entertainment industry coach question 758: Should I re-rate?

The question actually read, "Should I re-rate to DP?" But, because my readers are in different classifications, I'll give the standard answer which applies to any classification.

My answer is a list of questions:

1.Do you know enough people who WILL hire you in the new classification?

2. Do you have the marketing materials to back up your experience in the new classification (ex: reel, credits)

If you answered, "No," to 1 & 2 and still want to re-rate:

3. Do you have enough money saved to last you 2-5 years?

That is not an arbitrary time period that I have chosen. In my experience of coaching over 1000 people one-on-one, that's the average time it takes to move up in classification without proven experience and A LOT of contacts who are willing to hire you. However, all it takes is one person to give you a break, and that can change everything. I just wanted to give you an answer based on the average that I've seen.

Being the exception to the rule is possible, being prepared for the realities of the entertainment industry is practical.

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entertainment industry coach question 668: Why do people say yes to looking at my reel and then they never get to it?

I can't read people's mind. There are many reasons why people say yes to watching your reel and don't. Here are a few:

1. It's on their to-do list and they will get to it.

2. They had every intention to, but life and work got in the way.

3. You continued to follow up with them and as your attitude got more resentful, your follow up got more obnoxious (and they either felt too guilty to contact you or just thought you were a jerk)

4. You put them on the spot when you asked them to watch the reel in the first place, and like a girl who gives out a fake number, they said yes, to end the awkwardness.

5. They think your reel stinks and they don't know how to tell you so they're avoiding the situation.

6. They misplaced your reel and they don't want to admit it.

7. They thought your reel was so great they passed it onto their agent and they're waiting to find out if he's going to take you on as a client so they can share the good news with you...

I can make up stories all day. It's probably what you've been doing. The bottom line is, you, me, and everyone we know, will NEVER know the actual reason.

All you can do is go back over the conversation of when you gave the reel to them in the first place. Were you professional? Were you in rapport? Did their physiology and tonality align with their "yes?" Did you ask them to watch it by a specific time and tell them that you'd follow-up accordingly?

If you feel good about how you handled the situation, then let it go. I have a pile of DVDs of people's documentaries, short films, feature films, and pilots, that they gave me, and I had every intention of watching them. The people range from ones I've met once at a speaking engagement to clients I've had for years. I still want to watch them. If I were living in a movie, it would be Duplicity, and one of my "selves" would watch them, while another self was blogging right now and working 16 hour days, and another self was on a romantic getaway in Hawaii, and another self was back in FL visiting my family, yet another one was in NY visiting my friends by a warm toasty fire.

Unfortunately, there's just one me. And yes, I'd feel awful if someone was upset with me for not watching something they gave me. But as awful as I'd feel, I can only do so much. I am doing the best I can with what I have. I'd like to think that everyone out there is doing the same. It sure beats some of the stories I made up in this blog.

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entertainment industry question 526: How many times a year should I do an agent mailing?

Uh Oooooh.... this is one of those questions that make me go.... hmmmm. I feel like I just addressed this recently, but maybe it was in a seminar. Agent mailings are for the most part a big waste of time and money. The reason I say that is because:

1. People don't bother to consider the timing of when they're pursuing an agent and do a mailing willy-nilly like right smack in the middle of pilot or staffing season.

2. People buy a list of addresses, don't check that they're up-to-date, don't personalize the mailing to the agent in the right department, and don't spell check names.

3. People send out resumes, reels, head shots COLD. Do you know how many thousands of people are submitting to agents? It's far more effective to get referrals to agents. The time you spend getting referrals and approaching an agent in a professional way, will be worth it compared to the years of unproductive mailings.

I'm not saying that cold mass mailings don't ever work, I'm simply offering you a more effective use of your time (because it rarely works).

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entertainment industry coach Question 516:I've been posting videos on Twitter and no one's watching. Why?

Well, after researching this, your title was "Watch This Strange Video." That screams SPAM!!!! CLICK ON ME I'M A VIRUS!!!!!

You need a better title. I've received videos from trusted clients and friends that say, "Watch this, it's funny." And I've written back and asked if it was really from them or a virus. Opening links and downloading files can be very risky. If a virus attacked my computer... I can't even think about what it would do to my business.

