Wednesday, June 1, 2011
Much of what I do revolves around interviews/movie press junkets/video content for our websites teen.com and gurl.com, but we also do sponsored campaign videos for various brands.
Here are a few interviews/projects I've done lately:
Fuze Los Angeles - Narrated by Cat Deeley:
Thor (Chris Hemsworth) Junket Interview:
Victoria Justice Behind the Scenes Interview for her new music video:
Bella Thorne & Zendaya Red Carpet Interview:
My Day My Life: Ashely Tisdale:
Hope you enjoy those :)
Tuesday, May 3, 2011
Check out the episode here!
"Most important thing we should know before graduating film school?"
Nine: It's not easy, but it's possible.
Brad: That you don't really know anything yet!
Monday, May 2, 2011
Thursday, April 28, 2011
When I was little, I knew exactly what I wanted to be. An Actress. Yes, there it is. I wanted to act. But it’s interesting how you change over the years. And how something you are so sure of at 12, can feel so unclear and ominous at 22.
When I first arrived at USC, I remember sitting in an assembly of fellow Film Production majors and being asked by a moderator, “how many of you want to be directors?” About 75% of the kids raised their hands. When you’re young and love film, being a director seems like the natural course of action. But as the years went on and we all learned more about the different types of jobs available in film, slowly we started to morph. We realized, maybe we didn’t actually enjoy working with actors that much, but had a real knack for sound mixing or editing or cinematography or producing. Film school opened our eyes to all these different specialties, that would still allow us to be involved in film, but maybe in a slightly different way than we had planned. I’ve come to realize that life has a funny way of panning out that way, though!
Before graduation, I feel like most of my friends could tell you more or less what they wanted to do with their life. But now, I feel like the resounding answer to “what do you want to be when you grow up” is “I’m not sure yet.” I’m no longer getting taller (and haven’t for almost 10 years now) but I’m definitely still growing and figuring out what I’m good at and what I like and what’s important to me. I’m hoping that as I gain more experience in the working world and observe others older and wiser than myself, the answer will become clear. But until then, I’m just trying to learn as much as I can, meet as many great people as I can, and most of all, just be happy with who I am and where I’m at now.
Saturday, April 2, 2011
Friday, April 1, 2011
A good friend of mine, Amy Baack, is the executive producer's assistant on the TV show "V"....I asked her to share a few of her experiences and insights on working on a TV show! Here's what she has to say....
You graduated from USC in 2010, what did you study there and how was the experience?
I studied Film/TV Production at the School of Cinematic Arts. That program is very intensive in that you study every aspect of film production, from writing to post-production. It was an incredible experience - USC has earned its reputation for being one of the top film schools in the nation for a reason. I think the alumni it produces are so successful in this industry because they’ve had experience in every aspect of the creative process and are thus more well-rounded than anyone who specializes in just one field.
What sorts of activities did you participate in and what kind of jobs did you have prior working at “V”?
I held many internships in various fields of the entertainment industry during my college years. I was interning in the production department on Mad Men when I got the job for V. Before that, I worked at E!, Spyglass Entertainment, ICM, and Fox Television Studios, to name a few.
How did you get your job as the Assistant to the Executive Producer at “V”?
I have a wonderful friend who works at one of the big agencies in town and was willing to help me search for jobs. My boss’ agent had sent out an in-house job listing for the assistant position, and my friend was able to give me a heads-up about it. I submitted my resume not expecting to hear anything, but then I got an interview and landed the spot! It was completely unexpected.
What is a typical day like for you? What hours do you work and what sort of tasks do you perform?
As the showrunner's assistant, my duties are primarily based on the needs of my boss, though I am involved in many of the creative sides of the show as well. I manage my boss's personal schedule and contacts, transcribe notes calls with our studio and network, edit outlines/scripts, along with a whole bunch of other random tasks. Sometimes I have to do personal assistant-type duties, but those are rare. My work hours during the writing period were 9:00AM - 7:00PM (sometimes a little later).
How does your job as Assistant t the Executive Producer differ from that of a Writer’s Assistant or a Writer’s PA?
The writers' assistants job was centered in the writers' room: they took detailed notes, got lunch for the staff every day, bought groceries, helped write up outlines, and did research. They started work at 10:00 AM and usually worked until much later than I did, but it depended on how many notes they had to type up and edit, as well as how late the writers stayed that day. I did a lot more coordinating with the studio and network and oversaw the whole office, whereas they worked directly with the writing team.
