Life After Film School: Nina Jacobson & Brad Simpson Interview

I had the opportunity to get to interview Nina Jacobson & Brad Simpson, the producers of Diary of a Wimpy Kid: Rodrick Rules, for Life After Film School.

Check out the episode here!

http://bit.ly/ig6b5a

PREVIEW:

"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!

What Goes Around Comes Around

Hello all!

Check out the guest blog post I wrote for my very good friend, Craig Ormiston!

http://bit.ly/iAfPn7

When I Grow Up

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.

How to Get Into USC Film

One of my little sisters is graduating from high school this year and it's really gotten me thinking about my own senior year of high school. All I wanted was to be accepted into USC's film production program...and somehow, I was.

I've gotten asked the question ALOT over the years: "How did you get into USC's Production program"? Well, here is what I've come to realize over the years, looking at both myself and my fellow classmates.

First of all, everyone from my year of Production had SAT scores and grades that were above average for USC. So BE SMART. Most of the kids in Production would probably be going to a "higher-calibur" school if they didn't get into a program as prestigious as USC film. That's one of the reason why you run into so many production kids who have full ride scholarships or partial scholarships....they are the really smart kids.

Second, you gotta be really creative. This is the main thing USC is looking for when selecting Production applicants.

Third, be a great writer. My mom told me that at orientation all the parents of Production students were sitting around trying to figure out what their kids had in common (and thus how they got into the program) and the one thing that everyone seemed to be really good at (according to their parents)was writing. Even though we weren't in the screenwriting program, its important to all film degrees.

Fourth, don't send movies as samples. I know we are all proud of our dinky little high school movies, but USC actually doesn't want to see them! Unless they are Academy Award Short Film contenders....keep 'em to yourself. USC doesn't want to see you already making cinematic mistakes; they would rather start with clean slates. For the record, I didn't send a single video....and I had many.

Fifth, and most importantly, passion. Everyone I know from my program is incredibly passionate about film. They don't want to do anything else with their lives and it shows. Obsessed with film as a kid, I had always felt kind of like an alien. But then I came to USC, and it was like I had finally landed on this planet where everyone loved movies as much as I did. I felt totally at home, like I'd finally found where I belonged.

Well hopefully that is a tad helpful. It's what I tell any prospective students I speak with. And I think its pretty good advice!

Interview with Amy Baack, Executive Assistant on "V"

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?

I got to spend a ton of time in the writers’ room. My boss was amazing in that he encouraged me to spend time in the room whenever I could. The hierarchy will vary from show to show, but it is established by how much experience each writer has and what title they have been given on the show. Obviously the showrunner has the final say on every decision; all the writers have to pitch ideas to him or her for approval. Our writers would usually split up into a couple of rooms, with the senior writers leading the others in brainstorming ideas, then they’d all come together to pitch their ideas to the showrunner. The writers’ titles are arranged in the following descending order: Executive Producer, Co-Executive Producer. Consulting Producer, Co-Producer, Executive Story Editor, and finally Staff Writer.

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?

V hasn’t been around long enough for the writers’ assistants to be promoted (and we had different assistants in season 2 than we did in season 1). However, my boss is a strong believer in upward promotion; if V sticks around for another season or two, I’m sure he’d be willing to give the assistants opportunities to write scripts. The jump from writers’ assistant to staff writer is a tricky one; basically, the assistant has to prove that he or she has good ideas (by actively pitching them in the room and not being afraid to pipe in during the writers’ conversations) and the showrunner has to be willing to take a chance on them.

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.

The Best Thing To Do Post Grad

Before I graduated college, a very successful business man gave me this piece of advice: The best thing you can do after graduating, is just to find a company you are really passionate about and try to make a contribution to that company.

The more I thought about it, the more sense it made. We all come to LA hoping to jump straight to the top....we don't want to "pay our dues"....we want it all, and we want it now. But once you graduate, you quickly realize that recent grads aren't typically producing major motion pictures six months later (there are a few exceptions). So if you can't have your dream career right away, what is the next best thing? Finding a company who is involved in projects or processes that interest you and getting in the door. Working your way up, observing those who have been at it longer, and gaining as much knowledge as you can. Because one day, it just might be your turn and you want to know that you have a firm foundation of skills, abilities, and wisdom.

180%

So my first week on the job went well. I went above and beyond, as I always do. It's important in this business to give 180%. You always hear, give 110%, but that's just a little more than a good job, right?

