And...Action!: writer

www.GreenlightMentorProgram.comJOIN ME

www.facebook.com/TheGreenlightCoach LIKE ME

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

Wednesday, March 2, 2011

entertainment industry coach question 727: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 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)

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.

www.GreenlightMentorProgram.comJOIN ME

www.facebook.com/TheGreenlightCoach LIKE ME

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

To stay current on The Greenlight Coach's speaking engagements, recommendations, and work success articles, sign up for her free newsletter at the top of the page and get a great bonus 1-hour MP3 on creating powerful business partnerships when you do!

Wednesday, December 22, 2010

entertainment industry coach question 657:Should I let someone produce my feature film without paying me for the script?

I feel like I've answered this question before or maybe I've just lived it. Either way, you always want to create a win/win, without biting off your nose to spite your face. If given the choice, everyone would be paid for their art/talent. That said, if you are trying to build your credits, you have never had your writing produced, and you are suddenly given the opportunity, it may be worth it to you.

As I started with, you want to create a win/win. I'm assuming you're not being paid because it's a low budget, non-union production company. They want to produce your script because they believe in it. Therefore, talk to a literary agent, manager, or entertainment attorney, who can give you some advice on signing a contract to receive money should it sell. You may also be able to add a few more things to the contract in the event that the movie "takes off."

The reason I advise you to speak to a professional, is because, without contract experience, you could end up losing a lot of money. Numbers people can be very tricky, and it may not even be the production company you're dealing with now, but the one that they sell to.

Approach it like you would a pre-nup, with love, trust, and "a teensy need for insurance." You appreciate the opportunity, you believe in the producers, and therefore, you want to know that they are just as invested in your success in the end, since you're willing to sacrifice in the beginning. If a contract is going to be a deal breaker, you have to decide if getting your first screenplay produced is worth it. Either way, congratulations on getting this far.

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

Friday, December 3, 2010

entertainment industry coach question 638: Is it possible to be directing a studio feature 2 years out of film school?

Is it possible to be directing a studio feature two years out of film school? Anything is possible. Is it likely? Well, that depends on a lot of important factors. Here are some factors to consider:

1. Are you closely related to the head of a studio?

2. Did you make a film in film school that won Sundance?

3. Did you get at least 20 studio executives, A-list directors, and A-list writer mentors while in film school who are deeply invested in your talent and success?

4. Do you have a blackmail video featuring the head of feature development at a studio? (I don't condone this, but I had to ask)

The bottom line is there are politics in the studio system that go beyond the entertainment industry. Why do you think we see GE commercials every time we watch 30 Rock? It's not because Alec Baldwin thinks they bring good things to life.

So it's important that you get an understanding about studio politics, what it takes to get a director "greenlit," and the amount of money that gets invested in a film with a first time director.

Whatever you do, keep directing, everything you can (except blackmail videos of studio executives), learn from other directors who were successful early after film school, and stay focused on the most strategic path toward achieving your goals.

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

Saturday, November 6, 2010

entertainment industry coach question 612:Do you coach a set decorator differently than an actor?

I coach everyone as the individual they are. That said, the tools, strategies, and mindsets are about "the business" not your craft. So a set decorator may have the same obstacles with networking as an actor or the same fear of making phone calls as a writer.

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

Monday, November 1, 2010

entertainment industry coach question 607: Shouldn’t you just focus on 1 area in the industry?

This was a question based on yesterday's blog. The answer is there is no right or wrong answer. You pursue what you're passionate about. Who are we to tell an actor he can't write, or a director she can't edit. People must do what they love. That said, in your marketing materials, you should have separate cards and resumes for classifications that aren't perceived as complimentary like Writer/Director or DP/Operator.

Now, if your focus is all over the place and you're not getting any work because no one knows what you're doing including you, then you may have to focus on the area you're most passionate about first, get good at it, and then branch out.

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

Sunday, October 10, 2010

entertainment industry coach question 585: Is there really a point to creating my own content for web series if I don't have name talent for it?

YES YES YES!!!! It's not just about selling your product, although that would be a bonus. It's about getting your brand out there. It's about having control over how people perceive you by the work you show. If you're an actor you can create the exact roles you want to play and brand yourself as such. If you're a writer it gives people the chance to hear your voice. If you're a producer or a director, you get to showcase the genre you are pursuing. If you are any other classification your goal is to find the writers and talent to showcase the genre you're pursuing.

Could you sell it? You wouldn't be breaking new ground. It's been done. And even some who didn't sell their work got great meetings out of it.

And most importantly, you're working on something, keeping your creative juices flowing, and giving you something you're passionate about to talk about. That goes a REALLY long way when you're networking.

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

Monday, September 20, 2010

entertainment industry coach question 565: How many hats can I wear at one time?

If you mean on one project, you can wear as many as you can handle. The challenge is to do every job well, and when you wear too many hats, the one hat that you want to "excel" at, may backfire on you.

When I've produced shows that I've acted in, I've never been able to do 100% of the work on my acting that I do when I'm just acting. It's no fun to produce a show in order to be seen as an actor and then have the end result be something that falls short of your true talent.

Now, if you mean in general, you can wear as many hats as you want in the industry, BUT and this is a big but, do not mix your "hats" on your marketing materials. It's one thing to be a writer/director, but an actor who writes should have separate business cards for each, as should a DP/Producer. When people start seeing a list of what you can do on your cards and resumes, they figure you're not a specialist in one area.