ABC New Internship Program 161

Abdo, Nick 88

Academy Awards 116

accounting 314

acquisitions 70

Acting Program (Disney/ABC) 371

actors, getting started as 133

advice: from experts 381–390; from indie filmmakers 112–116; from pros 23–25, 27–29

agency mailrooms 153–155

agents: about 76–79; getting started as 134; pitch meetings and 296; representation by 281–283; UTA’s training program for 154

Alchemist, The 348

Alliance of Motion Picture and Television Producers (AMPTP) 61–62

Alliance of Women Directors 114

Altman, Stuart 112, 116, 117

American Association of Producers (AAP) 62

American Scene Awards 378

appearance: for first job 240; for meetings 231

applicant tracking software 196, 202

apprenticeships 160–161

art department 93

asking for what you want 51–52

assistant directors training programs 162, 322–324

associate producers 84

Association of Film Commissioners International (AFCI) 163–164

attitude: entry-level jobs and 14; importance of 13, 35–37; winning 52

attorneys, pitch meetings and 296

attraction, law of 347–349

augmented reality (AR) 124

Austin, Stephanie 384

availability 235

Bacall, Lauren 390

background casting 104–105

bad behavior 331–334

Baer, Cindy 113–116, 117

Bahar, Robert 386

Beal, Aubbie 156–159

benefits: absence of 26; lack of fairness in 30; union and guild 23, 25

Bennett, Xander 151

Bernard, Dustin 389

Bernstein, Steven 385, 393

Bertran, David 116

bios 210–211

Birch, Matt 77–78, 385, 392

Black List Episodic Lab 377–378

blocking 318

blogs 175, 176

“bloom where you’re planted” 36–37

body language 266–267

bond companies 63–64

boom operator 97

boundaries 249–250

brand, personal 170–173

branded content 123

brick walls, walking around 352–353

budgets, independent films and 63 see also finance department; finances

burning bridges 336–337

business affairs 71

business cards 178–180, 271

business plans 111

Buzzell, Linda 11, 231, 345

Byrne, Rhonda 347

Byrnes, Jim 388

Byrnes, Sean 96–98

Cahill, Rita 386

camaraderie 22, 23, 24–25

camera department 90–91

CAPE New Writers Fellowship 374

career, key ingredients to successful 43–55

Career Cardio 171

career in industry: cons of 25–29; knowing why you’re choosing 15–19; lack of fairness in 29–30; loving the work 54–55; pros of 22–25

career options: about 57–58; agents 76–79; background casting 104–105; being part of a crew 60–61; casting 102–103; cinematographer 90–91; commercials 95–96; educator 94–95; film commissioner 98–101; freelance vs. staff 58–60; independent vs. studio films 63–65; international distribution 89–90; key studio departments 66–68; location management 105–107; major studios 65–66; other departments 69–74; post production 87–88; producers 80–84; production designer 93–94; production management 68–69; sound utility 96–98; staff possibilities 74–75; travel coordinator 91–93; unions and guilds 61–63; unit production manager (UPM) 85–87; virtual reality 101–102

casting 70, 102–103, 104–105

Casting Apprentice Program (NBCUniversal) 373

CBS Diversity Institute 370–371

CBS Television Stations News Apprenticeship Program 160–161

celebrities, working around 250–251

changes in industry: about 121–122; branded content 123; broadening horizons 123–124; future of 124; incentives 124–128; platforms 122–123