On my first assigned project, I was told to create a list of people. So I could have gone the traditional route and just made a list in a Word doc....which would have been fine. But I decided to go all out and not just create a boring list, but an interesting visual as well. I transferred my list into a PowerPoint document with attractive fonts, quotes, and multiple pictures for each slide.

Fast forward a day later.

My boss's boss called me into his office.

Boss: Lauren, did you do this?

Lauren: Yes

Boss: You created this?

Lauren: Yes....I'm kind of a PowerPoint nerd....

Boss: This is AMAZING. I want all of these people. I'm putting you on the phone with New York right now, you're going to help on the campaign. Good job.

And from then on, I felt like I was in the club.

My advice--go all out, give 180%.

Producer Profile: Gary Lucchesi

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.

Where do you go if you want to get into the business side of entertainment?

Start in the mailroom at an agency. I didn't know I was interested in film until the end of college, when I took a class taught by David Geffen. After graduating, I interviewed at William Morris Agency. When they asked who I knew in entertainment, I said, David Geffen, and I got the job. I was making $500/month. But I hadn't grown up with a lot, so I thought that was pretty good. I feel like I had an advantage, actually, coming from no money. Surviving on your own is a wonderful skill.

How do you make the most of a challenging work environment?

I worked for a crazy agent at one point. And it was rough. I felt like Terminator in the scene where the bullets keep hitting him and bouncing off--and he just keeps on walking. That's when my mom told me that I was anticipating the worst. And I was. She told me that I could handle it. And it was true, I could.

How did you get from WMA to become the Head of Production at Paramount?

When I got married and I wanted to be a family man. I looked at all the agents around me who were divorced and had problems with their kids--and I didn't want that. I thought to myself, studio execs have it better. So I went there. However, I quickly realized that studio execs are just as messed up as the rest. You have to seek out role models, it doesn't just come with a job title.

How/why did you cross over from the business side of entertainment to the creative side?

I grew up amongst storytellers. My house was the congregation point for all of my dad's old war friends, so I grew up hearing endless stories about WWII. And somewhere along the way, I decided that I wanted to be involved in the storytelling and creative process as well. So in 1997, I joined Lakeshore Entertainment, where we make 3 or 4 movies a year. As head of Lakeshore, I get to be an Exec as well as a Producer on our films. I split my time between the office and set when we have a project filming.

How do you finance your films at Lakeshore?

We usually sell the international rights to foreign distributors to get a good percentage of our total budget. Then we, and a couple equity financiers, put the rest of the money in. Things are different these days, ten years ago, we'd have none of our own money in the movie. But now, with the loss of the DVD market, we have to. It is very hard to re-coup budgetary costs without the DVD market.

What kind of material are you looking for?

I'd kill to find a family film. Animation completely dominates the family sphere these days. Where is the Home Alone today?

How to Get a [Dream] Job in Hollywood

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.

Here's how you land a job in this business:

August - Volunteered to help a friend, who was a Producer's Assistant, during a pickup weekend by standing in as a hand model (please see my famous hands in Alloy's "Hollywood is Like High School")....got to know Producer.

October - Get hired by said Alloy Producer to act as Script Supervisor on reality Alloy's webseries, "Casting Call." Ended up playing a bunch of different roles--helping with interview questions, actually interviewing girls, jogging down judges notes to be re-hashed later, etc). While at lunch, Producer found out I was also interested in Directing and Producing.

November - Producer asks me to come onto their next project as Script Supervisor during production, but to also act as Director's Assistant beforehand (since he he previously found out I was interested in that kind of thing). I accept.

January - During Pre-Production, I spent a lot of time getting to know Alloy employees and execs during meetings, script notes sessions, etc.

February - "Talent" shoot

March - Friend at UTA sends me an ad from Alloy looking for an Assistant Talent Coordinator....I call up Producer who finds out who at the company to directly forward my resume, another Alloy friend I met on set hand-delivers my resume to the stack. Producer I'd worked with calls up the head of the department and gives him glittering review of me. Phone interview goes well, in-person interview is even better....and what do you know, a job!

So that's how it works. It takes a while for something great to land in your lap. But by golly, it sure does happen.

Good things happen to those who work hard and truly want them.

