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Career Options

When most people think of getting into the biz, they envision themselves as producers, directors, writers or actors, because these are the highly visible, coveted positions we hear the most about. And they are the crafts film schools are well known for teaching. Some students will gravitate toward cinematography, editing, production design or entertainment law; and some may even have aspirations of becoming studio executives, but I’ve never run into a film student who aspired to be unit publicist or a script doctor. Why? Because few even know what a unit publicist or a script doctor does.

Most industry newcomers start off in entry-level positions with aspirations of climbing to the top. Not many are aware of the enormous number of jobs and career options that exist between the bottom and top rungs of the ladder—positions that are generally easier to attain; jobs that are creative, satisfying and/or lucrative and can become stepping stones or fulfilling careers in their own right.

There are six stages to the filmmaking process: development, pre-production, production, post production, distribution and exhibition. Considering the hundreds of jobs associated with each stage and the multitudes of auxiliary businesses and services considered part of the entertainment field, the job possibilities in this field are too great to list.

Entire books are devoted to industry job descriptions. This isn’t one of them, nor (as you’ve already seen) is it a typical career guide. To find books that will give you a more in-depth look at career possibilities, check out the selection Samuel French Bookshops carries, which you can access online. Although there are others on the market, a couple of the books I’m familiar with include Creative Careers in Hollywood by Laurie Scheer (Allworth Press, New York) and Gaffers, Grips, and Best Boys by Eric Taub (St. Martin’s Press, New York). And Phil Nemy’s Get A Reel Job (Angels’ Touch Productions) and April Fitzsimmons’ Breaking & Entering—Land Your First Job in Film Production (Lone Eagle) both contain specific chapters devoted to job descriptions.

Since there are only so many top positions to go around, the purpose of this chapter is to open your eyes and mind to the wide variety of jobs that fall within the sphere of the entertainment industry and to cover a few of them in some detail. I can’t tell you which jobs are easier to land than others. For that information, you’ll have to do some research. But you should learn what’s out there.

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, script doctor or a member of a film or television 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 paychecks 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. 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 love about freelancing is that if I’m on a show and end up working with someone I don’t particularly care for, I know that once the show is over, I can 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 stress and 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 paycheck 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 paycheck, employment benefits (like health insurance), a scheduled paid vacation, 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 for 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 one-to-two hundred 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 extras. 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 can also buy one of the books I suggested earlier and start researching job descriptions.

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 10 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 the Screen Actors Guild (SAG), 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. There are a few others (such as National Association of Broadcast Employees and Technicians [NABET] and American Federation of Television and Radio Artists [AFTRA]), but when it comes to shooting a feature film, TV series or movie for television or cable, these are the primary unions and guilds you will be dealing with.

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 does not 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, 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, CD-ROMs 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, you can become a member of SAG. 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 15 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. 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 very different from 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 low-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% 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 significant segments of the theatre-going public are growing tired of big studio blockbusters 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.

Features Vs. Television

I’m sad to report the existence of some poor misguided individuals who look down on those who work in television with a sense of superiority, because they themselves have “made it” in features (and most likely big studio features). But if they’d ever worked in television themselves, they’d know how wrong they are. If you do well in television, you’ll do well in features, because it’s a great place to perfect your craft and learn to work quicker, more effectively and more resourcefully. Television is very much like working on smaller, low-budget, non-union independent films inasmuch as you rarely have the luxury of big, comfy budgets and schedules. So you have to be more efficient and more creative with what you have to work with.

TV or cable movies (which are not quite as plentiful as they once were but are helpful for this comparison) will generally have a 28- to 30-day schedule and shoot five or six pages a day. A singlecamera, one-hour episodic series will shoot six or seven pages a day, and each episode will have a seven-day schedule. A moderate- to large-budget feature will shoot anywhere from a half-page to possibly two or three pages a day (on a good day), and schedules will vary from 35 or 40 to 80 plus days.

On a television series (also referred to as “episodic”), the director is generally different on each episode, while two first assistant directors and two editors alternate between episodes. On a series, everything moves at an accelerated rate, and on the frequent occasions when scripts are delivered at the last minute, pre-production is handled at warp speed. You’re prepping, shooting and wrapping different episodes, all at the same time. Directors seldom have the time to get much more than basic camera coverage and DPs (directors of photography) rarely have the luxury of more sophisticated lighting designs. It takes competent organizational skills, some quick thinking, creative problem-solving and a cohesive team effort to get quality shows out and delivered to the networks on time.

