I hate research

Unfortunately, I'm good at it. That doesn't make me like it any more. But, since I have some expected time off, and I'm sans scripts to write, it's been two weeks of research: btwn NATPE, a new script research (right now I'm leaning to a shakespeare adaptation...like every other human on earth), and English language market research (Australia, Britain, Canada...sorry, Belize) it's been busy couple weeks. And I wanted to give you a few tidbits about what I've gleaned. I should mention, my research was only so complete because finding information about shows in other countries is rough, and watching those shows on youtube is sometimes impossible. So, if you live in these countries and want to add to the research, I'd be happy to update the findings.

Other English language countries aren't big fans of legal shows.

Outside of Billable Hours in Canada, I didn't find many successful legal shows anywhere in the English speaking world. And, since the name of our game is ability to source shows to multiple countries, developing a legal show is not advisable in the current climate.

Everyone loves crime/police shows.

For as much as I had trouble finding legal shows, crime shows were EVERYWHERE. However, unlike America which has "dramedy" cop shows like Monk and Psych, almost all, if not all, of foreign police dramas are straight drama, no comedy. It's a bummer, and there may be a niche to fill, but the good news is that crime dramas are alive and well anywhere. Of course, we all know Hustle IS a dramedy show about a group of con-men...however, not a police station, CoW show, and definitely not a show that I have seen in either Canada or Australia.

The "dialect" barrier is not as pronounced as one would assume.

Outside of a few british shows that utilized some cockney expressions, every show I researched used the same general dialect as we do in the states. Now, that doesn't mean you should make a show about a surfer dude, that just won't translate. But, if you are planning on marketing a show to multiple countries, and you use standard english, not slang, you should be able to market your show to a wide range of english speaking countries.

Though it goes against common sense, almost every sitcom is single camera.

One would assume that since multi-camera sitcoms are the most inexpensive shows to produce, a researcher would see them in places like Australia and Canada. However, the opposite is true. In fact, through my research I only saw a handful of multi-camera comedies, most of which were re-runs on BBC. This particular fact was the biggest surprise to me.

British shows is crazy!

If I'm going to create a show straight for a specific country, it's going to be Britain. Not only do they have a crazy show that's shot solely from the character's POV, but they also have a sitcom about a group of housewives who are in two rival gangs. Of all the countries I found, the most zany, fun, and overall creative shows were on British TV.

The next post, I'll put together some of my favorite specific shows from each country. Now, back to the grind!

Leverage Karma

So, after berating Leverage, calling it a poor man's hustle, guess who has an interview with the production company who produces the show today. That's right, THIS GUY. Karma...is a bitch.

SAG Strike

My time at UPC is coming to an end next week, and joy of joys, SAG is going to send out strike authorization to it's members in December. This has been the big drama in LA since June, right after the WGA strike settled, and the town settled down with DGA and AFTRA making deals. Outside of it being impossible to get a job in this town, at least on a show, in Dec/Jan, the SAG strike could shut a lot of productions down past that point.

It looks as though the the SAG strike is imminent, and will destroy yet another year of both television and film. With the absolute stubbornness of SAG, it could last into early 2015.

And, while I respect unions and their right to strike for better working conditions, I have yet to hear a valid argument to WHY they deserve a better deal that the other unions. It's clear that all of the unions took a slight in road into new media for a better deal in the future. And let's be honest, this isn't going to be a moneymaker for a few years yet.

Usually, in the past, as Teamsters go, so goes the rest of the town. Teamsters are NOT on board with a SAG strike. WGA is only on board because SAG was on board with their strike. AFTRA is not on board, DGA is silent. It seems as though, from the people that I've spoken to, that these other unions don't understand why SAG deserves better conditions that the rest of the town. And, I have absolutely no idea why either.

So, my question to you, my SAG friends, is WHY do YOU deserve a better deal than writers, directors, and other actors...besides that you are the strongest union in this town?

Sending out bad scripts...