Do you get to spend any time in the writer’s room? Can you explain the hierarchy of the writer’s room?
With your busy schedule, how do you find time to write?
That’s the biggest dilemma in the television world; working 10-12-hour-long days is hardly conducive to the creative process. But if you’re committed, you’ll make it work. If I had any down time at work, I would usually spend it writing (again, my boss encouraged me to do this because he knows I want to eventually be a writer); weekends are also a good time to write as much as you can. But it is definitely a challenge.
Are you trying to get an literary agent? Do you have any tips on how aspiring screenwriters can find representation?
I’m not currently ready for the agent stage, since I’m still polishing my spec scripts, but I’m not too worried about it since I have plenty of contacts within the industry to help me out when I want it. The best way to get representation is to start with the smaller agencies, since they’ll be better able to help foster a beginning writer’s career than a big agency would. If you know anyone with representation, it’s also a good idea to ask them for help in submitting your writing samples to people who might read it. You just need to use your contacts to get your script on the right desk; and, of course, the script has to be good.
Have any of “V”’s former writer’s assistants been promoted to staff writers on the show? How does one more up from writer’s assistant to staff writer?
What advice do you have for those hoping to land a gig in a writing office?
There’s no magic formula for getting a job in a writers’ room, but since those are some of the most coveted positions (especially for aspiring writers), they are the most difficult to find and get. They won’t be posted in any joblists for that reason. I’d recommend trying to find and get to know people who work in television who can tell you about open assistant positions and put in a good word for you. Also, it’s always a good idea to bolster your resume by working in other industry assistant positions, such as at an agency or production company.
You always hear about how important networking is in the entertainment industry, how important do you feel networking is for an aspiring writer? Do you have any networking tips?
Networking is critical, but I think the concept has become a bit misunderstood. The truth of the matter is that no one is going to give you a job just because you schmoozed them up at some industry event. Networking is really about building friendships and proving that you are intelligent, friendly, and interesting. People in this field can see through fronts pretty well; if you’re not genuine or actually talented, no one is going to want to associate their name with yours. The best way to go about “networking” is to be willing to work very hard with a good attitude; that’s how you’ll get noticed and promoted.
What is the best thing about your job? The worst thing?
The best thing is that I’m immersed in the writing process on a television show, which was exactly where I wanted to be when I graduated from college. I feel really blessed for having gotten such a great position so quickly. The worst thing might be the stress that comes with the long hours and pace of working on a show, but that’s not much to complain about. I truly love my job.
Where would you like to be in 10 years?
Ideally, I’d love to be running my own show by then. But I’d be happy just to be getting paid to write in any capacity.
What’s the biggest lesson you have learned from your job at “V”?
V taught me the importance of collaboration in television writing. It’s very different from feature writing, which consists of one or two writers at a time working alone on a script. In TV, you have to be willing to put your ego aside and work for the good of the show. You have to be willing to pitch any and all ideas and not be offended when they get shot down or someone else has a better take. Television writing can be a truly marvelous experience when everyone is willing to work together to produce the best possible content; it only goes sour when personal conflicts start getting in the way of the creative process.
Tuesday, March 29, 2011
Monday, March 28, 2011
Friday, March 18, 2011
Thursday, March 17, 2011
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Entertainment temp jobs
Wednesday, March 16, 2011
Tuesday, March 15, 2011
Friday, March 11, 2011
A few weeks ago, I attended a lecture at USC Law with Gary Lucchesi, Producer & President of Lakeshore Entertainment. He was a very jovial, down-to-earth man and I thought I'd share a bit from the talk.
So I got a job offer from my dream company yesterday. I cannot tell you how long I've been waiting and hoping for something like this to fall in my lap....and finally it did.
Thursday, March 10, 2011
REEL Ladies Producers Corner Presents
Legal Issues for Filmmakers: "Dispelling Legal Myths and Half-Truths"
Seeking: Progamming Intern
This is a Part Time Unpaid Internship
Location: Los Angeles, CA
Details: Programming interns assist the Los Angeles Film Festival PRogramming Department in organizing and cataloguing all film submissions (Features, Shorts, Music, Videos). In addition to providing administrative support in regards to submissions, interns are also invited to screen and rate a selection of films.
Interns must be able to commit to 8 hours a week (one 8-hour day or two 4-hour days) for a minimum of 2 months prior to the festival. Start dates are flexible. The Los Angeles Film Festival runs June 16-26, 2011.
