And...Action!: director

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Friday, April 8, 2011

entertainment industry coach question 764: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

Tuesday, April 5, 2011

entertainment industry coach question 761: Does the camera I use to shoot my short film matter? Some people use cell phones.

It depends on your objective for making the film (Don't kill me camera friends). When you're looking to create a calling card, content is king, so if it's a really well written and well acted short, you can get recognition even if it's not shot on 35.

On the flip side, if it looks terrible, it can take away from the acting and writing. So see what you can do. There are so many talented people out there with equipment looking to build their reels.

Now, if you are a DP/Director, then ABSOLUTELY the look matters, obviously. Technology is always changing and becoming more accessible. Do you plan to go to NAB? It's important to stay up to date and educated on the advances.

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

Sunday, March 20, 2011

entertainment industry coach question 745: I am meeting a director I would like to work with. I've researched him but I don't know what to say.

It sounds like your question is: How do I craft questions for a person I've researched? If I'm wrong and I haven't answered your question, please clarify with more specifics in the comments.

The key to creating a good first impression is to remember that the person you're meeting with is learning about you and if he/she wants to spend time with you on set. Therefore, steer the conversation toward subjects you're both passionate about and bring out both of your personalities.

Some tips:

1. Bring up any mutual connections you may have discovered in your research

2. Share personal and professional stories

3. Ask technical questions about the working relationship between him/her and your classification

4. Ask about his/her connection to the material if you are meeting on a specific project

Sincere compliments are always appreciated.

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

Wednesday, March 2, 2011

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)

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

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Friday, February 4, 2011

entertainment industry coach question 701:My friend is directing a pilot and I can't get him to call me back. How can I entice him?

Is it an emergency? My guess is- no, because no matter how busy someone is, if it's an emergency, they find time to return your call. Which leads me to my point. I'm not saying that you did this, but I know many people do. They wait until pilot season, see who's working, and then start making calls.

It's fine to let people know you're available, in fact, it's your job, but "I'm available" calls don't usually get returned calls unless there's a job for you. And "just checking in" calls, really don't get returned during pilot season. People get so pissed off about this. They say to me, "Who do these people think they are? No matter how 'big' I get, I'll always return people's calls."

Really? When a production report gets distributed, and a director (and other classifications) gets announced, he/she is bombarded with calls ranging from complete strangers, to people whom they met once (and now think they're friends), to people they know looking for work (who only call when they're looking for work), to good friends in the business (who are not in their 'top 10' top of mind calls.)

So now, the director has 127 calls in his voicemail, from people looking for work, 'just checking in,' or with an "enticing" reason for him to call back.

*note: if the enticing reason to call you back is so that you can build your relationship in order to get work- you should have made that call BEFORE pilot season.

The director is working on a pilot. This is one of the highest pressure jobs, with the most demanding hours, and usually an impossible schedule. On top of the pilot, he may have a family whom needs his attention on the few off hours he has, or maybe he needs to go to the gym to work off some stress, or have the 'check engine' light checked on his car so it doesn't break down on the way to the studio.

Do you see what I'm getting at? By the time a director books a pilot, he pretty much knows who he's hiring. If you didn't get called, left a message for him, did not get a call back, and it's not an emergency, this is NOT the best time to be persistent. He is BUSY. It's not personal.

If when you book a pilot and have 127 people calling you daily, you are able to return every call, PLEASE, write to me so I can interview you on time management.

Give your director friend a break, and let him concentrate on his very important task at hand.

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

Friday, December 10, 2010

entertainment industry coach question 645:Is it possible to shoot a studio feature 20 years out of film school?

This was in response to the blog about directing a studio feature 2 years out of film school. And while I know the person who asked the question, was kidding, it's actually a frequently asked question, so I'm going to address it.

MANY people have come to me for coaching and said a variation of these words, "I have been working on non-union films for 20 years, and I'm not going to do another film, unless it's union."

I then have to get into strong rapport with them, look them straight in the eyes, and gently deliver these exact words, "then you may never work again."

It's a harsh reality, I know, but if you don't have the relationships with studio executives, studio directors who have the clout to bring you on, or a track record that will make you sellable ONCE a film of yours "blows up," then not only do you have to continue working non-union, but you also have to spend time building relationships with the people who have the power to hire you at the studios.