For the most part, TV crews that work together for an extended period of time become close and develop family-type bonds. Working on a series generally affords a longer stretch of employment than working on a single film (especially if you’re lucky enough to get on a successful series). And while the salary might not be as high as what a feature might offer, crews are usually able to work in town and go home to their real families at night.

The Majors

The top major studios include Sony Pictures (which owns Columbia and has just purchased MGM/UA), 20th Century-Fox, Universal, Walt Disney, Warner Brothers and Paramount. Major independent production companies include such high-profile and prolific producers as DreamWorks SKG, Imagine Entertainment, Jerry Bruckheimer Films, Mandalay and New Line Cinema. They’re all structured a little differently yet share many commonalities.

While the studios finance the films they release, they don’t physically produce the films in-house. Instead, they vigilantly (some more vigilantly than others) supervise those who do in order to protect their investments.

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 are no different than what you’d find in any other segment of corporate America, but are challenging regardless. 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, which at the time made me wonder how their shows ever got made. But this is a business first and foremost, and profitability rules. Also paramount is protecting the corporation, as anything labeled Hollywood has always been a huge target for insurance claims and lawsuits. So if you have the patience and a fair amount of ability, happen to be a terrific politician, are adept at watching your backside and don’t mind starting off as an assistant, a studio job could be the start of a terrific career. The following is an overview of some key studio departments.

Creative

Some of the most coveted positions are those within a studio’s Creative department. This tends to get a bit confusing, because the titles of the executives who run these departments state that they are presidents, executive vice presidents, senior vice presidents and vice presidents of “Production,” but the division is referred to as “Development” or the “Creative Group.” The president, the very head of the department, is the one who has the power to “greenlight” a property—to give the final “go” and commit the financing necessary to make the films that studio produces. Most networks and independent production companies have similarly structured development departments, and from the top to the bottom, the hierarchy of titles would generally read as follows:

• President(or Head) of Production
• Executive  Vice President of Production: This  person has most of the same authority as the head of production, except he can’t greenlight productions on his own. He  can, however, initiate deals and oversee large projects.
• Senior  Vice President and Vice President of Production: These  individuals oversee the development and production of films.
• Creative  Executive (at least one): Those  in this position read scripts; write story notes; generate writer, director and casting lists and help supervise development and  production. Independent production companies often call those  in this position “development” executives.
• Development  Assistant or Story Editor: This person oversees the story department, which is staffed with a  number of story analysts (or “readers”) and is responsible for the  administration, processing, reading and analysis of all incoming  properties.
• Story Analysts or Script Readers:These individuals are either staff or freelance, and their job is to read and provide a written synopsis (or “coverage”) of each script.

I’ve read articles stating that on average, studios receive any where from 300 to 500 submissions each month in the form of screenplays, books, treatments and pitches. Other sources indicate that many independents receive 200 to 300 submissions per month. Regardless of the exact number any one studio or indie accepts, we’re talking thousands of submissions each year; and this is the department that evaluates and determines which properties are to be optioned and which are to be purchased (see Chapter 14 for more about pitching, selling and optioning screenplays). Once optioned or purchased, the scripts are “developed.” Notes are given to the writers, changes are made and new writers or a succession of writers are sometimes hired to do rewrites on any given project. Budgets, director and casting possibilities, marketing strategies and the past history of similar types of films are evaluated before a decision is made as to whether to greenlight a particular property. The development process can take months or years, depending on the variables involved.

Once a project has been given a greenlight, the heads of this department will follow the project through to delivery, getting involved with creative decisions every step of the way.

If you think of yourself as a creative individual; understand proper story structure and what makes a good story; are an avid reader; think you would enjoy working with writers; have a feel for what would do well at the box office; and think you can get excited about the development process, this might be a good area for you to pursue. Just remember, the line to get in is a long one. Some suggestions for getting your foot into this particular door are:

1. First work for a literary agent and get some experience in the field.
2. Work through an employment/temp agency that’s connected to one particular studio, and let it be known you’d like to temp for
3. a  development executive. Once there, impress the hell out of everyone  in the department and make yourself indispensable, forcing  them to want you back on a permanent basis as soon as there’s an opening.
4.   Read scripts and do coverage as an intern (for free), and impress the  higher-ups with your brilliant and insightful coverage.
5.   Have a great connection to someone in a position to hire.

All independent production companies, large and small, have creative (or development) departments, although in some instances one or two people may handle the same duties as would a multiperson department at one of the majors. And at most independents, the head of production is also the head of the company.

