Friday, June 3, 2011

Getting Jobs in Entertainment question 825: You've got your own business, do you ever think of just quitting the "biz"?

Are you asking because you're thinking about quitting the biz? I have quit... 3 times, and to quote Michael Corleone, "Just when I thought I was out... they pull me back in."

Do I have days when I wonder what am I doing in this crazy business? Yes. Do I have days when I feel alone, frustrated, confused, and hopeless? Yes.

And then I remember the first movie I did on location in Oregon, where I saw my first wild peacock, elk on the side of the road, failed at cattle wrangling, rode a horse even though I was told I wouldn't have to since it WASN'T on my special skills, AND I got to act ever day (but 4) for one whole month.

And then I remember starring in a sitcom pilot where a Camera Operator from Mad About You, told me we'd never get the whole pilot shot in ten hours. He was right... we shot it in 8. He was shocked, all of the actors knew our lines.

And then I remember a reality show from MTV following around a television show I was on and being on a treadmill at the gym and seeing myself on MTV and having the guy next to me stare at the TV and then look at me and then back at the TV and then back at me.

I love acting, I love writing, I love being on set with creative people, I love watching the finished product, and I love the memories that pull me out of the down times.

Create your own memories, and cherish them. This industry isn't for everyone, but if you want to stick with it and presently it's hurting your soul, tap into the memories of why you love it, then imagine it's five years from now and you're doing what you love. Really immerse yourself in the visualization; the sights, sounds, scents, tastes, feelings. Those feelings are are just as real in your body as the sad, lonely, rejected feelings. The difference is your choice of what you focus on.

I'm going to go visualize that a blog I've been writing becomes a network show... happy thoughts to you all...


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Thursday, June 2, 2011

Getting Jobs in Entertainment question 824: Is the business always this slow?

I think I've heard that question every month for the last 10 years. I guess it's because as a coach, half of the people who come to me are out of work. So it can be the busiest time ever and for the out of work people, it still feels slow.

The entertainment industry is ever-changing. With strikes, de-facto strikes, run-away production, tax incentive states, right-to-work states, changing technology, expensive equipment, in-expensive equipment, people retiring, new people entering the industry, and on and on...

Is the business slow? Who knows. It is what it is. If there is someone, anyone, out there working, you can be too. Instead of looking for an excuse like "its slow" to allow yourself off the hook or blame for your being out of work, ask yourself, what can I be doing to generate work for myself no matter what the state of the industry?
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Wednesday, June 1, 2011

Getting Jobs in Entertainment question 823: Is doing a reality show an "in" for an actress?

Ooooooo that's a toughy. It depends on so many things: what kind of career you want, what kind of reality show, how you're edited on that show, the relationships you develop while doing that show.

Like most opportunities, it's all relative. Jacinda Barrett, from the Real World has been building a legitimate theatrical career. Yet, hundreds of other people who've done reality have never worked theatrically. Some have done guest appearances on television shows, either as a character or as themselves. I've caught a few doing commercials. Some comedians have shows that I love, like Mike Rowe on Dirty Jobs. Still others have made a career of going from reality show to reality show. A few "train-wrecks" have even had shows created around them.

You've got to know the tone of the show. There's a difference between doing "the Apprentice" and doing "Bret Michael's Rock of Love." Yet, you can still be Bret Michaels "rock of love" and then WIN Celebrity Apprentice.. Yay Bret!!

My final question is why do you want to act? Do you just want the fame? And if so, do you just want 15 minutes of it?

My colleague Aaron Murphy from RealityHow.com and I, are going to be giving seminars (and teleseminars for those who aren't local) on creating your own shows. in the mean time, sign up for all of his free videos to give you a head start at Reality How and if you're not on my Ezine list yet, be sure to sign up for those dates which will be coming soon! (The box at the top of the blog with sign you up!)
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Tuesday, May 31, 2011

Getting Jobs in Entertainment question 822: I'm watching the Housewives of New Jersey. Is it okay for kids that young to be in entertainment?

Are you asking because you're a parent of a child who's interested in being in entertainment? I'll answer with the assumption that you are. And if you want to know for any other reason, you'll have to send a more specific question.

Is it okay? Yes, it's okay. There are laws and unions to protect minors. There are even requirements for set teachers so children on sets have time for education.