Panel: Legal Issues for Filmmakers

REEL Ladies Producers Corner Presents

Legal Issues for Filmmakers: "Dispelling Legal Myths and Half-Truths"

This seminar will deconstruct pervasive legal myths and delve into the

legal issues every filmmaker should know. Attendees will learn how to

protect a project from development to distribution.

Presenters:

Toni Y. Long, Esq.

Jennifer Provencher, Esq.

Karen Thompson, Esq.

WHEN

Saturday, March 12, 2011

5pm - 8pm

WHERE

Actors Key

2019 West Magnolia

Burbank, CA. 91506

COST

Platinum Members/Producers Corner Members: $25

General Public: $40 Advance Registration/$50 at the door

RSVP to reelladies@yahoo.com reelladies@yahoo.com>

Phone: 323-638-5433

*Wine, Refreshments & Appetizers Included*

PANEL DISCUSSION and Q&A

1. Setting Up Your Company

Choosing Type of Entity, Hiring Lawyer & Accountant, Financing Your Film

2. Development

Drafting Business Plan & Budget, Obtaining a Screenplay, Literary

Acquisitions, Life Rights, Copyright & WGA

3. Pre-Production

Labor & Employment Law, Hiring Crew, Dealing with Guilds

4. Production

Permits, Permissions & Agreements

5. Post Production

Hiring Post Production Staff, Licensing Music

6. Distribution

Hire an Attorney!

*** I thought this sounded great, might see you there! ***

LA Film Festival Seeks Interns

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 jwilson@filmindependent.org. Include your contact info.

Note: Interns are responsible for their own parking.

*** Could be a fun way to network and see some great projects for free! I've had friends do it in the past and they always enjoyed it ***

The Likeability Bias

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.

Its a proven fact in this business people prefer to work with people they like. They will gladly pass up an amazingly talented being who isn't such a great communicator, for the loveable so-so worker who is a joy to be around. If someone is bossy or talks about themselves too much or is a straight up creeper, it's almost irrelevant whether or not he is competent. After all, no one would want to work with him! On the other hand, when we like someone, we manage to draw out each of their positive attributes to proclaim them perfectly suitable for the job.

According to Harvard Professor, Tiziana Casciaro, people tend to like other people who are similar to themselves, people who, they are familiar with, people who have reciprocal positive feelings to each other, and people who are inherently attractive, either in their appearance or personality (i.e. considerate, cheerful, generous, and so on). People are also more likely to notice an increase in your likeability, than an increase in your skills. Someone people who lack social competence end up looking like they lack other competencies as well.

Here are a few things to keep in mind:

1) BODY LANGUAGE - Remember: tone, voice, and body language account for 90% of communication. When you are listening to someone, maintain steady eye contact and lean in--this shows that you are actively listening and taking in what they have to say. Avoid crossing your arms or slouching, this silently gives off a "keep away" atmosphere.

2) LISTEN - Everybody loves talking about themselves and thus this is probably the most under appreciated social skill. But listening not only allows you to get to know the other person, it also allows for potential paths for conversation.

3) ASK - People love to talk about themselves! Ask them about their background, how they got to be where they are, where they went to school, these are all great conversation starters....and you might realize you have something in common and that can act as a springboard towards friendship!

4) POSITIVITY - Life is so much happier with the glass half full. People prefer to be around those who bring up the energy, not bring it down. Being around cheerful people improves the atmosphere of the work environment and allows for peaceful and happy workflow.

Diary of a Film Student

And so goes another wonderful day on the set of "Life After Film School."

Today I had the opportunity to interview producers Nina Jacobson and Brad Simpson about their newest film, "Diary of a Wimpy Kid: Rodrick Rules," based on the very popular book series by Jeff Kinney. It was an insightful discussion and I thought I'd share a few memorable points from the interview.

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.

Job Hunting

The film business is a tough one, indeed. Especially in these economic times. Well actually, that is just a guess since I've only actually been in the job market 8 months. But I'm just going to guess that it is at least a little tougher.

Someone once told me that looking for a job, IS a full time job. And I believe this somewhat. You can spend days looking online for job openings. You can be as on top of it as they come--excellent resume, beautifully written cover letter, great references.....and still you wait by the phone, and nothing.

It's because in this business, it's all who you know. I can easily say that all of the cool, fun jobs I've gotten have been thru people I knew....either people I graduated with, friends from home who now live in LA, family friends, people I met thru internships, etc. I have gotten a few (let's say about 1 out of 100 submitted resumes) random calls, but they usually turn out to be for companies I've never heard of that don't seem to have much credence.

