entertainment industry coach question 690:Do you have to put someone's title in a letter?

It depends to whom the letter is being written. If you are writing to a network executive, or someone with a network, studio, or production company title, it is appropriate to send a business style letter. Therefore, the top left a few spaces below the date, will have the person's name, under that the title, and under that the address.

Depending on the nature of the letter you would address the recipient as Mr/Ms/Miss/Mrs or by their first name only.

When you are writing a letter to someone whose title is director of photography, it's a little formal to put that in a letter, HOWEVER, if they are in the ASC or another honorary organization, it is with respect, that you would include their membership letters after their name.

When deciding about including a title, think about what you would wear to an interview. Most crew members who interview in a business suit, "freak out" people because camera assistants don't wear business suits. So if you're a camera assistant writing to a camera operator, you probably wouldn't use his/her title, but you would put SOC after his/her name if it applies.

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entertainment industry coach question 588: Why would you as a career coach do a set visit?

This is from a Facebook reader who saw my post about doing a set visit on Modern Family. Well as both a career coach and an industry professional, I practice what I preach. I do set visits to see clients as well as (in today's case) to visit friends who work on shows I LOVE.

I've already blogged on reasons to do set visits, so you can read those in the archives. Here's why I personally love set visits and what I especially loved about today. When you target specific shows you love, you get to meet the people who create the "magic" and learn from the masters of the craft. I was privileged to spend 4 hours in video village observing the interaction, between Steve Levitan (Creator/Exec Producer), Adam Shankman (Director), James Bagdonas (Director of Photography) and the two writers of the episode. To witness the creative process, the "on-the-fly" problem solving which comes with every public location (and closed sets as well), and the professional yet fun way, these men handled every situation was both inspiring and invigorating. There's a reason why shows like Modern Family are great- the team making it happen.

There is so much to learn not only from a technical point of view but in addition, from the confidence of experience, how respectfully they speak to each other, how they handle the "unexpected" and turn it into something spectacular, these are gems that you can apply to your future endeavors.

Anyone with "negative issues" about set visits- you are getting in your own way! Put your ego aside and allow yourself to bathe in the inspiration that is everywhere when you surround yourself with this caliber of talent!

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entertainment industry coach question 366: How do I get a mentor if there are only a few people who do what I do...

"...and I already know as much as they do?"

This was asked on my teleclass this morning and it brings up a very universal issue. When it comes to getting mentors, while it's great to have mentors who are doing what you want to be doing already, if you are in this person's position, at the same level, they're not the type of mentor you need.

In this case you'd be seeking out business advice and guidance from either:

1. The classification of people who hire you (so unless you know everybody who hires your classification, this type is good for you)

or

2. Any parallel classification who gets hired by the same classification as you. For example: If you're an Editor, a parallel classification (ones who also get hired by producers and directors) would be a DP, Production Designer, Actor, Writer, Key Hair & Makeup, etc. Why? Because if they are successful, they can give you advice on what they do. You're all in the same boat, just different classifications.

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

entertainment industry coach question 331: Is it too late to break in if I'm over 40 and never worked in the industry?

You didn't tell me what classification you're in... what you wanted to break in as. I can tell you the easiest gig for someone your age would be getting work as a background actor. And if you're a writer, good material is good material at any age (even if you need your 22-year-old nephew to take the meetings as you .. kidding... sort of).

But if you had something more technical in mind like Director of Photography, or Editing, or Directing, there is not only an art to these forms, but specific skills to master that can take years. That's not to discourage you, just to give you some perspective. I've heard stories of people in our industry who've started at 40 and had very successful careers.

Some careers, you may want to stay away from because they require a lot of heavy lifting and dragging. Not that you're ill equipped to handle that now, but think about the physical training regimen you'll have to maintain to do that work into your 60s.

How about instead of me guessing, you just tell me what you want to do in the comment section.

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

entertainment industry coach question 247: How do I learn what industry lingo means? Yesterday, I was an extra and was told to stand on an apple box.

This made me chuckle. It reminded me of my first shoot when I heard the DP yell, "Kill the baby." There may be a book on industry lingo, you should research that. I've also discovered that different crews/departments have their own "private lingo."

The important thing is that when you don't know, you ask. You may have to evaluate who the best person to ask is, but ask. If you spend 20 minutes looking around for an actual apple box, you'll look greener than if you actually ask someone.

As you acquire mentors, ask them what lingo they use.

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

entertainment industry coach question 220: how does a film student in India get training/internship from US DPs?

Because you're a cinematography student in India, I would suggest that before you reach out to get an internship/training with a "famous" DP, as you put it, you reach out to them for advice and guidance. Here's how you do that:

1. Make a list of questions for DPs that you want to learn from. For example:

What should I do to get the most out of film school?

What do I need to know about getting an internship in the United States?

What can you tell me about the business side of the business?

What are the questions I should be asking and don't even realize it yet?

2. Make a target list of the DPs you would want to answer these questions.

3. See if they are on Facebook and research how you can contact them (one way is through the Cinematographers Guild).

4. Once you know you have a way to reach them, write them a letter telling them about yourself, requesting a business mentorship where you can contact them by email 3 times to ask them questions about how to get the most out of film school and prepare for your future career. Include that you will follow up with them (if you have contact information), or that you don't have anyway to follow up with them but how they can reach you by email.

5. Mail the letter, and follow up.

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

question 190: How do I create my own web series if I don't have money?

Collaboration! I happen to know that the person who asked this question is an actress.

Because she's an actress with an idea, to create a web series, the bare minimum she needs is:

1. a writer(s)

2. a director

3. a producer

4. a camera person

5. an editor

On many web series, 2 people can be all 5 of those. She also needs equipment for camera, sound, and editing.

With no money, she'll be looking to collaborate with people who want to build their credits and skills/experience, believe in the idea, and want to create relationships with others working on the project. They will volunteer their time, equipment, and resources.

The little details of creating a project like this, that I'm not going into, will be discovered when you begin collaborating. You will probably need some money (for batteries, lunch, etc.).

BE SURE to have non-disclosure agreements when discussing your project as well as contracts for all involved. EVEN IF YOU'RE WORKING WITH YOUR BEST FRIENDS!!! You can even download these for free on the internet and make them fit your needs. Protect your project! If you want to make everyone equal partners in it, fine. Just put it in writing!

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

question 135: How can I make my career transition without reverting back to entry-level wages?

Unfortunately, when you are changing classification, it may be necessary to start at an entry level job. Let's say you are an editor who has worked your way up after being an assistant editor and now you're interested in getting into development. Yes, as an editor you have to have an eye for creating story, BUT, in the studio world that probably won't transfer. You will have to start as an intern or an assistant to learn the skills of doing coverage, giving script notes, observing how your bosses interact with writers, agents, and executives.

Just because you've worked as a production designer on big budget union films doesn't mean you can easily transition into being a post production supervisor. Different classifications have different skills that you learn as you move up the ranks. You don't always have to move up the ranks, plenty of film students come right out of school as directors of photography without starting as a loader.

It's up to the "industry standards" and it's also up to you. Do you feel you'd be a better director if you understood what all the other departments heads that you hire (DP, editor, prod designer, script supervisor, etc) do? Do you think you'd be a better department head if you'd already done the jobs of the people you're managing?

There are no right and wrongs, just choices for you to make.

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