Okay, I need to breath and shake that thought off. SO you need a new title. The video is your reel with sci fi and horror, so yes, it is strange and I get you're trying to brand yourself that way BUT, a title like "feedback on my reel please," may get more views.

And, really, is Twitter the most effective way to get your reel seen? Maybe not at this point in Twitter world. Do you really want feedback from people whose credentials may not be up to snuff? A targeted campaign to people who can effectively contribute to your career is something to highly consider.

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entertainment industry coach question 374: What's the best way to convince people to work low pay upfront & rest deferred for a 3 wk Indie Film shoot?

The best way is to create a win/win, be professional (have legal documents drawn up regarding the deferral pay), and most of all make it fun for them.

No one wants to work for free or for lower than their pay grade, but people will be willing to do it if:

1. They like and want to support the person whose project it is

2. They believe in the material

3. There is an opportunity for them (to work in a new genre, get a scene for their reel that's missing, play with new equipment they've never used before, get a celebrity on their reel, meet new people to network with, etc.)

4. They are being given the opportunity to move up in classification

5. They need to build their credits

The critical thing to remember when people are making sacrifices for your project is to treat them and feed them well!

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 313:What should my next step be from corp videos to producing TV, Film, and Docs?

The next step will have to do with researching the market. As you can see by the complete question below, it comes from someone in England... Liverpool to be exact.

"I've been spending the last 5 years producing corporate videos for non profit orgs. But my dream is to produce either documentaries or dramas and work in TV or Film. What should my next step be? As my showreel is mostly corporate videos"

As a coach, my job isn't to know the market in England or anywhere else. I happen to know it in Los Angeles because that's where I live and work. I have a pretty good idea of it in other larger production cities in the US, because I've either done seminars there, or have clients who work there.

My job is to give you universal tools, so here's the next steps for you, no matter where you live:

1. Research the market; who is doing what you want to do successfully?

2. Research the people; who are the people who've transitioned from Corporate Video to TV, Film and Docs?

3. Start building a reel of narrative work. As someone who wants to produce, seek out projects that you believe in.

4. GET MENTORS!!!!

5. Join entertainment organizations for filmmakers, for TV, and for documentary, and start establishing new relationships. Each medium has different "players" and you need to know them.

Even if you had no background in corporate video, and wanted to break in, these are the steps you would take. You have an advantage because of your background so use that in your conversations. Know what your background brings as an advantage for producing the type of work that interests you.

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

entertainment industry coach question 306: Why do people say yes to looking at my reel and then they never get to it?

He continued on a rant which I'll just sum up with a "why bother saying yes in the first place?"

I can't read people's mind. There are many reasons why people say yes to watching your reel and don't. Here are a few:

1. It's on their to-do list and they will get to it.

2. They had every intention to, but life and work got in the way.

2.5 you continued to follow up with them and as your attitude got more resentful, your follow up got more obnoxious (and they either felt too guilty to contact you or just thought you were a jerk)

3. You put them on the spot when you asked them to watch the reel in the first place, and like a girl who gives out a fake number, they said yes, to end the awkwardness.

4. They think your reel stinks and they don't know how to tell you so they're avoiding the situation.

5. They misplaced your reel and they don't want to admit it.

6. They thought your reel was so great they passed it onto their agent and they're waiting to find out if he's going to take you on as a client so they can share the good news with you...

I can make up stories all day. It's probably what you've been doing. I noticed two stories in your rant. The bottom line is, you, me, and everyone we know, will NEVER know the actual reason.

All you can do is go back over the conversation of when you gave the reel to them in the first place. Were you professional? Were you in rapport? Did their physiology and tonality align with their "yes?" Did you ask them to watch it by a specific time and tell them that you'd follow-up accordingly?

If you feel good about how you handled the situation, then let it go. I have a pile of DVDs of people's documentaries, short films, feature films, and pilots, that they gave me, and I had every intention of watching them. The people range from ones I've met once at a speaking engagement to clients I've had for years. I still want to watch them. If I were living in a movie, it would be Duplicity, and one of my "selves" would watch them, while another self was blogging right now and working 16 hour days, and another self was on a romantic getaway in Hawaii, and another self was back in NY visiting my family and friends.

Unfortunately, there's just one me. And yes, I'd feel awful if someone was ranting about me for not watching something they gave me, the way you were ranting about "some people not watching your reel." But as awful as I'd feel, I can only do so much. I am doing the best I can with what I have. I'd like to think that everyone out there is doing the same. It sure beats some of the stories I made up in this blog.