So in my humble opinion, you are far better off getting out of the house--go to a bar, volunteer at a homeless shelter, go join a squash game at your gym (squash seems very popular among the film crowd)--and MEETING people. I know often times you feel guilty, if you aren't forcing yourself to sit at the computer screen robotically submitting resumes, but you really really do have a greater chance of finding a job by putting yourself out there in LA.

Even if you do find a listing for your dream job online, your resume has a way higher chance of being read if you have someone in the industry submitting your resume and vouching FOR you. I know we all want to be proactive and feel like we are doing things on our own, but its a sad fact that nepotism is alive and well in Hollywood. So jump on that bandwagon and milk every contact you can!!!

The Office vs. The Set

Well hello friends. Sorry for the extended absence. Life has been quite busy--I spent a couple months as a director's assistant for Alloy Entertainment's digital division during the pre-production of a rather large scale webseries, and then during production acted as script supervisor. The crew was great and I really am looking forward to seeing the finished product.

Now I am just pondering my next big move. I have long since heard that going the agency route is a wonderful way to learn about the industry, as well as to get to know future power players in the film world. The big agencies seem to be at the center of this industry, with scripts, actors, filmmakers coming into them and packages flowing out of them. Producers have told me over and over again that it is a great first stepping stone to take after getting out of film school.

At this time, I have an opportunity for a job at one of the big agencies. However, in spite of all the advantages, I am a little leery. Taking long term jobs is scary. So far everything I have done has been freelance....which is nice, because even if the gig sucks, you are done with it after several weeks and can go on to something else.

I guess the big decision right now, is the office vs. the set. I love being on set, but the freelance lifestyle can get a bit stressful--never knowing where your next paycheck will come from. However, on set, I get to perform a job that has a bit more prestige than being someone's assistant. As script supervisor on set, I have people bringing me coffee; as an assistant in an office, I will be bringing other people coffee. I am fine with that, but it is definitely something to think about.

Here is how it breaks down:

Agency (The Office):

• 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....)

Production (The Set):

• 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

Breaking In & Moving Up: Writing For Television Panel

So last night I attended an entertainment panel put on by the University of Michigan (seemed a tad random to me, but then again I don't know much about the school). The panel had a lot of interesting things to say so I thought I'd share on here. I tried my best to transcribe with accuracy, and paraphrased a bit where necessary...overall, I think it is pretty authentic. Enjoy!

Panel:

Scott Rosenbaum - Executive Producer of "V" and "Chuck"

Bill Prady - Executive Producer of "The Big Bang Theory"

Dennis Kim - Senior Literary Agent at Rothman Brecher Agency

Brad Holeman - Director Creative Affairs at Fox21

Alessia Costantini - Staff Writer on "Scrubs"

Do you recommend screenwriting courses?

Scott: Screenwriting courses are a good way to learn the format, but I myself never took many. Maybe like 2 during college. My best recommendation is that you read as many scripts as you can. I had an agent friend who would send me scripts which helped me in the learning process a lot.

Bill: The most important thing is that first and foremost you have a good story to tell and are a good storyteller. If those things aren't in place then classes probably aren't going to be able to help you.

Brad: Read material and watch movies to figure out what does and doesn't work. This is how I learned. I watch television everyday.

Alessia: I actually like classes for structure and it is a great way to meet other writers. Also if you are the kind of person who needs to be under deadlines, classes are definitely helpful.

Bill: In every writer's room the slang will be different. Executive Producers and writers will make up words. For example, a clam is what we will call an over-used/bad joke.

Alessia: Yeah, we use "clam" as well. We actually have a clam stuffed animal that we'll throw at people!

Scott: You need to have an innate talent for storytelling, but you don't have to know how to wield that ability right away. Sometimes you need a mentor or someone to cultivate adn teach you how to use your talent. This is what a class might be good for.

Bill: If the writing is good, then format isn't so much of an issue.

Scott: How we work in our writer's room is to first figure out what the character's arc is going to be and then we work backwards to find just the right story to bring this out.

Bill: The process of telling stories is to be able to draw from our own experiences. So you need to have life experiences to be able to write. Entertainmetn is an artistic endeavor and people often get lost in the process, forgetting to focus on the story.