Chianese, Joe 396

cinematographer 90–91

clearances 70

clothes: for first job 240; for meetings 231

cold calling 297

comfort zone, leaving 10, 40–41

Commercial Qualification Lists 325

commercials 95–96, 123

company name 173–174

Company Profile & Follow-up form 185, 193

Complete Film Production Handbook, The (Honthaner) 109–110, 127, 311

completion bonds 63–64

computer software 157

confidentiality 245

connections 39–40

contacts: cultivation and maintenance of 273–276 see also networking

content: being on lookout for 288; branded 123; creating your own 283–285

conversations: ending 269; starting 267

Conway, Michael 78–79, 154, 224, 285–286, 386

co-producers 82, 83

Coscia, Michael 388

Courshon, Jerome 119

cover letters 197–201, 212, 281

craft service 313

creative department 66–68, 416–417

Creative Mind Group 152

creative producers 82

creativity 22, 23, 24

crew: being part of 60–61; organizational chart for 416–417

Cukor, George 389

Dance, Bill 104–105

Davis, Bette 390

Daytime Initiative (CBS) 371

DBA (do business as) 173

deal memos 356

depression 26, 350–352

Deutsch, Erik 177

development departmentsee creative department

Directing Fellowship (HBO) 372

Directing Initiative (CBS) 371

Directing Program (Disney/ABC) 371

directors, getting started as 133

Directors Guild of America (DGA) 61, 322–325; Student Film Awards 374

Directors Guild–Producer Training Plan 322–324

discrimination 28, 33, 360–361 see also diversity; women, state of industry and

Disney/ABC Talent Development Programs 371–372

distribution 70, 89–90, 118–119

Diverse Staff Writer Initiative (NBCUniversal) 373

Diverse Women in Media Initiative (NALIP) 377

diversity 369–379

Diversity-in-Casting Incentive 378

domain names 173–174

door-to-door approach 217, 229–230

dreams 363–364

Dukow, Susan 387

Durante, Jimmy 389

Eastwood, Clint 390

Edinger, Terry 387

education: for local workforces 126; training programs 160–162 see also internships

educator 94–95

Edwards, Jenna 271, 386

egotism 27, 28

electric 73

email: domain names for 173–174; networking and 261–264; for resume and cover letter 197

Emerging Director Program (NBCUniversal) 373

Emerging Film Directors Workshop (Warner Brothers) 374

Emma Bowen Fellows 374

Emma Bowen Foundation programs 374

employment agencies 159

Entertainment Partners 127–129

entrepreneurial spirit 284–286

entry-level jobs: accepting boundaries and 249–250; attitude and 13; basic responsibilities of 238–239; becoming indispensable in 245–247; challenges of 253–254; dos and don’ts for 243–245, 254–255; getting started with 14; importance of 237; internships 149–153, 160–162; in the mailroom 153–155; at Paramount 155; phone etiquette for 240–242; preparation for 239–240; reliability and 247–248; sense of urgency and 248–249; suggestions for 163–164; supervision for 242; temp agencies and 156–159; thinking on your feet 251–252; working around celebrities and 250–251

environmental, health, and safety 70

Essential Guide to U.S. & International Production Incentives, The 127–129

Evey, Christine 95–96, 385

Ewing, Bill 190

ExcelPR Group 177

executive producers 81–82

extras casting 104–105

Facebook 175, 186

failure, fear of 31–32

fairness, lack of 29–30

Fantasia, Mike 107, 387

Fay, Patricia 107

fears 29, 30–33, 358

feedback 115

film commissioner 98–101

film commissions 163–164

film festival circuit 115, 116–118

Film Independent 110, 114; Project Involve 375

Film Industry Network (FIN) 171, 259

Filmmaker’s Alliance 114

filmmaking process, stages of 57

film school, pros and cons of 11–13

finance department 70–71

finances: earning between jobs 353–354; suggestions for 31; variability of 26

first assistant director 308

first jobsee entry-level jobs

Fisher, Donna 258

Flash Forward Institute 165–166

Fox Audience Strategy 372

Fox Global Directors Initiative 372

Fox Writers Initiative 372

Fraser, Andy 385

freelancing 58–60; 1099 form 58; W-2 form 58

gatekeepers 217–219

Geary, Peggy 394

Geena Davis Institute on Gender in Media 375

general information meetings 217, 225–229

Gift, The 112

gifts 233

Gillespie, Shawn 387, 393, 396

Global Media Makers 375

goals: defining 132; planning and 132–136; setting 48–49, 134–136; staying on track 136–137, 143; vision statements and 138–139; writing down 136

