100th post woohoo/NBC installing Leno at 10pm

First, this is my 100th post, so woohoo! Get the party poppers, hats, and cake and do a little dance.

Okay, now that's out of the way, I want to discuss NBC cutting original scripted programming at 10pm and replacing it with 5 days of JAY LENO! This has caused an uproar within the creative community because it means 5 less hours of programming for writers, directors, and producers. Instead, the less expensive tonight show will take it's place, much like the news on the CW and FOX.

I for one, agree with Steven Bochco's assessment of the situation. He believes that network drama is awful for the most part. As my mother would say, if you can't play nice, you don't deserve the toys. What I mean is, if showrunners can't put good shows on television, why should a network put on their half-assed dramas? They have a perfectly marketable commodity in Jay Leno, who is being pushed out of his slot, and would likely find a home at a rival network. So, instead of giving a golden goose to the competition, they keep it in house, cut down their programming, and bring in a rather inexpensive show to take it's place. After all, NBC is used to pull an 8 share, is down to a 3 share this season and needs to make drastic changes. 10 hours of programming is still a lot of hours to fill. Just ask CW and FOX.

I really do prefer the cable model. Most networks only program original programming 1-3 days a week, showing re-runs the rest of the week. The shows are good, fresh, and draw 5 shares, higher than gossip girl, for a new show like Leverage. While it's not as high as an NBC show, everyone needs to realize how television now works, and adapt to it. I would never consciously produce a show for networks. I would be more than happy to land on the Sundance channel with a quirky Slings and Arrows type show.

Now, as a wannabe tv producer, it kind of screws me over, but that is what adaptation is all about. We as producers now need to look towards foreign markets, online, direct to video distribution, and other outlets. Does it suck for jobs? Yes. Is it at an awful time in our economy? Yes. As Bochco said, good shows will always find an audience. Of course, Cupid, Arrested Development, Pushing Daisies, Freaks and Geeks, and so on down the line, would take exception to that. And yes, some of this is on the networks for putting on Cashmere Mafia, Lipstick Jungle, Valentine, and Easy Money, but if you are an aspiring producer, you should blame the executive producers who are putting on such awful shows in the first place. If they don't find an audience, what do you expect a network to do? Jay is a proven commodity...Hell, I'll gladly watch. In fact, I'm looking forward to it. Survival of the fittest, what are you willing to do to survive?

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?

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.

Tailoring your pitch...

...to a network is perfectly demonstrated by two television shows currently on TV. These shows are amazing examples of how two networks can develop the same premise in two very different ways.

The shows:

USA's Psych and CBS's The Mentalist.

What is the premise: An man with a gift for noticing every detail of the world pretends to be a psychic and works with the police department to solve crimes.

However, that is where the similarities end. The development of the shows couldn't be more different. First, let's examine the shows' summaries directly from their website.

The Mentalist:

THE MENTALIST stars Golden Globe Award nominee Simon Baker as Patrick Jane, an independent consultant with the California Bureau of Investigation (CBI), who has a remarkable track record for solving serious crimes by using his razor sharp skills of observation. Within the Bureau, Jane is notorious for his blatant lack of protocol and his semi-celebrity past as a psychic medium, whose paranormal abilities he now admits he feigned. Jane's role in cracking a series of tough high-profile cases is greatly valued by his fellow agents. However, no-nonsense Senior Agent Teresa Lisbon openly resists having Jane in her unit and alternates between reluctantly acknowledging Jane's usefulness and blasting him for his theatrics, narcissism and dangerous lack of boundaries. Lisbon's team includes agents Kimball Cho, Wayne Rigsby and rookie member Grace Van Pelt, who all think Jane's a loose cannon but admire his charm and knack for clearing cases.

Psych:

Raised in Santa Barbara by a family of cops, Shawn possesses uncanny powers of observation honed by his police officer father, Henry, who drilled young Shawn to note even the smallest of details from his surroundings as a way of grooming him for his inevitable career in the family business. Unfortunately, when a rift develops between father and son, Shawn finds himself taking a series of random jobs instead of becoming the detective he was groomed to be.