Scott: I had to read over 400 scripts to staff "V". He's what I look for. I don't expect everyone to be good at everything. But you have to have a voice and that should should in the material you write. And if your particular voice is what I'm needing on the show, I'll hire you. On "The Shield", each writer kind of had a character that they could relate to emotionally and psychologically. So its so important that you have a voice and viewpoint that is different than the other writers in the room. Always ask yourself - why are we writing this episode? And from there the theme will emerge. If the script has a unique voice, it will stand out.

Can you describe the hierarchy in the writer's room?

Dennis: Well you have your Executive Producer on top, from there down it goes Co-Exec Producer --> Supervising Producer --> Producer --> Co-Producer --> Story Editor --> Staff Writer --> Writer's Assistants. Staff writers make WGA scale, about 3500/week. Story Editors make about 5000/week. And above Story Editor you can negotiate feeds. It differs between cable and network TV. With Staff writers, writing a script is included in the weekly fee, but for Story Editors and above you get additional compensation for writing a script.

How has the television business changed over the years?

Brad: Cable. It was a struggle to bring writers over because it wasn't sexy to work in cable. But there is a lot of freedom with cable that you don't get with network television. You can show and do anything you want in cable. Which is great because writers can really have the opportunity to show their voice.

How do you take/get feedback and hone your craft?

Scott: Every showrunner is different, and its rare to find someone who wants to be a teacher. I was lucky to have one. But watching and reading can show you what's getting people jobs. The more you read good writing, the more it bleeds off onto you.

Bill: To succeed in telelvision you need to be able to explain why a scene worked or didn't work. Because at some point someone will ask you to do that. If you can't, you will get replaced. Execs are always terrified of losing money so you gotta know something is gonna work. Always watch television with a critical eye.

Can you describe the types of writing samples that come to you?

Bill: There are two kinds of writing samples: specs of shows already on the air and original material. Somebody wrote a spec of a show as if it got to the 30th season and the concept was really original and interesting to read because it was different. Good writing is effortless to read. If you have writing that people aren't finishing, that's a problem!

Can you describe teh politics of a writer's room?

Alessia: I learned a lot as a writer's assistant. To be successful you have to LISTEN. Don't think about your pitch while someone else is talking, listen to them. It will make you better in the long run.

Bill: There is a hierarchy--especially with who can say "this isn't working." The Executive Producer is one of those people and he has a few people he can trust that are allowed to speak up as well. If you aren't one of those guys, just wait patiently and be prepared to help when someone brings up the problem. If you are a low level staff writer than you better not bring it up unless you have a completely fabulous fix for the issue. Writers rooms are raw and very personal. You require beyond thick skin to work there. People think your job is glamorous, but really, it's not. You are stuck in a room for hours upon hours that smells of Indian take out with people who haven't showered in days. So you gotta love it.

Scott: My rule of thumb is that you should never say you don't like an idea or that something isn't working if you don't have a solution. Television writing is a collaborative effort and so you need to help fix the problem. Say "here's what I want to change to ____, and here's why." It's hard being in a writer's room because there are always going to be people who are smarter than you and you want your joke or line to make it into the episode. Some people aren't good at speaking up in the moment, so go home and write your ideas down so you can be prepared--if that's you. But just make sure you are always bringing new ideas to the table.

Bill: Yeah, you really have to understand why things work or don't work. I recommend watching something that doesn't work and then coming up with a fix. This is actually great practice. How much more compelling would Titanic have been if she wasn't already turned off to her fiance before boarding the Titanic?" Something like that. Just know how to fix problems.

Alessia: I was so scared to speak up my first couple weeks as a staff writer. I started going home and writing down my ideas so I'd know just what to say when I got to work and wouldn't feel choked up!

Any last words of advice?

Scott: There are some good DVD commentaries from EP's and why they made the creative choices that they did, I recommend watching those.

Also, know that you can't control a lot in Hollywood. But you can control how hard you work. Be the hardest working person in the room and it will pay off. Work your ass off.

Bill: Spend less time being jealous of others' success, it will kill you everyday. There is always gonna be someone that you think doesn't deserve the job they have (that you would do the job so much better), but it doesn't do you any good dwelling on it. Also, keep in mind that there are three stages: Writing, Not Writing, and Pretending to Write. We all pretend to advance our careers, by saying things like "I'm not gonna write til I install the latest version of Final Draft" (Pretending to Write). So just recognize the difference between those states of being and if you find yourself pretending to write, just stop. Choose to NOT write and watch TV. This is better for you in the long run.

