you've built strong relationships with people during this tough time.

2. Sometimes, things change permanently. When the Steadicam first came on the scene, few operators owned it and were qualified to use it. They got paid big bucks and rental. Now, the majority of the operators I coach are qualified to operate a Steadicam and own one as well. This has saturated the market, in a negative way.

What you can do is stay on top of trends in equipment and technology. Go to trade shows. Technology is changing so quickly now, that fewer people are buying equipment, they are renting it.

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

entertainment industry coach question 292:How about getting a TV series as a DP after working as an operator for 20 years?

This was a comment on question 283. Absolutely, that's possible. It's probably one of the most traditional ways to get a DP job on a television series. After 20 years, I sure hope you've developed relationships with the executive producers and network execs on the shows you've worked on.

In some cases, your DP will move you up when he/she gets the opportunity to direct an episode. Either way, it's about the relationships you have. If you're ready to make the move up, you have to start talking to the contacts you've made through the years.

In some cases, you may be asked for a reel. If the only reel you have is an operator reel, you're going to have to create a reel as a DP. As all the name talents will tell you (and I'm sure you know already), lighting is crucial to a show. Directors may change around every episode, but the DP creates the look that sets up the show. In some cases, the lighting is literally a "character" in the series.

So, before network execs take a chance on you lighting a show that hasn't been "set" by another DP, you're going to need a reel, that proves you can do the job.

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

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 171: I am so sick of hearing about how much competition is out there! What do I do?

Stop listening! As an actress, I was told not to move to LA because there was too much competition. I made the move anyway and at first, I was intimidated. Then, I spent my first two years in an acting school with 24 people in my class. Of those 24, 12 were girls, of those 12, 8 were my age, of those 8, 4 had a similar look to mine (notice I did not say type), of those 4, 1 did her homework, learned her lines, and took her acting career seriously. Suddenly, the competition didn't seem very competitive at all. Especially, because she was (and still is) an adorable red-head, with a giggly-girl-next-door, personality, which really isn't in direct competition with my type. Could be why after all of these years, that girl is my oldest friend out here. Like-minded people stick together. I cast her in my TV show, as soon as I had the chance.

Here's another example: I was the in-house Career Coach for the Cinematographers Guild for 7 years. There are over 7,000 members. I coached 1,000 of them. I know pretty good average. Yet when you think about it, 1,000 people have the advantage over the other 6,000. Break it down even further: of those 1,000 people they were broken up into approximately 10 different classifications. Lets examine one of the bigger groups: camera operators. Lets say I coached 200 camera operators, of those 200, 100 met with me regularly, of those 100, approximately 50, committed to overcoming their fears and obstacles, followed the tools, followed through on the strategies, and are now working regularly. Of those 50 working regularly, some work in TV, some on features, and others in commercials. So of the 7,000 members, how many are camera operators? Maybe 1,000 since they're such a big group and how many have the EDGE of the specific tools to generate work? Not that many if you break it down by medium.

So, don't get caught up with your competition. Be the best you can be at what you do, and get the edge.

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