Showing posts with label producers. Show all posts
Showing posts with label producers. Show all posts

Wednesday, April 6, 2011

entertainment industry coach question 762: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.

In most cases, the people that get their days to qualify for union membership have gone the extra mile to get those days. People who are wiling to go the extra mile are the ones who people want to hire. Evaluate what you're doing to go the extra mile. And if you're not going the extra mile and can't figure out how, that's what coaching is for.

Wednesday, December 22, 2010

entertainment industry coach question 657:Should I let someone produce my feature film without paying me for the script?

I feel like I've answered this question before or maybe I've just lived it. Either way, you always want to create a win/win, without biting off your nose to spite your face. If given the choice, everyone would be paid for their art/talent. That said, if you are trying to build your credits, you have never had your writing produced, and you are suddenly given the opportunity, it may be worth it to you.

As I started with, you want to create a win/win. I'm assuming you're not being paid because it's a low budget, non-union production company. They want to produce your script because they believe in it. Therefore, talk to a literary agent, manager, or entertainment attorney, who can give you some advice on signing a contract to receive money should it sell. You may also be able to add a few more things to the contract in the event that the movie "takes off."

The reason I advise you to speak to a professional, is because, without contract experience, you could end up losing a lot of money. Numbers people can be very tricky, and it may not even be the production company you're dealing with now, but the one that they sell to.

Approach it like you would a pre-nup, with love, trust, and "a teensy need for insurance." You appreciate the opportunity, you believe in the producers, and therefore, you want to know that they are just as invested in your success in the end, since you're willing to sacrifice in the beginning. If a contract is going to be a deal breaker, you have to decide if getting your first screenplay produced is worth it. Either way, congratulations on getting this far.


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!

Monday, July 26, 2010

entertainment industry coach Question 509: How do I deal with producers changing their mind after I've been hired?

The question read: I was hired last week via a phone interview for a job. I got a call yesterday saying that the producers changed their mind and decided to go with someone with more credits than I have. I was a bit stunned. What is the best way to deal with a situation like that? I don't want to be like a deer in headlights nor do I want to be the person who screams their head off at them. Where is the middle ground in a situation like that?

Unfortunately, there's really no way to avoid the "stun." It's human to get excited about a job and then to have the rug pulled out from under you, is disarming. Your best road is always the high road. So, definitely stay clear of the screaming route. The middle ground is to see if there's a way to maintain the relationship. I know it can be hard when you're in the midst of getting an "emotional punch to the gut," BUT I have worked this road with many of my DPs who've had excellent interviews, didn't get the job, and maintained a relationship with the interviewers (producers, directors). This has led to a number of them either getting the second picture, or being brought in on the original picture they'd interviewed for when it didn't work out with the original hire.

You just never know where handling a situation with appreciation and grace can lead to.

Actions to take in this regard:

1. Tell them you're still thrilled that the project is a go and you'd love the opportunity to see how shooting is going (or be invited to a screening, etc).

2. Thank them, wish them the best, and let them know should their circumstances change, and they find themselves needing your assistance in the future, you are happy to jump back on board.

And just for your own sanity... keep a little notebook for all those names to whom you want to "unthank" during your Oscar acceptance speech :-)

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!

Tuesday, April 6, 2010

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.

Monday, March 22, 2010

entertainment industry coach question 384: What should someone who is 12 and wants to be an actress do?

Well, if you don't live in Los Angeles (which I can tell she does not), use your "kid power." What's kid power? Most people LOVE to help a kid with drive. Make a list of actresses, actors, directors, and producers that you would like to one day work with. For example: Steven Spielberg often talks about how he was directing movies in his back yard as a kid. Find people like him and reach out to people in a letter. Tell them how old you are and what you're doing now to pursue your dream. Tell them where you live and ask them for advice on what more you can be doing right now. If you plan to go to college, ask them for advice on which colleges to consider and what you can be doing now for extra curricular activities to help you get in. Explain that you don't plan to pursue acting as a job until you're finished with your education, but in the mean time would like to build relationships with mentors so when you do move to NY or LA, you'll be ready and educated on the business side of the industry.

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!

Wednesday, December 23, 2009

entertainment industry coach question 296: Should I let someone produce my feature film without paying me for the script?

I feel like I've answered this question before or maybe I've just lived it. Either way, you always want to create a win/win, without biting off your nose to spite your face. If given the choice, everyone would be paid for their art/talent. That said, if you are trying to build your credits, you have never had your writing produced, and you are suddenly given the opportunity, it may be worth it to you.

As I started with, you want to create a win/win. I'm assuming you're not being paid because it's a low budget, non-union production company. They want to produce your script because they believe in it. Therefore, talk to a literary agent, manager, or entertainment attorney, who can give you some advice on signing a contract to receive money should it sell. You may also be able to add a few more things to the contract in the event that the movie "takes off."

The reason I advise you to speak to a professional, is because, without contract experience, you could end up losing a lot of money. Number people can be very tricky, and it may not even be the production company you're dealing with now, but the one that they sell to.

Approach it like you would a pre-nup, with love, trust, and "a teensy need for insurance." You appreciate the opportunity, you believe in the producers, and therefore, you want to know that they are just as invested in your success in the end, since you're willing to sacrifice in the beginning. If a contract is going to be a deal breaker, you have to decide if getting your first screenplay produced is worth it. Either way, congratulations on getting this far.

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

Getting Jobs in Entertainment question 1280: I grew up in India and as a result English is my second language (cont'd)

"I grew up in India and as a result English is my second language. I  am looking to improve my comprehension when I read my text book...