——— 5 ———

Some Other Interesting Choices

This chapter will offer you some additional diverse and fascinating career choices, which I describe with the help of some friends and colleagues. This may seem like an arbitrary list, and I suppose it is. But then again, I can’t provide you with information on every job that’s out there. There are hundreds. This is just a sampling of some of the careers I find particularly interesting. Hopefully, some of these will whet your appetite and prompt you to learn more.

Post Production

Post production is the process of assembling and completing a picture. It begins during pre-production with the preparation of a post production budget and schedule, the lining up of crew and facilities, and the planning of arrangements that must be made for any necessary special processes. Once a film has been edited, the remaining components (inserts, pickup shots, sound effects, foley, music, ADR or “looping,” titles, opticals and visual effects) are assembled (“mixed”) to complete the picture.

In addition to the executives who run the studios’ post production departments and their in-house staff, freelance post supervisors and coordinators are often hired for specific projects, sometimes handling multiple shows at any one time. Many of the same qualities that would make a production manager, supervisor or coordinator good at their jobs would apply equally to a post supervisor or coordinator: someone who’s organized; can juggle multiple balls in the air at any one time; is adept at working with a variety of people and personality types; is skillful at budgeting, negotiating deals and solving problems, and someone who enjoys the process of assembling all the pieces and watching a TV show or movie come together. An effective post professional must also possess a thorough understanding of the process as well as a sense of objectivity. Post supervisors don’t generally travel as much as their production counterparts, but some find themselves traveling when certain post processes are done at out-of-town facilities or for test screenings.

This is an administrative position that can at times be quite creative, because knowing how and when to add certain elements into the mix can make the difference between a good and a really good finished product. For many years, my husband Ron was an associate producer, handling the post production on episodic television shows. I can still remember a call he received one night from a director thanking him for having saved his show. Ron had taken a show the director thought would be mediocre and turned out a finished product that was instead being praised. It’s a great feeling of satisfaction when you know you can make that type of contribution, whether you receive the acknowledgment for it or not.

My friends Nick and Cory McCrum Abdo are also both long-time post professionals, Cory being a post producer, and Nick, a producer who has spent much of his career overseeing post. Cory started by working in a cutting (editing) room, and Nick’s post education started by watching dailies and sitting with an editor on his first episodic television show. Both of them strongly believe that the cutting room is the best place to start learning this end of the business.

Cory is nothing if not animated when she talks about what she does. She’s proficient at logistics and budgeting, has got terrific management and people skills, is fiercely protective of her post team and has a tenacious I’ll-do-whatever-it-takes-to-make-it-work sensibility about her job. Being a “giver” by nature, she enjoys assuming the role of rescuer, solving problems and taking on innumerable daily challenges. She’s enjoyed being able to travel to and work in some wonderful places (often taking the entire family along), but she says the very best part of it all is, after pouring her life’s blood into a project, the satisfaction she gets from seeing the film completed and on the big screen. Similarly, Nick loves sitting with an audience and listening to them laugh in all the right places—and listening to the silences in all the right places. The worst parts for both of them are the endemic issues of politics, working with difficult people and the lack of family time with each other and their daughter.

Studio post jobs and freelance post supervisors and coordinators aren’t the only positions in this field. This aspect of the industry encompasses music supervisors, visual effects supervisors, editors, assistant and apprentice editors, sound and music editors, negative cutters, re-recording engineers, projectionists, foley artists, ADR talent, title designers and all the jobs found within service providers such as laboratories, sound houses, optical houses, transfer facilities, screening rooms, equipment rental companies and facility rentals (editing bays, recording studios, offices, ADR and foley stages, mixing stages or suites, etc.).

For a better understanding of the post process and descriptions of various post positions, check out the insightful book my friend Susan Spohr wrote with her friend Barbara Clark, Guide to Postproduction for TV and Film, Second Edition (Focal Press). Also note the section on music farther ahead in the chapter that includes music and sound-related post jobs.

For those wanting to start off in this field, you might consider trying to find a position as an apprentice editor or an entry-level job at a major post production facility (such as a lab).

International Distribution

I find this end of the business fascinating, and it’s the perfect career for a movie lover who’s always wanted to be a diplomat or get involved with some form of international relations. A foreign sales company or the international department of a studio or distribution company is responsible for the international launch/festival participation of a film along with the marketing, sales, delivery and collection of the film, television and video productions (“titles”) it represents. If you were to work in this facet of the industry, you’d most likely be spending a great deal of time on airplanes and in airports, traveling to various countries and cities around the world (depending on the “territory” you cover). You’d also be attending international film festivals and markets throughout the world (Cannes, Toronto, Shanghai, Rio, Sundance, etc.) and interacting with people from all walks of life. Sounds pretty good to me!

