——— 2 ———

The Good, the Bad and the Ugly

When someone outside the business asks me what I do and I reply that I work in the film industry, the comments range from “That must be fun!” to “How exciting!” to “That must be sooooo interesting!” to “Which movie stars have you met?” And there’s no doubt that these are some of the same thoughts that prompted many of us to get into the business to begin with. At 19, when I was asked if I wanted to work at a television station, I thought to myself, “Of course I want to, who wouldn’t want to work at a television station?!” All we can think of when we’re starting out in this industry is how lucky we are, because who wouldn’t jump through hoops to land the same opportunity? At the time, however, no one tells us how difficult it’s going to be. And even if they did, we’d be hard pressed to let their warnings dissuade us, because after all, who wouldn’t want to work in this business?

There are good reasons indeed to want to work in this business, as well as reasons not to. This chapter is going to explore both the pros and cons, from my point of view, as well as the views of other working professionals. I’ve decided not to reveal the names of those who have offered opinions, because I don’t want their names and/or titles to influence your take on their comments. Suffice to say they are individuals who work in all aspects of the industry at every career level, from top studio executives, to producers, directors and writers, to actors, agents and managers, to laboratory executives, distributors, production office staff and crew members from various departments.

Since opinions can only be arrived at based on our own personal experiences, you’ll see that some views will differ, yet a common thread runs through many of them. Whether or not you’re already working in this business, these lists will give you much to think about.

The Good News First

• This  business is a world unto itself filled with talented, creative, smart, fascinating, passionate, inspiring people, ideas and projects.   There’s no pill you can take or elixir you can drink that can create  the feeling of exhilaration that comes with becoming an accepted  and contributing member of this universe.
• On  the very first job I had, I immediately noticed that film and TV crews are a close-knit group. It didn’t seem to matter what you did  nor what your race, religion, sexual orientation or personal style  was—everyone was accepted into this pseudo-family unit. It  was pretty cool. I had never been in such a nonjudgmental, classless  environment before. And now, after years of having worked  in many other industry environments, I can’t say they’ve all  been quite as harmonious, but many are, and it’s still cool.
• Making  a movie or TV show can be exciting. There is something uniquely  magical about finding the right script, making the deals and  putting all the people, locations, sets, equipment and details together  and watching a show come together. Whether your contribution  is creative or more in the form of logistics and problem-solving, you’re part of an enormous undertaking; and it’s gratifying  to know your efforts helped to make it happen.
• Each show or project is the beginning of a new adventure brings with it new challenges, new experiences and new skills.
• If you’re a people person, this is the ultimate people business.
• Each show or project will give you access to new contacts, new friends and future opportunities.
• Your work will rarely be boring, and you’ll never be able to complain about it being the same day-in, day-out routine.
• You’ll have opportunities to travel and work with people from all the country, and often, all over the world.
• If you become a member of a union or guild, you’ll be eligible for excellent  health and pension benefits.
• If  you work on a fairly regular basis, once you move beyond entry-level status, you should make a good (if not very comfortable) salary.
• If you’re a team player, there’s no better team to be on than a film crew.

Pros From the Pros

The following are the answers I received to the question, To you, what is the best thing about working in this business?