Once you are read by a company, for the most part, they will give your script on two different criteria. First, let me tell you that if you don't know what coverage is, go to www.scriptcoverage.com and you will be able to see basically the format of what coverage looks like. Disregard the synopsis and the development comments, and look at second grid at the pop of the page. Each script and reader is given a pass, consider, or recommend.

1- Script

They will give a pass, consider, recommend to the script. A script getting passed at a company means very little, except that that specific company doesn't think that script would be a good fit for their company. Possibly you sent a good quality romantic comedy script to a horror company or a slasher flick to an arthouse producer. Many times even if a script is amazing, a producer can't use it, even if they enjoy it. The real important grade they give you is-

2-Writer

The reader will also give a pass, consider, recommend to you, the writer. This is incredibly important because if you get a PASS, they will NOT read you again. Basically, the bad script burns a future bridge.

So, if you send out a great script to 50 companies and it doesn't sell, but all the companies thought it was well-written, you can submit other material to the company. But, if you send out a terrible script, you will be shooting yourself in the foot. Which is why it's incredibly important to VET your scripts with friends, writer's groups, mentors, proteges, and everyone who can give you accurate opinions on your scripts, before you send it out to people. Because whether someone buys your script of not, if they think you're a good writer, the door becomes a little easier to kick in the next time.

Questions Answered

Another Question came through the comments section, and I'm all too happy to answer.

Blogger Rob said...

One thing I don't get about this advice, and it may be obvious to you, is that you stick to the same genre. Don't you want to demonstrate to someone that you are flexible enough to do different things?

As loyal Grinders know, we did go over this several posts ago, but since I'm SOOO bad at labeling posts, I'm more than willing to do a quick refresher.

The simple answer is because an agent/manager is going to want to package you as a "type" of writer. Eli Roth is the Horror guy, Kevin Smith is the filthy guy, and David Lynch is the weird guy, and so on down the line. So, when an agent looks in your direction, they're going to want to know what they're selling and why they should be selling you. If you only have one script, or your like buckshot all over the place, agents have a hard time packaging you to producers.

The other answer is because a writer wants to get on the list; to be THE go-to guy for a specific genre; or at least on the short list for that genre. That way, when producers (okay, producer's assistants) make their lists of who they want to interview for an assignment in your genre, they immediately think of you. If you're not on the list, you don't get called for the assignment, and you don't get paid.

So what kind of writer are you?

The Base Level of Bullshit

Living in LA, one thing you quickly learn is how to tell if someone is legit or not. It's at every function, every networking event, every time you go out with friends. It's usually goes one of two ways:


The way you don't want it to go:

Person 1: What do you do?
Person 2: I'm an actor.
Person 1: What have you been in?
Person 2: Just a couple background.
Person 1: Any speaking roles?
Person 2: No.
LONG PAUSE, then
Person 1: It was so nice to meet you, I'm going to see who else is around.

The way you DO want it to go:

Person 3: What do you do?
Person 4: I do a bunch of stuff. Mainly I'm an actor, but while that is picking up I got a screenplay optioned and I directed a couple of shorts. I'm helping a client of mine develop a script.
Person 3: Really? What genre?
Person 4: I write mostly [genre].
Person 3: And have you short films been anywhere?
Person 4: Well, mostly still in post-production. You know what a nightmare that is.
Both Laugh.
Person 3: Do you have a card so we can keep in touch.

Bang. So you see, it can come that quick. In fact a lot of times I can tell if someone is legit in 10 words or less, and that's going to determine how interested I am in talking with them...AT A BUSINESS FUNCTION. And the thing that everyone is looking for at this type of function is...MORE WORK. So, if you can't do anything, or you aren't taking your career in your own hands, people are going to take you less seriously, or god forbid think you are not legit.

So, how do you become "legit".

A. Read the Hollywood Reporter and Variety everyday. Why? Because it's your trade and you need to know what's going on. However, there is a much more important reason...because EVERYONE ELSE is and they will discuss it or at least know what's going on in the back of their mind. It may sound phony, but just do it because you should.