I have a cousin named Michael J. Werner who’s a veteran of the foreign sales business and co-chairman of Fortissimo Films, which is headquartered in Amsterdam and Hong Kong. I asked Michael for his thoughts on what sort of person would do well in this profession and what those interested should know about the field. The following is what I learned from him.

An international background and/or an MBA would be highly desirable, and you should be someone with an open mind, an international perspective and a relatively well-developed level of sophistication, culture, politics and history. Big Hollywood egos aren’t a good match for this type of work, and you have to be equally adept at talking and listening. When dealing with 80 to 100 different countries, it’s not likely you’ll know more about your buyers’ own markets than they do; and successfully pre-selling films not only requires a certain amount of humility but also the ability to create strong business relationships and generate a great deal of trust. Michael claims you have to be what he calls a “zen diplomat.” A keen knowledge of business with an international focus would be extremely helpful, as would speaking more than one language.

Should you have the education, background, and the desire to get into this end of the industry, you could apply at any of the studios’ international divisions, but getting in with a smaller, independent “boutique” company would most likely afford you the opportunity to get more involved, have more responsibility, learn more and advance faster in a shorter period of time than you would working for one of the majors. For a comprehensive list of companies to contact, Michael suggests checking out The Independent Film & Television Alliance (formerly The American Film Marketing Association [www.afma.com]) to get a list of their 150 or so member companies. This is a terrific resource for sending out resumes and setting up general information meetings.

When I asked Michael my two favorite questions—what’s the best thing about what you do and what’s the worst, this is what he had to say:

“For me, the best thing has been the opportunity to interact with film industry professionals from around the globe. By attending numerous international markets and film festivals and meeting with filmmakers, other distributors, journalists, festival programmers, critics and all manner of related professionals, I feel I’ve been able to achieve far greater insight into our common humanity than I otherwise would have found in any other profession or industry. As for the worst, it’s the interaction with people who gain a certain measure of success (which sometimes comes very rapidly in this business) and then forget how to act properly and treat other people who may not be as fortunate or as lucky as they are.”

Unit Publicity

My friend John Pisani has the coooooolest job. He’s a unit publicist. If you enjoy keeping up with the latest on who’s who and who’s hot, if you enjoy creative writing and interviewing people, if you’re outgoing and social and want to be in the thick of it—this might be the career for you.

John is assigned to one film at a time and remains with the shooting “unit” throughout principal photography. He’s in charge of coordinating all the publicity for the film, its actors, producers and director; and that covers all electronic, print and online press as well as any special events relating to the show. What makes John so good at what he does is his ability to multitask and interact with a diverse group of personalities in various situations in a way that allows everyone to feel comfortable with how the publicity’s being handled as well as the end result. He has this innate ability to know when to push for what he needs and when to back off and wait for a better time to approach. While John isn’t required to interact with the entire crew, he does it anyway and spends quite a bit of time on the set each day. Becoming part of the crew and watching and understanding everything that’s going on earns him ample credibility, so that publicity isn’t treated as an intrusion, and it’s easier for him to accommodate press requests for on-set interviews.

To do this job well, you have to have the ability to write—and write creatively—because your mission is to find any and all ways to make the picture you’re working on sound as if it’s the most interesting, exciting, scary, romantic, gripping, funny film that’s ever been made. You have to be able to roll with the punches and not stress out (at least on the outside). And you’d be well served to keep up with industry news and events, as well as current and past film projects. (It would say a lot about you if you were to run into some bigwig at an industry party and be able to congratulate him on his new deal.) You should also possess a firm grasp of the “players,” knowing everything possible about the actors, producers and directors you’re working with or may be working with in the future. And you have to enjoy networking, setting up and attending social events.

Entertainment publicity comes in many forms. One can work for a PR agency; within a studio publicity department; as a publicist to actors, producers and/or directors or in a corporate environment handling special events. If you can land a position as an intern or assistant within any of these venues, you’ll have a good place to start. If you’d like to move into unit publicity, start building contacts with actors, producers and directors or internally within one of the studios.

John claims that the best thing about what he does is that each movie presents completely new challenges and new experiences. He loves the variety, getting to interact with extremely creative people and having the opportunity to build relationships with the key decision-makers in the industry. The hardest is that there are no rules, no set standards for what he does, so what works on one show won’t necessarily work for another. In other words, the logi-cal answer isn’t always the right answer. He also comments on the stamina it takes to work the long hours and to always be on call. If anything even slightly newsworthy should occur on any of his shows, he’s the first one called upon to make a statement.

Publicity isn’t an easy end of the business to get into, and once in, it’s particularly demanding—but overall, I still think it’s one of the coolest jobs around.