Brad: Always be a student. The worst writers are those who want to skip everything and aren't hard working at the bottom. Find mentors to watch.

Alessia: TV writing is collaborative--so many different types of people that are better than you and smarter and funnier. If you just like your own material, then you won't be successful in this business. The whole process is exhilarating and its cool when someone pitches a better joke for your episode. This has to be something you enjoy and can live with. Also, just be yourself. There is a reason you were chosen for that writing team. Don't try to be anyone but you.

Financial Break-Down

So explaining stuff like this helps reinforce what I know and someone might find it helpful, so here goes.....

In determining the financial breakdown of money received for a movie, it's essential to understand the basic terms.

Box Office: This is synonymous with ticket sales, or the amount of money a movie earns in movie theatres based on sales of tickets. The movie theatres collect this money and share it with the movie studio. Total Box Office gets divided approximately fifty-fifty by the theatre and the studio.

Film Rentals: The movie studios and theatre owners have agreements which vary from movie to movie and can get quite complex. HOwever, anyone can get a rough estimate of film rentals by dividing the box office in half. This doesn't work for the first week or two of a release, but proves accurate only in considering the long run of the movie in theatres. A movie may open to $70 million and wind up at $200 million after a three month run. The studio probably receives around $100 million in film rentals.

Distribution Fee: For theatrical release of movies in North America, the movie studio deducts a fee of 30-33 1/3% on most movies. They deduct this from the film rentals to cover the studio's expenses distributing the movie. Essentially, the studio charges the movie revenues for its management and overhead (money it takes to run studio). A producer who finances movies in a long-term deal with the studio can negotiate a lower distribution fee, perhaps 15-20% if they are lucky! Or, George Lucas might negotiate a distribution fee of 10% for writing, directing, producing, and financing "Episode One: THe Phantom Menace" and having 20th Fox distribute it (people like that can pretty much get whatever they want because studios know they are still going to get a huge chunk of money!)

Gross: This must always be defined. Generally, gross definitions are based on film rentals and not on box office or ticket sales. While people often say, "Titanic" grossed a billion dollars, they mean ticket sales, or box office, not film rentals, which probably came closer to five hundred million dollars.

Gross From Dollar One: Key players on a film can often negotiate to get a percentage of the first dollar gross, meaning they get a cut of the film's film rental before the studio recoups the production costs.

Marketing Costs: Sometimes called "P&A", for Prints and Ads, this money goes towards advertising for the movie as well as purchasing prints for the theatres which will screen it. The budget for P&A will rise and fall depending on the studio's expectations for the movie's success.

Example:

Saving Private Ryan cost 65 million dollars to make and the studio spend 35 million dollars in marketing. Both Steven Spielberg and Tom Hanks receive 25% of the gross at dollar one. The movie makes 400 million dollars worldwide.

So the film rental on this baby would be 200 million (approx half of box office). Both Spielberg and Hanks receive 50 million (25 percent of $200). That leaves a 100 million. Then the studio deducts a 30% distribution fee. So 70 million remain to cover the negative costs (production & marketing)....but alas! Those add up to 100 million, and they only have 70!

In conclusion, even a blockbuster like Saving Private Ryan can leave a studio in the negative!

A Good Day

So just when I was getting tired of waiting around and boredom was setting in....I found another job. Funny how that works. So starting tomorrow I have another script supervising gig!

One of the things that I love about script supervising is that you can go right into the job as a key. No wasting time as an assistant or PA, where the work is flat out banal. Script Supervising, if you are good at it, let's you jump right in as a department head. Which is SUPER. This is not to say that it is for everyone....it's certainly not. But note-taking and intense attention to detail have always been my forte, so I enjoy it a lot! My class notes in school were so detailed that people would pay me for copies....who knew that that skill could continue making me money down the line.....!

Screenplay Beat Sheet

So one of my favorite screenwriting books is Save the Cat. If you haven't read it, I highly recommend investing in it. Its easy to read and spells out the screenwriting process in pretty simple terms. Anyways, I thought it might be helpful to include the beat sheet that Blake Snyder uses in here. I am actually using it right now and finding it quite helpful in my own writing process.