B. Have multiple irons in the fire, but not enough to be bogged down. Being a background actor in one short film does not make you an actor, writing one feature doesn't make you a writer, directing one short or commercial doesn't make you a director. The only thing that MAKES you these things is a consistent string of churning thing out. If you're not continuing to pursue these avenues, like working on a NEW project, then you aren't an actor and shouldn't introduce yourself as such. However, if you have multiple projects going on, or are trying to produce a screenplay you wrote, then you have a VIABLE skill that people will look for and want to hear about.

C. Learn the verbiage. Know what a CE, DOD, and producer do. Learn the difference between DEVELOPING a project and PRODUCING A PROJECT. KNOW what COVERAGE IS and how to give good coverage.

D. Know what makes a screenplay or a project suck or succeed. In order to do this, you'll have to read a lot of scripts and watch a lot of movies and TV ANALYTICALLY. That's not just the ability to say I like it or I hate it, but the ability to say why in detail. At an event, this is very important because outside of giving funding to a project, the next best thing people are looking for are notes on how to make a project better, and if you happen to be great at it, maybe they'll want you involved in their project.

E. Finally, NEVER STOP HUSTLING. This is not a game. It's as much a hustle as anything and the people who succeed understand the hustle, understand business, and understand what THEY have to do in order to get and stay on top. The people who know how to hustle and have talent are the ones I sign development deals with, because I know they'll get their project to the next level, as long as they have ME to help them.

And, that is the base level of bullshit everyone in LA talks about at any event. In order to be good at these events, it helps to have produced a lot of stuff and be seen as a professional in the eyes of your peers.

But here is a dirty little secret: If you AREN'T a professional, make no bones that you are. People are flattered to be asked questions, and be offered to be taken out to drinks or lunch to have their brain picked. But please, if you've never had a speaking role in a movie, don't claim you're an actor. Take that to the bank.

How to get an Agent or Manager

One of my absolute favorite blogs, The Rouge Wave, Reposted a blog of mine, and I'm ever so happy to be able to return the favor.
So, Here it is:

"Everybody is eager to query and get repped. It will change your life, right? Money will be flowing to you in golden buckets and fame will be quick on its heels.

Not exactly. Getting representation hangs in the frustrating zen space between utter simplicity and very, very hard work. How do you know when you're ready? Only time will tell, grasshopper. Wax on, wax off.

The steps to get representation are quite simple:

1) write a great script
2) then write another one
3) stick with the same genre
4) have a dossier of several great ideas in the form of loglines
5) write a brief, powerful, polite, effective query letter
6) get hold of a Hollywood Creative Directory
7) focus on 10 to 15 agents or managers that seem like a good fit*
8) query
9) wait
10) wait more
11) follow up with an email or phone call if you haven't heard back in six weeks

Pretty simple, right? It actually is. But here is what writers often do - they jump the gun. They query when they only have ONE good script. They don't get feedback on what they think is a good script and so really have no idea where they stand. They query managers or agents all over town, indiscriminately, without doing any research. They send poorly worded queries with dull loglines and wonder what's up with the silence.

If a manager or agent likes your query, you should hear back pretty quickly. If they like the read, you'll hear back quite quickly. They'll ask you what else you have. They'll ask you about you - your writing experience, where you live, what competitions you may have placed in.

Patience, grasshopper. Get an arsenal together before you start to query. Get feedback from someone, somehow whether it is professional or a friend. Proof your material before you send it out. Spend a lot of time crafting an excellent logline.

Getting an agent or manager isn't complicated - but you need to slow down and approach the process with care. Make sure you dot every "i" and cross every "t" before you begin. I don't recommend E-blast queries - they are impersonal and scatter shot. Spending money on an HCD is the best money you'll ever spend. Take a deep breath and make sure you're actually ready to query. Keep writing and developing ideas while you wait to hear back about your queries. Do not put your life on hold. Be ready for rejection. Rejection in Hollywood usually comes in the form of dead silence. Know that obtaining representation will not change your life but it will advance you to the next level of the game.

