Getting Jobs in Entertainment question 1012: How do I react when 2 out of 80 calls I make per day are returned?

The question continued: "I've been in Europe for a few years where people call you back immediately. When I returned to the states, I found that people prefer to use email or social media. This is very impersonal to me. What do you recommend?"

I recommend giving the people what they want. A year ago, I was struggling to get people in our industry to set up a Facebook page. Now it's how people get to know each other. You can't fight the trends. I knew it was coming, so I teach people about it.

So embrace the trends, and you can still get very personal with people via social media. Everything ebbs and flows. Eventually people will get tired of spending so much time at their computer and want to have human contact again or hear a friendly voice on the phone. But until then, give the people what they want. And as far as those 2 people who call you back... THEY are your "people." They are like-minded and enjoy phone contact. So those are the people who you deepen relationships with in your preferred style. The rest will be contacts whom you're not as close with, but still contribute to your career path.

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Getting Jobs in Entertainment question 1011: Please provide me with tips on how to negotiate health benefits on a non union movie.

How to negotiate for health benefits on a non-union film, is not my area of expertise. However, I will give you advice, based on three things:

1. That I've produced non-union projects

2. That I worked for the camera union for 11 years

3. That I am now a small business owner/independent contractor

Here's my advice:

The first thing I would do is evaluate the budget of the non-union project. As a producer of ultra low-budget projects, I can assure you, there was no money for health insurance no matter how much I wanted someone on my project or how great a negotiator he/she was. Therefore, if the money isn't there, there's nothing you can do.

If you do believe the money is there, you can anonymously call your union (if you're in one, if you're not, you can still call). Because the IATSE is an alliance, you can speak to a union representative about organizing a show without the producers knowing it was you. The reason they won't know is because, once the rep sees the possibility for organizing, he/she will call reps from other IATSE locals. When reps from 3 to 5 locals show up to organize, there's no way for a producer to know who tipped them off.

If organizing is not an option you want to consider, then if you're not already, you can consider becoming an entity. Without getting too technical, by becoming an official business, (which you are as an independent contractor), you can get health insurance as a small business owner. My suggestion is that you speak to the following before going this route:

1. SBDC- the Small Business Development Center, a non-profit organization for small businesses. This is a FREE service.

2. A Small Business Tax Accountant who has experience with people in the entertainment industry.

Again I want to reiterate, I AM NOT AN EXPERT in this area. I am like you, a small business owner (S-Corp), who works in the entertainment industry, and is in a union in addition to having worked for one. I am speaking from my own experience, and advise you to talk to at LEAST 5 people before making any decisions.

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Getting Jobs in Entertainment question 1010: Is it possible to shoot a studio feature 20 years out of film school?

This was in response to the blog about directing a studio feature 2 years out of film school. And while I know the person who asked the question, was kidding, it's actually a frequently asked question, so I'm going to address it.

MANY people have come to me for coaching and said a variation of these words, "I have been working on non-union films for 20 years, and I'm not going to do another film, unless it's union."

I then have to get into strong rapport with them, look them straight in the eyes, and gently deliver these exact words, "then you may never work again."

It's a harsh reality, I know, but if you don't have the relationships with studio executives, studio directors who have the clout to bring you on, or a track record that will make you sellable ONCE a film of yours "blows up," then not only do you have to continue working non-union, but you also have to spend time building relationships with the people who have the power to hire you at the studios.

Studio politics are impossible to understand if you have never been involved in the studio system. So find people who have been, who can give you perspective and advice.

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Getting Jobs in Entertainment question 1009: What do you do when nothing's happening and you feel frustrated?

It sounds like you're asking me personally, so I'll answer you personally. When I feel frustrated or things aren't happening at the speed I'd like them to, I get back to what got me into this business to begin with. My creativity.

I used to take acting classes and it was so fulfilling.The past year, I've gone back to my other love... writing. And not writing for my business either! Strictly creative writing. I just published a fiction book which I'll be sharing with you soon. In the past, writing has turned into 4 produced projects.

If I'm so bummed out that the creative juices aren't flowing, I pop in one of my go-to rom coms. Without fail, Pretty Woman, The Family Man, Notting Hill, and two piles high of others, stimulate ideas, while I'm watching, or when I'm dreaming, or while I'm driving and on and on. It's not long before I'm back at my laptop typing out what the characters request of me.

That's my method. I'm sure there are others out there who may want to share, so let's hear from you.

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Getting Jobs in Entertainment question 1008: What exactly is a spec script?

From Wikipedia, the free encyclopedia

A spec script is a "speculative" screenplay, one that theVarietyslanguage dictionary defines as being "shopped or sold on theopen market, as opposed to one commissioned by a studio orproduction company."^[1]

Spec scripts are written for various reasons:^{[citation needed]}

• by writers who hope to have a script optioned and eventually purchased by producers or studios;
• by writer/directors who want to direct a film themselves;
• by amateur writers hoping to convince a literary agent to represent them or a producer to hire them.

I would like to add that spec scripts are also written for television to show that the writer can write for other people's characters. In television you usually need multiple sample scripts from various shows to prove that if you write one great spec, it wasn't a fluke.