Goethe, Johann Wolfgang von 358

good stories 289–290

Grace, Emily 171

grammar 42, 198

green production 315–316

grip 73

guerilla filmmaking 110–111

guilds 61–63

Gund, Jeffrey 262–263

Hale, Heather 39, 269–270, 389

Half 375

Hansson, Mark 340, 389

having what it takes 10–11

HBO Access 372

headshots 206–207

Hedley, Jenny 226

Hepburn, Audrey 389

Hernandez, Marc 79, 261–262, 289

Herskovitz, Marshall 80

Hirshberg, Susan 388

Hollywomen 375

Hollywood Cinema Production Resources’ Training Program (Hollywood CPR) 375–376

Hollywood Diversity Network 376

Hollywood Screenwriting Directory 186, 292–293, 295, 296–297

home video department 71

Hopkins, Anthony 358

How to Make It in Hollywood (Buzzell) 11

human resources 71

humility 343–344

humor 54, 254, 363

IFP (Independent Filmmaker Labs) 110, 376

incentives 124–128

independent contractors 58

Independent Film & Television Alliance 90

independent films: advice regarding 112–116; considerations for 109–111; distribution and 118–119; festival circuit for 115, 116–118; studio films vs. 63–65

Indig, Mark 305, 394

InfoList 262–263

informational meetings 217

Inner-City Filmmakers 376

Innovative Program Tracks (Emma Bowen Foundation) 374

Instagram 177

insults 360

insurance 72

International Alliance of Theatrical Stage Employees (IATSE) 61

international distribution 89–90

Internet, self-promotion and 174–175

Internet skills 158

internships: benefits of 149–153, 156; follow-up after 232–233; information on 160–162; at Paramount 155; through schools 12

Interpretations 376

interviews: gatekeepers and 217–219; goals of 215–216; preparing for 219–220, 224; skills for 50–51; types of 216–217; what they’re looking for in 220–224

Jaye-Brandt, Jackie 346–347, 352

job placement services, through schools 12

job search strategies: finding likely targets and 185–186; finding your market for 182–183; recommendations and 188–189; requests and 189–190; resources for 186–187; self-promotion and 181–182; tenacity and 191; trade papers and 183–185

job sites 186–187

Johnston, Susan 102–103

Jones, Sarah 111

JosephineJane 171

knowledge, industry 46–47

Kutcher, Matt 334–335, 388

Laboe, Larry 386

labor relations 71

Late Night Writers Workshop (NBCUniversal) 373

Latino Lens (NALIP) 377

Lauzen, Martha 370

law degrees 12

learning: continuation of 50, 276–279; the hard way 392–394

legal department 71

Lemisch, Amy 100

Lemmon, Jack 390

Levy, Shawn 384

lighting 318

Likely Targets form 185, 192

line producers: about 83–84, 306; getting started as 133–134

Link 2.0 Mentoring Initiative (Emma Bowen Foundation) 374

LinkedIn 176, 186

literary managers 79

Litwak, Mark 339

location management 105–107, 316–317

location scouts 106

logistical team 417

loglines 291, 297

logos 173

loving the work 54–55

low-budget agreements 63

Ludlow, Graham 291, 385

Lumet, Sidney 390

Lyons, Suzanne 165–166, 187, 189, 386

“Made in NY” Production Assistant Training Program 376

Magar, Guy 398

mailroom 153–155

Mailroom, The (Rensin) 155

Majors 65–66

Marinaccio, Stephen 85–87

marketing 71–72 see also self-promotion

McCrum, Cory 88, 389

McGreal, Mimi 92–93

Media Access Awards 378

medical department 72

meet-and-greets 217

meetings: etiquette for 230–232; follow-up after 232–233; gatekeepers and 217–219; general information 217, 225–229; goals of 215–216; preparing for 219–220, 227–228; types of 216–217

Megel, Betsy 385

memorabilia 398–399

mentors 279–281

millennials 41–42

Minorities in Broadcasting Training Program 376–377

Mirell, Solly 101–102

mission statements 138–139

Mitchum, Robert 390

Mofford, Eric 393, 394

Molen, Steve 388

Morrow, Vic 111

moving to Tinseltown 145–148

Moyer, Missy 394

museums 277

music department 72

Nahikian, Katrina 289, 384

NALIP (National Association of Latino Independent Producers) 377

names, remembering 267

Napp, Carolyn 387

NBCUniversal Diversity Programs 372–373

NBCUniversal Page Program 160

Needham, Hal 343

negative thinking 346–347

nepotism 28, 154–155

networking: about 257–258; examples of 260–264; finding your market and 182–183; giving part of 264; groups for 259–260; importance of 25–26, 38–40; maintaining contacts 273–276; places for 270–271; power of 47–48; shyness and 32; starting early 163; through schools 12; tips for 265–270; two-way nature of 260