If The Real Housewives of New Jersey is your inspiration, I must point out the underlying implication of the "controlling stage mom." The entertainment industry can be hard on a child's self- esteem. There is a lot of rejection that isn't necessarily personal. I don't give out parental advice. What I will say is there are plenty examples of Stage Moms gone wrong (again, assuming you're a woman, didn't cross my mind that a dad is watching TRHoNJ). I'll say the same thing to you that I say to my clients: you've got to love it and enjoy the journey, or do something else. So, keep an eye on your child and be sure he/she loves it and is enjoying it.
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Monday, May 30, 2011

Getting Jobs in Entertainment question 821: Is late 20's too late to join the party? see blog for detailed question

Actual Question: A friend has just moved out to LA from NYC and been offered a job at a great entertainment company but the pay (of course) is low. It's an assistant position with potential to grow but she's wondering if she should take it even though it's not exactly what she wants to do. She's late twenties so she's also worried that she's late to the party so to speak but knows she has to start at the bottom. What are your thoughts?

You used the word "great" when describing the entertainment company. As a coach I deal with tools and strategies. My strategy for someone in her late twenties, who wants to break into the business, is to meet as many people as she can. Working at a great company gives her access to a lot of great people. If she has the tools to make something of these relationships, as opposed to simply sitting behind a desk for a year doing her job, she can really get into a great position. Then, in a year, she can pursue exactly what she wants with 200 relationships in her rolodex. That's if she works smart.

After working in development myself for 8 months as well as coaching clients who work for producers or agencies, I highly recommend this strategy. There are a lot of benefits. I could be more specific about the benefits if I knew what type of company it is.
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Sunday, May 29, 2011

Getting Jobs in Entertainment question 820: Which city has the best potential in terms of finding a job (LA, NYC or Chicago)?

In order of entertainment "capitals" it goes: Hollywood #1, New York #2, Chicago #3. That said, the number of people pursuing careers are relative. The majority come to LA, next NY, and then Chicago.

Which city has the best potential? That's not really a question that can be answered. In which city do you have the strongest relationships? If none, I'd say one certain advantage LA has over the others is that everyone here is 6 degrees of Kevin Bacon to someone in the industry. Your gardner may mow Brad Pitt's lawn, your gynecologist could be married to the producer of Twilight, and your next door neighbor who you walk your dog with could wind up winning an Emmy when you didn't even know he was a director.

New York and Chi Town, you never know who you're walking next to.

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Saturday, May 28, 2011

Getting Jobs in Entertainment question 819: When should I call studio people? Do they have summer Fridays?

Why are you waiting until Friday to call someone? Everyone's hours are different. Call when you think you'll get the person with whom you want to speak in. It's as easy as that.

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Friday, May 27, 2011

getting Jobs in Entertainment question 818: How do I get answers about who hires me when my only sources of info are the people I'm competing with?

This is a great question that people in many different classifications struggle with. When you're let's say, a still photographer, it's not as obvious who hires you for a job. Yet, the people who WOULD know are other still photographers, who are your direct competition, right?

Not necessarily. The only ones in direct competition with you are the ones at your level. If you're breaking into a new market, established still photographers shouldn't feel threatened by you. Some will. Some are very closed off with information. Remember, you can reach out to still photographers all over the country. The camera guild has a directory (it also has one for publicists, which is crucial for still photographers because it lists photo editors and VPs of photography, etc.). If you live outside of Los Angeles (which this person does) you want to do the research of the people who hire you, develop a mentor/advisor relationship through phone and email and then, as you get to know them pretty well, find out a good time of year to come out for a week of meetings. There's nothing like meeting in person, and people really respect someone who is willing to fly out to meet with them.

Los Angeles still photographers (or insert your classification here if you live somewhere else) may be more open to speaking with you because again, you are out of state and therefore, they may not view you as direct competition.
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Thursday, May 26, 2011

Getting Jobs in Entertainment question 817: I don't have the reel to get work as a DP, but I'm afraid to take other work for money. Am I wrong?

The people who hire DPs are not the same people who hire you in other classifications. I don't know if the work you're referring to is within the camera department (AC, OP), as a gaffer, or something else. Unless you are working for money as another head of department (Editor, Production Designer, etc.) who are also hired by the people who hire DPs, you're okay.

Here's what I suggest:
1. Keep making money in your classification to support yourself and save for the future

2. Build relationships with the people who will know you and hire you as a DP

3. Build your reel as a DP

4. Keep the two separate unless you are 100% sure that your current crew is supportive of your desire to transition
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Wednesday, May 25, 2011

Getting Jobs in Entertainment question 816: I'm trying to get work on TV but people aren't returning my calls. What's wrong?

You're not necessarily doing anything wrong. This is the hiring season for television, so people are really busy. If you're leaving messages about being hired, they most likely "got the message," but if they don't have an opening for you, it can be uncomfortable to return a call where they have to tell you, "I don't have anything for you." And if you're not asking for work, you're just "touching base," you may not be a priority because they are trying to get hired or doing their hiring.

That said, be conscious of the messages you're leaving; your words, tonality, requests, etc.
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Tuesday, May 24, 2011

Getting Jobs in Entertainment question 815: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
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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...