Friday, April 8, 2011

entertainment industry coach question 764:How important is it for me to separate the different things I do (act, direct, produce, write, edit)?

It depends on the conversation you're having. If you're talking to a casting director whom you don't know very well, you want to present yourself as an actor. It's not important to them that you edit because that's not what they're hiring you for.

If you're talking to a producer as a writer/director, be careful about mentioning that you're an actor because the first thing they'll be concerned about is that you want to connect yourself to the project and it will be a deal breaker.

If you are talking to someone about partnering on an independent film that you've written, want to direct, and have a small acting role in, it would be advantages to mention that you edit because so many projects fall apart in post.

The bottom line is, you have to assess the circumstances and the relationship with the person, before revealing all of your hats.

Whatever you do, make sure you have separate marketing materials. Any business card that has all of those slashes can make someone think that you do a little of everything but don't have fabulous talent in one area.

Thursday, April 7, 2011

entertainment industry coach question 763:Do you have to be in a union to take pictures on set?

Not only do you have to be in a union but there's an actual name for the classification: Still Photographer.

In some cases they let cameras on the set for continuity and wardrobe, but to take stills of the production you must be a still photographer.

Now if you are a still photographer and you're not in the union you can accrue your days toward getting into the union by working on non-union productions. And be sure to check with Contract Services to make sure you are saving the important paperwork like pay stubs, etc. so your days will qualify.


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

Wednesday, April 6, 2011

entertainment industry coach question 762:Why is it such a Catch 22 to get into a Union?

Because being a union member means that you have a level of experience that you have to prove. Producers who hire union members expect that level of expertise. Therefore you have to work a certain number of days to get the experience to be allowed into the union.

In most cases, the people that get their days to qualify for union membership have gone the extra mile to get those days. People who are wiling to go the extra mile are the ones who people want to hire. Evaluate what you're doing to go the extra mile. And if you're not going the extra mile and can't figure out how, that's what coaching is for.

Tuesday, April 5, 2011

entertainment industry coach question 761: Does the camera I use to shoot my short film matter? Some people use cell phones.

It depends on your objective for making the film (Don't kill me camera friends). When you're looking to create a calling card, content is king, so if it's a really well written and well acted short, you can get recognition even if it's not shot on 35.

On the flip side, if it looks terrible, it can take away from the acting and writing. So see what you can do. There are so many talented people out there with equipment looking to build their reels.

Now, if you are a DP/Director, then ABSOLUTELY the look matters, obviously. Technology is always changing and becoming more accessible. Do you plan to go to NAB? It's important to stay up to date and educated on the advances.


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

Monday, April 4, 2011

entertainment industry coach question 760: Should I go to film school?

First, let me say that this person gave me no history, so I have no idea where he/she is coming from. Having coached as many people as I have, I know this could be:

A: someone who isn't in the industry yet, and wants to be

B: someone in the industry who is not a head of a department, and wants to be

C: neither of the above

I will not be addressing "C," unless the person is neither A nor B, and writes to give me the specifics.

Let's be realistic, I can't answer this question because you have to answer it for yourself. I can advise you on what to ask yourself in order to make your decision. So, here goes...

On numerous occasions I've had clients come to me and say, "I want to move up and no one's giving me the chance. Should I go to film school?" I ask them how they see that as a solution. Here are some of the responses I get:

1. I would be forced to build up a reel (and variations that don't include force)

2. I could create relationships with other students and teachers

3. I could get mentors

4. I would hone my skills & perfect my craft

These are all good reasons to go to film school. However, you can do all of those things without film school. My old boss, a Producer, and at the time, head of the producer program at a prestigious film school, once said to me that the students could take all the money they spend on school and make a film. It would teach them everything and more.

On the other hand, when I was working with clients who made the decision to go to film school and we created a 2-3 year business plan, they had outstanding results.

For those of you not in the industry and interested, it's the same question: what do you want to get out of film school that you can't get from real world experience? If your answer is worth the time and investment, go to film school.

If you do choose to go to film school, my advice is to make the most out of it. Film school can be so much more than what you learn in class.

Sunday, April 3, 2011

entertainment industry coach question 759: What do I do if my boss won't move me up?

There are many reasons why a boss or head of a department won't move you up. I could list some of the reasons, but really, you'll never know the true answer unless your boss tells you.