Production Management

Another sought-after studio department 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 a Director of Production, any number of production executives and possibly an Executive Production Manager. 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 is 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 skepticism 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 are 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 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

There are many other departments to be found within any given studio, staffed by all manner of vice presidents, directors, managers and assistants. Here are just some of them.

• 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. Once they acquire the rights to a property, they will often make changes (such as editing, music, re-shoots) prior to its release.
• 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.
• Finance: This department is generally made up of a 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 and production managers and act as troubleshooters when financial problems arise or cost reports reflect impending overruns.
• Casting: Some studio shows use the services of a freelance casting director, but casting is often done in-house. Basically, the casting executive interviews actors, makes recommendations, then hires the talent selected and negotiates their contracts. But there are also times when a casting exec will, in 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. (See Chapter 5 for an in-depth description of a casting director.)
• Post Production: This department customarily encompasses a Vice President and any number of post production supervisors. They oversee the entire post process (editing, sound effects, looping, scoring, mixing, 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.
• Labor Relations: Staffed by legally trained executives, 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.
• Production Resources (also known as Product Placement): This department procures and negotiates the use 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 while coordinating the product placement deals from proposal stage through the release of the film.
• Research/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.
• 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.
• 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).
• Safety: This department is responsible for the implementation and administration of a safety program formulated in conjunction with the Industry-Wide Labor-Management Safety Board. The program covers safety regulations that apply to all studio employees, all freelancers working on studio shows and any outside employees working at studio facilities.Risk Management: This department administers and oversees all studio and production-related insurance matters.
• Studio Operations (or Facilities): This department handles the running and maintenance of the studio as well as the use/rental of all studio facilities.
• Human Resources: This department governs the employment and benefits of all studio employees.
• Home Video: This department deals with all new (and old) films released on VHS and DVD. Their responsibilities include the creation of packaging designs, menus and advertising (print ads, 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.
• Marketing: This is a busy department responsible for how a film will be sold. It encompasses the planning and creation of strategic marketing campaigns, 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 or electronic press kit) producers and crews. (Behind-the-scenes footage is used for publicity, celebrity news magazine shows like Entertainment Tonight and Access Hollywood and is later incorporated into DVDs). The marketing department plays an important role in creating and maintaining the star power of top industry talent. They also launch various award campaigns as well as new releases at film festivals and they liaison 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.

Additional studio departments would include:

• Domestic and International Distribution (the field of International Distribution is described in Chapter 5, and domestic distribution relates to the marketing, sales, delivery and collection of films, television and video productions [“titles”] the studio represents in the U.S.).
• 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 and mobile trailers used for cast, wardrobe, hair, makeup, etc.
• Shipping: Pretty self-explanatory.
• 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.
• 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 and outside shows shooting on the lot.
• 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.
• Paint Shop: Where set pieces, set dressing, etc. are painted.
• Sign Shop: Where signs used for a film or TV show are designed, made and painted.
• 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 are stored and rented from and where studio electricians not assigned to a specific show are given their assignments.

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
• unions, guilds, associations and film commissions

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

• entertainment law
• publicity
• international marketing and distribution
• behind-the-scenes (also known as EPK) production
• accounting and business management
• motion picture insurance, risk management and safety
• principal and extra casting
• animation, visual and mechanical effects
• 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
• video transfer and duplication
• captions, subtitles and graphic design
• script research
• film and tape 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
• raw stock (film) and videotape supply houses
• expendable supply houses
• scene shops and backdrop manufacturing
• prosthetics manufacturing
• food styling
• production-related travel and accommodations
• interactive
• acting classes/coaching and head-shot 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 slow-down 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 entire 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 decided it wasn’t for me, I at least would 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 handle actors and some who, more specifically, represent actors for certain types of work, such as television and cable, feature films, commercials or voice-overs. There are agents who just represent writers, and they’re called “literary” agents. There are agents who represent musical talent, those who handle producers and directors and those who represent “below-the-line” crew such as cinematographers, editors, production sound mixers, costume designers, makeup artists, etc. And then there are agents who specialize in “packaging.” In fact, the larger agencies (such as William Morris, CAA and ICM) 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. If you see yourself as a mover and a shaker, again, 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.

Through the trade papers, breakdown services and word-ofmouth, 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 head shots, 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 or principal photography phase of a project. They often visit the sets where their clients are working, and some even travel with their clients.

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

Marc Hernandez is a literary manager. Since the jobs of agents and managers are quite similar, I asked him to explain the difference between what he would do 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 can also 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% of a client’s earnings, whereas a manager isn’t licensed but also earns 10%. (And just so you know, a performer’s attorney typically will earn 5%.)