Studio politics are impossible to understand if you have never been involved in the studio system. So find people who have been, who can give you perspective and advice.

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

Friday, December 3, 2010

entertainment industry coach question 638: Is it possible to be directing a studio feature 2 years out of film school?

Is it possible to be directing a studio feature two years out of film school? Anything is possible. Is it likely? Well, that depends on a lot of important factors. Here are some factors to consider:

1. Are you closely related to the head of a studio?

2. Did you make a film in film school that won Sundance?

3. Did you get at least 20 studio executives, A-list directors, and A-list writer mentors while in film school who are deeply invested in your talent and success?

4. Do you have a blackmail video featuring the head of feature development at a studio? (I don't condone this, but I had to ask)

The bottom line is there are politics in the studio system that go beyond the entertainment industry. Why do you think we see GE commercials every time we watch 30 Rock? It's not because Alec Baldwin thinks they bring good things to life.

So it's important that you get an understanding about studio politics, what it takes to get a director "greenlit," and the amount of money that gets invested in a film with a first time director.

Whatever you do, keep directing, everything you can (except blackmail videos of studio executives), learn from other directors who were successful early after film school, and stay focused on the most strategic path toward achieving your goals.

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

Tuesday, November 23, 2010

entertainment industry coach question 629:What is the best way to write a letter to start a relationship with a CD, director or agent and...

... not make it about me, me, me?

The answer to that is make it about them, them, them! When you are approaching someone to begin a relationship, you want to offer help, or ask for something they can say yes to, which means: DON'T ASK FOR WORK or A JOB in the first few contacts. Build the relationship first.

So tell them in your initial letter: who you are, where you are in your career and where you want to be.

Then: Tell them why you're writing to them (what you want or can do for them) and WHY THEM PERSONALLY. This is where you make it about them, them, them.

Remember to give your contact information as well as a date when you plan to follow up with them.

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

Monday, November 15, 2010

entertainment industry coach question 621: I'm determined to make the "male" skirt style work! When is it not appropriate?

The question read in it's entirety: I'm determined to make the "male" skirt style work!...it's my "thing" and I get unbelievable POSITIVE reactions for my fashion style!...I get recognized ALL THE TIME all around LA!...if it's above 75, I'm in a skirt!...BUT, I know it causes a scene, which I like, but I don't wanna cause a scene on set, especially as an extra...BUT if I don't wear my skirt, I feel I'm not being true to my "style"...so, my question: when is it ok to wear my skirts, when should I concede my style???... :)

Because you're an actor, the answer is simple: you concede whenever it's not true to your character. Even as an extra, an actor should take pride in the role he/she is portraying. So, put yourself in the mind of the director who is directing the scene and the person who chose the extras. When the director told the casting person, "Send me 'everyday' men 20-45 for a scene at an airport," knowing that a man in a skirt "causes a scene," it is most likely not what the director had in mind for an "everyday" male.

Your skirts are part of your brand, YOU the brand, and it may get to the point where you're known enough for a director to say, "Get me the guy who wears skirts." Until then, your style is not what they're casting, your ability to play a character that is "universal" in the scene is.

If I stuck to my style when I was speaking on stage, I'd be in Ugg boots and thermal underwear, but that's not the "Hollywood" image the people who are hiring me to speak want portrayed on their stage. So, I put on the 5 inch heels, wear the sexy dress and finish it off with sparkly jewelry and viola... they've got their Hollywood Career Coach (but don't for one second think my Uggs aren't waiting for me in the car).

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

Monday, November 1, 2010

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.

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

Tuesday, October 19, 2010

entertainment industry coach question 594: How do people get to see movies at the DGA?

For those of you who don't know what the DGA is, it's the Directors Guild of America; the union that represents Directors, ADs and other classifications that fall under their jurisdiction. The DGA happens to have one of the best theaters in town (no surprise), but to see a movie there, you must be in an organization that is screening a movie there, invited by a member of an organization that is screening a movie there, or attending a film festival there. It is not a regular theater where you can just show up and pay.

Another good reason to reach out and create relationships with people. Some of the organizations that screen movies there in addition to DGA are: The SAG Film Society, The Cinematographers Guild and The Editors Guild.