• “It’s the same feeling I think I’d get from being a novelist orpainter.   It’s the thrill of creating something that will affect someone’s mind or make them smile. It’s also the camaraderie and the good  feelings you get working closely with other people.”
• “Getting to be creative every day and working among creative, enthusiastic, artistic people. Getting paid to work in a collaborative  environment in an effort to do a simple thing as well as possible: tell stories.”
• “The freedom to pick and choose which projects to work on, to work  with a group of talented people all for the purpose of completing  a quality project, celebrating the project’s completion and then  beginning the process all over again, usually with a whole new  group of people.”
• “Starting with a blank piece of paper, which evolves into a script, which evolves into a film for all to watch on a screen. I also love the fact that I don’t have to wear a tie!”
• “The variety of experiences. Each show brings new places, new things you must learn about (like camels, or prison life, or vintage airplanes, or the way people dressed in 1890, etc.). And you might work in places you would never normally even visit (on mountain tops at midnight, in blizzards, out in the open sea, underwater, etc.). You meet and deal with fascinating local people all over the world as well as with very clever crew members who have different outlooks and ways of doing things. Each project allows you to totally immerse yourself in a new world for several months, and there is a great deal of satisfaction when you have successfully completed a project you can be proud of.”
• “The best is meeting new people on new projects, having old friends from past projects, seeing your name in the credits, overcoming the challenges of the job and turning the real world into a movie studio.”
• “The best is the travel. I’ve been to places I would never have gone on my own: six months in Yugoslavia (when it was Yugoslavia); Santa Fe, New Mexico; the back roads of Montana; Georgia; two cruises in the Caribbean; New York City; Hawaii; and yes, even the cornfields of Iowa . . . just to mention a few.”
• “The fun of creating something and seeing it on the screen. Being able to hire people and watch them live their dreams. Knowing that your final product, the movie, allows people to escape into another world even for a short time. To possibly impact people’s lives by making them laugh, cry, be inspired, touched or informed.”
• “This business is Disneyland with danger.”
• “Art is joy . . . and it’s the creativity, camaraderie, amplified emotions and being able to get in touch with my feelings that keeps me energized.”
• “The variety . . . no two days are the same.”
• “The best is the cast and crews we work with. Working intensely on a short-term basis can foster a real lovefest. The work is ardu-ous  and requires a real team effort for all to accomplish. Without the team and the team effort, life would be miserable.”
• “Problem-solving. I enjoy all the details that go into filmmaking and figuring out interesting ways to complete each task.”
• “It’s heritage. Pretty much the same impossible miraculous thing for 100 years, born in theatre, mutated through American ingenuity into the standard worldwide for entertainment.”
• “The union’s insurance and pension plans, always working at different locations and the fact that every day is different.”
• “Meeting like-minded creative people whose talents and enthusiasm inspire me to be the best I can be and allow me to constantly stretch and grow.”
• “Each show gives me the opportunity to improvise, adapt and overcome.”
• “To get to be a part of creating something that influences how people think and feel—possibly for a long time to come. I think the influence that film has on us as a culture is enormous. Also, I just plain love the movies, so getting to be part of making movies is the biggest kick in the world.”
• “The crazy pace and opportunity for anything to come up has made me a tremendously resourceful and confident person. I have the belief that nothing that comes my way is too much to handle or beyond my abilities—I can fix it, find it, hire it, book it, fly it and get it no matter what it is or how crazy it may seem. The best thing is the me I am when I am operating at the top of my game.”

Who wouldn’t want to be part of a world as diverse, creative and exciting as just described above? On the other hand, the following list may curb your enthusiasm.