Marc does quite a bit of lecturing, and 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 would 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’s a 24/7 way of life. He’s always reading, developing new material, working with clients, looking for new clients, answering calls and e-mails, guest speaking, attending pitch fests, watching movies, negotiating and selling, attending parties, going to meetings and pitches, keeping up on the business and networking. Just listening to him tell me all he does tires me out, but he absolutely loves it all.

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 so 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 the movie Narc, you might have noticed the multiple producers listed in the credits: nine executive producers, five co-executive producers, four producers, one line producer, two associate producers and one consulting producer— 22 in all. I can’t imagine what they all did, but it’s unlikely that all 22 were instrumental in the day-to-day running of the production.

In response to this unacceptable and confusing trend, the PGA has been actively lobbying to standardize producing credits and to limit them to the individuals who actually perform the duties of a producer. They have, in fact, just recently made a tremendous breakthrough in this endeavor by announcing their plan for correcting these flaws with their new Truth in Credits campaign. They have clearly defined producer job duties, can accurately determine credit eligibility and have an arbitration system in place to back up those determinations. Their goal is to establish 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 sums it up well by saying,

You can go to the Producers Guild’s website at www.producersguild.org to access their producer definitions and job descriptions, which cover the development stage of a (theatrical motion picture or television) project through post production, marketing and delivery.

Although I expect to see the PGA’s Truth In Credits program effect a positive change and simplify the way in which credits are granted, the following has been the confusing norm for a very long time now and what you’re still witnessing on many shows:

Executive Producer

A rudimentary definition of an executive producer is someone who supervises one or more producers in the performance of all his/her/their producer functions on single or multiple productions. On theatrical features, the executive producer may be the person who raises the funding, provides the funding, owns the rights to the screenplay and/or puts the deal together. It could be one of the principal actors whose own production company packaged and sold the project or even the line producer. It could also be an established producer who’s lending his or her name (and prestige) to a project, so a less-established producer can get a film made, or an established producer supervising a production at the request of a studio.

On a television show, the executive producer (also referred to as the “EP”) is often the “show runner”: the Steven Bochcos, David E. Kelleys, Marcy Carsey/Tom Werners and Dick Wolfs of the industry—primary providers of television content, the ones who create, develop, sell and produce a plethora of the shows found on the TV and cable networks. In television, an EP would be equivalent to the producer on a feature, the ultimate authority and the liaison between the production and the network. It could also be a lead actor whose name and/or production entity got the project off the ground to begin with. A co-EP may very well be a less-established individual who brought his project to the show runner/EP who, in turn, sold it to the network.

Producer

A producer is basically the person who initiates, coordinates, supervises and controls all creative, financial, technological and administrative aspects of a motion picture and/or television process throughout all phases from inception to completion. On a theatrical feature, the person with this title is also referred to as the “creative” producer, because he or she will be involved with all creative aspects of the project and in conjunction with the director and the studio and/or financiers, will have significant input on the script; cast and crew selections; production design; wardrobe; location selections; editing; musical score; marketing and so forth. This person will often be the one who acquires the rights to the story or screenplay and develops the material until it’s ready to shop. He will most likely be the one who sells the project to a studio or possibly raises the necessary funding. He’ll establish the legal structure of the production entity, sign all union agreements and contracts, function as liaison between the production and the studio and be responsible for delivering the completed film. Working closely with the director, he walks a tightrope, striving to protect the intentions of the writer and the vision of the director while balancing the fiscal constraints of the production’s schedule and budget. The feature producer is the ultimate buck-stops-here person—the one who must answer to everyone for everything, but . . . he’s also the one who gets to collect the Oscar^® when the film wins an Academy Award. If you’d like to find out more about the job of a producer, pick up a copy of Buck Houghton’s book What a Producer Does—The Art of Moviemaking (Silman-James Press, Los Angeles) and/or Myrl A. Schreibman’s The Indie Producer’s Handbook—Creative Producing from A to Z (ifilm Publishing).

Television producers come in many varieties. A line producer is the individual responsible for making sure a show is completed on schedule and on budget and for overseeing all “physical” aspects of the production. Staff writers and story editors have, for a while now, been given producer credits as have (in many instances) post production supervisors, who at one time were given the title of Associate Producer.

