If this is your first visit to HOLLYWOOD DRIVE, be aware that no such street actually exists. Nor does the image of Hollywood many of us still have in our minds. Yes, the city is still here, it has a terrific Chamber of Commerce, celebrities are still getting stars on the famous Walk of Fame, the Dolby Theatre on Hollywood and Highland hosts the Academy Awards each year, the iconic Musso & Frank Grill (which opened in 1919) is still open, tourists are still trekking up narrow, winding hills to get as close to the legendary Hollywood sign as they can, and a Star Wars premiere can shut down three city blocks for three days. But more than anything, Hollywood is a state of mind—a vision, a goal, a dream. It’s the dream of selling a screenplay, getting a SAG-AFTRA card, producing a film, becoming a cinematographer, getting your film into Sundance, becoming a resident of tinseltown. And the “drive” is what’s needed to achieve your goal. It’s the passion, the persistence, the tenacity it takes to make your dream a reality. My sincere hope is that this book will give you the tools, the motivation, the confidence and the drive you need to transport you to the Hollywood of your dreams.

This book is based on the class I was given the opportunity to create and have been teaching almost every summer at USC’s School of Cinematic Arts since 1999. After many years as an industry professional and a short stint of teaching a few intensive one-week production classes at the International Film & TV Workshops in Rockport, Maine (only to discover how much I love teaching), I was inspired to create a new course that I could teach closer to home—somewhere in the Los Angeles area. I was lucky enough to meet Duke Underwood, the person who had started and at that time ran the summer program at USC—the person willing to give me a chance. After I pitched my idea for a new course, I’ll never forget Duke telling me to: “Write a course description we can put in the catalog, and if people sign up, you’ve got a class.” I had 20 students the first year, and it was one of the most memorable experiences of my career. Teaching the class all these years later is still one of the most meaningful and rewarding things I do and something I look forward to doing all year long.

Having worked on films and TV shows for years, I was acutely aware of how totally unprepared graduating film school students and young people new to the industry were to life in the “reel” world. While they had learned “craft” at school—how to write a script, direct a scene, edit, operate a camera, write script coverage—they had no idea what they were about to walk into upon landing their first jobs. I saw the need to prepare them for what to expect and what would be expected of them. I saw too many newbies walk in with an over-inflated sense of entitlement, or to the opposite extreme, total bewilderment—several becoming totally disillusioned, crashing and burning before they truly had a chance to get started. I wanted to warn them all that it wasn’t their talent that would get them noticed right off the bat—but their attitude. I wanted to teach them how to navigate the industry, become indispensable, figure out what made them special and memorable, write a great resume and ace an interview, build a solid network, develop a thick skin, manage expectations as well as show biz politics and figure out where they best fit into this crazy business. Being both a working professional and an educator and residing on both sides of the fence, I see the difference every day between those who know what to expect, understand how the industry works and walk in with the right attitude—and those who don’t.

No matter how many times I’ve taught this class, guest lectured at various colleges and universities, held one-day workshops or four-hour seminars, the response from the students rarely changes. “No one’s ever told us this before!” “This is the most practical class I’ve ever taken.” “I did just what you told me, and I got the job!” And I can’t tell you how many industry professionals have told me that they wished they could have taken a class like this when they were going to school. I wish I could have taken a class like this when I was starting out.

The success of the class—and the subsequent book, as well as the excitement and success of my students—has only fueled my desire to keep doing this, to help others realize their dreams and goals, because real-world skills and tools are so badly needed, make such a big difference and are so tremendously appreciated.

When the first edition of HOLLYWOOD DRIVE came out in 2005, I thought I was done. I couldn’t imagine that a book dispensing sound, practical advice on breaking into the industry and moving your career to the next level would ever need to be updated. Wrong! And while I’ve known for a long time that the book needed to be revised, it’s taken me a while to get to it. During that time, the entertainment industry and how we establish ourselves within it has continued to evolve—just as I have. I’m happy to report though that I’ve managed to remain firmly seated on the roller coaster ride that’s been my career, perpetually learning while riding out the highs, the lows and the scary curves that have come my way. And as I continue to collaborate with new people, face new challenges and continue to teach, I am forever being inspired by and learning from my colleagues and students alike.