The Script Doctor

A script doctor is also referred to as a script consultant or script editor. It’s someone who reads other people’s screenplays and assists in “fixing” them, so they’re ready to take out and shop. Fixing a script generally entails identifying inconsistencies in characters and dialogue; making sure the story stays on track and flows properly; making sure it’s formatted, punctuated and spelled properly and that it works. A script doctor will charge by the page (and sometimes by the hour) to tell you what your script could use and then make suggestions as to how to correct the problems. Some are paid additional fees to actually do the fixes and rewriting for their clients, while many clients make the changes themselves and then resubmit the revised version for a final evaluation.

This line of work could be a good fit for writers who want to earn extra money while waiting to sell their own material or for individuals who don’t feel inspired or talented enough to create their own screenplays but who have an innate sense of story and enjoy working with and helping writers. To do the job well, one should be an avid reader; understand proper story structure; have a good sense of flow; a thorough understanding of story and character development and good language skills. Having good language skills, however, isn’t limited to proper English but also to the dialect that fits specific characters within a specific script. To further be able to help their clients achieve the product they need, a script doctor should also know what’s commercial and which buyers are looking for which types of projects.

Sharon Espinosa classifies herself as a script editor. She started by helping friends with their scripts, and word of mouth and several recommendations later, she was running a full-fledged consulting business. Sharon says that when she’s evaluating a client’s script, she imagines living each scene as she’s reading it. And she spends quite a bit of time with the writer as well, wanting to know where he’s coming from, how passionate he is about his project and how open he is to changes and suggestions. She said the worst part of the job is working with someone who’s resistant to change. The best part is when a writer realizes the potential for his project is much greater than he thought possible; then later, once it’s ready to take out, when the project is sold and produced.

People who start off as script readers or assistants to producers often become script doctors. If you’re good at it, then like Sharon, start by helping friends. The word will get out, and you’ll be on your way.

The Educator

Educating future filmmakers is a part of the business I thought little of before I became an instructor. In fact, before I started teaching, I wouldn’t have even considered it part of the business. But it definitely is. One evening over dinner, I had a chance to discuss it with Duke Underwood, who teaches at USC’s School of Cinema-Television and is also the creator and director of the summer program there. When he’s not at school, he manages to squeeze in a few months each year to work on his own film projects, which he writes and directs. Duke has been doing this a whole lot longer than I have, and I wanted his take on educating filmmakers.

Duke was greatly inspired by a teacher he once had who created a spark and made a big impact on him. He now strives to do the same for others and is fortunate enough to be able to do so within an arena that encompasses his love of movies and filmmaking. He works closely with all his students, as well as all those who register for summer classes, planning carefully, staffing properly and designing classes that offer a professional filmmaking learning experience in a supportive environment. He doesn’t just shuffle the students around, but is there for and available to them at anytime. He’s warm, caring and helpful. He puts in extremely long hours and the red tape and politics are what one would expect at any major university, but the positives far outweigh the negatives as he describes his job as “enriching!”

I know the feeling well. As rewarding as working on a film can be, it can also be (and often is) extremely draining. Teaching, on the other hand, fills me up in a way that’s difficult to explain. All I know is that it’s one of the most gratifying things I’ve ever done.

When teaching, you constantly have to stay on top of the latest industry news, views, films, books, trends, players and technology, so you never stop learning. Another terrific aspect of the job is the opportunity to design your own course. I was thrilled at the chance to create my one class, and Duke’s been designing classes for some time now. In fact, he says it’s the best thing about his job. He makes sure each class satisfies university guidelines; endeavors to offer new, challenging and innovative courses for the students, and at the same time, slants the focus of each course to his interests. Mutually beneficial to him and his students, it’s still a way to feed his own passions. While teaching various aspects of filmmaking, you’re surrounded by the process, talking about it, brainstorming with bright students to come up with new concepts and ideas, getting involved with student productions, bringing in (and networking with) guest speakers to interact with the class and surrounding yourself with creativity and potential.

To teach any aspect of filmmaking, a college degree and/or a certain amount of practical experience is necessary. You should be organized, patient, diplomatic, a people person and someone who can look beyond the big picture to make sure all the small details are in place. You should enjoy working with and influencing young people and aspiring filmmakers and be able to share their passion and take pride in their accomplishments. Above all, you should enjoy sharing, giving and teaching.

You won’t get rich, but this is a steady, rewarding career and a significant component of the industry.

Music

This is a part of the business I’ve had little exposure to but have always imagined it to be extremely creative and rewarding.Wanting to know more, I spent some time talking to Michael Brooks. Michael is currently head of production for Rafelson Media, but the majority of his career has been spent in music.