Co-Producer

On a feature, the Co-producer is often another title for the Line Producer (the definition of which is stated below). This credit could denote a less-established producer who, the first or second time out, must take a lesser credit or share responsibilities with the producer. It could be the lead actor’s business partner or manager who comes with the package or the person who sold the rights to the property to begin with—even though he or she may have never produced before.

Line Producer

A Line Producer is also referred to as the “nuts and bolts” guy (or gal), the producer’s right-hand person and the budgeting-scheduling expert who supervises all administrative, financial and technical details of the production—a distinct challenge, no matter what the show’s budget or genre. This individual is responsible for all the day-to-day matters that go into keeping the show running smoothly, while striving to make sure it remains on schedule and on budget. The line producer functions as liaison between the crew and the producer and is also answerable to the studio exec (or completion bond company rep) assigned to the show. He has to have keen people and negotiating skills and be proficient at putting the right team together, putting out fires, making decisions on a dime and walking a tightrope while balancing the director’s vision, budgetary considerations, the studio’s concerns, union and guild regulations, the cast and crew’s needs, comfort and temperament, the weather, the right locations and countless other details. Whether it’s changing and re-changing the schedule to accommodate an actor’s other commitments, finding ways to keep a tired crew’s morale up, figuring out how to fill a stadium with people when you can’t afford to pay for that many extras, knowing how to make one location look like several, or attempting to reduce the budget so the picture can be shot locally instead of having to take it to another country—it’s an extremely pivotal position. And while the duties of a line producer are rarely as ambiguous as are other producing categories, the exact screen credit a line producer receives can occasionally be confusing, especially with the recent trend of giving line producers executive producer credit.

Post Production Producer

The title of Post Production Producer has been popping up on feature screen credits lately, but it’s still a rare occurrence and is generally only given to those who make a significant contribution to a film. Previously, these individuals would have been given an Associate Producer or Post Production Supervisor screen credit.

At one time, there was no designation of line producer, only a production manager (or unit production manager or UPM) who performed most of the same functions. Today, a UPM can also be a line producer, although on many pictures, you’ll find a line producer and a production manager with the production manager reporting to the line producer.

Associate Producer

Associate Producer is probably the most nebulous title of them all. It could denote someone who makes a significant contribution to the production effort, or it could be the producer’s nephew. It could be the person who brought the producer and the financier together or a producer’s assistant who has recently been promoted. At one time, an associate producer credit on a television show signified that that person supervised the post production, but that’s not always the case any longer.

Production Management

I wanted to address the category of production management, partly because it’s what I know best, and because I happen to think it’s a terrific part of the business to be in.

Production management is another term for physical production. It encompasses the studio and production company execs (mentioned earlier in this chapter) who supervise the freelancers working on their shows and also those who are (back to that term again) “in the trenches”: the line producers, UPMs, assistant directors, production supervisors, production coordinators (also referred to as production office coordinators or POCs) and assistant production coordinators (APOCs).

In a nutshell, the production department is a “service” department that handles the logistics for the entire company. It’s the everso important spoke of the wheel that enables everything else to keep turning and happening. It’s exhaustingly hard work and not considered creative or glamorous by any stretch of the imagination, but it’s fast-paced, challenging and satisfying. And as in most other freelance positions, there’s always something new to learn, new people to meet and work with and new locations to travel to. Production is the behind-the-scenes office responsible for dispersing all pertinent information, making sure everyone involved has what they need to do their job and of ensuring that everyone and everything arrives on the set each day—on time and prepared. Production is responsible for preliminary budgeting; scheduling; negotiating for and securing a crew, locations, equipment and all outside services. They generate and distribute scripts, script changes, schedules and a plethora of other essential paperwork. They make sure all contracts and releases are signed and handle all issues relating to insurance, unions and guilds, safety, product placement, clearances and local, distant and foreign locations. Like a band of gypsies, they’re used to setting up mobile and/or temporary, fully functioning units and offices almost anywhere and in no time—experts at transporting entire shooting companies to and accommodating them on just about any location in the world.

Production also tends to the comfort and needs of its cast and arranges for all cast member perks—all those extra goodies listed in their contracts (some of which happen to be the size of small phone books), such as extra-wide “popout” trailers, cell phones, TV/VCR/DVD players, microwave ovens, special food, transportable gyms, personal trainers—and the list goes on.