After the first edition was published, I took my show on the road every chance I could. For a while, my pal (long-time industry veteran and executive director of the University of Texas’ Semester in Los Angeles Program) Phil Nemy and I did weekend workshops together called “What They Don’t Teach You in Film School.” We had a great time, but the partnership didn’t last as long as we had hoped due to family health issues I was dealing with at the time. And once the crisis had passed, I needed to go back to work. But eventually, when I found myself in between shows, I lectured and/or did workshops at Quinnipiac University, Boston University, Curry College, the University of Alabama, Chapman University, Cal State Fullerton, The Art Institute of California and at scores of other schools and for several industry organizations. I ran a workshop for 300 women in Griffith Park for an organization called Women Helping Women in Entertainment, was flown to Kauai to do a one-day class in paradise and have spoken to many film and media students from all over the country when their classes were flown to Los Angeles for a week of touring production facilities and meeting industry professionals. I even did a series of my own one-day workshops, which was not only great fun, but a terrific way to earn extra money when I was in between jobs.

Within the past 12 years, when I wasn’t teaching or guest lecturing, I continued to work on a few movies, one that took me to Hawaii for five months and one to Louisiana for three. In 2008, I was excited beyond belief to land a job at DreamWorks, only to be laid-off less than a year later when the company downsized. I was temporarily hired as an expert witness/ consultant by a law firm working on a rather large case (that was interesting!) and spent five months working as a consultant at Entertainment Partners in their Incentives division (that was also pretty interesting). In 2012, I found myself working as a consultant at Legendary Pictures, which was another one of those companies where I had hoped to stay for a while. But alas, the job lasted just less than a year. Weary of bouncing from job to job, I applied for the job of deputy director of the California Film Commission when I learned of the opening. And long story short, I got the job! Except for teaching, I never thought I’d leave production, but I’m glad I have. I now work for the State of California in service of California production, and I love my job. It’s different than anything I’ve ever done before. I appreciate the terrific people I work with, the steady paycheck and the fact that all my skills are being put to good use. And as I’m playing in an entirely new arena, there is never a shortage of new things to learn, new people to meet and new experiences to have.

From where I’m now sitting, I’ve got a pretty good view of how the industry has been changing. The latest buzz words are “incentives,” “diversity,” and both “VR” (virtual reality) and “AR” (augmented reality). We now live in an on-demand world that’s been evolving to include more distribution outlets (“platforms”) and more programming (“content”) than anyone could ever have the time to watch—literally, something for everyone with alternative programming giving way to niche channels and shows. My head spins just thinking about the existence and rise of YouTube celebrities (who would have known?), some of whom are now transitioning to long-form TV, the growing popularity of Internet content, the availability of streaming commercial-free programming, the phenomenon of binge viewing, the development of hybrid companies that create branded content and the changing technology that allows filmmakers the ability to shoot their films with iPhones.

These days, most resumes are being submitted online and many are being scanned by Applicant Tracking Systems (ATS) picking up on keywords— no longer read by humans who can read between the lines (and around keywords). Having an effective Linkedin profile, a personal brand and a positive online presence is the order of the day for job-seekers. And anyone who wants to attract a talent agent now needs to be a savvy social media user, as many agents won’t consider taking on new clients unless they already have 10–30,000 followers on Instagram. Decisions are now routinely being made to represent, to fund, to distribute, to produce or to buy based on the number of followers, subscribers or likes one can generate.

For years now, tax incentives have dictated where content is being created, and lucrative tax credits have given rise to thriving film centers in states such as Georgia and Louisiana. You no longer have to live in Los Angeles or New York to break into the industry. The big studios and agencies are still headquartered here, and it’s where a lot of the deals are still being made, but if you want to be part of a crew, you’re apt to do just as well these days in London, Budapest or Vancouver. While checking out my Facebook page lately, I found post after post from friends working on location. They’ve been posting from New Orleans, Iceland, Atlanta, Vancouver, China and Cuba. One of my friends was on a show that has taken her to Hawaii, Australia and Vietnam. Another recently spent several months in Krakow, and I always know people working in the UK. Between lucrative worldwide incentives as well as more production partnerships with other countries, this has (more than ever) become a global industry. (See Chapter 8 for more on incentives.)