The bottom line is, if you don't have a boss willing to move you up, you have to:

1. Build up your credits, in the "next-level" position, outside of your workplace/crew

2. Create relationships with people as your "new-position" so that's how they perceive you

My sister is in a completely different field, advertising sales. She started as an assistant in a large company that didn't promote assistants. She had to leave her company to get a sales job for another company. After that, she was able to return to her original company as a sales person.

It happens all over, not just in the entertainment industry.

Saturday, April 2, 2011

entertainment industry coach question 758: Should I re-rate?

The question actually read, "Should I re-rate to DP?" But, because my readers are in different classifications, I'll give the standard answer which applies to any classification.

My answer is a list of questions:

1.Do you know enough people who WILL hire you in the new classification?

2. Do you have the marketing materials to back up your experience in the new classification (ex: reel, credits)

If you answered, "No," to 1 & 2 and still want to re-rate:
3. Do you have enough money saved to last you 2-5 years?

That is not an arbitrary time period that I have chosen. In my experience of coaching over 1000 people one-on-one, that's the average time it takes to move up in classification without proven experience and A LOT of contacts who are willing to hire you. However, all it takes is one person to give you a break, and that can change everything. I just wanted to give you an answer based on the average that I've seen.

Being the exception to the rule is possible, being prepared for the realities of the entertainment industry is practical.

Friday, April 1, 2011

entertainment industry coach question 757: I live in a small town and want to move to LA. What should I do?

Here's the advice I've given to people who have successfully made the move to Los Angeles:

1. Save enough money to survive for a year with no work/or be willing to get a survival job

2. Create relationships with people who live in LA, before moving out here

3. Have a strategy plan that includes the kind of work you want and how you plan to generate it

4. Research the "business side of the business" so you aren't shocked when you're not "discovered" within 30 days (or 30 months)

5. Choose a support team of friends & family, so during times of doubt, they can boost you back up

Because there are so many people who are interested in moving and survival jobs in LA, check out 2 of my Greenlight 101 Series books:


and


Thursday, March 31, 2011

entertainment industry coach question 756: What kind of gift is appropriate for someone who introduced me to someone who hired me?

That’s up to you. How much money are you making on the job? What relationship do you have with the person who introduced you? Gift cards, spa certificates, something specific that the person who introduced you likes and probably wouldn’t buy for his/herself. And if you are not in a financial situation to spend money, what's something you can offer to help the person? Even just being thoughtful is appreciated. What can you do that's thoughtful?

I encourage you all to be thoughtful this week. Be consciously aware of the people around you. Help a stranger, smile at someone who looks like he's having a bad day, call someone out of the blue who would be happy to hear from you, hold a door for somebody, let someone go ahead of you in line, carry a bag for someone. What else can you do?

Wednesday, March 30, 2011

entertainment industry coach question 755: Do you recommend sending postcards as thank you notes?

Since I know an actress asked this question, first I have to clarify to the other classifications, that actors make postcards with their headshot and contact info on them. Some people have the opinion that sending your postcard as a thank you note, is another way to get your face in front of the casting director.

I have a different opinion. I believe that thank you notes should be a sincere and genuine expression of gratitude. To me, a postcard with your picture, or a thank you note with your contact information is a subtle solicitation. Therefore I suggest following these steps for thank you notes:

1. Send an actual card (something that reveals something about you or something you know they like)
2. Remind the person where you met
3. Thank them for something specific
4. Add something personal to show that you were paying attention to what they were saying
5. Sign your first and last name CLEARLY

One of the reasons why people don't know what questions to ask when they meet people is because they haven't started at the end. What do you want the outcome of your meeting to be? What if the outcome you want is to be able to write an amazing thank you note that answers 2, 3, & 4? Knowing that you need to tie in something personal will create the questions you ask. Knowing you have to thank them for something specific will cause you to listen with more intention, creating deeper rapport with the person.

For those of you (and I know you're out there) who are thinking, "But, if I don't put my contact number (or picture) how will they remember who I am and know how to contact me?"

I've received hundreds of thank you notes from people. I always remember who they are. On top of that, I'm resourceful enough to know where to look for their contact information when I want to contact them.

You can follow up with "new news" on your postcard or on your letterhead, a week later. Allow yourself the simple gesture of gratitude, with a sincere thank you note, and believe me, you'll stand out.

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...