THE BLAKE SNYDER BEAT SHEET:

PROJECT TITLE:

GENRE:

DATE:

1. The Opening Image (pg 1): This is the first impression of what a movie is - it establishes the mood and type of film we are about to watch. The opening image and final image should be opposites, a plus and minus, showing change so dramatic it documents the emotional upheaval that the movie represents.

2. Theme Stated (pg 5): Somewhere in the first five minutes of a well-structured screenplay, someone (usually not the main character) will pose a question or make a statement (usually to the main character) that is the theme of the movie. This statement is the movie's thematic premise.

3. The Set-Up (pg 1-10): The first reel - or the first 10 minutes - sets up the hero, stakes, and the goal of the story...and should do so with vigor! Make a point to introduce or at least hint at introducing every character in the A story. The first 10 page sis also where we start to plant every character tie, exhibit every behavior that needs to be addressed later on and show how and why the hero will need to change in order to win.

4. The Catalyst (pg 12): The catalyst moment that kickstarts the action....these may include telegrams, getting fired, catching a wife in bed with another man, news that you have three days to live, a knock at the door, the messenger, etc. First moment when something happens!

5. Debate (pg 22-25): The debate section is the last chance for the hero to say: This is crazy. Should I go? Dare I go? Sure, it's dangerous out there, but what's my choice? Stay here? The debate section must ask a question of some kind. In Legally Blonde, the catalyst of the fiance dumping Elle Woods quickly segues to her solution: Go to Harvard Law. "But can she get in?" That is the question posed in the debate section of the movie.

6. Break Into Two (pg 25): Act break is the moment where we leave the old world behind and proceed into a world that is upside down version. Something MUST happen on this page.

7. B Story (pg 30): The B story of most screenplays is the "love story." It is also the story that carries the theme of the movie. The B story often introduces a brand new set of characters. Often a friendship story.

8. Fun and Games (pg 30-35): This part of the screenplay is the one that provides the promise of the premise. The fun and games section answers the question: Why did I come to see this movie? What about this premise, this poster, this movie idea, is cool?" This is the place where you include the big set pieces!

9. The Midpoint (pg 55) - the movie's midpoint is either an "up" where the hero seemingly peaks (though it is a false peak) or a "down" when the world collapses all around the hero (thought it is a false collapse) and it can only get better from here on out. The stakes are raised at the midpoint. The rule is: It's never as good as it seems to be at the midpoint and it's never as bad as it seems at the All is Lost point (see beat 11).

10. Bad Guys Close In (pg 55-75): This is the point where the bad guys decide to regroup and send in the heavy artillery. It's the point where internal dissent, doubt, and jealousy begin to disintegrate the hero's team.

11. All is Lost (pg 75): All is Lost is the matching beat to the Midpoint...these two beats are always inverses of each other. We know it is the opposite of the midpoint in terms of an "up" or a "down." It's also the point of the script that is most often labeled, "false defeat," even though it looks all black, it's just temporary. All aspects of the hero's life are in shambles.

12. Dark Night of the Soul (pg 75-85): This section depicts how your character experiences and feels at the All is Lost point. We've all been there--hopeless, clueless, drunk, and stupid--sitting on the side of the road with a flat tire and four cents, late for the big appointment that will save our lives.

13. Break Into Three (pg 85): Eureka! The Solution! Both in the external story (the A story) and the internal story (the B story), which now meet and intertwine, the hero has prevailed, passed every test, and dug deep to find the solution. Now all he has to do is apply it. An idea to solve the problem has emerged.

14. Finale (pg 85-110): Where the lessons learned are applied. It's where the character tics are mastered. The chief source of "the problem" - a person or thing - must be dispatched completely for the new world order to exist.

15. Final Image (pg 110): The final image of the movie is the opposite of the opening image. It is proof that change has occurred and that it's real.

The Unpaid Intern

I thought this was a good article from the New York Times on unpaid interns.

http://www.nytimes.com/2010/04/03/business/03intern.html?pagewanted=2

I, myself, recently found myself in a situation where I was being given a ton of responsibility and not receiving pay. It took me a long time to decide what to do, because on one hand, I really enjoyed working at the company and liked all the other people. But on the other hand, I didn't think it was right to depend on someone to make a film and not pay them.

In the end, an inappropriate request involving jumping on a trampoline topless was the tip of the iceberg. I left the company. Another indication of how difficult it is to be a woman in this industry! You've gotta put up with a lot.