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 265: Should I be building my reel in film school or taking business classes?

It depends on the business classes your film school offers. You should absolutely be focused on the business side of the industry while in film school, however if the marketing, sales, and business classes are not directly related to the entertainment industry, you will have to get really clear on how what they're teaching, applies to you.

Film school IS for building your reel, perfecting your craft, building relationships, obtaining mentors, and preparing for entering the industry armed with an understanding of the business.

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

entertainment industry coach question 261: Are there scams I should be watching out for?

In an industry filled with people who desperately want to work, there is a higher risk of running into scam artists. Perhaps the community can chime in with some of their experiences. Personally, I have not experienced a scam, though I can certainly give you some things to look out for:

1. An agent or manager who tells you that you have to pay to be a client.

2. When someone insists that before they hire you, you must pay to have pictures or reels redone by the person they recommend.

3. Someone who guarantees they will get you work once you pay them.

Are you seeing a theme here? I know there have been some scams on Craig's list that escape me right now. When in doubt, check it out. Trust your instincts, be smart (don't put yourself in a dangerous situation), and decide how much you're willing to risk.

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

entertainment industry coach question 224: how long should my directing reel be?

There's no exact time frame, though the average time is between 2-5 minutes.

The purpose of a reel is to show you have talent in your classification. Search the internet for other people's reels in your classification to see what they are doing (preferably working people. you can usually find their reels on their agent's websites, or their own) and model the ones you like.

Another tip is to think long term. If in 5 years you want to be directing romantic comedies and you have 3 shorts that are all different genres, you may want to consider doing shorts that are romantic comedies, because:

1. The more you show in your genre, the more it proves you're an expert

2. You get better with each project so you want your best work to be in the genre you're targeting

3. You'll be creating relationships with people who enjoy the same type of work you do

The objection I get to this is, "But I can direct anything and I want people to see that so they'll hire me." My answer to that, is that early on you will be hired based on the relationships you create, so it really doesn't matter what genre is on your reel, what matters is how well you can sell yourself. LONG TERM, it will matter what genre is on your reel, so target the types of films you want to make.

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

question 214: How do I know which clips to use for my reel?

I get this question a lot. I usually like to discuss the client's objectives before giving an answer so we can tailor the reel to the direction the client wants to go in.

Because I don't know you, what you want to do, or how you want to market yourself, I'll give you some basic tips:

1. Decide what type of work you want to do and choose clips that reflect that

2. Choose only GREAT clips (you only get one chance to make a first impression)

3. Use current clips whenever possible (definitely nothing over 15 years old, hair styles and wardrobe always give it away)

4. Put recognizable talent up front so people immediately see you can work with name talent

5. Show range within the type of work you want to do

6. Keep the clips short and the reel length current and consistent with the marketplace

7. After doing the previous 6, get feedback from people before duplicating. Sometimes we fall in love with our own work but it doesn't necessarily sell us the right way.

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

question 211: If I've been an actor for 10 years and now want to direct TV but I haven't had a hit show so no one knows me, can I do that?

The beauty of this industry is anything is possible. There are no rules. That said, breaking into tv as a director is a HUGE undertaking. You will need:

1. An outstanding director reel

2. A-List TV director mentors

3. TV Studio Executive advisors

4. A clear understanding of the job and the politics

5. (The outside-of-the-box method) a hit show that you direct independently

Obviously, there is a lot more than this simple answer, but if you're not committed to fully going for those 5, there's no point in going into it further. If you are committed, contact me and we can get you started on a plan of action!

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

question 195: I'm in school and want to know if I have to specialize in film or commercials?

There was a time that people specialized in one area (TV, Film, Commercials, Docs, Industrials, Sports, etc), but now people can move from genre to genre with more ease than in the past. That said, if you have a long term goal, you want to start setting yourself up for that now. If in 20 years, you see yourself in feature films, start building your resume, reel, and contacts in that area.

Many people have worried about getting "stuck" in one area. I say, get known in one area and once you're well known it will be easier for you to move around. People who try to do a little of everything and never make a name for themselves in any area, have a tougher time maintaining a long term, rewarding career.

