FREELANCE VS. STAFF

Before choosing a particular job or specialty field, you’ll have to decide whether to pursue a staff job with one company or freelance work. Freelancing entails working from project to project in a wide variety of positions, such as actor, writer, composer, musician, storyboard artist, graphic artist, dialogue coach, script reader or a member of a production crew. It’s a job that has a finite term, and that term could last anywhere from one day to a year or more.

How freelancers are paid will vary, as some are compensated by the hour, the day, the week or the project. Much depends on the exact nature of the work and who’s doing the paying. It’s often assumed that because you freelance, you’re automatically an independent contractor; but that isn’t necessarily the case. Most freelancers are put on payroll for the term of their employment, and their pay checks reflect all obligatory income tax deductions and any union or guild fringes that may apply. At the end of the year, instead of the one W-2 form that someone in a staff position would receive, freelancers could conceivably receive several.

As far as the studios, networks and major production companies are concerned, to be paid as an independent contractor, you must be incorporated and carry your own worker’s compensation coverage. Smaller companies, however, may let you invoice as an independent contractor even if you aren’t incorporated, as long as you supply them with your social security number. In this case, you would receive a 1099 at the end of the year (instead of a W-2) if you’ve made in excess of $600, and you would be responsible for your own income taxes.

Freelancers are often referred to as those out “in the trenches.” Instead of working in one location (usually an office), they’re known to move around quite a bit, often from location to location. They frequently work longer and harder hours while situated close to the “front” (or the set) where the real action is taking place and a project is being shot.

As a freelancer, you’ll undoubtedly be spending more time and effort looking for work and could conceivably be away from home for long stretches of time when you’re working. The insecurity factor is quite a bit higher than with staff work. On the other hand, people who freelance are more likely to get to travel to locations they might never otherwise see; they get time off between projects (which is wonderful, if it’s not for an inordinate amount of time) and are apt to be exposed to more new people, new circumstances, new challenges and new experiences. Another thing I used to love about freelancing is that if I was on a show and ended up working with someone I didn’t particularly care for, I knew that once the show was over, I could choose never to work with that person again. It’s kind of the best and the worst all rolled into one, and one way or another, you end up paying for that higher degree of freedom and adventure by having to endure higher levels of uncertainty.

Good staff positions are not easy to come by, so some freelance because the work (while not steady) is often more attainable. Sometimes, however, the decision to freelance or to try to land a staff job is based on a person’s circumstances at any given time in his or her life. I’ve known many who freelance while they’re single and have few responsibilities but then move into staff situations once they’re married and have children, because all of a sudden, that steady pay check becomes more essential. On the other hand, there are many freelancers who work often and earn fabulous livings. They may not be able to spend as much time with their spouses and kids as they’d like, but their incomes can easily sustain the financial demands of a growing family. It’s all a matter of circumstances and trade-offs.

Staff jobs will generally give you a good foundation, a greater sense of security, a regular pay check, employment benefits (like health insurance), paid vacations, more normal work hours and a more normal lifestyle. And as many companies promote from within, you could conceivably stay with one company for years. But also keep in mind that production companies do have a tendency to come and go as do executives at major studios and television networks, so there is no guarantee that once in a job, you’ll be able to stay with that company indefinitely.

Those who spend years in staff jobs often long to freelance, and freelancers often crave the stability of a staff position. Sometimes the decision is made for you based on which type of job you can find first. Whether it’s deliberate or happenstance, honestly look at where you are in your life and the lifestyle you think you can best adapt to before deciding which direction to follow. Like mine, your career may become a combination of staff and freelance work.

BEING PART OF A CREW

Being part of a crew means you’re a member of the team that supervises, directs, prepares, designs, dresses, finds locations, builds sets, lights, photographs, rigs, records sound, videotapes, keeps continuity, moves the production from one place to another, prepares the talent, creates props, stunts and effects, publicizes, edits and compiles all the necessary elements to complete a film or TV show.

Each time you’re hired onto a show, the crew you’re about to become part of becomes like a new (albeit temporary) family unit. And just like a family, you’ll have your favorites. You’ll be working side by side with these people, sometimes for months on end for a minimum of 12 hours a day, eating with them, sharing goals, commiserating and conquering challenges together, and when shooting on location—traveling and socializing with them as well. Becoming friends with someone on location, you tend to build a bond that would normally take years to develop the conventional way by getting together once every month or two or three. Some of the best friends you’ll ever make will be crew members you work with. You’ll always have a connection to these people and feel a shared sense of adventure, accomplishment and camaraderie. And on the really tough shows, you may also feel that sense of closeness people share when they’ve been through any sort of adversity together.

Every once in a while you’ll work on a show or series that’s truly special. Even if the production itself isn’t special, some of the people you’ll work with are. So when it’s over, parting can be tough. You’ll never work with that exact same group of people in that exact location under those exact circumstances again. Saying goodbye to those you’ve become close to can feel like the end of a wonderful summer at camp. You may have fond memories of some; others will be special enough for you to want to keep in touch and have an on-going relationship with.