I know writers very well and I know that most of you skimmed this and are ready to put an HCD on your credit card but really don't know if your script is that great and don't have enough material ready. But you will query anyway because you think you are special and you won't need more than one script at the ready. You think you are different and that you will get repped quickly and easily. You think this blog post is for the suckers. You can't wait to get going with all of this, you can't wait to get repped and be in the game.

When the Wave-inatrix was but a mini-W, my mother spent a lot of time sewing. And I remember vividly being so excited to just put the pretty fabric under the sewing machine needle and press that foot pedal and SEW like a maniac and turn straw into gold. No, my mother said - you have to first wash the fabric. And dry it. And iron it flat. And clear a large space on the table and get out the pattern and measure carefully. Oh - how dreary! How dull! How painstaking! And I wondered, time and again, why my completed project was lopsided and ugly. Now, when I sew, I slow down and I enjoy the entire process. I know that the quality of my project is utterly dependent on the care I put into each step along the way. Unwashed fabric will shrink and warp upon it first washing. Sloppy measurements and dull scissors will doom the fit. A chaotic sewing kit makes finding the right thread and right needle an exercise in anger management. My mother, in all her wisdom, knew exactly how to sew something properly but I would not listen. I knew how to do it! I was special! My fabric was special and my pattern was genius! Ah....youth.

You want an agent or manager? Of course you do. But s-l-o-w down. You may not be ready. Hollywood isn't going anywhere any time soon. If you don't have at least two great scripts in your arsenal, you are not ready. If you have not gotten feedback from a pro or an experienced colleague, you are not ready. There is no quick fix, there is no magic answer. You must do the work. And you are not special - the fabric of Hollywood is what it is and it yields to no man.

*Only query agents or managers (I recommend a manager if you are very new at this) that have offices in LA or New York only. Avoid those who charge ANY kind of fee. "

Think of it as Film School...

...when you're starting your career. The beauty of film school is that it's an incubator for people to have terrible projects. And trust me, everyone's first project is a disaster. so is their second, third, and fourth.

It doesn't matter if you are an actor, a director, a cinematographer, or a writer, you will invariably SUCK when you start your career. If you are beginning in a career in entertainment, look in the mirror and tell yourself, "I SUCK".

Don't worry, there is an upside, because you are SUPPOSED to suck. The only way you become GOOD at something is to do it A LOT! and I mean A LOT A LOT. For example, every actor in LA is in some sort of acting workshop, even working actors go to classes to improve their craft. Because they know that it's a constant process to improve and that in every class they get just a little bit better.

When I first started working, I was on hundreds of projects feeling my way, and getting to a point where I thought it was time to direct. And my first three shorts were a disaster. This was a professional cinematographer, who had been on hundreds of shoots, and when I edited everything together, it was tragic. Luckily, I moved past it, and eventually became comfortable enough in my own skin to direct a feature and a couple TV shows.

So, why do I bring it up...because you should let yourself suck. Don't expect your first script to be perfect, or your first directing experience to be flawless. It's too lofty to think you should be great from the outset. Allow yourself to suck for a while. Now, if you've written ten scripts, or directed ten movies, and you're still terrible, that's another issue.

Since moving to LA, I've found that just as many people SAY they are something as actually are doing something. It's very easy to call yourself a writer because you've done a script, or a director for having directed one short film. However, the truth is that Actors act, ALL THE TIME. Writers write ALL THE TIME, directors direct ALL THE TIME, and producers produce ALL THE TIME. And THAT is how they get better.

Just remember this, STEVEN SPIELBERG'S first movie sucked. If you could get your hands on it, he would be embarrassed. There may be flashes of genius, but he worked, and worked, and worked at it before he even got a small break. I heard a statement a couple months ago that a new writer will gladly give their first script to anyone, while a professional writer will never show their first script to ANYONE. Once again, because even professional writers SUCK when they start out.