The Less Glamorous Aspects

• Networking, schmoozing, selling yourself and lining up future jobs is a full-time job in itself that never ends. (You have to keep it up even when working.) It’s hard work, time-consuming, expensive (lunches, event fees, gifts, cards, etc.) and—often–discouraging.
• If  you think you can get by on your talent alone or that you shouldn’t have to dance the dance—you’re going to have a hard go of it.
• When you’re on a show, you’ll be working such long hours and will be away from home so much, your personal life will be close to nonexistent. You may not see friends and family members for months on end. This is tough on relationships.
• If shortly after finishing one show, you don’t have another lined up right away, you may feel that you’ll never work again. One of the nameless individuals who was asked to review the original presentation for this book suggested that I add a description of what he calls post-shoot depression. He wrote, “You get a job, whether it’s your first or forty-first, and you work hard on that shoot. You think everyone is pleased with your performance. The shoot completes and . . . nothing. No job offers waiting for you. None of your contacts have work for you. Production offices don’t return your calls. Or worst of all—the production company begins a new film, and you find out they’ve rehired half of the last crew—but not you. You’d been working 14-hour days on the shoot and suddenly you have nothing to do. You can do everything right, network extensively and still sit for periods without work. It’s depressing. It’s hard. But you have to live through it if you want to make it.” He suggested including this in a chapter called You’re Not Alone. Instead, I call it The No-one’s-Ever-Going-To-Hire-Me-Again Syndrome, and it can be found in Chapter 17 under Show Biz Survival Techniques.
• You may never know from one year to the next how much money you’re going to be making and what you’ll be able to afford. So when you’re working, you’ll need to budget your finances, so there will be money to live on when you’re not working.
• Not knowing when you’ll be landing your next show, you may have trouble scheduling vacations in advance (thus not being able to take advantage of cheaper air fares).
• If you’re not a member of a union or guild and you don’t have a staff position with one company, you won’t have health insurance nor be eligible for a pension.
• You’re also likely to come across those producers and executives who constantly change their minds with no thought as to the hoops others have to jump through to restructure deals and reschedule locations, sets, permits, crew, equipment, vehicles, effects, catering and travel arrangements.
• Working with talent who come with large entourages, substantial perk lists, demands that keep on coming and snits that ensue when other cast members have trailers an inch longer or wider than theirs can often test the patience of a saint.
• People outside of the industry may find it difficult to understand why you can’t hold down a steady job. When you don’t work for one employer, applying for things such as home loans can get complicated.
• You need to be thick-skinned, able to repel rejection and not take disappointments personally.

Cons From the Pros

The following are the answers I received to the question, To you, what is the worst thing about working in this business?

• “The insecurity of not knowing what tomorrow will bring. You can have a tremendous success one day, but then worry about what’s next—when you’ll be able to practice your craft again.”
• “The politics. Because art is so intangible, this industry becomes fertile ground for untalented people, egotism, selfishness and backstabbing. It’s the most disheartening and frustrating part of the business.”
• “This is a business of such ups and downs—when you’re down, you feel as if you’ve fallen off the earth!”
• “Finding your next job.”
• “The competitiveness, rejection, instability, feast or famine factor and feeling as if you’re riding on a razor blade.”
• “The number of hoops and obstacles (i.e., money, politics, etc.) that stand between your initial intention/vision and its final execution. The need for vigilance is huge.”
• “It’s difficult to have a ‘normal’ life, especially to keep a family life. Long absences from spouse, children, family and friends are very common, and the ‘location lifestyle’ is dangerous for marriages and sobriety. Even in town, the long hours and total immersion in work can destroy families or at least make parenting very difficult.”
• “Network interference—the lack of creative freedom afforded writers, producers and directors.”
• “How truly hard it is to get a film made, and the fact that many well-written screenplays never see the light of day.”
• “Dealing with people who forget to leave their egos at the door. People get very attached and emotional. Life is too short. It’s a movie for God’s sake—not life or death. We’re providing fun and entertainment and sometimes forget to have fun in the process.”
• “The brutal hours we’re expected to work is the absolute worst followed by insane screaming directors and penny-pinching producers.”
• “It’s the 24/7 responsibilities that have to be carried through regardless of circumstances, language and cultural barriers . . . the bureaucracy.”
• “Dealing with big egos . . . not just from the executives, but also from their assistants.”
• “The politics and the B.S. If I had wanted to go into politics, I would live in D.C.!”
• “Dealing with unreasonable people who can’t make up their minds and act like spoiled children.”
• Rejection. If you aren’t good at accepting rejection, this business is not for you.”
• “Age discrimination. We all face times when no one seems to want us, and that’s tough. Even if I had all the money I could ever need, not working would still be awful because it means I’m not doing what I love to do.”
• “The lack of vision or concern for more substantial entertainment programming.”
• “How my life is not under my own control. It’s subject to the whims of unions, politics, silly actors . . . oh yes, and did I mention the hours?”
• “Nepotism. You’re not always competing based on skills. Also, the plethora of producers and executives who don’t understand how a production really works, only how to put the financing together.”
• “The worn down feeling you get when you’ve been under constant stress and the immediate urgency of everything!”
• “Runaway production—the lack of work for the workers who make the films and series.”
• “The worst is the fact that when I turned 50, nobody wanted to hire me anymore. Doctors practice into their 70s, lawyers even longer. Some of our statesmen are nearing 100. What’s wrong here?”
• “I don’t like the short fuse some people have, because as it is, we’re always dealing with stress and pressure.”
• “The business is very cliquish—like in high school, and sometimes I actually feel that I’m dealing with people on the emotional level of a high schooler.”
• “Dealing with people who lie to you: ‘Yes, I’ve got the money,’ ‘Yes, the actor can read it’ (when the actor’s never even seen it), etc.”
• “The delays—how long everything takes.”
• “The amount of energy spent versus the payback. If you’re looking for some external (praise, raise, respect) as a result of the time you put in, then you’re in for some sad times.
• “Learning the ropes of who is who, who does what and who is related to who is tough and rough. Once you learn it, it doesn’t get easier, but at least you know where the mines are and how to step around them.”
• “The worst aspect is working on a project and having noncreative people (you can read that as ‘executives’ who think they’re creative geniuses) demanding changes that go completely against the continuity of the project. Many times they want to make  changes only so they can stroke their own egos.The battles and fights are worth it if the project survives and stays true to the creative vision; but sometimes, decisions are made that make you want to remove your name from the credits.”

