HAVING WHAT IT TAKES

To succeed in this business, being smart, talented, creative and skilled in a particular craft (or two, or three) is not enough. You have to be special, to stand out, to be willing to sell yourself over and over again, to have the right attitude, temperament and personality; to be willing to play the game and relentlessly do what it takes—not only to succeed, but to simply hang in there and survive.

Wanting “it” badly enough, truly believing it’s going to happen, imagining yourself in the job of your dreams and counting on the power of positive thinking will help, but it’s not nearly enough to get you there. You’ll need to develop a thick skin, some major chutzpah and be ready to kick major butt. Only the most motivated, determined, assertive, ambitious, ballsy and tenacious need apply. You’ll want to develop strong industry relationships, know how the business works, know how to get your foot in doors and how to get your name out there. You can’t be lazy or complacent, and you must daringly venture far from the security of your comfort zone. You have to possess an abundance of passion, drive, enthusiasm, perseverance, patience, energy and confidence. You have to want it so badly you can taste it. You have to love this business so much, you can’t for one nanosecond imagine yourself doing anything else.

REALITY STINGS

Yes, many do become successful, famous and wealthy, but it’s crowded at the top of that ladder. There’s no guarantee you’ll reach the top of that much sought-after pinnacle, and if you do, that you’ll be able to stay there. And lest you think once you’re working in this industry, you’ll have a clear shot to easy street—think again. It’s not always so easy!

The competition is brutal, and the demand for jobs is enormous. For every opening, the line of people vying for that position is out the door and down the block (and sometimes, around the corner). Legions of the newly trained and educated, as well as individuals who have never been to film school but have always dreamed of getting into the industry, flood into film centers (primarily Los Angeles) every day. Linda Buzzell, author of How To Make It in Hollywood (HarperPerennial) confers by stating: “The entertainment industry is now more ruthlessly competitive than ever. The world’s best and brightest in every job category—performers, directors, executives, technicians —are flooding into Hollywood in ever-increasing numbers.” Suffice to say, the demand for entertainment jobs far outweighs the supply.

Knowing what you’re in for is the only way you’re going to be able to decide if you have what it takes to even give it a good try. And if this is to become your chosen field, you’ll want to walk into it with your eyes wide open, armed with the tools you’ll need to give yourself a good, fighting chance.

ATTEND FILM SCHOOL OR JUMP RIGHT IN?

This is a question I’m often asked, and there is no right or wrong answer. I never attended film school but can see the advantages gained by those who have. Can you make it big without film school? Absolutely. Can you go to film school and then not succeed in the biz? Absolutely. This is a very personal choice.

Film school can be quite costly, but it provides a broad, well-rounded understanding of the industry, as it focuses on film history and theory as well as the teaching of many different skills and evolving technologies. Students generally walk away from school having learned at least a modicum of writing, producing, directing, acting, editing, cinematography, set design and so forth. It’s where you learn the ropes, learn about the equipment and make your own film. And making your own films while in school is great training. Many a student film has won acclaim at film festivals and/or other competitions, some managing to attract the attention of distributors, studio bigwigs and agents. In addition to or instead of a film, students also often walk away from school with a terrific script (or two)—another formidable calling card with which to start their careers.

Networking is another advantage to film school, because after graduation, individuals in a position to do so may help, recommend or hire their former classmates whenever possible. Many colleges and universities also offer outstanding internship programs and job placement services. And on-going support frequently comes in the form of extremely active and helpful alumni associations.

Today, in addition to entertainment attorneys, many top industry professionals hold law degrees, as opportunities do increase for those film/tv/ media/communications majors who opt for even further education.

On the other hand, while a film school education generally proves beneficial to those who want to write, produce and direct, it may not be as practical for someone whose career goal is to become a transportation coordinator, a special effects coordinator or a location manager. An advanced education may not be as necessary for someone wanting to be a casting director, script supervisor, production coordinator, stunt coordinator or key grip as it is to someone wishing to be an editor, cinematographer or production designer.

If you’re still in the “contemplating” stage, consider going to one of the fine schools in Los Angeles or New York. You’ll get so much more bang for your buck learning your trade in a city that has a large show biz community. You can take advantage of the many networking organizations, seminars, trade shows and other industry-related events L.A. and New York have to offer. Through your school, you’ll have access to internships with major studios and production companies, which will be advantageous to have on your resume when entering the job market. You’ll be exposed to the business and meeting people who work in the business, so you can start building a solid network for yourself before you ever graduate.