At UPC, I read a lot of scripts, and its pretty easy to see who the professional writers are and who are the people that don't have it yet. The professional writers have all the tricks to make their script pop, because they sucked for a while until they learned how to do things. It's not that the other writers aren't good, but there is an intangibility to the writing that stands out with a professional writer.

And that is what film school provides, the ability to suck without fear of reprisal, the be atrocious without fear of repercussions. To be given a grade, and a way to grow into a career, to develop your eye and your voice. So, when thinking of your career, think of it as film school. Let's say a writer writes five full features in film school. Well, you should give yourself at least five scripts to develop yourself as a writer, instead of sending out your first script as gold.

Remember, it's okay to SUCK. It's okay to need more work, because everyone does. But, it's important to know your inadequacies, and be working towards changing it. And as I said in a previous post, it could take between 5 and 10 years to be discovered in this business, and some people are never discovered. Everyone in this city has one thing in common, they used to SUCK, and now they are at some level of not SUCKING quite as much.

Remember, YOU SUCK, and that's okay.

Reality Check

My friend at UPC sent this to me as a sobering reminder of the reality of making it in Hollywood. It is a direct post and response from http://storyfanatic.com/

Question: **Redacted**

im thinking of taking a year off and heading to hollywood to make it as a screen writer/actor. i’m just curiouse about your oppinion on this matter. i love writing and acting and if i dont do that i’m most likely going to end up teaching highschool english.

Response: **Redacted**

Not to burst your bubble, but Hollywood is harsh. It chews up and spits out wannabe actors, writers, directors, etc. by the busload. Unless you are HUNGRY and are COMPELLED to “make it in Hollywood,” I’d recommend polishing your teacher’s credentials. I understand the lure and “magic” of the Hollywood mystique, but it is brutal. Unless you win the Hollywood equivalent of the Mega Lotto, it is likely to take you five to ten years to be “discovered.” Even then, you must fight to get work and moonlight as a waiter or other low-paying, flexible schedule job to supplement a sporadic, inconsistent, and often thankless “career” in showbiz. That is the reality of “Hollywood.” You know the fantasy.

Ethnicity...

and why to put it on your IMDB page/acting resume.

It's not to stereotype or to typecast you.

It's because is every company in Hollywood, assistants are making lists daily. Whether its writer's list, director's list, actors list, or editor's list, the city runs on these lists, like an old fashioned locomotive. In order to make lists, assistant rely on STUDIO SYSTEM and IMDB. If it's not on either of those, you don't exist.

When looking to make an actor list, there are several things that are put into it. Name, agent, agency, credits, age, and ETHNICITY. If an assistant is looking for YOUR name, and they can't find the ethnicity, they have one of only a few options. They can search for 10 minutes to try to find it, they can LIE/make a guess, or they can take you off the list. Of those option, only the first one is really acceptable. But, what assistant has 10 minutes to try to find your ethnicity.

Why do people make lists? Because their bosses want to sort the lists to find out who is right for their next project. They want to be able to autosort by any of the categories and yes, they may need a Black, Hispanic, Indian, or Eskimo for a specific.

I've heard the other side, that actresses don't want to be typecast, that they should be judged for their talent, not their race or ethnicity, etc. I would counter by saying, if they are making a list of actresses in LA, don't you want to be on that list?

So... put your ethnicity on the list, so assistants can find you easily. While your at it PUT YOUR AGE DOWN. You're not fooling anyone, there is a picture RIGHT THERE. Because it's not about getting typecast, it's about landing the role.

While most people....

were getting one rejection to Warner Bros. I was getting two. I got rejected to both the Comedy and Drama program. Which is pretty awesome for a person who deal with telling other writers how to write.

Specializing...

I'm going to make this quick, probably.

I read a post on the Rouge Wave today and one of the tips she gives is for writers to specialize in a genre. This is something that is so important to a writer, because you want to be "typecast" as the go-to guy in a specific genre. This goes for writers, directors, producers, etc.

