And...Action!

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

Sunday, April 10, 2011

entertainment industry coach question 764:How do I deal with finding work in such a bad economy?

Finding work is always about one thing- relationships. Instead of focusing on the economy, focus on relationships. For some people the economy has turned around and they are working. Like beauty is in the eye of the beholder so are the circumstances of life. If it weren't the economy putting obstacles in your way of finding work, it would always be something for someone. Do you get what I mean by that? For years people were affected by run-away-production, then came fast changes in technology, then productions were leaving major production cities and going to other states in the US, and the economy struggle on top of all of this.

I'm not trying to bring your down, I simply want to point out that with the nature of our industry there will always be something that presents a challenge for someone. So back to my first sentence. Finding work is always about one thing- relationships. As long as there are people working out there (which there are) there are jobs to be had. Therefore, consider our time not working at your craft, time to be working on your business. Which means expanding your relationships with people who work.

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

Saturday, April 9, 2011

Did you catch it?

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

Thursday, April 7, 2011

entertainment industry coach question 763:Do you have to be in a union to take pictures on set?

Not only do you have to be in a union but there's an actual name for the classification: Still Photographer.

In some cases they let cameras on the set for continuity and wardrobe, but to take stills of the production you must be a still photographer.

Now if you are a still photographer and you're not in the union you can accrue your days toward getting into the union by working on non-union productions. And be sure to check with Contract Services to make sure you are saving the important paperwork like pay stubs, etc. so your days will qualify.

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

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.

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

Monday, April 4, 2011

entertainment industry coach question 760: Should I go to film school?

First, let me say that this person gave me no history, so I have no idea where he/she is coming from. Having coached as many people as I have, I know this could be:

A: someone who isn't in the industry yet, and wants to be

B: someone in the industry who is not a head of a department, and wants to be

C: neither of the above

I will not be addressing "C," unless the person is neither A nor B, and writes to give me the specifics.

Let's be realistic, I can't answer this question because you have to answer it for yourself. I can advise you on what to ask yourself in order to make your decision. So, here goes...

On numerous occasions I've had clients come to me and say, "I want to move up and no one's giving me the chance. Should I go to film school?" I ask them how they see that as a solution. Here are some of the responses I get:

1. I would be forced to build up a reel (and variations that don't include force)

2. I could create relationships with other students and teachers

3. I could get mentors

4. I would hone my skills & perfect my craft

These are all good reasons to go to film school. However, you can do all of those things without film school. My old boss, a Producer, and at the time, head of the producer program at a prestigious film school, once said to me that the students could take all the money they spend on school and make a film. It would teach them everything and more.

On the other hand, when I was working with clients who made the decision to go to film school and we created a 2-3 year business plan, they had outstanding results.

For those of you not in the industry and interested, it's the same question: what do you want to get out of film school that you can't get from real world experience? If your answer is worth the time and investment, go to film school.

If you do choose to go to film school, my advice is to make the most out of it. Film school can be so much more than what you learn in class.

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

Sunday, April 3, 2011

entertainment industry coach question 759: What do I do if my boss won't move me up?

There are many reasons why a boss or head of a department won't move you up. I could list some of the reasons, but really, you'll never know the true answer unless your boss tells you.

The bottom line is, if you don't have a boss willing to move you up, you have to:

1. Build up your credits, in the "next-level" position, outside of your workplace/crew

2. Create relationships with people as your "new-position" so that's how they perceive you

My sister is in a completely different field, advertising sales. She started as an assistant in a large company that didn't promote assistants. She had to leave her company to get a sales job for another company. After that, she was able to return to her original company as a sales person.

It happens all over, not just in the entertainment industry.

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

Saturday, April 2, 2011

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.

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

Friday, April 1, 2011

entertainment industry coach question 757: I live in a small town and want to move to LA. What should I do?

Here's the advice I've given to people who have successfully made the move to Los Angeles:

1. Save enough money to survive for a year with no work/or be willing to get a survival job

2. Create relationships with people who live in LA, before moving out here

3. Have a strategy plan that includes the kind of work you want and how you plan to generate it

4. Research the "business side of the business" so you aren't shocked when you're not "discovered" within 30 days (or 30 months)

5. Choose a support team of friends & family, so during times of doubt, they can boost you back up

Because there are so many people who are interested in moving and survival jobs in LA, check out 2 of my Greenlight 101 Series books:

101 Tips on Moving to Los Angeles from a Small Town, by author, Jefferson Loftfield

and

101 Tips to Getting a Survival Job That Doesn't Suck, by author, Dawna Gonzales