Many individuals have given up good, steady staff positions to freelance on individual films and television shows. You’ve already read about the downside to freelancing, but there is no denying that if you’re a team player, there’s no better team to be on than a film crew.

As you can see by watching the credits at the end of some major motion pictures, there are sometimes 100 to 200 positions listed (especially on features that use quite a bit of CGI and/or animation), and that doesn’t always take into consideration the productions that use huge construction crews or thousands of background players. Needless to say, a vast number of positions need to be filled on every show—opportunities that represent a wide array of interests and expertise in such areas as cinematography, sound, music, casting, wardrobe, makeup, special effects, visual effects, art direction, set design, publicity, etc.

Should you want to be part of a film crew but aren’t sure exactly what it is you’d like to be doing, try to get work as a PA or non-union extra, so you can start learning first hand who does what and what might interest you.

You may also have a talent or skill that can be transferred to a production-related venue. Examples would be composer, helicopter pilot, construction coordinator (contractor), carpenter, painter, plasterer, medic, animal trainer, caterer, translator, electrician, diver, teacher, draftsman, hair stylist, still photographer, scaffolding engineer and driver. If any of these is something you’d like to consider, start lining up general information meetings with people who are already doing these jobs on films and TV shows to ascertain how you might make the transition (see Chapter 14 for guidelines on general information meetings).

UNIONS AND GUILDS

All major studios and many independent production companies are signatory to certain basic union and guild agreements, the most common being SAG-AFTRA, which represents actors, stunt coordinators, stunt performers, professional singers, puppeteers, airplane pilots, professional dancers (which may cover swimmers and skaters as well) and extras; the Directors Guild of America (DGA), representing directors, unit production managers and assistant directors; the Writers Guild of America (WGA), representing writers; the International Alliance of Theatrical Stage Employees (IATSE or IA, also known as the “craft” locals), covering various crew classifications (each represented by their own local); and the Teamsters, with jurisdiction over drivers and location managers.

Many of the unions and guilds, in addition to having offices in both Los Angeles and New York, have additional branch offices in various locations around the country. The IA doesn’t have branch offices, but does maintain individual locals in different cities throughout the country. To locate the specific union or guild branch office, or IA local, closest to you, contact one of their main offices or your local film commission for assistance.

On the West Coast, what stands between the unions and guilds, the producers who employ union and guild members, and those applying for union membership is the AMPTP, the Alliance of Motion Picture and Television Producers. The AMPTP provides services to studios and independent production companies covering all aspects of employment within the television and theatrical motion picture industry and other issues that affect the industry as a whole. They represent their member companies in industry-wide collective bargaining with the unions and guilds, including grievance and arbitration decisions and interpreting and administering agreements with the WGA, DGA, SAG-AFTRA, IA, West Coast studio local unions and basic crafts unions.

Not a part of the collective bargaining unit, the Producers Guild of America (PGA) is categorized as a trade organization rather than a labor union. With offices in Los Angeles and New York, the PGA came about as a result of two pivotal mergers: the 1962 union of the Screen Producers Guild and the Television Producers Guild and the 2001 joining of the PGA and the American Association of Producers (AAP), which represented a group of associate producers in videotape television. This subsequent merger created an organization that represented the interests of the entire producing team, which was defined as all those whose interdependency and support of each other are necessary for the creation of motion pictures and television programs. In 2002, however, the Producers Guild expanded their definition of a producing team as well as its membership base by creating the New Media Council, which covers producers of web-based projects, games and a variety of other digital and new media.

PGA members include executive producers, producers, co-executive producers, supervising producers, senior producers, line producers, co-producers, associate producers, production managers and supervisors, post production supervisors and managers, and production and post production coordinators.

The requirements for union and guild (and trade organization) membership differ with each entity, because each has its own set of variables, depending upon the classification you’re seeking. It’s definitely advantageous to become a member of a union or guild with benefits such as overtime, meal penalties, health insurance, pension, vacation and holiday pay, etc. Union and guild membership, although preferable to the longer hours and lower wages generally associated with non-union shows, is not open to just anyone who wants in. In fact, it’s often quite difficult to join some of the unions and guilds, because a primary function of their existence is to protect the employment of their current membership by limiting the number of new members they accept.

You need only to sell a script to a signatory company to become a member of the Writers Guild. With a special talent or ability or an accumulation of three extra vouchers (as a background performer), you can become a member of SAG-AFTRA. Many other unions and guilds require that you work a specified number of hours or days at a particular job (on non-union shows) and prove a certain level of expertise in a given field. Some locals require that you work at least 30 days in a certain capacity on non-union shows to apply for placement on the union roster. Those on the roster are allowed to work only when all current union members in that classification are currently working. For more information on membership, contact the union or guild you’re interested in, and they’ll either provide you with requirement guidelines or refer you to the AMPTP. Also refer to Chapter 19 for further information on getting into the DGA.