For instance, if Eli Roth's next movie was a period piece romcom, you would be very confused. The same if Martin Scorsese came out with American Pie. It's because you know them to be in a certain genre. An audience can say, Scorsese did that movie, and I like his movies, so I'll like this one as well. In fact, audiences become rather angry if they go to a movie that isn't what they expected, because they feel doped.

But, I want to make a word of warning. Make sure you are relatively certain that:

a- You can write scripts that are sellable. (If your movies are esoteric David Lynch movies, the audience is smaller than Ben Stiller movies).

and

b- Make sure you will be happy writing for this genre for a long time, your career actually.

I will leave with one final idea. Just because you write one script in one genre, doesn't mean that you HAVE to write another script in that genre. When you are a baby writer, it's fun to explore ALL the possibilities. So, if you don't know what "fits" yet, write a horror, write a comedy, write a drama, or a period piece, or a kid's movie. I actually learned after writing a kid's pilot that I really love to write kid's sleuthy detective movies/tv.

It's sort of like college, some people go in knowing exactly what they want to do, others are gen ed for a while. Once they find something that suits them, then they declare. However, you should always feel free to abandon these projects after a garbage or first draft. Who knows, it's possible in 5-10 years you'll pull that draft out because someone is looking for a Polish immigrant script set in post WWII Denmark.

Personally, write(get it) now, I'm working on a broad spectrum of scripts from a crime drama, to a romcom, to a snarky independent, just because I want to see what fits FOR ME. I'm writing a TV pilot, a comic book, and five movies. I'm doing this because my main genre, independent, quirky movies doesn't pay very well and I am looking to see if there is a sub-genre or other genre that fits me better.

Once you find that genre, stick with it. Keep doing specs in that genre. I have a friend who writes really sick, twisted stuff. But she has 5 scripts right now and they're making the rounds and are being well received. When an agent looks your way, they will want to see 2-3 samples of work in a specific genre to make you sellable as a writer. It's much harder to sell a jack-of-all-trades writer than one that specializes in something.

Evaluating your future

So, I neglected my blog this week...and I'm sorry.

First, a shameless plug. If you are out there reading this blog, please, please, please, tell your a friend. If you have a blog, link me. I'm a big whore for promotion.

A couple announcements...

I started a gig at an UNNAMED PRODUCTION COMPANY (UPC) on Thursday in their TV department. I was only there two days last week, but I'm sure It'll be good fodder for future posts.

Also, tomorrow is my birthday.

Okay, now onto the post. It's not going to be heavy on production, I'll warn you that now.

Whenever I get around to my birthday, it always makes me take a moment and evaluate my life goals. If I'm going to rule the world by the time I'm 30, I gotta get off my butt and start moving.


#1:

I always start by making a list of where I expected to be at this point in my life. I have a very detailed long term and short term plan for success, which I recommend for anyone who wants to be constantly disappointed in themselves.

At 26 I wanted to have two features in distribution and have funding in place for a a 1 million dollar independent feature. The year started out promising, but in the end it hasn't panned out. In fact, I have 0 films in distribution, and we are still working on funding for our next project. Scratch that off my list of conquests.


#2:

After depressing myself with what I didn't accomplish, I make a list of things I did accomplish.

I got married.
I moved to LA.
I wrote several pilots which got some attention.
I was contracted to write a feature and a treatment.
I have one feature in post-production, and my company is acquiring a second film.
I started a pitch and development company with two partners.
I directed two television shows.

By all accounts, that's not a bad year. It may not be the year I wanted, but for being on disability for five months it's not too bad.

#3:

Finally, it's time to make goals for the coming year.

So, why am I telling you this? Is it because I like to hear myself talk, or see myself write?

No, as usual it's to give you an exercise you can use in your life. All successful people have goals. They have a long term goal...Rule the World. But they also have short term goals...pay rent, get a shite job at a good company, etc. I read an article about Roger Goodell, commissioner of the NFL. Apparently, Roger started as an unpaid intern in the public relations department and he worked himself up to commissioner of one of the biggest and most profitable companies in the world. His long term goal...Commissioner of the NFL. I'm sure many people laughed at him when he was getting the higher ups coffee, but it was all part of his goal.