Michael has been a music producer and mixer for much of his career, and he equates this position to that of both a producer and director on a film. The music producer is responsible for absolutely everything, up through and including delivery of the master recording. He said a producer can be as hands-on or -off as he’d like, depending on how much he chooses to delegate; and he’s generally the one who matches the right songs to the right talent, oversees recording sessions and sometimes even joins in by playing an instrument (or most of the instruments). Often the producer is also one of the songwriters on the project. He added that the process of recording can be much more intimate than making a movie, especially when it involves just the producer, talent and engineer.

Most producers work as independent contractors, although some are on staff at record and music companies. Some take the artists they’ve discovered (and/or produce for) to recording companies (“labels”), attaching themselves to the deal along the way. Others have their own label and get the recordings out on the market via record distributors.

Michael’s advice for those who are interested in music producing is to be prepared to supplement your income for quite a long while. With the availability of songs on the Internet and the subsequent decline in CD sales, the recording industry has been steadily declining the past couple of years; and it’s harder than ever to break in. He’s hopeful, however, that this trend will eventually start moving in the opposite direction.

As for the path one would take, Michael suggests having as much musical experience and education as you can get. Being a musician (especially the ability to play the piano or keyboard) is helpful, because then you speak the right language. Also, know the technology. Take recording workshops and learn as much as possible. You could get your foot in the door the same way you would on a film or at a studio by taking an internship or entry-level position at a recording studio or a studio music department. The most important thing is to meet and network with as many people as you can.

I asked Michael what he loved most about this end of the industry, and his reply was “I just love the music and have appreciated all the opportunities I’ve had to work with great talent. And then there are those special magical moments in the studio I’ll never forget [at this point, he starts speaking slower, and his voice lowers to an almost whisper] these moments are as close to a spiritual experience as I’ve ever had.” The worst part? “Everything else but the music—the big egos, the politics, etc.”

With reference once again to Susan and Barbara’s book, Guide to Postproduction for TV and Film, the following are definitions of music and sound-related positions that are part of the post process on films and television shows:

• Composer: The person who writes the original music used in a film or television show. (The music is physically produced by either hiring a group of musicians and recording on a sound stage or by using electronic instrumentation [called “electronic scoring”], which can be done out of the composer’s home or a small studio.)
• Sound Design Supervisor (or “Sound Designer”): Responsible for supervising the creation of the final sound elements that make the finished soundtrack.
• Music Supervisor: Coordinates the creation of the musical score, prepares the visual materials and cue timings for the composer, supervises the music mixdown for the dub, coordinates materials for the sound mix and recommends and purchases prerecorded music material.
• Music Editor: Prepares and cuts the musical score and purchased musical cues.
• Music Coordinator: Coordinates the purchase of prerecorded music cues and assists the composer with the duplication of sheet music and other administrative duties. The person who performs these duties may also be the Music Supervisor.

Careers in music can indeed be extremely creative and satisfying, but it appears to be a tougher arena to break into than some other facets of the entertainment industry. So if you’re determined to give it a shot, you’ll need an extra dose of passion and resolve to get you there.

Commercials

Similar to television and feature production in many ways, commercial production is also very much a world unto itself. While there are individuals who have the ability to jump back and forth between the two realms, many choose to build their entire careers within this fast-moving industry. Production schedules are much shorter, crews are smaller and salaries are generally higher. The paperwork is similar yet different, and instead of studios and networks, you’re dealing with advertising agencies and clients. A commercial starts with a client who hires an advertising agency to promote their product or service, and the agency decides to include at least one commercial spot as part of its advertising campaign.

My friend Christine Evey has been a commercial producer for years, and she’s one of the best. She explains that commercials are like tiny movies, only much faster and more intimate. You’re on any one project from two weeks to two months, and working on such a tight schedule, you’ve got to be extremely organized, because there’s less time for error. A great number of variables must be taken into consideration, things happen quickly and at any one time, something can easily go wrong. It’s a fast and furious environment, and you have to be able to make decisions on a dime. Commercial producers are responsible for virtually everyone and everything on a commercial film set. The best of them remain calm under all circumstances as they tend to be the first person everyone seeks out to resolve problems, to vent, or sometimes, just for a sympathetic ear.

The qualities you should possess to do well in this position are the ability to hide any concerns or fears and handle the stress; diplomacy; major people skills; excellent management and creative problem-solving skills; a proficiency in budgeting and an understanding that complaining is not an option. You need to be ultra resourceful (just figuring it out) as the word “no” is only a last resort. You must be prepared with an alternate solution or be extremely resolute when there isn’t one to be had. Christine amazes me in the way she can set up a commercial production unit anywhere in the world and assemble a terrifically talented crew on what seems to be a moment’s notice. She warns that it can be a thankless job, but an exhilarating and addictive one. From my perspective, she stands out among the crowd. No matter what type of project she’s working on, Christine is gracious and respectful of everyone around her, whether they’re advertising “creatives” or PAs. She gives of herself, doesn’t take anything or anyone for granted and is immensely appreciative of her entire team. I am also inspired by the way she unselfishly steps out of the spotlight to let others shine.