networking bingo form 272

New Media Council 62

NHMC (National Hispanic Media Coalition) TV Writers Program 377

non-refundable, non-transferable tax credits 127

no-one’s-ever-going-to-hire-me-again syndrome 26, 356–357

Nugent, Ginny 387

online portals 175–176

online presence 174–178

on the job training 391–392

opportunities, being ready for 140–142

option agreements 288, 289

PA Boot Camp 162

packaging 293–295

page programs 155, 160

paint shop 73

paperwork 313, 314, 315

passion 43–44, 55, 130–131

patience 55

Paul, Victoria 54–55, 93–94, 388

paying dues 36

people: bad behavior from 331–334; burning bridges with 336–337; humility and 343–344; letting others shine 334–335; political hires 338–339; politics and 339–343; teamwork and 335–336 see also networking

permits 110–111

persistence 55

personal brand 170–173, 202

personal life, stresses on 26, 27

personal pitch 165–170

personal portals 175–176

phone etiquette 240–242

phone systems 157

physical contact 359–360

physical productionsee production management

pitch fests 298–299

pitching: about 287–288; content for 288–292; getting comfortable with 303; getting to buyers 295–300; knowing market for 292–293; odds for 302–303; packaging and 293–295; preparation for 291–292; resources for 304; time allowed for 291; tips for 300–301 see also screenplays/scripts

pitch meetings 217

Plan B 33, 54, 148–149, 353–354

planning: being in the right place at the right time 140–142; finding your passion 130–131; getting your foot in the door 131–132; goals and 132–136; importance of 48–49, 129; mission statements and 138–139; for moving 145–148; for rough times 54; staying on track 136–137, 143; time management and 137–138

platforms 122–123

pleasantness 55

podcasts 277

political correctness 359–360

political hires 338–339

politics 27, 28, 339–343

positive thinking 347–349

positivity 55

post production: about 72, 87–88

getting started in 134

post production producers 84

post-shoot depression 26

Power, The (Byrne) 348

Power Networking 258

preparation 44–45, 55

press kits 115

privacy 245

producers: becoming 301–302; getting started as 133; types of 80–84

Producers Guild of America (PGA) 62, 80–81

Producers Mark 81

producing credits 80–81

production: about 305; DGA and 322–325; dos and don’ts for 319–321; green 315–316; people involved with 306–310; responsibilities for 310–315; set for 317–321; tech for 316–317; walkie-talkies and 321–322

Production Assistant Training Seminar, LLC 162

production coordinator 309–310

production designer 93–94

production listings 186

production management 133–134, 306

production office 310–315

Production Program (Disney/ABC) 371–372

production resources 72

production supervisor 309

production team responsibilities 406–415

product placement 71–72

proof-of-concept reel 291

props 73

Ps, six 55

publicity 71–72

Quan, Cindy 389

query letters 297

questions: to ask yourself 15–16; for general information meetings 227–228; interview 224

Rae, Morgana 385

reading 46–47, 278

reality check 11, 52–53, 327–330, 363–364

reasons for choosing career: from pros 22–25; understanding 15–18

rebates 126

recommendations 38–40, 158, 188–189

Reel Power (Litwak) 339

reflections: breaking out 395–397; on the job training 391–392; learning the hard way 392–394; making it 394–395; remembering why you’re here 397–399

refundable tax credits 127

regional training programs 162

rehearsal 318

rejection 28, 265, 358–359

relationships 38–39, 45–46

reliability 247–248

Rensin, David 155

reputation 53–54

research: for first job 31; on industry 46–47; for interviews 219; before pitching 292–293; for small talk 267

resumes: about 195–197; follow-up for 208–210; guidelines for 202–208; sample 213–214

Rice, Jake 36, 88

Rickman, Alan 390

risk management 72

Romeyn, Vail 387

Rosenberg, Arestia 392

safety 110–111

SAG-AFTRA 61, 62, 378

Sanger, Jonathan 341–342, 388

scale wages 295

scene dock 73

screenplays/scripts: competitions for 298; familiarization with 290–292; finding 289; format of 290; registering 290; structure of 290 see also pitching