In the world of entertainment, there are many more disappointments than successes. It's very easy to not be able to see the forest for the trees, and to look for greener pastures. Keeping yourself focuses on your goals allows ME to keep going while striving for my long term goals.

I know this wasn't a great post, but give me a break...it's my birthday.

Manager

So, I met with a manager yesterday, and he's willing to hip-pocket me, woo-hoo. Me and johnny drama have something in common. Of course, the word hippocket never came up, it was verbiage like:

-"Let's let the relationship emerge."
-"No need to put anything on paper."
-"Next time YOU need something, call me."

The difference is, unlike J-D, I'm grateful for it, because at least it means that someone sees that I may be a money-maker at some point in the near or distant future. Now, we'll see how that goes, but it does bring me to the next post.

Networking in La

I've been here for about a month, and I can tell you without a doubt, the most important thing to do in this town to get ahead is to network. Unlike towns like DC, NYC, Chicago, or others, you're credentials only go so far.

Every networking event I go to I meet brand new writers who are trying to break in, college seniors, and produced writers. I've never been to an event in DC that had that range of people. And, it's because the produced writers know that today's bus boys may be tomorrow's studio execs.

Yes, Yes, for the large majority of people in La they either are lacking talent, drive, gumption, or some combination of the three. However, in every rough there is a diamond, and one of those development interns/assistants/busboys is a great writer - about industry events.

-Make at least 3-4 contacts at each event. Yes, it may be tempting to sit down, but remember EVERYONE there wants to network. So get in the game.

-After the event, follow-up with an e-mail stating who you are, give a nice anecdote about what you spoke about, and offer to help them with any projects. Don't just say it though, mean it. These are your colleagues, and potential futures employers.

-Don't fret if you don't get a response from people, they heard you. Just go to the next event, and make new contacts. You will eventually run in the same circles and meet again.

Networking Tips:

-Personally, I don't like crowds so networking is hard for me, so a good tip for you is to take breaks from the action if you are like me. People will come up to you, mill around and start communicating with you.

-Don't eat up someone's time. Remember, everyone is there to network and a large room is not conducive to having a deep, meaningful conversation.

-Make sure you ask about them. Don't talk about yourself the whole time. In fact, always begin with talking about them. When they ask, volunteer information. However, this is about you making contacts, not pitching your latest ideas.

-Don't ask people to help you. It's about developing a mutually beneficial relationship. Over time, when there is a trust built and the potential to get projects as well as a friendship. People don't want to put themselves on the line vouching for someone they hardly know. Begging is in bad taste.

-Don't be all over the place when discussing yourself. You want to be "the guy/girl that..." to leave an impression not "the guy/girl who does this/that/the other" noone remembers that person. They remember the person producing the horror script, or writing the TV pilot.

Eventually, with enough contacts, grit, moxy, and talent, you will break through, just be ready for it when it happens.

So, I'm here...now what?

As the posting states, This is all about what to do when you're in La. Once again, I'm not an expert, having no job, but as part of my networking experience , I talk to a lot of people. And in those talks, I've met with a lot of people who have had success, failure, and more success, and these are the things I've gleaned.

--Successful people fail...a lot. Everyone I've talked to had a moment when they thought about changing professions. Lots of them had to work demeaning, terrible, awful jobs before they got even the smallest break. All of them had sleepless nights when the wondered why they came to LA.

--The key to success is to Write/Act/Direct and prepare so when the moment comes, you will be able to hand that killer reel, wonderful script, or amazing movie to the producer and they will want to make you a success.

--Don't ever stop networking. It doesn't matter if you're tired, weak, sick, or hurt, networking is the only way people will know you are there.