Salary: School credit if applicable. Vouchers for festival screenings available if minimum commitment time has been completed.
Contact: Please send an email detailing any professional or academic experience you may have to email@example.com. Include your contact info.
Note: Interns are responsible for their own parking.
Tuesday, March 8, 2011
Happy International Women's Day!
Sharpen those social skill because you are gonna need them.
Whether your working in an office or on a film set, entertainment industry hours are LONG. Pretty much everyone can expect to be working at least 10 hour days. And isn't it nice when you can have a friend there working along side you? After all, friends inevitably help make the time pass more quickly.
Saturday, March 5, 2011
Wednesday, March 2, 2011
And so goes another wonderful day on the set of "Life After Film School."
One of my favorite things that was said was Brad’s advice to “Get in the room with people whose jobs you want to have someday.” Always be there watching and learning from your superiors. Be attentive, enthusiastic, and most importantly—be likeable and you will rise thru the ranks quickly. I loved this advice because as I’ve matured I’ve realized and accepted that I’m not going to start at the top. I’m going to have to “pay my dues” as they put it….and I think I’m okay with that—as long as I am at a company that I’m enthusiastic about and love the work they are doing, I will be happy performing mundane tasks such as grabbing coffee and taking phone calls.
Nina and Brad both spoke about the importance to learning. Some movies are going to work, some will fail, some will never see the light of day, while others will go on to become surprise hits. Regardless of how a film performs, it is always a learning experience—an opportunity to take away valuable something. Brad spoke of an elderly director he had collaborated with who was still working in his 80s! Brad’s reasoning for this was that the director had never stopped learning and evolving. He was constantly asking what, how, and why. He was interested in learning about social media and wasn’t narrow-minded, despite being at an age where learning about newfangled things could seem daunting. This goes to show that learning doesn’t stop with graduation. In actuality, life is all a learning experience—and you are never too old to stop gaining knowledge.
I, personally, love kids and enjoy working with them. So I asked Brad and Nina about their experiences working with a cast made up almost entirely of children. They both smiled—it’s clear the event evoked fond sentiments. They told us that the energy on set was contagious; there is a tendency among adults to become jaded by movie-making, but kids are a totally different story. They all felt so incredibly lucky to be there. After all, they were getting to inhabit characters from a series that they themselves and all their friends had read and worshipped! Brad and Nina shared an occasion in which the little boy who plays Raleigh came to set one day to find that they were going to be wearing aprons in the scene. He loudly went running to his dad—“Dad! DAD! We get to wear aprons today!!!” His joy over such a seemingly silly costuming item had the whole crew rolling over laughing and brought smiles to their faces for hours. Kids have an innate power to subtly lighten the mood and remind grown ups of the simple pleasures in all of our lives--such as aprons :)
Stay tuned for video link in a few weeks! And make sure to go see Diary of a Wimpy Kid: Rodrick Rules! It's a charming, funny film that kids and anyone who has gone through the awkwardness of pre-adolescence can relate to and thoroughly enjoy.
Thursday, February 24, 2011
Tuesday, February 22, 2011
Saturday, February 19, 2011
Thursday, February 17, 2011
- Great opportunity to network
- Fabulous learning experience that teaches you about all phases of the industry
- Rigorous, but really prepares you for any job you get afterwards
- Opens doors to many other career opportunities, thru the people you meet
- Many studio execs, agents, managers, and producers have started in the mailrooms at big agencies
- Consistant Pay
- Job security & consistency--knowledge of exactly where you are going to work each day and at what time
- Long hours but less than on set
- Low hourly rate (9-10/hour in mailroom, small bump once you become an assistant on a desk)
- Administrative work that does not have much of a creative component
- Possibility of interacting with difficult personalities and being subjected to subhuman treatment (not a guarantee, but one does hear stories....)
- Exciting and exhilarating atmosphere
- Getting to be an important part of a film and having a direct impact on the outcome of the film
- Opportunity to work hard for several weeks and then take time for yourself....can book appointments during the day and get things done on your off periods
- Each project brings with it new people to meet and contacts to be made
- Better hourly rate than most office-based assistant positions + lots of money for overtime
- There is a good chance of extended time periods with no work
- Very long hours (12+ hours a day)
- Being a key player on set right out of college is great, but there is not much upward mobility since Script Supervisors are the only ones in their department - so the experience does not lend itself to other jobs