However, for the fun of it, Shawn makes a habit of calling in tips to the police about cases he reads about or sees on television, and when one of his tips appears too close to the truth, the police are convinced that Shawn is an accomplice and arrest him.

Using his charm and well-tuned talent, Shawn convinces the cops that he's actually a psychic, and although highly skeptical of his explanation, they hire him to help solve tough cases. With the reluctant assistance of his best friend Gus, Shawn uses his skills of observation and charismatic personality to become the detective he was trained to be, opening his own PI agency – Psych – and solving cases for an ever-suspicious, but grudgingly impressed, police force.

As you can see, there are incredibly similarities in just the summaries of the show. However, while The Mentalist is a serious drama, Psych is a lighthearted comedy. In Psych the general lighting is bright and colorful, in The Mentalist it's dark and brooding. In the Mentalist, the main character's family is murdered, in Psych the worst that happens to Shawn's family is they get annoyed at his antics. Even the commercials show The Mentalist as a dark, brooding, and haunted man while the Psych commercials have Shawn and Guy goofing around with each other. Except for the premise, the SHOW couldn't look, feel, or sound more different.

So, what does this tell us about Television in general? Well it's something that we should all be aware, a show that works for one network may not work at another network. If you have a light hearted show, it would work better on USA than CBS. However, it also tells us something more. And that is how different channels will develop the exact same show. USA is known as the home for quirky, lighthearted characters (MONK, BURN NOTICE, IN PLAIN SIGHT) while CBS is known for serious drama (CSI, NCIS, THE UNIT).

As this also demonstrates, a show CAN be pitched to different networks with success. However, it must be massaged and geared towards the network. Any good production company with a pitch meeting at a network will do their homework to know how to pitch their show to NBC, FOX, HBO, or Comedy Central. Each of those networks could love the idea for a show, but the show will end up VERY different depending on where it lands.

It's not about changing the focus of the story, but it is about tone, structure, and pacing.

P.S.- This same theory works for movies at different studios. Different studios produce different projects, and if you're pitching a movie, make sure you know where you're pitching and what they're interested in.

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.

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.

Stand alone vs. serial episodes

Clients always inspire the best blog posts.

So, I have a new client, paperwork pending, that is creating a web serial after years of film and plays. the idea is solid, but I'm teaching her how to write for TV from the ground up...she's never even watched 30 Rock for goodness sakes.

Anyway, yesterday I went to view her read-though and we got to talking about the difference between TV series. Basically, there are two types of television series-- Stand alone and Serial. The difference is based on how each EPISODE operates, not whether the series is continual or a one-off.

Standalone
(Seinfeld, Everybody Loves Raymond, Simpsons, Family Guy, etc)

In these series, every episode is contained into itself. You could watch any episode of the Simpsons and not need to know anything about the shows previous. The characters never change, even to the point of being the same age perpetually. However, it's not just animation. In a show like Seinfeld, the character always end up at the same place they started at the beginning of the episode. Yes, they may get new jobs, or have a new boyfriend, but the characters do not develop and evolve from episode to episode emotionally.

These shows work because a conflict is introduced that cause the characters to react, grow, and change throughout each episode, but that change is not carried over into the arch of the series. Watch an episode from season 2 and season 9 of Seinfeld. It's the same people with the same issues, who have not grown in the slightest in the past seasons.

Serial
(Brothers and Sisters, West Wing, any SOAP EVER)

This works in the opposite manner of a stand alone episode. Each episode builds on the previous one. The characters change, develop, and interact with the world in a different way over the course of the season, and the arch of the show. For example, The women in Desperate Housewives look at the world much differently now that she did in episode one. When the character develops , the show changes into something new. The story comes from that change as much as the conflicts in each episode.

Now, I should mention that standalones are not necessarily comedies and serials are not necessarily dramas. For example, Scrubs is a Serial comedy and Law and Order is a Stand-alone drama.