INDEPENDENTS VS. STUDIO FILMS

If you choose to freelance when first starting out, it might be easier for you to find work on smaller independent films. Many independents are non-union, and because the salaries and required levels of experience tend to be lower than on traditional studio/union shoots, it’s a more plentiful source of employment—especially now with so much web-based/branded content being produced. And working on non-union films will give you more hands-on experience, because they’re not governed by union and guild restrictions limiting what each person in each position is allowed to do. It’s also easier to get an internship on an independent, as there is always a need for additional labor that won’t tax the budget. So if you can afford to work for free for a while, it’s a great place to get some experience, make valuable contacts and possibly earn a screen credit.

Independent films (or “indies” as they’re sometimes called) are different than traditional studio films. They invariably have smaller crews and shorter schedules and are generally financed by private investors, although some are funded by major studios operating under indie banners. At one time, being independent always meant low-budget, and low-budget almost always meant non-union, but now that the unions and guilds are offering low-budget (and ultra-low-budget) agreements, more indies are becoming signatory. These low-budget agreements allow producers to pay union and guild members lower salaries while preserving their pension, health and welfare benefits.

Since most majors handle their own financing, when you go totally independent, your financial backers and distributors will require you to carry a completion bond. For a negotiable fee based on your budget, the bond company (after making sure you have a script with an adequate schedule and budget and a reputable and insurable cast and crew) will insure that the film is delivered as specified in all financing and distribution agreements. They will review all major deals and assign a representative to oversee your picture. Bond reps will receive copies of all scripts, budgets, schedules, call sheets, production reports, weekly cost reports, etc. Should your production go through its entire budget (plus 10 percent contingency) prior to the completion of the picture, the bond company would take over the management of the film. This rarely occurs, however, because it’s the bond company’s job to anticipate potential problems before they occur and to work closely with the producer, director, cast and crew to keep things on schedule and on budget.

The following are some pros and cons of going independent, starting with the cons:

•If you’re producing, you might be the one who has to raise the financing and shop the script or finished picture at film festivals and markets to attract distribution deals and dollars. It’s a long road to travel with no guarantees along the way.

•Being on a tighter budget, you’ll continually find yourself coveting more time, money and help and will have to be more creative and more careful about how you spend your budget dollars.

•You will undoubtedly not be able to afford all the locations, props, equipment, sets, effects, extras and cast and crew members on your wish list, and compromise will become your middle name.

•You’ll have smaller margins for error and less time to deal with high-maintenance personalities.

•If you’re working non-union, overtime, meal penalties and/or health and pension benefits may be an impossibility.

The pros:

•If you can raise the funding, you’re free to make a film that’s close to your heart, one with some profound social significance or one your gut just tells you will be a commercial money-maker.

•There’s a growing market for indies, as the studios are primarily focusing on tent poles and sequels.

•For the most part, indies will afford you more freedom in the form of creative decisions, in having to answer to fewer people and in terms of fewer regulations.

•If you’re doing a non-union picture, you can use a smaller crew. Free of restrictions, a non-union director of photography can also operate the camera, production assistants and other crew members can drive their own vehicles, you can hire a two-person sound department instead of a three-person crew, and you can hire grip/electricians as needed instead of grips and electricians or an extra hair/makeup person as needed rather than one of each.

Working on studio films is far from a breeze, but you’ll generally have the benefit of a larger and more experienced crew, a longer schedule and larger budget.

THE MAJORS

The Majors consist of six top studios, which are 20th Century Fox, Paramount, Sony Pictures (which encompasses Columbia, Tri-Star and Screen Gems), Universal, Walt Disney and Warner Brothers (most of whom run their own distribution networks). Large production companies, sometimes referred to as Mini-Majors and often run by high-profile and prolific producers, include Amblin Partners, Imagine Entertainment, Jerry Bruckheimer Films, Legendary Films, Skydance and Revolution Studios. An evolving technological landscape of web-based companies that create original streaming content as well as prominent new production entitles that have joined the roster include Amazon, Netflix, Studio 8 and STX, just to name a few.