If it’s not practical for you to go to school in Los Angeles, your next best option is to attend one of the many universities and colleges now offering “a semester in L.A.”—classes and an internship or just an internship. Some of the schools that offer these programs include the University of Texas at Austin; Boston, Belmont, Vanderbilt, Syracuse and Carnegie Mellon universities; Curry, Emerson and Ithaca colleges and the New York Film Academy.

A film degree will provide you with a tremendous learning experience, and while it may enable you to make better connections, understand more or move up faster, it’s no guarantee. Once you enter the “reel” world, few potential employers are going to care where you went to school. They’re going to care more about your attitude, work ethic and willingness to give it your all than what your diploma looks like. Industry veterans also understand that as much as film school graduates think they know, there’s still a level of expertise that can only be attained by way of practical experience. So unless your first job is that of making your own movie, you’ve landed a great first position by way of nepotism or a law degree has earned you a junior executive slot—plan to start at the bottom and pay your dues. Check your ego in at the door and expect to be treated as any other entry-level employee—whether you’ve been to film school or not.

As advantageous as a film school education can be, I’ve seen individuals graduate with such a keen sense of entitlement, or such unrealistic expectations or ego-driven attitudes, they often crash and burn without ever reaching their destinations. I’ve witnessed other film school grads who are incredibly talented but fail to establish themselves because of their deficiency in networking and/or political skills.

Then there are those who, like me, never attended film school. I landed in the business by accident, and once there, never wanted to leave. Some don’t attend because they can’t afford to and still others are too anxious to wait a moment longer than necessary to jump right in and learn as they go. While a part of me has always missed not having had the more well-rounded education and in-depth exposure to aspects of the industry beyond my areas of expertise, there have always been opportunities to continue learning. Extension and short-term evening courses, seminars and books are plentiful to anyone wishing to take advantage of them. For those of us in production especially, there are vendors who offer learning opportunities and tours of their facilities, while smaller vendors, upon request, are generally quite amenable to educating both customers and potential customers about their equipment and services on a more one-on-one basis. I’ve also learned a lot just by asking co-workers to explain how they’ve achieved or are planning to achieve a certain shot, a design, a mood, a sequence, an effect, a look or a scene.

For me, my best education has always been in the doing. Each job, each show has been an education in itself and an opportunity to continue learning.

MAKING COFFEE INSTEAD OF MOVIES

One of the biggest misconceptions people have upon graduating film school or just deciding to get into the entertainment field is that because they are bright, talented and creative and may know how to stage a scene, operate a camera or edit a montage, they should be able to land a job as a producer, director, cinematographer, editor, production designer or some other notable position, and that it shouldn’t take longer than six months to a year to achieve this worthy goal. Sometimes it happens that way, but not often. No matter how incredibly talented you are, what school you graduated from and how many student films you’ve made—unless you’re off making your own films, you’ll most likely have to start at an entry-level position and work your way up—a process that may take longer than you anticipate. Your entry-level position will most likely be that of someone’s assistant or apprentice, a receptionist, a production assistant (PA) or a mailroom clerk. And as menial as the job may appear or feel or be, think of it as the first step toward where you want to go—a means to an end. It’s fairly obvious that most entry-level employees are way, way, overqualified for washing coffee cups, pushing mail carts, making deliveries and photocopying scripts; and while you might find this work ego-deflating, remember that many of the most successful people in this business started this way, having learned from the bottom up.

I’ve seen my share of PAs who start their first show by walking in with such an overblown opinion of themselves and their talent, they’re offended when asked to file or make coffee. A very well-established producer I know told me when interviewing candidates for an office staff job, a young man had made a specific point of telling him he didn’t make coffee. The producer told the candidate if he himself could make coffee, his entire staff would be expected to do so as well. He told the young man if he wasn’t willing to pitch in and do whatever it took to keep the production office running smoothly, he wouldn’t be considered for the job.

The trick is to be the very best PA, runner, receptionist, apprentice or assistant that ever existed. Short of being totally abused or exploited, don’t whine or groan when asked to do something you don’t want to do. Accept tasks willingly. No one is asking you to do anything just to make your life miserable. If it has to be done and falls within your sphere of responsibility, you don’t have much choice. You’re there as support staff, and your job is to provide the support, whatever that entails. Don’t complain. Everyone is busy, and no one wants to hear it. Be a pleasure to have around; be a team player; and if you have any extra time, volunteer to help others with their work. Everyone will agree that you’re wonderful, and they’ll all want to work with you again. And in time, your talent and abilities will be recognized, and you’ll have the opportunity to move up.