The important thing to take away from this is that in serials the character's development is carried over from episode to episode, and in stand alone the characters start and end as the same person, even if they have emotional epiphanies in the episode.

(My classic example is the Seinfeld episode where Jerry learns to have feelings. He starts off like the classic Jerry jerk. Then, he is taught how to feel by his then girlfriend, proposes to Elaine, makes George tell him all the darkest parts of himself, and finally in the end George "scares" him straight. He winds up exactly where he was before.)

So you see, while there may be personal or professional growth for characters, there is never any emotional growth.

When dealing with your show, you MUST know whether it is a standalone or a serial.

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.

Definitions of common Crew Gigs Terms (All CL posts)

This is a re-post of an informative link I was sent about the Actual/Craigslist meaning of crew positions. It was obviously written with a specific bent, but that doesn't make it any less accurate. Thanks to my friend, Jeff, for sending it to me. For all of you looking for a way in, and are using Craigslist, this is a pretty good primer, and relatively humorous.


This is a dictionary to help with understanding titles, requirements, and descriptions posted in the Craigslist Crew Gigs section. This may also be useful to other job boards. If anything is missing from this compilation, or needs amendment, feel free to let the creators know.

A-List –
Actual Meaning: Top name, high Q-Score talent.
Meaning on Craigslist: Formerly A-list decades ago, until they developed that nasty habit, and they fell from glory, and the headlines.

Assistant Director-
Implied Position & Responsibilities: Create schedules, keep crew and director on schedule for the day, contacting late crew members, sending out tomorrow’s schedule.
Actual Low Budget Requirements/Expectations: Assist the director by getting coffee, dry cleaning, picking up food for the rest of the crew.

Award Winning –
Implied Meaning: Prestigious award or recognition for accomplishments.
Actual Meaning: 1) I submitted my film to a festival, and it wasn’t rejected. Not only that, but I got an award, such as Least Despised, Best use of Helvetica Typeface in a Title, or some other nonsensical-feel-good award.
2) Nothing.
Often seen with: Great Experience, Unfortunately, Deferred

Boom Operator –
Implied Position & Responsibilities: Holds boom pole steadily out of frame, consults with sound mixer on best microphone selection, covers for mixer if familiar with the equipment and job responsibilities.
Actual Low Budget Requirements/Expectations: 1) See Sound Mixer.
2) See PA/Production Assistant

Catering –
Implied meaning: A team that prepares hot meals specifically for the crew every 6 hours.
Actual Low Budget meaning: We went out and got you pizza.

Continuity Supervisor –
See Script Supervisor

Copy/Credit/Food –
Implied Meaning: You will receive a copy of the completed work, proper credit in the film that will appear in festivals and get you more work as a result, and be fed on set.
Actual Meaning: If we ever finish this, you will receive a copy of the film, but unlikely, because of the associated costs of making duplicates. Your name may be put in the credits, if we remember you when we actually finish this thing, probably mis-spelled. You may never actually see them though. You will be fed food. It will probably be pizza or Taco Bell, because it is cheap. You will eat it every day, and it will not change.
Often used with: Great Experience, Unfortunately, Festival, award winning

Craft Service –
Implied Position & Responsibilities: a person or crew whose sole job is taking care of the people engaging in crafts (the film makers) by having finger foods, snacks, and other on set relief’s (such as sunscreen, gum, water, etc) available at a table, as well as sometimes bringing them on set to people that can not leave set.
Actual Low Budget Requirements/Expectations: We have candy and possibly cold soda on set.

Deferred Pay –
Implied Meaning: You will be paid when we sell this and make money.
Actual Meaning: If/when we will sell this and make money, and unless you follow our film, know where we live, and can prove in accounting that we turned a profit, you wont be paid. See No pay.