While the studios finance the films they release, they don’t often physically produce the films in-house. Instead, in order to protect their investments, they vigilantly (some more vigilantly than others) supervise their films from a distance, as most are filmed on locations strategic to both creative and budgetary goals. Film tax incentives are one of the priorities in choosing many distant filming locations and the reason most movies are no longer filmed on studio lots. And while it usually makes more economic sense to film studio features elsewhere, the studios are still poised to provide management and production resources as needed. Staff jobs at all the major studios have always been highly sought-after. Landing such a job isn’t an easy feat and often involves timing and luck as much as it does talent and ability. The politics aren’t much different than what you’d find in any other segment of corporate America, but present their own set of unique challenges. What surprised me when I first started working with the studios and larger production companies was the vast sea of red tape one must trudge through at every stage of the process, which at the time made me wonder how their shows ever got made. But this is a business first and foremost, and while most would like to believe that in this industry creativity reigns, it’s profitability that rules. Also paramount is protecting the corporation, as anything labeled Hollywood has always been meticulously scrutinized and a huge target for insurance claims and lawsuits. So if you have the patience, resourcefulness, administrative ability, happen to be a terrific politician, are adept at watching your backside and don’t mind starting off as an assistant or coordinator, a studio job could be the start of a terrific career. The following is an overview of some key studio departments and some equally important but less visible support staff positions. There are many departments to be found within any given studio, staffed by all manner of vice presidents, directors, managers and assistants—all integral to the process of producing content.

KEY STUDIO DEPARTMENTS

PRODUCTION MANAGEMENT

This is another sought-after studio department and is also referred to as “physical production.” The higher-level titles in this department are similar to those of the creative group. And instead of creative executives, development assistants, story editors and script readers, you might find senior vice presidents, vice presidents, directors, managers and coordinators (who double as assistants, but often come from the freelance world and usually have more experience, equipping them to tackle the additional responsibilities). Titles will vary slightly from studio to studio or production company, but the production exec title seems to be the one most widely used.

Those in physical production routinely prepare proposed schedules and budgets for those screenplays in development to help ascertain the feasibility of each one. As projects move closer to a greenlight, the physical production team will spend more and more time researching and suggesting various location scenarios, as well as lining up necessary resources and personnel. Sometimes, a studio will give a flashing yellow light to a project and allocate limited funds to actively prepare for the probability of the greenlight that’s expected to follow, making sure everything’s ready to go once the light does change. So the physical production department is heavily involved in pre-production even before pre-production has officially begun. And while they don’t physically produce the film, they supervise those who do. Once a show has begun principal photography, it’s physical production’s objective to make sure the show remains on budget and on schedule. They monitor all major deals and contracts, budgets, schedules, call sheets, production reports and cost reports, as well as salary structures and union guidelines and rates. They recommend key personnel and have final approval on all major crew positions. Studios generally have multiple shows in production at any one time, each in different stages of pre-production and production, and the responsibilities for each are usually split between the department’s team of production executives. They act as liaisons between the studio and the shooting companies and will spend time each day checking in with line producers, production managers and production accountants. Production execs will generally attend production meetings and travel to location periodically to spend time on the set and/or in the production office. It’s not always easy for a shooting company to accept the presence of or input from a production exec, and there’s often a certain amount of scepticism and mistrust on both sides. However, a savvy production exec knows how to work with filmmakers, and savvy filmmakers realize that a production exec can be their biggest ally should the production run into any problems. And while the relationship can be adversarial at times, it’s everyone’s ultimate goal to make the best movie possible.

One of my physical production executive friends equates his job to that of being a policeman. Having worked both in this capacity as well as on the other side of the fence, I can see his point of view, although I don’t necessarily share it. If you’re good at solving problems, proficient at budgeting and scheduling, diplomatic, patient, have excellent people skills, are a behind-the-scenes kind of guy or gal and enjoy physical production but don’t want to be in the trenches, this is a good place to be. It’s not considered creative, but it definitely can be satisfying.

The best way to score a position in a physical production department is to work on a film on a freelance basis and impress the studio production exec overseeing your production. The next best way is through a recommendation from someone with a strong connection.

OTHER DEPARTMENTS

Departments may vary slightly from studio to studio, but here’s a list (in alphabetical order) covering the most common—all manned by an array of vice presidents, directors, managers and assistants:

•Acquisitions: This department is responsible for acquiring outside properties for release and distribution—projects that may have already been developed, partially packaged, partially or fully financed and may or may not have been completed. Screenplays, rough cuts and finished films are submitted to this department for review. Acquisitions executives also regularly track independent projects and attend film festivals searching for product they feel the studio can successfully sell through their company’s distribution network. Once they acquire the rights to a property, they will often make changes (such as editing, music, re-shoots) prior to its release.

•Casting: While some studio shows use the services of a freelance casting director, casting is often done in-house. Casting executives interview actors, make recommendations, then hire the talent selected and negotiate their contracts. There are also times when a casting exec will, during the development stage of a project, work closely with creative execs to attach an A-list actor to the property, sometimes even before a producer or director has been chosen.

•Clearances: This department is staffed by individuals who read each screenplay during the development or pre-production process and prepare a research report that lists all elements of the script that must be cleared. Obtaining clearances is the process of securing permission to use someone’s likeness, name, logo, photograph, piece of art, product, premises, publication, film clip or stock footage in the production; and all clearances must be secured before the parts of the script containing these elements can be shot. This department works closely with the art and production departments, negotiates and procures clearances and administers copies of all release forms.