The way to start out in this field is to land a job as an intern or PA on an individual commercial or with a commercial production company. Christine suggests that you offer your time for free on your first job. Her advice is to get in and show them how indispensable you can be, and then stay that way, adding that there are always others who would be thrilled to take your place. She also recommends remaining a PA for at least a year, enough time to get grounded, get the lay of the land, figure out which ladder you’d like to climb and make some valuable contacts.

Reality TV

Talk about fast and furious. I don’t know if commercials have anything on the frenzied pace of Reality TV. I’ve only worked on one Reality TV show, which was a 2003 pilot that was never picked up, but I’ve spent time since then discussing the experience with my friend Matt Kutcher, who’s the one who talked me into doing it with him to begin with.

The terminology and paperwork were slightly different than what I was used to, and it reminded me of low-budget guerrilla filmmaking, a kind of fly-by-the-seat-of-your-pants operation that’s very unstructured. Matt calls it “controlled chaos.” Given its very nature, you can only schedule and prepare for so much in advance. Whether contestants are placed in everyday situations or in foreign environments, they ultimately find themselves dealing with extraordinary circumstances. An extreme rivalry is created, and the conditions participants are thrust into evoke the best and the worst in their natures, including an entire range of consequences and emotions (tragedy, comedy, drama, frustration and/or triumph). This might make for popular television, but it becomes impossible to predict, script or plan for what’s going to take place or when those pivotal moments are going to occur. One can script some portions of some reality shows, but there will almost always be unknown variables that can’t be anticipated until they happen.

Because they’re all so different, schedules vary from show to show. The easier game show types may take less than a day to shoot, while another show might require 100 hours, or possibly a week, of shooting. Sometimes you’re working with one camera crew, and sometimes, multiple camera crews are all shooting at various times of the day and night. The hours are long and salaries tend to be lower in comparison to other television shows or films.

I think this style of production is best managed by young people with endless reserves of energy and a tremendous amount of resiliency. To produce this kind of show, you also have to be a “big picture”-type of person and not get too caught up in the small details, or you’ll miss the all-important moments. And because you can’t be everywhere at once—nor is there time to micromanage others—you have to build a strong support team and trust the people around you to do their jobs. You have to have an assertive personality, be able to make reasonably sound spur-of-the-moment decisions, have good communications skills and be able to roll with the punches.

I personally prefer working on a more structured type of show, but reality shows have been quite popular for the past few years and show little sign of disappearing. They’ve provided substantial job and advancement opportunities for many and are ideal for those who find the frenetic pace and unknown nature of the work challenging and exciting. Reality TV certainly has the ability to provide those so inclined with some fairly intense adrenaline rushes, both behind and in front of the cameras.

Casting

In simplistic terms, casting is the process of searching for, recommending, interviewing, setting up readings for and negotiating deals to secure the principal cast members on any given production—the term “principal” referring to those actors with speaking parts. Casting personnel work closely with actors, agents, managers, producers, directors, studio executives and assistant directors. They’re always on the lookout for new talent and creative suggestions to bring to the decision-makers’ table. Those making the final casting choices would include any or all of the following: director, producer, studio or network executive overseeing the project and sometimes (depending on the part), the casting director.

I spoke to casting director Susan Johnston, and in her view, a casting director has to understand the unique needs of each individual and be innately adept in psychology, whether it’s in dealing with actors or their gatekeeper—agents and managers. She said the challenge is often in having to figure out why certain roles would be great for certain actors, and then having to sell them and their agents and managers on accepting the roles, all the while anticipating their needs before they even know what they are themselves. I asked Susan what qualities would make someone good at this job, and she said, “Someone who loves people, can see outside the box, is intuitive and dedicated and doesn’t mind the long hours.” Her favorite part is the joy she derives from connecting with people in a way that offers them their “15 minutes of Andy Warhol fame”; also discovering talent and seeing them come to life artistically with a team (director, producer, other actors, etc.). She loves choosing an “outside of the box” person for a role and gets a thrill out of helping talented actors get into SAG. I asked her about the worst part of her job, and she told me about the time an actor showed up at her front door (which wasn’t easy being that she lives in a security building) at 7:00 p.m. on a Saturday night to give her his headshot. He handed it to her with an air of entitlement, because he thought he was perfect for a role she was casting and the sooner he got it to her the better it would be for him. She calls this the “oooohh factor,” when an actor thinks if he sees a casting director in person, she will notice his greatness and get him an acting job. She said casting directors are looking for actors to be themselves, to use common sense and to be team players. She added that protocol and professionalism go a long way.

