Getting Jobs in Entertainment question 964: Is it true that things slow down at Thanksgiving?

It depends on what you mean by "things". Purchasing slows down. Executives and decision makers have historically wrapped things up in anticipation of vacation time, by Thanksgiving. So, pitching something at holiday time isn't necessarily the best timing.

However, networking is full speed ahead during the holidays. There are tons of holiday parties at studios, production houses, unions, vendors, and at people's homes. It's also a great opportunity to send a holiday card to re-establish relationships.

The old saying, "when one door closes another door opens..." could be applied here.

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Getting Jobs in Entertainment question 963: How do I get a job as a PA?

There are different ways to get a job as a PA. The best way is always through other people. Let everyone you know in the industry or connected to the industry, know that you want to work as a set PA.

Another way, is to send cold resumes to productions in prep. It's one of the only positions where people take chances on people they don't know, if their resume is strong.

If you don't have a strong resume, do free PA work on short films, web series, and indie films to build your resume and relationships.

Also, check out PA Juice.

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Getting Jobs in Entertainment question 962: Once I get a mentor, what am I going to talk to him about?

I get this question all the time because people who want mentors worry that they won't know what to talk about once they get them. Worry, in this case, comes from two things:

1. Lack of preparation

2. Jumping ahead of yourself

When you decide on a mentor, do your research and design questions that you want him or her to answer. Once the questions are answered it will lead you to take action and the next conversation will pick up from the results you had based on his/her advice. And so on and so on.

By "jumping ahead of yourself," I mean, you haven't even had a first mentor conversation and you're already worried about what you're going to talk about down the road. When you meet a friend through a mutual friend, find that you get along really well, and make plans to go out to lunch, do you worry about what you're going to talk about three months from now if the friendship blossoms? I sure hope not.

Mentorship is no different. Like friendships, let the relationship happen naturally. Trust that you will always do your pre-conversation work of designing "next-step" questions, and will therefore, know what to talk about.

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Getting Jobs in Entertainment question 961: As a recent film school grad & writer/director, is an agent a must to sell a 1st script I want to direct?

Nothing is a "must" in this industry, including an agent. Is it beneficial to have an agent with connections out there shopping your script? Yes. That said, how attached are you to directing your script? Once you sell it to a studio, you directing it, can be a deal breaker. As a recent film school grad, you have no proven track record. The chances of a studio taking a risk on a first time director with no industry experience, especially if big name talent is attached, is not as likely as you making and directing your first film yourself.

Before you set out to direct your first film and invest your time and money, possibly other people's money, you want to get industry feedback. Not feedback from your best friends and family members, feedback from mentors who are development assistants, or other screenwriters who've actually sold something.

The reason I suggest this, is because thousands of people make movies every year and because it's their material, they don't see the flaws. Again, if you're going to invest your time and money, you want to have a good idea that the material is strong, that there's a market for it and you have a plan for it, should it not get into any festivals (as well as plan for when it does get into festivals.)

Agents are always looking for exceptional talent, and you may be it. If that's the case, agents are waiting for you. If you are anything less than exceptional, getting an agent can be challenging and time consuming when you're first starting out. That time and energy may be better spent on making your movie yourself. Then when it's a huge hit, the agents will find you!

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Getting Jobs in Entertainment question 961: As a parent, how do I find time to use social networking like Facebook?

Great question! Your time is valuable so allocate what works for your life. My suggestion would be 15 minutes at least 2 times per week. This gives you enough time to update your status, reach out to industry connections, and comment and "Like" people's statuses whom you follow.

Facebook can be a real time suck, especially in the beginning when you start searching for people from your past, but it wears off... or not, and if not, have a schedule and keep to it.

I think that social networking is a free, easy, non-threatening way to market yourself and create relationships and should not be neglected as part of your business tool belt.

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Getting Jobs in Entertainment question 961: Do I need a Facebook "Buisness" page?

This is a personal question. I talk about it in my free call "How to Use Social Media to Get Jobs in Entertainment" which you can listen to at GreenlightHollywood.com.

There are bells and whistles you can use on a "business" page, that you can't use on your personal page, the question is do you have time to maintain two pages? I have a "business" page where I post these blogs daily and where entertainment industry professionals can share their links, reels, webseries, videos, announcements, and make requests of and connect with other industry professionals. I generally don't allow them to do that on my personal page UNLESS they are my client.

I feel people get to know me personally on my personal page, and some of that is lost on a "business" page. This is more of a "throw some spaghetti against the wall and see what sticks." If it works for you and you have time for both, then there's no reason not to do it. When you hit 5000 friends, you'll have no choice, but to move people over.

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Getting Jobs in Entertainment question 960: How do people get to see movies at the DGA?

For those of you who don't know what the DGA is, it's the Directors Guild of America; the union that represents Directors, ADs and other classifications that fall under their jurisdiction. The DGA happens to have one of the best theaters in town (no surprise), but to see a movie there, you must be in an organization that is screening a movie there, invited by a member of an organization that is screening a movie there, or attending a film festival there. It is not a regular theater where you can just show up and pay.

Another good reason to reach out and create relationships with people. Some of the organizations that screen movies there in addition to DGA are: The SAG Film Society, The Cinematographers Guild and The Editors Guild.

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Getting Jobs in Entertainment question 959: Why do some shows like Playboy Club get cancelled so fast?

That would be a great question for NBC. Personally, I was enjoying it (which as my loyal readers know is the kiss of death- although Revenge got more episodes ordered yay!).

Look, it's about ratings/money. Bottom line. Things have changed. If networks were axing shows like they do now back when Seinfeld and Friends were on, they would have been axed in the first season.

If you have a serious interest in the networks and how and why they make the decisions they do, then I suggest you seek out mentors in that area.

I also get a lot of "political" insight from my writer friends, but it's different for every show.

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Getting Jobs in Entertainment question 958: Things have changed so much in the last 10 years. How do I stay on top of it?

There was a little more to this question about how technology both for craft and networking are changing so quickly how does one know where to focus attention?

When it comes to buying equipment, it's all a gamble. Every time I buy a Mac they come out with a new update the next year. And yes, change is happening at a very quick pace and predicted to get quicker.

The way to stay on top of it, is to have mentors in high places. You want to be "in" with those who are "in the know." Because they are always ahead of the game and set the trends.

You want to read all of the trades that have to do with your craft and stay on top of business trades as well to learn best practices and apply it our industry.

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Getting Jobs in Entertainment question 957:what's considered a mistake at a networking event?

A successful speaker stays after the Q & A to talk to attendees. One attendee off handedly introduces himself and brings up that he'd worked on the same show as successful speaker, as a PA, then says, "I just wanted to say thanks for coming," and tries to walk away, when successful, confident, speaker attempts to re-engage him by asking him what he's doing now.

HERE'S THE MISTAKE:

Attendee gives him a list starting from being fired from mutual show, onto failed attempts at work, leading to producing his own project which lead to 4 lawsuits, and now he's working with a famous actor's son on a project.

HERE'S HOW TO AVOID MISTAKE

Just start with "I'm working on a project with _____ son." Then talk about why you're excited about it.

WHY ON EARTH would you lead with a list of failures? Who would want to work with you after that? No one who's asking what you're working on knows about all that stuff, so you don't have to share it like it's some scarlet letter!

Please, people, when meeting new people, share what you're passionate about, NOT what's wrong with you, your life, and/or your career! No one wants to work with Debbie Downer (SNL reference)

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Getting Jobs in Entertainment question 956:Why would you as a career coach do a set visit?

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 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. 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. 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, that most crews handle every situation is both inspiring and invigorating. There's a reason why great shows 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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