•Distribution (Domestic and International): This department handles the marketing, sales, delivery and collection of content [“titles”] the studio represents in the U.S. and internationally.

•Environmental, Health & Safety: This department provides development, oversight and management of environmental, health, safety, medical and fire prevention programs.

•Finance: This department is generally made up of an executive vice president, senior vice president, vice president, director, senior auditor and manager of budgeting and estimating. As a whole, they are responsible for supervising the budgeting, estimating and daily/weekly cost reporting of all studio/company films. They work closely with the production accountants, production managers and production executives and act as troubleshooters when financial problems arise or cost reports reflect impending overruns. They also track tax incentives and exchange rates in order to help choose locations for filming.

•Home Video: This department deals with all new (and old) films released on DVD, Blu-ray and digital platforms. Their responsibilities include the creation of packaging designs, menus and advertising (ads—online and print, TV spots, etc.). At some studios, the Home Video Department gets involved in DVD bonus features, while other studios have created a separate DVD Bonus Features Department. This type of work is ideal for someone who’s creative and possibly has an artistic and/or a marketing background.

•Human Resources: This department governs the employment and benefits of all studio employees.

•Labor Relations: Staffed by executives trained in labor law, this department is responsible for the implementation, interpretation and administration of all union and guild collective bargaining agreements. They engage in contract negotiations and handle labor grievances, dispute resolution and production office inquiries. They interact with and provide support to all company divisions and production entities regarding compensation, policy implementation and staffing issues. They also work closely alongside the legal and insurance departments at the studio.

•Legal & Business Affairs: These are terrific jobs for film lovers with law degrees. The “legal group” is responsible for overseeing all legal aspects of films in development and in production. Project attorneys prepare and negotiate talent contracts, negotiate union/labor agreements and supervise, negotiate and approve all show-related contracts and clearance deals.

•Marketing, Publicity and Product Placement: These are very busy departments responsible for the management of how a film will be sold. They encompass the planning and creation of strategic marketing campaigns, product placement deals, advertising (one-sheets, billboards, magazine, TV, radio and Internet spots, theatrical trailers, etc.), publicity (generating media coverage), test screenings, product merchandising and promotions. They work closely with the studio’s creative staff, producers, directors, actors, agents, managers and publicists as well as behind-the-scenes EPK (electronic press kit) producers and crews. (Behind-the scenes footage is used for publicity, celebrity news magazine shows such as Entertainment Tonight and Access Hollywood and is later incorporated into DVD, Blu-ray and digital formats.) The marketing and publicity departments play an important role in creating and maintaining the star power of top industry talent. They also launch various award campaigns as new releases at film festivals, and they liaise with outside religious, civic, cultural, political and special interest groups when it involves the release of a film that could be considered controversial or sensitive in nature. Social media is the most recent platform in marketing and has been a game-changer in reaching larger target audiences and conducting research to improve the campaigns’ success.

•Medical: There is a medical facility on all studio lots. Most are staffed by RNs (registered nurses) and/or LVNs (licensed vocational nurses), although a couple are staffed by EMTs (emergency medical technicians).

•Music: In much the same manner, this department will research the songs and music suggested in a screenplay and report on the licensing costs to procure these selections—often suggesting less expensive alternatives. When final determinations are made as to which music will be used, they will negotiate all applicable license fees. They sometimes help in the selection of a composer and remain involved in the entire music process, which encompasses the score and soundtrack.

•Post Production: This department customarily encompasses an executive vice president, senior vice president, vice president, post supervisors and coordinators and any number of post production supervisors. They oversee the entire post production process (editing, sound effects, looping, scoring, mixing, 3D conversion, etc.), approve the hiring of the editing team, act as liaison between the post production team and the studio’s creative executives and ensure all delivery requirements are met. The physical production team may be looped back in during this process if any additional photography or reshoots are necessary.

•Production Resources: This department procures and negotiates the licensing and exposure of all props, set dressing, vehicles and wardrobe loaned or given to a particular production for on-screen use. They interface with the producers, production designer and various department heads as well as the studio’s creative executives, production executives, and the marketing, publicity and legal departments.

•Risk Management/Insurance: This department administers and oversees all studio and production-related insurance matters. Should any cast or crew member of a studio show working on the lot or off-site become ill or injured or be involved in a vehicle accident, it must be reported to this department immediately (and is typically followed-up by the labor relations team).

•Studio Operations (or Facilities): This department handles the running and maintenance of the studio as well as the use/rental of all studio facilities.

Additional studio departments include:

•Grip: Where grip equipment is stored and rented from, and where studio grips not assigned to a specific show are given their assignments.

•Electric: Where lights and electrical equipment is stored and rented from, and where studio electricians not assigned to a specific show are given their assignments.

•Paint Shop: Where set pieces, set dressing, etc. are painted.

•Props: A prop is anything used or moved by an actor in a scene, and prop departments catalog, warehouse and rent out props to studio shows, outside shows shooting on the lot and to freelance property masters.