Some companies employ in-house casting executives, but many casting directors work on a freelance basis. Getting a job as an assistant in a casting office is a great way to learn this end of the business and to be in a position to move up.

Extras Casting

An often overlooked aspect of casting is the field of extras casting. Extras or “background” players are more than just a bunch of people milling around your principal characters. They create a backdrop, one more visual element of the film the viewer is drawn into. Hand-picking the people who realistically look as if they belong there and will completely blend into a story is in itself an art form.

Any one of numerous extra casting agencies supply films and television shows with their background players, stand-ins (individuals used to “stand in” for principal actors for the purpose of focusing shots, setting lights, etc. but are not photographed) and photo doubles (individuals who are photographed as substitutes for principal actors, generally in long shots or from angles where faces aren’t clearly seen). Once an agency secures a show, it will assign a staff casting associate to oversee the project.

At any one time, an agency may be handling one to multiple shows, supplying anywhere from a handful of extras to a stadium full. Agency coordinators will meet with members of respective production teams to discuss the number and types of extras needed, as well as the “look” envisioned by the film’s creative team. This is followed by the submission of photos for consideration and a selection process by the director.

Once principal photography begins, the agency receives their “call” the evening before, confirming the number of extras needed and the times and location of where they’re to report. Unfortunately, call time information is always subject to change, so it’s not unusual for the casting coordinator and staff to have to contact and recontact (and sometimes recontact again) the few (or thousands) who are scheduled to work the following day with revised call times.

In addition to lining up new shows, casting and making sure booked extras receive all their necessary instructions and call times, the agency registers thousands of new extras a year. Whether it’s a huge agency or a smaller “boutique” agency, they’re all tremendous hubs of activity. And, many extras casting directors and coordinators also work on-set, away from the office, checking in and wrangling extras during the course of a shoot. Others travel with production units, setting up temporary casting offices on distant locations.

Like many other aspects of the industry, extra casting is exhausting work. You have to love working with people of all personalities, have a great deal of patience, be able to roll with the punches and above all, have that “eye” for placing the right people in the right shows. My friend Bill Dance, who has been an extras casting director for many years and has his own agency, has this advice for those interested in pursuing this career path: “A casting director has to have a real intuitive passion for people. Start off interning or assisting a casting director. If you immerse yourself in the casting process—learning everything you can—the work opportunities will present themselves.”

Continuity

Someone who does continuity is also known as a script supervisor. A script supervisor is a one-person department who works on a set at the epicenter of all that’s going on. This person’s primary job is to match movement, dialogue, props and often wardrobe, hair and makeup from one take to the next and one scene to the next, even though two consecutive scenes may be shot weeks apart from one another. He times each take with a stopwatch, records the type of shot (establishing, two-shot, over-the-shoulder, close-up, etc.), the camera lenses used and takes copious notes for the editor, his “lined” script being the blueprint for editing the show. The script supervisor usually sits next to the camera. He lets the director know how each scene is running time-wise and helps to make sure that each has been properly covered. He runs lines with the actors and often fills in for an actor by reading dialogue from the other side of the camera as another performer is being photographed in a close-up shot (thus allowing the first actor to retire to her dressing room or leave for the day and “get off the clock”).

The script supervisor also generates a daily report and a daily log. The report indicates the shoot day, crew call, first shot of the day, time spent at lunch, first shot after lunch, last shot of the day, camera wrap and scenes, pages setups and minutes completed. This report is submitted to the second assistant director and used in completing the daily production report. The daily log is for the editor, and it’s a record indicating the camera rolls used, scene numbers, take numbers, timing of each take, camera lenses used, page count of each scene shot and a shot description list. Lots of detail, lots of things to keep track of.

To do this job well, you have to have a good eye and a good memory, be extremely detail oriented, organized, good at multitasking and politically adept at dealing with diverse personalities. You should also have a good working knowledge of what everyone does on a set, as you’ll be interacting with many other departments.

The best way to become a script supervisor today is to start by taking a course. Just make sure it’s a reputable school, and get references from past students if possible. You’ll also want to network with other script supervisors, who for the most part, are good about sharing tips.

The hours are long and your work isn’t done at wrap, as you generally still have notes to complete for the editor; but for someone who wants to be in the thick of it and involved with every shot of a film, this is a terrific job.