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

question 188: How many jobs do you need to have on a resume to be taken seriously?

People looking at resumes are looking for recognizable titles and people. If you haven't been hired by recognizable people and you haven't worked on projects that people know, it's really NOT about your resume. While it's always about building and maintaining relationships, when you don't have a strong resume it's ALL about the relationships.

When you build strong relationships, people will hire you because they like you and see your talent and/or potential. Having a resume will make you look professional, but the relationships will get you the job.

Accept smaller/unknown projects to build your credits/reel/contacts. People you meet on these projects may be the people with whom you grow into larger projects.

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

question 186: How do you deal with a boss you can't stand? part 2

Okay, so I have more details from yesterday's question asker. He works in a "department" where his boss (the head of the department) is a screamer, who emotionally and even physically injures people. That said, his boss is hugely "in demand," so the person who asked me this question fears leaving because the perks of working in this department are: lots of money, good contacts for the future when he moves up in classification, steady work, and the rest of the crew are like family.

So here are some tips for tolerating your boss:

1. Immediately start building relationships outside of your "crew family" so that you may find yourself in an equally prestigious work opportunity with a better boss. Part of this is to be meeting people that make you happy and inspire you.

2. Start planning for your future by building a reel. This will make your current job feel like a day-job while you pursue something you're more passionate about. Create a 1-2 year plan to be out of there! It will give you something to live for (I'm being dramatic, but as I said yesterday, I've been there).

3. Because you said he is a screamer, but never mentioned you feel your job is in jeopardy, recognize that he's just a schmuck and his screaming is due to lack of management skills and most likely a small.......... sense of self. I know, that doesn't help in the moment, HOWEVER, on top of recognizing this, I want you to create an emotional anchor* that you can fire off when he's done.

What's most important is your health! Working for someone like this can literally be hazardous to your health because of suppressed emotions and stress. So you MUST find a healthy outlet.

*an anchor is a tool to change your emotional state. For more information on how to create an anchor, contact me or order my book And...Action! at Amazon.com

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

Question 81: What do people really want to see in a reel?

It depends on who's looking at it. There are many types of people who will look at your reel. I will address 3 types: 

The first type is the person who knows what constitutes talent in your classification. This person will be looking at your talent & skill. If it's there, then it may or may not matter if you have recognizable talent/projects on your reel. 

The second type doesn't know the nuances of what you do (ex: a writer* looking at a DP's reel). This person is looking for recognizable talent/projects, something that appeals to his/her sensibilities, and his/her medium.

The third type is looking for "his/her movie" on your reel. In other words, if his/her movie takes place in the interior of a restaurant and you're reel is comprised of a montage of interiors in a bedroom, a car dealership, a bathroom, a classroom, and a gym locker room, he/she will wonder, "Yes, but can you do a restaurant?" What are you gonna do? I know a 5-time Oscar nominee that encountered this, which leads me to...

You can't please everybody so:

1. Put recognizable talent/projects up front

2. Get other qualified people's feedback, because sometimes your opinion is biased 

3. Research your competition's reels so that the length and style of your reel is current  

*disclaimer: there are many writers who have a great knowledge of lighting 

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

Question 21: Should I stick to one thing (directing/acting/camera) or diversify?

That depends: how good are you at the different things you want to do?  

These days people are wearing many hats or using many /s.  I think it's great.  I do it myself. The important business question is: 

How are you marketing yourself?

The big mistake I see people make, is putting everything on one resume: editing, camera operating, background artist.  It's one thing to market yourself as a DP who operates, or a writer/director, it's another thing to be "Jack of all trades." People want to know that the person they are hiring is an expert at what he/she does.

I suggest you have separate resumes, websites, business cards, and reels.  If a situation arises, such as a LOW budget film, and they want a director who can also shoot and edit, then put together a package that shows you can do it (if you can deliver).  

Remember to trust your gut about whom you're sharing what, with.  Some old school people don't appreciate those who haven't worked their way up through the ranks. And some traditionalists prefer someone who they believe is passionate about one thing.  

Personally, I LOVE being, Jessica Sitomer, actress/writer/producer/author/speaker/career-coach/blogger/dog owner/chocolate lover/Jiu-Jitsu white belt (with 1 stripe)/"24" fanatic

For more tips and Greenlight Coach articles visit: www.theGreenlightCoachBlog.com