Unit Production Manager

The line producer is described above; and as mentioned, the UPM has very similar responsibilities. Generally the one to prepare the first complete schedule and budget, she must function as a troubleshooter and problem-solver, think on her feet and have the ability to anticipate problems before they occur. She needs to be a good negotiator and thoroughly understand the production process, because she’s the one who makes the deals, hires the crew and approves all expenditures, time cards, call sheets and production reports. Good people skills are a tremendous asset to a UPM, as she must routinely interact with the entire cast and crew, a myriad of vendors, agents and managers, union reps, studio executives (or investors and bond company reps), film commissioners, etc. She’s quickly blamed when something goes wrong, not always appreciated when things go well and is well known for having to say “no” more often than others care to hear it. Having to work closely with each department to stay on top of what and how everyone’s doing and to make sure they all have what they need, she’s also under constant pressure to control or cut costs. It’s quite a balancing act, and one must be diplomatic, creative and adept at finding compromises to do it well. And although her capabilities must be multifaceted, the skill most valued by a studio is a UPM’s ability to keep a show on (or under) budget.

First Assistant Director

A First Assistant Director is the Director’s right arm and the liaison between the Director and the crew. He’s the one who, once all final determinations are made during pre-production, prepares and issues a final shooting schedule and a selection of breakdowns (schedules of extras, stunts, special equipment, picture vehicles, etc.). The First AD is instrumental in setting the director’s pre-production schedule, and in conjunction with the director and UPM, oversees the survey and selection of shooting locations. During principal photography, the First runs the set, is largely responsible for ensuring that each day’s work is completed, directs background action and supervises crowd control and is the one who yells “Quiet on the set!” On episodic television where the directors constantly change, the First AD has a great deal of input and more of an opportunity to shape the outcome of a show.

Second Assistant Director

During pre-production, the Second Assistant Director works closely with casting, extra casting and locations; goes on tech scouts (“technical” scouts are when specific department heads are taken to selected location sites to ascertain requirements needed to prepare for shooting at that location); helps with breakdowns and clarifies all needs in as much detail as possible. She makes sure everything is ready, call times are issued and all paperwork is in order and packed for the set. During principal, she’s responsible for the cast, stand-ins, extras and photo doubles, making sure they’re where they’re needed when they need to be there. She takes care of all on-set paperwork, coordinates the schooling of minor cast members, works closely with casting, liaisons with the production office, issues work calls, checks cast members in and out, orders extras and supervises the second, second assistant director, PAs and interns working under his supervision. A Second’s rear rarely sees the top side of a chair. They’re the first ones to report to set at the beginning of the day, the last to get lunch and the last to leave once wrap is called.

Second Assistant Directors usually move up to become First Assistant Directors. Some Firsts are perfectly happy to retain that position throughout their entire careers, because when working on a fairly regular basis, the salary and benefits are terrific. Those who do move up tend to become UPM/line producers, producers, second-unit directors, directors and production executives. Working as an AD is a great way to learn while amassing an extensive network of contacts.

Production Supervisor

The production supervisor isn’t a traditionally standard position, but one that is continually gaining acceptance. This person is more qualified than a production coordinator, but not being a member of the DGA, he can’t work as a UPM on DGA-signatory films. On some shows, the line producer and UPM are one and the same, and the supervisor helps to handle the production manager duties. Other shows are busy enough and spread out enough to use the talents of both a UPM and a supervisor.

Production Coordinator

The production coordinator sets up and runs the production office; hires and supervises the APOC and other office personnel; inter-faces with each department head and assists them with all their needs; helps the UPM by checking availabilities and assembling the crew; obtains bids on equipment and services; places orders for film, equipment and special services; handles all distant and foreign location travel, accommodations, shipping, customs and immigration matters; makes sure all paperwork and information is generated and disseminated in a timely manner; liaisons with the set, the studio, the vendors, film commissions, agents, casting, etc.; handles all production-related insurance matters; oversees the “taking care of” the cast, making sure their perks are arranged for and ready on time; coordinates the screening of dailies; and prepares SAG contracts for day players, stunt players and anyone else whose contract isn’t generated by the project attorney or casting office. The coordinator definitely has to be someone who enjoys multitasking, is super organized, detail oriented, patient, diplomatic, can anticipate the next step and be prepared, is good at problem-solving and has the ability to pack up his life and office on a moment’s notice and move to the next location. It’s a tough and often thankless job, but it can also be rewarding. Having done it for years, I always enjoyed putting all the little details together and watching everything come together. I loved taking care of “my” crews, being challenged, having to learn new things with each new project, negotiating good deals, constantly being exposed to new people and new experiences and feeling a great sense of pride from knowing how good I was at my job.

The following chapter continues to touch on a variety of interesting career options. Keep an open mind and learn all that’s out there before choosing your path.