Screenwriting Tips, You Hack (Bennett) 151

second assistant director 308–309

Secret, The (Byrne) 347

self-promotion: about 165–170; business cards for 178–180; company name and 173–174; online presence for 174–178; personal brand and 170–173; uncomfortableness of 181–182

set construction 73

sets 317–321

sexual harassment 359–360

Shapiro, Ned 106

shipping 73

shooting 319

Short Film Festival (NBCUniversal) 373

shorts 112–113

Shuman, Ira 340–341, 394

shyness 40, 265–266

sign shop 73

sizzle reel 292

small markets 148

small talk 267

smartphones 157

social media 114, 118, 171, 174–178, 186, 202, 271, 275

Social Sweepster 175

soft skills 41, 42

Sony Pictures Entertainment Spectrum Internship Program 161

Sony Pictures Television Diverse Directors Program 373

sound mixer 97

sound utility 96–98

Spinks, Jessica 171, 385

staff positions: freelancing vs. 58–60; non-studio 74–75; studio 65–74

standing out 49, 50–51

StandUp NBC 373

Stepanovich, Mylan 387

Streetlights (Production Assistant Training) 377

studio films, independent films vs. 63–65

studio operations/facilities 73

studios: about 65–66; creative department 66–68; other departments 69–74; production management 68–69

Submission Agreement and Release Form 297

submissions, number of 67

success: reality check for 327–330; recipe for 401–403

Sullivan, Susan 388

Summer Conference (Emma Bowen Foundation) 374

Sundance Institute 377

support system 136, 187, 351

survival tips: getting past disappointment 350–353; positive thinking/outcomes 347–349; preserving motivation and confidence 346–347, 355, 356–359; protecting yourself 356; reality check for 363–365; reverting to Plan B 353–354; Teflon coat 345–346; turning down sure things 354–355

Swartz, Jerram 386

Szelei, Robbie 178

talent, packaging and 293–295

Talent Showcases (CBS) 371

tardiness 247

tax credits 127

tax forms 58

tax incentives 4, 65, 70–71, 121, 125

Teamsters 61

teamwork 335–336, 340

Teflon coat 50, 345–346

television producers 83

Television Workshop (Warner Brothers) 374

temp agencies 156–159

thank-yous 232–234

thick skin 2, 10, 27, 31, 50, 92, 106, 254, 345, 394, 403

thinking on your feet 251–252

Third Area Qualifications Lists 324

time management 137–138, 361–362

Tomaric, Jason 395

trade papers 183–185, 277

transferable tax credits 127

transportation department 73

travel 24

travel coordinator 91–93

Tribeca All Access 377

Truth in Credits campaign 80

Twitter 175, 176–177, 186

typing skills 157

Udell, Todd 394

uncertainty 26, 27, 356–357

Underwood, Duke 94–95

unions 61–63

United Talent Agency (UTA) 285–286; Agent Training Program 154, 286; Joblist 186

unit production manager (UPM) 84, 85–87, 306–308

Unmarried Woman, An 343

urgency, sense of 248–249

VanLier, Vivian 171, 172, 173, 205

variety 22, 23, 24

Viacom Media Networks Spectrum DirectorDevelopment Program 374

Vilas, Sandy 258

Vimeo’s “Share the Screen” 377

virtual reality (VR) 101–102, 124

vision statements 138–139

visual effects 73

volunteering 163, 264, 351

walkie-talkies 321–322

Wall, Heidi 189, 190

wardrobe 73

Warner Brothers 374; Internships 161

Wayne, John 358

webinars 277

weblogs 175, 176

Weisert, Tracy 133, 146, 349

Welles, Orson 390

Weltman, Andy 388

Werner, Michael J. 89–90

Winfrey, Oprah 390

wiring actors 97–98

women, state of industry and 367–370 see also diversity

Women in Film 114, 377–378

Work It Daily 187

WriteGirl 378

writers, getting started as 134

Writer’s Assistant Program (NBCUniversal) 372

Writers Fellowship (CBS) 371

Writers Guild of America (WGA) 61, 62, 296

Writers Lab 378

Writers Mentoring Program (CBS) 370

Writers on the Verge (NBCUniversal) 372

Writers Workshop (Warner Brothers) 374

Writing Fellowship (HBO) 372

Writing Program (Disney/ABC) 371

writing skills 42, 198

Wylly, Phil 246, 332, 352, 384

Yaconelli, Loren 90–91, 368

yelling 31

YouTube Studio Space 110