Incentives are one of the factors that have created substantially more work for production accountants. And the strange thing is that while accounting offices are getting bigger (because of incentives, having to work in multiple currencies and often having to track the film’s environmental footprint) production offices are getting smaller as more and more are operating paperless.

When asked what’s changed the most in the past 10–12 years, half the people I posed the question to said that more than ever, the industry is incentive-driven. And an equal number proclaim that it’s technology-driven. Both have enormously influenced the industry in the past several years, and I expect the trend will continue. In fact, just in the time it’s taken me to finish this new edition, I’ve had to update sections I wrote just six months ago, because of how rapidly changes are occurring.

Newer technologies have produced grander visual effects and more advanced motion capture software, previsualization software, virtual production and casting offices, software to handle asset management and workflow systems, VR (virtual reality) production, AR (augmented reality) . . . and the list goes on. A lot of the old business models have been thrown out the window. You can still work within the system, but you have more choices now. There’s plenty of room to work outside of the system or even create your own system. Technology has also given way to the accessibility and affordability of digital cameras and editing software, allowing anyone with a keen desire and modest budget to create their own content anywhere. And with the abundance of new platforms, channels, networks and worldwide film festivals—there are more ways than ever for content to be exhibited. Innovations are almost a daily occurrence, and more than once I’ve heard industry professionals profess that it’s like “the wild west!”

When I think of how the industry has changed since the first edition of this book was published, it’s hard to comprehend what the landscape may look like 10 years from now. But what hasn’t changed is that the industry is still built on relationships: most jobs come from the people who know and like you or by referrals, good pitching skills are still vital (whether you’re selling yourself or a project), having the right attitude and a large dose of passion will propel your career and being memorable will allow you to stand out among the competition.

Back when I was in between jobs and my Plan B was to do more lecturing throughout the country and continue to hold my own one-day workshops, I did what I could to increase awareness of my Hollywood Drive brand. My former student and dear friend Robbie Szelei created a website for me and Robbie’s friend Matthais Hilse (who quickly became a friend as well) created a new logo and brochure for me. I produced a newsletter and a blog. And as several of my blog posts relate to the topics encompassed in this book, I have peppered some of them throughout the new edition.

If you’re looking for books on breaking into the industry, you’ll find more than ever before. Many however are focused on specific fields or jobs, such as working on a set, in development or at an agency; landing work as an actor; becoming a producer; selling a screenplay; and so on. What I’ve tried to do with this book is to make it broad enough to be beneficial to anyone about to get into any facet of the industry and to those already in the business who could use some help moving their careers to the next level. I’ve included a lot of personal experiences and the opinions and wisdom of even more industry professionals than I interviewed for the first edition—people from all facets of the industry and at varying career levels. Because everyone’s path is unique and their experiences are all different—I wanted to be able to share a wider range of advice this time around. I don’t have all the answers. No one does. But hopefully sections of this book will resonate with you— some of the advice and recommendations will stick and prove helpful as you take your own journey through this crazy, exciting and wonderful industry.

I’d like to take my hat off to no one person in particular, but to all the authors out there who manage to write books while holding down full-time jobs and juggling other obligations. I had never had to do this before and had no idea how challenging it would be. All my other books were written while I was freelancing and in between full-time jobs, and the process was demanding enough when having to accommodate personal obligations and part-time teaching. Add a full-time job to the equation this time, and all I can do is apologize to my publisher for taking so long to finish this new edition. Special thanks to editor Simon Jacobs for his understanding and patience and for being so terrific to work with.