•Scene Dock: This is a storage area for set pieces, flats, windows, doorways, staircases and backdrops.

•Set Construction: This is where much of the above is made.

•Shipping: Pretty self-explanatory, although not all shipping matters are handled by the studio. Many shows hire freelance shipping coordinators who work with freight forwarders to move sets, props, equipment, wardrobe, etc. to various locations and to handle all requirements associated with international shipments.

•Sign Shop: Where signs used for films and TV shows are designed, made and painted.

•Transportation: This department is responsible for all vehicles used to transport crew, equipment and materials, as well as vehicles used in front of the camera (known as picture cars) and mobile trailers used for cast, wardrobe, hair, makeup, etc. Most shows hire their own transportation coordinator, and when needed, a picture car coordinator, both of whom work with the studio’s transportation department to meet the needs of the show.

•Visual Effects: As movies have become more visual effects-heavy, departments have been created to manage outside vendors and in-house VFX (visual effects) teams.

•Wardrobe: This is the department that handles the clothing, costumes, shoes and accessories worn by actors, extras, stunt performers and photo doubles. Department personnel may also include costume designers and those who handle alterations, tinting and dying and wardrobe restoration.

The major studios are still “old Hollywood” in many ways, but in having to keep up with changing trends and the latest technology, new departments and opportunities are continually being created. The majors are a great place to explore all elements of filmmaking. It’s the collision of creative and logistic, finance and fantasy. Integration of all the departments is what the studio has always done best, creating a filmmaking machine and resource that is indispensable to crafting big budget entertainment.

MORE STAFF POSSIBILITIES

Staff positions can also be found at a myriad of:

•TV and radio stations

•film, television, music video and commercial production companies

•talent, literary, music and below-the-line agencies and management companies

•marketing/branding companies

•unions and guilds

•film commissions

•companies that specialize in tax incentives

•industry-related associations and organizations (AICP: Association of Commercial Producers, Film Independent, NALIP: National Association of Latino Independent Producers, Women in Film, AFCI: Association of Film Commissioners International, IFTA: Independent Film & Television Alliance, etc.)

•The Academy of Motion Picture Arts and Sciences (with offices in L.A., NY and London)

•The Television Academy

They would also encompass positions with companies and firms that specialize in:

•entertainment law

•publicity

•distribution

•film festivals and film markets

•behind-the-scenes (also known as EPK) production

•accounting and business management

•motion picture insurance, risk management and safety

•principal and background casting

•internet and mobile content

•video games

•branded content

•animation, visual and mechanical effects

•VR (virtual reality) and AR (augmented reality)

•previsualization

•prop manufacturing and set construction

•location resources

•industry news (including the “Trade” papers)

•music (clearances, supervision, scoring)

•product placement

•equipment, vehicle, wardrobe, prop and set dressing rentals

•employment and temp agencies, career counseling and resume services

•payroll companies

•post production houses

•labs and sound houses

•captions, subtitles and graphic design

•script research and clearance

•archival storage

•stage, office and screening room rentals

•stock footage houses

•trailer production houses

•process photography

•24-frame video playback (30 to 24 frame conversions)

•hair, makeup and wig supply houses

•expendable supply houses

•scene shops and backdrop manufacturing

•prosthetics manufacturing

•food styling

•production-related travel and accommodations

•interactive

•acting classes/coaching and headshot photography

•catering

•wrap parties and crew gifts

•industry-related software

•animal training

•marine support

•plants and greens

•freight forwarders

•security

•and the list goes on . . .

AN AGENT’S LIFE

My first job in the industry was at a local television station, and it was that experience that convinced me I wanted to be in this business. At the time, all I knew is that I wanted to stay in television or work on films. About a year into my job, I was laid-off because of a slowdown in work at the station. I temped for a while but basically had trouble finding the type of job I wanted. Then someone I had met at one of the employment agencies said he thought he could get me a job at one of the major talent agencies, which at the time was the farthest thing from my mind. He said that an agency was the best place to learn about the business and it was where all the deals are made. He said if I worked at a studio, I’d know what was going on at that studio; but if I worked at an agency, I’d learn what was going on throughout the industry. There was an opening as an assistant to a talent agent, and he suggested I go in for the interview. He said if I got the job, I should stay at least a year; and by then, if I decide it isn’t for me, I would at least have learned something and made some terrific contacts. So I went on the interview, got the job, stayed exactly a year and discovered just how right he was.

There are agents who exclusively handle actors, others who represent writers (“literary agents”), musical talent, producers and directors and those who represent below-the-line crew such as cinematographers, editors, production designers, production sound mixers, costume designers, second-unit directors, etc. At some agencies, the talent is represented based on the type of work, such as motion pictures, network television, cable, digital media, commercials, voiceovers, video games or live entertainment. And then there are agents who specialize in branding and packaging. In fact, the larger agencies have entire packaging departments that can draw from pools of highly talented clients. Whether it’s developing a film or TV concept in-house or getting behind a client’s screenplay, they have the ability to package an agency-represented writer with other agency clients, such as a producer, director and cast. A project that’s packaged with two or more of these elements is a valuable commodity to a studio, and it generates substantial commissions and fees for the agency.

