Monday, May 28, 2012

Getting Jobs in Entertainment question 1175: Is it true that if I take a vacation I'll get called for work?

The question continued...
"because I haven't taken a vacation in two years, nor have I gotten much work. I really need a vacation!"

Considering I just returned from a mini-vacation in Savannah and feel wonderfully rejuvenated, I'm going to answer this question with a story...
When I graduated college, my graduation present was a trip to Club Med. At the time, it was the BEST WEEK OF MY LIFE. I really wanted to go and be a Club Med Counselor... BUT, the time commitment was 6 months. I was convinced that if I missed 6 months of pursuing acting, my career would be over. I did not become a counselor for Club Med. I did not book any acting jobs during that time or the four years after.

I can look back now and see what a small chunk of my life those 6 months were. Who knows the memories I could have created.

I'm not really one for shoulda coulda wouldas, so that said, take a vacation. Create some memories. This is your life. If you get called for a job and you're out of town, refer someone you know. You get a vacation and the chance to help someone else. You only live once. Enjoy it.

at No comments:

Sunday, May 27, 2012

Getting Jobs in Entertainment question 1174: Just worked on a show, when is too soon to send a TYN don't want to 'seem over anxious and needy actor'

You should send a thank you note the day you leave set.

Sending a thank you note is an act of appreciation and gratitude,

There's nothing needy about it and too few people do it, so those who do stand out.

Just be sure it is a stand alone thank you not, no "hoping to work with you again soon" or anything like that.

Share a moment that you loved, while working on the show, and compliment them.

Do not attach business cards or any other type of promotional tools.

at No comments:

Saturday, May 26, 2012

Getting Jobs in Entertainment question 1173: 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
at No comments:

Friday, May 25, 2012

Getting Jobs in Entertainment question 1172: 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.

at No comments:

Thursday, May 24, 2012

Getting Jobs in Entertainment question 1171: 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

at No comments:

Wednesday, May 23, 2012

Getting Jobs in Entertainment question 1170: 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.

at No comments:

Tuesday, May 22, 2012

Getting Jobs in Entertainment question 1169: 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.

at No comments:

Monday, May 21, 2012

Getting Jobs in Entertainment question 1168: 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.

at No comments:
Subscribe to: Comments (Atom)

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...