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.

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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 coach Question 454: I've written a short, now what?

Cont'd: "The script is my second; my first goes into production this month. So I have a few contacts I've hit up already, but I don't want to wear out my welcome with anyone and I'm hoping to expand my network. Just looking for fresh ideas!"

This question stemmed from the Greenlight Coach Newsletter I sent out to my readers. And the part of the question I want to address is the contacts.

Never assume people's "welcome" levels. Just tread lightly. Say to them, "I know I've asked you to help on my first short, and I appreciate your time and talent. I'm doing a second, and I know it's a lot to ask, but I didn't want to not ask you first, because I'm loyal to the people who work with me. So if you are interested, I would love to have you on board. If it's too much at this time, do you have a colleague whom you feel would benefit from the opportunity to work on my second short?"

You will most likely get a mix of answers and therefore be able to expand your network while maintaining the good relationships you already have.

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 307:What's an out-of-the-box way for a freelance film/video editor to network for job leads?

...or relationships that lead to work? I've answered this question to many classifications in different ways, but this editor wants an out-side-of-the-box way to create relationships that lead to work.

Based on his IMDB credits, I see that his editing work has been non-union, low budget, and in a few cases, written, directed, & produced by him (bravo for that).

For someone at this level I have 2 suggestions for today's blog:

1. Find working actors who want to direct.

There are many working actors who want to direct. It may be a short, a pilot presentation, a web series, or a full length feature. The fact that they are working actors, gives them credibility so they can get other recognizable actors and actresses on their project, who will look good on your reel. If you work well with the actor/director, the plan is to create a future partnership.

2. Reach out on Craig's List to people with unfinished projects.

Most projects make it "into the can" and suddenly the funds run out and they never see the light of day. That's where you come in. Place an ad on Craig's List offering to finish a project in limbo. People interested have to fill out an extensive application. You decide what the criteria for accepting a project will be for you. Is there name talent in it? Is the material so good that you feel it has legs to actually move if completed? Is it a higher budget/quality than anything on your reel? How much of your time will be invested?

Then interview the directors and producers to see if these are people you want to create relationships with.

While everyone would prefer to be paid (and even in these cases you may be able to get something), the reality is that as you build your contacts and credits, freebies have become a way of the industry. With this method, you can be selective and strategic about the projects you take.

note: you may have to place the ad multiple times and in multiple places (other than Craig's List). You may even put in the ad, if you or someone you know has a project that is in limbo because you can't find an editor...

double note: you may receive angry responses from union editors who think what you're doing is wrong. I work with many union editors, and the bottom line is, if you don't do it, no one will. These are not union projects, you are not taking work away from a union editor. These are not stingy people who are holing out on the cash (you're interviewing them so you'll know that). These are people who you are helping complete their dream. And with some good marketing, that finished project can turn into union work for all of you.

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

entertainment industry coach question 269: I have multiple interests, but when looking for a job, I'm being forced in one direction. Advice?

If you have multiple interests, there are quite a few things to weigh out:

1. What is your fastest path to making a name and an income for yourself?

This is to be considered if (a) money is an issue and you need to support yourself and if (b) you have the networking skills (or are willing to develop them) to make a name for yourself in one area, and then make a transition to another. For example: television DPs who build relationships on their show and then ask for the opportunity to direct.

2. Can any of your interests be done simultaneously without causing conflict?

Consider this, if one of the interests is an "office job" while other interests can be pursued after work and on weekends and no one is the wiser. For example: A studio publicist with an interest in producing can produce short films on weekends, as well as read scripts before going to bed.

3. Can your interests be prioritized so you can create a long term plan?

When you think about where you want to be in 20 years, can you work backwards and see how the different interests flow into each other? For example: (Years 1-3): an actress who starts out doing indie films, (years 3-5) makes a name for herself, (years 5-10) creates a production company producing as well as acting, (years 10-12) adds directing to her resume, (years 12 and on) has a productive career wearing all the different hats she desires.

4. Do the skill sets compliment each other or are they on completely different paths?

Some jobs in the entertainment industry compliment each other. For example: an editor who tells the story by putting the pieces together (literally) could take those skills and transition to directing. He may even save time in post because he's editing in his head as he creates his shot list.

Or are they completely different paths, like a camera operator who wants to produce. While it's absolutely possible, the skill sets are different. The learning curve it takes to perfect your skills as a camera operator (as well as staying up to speed on the latest equipment) can take just as long as learning how to produce a movie (factoring in development, scheduling, budgeting, and having a knowledge of the different departments). With producing, sometimes, the smaller the budget, the more you need to know. That's because on a studio film there are different people for the many different components to producing a film. With a low budget indie, you could be doing everything from raising the money, to filing in for a boom operator who doesn't show up.

5. Is one of your interests the "big dream"?

If so, consider the skill or craft that needs to be developed. Is that something you can do with a full or part time job? If yes, work on your craft and build relationships while maintaining financial stability. If no, are there opportunities to work your way up the ladder (in a studio system or a crafts department like in camera and production design) to make money and learn from mentors?

The good news is, today's version of the industry allows people to wear different hats and move up in departments. The "less-good" news is that it doesn't make your choices any easier.

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

entertainment industry coach question 234: How do I get a job as a PA?

There are different ways to get a job as a PA. The best way is always through other people. Let everyone you know in the industry or connected to the industry, know that you want to work as a set PA.

Another way, is to send cold resumes to productions in prep. It's one of the only positions where people take chances on people they don't know, if their resume is strong.

If you don't have a strong resume, do free PA work on short films, web series, and indie films to build your resume and relationships.

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