As in any other aspect of the industry, there are pros and cons to being an agent; and it’s something that has to be right for you. If nothing else, working at an agency for a while can provide a tremendous learning experience and become a stepping stone, taking you one step closer to your ultimate objective (as it was for me).

It can be quite thrilling to discover and nurture new talent and to help shape successful careers. If you get a thrill out of working in a super-fast-paced environment and enjoy making deals, this is for you. Top industry agents are quite powerful because they represent (and control) the talent that makes the big bucks for the studios, production companies and distributors. Salaries at the larger agencies can be substantial, and many an agent has gone on to become a top studio executive or producer.

Agents are constantly on the alert for potential work for their clients and are continuously putting them up for various projects. They have to keep up with the latest industry news and trends and spend much of their day talking to (and following up with) studio executives, casting directors, producers, directors and production personnel—submitting headshots, resumes, scripts, demo reels—whatever’s applicable. They set up meetings (attending some of them with their clients) and put a great deal of effort into prepping their clients for interviews, meetings and readings. And in the case of some clients, a great deal of hand-holding and pampering is required.

Agents negotiate all client deals and act as liaison between their clients and a studio or production when day-to-day issues arise during the development, pre-production, principal photography or post production phase of a project. They often visit the sets where their clients are working and also travel to distant locations to visit clients.

An agent must vigilantly keep up contacts with studio executives and top producers and directors. And after a long day at the office, an agent will routinely go to screenings, attend performances in support of clients or to discover new talent, attend dinner meetings and other social functions and network with both current and potential new clients and buyers. Having worked in physical production for most of my career, I was used to working my butt off on a film; but once the filming process has been completed, I had a chance to catch my breath and take some time to myself, away from all the hustle and bustle. When you’re an agent, though, you never really get that respite—unless you’re on vacation, good at setting boundaries and know when to turn off your phone. But for those whose job is their life, this kind of total immersion and continual rush is what drives them.

My friend Matt Birch is a below-the-line agent. He’s the Senior Vice President and Co-Head of Physical Production at Agency for the Performing Arts (APA). After many years of working in production, which culminated in a position as a production executive at a mid-sized production company, he was persuaded to accept a job heading the below-the-line division at a major talent agency (not the one he’s currently at). He wasn’t sure at first that he wanted to be an agent, but it was a good offer, so he decided to give it a try. It turned out to be a good fit, as he’s someone who’s always had a knack (and has enjoyed) bringing people together. Even as a PA, he liked helping friends and co-workers get jobs. He was certainly used to negotiating deals, he knew the best crews and what they make, and with his knowledge of production, budgets and the industry in general—it was a fairly natural transition.

APA’s Physical Production Department represents producers, unit production managers, production designers, costume designers, editors, cinematographers, second unit directors, first assistant directors, visual effects supervisors and producers, stunt coordinators, production services and sound stages around the world. The company has offices in Los Angeles, New York, Nashville and London.

A very busy guy, Matt receives 400–500 emails a day, reads about 300 of them and responds to about 200. His days are comprised of phone calls, emails, meetings, meals out with buyers and clients and trips to locations. Seventy percent of his time is devoted to his clients, and thirty percent is devoted to bigger picture endeavors having to do with his department and the agency. He’s out of town for about six weeks of the year. Unlike some other agencies where agents battle for positioning within the agency, APA operates more as a collective, where all the agents within a department represent all the clients together. It affords the agents a better quality of life in that they don’t have to be on call 24/7.

Most people get their start in this career working in an agency mailroom or, through a referral, start as an assistant to an agent (referred to as getting “a desk”). Matt reiterated what we both already know—that this is a really tough business, and because of that, he’ll only work with clients who are realistic about the industry and their careers. He works his butt off for his clients—often functioning as a therapist as he puts himself in their shoes while helping them make decisions about their careers and their lives. And while many actors and writers have both agents and managers—the managers typically more involved with their clients’ overall careers—for below-the-line clients who have an agent like Matt, you don’t need a manager, because your agent’s got your back. His proudest moments are witnessing his clients’ pride in what they’ve accomplished and seeing their hard work and dreams realized.

I asked Matt what it takes to be an agent, and he said you need to be personable, quick on your feet, a skilful negotiator (firm but fair), a good listener, able to communicate to a lot of different personalities and capable of riding an emotional rollercoaster. He added that good agents have to be honest and able to deliver bad news as well as the good.