If you want to write a spec, and have no idea how to start, I highly recommend the UCLA extension program. If you live in Los Angeles, nothing beats the class atmosphere where you get help form your teacher and create relationships with the students as well. However, if you're not, you can take online classes and have a spec done in one semester.

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Getting Jobs in Entertainment question 1007: Why did you tell me to sign up for Cynopsis.com?

Cynopsis is about everything television related; what's been bought, who's attached, what's premiering, what's been cancelled, etc. It is a great research tool. The person who asked this is a DP/Operator, and I suggested he subscribe for the free daily email from Cynopsis because even though it's giving high level information which would seem to be important to tv executives, writers, and agents, if you are in another classification and are interested in television you must be "in the know."

For example, today in the development section Cynosis reported that

"Actor/rapper Ice Cube is developing a drama for FX called Eye for an Eye about a paramedic who wants to avenge victims of violent crimes. FX has ordered a script of the project that is in the early stage of development. Ice Cube will star in the drama.

TNT ordered the pilot project Chelsea General (wt), a medical drama series from David E. Kelley and CNN chief medical correspondent Dr. Sanjay Gupta, M.D. Kelley and Dr. Gupta will executive-produce. Kelley wrote the pilot script for the series, which is based on Gupta’s upcoming novel Monday Mornings."

If these projects are of interest to you, now you have some information to start your targeted campaign.

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Getting Jobs in Entertainment question 1006: How do I create a website that will get me work?

A website is a marketing tool to help in your pursuit of getting work. It is not a substitute for creating relationships, it simply compliments the process.

To start, you want to research websites that are getting attention and model them. Because it's a marketing tool, you want to spend the money it takes to get it right the first time. Unless you have the sharp know how of do-it-yourself, save the time that you could be networking for work and hire a professional.

Next, get advice from people who look at websites. Find out what they want to see and what they don't want to see.

Finally, be sure that whomever creates the site for you makes it easy for you to update because websites are works in progress, as is your career. I recommend Kathy at Hoffmansites.com

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Getting Jobs in Entertainment question 1005: If you learn about a production should you send your resume

The entire question read: If you learn about a project in advance and find a contact like the
production coordinator on linkedin or email address. Should you send
them your resume and cover letter to get on the project? I did this a several months ago and got a response from the production coordinator of a film, but they were crewed up. I found out who was the production coordinator for another movie coming and would like to send them my resume and cover letter.

There are a few things for me to point out here:

1. You did this once and you had some success with (you received a response which is more than most people get).

2. The response was that you were too late. Therefore, I would work to get in even earlier when possible by talking to the people in your state's film commission office to find out what's coming down the pike.

3. To better your odds, you could get a referral. So once you know about a project, immediately write to all of your contacts and ask if they know anyone working on the project so that you can send that person your resume with your contact's name as a referral.

4. If you get another "we're all crewed up" consider offering to work for free for a short time on the project if possible, so that you can build relationships with the people working on the production. You never know when they'll be coming back on another film and may need a local. And you can add them to your contact list so that next time you do #3, perhaps they know someone working on the project you're pursuing.

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Getting Jobs in Entertainment question 1004: Is it possible to be directing a studio feature 2 years out of film school?

I've had this question before so I will refer you to my previous answer. Before I do, I like the ambition this question reflects and hope that you take extra time to consider #3 below and maximize your "film school status" to get mentors. Here's my past answer:

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.

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Getting Jobs in Entertainment question 1003: I know I lack confidence and I need it in this business, what do I do?

First, I want you to focus on what you do have confidence in. Pick something that you feel 100% confident in: that you can tie your shoes, that you take a shower, that you know what direction the sky is. When you are sure that you have thought of something that you are 100% confident in, I want you to feel those feelings of confidence at 100%.

If you were unable to do that exercise, you may have something blocking your ability to feel confident that runs deeper than I can go with you as a career coach.

However if you were able to do the exercise, congratulations! You now know that you only lack confidence in specific situations. Now, because these situations are work related, if it has to do with your craft, then keep working on it. Preparation and practice will build your confidence. If business is the area where you're lacking confidence, it too is a practiced skill. Business and networking skills take practice just like your craft or tying your shoes.

Look over the topics of my past blogs to find the areas where you need practice. If you can't find the answers you're looking for, be more specific next time you contact me and I'll give you some techniques to work on.

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Getting Jobs in Entertainment question 1002: I'm planning a Dec vacation to Atlanta where there's lots of production. How do I maximize my trip?

Mixing work and pleasure are you? My answers will vary depending on whether you know industry people in Atlanta. If you do, make plans to see them. Perhaps plan a meet up at a restaurant where they can invite other industry people you don't know.

If you don't know anyone, you can research who lives there, whom you'd like to meet. Reach out this week for some advice about what to do while in Atlanta and ask if there are any industry events/holiday parties happening. If you feel you've built the foundation for a relationship, you can ask if he/she will be in town and you can offer to take him/her to lunch.

You can also call the film commission to see if anything will be filming while you are there and perhaps drop by for a set visit, if it's appropriate.

It would be great to mix in a little business, but don't get down on yourself if it doesn't work out. It is the holiday season and people are busy with family. You can still contact people after your visit to discuss what an amazing vacation you had.

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