You’ll never stand out, or truly “make it,” unless you’re willing to put in the extra effort, to keep learning, to perfect your craft and to keep your ego in check (at least at the beginning of your career; hopefully, always). You can’t assume anything, much less that you’ll be instantly discovered. If you are—great! What a nice surprise that’ll be. But those opportunities come along rarely.

Every job you’ll ever have, from the very bottom on up, is an opportunity to learn, cultivate skills and relationships and soak up valuable information from everyone around you. Each new experience will become part of your continuing education, and how well you do will more often than not depend on the effort you’re willing to invest in your future.

Be prepared to pay your dues—to start at the bottom and work your way up. Give yourself time to learn, to learn how to learn more, to network and to gain experience. This priceless on-the-job training will make you better at whatever it is you ultimately end up doing.

HOLLYWOOD MEANS BUSINESS—KNOW WHY YOU’RE HERE

For most of us, getting into this industry is a dream come true. But not everyone makes it, and you have to know when it’s not right for you, in spite of your dreams. Honestly ask yourself:

• Can I handle the instability?

• Can I handle the politics?

• Am I up for the constant networking?

• Is my skin thick enough?

• Can I live this lifestyle?

• Do I have the endurance to work extremely long hours (while under constant pressure)?

• Can I deal with extreme personalities—other people’s tempers and egos?

• Do I mind giving up time with family and friends?

• Can I handle extremes?

• Can I handle the waiting and not knowing what’s to come next?

• Am I willing to play the game?

• Am I willing to boldly venture outside of my comfort zone?

• Am I up for this roller coaster ride?

Several years ago, I heard that one of the major studios had an opening for a production executive, and I wanted to apply. A friend who had worked there for quite some time, however, flat out told me not to. She said I wouldn’t be happy there, the politics were vicious, and she didn’t think I had the temperament to survive that environment. Her exact words were, “they’ll chew you up and spit you out.” At the time, I wasn’t quite sure what that said about me, but since my friend was fairly intuitive, I took her advice and didn’t apply for the job. It took me some time, however, to appreciate her wisdom, and she wasn’t the last to suggest I might not be “shark-like” enough to swim in this ocean.

Not all studios, production companies or agencies, however, foster that type of environment, so it became apparent that I had to find the right fit for myself—knowing which companies I wanted to work for and which people I wanted to work with.

There’s such a large variety of entertainment-related jobs out there, and they all require different types of personalities, temperaments and thresholds from their employees. So not only do you have to decide if this industry is right for you, it’s also a question of finding the right fit within the industry. Each situation, company, job and show is different; and obviously, I’ve been able to find people to work for and with who don’t treat office politics as an Olympic sport. Once you have a good sense of yourself, what you have to offer, where your boundaries lie and what you’re capable of, you’re well on your way to establishing a career for yourself.

Having a good sense of yourself is a great start, but know, going in, why you’re choosing to accept any one particular job. Whether you’re making a lot of money or working for free, working at a dream job or starting in a mailroom, working with a great team of people or for a screamer, working reasonable hours or 18 hours a day, being appreciated or working for people who don’t know you exist—it doesn’t matter, as long as you’re getting something from each and every job you take. It could be the experience, the fact that you’ll move one step closer to your goal, the chance to move into a better position, the opportunity to learn, the screen credit, the opportunity to build your resume, the chance to make valuable contacts, the money, the prospect of working with a certain actor or traveling to a particular location, the opportunity to work with a producer or director you admire, the pride of working on a meaningful project or just for the fun of it. It could be for more than one reason, but understand why you’re there and what the payoff will be for you.

I once worked on a project that, up front, seemed fairly straightforward. It was a low-budget ski movie that was shot in Squaw Valley, on the north shore of Lake Tahoe. Our luck, it just happened to be the worst winter that area had experienced in over 100 years. There were blizzards and white-outs, and the weather changed so often, we couldn’t stick to our schedule for more than a half-day at a time. We were supposed to have two units shooting concurrently, but every day it was hit or miss with the weather and our schedule. On more than one occasion, our crew became stranded out in storms and white-outs. Our office trailer was parked next to and tied-in electrically to the local ice arena (where we stored much of our gear), and one day, the roof of the arena collapsed from the weight of the snow. The trailer shook as if we were having an earthquake, so we grabbed up a few essentials and evacuated the area for a few days, quickly establishing a new office in one of our rented condos (without most of our gear and paperwork). Then early one morning, while blasts were being set off in an effort to avoid avalanches, a piece of shrapnel flew through our trailer, barely missing the face of one of our staff members. The night before we started shooting, our leading lady became ill and couldn’t work the next day. The snow was so high one morning, some of us couldn’t get out of our front doors. We were almost evicted from the hotel, because one of the actors brought a dog that created havoc. The topper was a beautiful private home where we shot for three nights. It took all the charm the location manager could muster to convince the reluctant owner to let us shoot there. When she finally agreed, he promised that we’d take extra safety precautions. We even bought brand new white socks for everyone on the crew to wear, so they could take off their shoes when they got there. We covered everything not being used with special tarps and laid floorboard out wherever possible. Unfortunately, there was a short in the equipment one night and sparks started flying. Our sparks burned holes in imported rugs and custom-made cabinets; and all in all, we created about $40,000-worth of damage to our horrified homeowner’s pride and joy.

While we seemed to experience at least one catastrophe a day, we managed to keep shooting. But every night, I’d drag myself back to my room after working progressively longer days, getting less sleep and having to solve more problems. One night in particular, while in a very sleep-deprived state of mind (feeling as if the weight of the world rested on my shoulders), I questioned why I was doing this to myself. Was it for the money? I wasn’t making much at all. Was it for the privilege of working on this particular movie? No. Was it for the appreciation and the accolades I was receiving for my part in helping to keep everything running in light of our sequential run of disasters? No. There was no time for that. The entire production team was so concerned about getting the picture finished, we were all pretty much in the same boat, and everyone was tense and tired. After some agonizing thought, though, I finally decided I was doing it for myself, to prove that I could. I realized that in spite of my extreme weariness, this was something I was good at. My revelation included the fact that I no longer had to sell myself short or doubt my abilities. And since that show, I’ve always had to have at least one good reason for taking any show or job.

It’s a toss-up as to which was a more difficult show for me—that small ski movie or Titanic. Titanic was difficult for an entirely different list of reasons, the least of which were the excruciatingly long hours, the political atmosphere of the production, the extreme personalities I worked with and the overwhelming demands of the show. While working on it, I hoped for months on end that someone else would call to offer me another job so I could quit, but it never happened. It was a time when I needed the good paycheck I was earning every week—every week for 15 months. I stayed on the film because of the money. It was as simple as that. But as it turned out, I was very glad I did, and many good things have since come from it.

Just as you should understand why you’re taking any particular job, you should have a broader understanding of why you’ve chosen this business to begin with. You know (or should have gathered from this chapter alone) how difficult it can be. And no one wants to work that hard at succeeding; work that hard at any job; have to deal with job instability, rejection, constant challenges and difficult people unless they have a very good reason. What’s your reason? Do you truly love this business? Do you find it exciting? Is it the potential for money, awards and fame? Has this been your life-long dream? Is this the form of artistic expression you’ve chosen for yourself? Do you thrive on constantly changing work environments? Would you feel successful if you could just make a decent living while working in an industry you love?

You’re the only one who can answer the question as to why you’ve chosen this profession, and it doesn’t matter why, as long as you know and understand the answer. Throughout your entire career, people will ask you why you decided to get into this crazy business; and it’s the passion and conviction of your answer that’s going to keep you motivated and help you succeed. Success often comes to those merely because they never give up on their dreams and goals. And constantly reminding yourself of why you’re in this business could very well carry you the distance. See Chapter 24 for more on how to remember why you got into this business to begin with.

What makes this business even more random is that there is no direct path to success. There’s no telling how long it’s going to take to get from Point A to Point B, and everyone arrives via a different direction. Not only that, but if you’re not getting to where you want to go, you have to re-calculate your route along the way. Nothing about this business is predictable, and it’s certainly not easy.

So . . . do you have what it takes? Do you thoroughly understand the obstacles? Are you fully prepared to pay your dues? Do you know why you’ve chosen this line of work? If so, then follow your dream, and give it your all.