A million thanks to Amy Lemisch, California’s amazing film commissioner, who fights each day to make things better for filmmakers in the golden state and whose humility, hard work and big heart makes me proud to be part of her team. I thank her for all she’s taught me, for her continuing support, for heading the CFC with such thoughtfulness and respect and for showing us every day that quality of life matters really do matter.

I would like to thank my friends and family for being so patient and understanding as I slowly chipped away at this while unable to join them on so many different occasions. And to my Saturday Morning Breakfast Group—thanks not only for your understanding of my long absences, but for your constant support and friendship.

I’d like to acknowledge my friends and colleagues who have given up their time to come to USC to guest speak at my class and/or have taken general information meetings with my students and have generously shared their experiences and wisdom. To (in alphabetical order) Alex Acosta, Cindy Baer, Matt Birch, Rita Cahill, Michael Coscia, Bill Dance, Mike Fantasia, Ron Frankel, Andy Fraser, Sheri Galloway, Emily Grace, Jeffrey Gund, Mark Hansson, Marc Hernandez, Mark Indig, Matthew Irving, Peter Kaufman, Jerry Ketcham, Larry Laboe, Graham Ludlow, Ron Lynch, Suzanne Lyons, Guy Magar, Dan Margules, Stephen Marinaccio, Eric McLeod, Betsy Megel, Carolyn Miller, Katrina Nahikian, Mike Neale, Phil Nemy, Ginny Nugent, John Pisani, Richard Prince, Jake Rice, Shay Ross, Ira Shuman, Susan Spohr-Orr, Mylan Stepanovich, Peter Stone, LeeAnn Stonebreaker, Jerram Swartz, Ty Warren, Tracy Weisert and Andy Weltman. I’d also like to acknowledge former students Stuart Altman and Milan Chakraborty, who have gone on to their own successful careers and come by when they can to share their stories, answer questions and dole out sage advice. I can’t thank you all enough for what you have taught my students and me, for your inspiration, for letting me share you with my students and for continuously proving the value of strong industry relationships.

To Duke Underwood (wherever you are)—thank you for giving me the opportunity to create and teach this class and for helping me make it what it is today, to David Weitzner for re-hiring me each summer and to Ty Strickler for always having my back.

To my friends and colleagues who have made themselves available to help with this book and have generously answered questions, reviewed material, shared their knowledge and advice . . . thank you so much (in alphabetical order): Nick Abdo, Stuart Altman, Cindy Baer, Dustin Bernard, Steven Bernstein, Matt Birch, Sean Byrnes, Joe Chianese, Robin Citrin, Michael Conway, Michael Coscia, Jerome Courshon, Bill Dance, Erik Deutsch, Susan Dukow, Terry Edinger, Jenna Edwards, Mike Fantasia, Shawn Gillespie, Jeff Gund, Heather Hale, Mark Hansson, Marc Hernandez, Mark Indig, Matt Kutcher, Larry Laboe, Graham Ludlow, Suzanne Lyons, Stephen Marinaccio, Cory McCrum, Mimi McGreal, Betsy Megel, Solly Mirell, Eric Mofford, Missy Moyer, Katrina Nahikian, Carolyn Napp, Ginny Nugent, Victoria Paul, David Phelps, Cindy Quan, Jonathan Sanger, Ira Shuman, Jessica Spinks, Mylan Stepanovich, Susan Sullivan, Robbie Szelei, Tom Udell, Vivian VanLier, Tracy Weisert, Andy Weltman, Michael Werner and Loren Yaconelli.

Thanks once again to Gordon Thomas, without whom this book wouldn’t have had such a great title, and much gratitude to Matthias Hilse for the lovely cover design.

To Tina Jones, Fred Leach, David Bertrand and Michael Coscia—thanks a million for your help with the research.

And to my students: those of all ages and backgrounds who come from all over the world to take classes at USC each summer, those who took one of my workshops or casually became someone I’ve mentored. Without you, this book would not have been written. An especially heartfelt appreciation to those who have kept in touch, have volunteered to help out at California Film Commission events and/or have helped me with personal projects, and those who have become dear friends and hold special places in my heart.