It’s interesting that four different people I surveyed had the same answers to both questions. They each said that the best and worst part of being in this business is the people!

You’ll note that the contrast between the answers to both questions clearly highlight the overwhelming ups and extreme downs of working in the industry: it’s great but frustrating, exciting but scary, fun but tough. You’ll also notice that the same answer can be expressed in different ways; some simply put and others, profoundly worded. You should remember the comments that resonate the most and use them to help you evaluate your own choices.

As In Life, This Industry Is Not Fair

No one ever said that being in this business would be easy; but if you didn’t already know this, let me be the first to tell you that as in life (in general), it isn’t always fair either.

• It’s not fair that some wonderfully brilliant scripts remain lost among stacks of screenplays lining the shelves, floors and hallways of agencies, production company development offices and studios while yet one more inarticulate, blow-em-up, carchasing, body-slamming, overly graphic, foul-languaged, offensive, loud, violent picture is greenlit and produced for $80 million.
• It’s not fair that a more qualified person loses out on a job to a less qualified individual.
• It’s not fair that talent is often ignored or just isn’t always enough.
• It’s not fair that some people are expected to work 16 hours a day without benefits while others receive overtime, golden time, meal penalty, health insurance and a pension.
• It’s not fair that the person who gets to make the big decisions and makes the big paycheck is not always the one most qualified for the job.
• It’s not fair that some people make half as much as others doing the same job.
• It’s not fair that you can work in this business for 30 years, but if you’re not in a union, you’ll retire without a pension or health benefits.
• It’s not fair that one person is given a break when a more deserving one is ignored.

The answer as to why any one of these examples is unfair can be complicated and varied, depending on the exact circumstances, but suffice to say that not everyone in this business plays fairly. Politics play heavily in this game, as does nepotism, poor decisions and a certain acceptance of bad behavior that shouldn’t be tolerated, but is. To make things worse, when these situations occur, there’s little we can usually do about it.

I can’t tell you how many times I’ve heard friends and co-workers exclaim, “It just isn’t fair!” after losing out on an opportunity they deserved, nor how many times I had uttered those words myself. But I no longer expect an obvious or just outcome to every situation nor vehemently protest the injustice of a situation I have no control over. And while I value working with good people who are honest, unfairness rarely surprises me anymore. Cynical? A little. Realistic? Very. In this industry, you can’t count on “fair.”