There are thousands of failures out there who are incredibly talented, and they get burned out and go back home. Every day, lots of people come into LA, hoping they will be the next big things. And the same days, lots of them come back from LA with their tail between their legs because they didn't get their break.

I emailed a Show Runner this morning. I asked him how he got into the business, etc. etc. bullshit. And he was gracious enough to email me back.

"Dear Russell,

The key to the television business is writing.

Spec scripts are the only doorway in.

If you haven't gotten a spec script into the producers of a show yet ­ keep
plugging away at it. This is one of those deals where you have to constantly try, try again."

And there you have it...

the infamous UTA job list

It is a myth, a legend, and an enigma of the production world. People will say it exists, others will deny it. That is, until you have the slightest brush with another in the industry. In two weeks in La, I get three different UTA job lists from three different sources. I have been offered by at least three others for them to get me the list.

Now, the benefit of the list isn't the executive jobs, it is the assistant jobs. Every industry player, big wig, small wig, and powdered wig puts their listing on this list. Only industry professionals get it, so they know it's going to be quality. Now, you can join the entertainmentcareers.net or variety biz, but for my money the UTA list is the best resource for all of us low on the totem pole readers, PAs, and assistants.

So, my advise is, don't let anyone tell you it doesn't exist, not that it's a big secret, because it does. If they won't give it to you, either they don't trust you, or you haven't asked...although I was offered all of my lists...

Dealing with Rejection

Piggibacking on my last post, I am not an expert on getting a job, but I am an expert on Rejection. To date, I have sent out over 800 emails, query letters, job applications, submission applications, etc. Also to date, I have heard back from a grand total of 3 positive responses. One job interview that eventually fell through b/c the company didn't have the fund to support the function. One job interview where I was told that I would not be strung along, but if I was at least I would be told I was being strung along, and one intern possibility.

After EP-ing films, producing movies, and directing TV, those are the only three positive recognitions that I received. Now, I have a 34000 dollar loan, a car, and two cell phones, not to mention rent, gas, utilities, bunnies, etc. And I have a bank account that started at 30000 and is now down to 3000 in a month. So...here are some tips to deal with rejection:

1. Drink--A pretty good short term solution, but it wastes money, and you never wake up feeling better.

2. Keep plugging away, while working at Starbucks-- a sensible solution for everyone involved. You still get to think you're living the dream, while you make some money. However, the problem with this is your job interferes with auditions, writing, directing, or anything that you would like to do with your time.

3. Don't work and network constantly--This is a great solution for someone with some money. You can get your bearing in this situation, network, get your script/reel out there, and get some good leads. However, if you don't have the goods, don't bother. You will just be spending money, spinning your wheels, and you won't get anywhere. Even with a good script, you will get many more rejections than successes.

So, those are the big three. And then there is some combination. For myself, I am livin' the dream, hoping that I don't get a rejection from starbucks.

Getting a job in LA

So, I am by no an expert at GETTING a job. But I have become an expert at finding where jobs are. To date, I've sent out about 800 resumes/query letters, etc. And has a grand total of 1 interview. However, i did find 800 jobs/companies. So, here's my beginner's guide to hollywood job search.

a-don't be underqualified.
b-don't be overqualified.
c-you are not qualified.

But, there are a lot of places to look (please, do not join one of those pay job search sites):

-www.mandy.com
-www.craigslist.org (just the jobs section, not the gigs)
-studio websites
-www.variety.com (the biz)
-www.jobfox.com
-the Creative directory( Query, Query, Query)
-the UTA job list (Don't let anyone tell you it doesn't exist...it does)
-Networking Groups (Jeff Gund; jeffgund@infolist.com to sign up) Try to hit up as many as possible as much as possible.
-Employment Agencies that specialize in Entertainment (http://www.alumni.berkeley.edu/Alumni/Career_Services/Articles//Networking_in_Hollywood.asp, a good list of them I'm currently checking out).
-LA 411

It's really all about hitting the pavement. In my first week I made really good contacts, now this week I have to make more, and more, and more, and more. And that's how the game is played.