I wanted to be a script supervisor at one time and a wonderful script supervisor-friend, Lloyd Nelson, let me shadow him on a show he was working on. After he’d finish his notes at the conclusion of each take, he’d quiz me: “On what word did that actor remove his glasses?” “When did he set down his beer mug?” In one exterior scene, an actor was dunked in a water trough, and the next day, he was filmed walking into the building. At that point Lloyd asked, “How wet is he supposed to be?” You really have to pay attention and have this innate ability to take it all in. My career as a script supervisor never panned out, but I always admire those who do it well.

Lloyd has done everything from episodic to several years’ worth of Clint Eastwood features. He started off as an actor and dialogue coach, but eventually wanted something more stable. He’s retired now, but I asked him what his favorite part of the job was. He said he loved having the responsibility associated with a difficult and important job and the prestige that came from knowing he was good at what he did. He loved being right next to the camera and being able to work with top industry talent: the directors, actors, DPs, editors and all the other crew members, many of whom became life-long friends. The worst part was just the fact that he didn’t have his own crew or department. There was no one to help him out, especially when he was just starting and mastering his craft. But master it he did, and then some.

Location Management

A location manager represents an entire film production and is generally the first person the outside world meets. His job is to help realize the director’s artistic vision by finding practical locations where the company can shoot. If what the director has envisioned isn’t available, the location manager often has the formidable task of selling the director on the merits of alternate sites. He has to know what constitutes a suitable location (entailing much more than mere physical appearance) and is able to do so based on his working knowledge of site fees, permits, regulations, restrictions, fire safety, security issues, insurance requirements and whether a specific property can accommodate an entire cast and crew plus extras, vehicles, equipment, a catering tent, etc.

A location manager has to be quite the politician. He must deal with the entire crew, location residents and property owners, their neighbors, film permit officials, film commissioners and representatives of various film, city and government offices. Depending on the circumstances of any one show, that list may include individuals representing railroads, hotels, private businesses, circuses, race tracks, theme and ballparks, schools, etc. His solid relationships, people skills and good reputation may make the difference between getting a last-minute approval on a permit, a date change on a location or the closure of a stretch of highway when needed.

Ever the ambassador, part of his job is to convince dissenting residents and store owners who don’t want a film company shooting in their neighborhood to sign a consent release. He also endeavors to win over nervous residents and property owners who have qualms about having a film crew on their premises. Then, should the crew or any of the equipment being used cause damage to the property or the experience not go as well as the property owner had hoped, it takes a true diplomat to make sure everything is restored—the property as well as the relationship. His objective is to satisfy the property owners (knowing he can call on them again for another show) and make sure they don’t leave the experience with a negative impression of film companies.

He has to be adept at negotiating, have the resources necessary to temporarily close down roads and major highways when necessary, figure out how to get entire film companies into remote shooting locations and be able to rearrange months of planning and permitting on a moment’s notice when the shooting schedule changes.

The location manager spends a good part of the pre-production process in a car on his own or on “scouts” with the director, producer, production designer and first assistant director (and then later on “tech” scouts with various department heads once locations have been selected and secured). He spends more time out and about than in the office, and for some people, that’s just the way they like it. And he takes a lot of photos of various locations to present as possible shooting sites. I’ve known several location managers who, as a result, have evolved into avid still photographers. You have to have a good eye, so you can look at a building, a home, a street, a town, a cityscape, a view and know that it can be shot to look as if it belongs to another place in another time. That same good eye enables you to spot locations that until that time had only resided in the director’s head.

I spoke briefly to my friend Ned Shapiro, who’s one of the best location managers I know. It’s Ned’s feeling that not many location managers start off with this position in mind, but land there nonetheless. For those who might like to pursue it as a career, he suggests starting out as a PA and then seeing if the job appeals to you. He said it takes someone with a lot of patience, a sense of humor and a thick skin. What he loves most about what he does is working out of town occasionally. He loves meeting interesting people and learning how the real world works.

Studio Operations and Administration

My friend Jack Kindberg didn’t start out with the goal of running a major motion picture studio; nor is it a part of the business one would traditionally go to film school to pursue. Jack just fell into it, and for the past several years, he’s been President of Studio Operations and Administration for Sony Pictures Entertainment. He’s been managing film lots for several years now—first the smaller Culver Studios, then both Sony and Culver and now just Sony. He’s good at it and enjoys what he does. So what exactly does he do?

Overseeing approximately 20 different departments that employ somewhere around 250 people, he keeps the studio running efficiently while seeing to the needs of and providing many of the following services to the personnel and productions housed on the lot: stages, offices, screening rooms, equipment, set construction, set dressing and props, set construction, wardrobe, transportation, medical services, food services, an athletic club, a paint shop, etc. In addition to the 250 or so full-time employees, 75 more are brought in as needed, and some departments, such as security and food services, are outsourced. Jack’s team advertises and rents studio facilities to outside productions; they work closely with the community; provide studio tours; host special events; continually implement upgrades to stages, equipment and services and coordinate with the various studio divisions and groups to make sure everyone has what they need to operate.

All studios are different based on their size and whether or not they’re a union lot. When Jack was managing Culver Studios (a much smaller lot), instead of 20 or so departments, they had eight. Instead of a mailroom that employs 30 people, the Culver mailroom employed one person to do the sorting, and someone from each department or production would stop by each day to pick up their own mail. Instead of the 250 vehicles the Sony Transportation Department houses, the Culver lot kept five vehicles. And instead of a permanent studio staff of 250, Culver had around 80. Overall, full-time jobs that involve servicing the studio or producer clients are more secure than the highly sought-after creative or physical production studio positions, and most of these employees work a sensible eight hour-day. Salaries will also vary depending on whether it’s a union lot (and whether employees are union members).

Many of the studio departments are operated by craft employees, such as sound technicians, grips, electricians, etc., who have chosen to work in permanent jobs rather than freelancing on a show-to-show basis. As for those who work directly in operations and administration with Jack, many started out in other studio capacities and worked their way up.

What makes Jack good at what he does? Besides being a terrific manager and team leader, he’s extremely customer service-oriented, understands production needs, is adept at negotiating, eager to help his clients and responds quickly to their problems. He said his job is different every day, and he enjoys meeting new people and watching all the new shows come in. He prides himself on his people skills and on being as fair as possible. I asked him how he handles highly political situations, and he said he tries to get people to understand other perspectives. And his advice for everyone: “Don’t take your work home with you at night.” Because he deals with a wide range of people from top corporate executives to production personnel to PAs, he’s astute, accessible and endeavors to meet everyone’s needs while providing a safe, comfortable work environment for all.

This is rarely a facet of the business people clamor for, but more than anything, it’s because they don’t know much about it. It’s challenging, extremely people-oriented and great for those who enjoy problem-solving. For those who are looking for more security within the industry, it’s one of your safest bets.

New Media

I’m sure you’ve been hearing a lot about new media lately, and you may not quite know what it’s all about. Brian Seth Hurst, Chairman of the Producer’s Guild New Media Council and Governor of the Television Academy’s Interactive Media Peer Group, finds it difficult to describe this burgeoning field in one sentence but says it’s basically the use of digital technology as a means of telling and distributing stories and information. He said new technologies have spurred the creation of so many different platforms in which to deliver content—it’s huge!

Platforms for new media would include interactive television, CDs, the Web, DVDs, wireless devices (PDAs and phones), console games and virtual reality experiences. It would encompass all types of video and arcade games, as well as entertainment-based informational and service-related interactive displays that can be found at museums, amusement parks and shopping centers (often called location-based entertainment, or LBE) and electronic kiosks (booths) that are like ATM machines and can be used for information or entertainment.

Whether it’s using digital technologies to tell stories, educate or market and sell, the jobs in this field would involve DVD producing and authoring, creating program content, visual effects and digital animation, flash animation (for the Internet), interface design and computer programming. And for those interested in marketing, new media is a powerful tool in the advertising and launching of new films, products, businesses or even a cause. Carolyn Miller, author of Digital Storytelling: A Creative Guide to Interactive Entertainment (Focal Press) says this is a creative and fun industry for writers. When I asked her about writing jobs in this field, she used the Internet as just one example, pointing out that writers are needed for story-based serials, games, animated stories, journalistic outlets, online magazines and promotional purposes. She explains that when you write for new media, whether it’s for a video game, the Internet or other platforms, you’re developing characters, writing dialogue and dealing with story structure and plot points in just the same way you would for more traditional venues, though some new skills are also involved. She said some writers take on the larger task of becoming content designers (or “info architects,” as they’re often referred to in informational or training projects), and are involved with the overall thrust of a project, whereas others may just be hired to write chunks of text, dialogue or clues. She said writers are needed for all forms of new media.

If you’d like to learn more about the field of new media, more colleges and universities are offering programs and internships in this field than ever before. And just start researching: check out books and articles, and do a Web search on the topic. I’d also highly recommend Carolyn’s book, Digital Storytelling.

I hope this, as well as the previous chapter, has opened your eyes and started you thinking about the many different career choices within the realm of entertainment. I’ve only touched on a handful, but there are many, many more out there. Take some time to read, ask questions and explore what this business has to offer. Choose some options that fit well with your skills, strengths and interests, and then evaluate what it takes to get into those facets of the industry. Don’t take the first thing that’s offered without knowing what your options are.