I recently had the pleasure of meeting Michael Conway, Chief Administrative Officer of United Talent Agency. UTA has 300 agents and offices in Los Angeles, New York, London, Nashville, Toronto, Miami and Malmo, Sweden. I asked Michael what he looks for in the 120 agent trainees UTA hires each year. He said he looks for individuals who are engaging, dynamic, articulate and know what they want. He’s drawn to people who understand the business; know directors, producers and performers; have studied the careers of the popular, famous and up-and-coming; have a point of view; know popular culture; are curious and have an insatiable appetite for this business.

Marc Hernandez used to be a literary manager. Since the jobs of agents and managers are quite similar, I asked him to explain the difference between what he did versus what an agent would do for the same client. He said a manager is more hands-on and more involved with a client’s overall career. He explained that agents could represent up to 50 clients at any one time, their prime objective being to secure employment for their client-base. Furthermore, an agent would take a client’s completed screenplay and attempt to get it out on the market. A manager, on the other hand, may only have 20 clients and would conceivably take a more active role in developing and/or working with the client to make sure his script is ready to go out. As a manager, he also had the ability to attach himself to a client’s project and function as a producer. A “franchised” agent is licensed and regulated by the Labor Board and customarily earns 10 percent of a client’s earnings, whereas a manager isn’t licensed but also earns 10 percent. (And just so you know, a performer’s attorney will also typically earn 5 percent.)

Marc does quite a bit of lecturing, and among other things, he tells anyone considering getting into this end of the business that once they get in, they better enjoy it. He goes on to say that the qualities needed to become a successful literary manager include strong social and business skills; a talent for negotiating and sales; a passion for reading and developing material; the satisfaction that comes from representing the best interest of your clients (which he says isn’t always easy); good networking, political and problem-solving skills; a love of the industry and a good working knowledge of movies—old movies, new movies, who’s hot, who’s doing what. And he says you have to like being on the phone, because you’ll be generating and taking a lot of calls. Marc goes on to say that you need to understand the vocabulary of the industry and movies, have a passion for the business, a high degree of professionalism and enjoy getting out there and hustling. For him, it was a 24/7 way of life. He was always reading, developing new material, working with clients, looking for new clients, answering calls and emails, guest speaking, attending pitch fests, watching movies, negotiating and selling, attending parties, going to meetings and pitches, keeping up on the business and networking. I used to get tired just listening to him tell me all that he did, but he absolutely loved it.

THE MANY FACES OF A PRODUCER

I know, I know. I started this chapter by implying that I was going to introduce you to career options other than producing, directing, writing and acting, and now here I am bringing up the topic of producers. The thing is, few people really understand what producers do or that there are many different types of producers, so I thought the topic deserved some attention. This next section might be a bit confusing, but believe me, it’s not easy to explain either.

On a feature film, there will customarily be at least one executive producer; a producer; possibly a co-producer and/or a line producer and at least one associate producer. On a one-hour episodic television show, you might see as many as a dozen producers listed in the credits.

Years ago, everyone understood what a producer did, and there weren’t as many of them. More recently, however, producer credits have been confusing and nebulous, often handed out like candy at a kid’s party. Producing credits of one kind or another have been afforded to key performers, the performer’s manager or business partner, to financiers or the middlemen who bring financiers into a specific project. Producer duties often overlap, and the credit has at times been afforded to individuals who have never set foot on a movie set. If you happened to see Lee Daniels’ The Butler (a feature film released in 2013), you may have noticed the multiple producers listed in the credits—41 in all. My guess is that they all made a contribution to the picture, but it’s unlikely that all 41 were instrumental in the day-to-day running of the production.

In response to this unacceptable and confusing trend, the PGA lobbied for decades to standardize producing credits and to limit them to the individuals who actually perform the duties of a producer. In fact, it was their Truth in Credits campaign that eventually led to the establishment of a fair and equitable approach to regulating producing credits and to restore fairness and accuracy to the credit and title of “producer.”

Producer and Producers Guild member Marshall Herskovitz summed it up well by saying,

In the summer of 2013, the Producers Guild won their long fought battle, and from then on, those recognized by the PGA as having done the work of a producer were granted a “Produced by” credit.

You can read about the PGA’s Code of Credits and how producers’ credits are now being determined for theatrical motion pictures, television, new media, etc. by going to: www.producersguild.org/?page=code_of_credits. Also note that the Producers Guild allows the Producers Mark (p.g.a.) to follow a producer’s name in a film’s credits. The Producers Mark is a certification mark. As such, it doesn’t indicate any affiliation with or membership in the Producers Guild; it simply indicates that the producing credit it follows meets the standards of the PGA—that the credited producer performed a majority of the producing duties on the film. And while studios and distributors remain free to assign producers credits to whomever they wish, the Producers Guild believes that audiences deserve to know which producers, among an often-extensive list of credited individuals, actually did the work.

You can go to the Producers Guild’s website at www.producersguild.org to access their detailed producer definitions and job descriptions, which cover the development stage of a project through post production, marketing and delivery. Here are some basic definitions: