THE CULTIVATION AND MAINTENANCE OF CONTACTS

Not all your industry relationships will be the same. Some will become life-long friends, and others will remain as just co-workers and casual acquaintances. Some may function as mentors; others will be individuals you choose to mentor. And many will become the source of valuable help, advice and support throughout your entire career. No matter how close you are, how well you know someone or how often you see him, industry relationships are like gold, and it’s essential that you protect your investment.

It never hurts to keep your name out there, fresh on the minds of others (as many others as possible), because once you lose touch for any length of time, it’s easy to lose the connection as well. You’re probably thinking to yourself right now, “Yeah, yeah, so who’s got time to stay in touch with all these people? Not me!” Well, we all have busy lives, and it’s not always easy, but scheduling in time to stay in touch with your industry friends and contacts is part of your job. And it’s also going to be a contributing factor to your success. There will be times when it’ll be easier to do this and of course, you won’t have time to stay in touch with everyone to the same extent, but sending someone an email even every few months is well worth the effort and enough to preserve a connection.

As you spend time establishing and cultivating your industry relationships, remember that when you get together with others, conversations don’t always have to revolve around the business, especially when you’re outside of a work environment. In fact, many industry professionals get tired of constantly talking about their work and the biz and are happy to be with someone who shares other common interests and can discuss their kids, books they’ve read, decorating, sports, cars, favorite vacation spots—you get the idea. I know I’ve mentioned this before, but it bears repeating: when you become friends with people in this industry, you don’t have to tell them you’re looking for work. If they like you, enjoy your company and consider you a friend, they’ll instinctively want to be helpful and supportive.

Whether they’re former classmates, people you’ve worked with, individuals you had interviewed with (whether or not you got the job), those you’ve had general information meetings with, their assistants who helped you get the meetings, people you’ve met on jobs, at seminars, screenings, networking or social events or individuals you’ve met through other friends, the following are some suggestions for staying in touch and keeping connected:

• Set up periodic meal or coffee dates.

• Invite others to go to screenings or movies with you.

• Tennis anyone? Or possibly golf, hiking, bike riding, poker or any other mutually enjoyed activity.

• Offer to help out when you know help is needed (with things like proofreading, yard sales, moving, pet sitting, bringing food to a sick friend, etc.).

• When you hear of an event you’d like to attend (industry or non-industry), invite others to join you.

• If you like to entertain, have dinner parties, backyard bar-b-ques, brunches. This not only keeps you connected to others, it gives you a chance to help others connect.

• In the age of emails and texting, receiving a hand-written note once in a while is a real treat and a nice way to stay in touch. And if you know when someone’s birthday is, send a real birthday card.

• Emailing certainly has its advantages. It’s a great non-intrusive way to send quick notes that others can read and respond to when they have the time. When it comes to texting, however, I suggest not texting others unless you know for a fact they’re open to receiving texts and don’t find them intrusive. (Note—if you do text someone who may not have your name and number programmed in her phone, start the text with: “Hi [her name], this is [your name] . . .” I can’t tell you how many texts I’ve received, read and had no idea who they were from.)

• Stay connected via social media, follow people you want to stay in touch with on Twitter, connect via LinkedIn and Facebook, share content. Group emails are a handy way to reach several people at the same time. Many of my students communicate with their classmates that way.

• A good reason to get in touch with someone is when you’ve just finished a project. You might want to share your experiences, stop by with an updated resume, let someone know you just finished working with a friend of his or let him know you’re once again available for work.

• If you’re in a position to do so when a film of yours has been completed and is about to be screened, invite friends and contacts to a screening. Or if it’s a TV show, send out postcards letting them know to watch the show at the specified date and time.

• The same would hold true if you were to have an article or book published. Send out emails or postcards announcing the book or article. And should you be lucky enough to have a book signing, get those invitations out to as many people as you can think of.

• When you’ve got new work to showcase (whether it’s music you’ve composed, a monologue you’ve written and/or performed, a film, short, documentary, etc.), send a link to the people who mean the most to you and definitely to those who have been instrumental in shaping or elevating your career. It’s a way of saying, “Thanks! Look what I’ve been able to achieve with your help and support.”

• Every time you have a new demo made, send the link to past and potential employers.

• Whether it’s for one of my summer classes or for a conference I’m working on, contacting certain individuals and requesting that they guest speak or sit on a panel is a great way for me to stay in touch with them. Along the same lines, I often ask of my industry friends and contacts to donate 15 to 20 minutes of their time to meet with one of my students. Networking on behalf of my students is a worthy pursuit that also affords me the opportunity to reconnect with people I like, respect and don’t see often enough. If you join any type of an industry organization and volunteer to work on a committee, chances are, you too, can put yourself in a position to make or keep up some terrific connections on behalf of the organization.

• The best is when you can just pick up the phone and call someone you haven’t seen or talked to in a while. You’re not calling to ask for anything specific, and whether you’re looking for a job or not shouldn’t even enter the conversation. You just want the other person to know you’ve been thinking of her, wanted to say “hi” and want to know how she’s doing. You may hesitate to call for fear of “bothering” someone, but it’s been my experience that more often than not, most people are glad to receive these calls. If you’re concerned, start your conversation with, “Is this a good time, or should I call back when it’s more convenient for you?”

THERE’S ALWAYS MORE TO LEARN

Technology is constantly evolving, creating advances in fields such as visual effects and animation, cinematography, post production and digital media. Production entities come and go. The most cost-effective shooting locations change regularly along with respective exchange rates and government incentives/programs. Executives move from one studio to another. What’s hot today is lukewarm six months from now. Screenplays of one genre that are selling like hot cakes this month may be passé by next year. Every few years, renegotiated union and guild contracts affect changes in scale wages, benefits and working conditions. And the “A” list of talent (representing the biggest money-makers in the industry) varies from one year to the next.

There’s always something new to master, to keep up with, to stay on top of. Whether or not it’s required of you, continuing to learn about this industry as well as the latest developments in your specific field will serve you well. It will allow you to be better at your job; and it demonstrates that you’re willing to put forth the extra effort to invest in your future. Being more knowledgeable, you’ll be able to talk more intelligently about industry advances and trends, and others will look to you for answers, because you’ll have built a reputation for being well informed.

Here are some suggestions as to how to take advantage of what’s out there to learn more and to keep learning.

• Read the trade papers (Variety, The Hollywood Reporter, The Wrap, Below-the-Line, IndieWire, Backstage, etc.) religiously, even if it’s only once or twice a week. And subscribe to or pick up other industry publications as often as you can. There are also scores of show biz-type magazines you can buy or access online.

• Sign up for Google Alerts (goo­gle­.co­m/a­ler­ts). When doing so, you select search terms on any topic you want to stay up on (say for example you want the latest info on virtual reality and augmented reality). You would then receive notices any time new information is released matching your search terms (VR and AR). These notices would contain web pages, newspaper articles, blogs or research. This is an incredibly handy tool to use—a great way to stay informed of the latest developments in areas of the business you’re most interested in.

• Listen to industry-related podcasts. Here’s a list of some:

- IndieWire: Screen Talk

- The Playlist

- Women and Hollywood by Melissa Silverstein

- The Close-Up

- KPCC’s The Frame

- KCRW’s The Business

- KCRW’s The Treatment

- Filmspotting

- Slate’s Spoiler Specials

• Check out the scores of available industry-related websites that contain a wealth of information, and get used to using them on a regular basis.

• Attend networking events, especially those that offer guest speakers, panel discussions, special programs and any other opportunity to learn.

• If at all possible, visits museums such as the Museum of the Moving Image (New York), the Paley Center for Media (in Los Angeles and New York) and the up-and-coming Academy Museum (in Los Angeles).

• Visit mov­iol­a.c­om/­fun­dam­ent­als­ and mov­iol­a.c­om/­web­ina­r-s­tat­us/­upc­omi­ng-­web­ina­rs for Moviola’s amazing onsite (in Burbank, California) and online training for filmmakers, with weekly live webinars and a vast library of professional on-demand training (on writing, production, shooting, lighting, sound, editing, VFX and software).

• You can find other webinars these days on a variety of industry-related topics. Here’s one of my favorites: var­iet­y41­1.c­om/­web­ina­rs

• If you live in a larger film community, there are always classes, workshops, conferences and seminars to sign up for. If necessary, travel to attend those that specifically relate to your areas of interest. Frequent bookstores (such as Samuel French in Los Angeles and New York and The Writers Store in Los Angeles) that specialize in industry-related books and host events. Also check out bookstores that have good entertainment (or “film”) sections. Start collecting books that will assist you in your work and those concerning your chosen field.

• If your area of interest is physical production, look up union and guild contracts that summarize basic rates and regulations. Get to know union and guild representatives.

• If you’re a writer, join writing groups to get feedback from other writers; if you’re in Los Angeles, join Scriptwriters Network (scr­ipt­wri­ter­sne­two­rk.­com­); take advantage of the many resources provided by The Writers Store (wri­ter­sst­ore­.co­m) and read screenplays—as many as you can. Only by reading a lot of scripts will you learn what good writing is and what mistakes not to make in your own work space. Say you’re working on a show as a PA, production secretary, production coordinator or assistant production coordinator, and you’d like to learn more about production equipment—talk to representatives from the equipment houses your company has accounts with. Ask questions and, if possible, make arrangements to stop by when it’s convenient. Someone should be available to show you the different types of equipment and to explain how the equipment is used. When you’ve been on a job for a while and the time is right, ask your supervisor if you can sit in on a meeting once in a while. If and when you’re allowed to, don’t say anything (you’re basically a fly on the wall). Just sit quietly in the back, listen and learn.

• Also after you’ve been on a job for a while, ask to take on tasks above and beyond your normal responsibilities, and let your supervisors know you’re ready to learn more.

• If you’d like to learn more about the post production process, ask for a tour of the lab and/or post house the company you’re working for uses.

• Here’s something fairly simple: get used to taking notes on things happening around you and save copies of any work-related paperwork that comes your way. Some of it may come in handy for future reference. If you’re an actor, find organizations that support your craft, join acting classes, local theater groups, attend casting director workshops, offer to work on student films and talk to more established working actors who can steer you in the right direction. Also, always have a headshot, resume and demo reel you can submit electronically to casting offices and casting sites.

• Go to annually held industry-related conventions, trade shows, summits, film festivals and markets. These types of events are great for collecting information, attending seminars and making new contacts. Information, dates and the locations can be found online.

• Have a good working knowledge of computer software programs that will help you with your work.

• Stay in touch and network with others who work in the same general field as you. It could be through a union, guild, or other industry-related organization, or just a group of friends and acquaintances. Exchange information, share tips on solving common problems, discuss changing industry trends and help each other make new contacts.

FINDING A MENTOR

I’ve never known anyone to jump out of bed in the morning and announce to everyone he sees that day that he’s decided to become a mentor. Nor have I ever seen an ad in the trades placed by an individual looking for someone to mentor. It’s not something most people actively seek, although I personally know several individuals who have thought about how nice it would be to be a mentor. The thing is, they rarely get past the thinking-about-it stage. But when asked to mentor one particular individual, many will agree to do so—are even flattered and happy to make the time. From the other side of the fence, it can be very intimidating to ask someone to be your mentor. But if done the right way, you’ll be surprised how many will agree to the arrangement.

Individuals at all levels of their careers need mentors, not just those starting out, and you may already have a mentor and not realize it. Sometimes it just happens as a result of a relationship you’ve developed with a teacher, a supervisor at work or possibly even someone who had granted you a general information meeting. It could be someone you’ve met through your union or guild or at a networking function. A mentor is merely someone who is wiser than you as it relates to a specific subject matter or line of work you’re learning, heading toward or have embarked upon and whose help, insight and support are immensely valuable. It’s anyone who teaches you, is willing to give you the time to ask questions and explain things you need to learn, is interested in you and (to one degree or another is) invested in your success. Having the ability to access years of knowledge, advice and experience is priceless, as are the life-long bonds that are often formed as a result of mentoring situations.

There may be people you don’t yet know—but know of—whom you would like as mentors. These are generally individuals you admire for their expertise, reputation and accomplishments. Before even approaching someone to ask if they’d consider mentoring you, there are some things you should take into consideration.

• A mentoring relationship is not to be used as a networking opportunity, and a mentor is not a person whom you pitch your project to, ask for a job or use to get to someone else. If your mentor chooses to help you with your project, with a job or to make connections, it will be entirely up to him.

• Time with a mentor should not be used to learn the very basics of the industry. Your mentor’s time is valuable and shouldn’t be squandered by having to explain things you should have already learned by way of classes, books and entry-level jobs (like basic terminology and job descriptions).

• You should thoroughly research your mentor, his company, credits, background, etc. before approaching him.

• When approaching a potential mentor who doesn’t know you, it’s important that you propose a professional arrangement with preset boundaries. Your mentor needs to know that you won’t be a stalker, how much of a time commitment she’d be responsible for and when the commitment would end. This doesn’t mean that the relationship wouldn’t continue after its designated stop date, but again, that would be her choice. It’s like asking for a 10-minute meeting instead of an hour of someone’s time, even though many meetings stretch out to an hour. It’s not as intrusive on her time and is much easier to agree to.

• Drawing upon the guidelines set up by a mentorship program I was once involved with, I suggest that mentoring terms last for no more than three months. I know others that last for six months, but that should be the max. My program allowed for one 30-minute face-to-face meeting, the time and place to be at the mentor’s convenience; one 15-minute phone call each month with the mentor; and two email contacts per month (emails that contain no more than three questions and are limited to a half-page in 12-point font). I know this sounds incredibly restrictive, but it tells the prospective mentor that you respect her time. Again, it usually stretches into more frequent contact, but that has to be offered by the mentor.

• Having a mentor is a gift. Don’t be late, disrespectful or presumptuous. Be gracious, open and appreciative. The tighter the bond that’s created, the more likely it is that the relationship will continue.

The best way to request that someone be your mentor is by letter. Before you start the letter, however, make sure you have the correct spelling of your potential mentor’s name and her correct title. Also make sure it’s typed and printed out on good-quality 8½ × 11 paper. Start by stating your reason for writing. Next, introduce yourself by offering a short version of your pitch. Include some interesting facts about yourself, your life, your accomplishments, interests, passions and goals. Mention your strengths as well as your biggest stumbling blocks. You really have to be able to convey a sense of who you are beyond the facts stated on your resume. Your next paragraph should outline the guidelines you’re proposing. End the letter by thanking her for her consideration and promising to call her office in a few days to follow up (which of course you’ll do).

Don’t send the letter until it’s been through a spell-checker, and have a friend look it over—someone who can give you objective feedback as to how it reads.

If you don’t live in a major entertainment community, you can contact your film commission office to see if there are any industry professionals living in your area who might consider mentoring you. It’s also perfectly okay to request that someone who lives in another city be your mentor. You wouldn’t have physical access to this person, but phone and email communications could prove immensely valuable just the same.

HAVING AN AGENT

Only once you’ve worked your way up the ladder a bit, have scored big at a film festival, sold a script or been offered a terrific deal or position, do you have enough credibility to seek the representation of an agent. This is a classic Catch-22 situation if there ever was one, because it’s so much more difficult to establish yourself without the help of an agent, yet you’re not likely to attract agency representation without having first established some amount of credibility and success.

As previously mentioned in Chapter 5, An Agent’s Life, actors have agents (sometimes more than one), as do most established writers, producers and directors. There are also agents who specialize in representing below-the-line crew positions, such as production designers, directors of photography, editors, costume designers, production sound mixers, etc.

For actors and most writers, having an agent is vital. While studios and production entities will accept screenplays from agents, entertainment attorneys, managers and producers, actor submissions are primarily made through agents. Good agents with solid producer, director, casting director and studio relationships are quite adept at getting in to pitch or submit their clients and/or their work. Some of the larger agencies also package their own projects, which provide even further opportunities for their clients.

Many actors and writers have agents, managers and attorneys (and some, publicists as well). While having this level of representation is a personal choice, I know many top industry professionals who land their own jobs and then have their attorneys negotiate their deals. That’s it—just one attorney. But if the work isn’t coming to you, you don’t particularly like selling yourself and can’t seem to stay on top of potential job possibilities, then having an agent could prove quite beneficial.

You generally need at least a few substantial credits under your belt before you can start shopping for an agent. The better your resume, the more saleable you become. Some agents will only take you on if you truly have an impressive list of credits. There are others, however, who are more willing to take the chance on newer, up-and-coming, less-proven talent, as they themselves are more likely to be newer agents who are building their own client base and (like you) establishing their own reputation. Some agents will meet with you if you come referred by one of their clients or by a friend or colleague. That doesn’t guarantee representation, but you’ll at least be considered. These days, certain commercial agents and those who primarily cast web-based shows won’t take on new clients unless they already have a substantial social media and/or YouTube following.

When shopping for an agent, you want one who specializes in your facet of the industry. Ask friends and contacts for leads, and do some research on whomever you’re considering, because this person will hopefully become a significant part of your career. You can access lists of agents through your union or guild, on the Internet, through your local film commission, and if you’re in Los Angeles or New York, in a large selection of reference books and resource guides. You’ll also have to decide if you want to be with a large, prestigious agency with a lot of clout (and a lot of other clients) or a smaller agency, with possibly less clout, but where you’ll get more personal attention.

When submitting a request for representation, make sure your resume looks as professional and impressive as possible and include a demo reel (or link to one), script or portions of your portfolio in the package. You’ll need these to sell an agent on you before he can start selling you to others. If you do get a meeting with an agent who’s considering you for representation, treat this as any other interview—research the agency, the agents who work there and the clients they represent.

Your agent will be submitting you and/or your work, following up after interviews or submissions, negotiating your deals, and hopefully, offering helpful advice and direction on your career. Once an agent agrees to represent you, and you feel good about the arrangement, you’ll be asked to sign an agency contract, binding you to this relationship, usually for a year. During this time, your agent will receive a 10 percent commission on your salary, whether he lands a specific deal for you or just negotiates a deal you were able to score on your own. (Some agents will agree to take only 5 percent on jobs that you land totally on your own.) If you were to land an executive position, your agent would most likely take his percentage during your first year of employment with that company.

Having a good agent can be of great benefit to your career, but it doesn’t take you off the hook as far as looking for work, networking and keeping up contacts. Having representation is not an excuse for you to stop looking for opportunities whenever possible. An agent with as many as 50 clients at any one time can’t possibly take full responsibility for your career. So use your agent more as a partner, to help line up general information meetings, to submit you or your work, to be a source of information and to negotiate your deals, but don’t give up your own quest, because your career is ultimately your responsibility.

CREATING YOUR OWN CONTENT

Another way to get in the next door and propel your career is to create a demand for your work by making your own film, music video, commercial, short film, YouTube series, radio show or documentary: a very smart move especially if you want to establish yourself as a director. Power players won’t usually take a chance on an unknown. You have to prove yourself first. So as talented as you may be, if you don’t have anything to showcase your work, you’re drastically reducing your opportunities. Creating your own footage is an effective calling card, and it can be a tremendous asset to launching and building a career that would otherwise take years to establish.

With all the new, innovative and constantly evolving technology, shooting and editing your own film is more affordable and more feasible than ever before. Whether you make DVDs to hand out to everyone you know, showcase your project online or at film festivals or host private screenings, they’re an ideal way to sell your talent, your goals and your passion and to set your career in motion. Additionally, a short film or documentary could be an impressive fund-raising tool for a full-length feature, just as a short demo could be an effective method of selling a new TV show.

Film students have the luxury of making their own short films at the school’s expense. The equipment, the crew, the cast—they have access to everything they need, and they graduate with a finished product to market. Sometimes that’s enough to get their career going, sometimes it’s not. Some people wait until they’ve worked in the business for a while before they make their own film. They give themselves time to learn, to build relationships and to be able to produce a more professional-looking product. For more information on making your own film, be sure to take a look at Chapter 7.

BRINGING YOUR ENTREPRENEURIAL SPIRIT TO WORK WITH YOU

In 1991, when two other agencies merged to create United Talent Agency (UTA), Michael Conway was hired to help unpack and set up the new company. He didn’t even know if he’d like working there. Having come from a background in fine art, all he knew at the time was that he was ready for a new challenge. Turns out, he landed in the exact right place at the right time, because his talent for seeing what needs to be fixed and fixing it was exactly what UTA needed. He was the perfect person to set up and run operations for the new agency, and after persuasively presenting his recommendations to top management—they agreed.

Michael started by creating the mailroom and video library. He facilitated efficiencies wherever he could, even if it meant going against typical agency norms. For instance, he saw an enormous photocopy machine that was in use from 7:00 a.m. until midnight continually spitting out scripts when it wasn’t breaking down, and he envisioned a digital library before the technology ever existed to create one. Through sheer willpower and the backing of the agency, he eventually found a company willing to build a prototype. An entire room full of scripts were scanned, and the first digital library became a reality. He also worked with the messenger company the agency was using and had them put messengers on motorcycles instead of in cars. The results were that a script could be delivered to a studio within 20 minutes, while other agencies took a day or two to deliver scripts. Efficiencies like that helped UTA rise in stature—eventually enabling UTA to represent more working writers and directors than most of its much larger competitors.

One of Michael’s most remarkable achievements was the creation of UTA’s renowned agent trainee program. This coveted program receives upwards of 6,000 applications a year.

Being entrepreneurial isn’t always about creating your own enterprise— it could very well represent skills you bring to your job—helping to make the company you work for grow and prosper. It’s seeing a need and finding a way to fill it. It’s speaking up, making suggestions and making a difference. It’s building your career at the same time you make your company, team, department or crew shine. Michael Conway became the Chief Administrative Officer of UTA in 2004, and 25 years after he walked in the door, he’s still there making the agency shine.

Don’t ever stop attempting to walk through the next door, and the next one after that and the next one after that. Identify your talents, strengths and accomplishments, and exploit them. Find new avenues of opportunity for yourself by continuing to network, learn and perfect your craft. Preserve valuable industry contacts, find mentors (and perhaps an agent), and if at all feasible (and it’s something that will further your goal), make your own project and create a powerful selling tool for yourself. Don’t ever stop and “settle” for a fraction of your dream, because you have doubts as to what you’re capable of achieving. You can do it!