Getting Jobs in Entertainment question 992:If one hasn’t made a magnificent relationship with an up-and-coming talent at AFI, what is the next move?

This was submitted by an AFI student. First, you don't want to wait until the end of film school to discover that you haven't found that "one" superstar to hitch your wagon to. The great thing about being in film school is the opportunity to reach out to working professionals in the industry to get them to mentor you (a business advice and guidance mentorship). When possible, reach out to your film school alumnus. These professionals can tell you what great things came out of film school, and the missed opportunities that they recognize now, that you can capitalize on while you're still there.

It's important while in film school to think about a bigger picture. Where you want to be in 20 years and work backwards. Who are the people out in the industry doing what you want to be doing? Get advice from them so that you can maximize every possibility while in school, and leave with a minimum of 200 relationships by the time you graduate.

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Getting Jobs in Entertainment question 991:How do you transition into higher positions from working as a PA for a couple years?

The way to transition is to be creating relationships with people along the way, so when you decide the area in which you'd like to move up, you have people who want to work with you and will be willing to move you up.

Make a Contact List: a list of everyone you know in the industry broken down by people's classifications and do an analysis.

How many people do you know in each department? Do you know enough to move up? Do you know people who can introduce you to the people in the department you want to transition to?

Whenever it comes to moving up it always comes back to the quality and quantity of your relationships. So start with the evaluation and then send me any questions that your analysis may bring up.

And good luck!

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Getting Jobs in Entertainment question 990: Should I be sending out headshots or postcards to follow up a meeting with an agent or casting director?

Neither. If you had a meeting, I'm assuming that you already gave them a headshot. Your first follow-up should be a personalized thank you note. You are not asking for work, you are simply thanking the person for the meeting. Be sure to mention something that was said that had an impact on you, and any personal things you connected on. If the card reflects something you spoke about, even better.

I don't suggest putting your picture in the card, just write your name clearly. the reason for this is that you want it to be a genuine thank you. If the person forgot who you are but is touched by your words, he/she will look you up on IMDB (so make sure your pictures are up there and your credits are updated.)

Then you can follow up again a week or two later with a postcard, with a "marketing reason" for sending it.

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Getting Jobs in Entertainment question 989: unsolicited scripts are not read, but is it true that a producer with a pitch can get the meet?

I'm not 100% sure I get your question. I think what you're asking is if there's a difference between trying to send an unsolicited script and making an unsolicited pitch. And the answer is no, it is not true. Anyone can say they're a producer with a pitch. When I worked in development, if a writer or a director didn't come to us through an agent/manager/entertainment lawyer, they had to sign a release form. By doing this, the production company is protecting themselves in case your idea is similar to something they already have or something else they may do in the future.

It is the same with an unsolicited script. If for some reason a company is intrigued by your idea and someone wants to read your script, they will ask you to sign a release first.

So, yes, as a producer you can get a pitch meeting and get a script read, but you will have to sign a release. Before signing it, you should have it looked over by a lawyer.

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Getting Jobs in Entertainment question 988: Do you answer questions on your birthday?

Nope :-)

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Getting Jobs in Entertainment question 987: How do you find more information about IATSE in different markets?

Go to the IATSE International webpage http://www.iatse-intl.org/home.html and then click on local union directory and then "search local unions."

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Getting Jobs in Entertainment question 986: I want to be a set massage therapist. How do I do that?

You must give ME 100 massages.

Okay, that’s not the real answer, but I sure wouldn’t mind it. I don’t think there’s a union for set massage therapists, but I’d check with IATSE, just to be sure.

All of the tools I share with other classifications who want to work on sets apply to you, too:

1. It’s who you know, so build relationships with people who work on sets and can get you on.
2. Market yourself, and create a “buzzy” hook, so you’ll be memorable.
3. Brush up on your interviewing skills.
4. Find other successes set masseuses and model them.
5. Network, network, network!

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Getting Jobs in Entertainment question 985: How do I find someone to write a short film for me?

There are many different ways to find a writer. Here are a few suggestions:

1. If you know people who know writers, ask for a referral.
2. You can post an ad on Craig’s List, something along the lines of: looking for a writer for a short film in the _____ genre. [no pay or some pay]. Please send writing sample for this genre ONLY to: (an email address you create just for this so you don't get spam to your real email address)
3. Research writer’s groups, websites, and associations and post the ad above
4. Post ad on twitter and Facebook
5. If you already know of a writer who wrote a short that you enjoyed, reach out to him/her

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Getting Jobs in Entertainment question 984: How does the 4 hour work week apply to what you teach? It seems like you do a lot of work.

Have you read Tim Ferris' 4-Hour Work Week? He works far more than 4 hours a week, but he loves what he does so he doesn't consider it work. The things he doesn't enjoy he fits into those 4 hours or outsources.

That's exactly how I "work." I love what I do, so speaking, blogging, creating products, coaching, etc., are sources of enjoyment for me. Sometimes, if my assistant can't come over before a newsletter is going out and I have 50 names and emails to input in my database, that can feel like work.

I use this concept with my clients as well. My goal is to make networking a source of enjoyment for them, marketing a source of creativity, and sales a source of pride, so it doesn't feel like work. When they're actually on set or in pre or post production doing their jobs, most are so fulfilled that work definitely doesn't feel like work.

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Getting Jobs in Entertainment question 983: I sent out mentor letters and want to be sure they got it, but I don't want to call. Should I?

Why do you think this has to be hard, or better yet, why are you making it hard? I had this discussion with a Platinum client of mine the other day and I asked him, "If you had to messenger your reel to a company who wanted you for a job the next day, would you call to confirm the reel was received?" to which he responded "yes" without a second thought.

Because there was a job on the line and the stakes were high he would have no problem making the call. Now imagine he makes the call, they received his reel, but he doesn't get the job. Across town, he sent a mentor letter to someone, who in my crystal ball I can see would have wound up calling him for work in 3 months, if only he had called to follow up about receiving the letter. But unfortunately, he didn't see it as high stakes so he never made the call, and the letter which made it to the potential mentors assistant's desk, got lost under a pile and eventually thrown away.

I call that a COSTLY missed opportunity! If you don't want to make the follow up call, have someone else do it for you acting as an assistant on your behalf. You don't have to do everything alone! This is the work that it takes, so I leave you with this question:

HOW BADLY DO YOU WANT IT?

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Getting Jobs in Entertainment question 982: Does an actor need a business card?

Yes! YEs!! YES!!!

You want to give people every opportunity to reach you.

If you want to be a professional actor, be professional. Professionals have business cards with their contact information.

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