Director of Photography/DP:
Implied Position & Responsibilities: Establishing the visual look and aesthetic of the film, guiding the gaffer in lighting styles, operates the camera and composes the shots.
Actual Low Budget Requirements/Expectations: 1) Holds the camera, uses the light provided, or provides the truck with the equipment, places the lights in position.
2) Double Penetration. Your Efforts, and your wallet.
Often seen with: award winning, Experienced, highly skilled, unfortunately
See also: Equipment (your own)

Easy –
Implied Meaning: Very simple, little effort needed, we know what we are doing and taking about.
Actual Meaning: We have no idea what we are talking about, this will take twice as long as we expect, or longer.
As used on Craigslist: “We need an editor for a quick and easy job. We have 3 hours of tape that needs to have our logo put up in the corner of the screen. This shouldn’t take too long, and can be done in about an hour. Great experience for students!”
Often seen with: Editor, Experienced, no pay, great opportunity.

Equipment (Provided) –
Implied meaning: we have all that you will need, there is no need to rent anything for this project.
Actual Meaning: We were told this would work. Often the equipment was not meant for the job, or is the wrong equipment entirely for the job, or will not work with other equipment that it was intended to.
Example: Kino Ballast for HMI, RCA cable for DVI HD screen, XLR for quarter inch mixer, etc

Equipment (Your Own) –
Your own gear, provided to the project, with no mention of a kit fee/rental charges. Renting equipment and charging it to production is not an option, you MUST have everything. EVERYTHING, including expendables, which will not be reimbursed. Insurance is not mentioned, let alone covering your equipment, so when that PA that is there for the great experience and connections drops it, you shouldn’t get too upset, and should have a replacement on hand.

Expendables –
Actual Meaning: Gear that is used during the process of film making. This includes Gaff tape, paper tape, electrical tape, C-47’s, black wrap, Duvetyne, pens, markers, lens cleaners, air cans, sound reports, moleskin, bounce boards, Velcro, zip ties, bulbs, the list can go on and on. THESE THINGS ARE NOT OUT OF POCKET ITEMS.
Meaning on a Low Budget Production: Provided by department, when it runs out, we can find an equivalent, send a PA to the 99 cent store, or do without.
As seen on Craigslist: -Not seen on Craigslist-
See Also: Kit Fee

Experienced –
Implied Meaning: Highly skilled and highly paid professional.
Actual Meaning: Moderately to Highly skilled, not well paid, if at all.
Often seen with: unfortunately, great connections, experience, IMDB.
As seen on Craigslist: “We need a highly experienced DP with all their own gear and a 5 ton truck to light our Award winning short ‘Summers Dawn’. Unfortunately we cant pay you much now, (only $300) but this will be a great crew, and great food.”

Festival –
Implied Meaning: Prestigious film screening and marketing place, such as Sundance, Cannes, etc.
Actual Meaning: I got accepted at my local High school, community, etc film screening.
Often seen with: Award Winning.

Food –
Implied Meaning: you will be fed food that sustains your energy levels and keeps you motivated to continue.
Actual Meaning: You will get (pizza/fast food burgers/tacos/whatever the 99 cent store has) See also Well fed.
Often seen with: Unfortunately, Great experience, copy/credit/food
Great Experience/ Connections / Opportunity–
Implied Meaning: You will network and learn a lot from the seasoned pro’s that are also working on this set.
Actual Meaning: You will be used and abused, because we don’t know what we are doing, and neither do the department heads. Actual experience earned will be to watch out for people like us.

IMDB-
Implied Meaning: Prestigious recognition of a recognized source.
Actual Meaning: We think the best are posted on IMDB.
As seen on Craigslist: “DP with extensive IMDB credits”, “Applicants without IMDB credits will not be considered!”
Note: IMDB will post just about any project, and some of the most celebrated festival winners aren’t even listed on IMDB. Not everything created gets placed on
IMDB

Insurance –
paperwork guaranteeing compensation for loss. Nonexistent on most No/low budget craigslist productions

Intern –
Guaranteed no Pay, Also referred to as slave labor.
See Production Assistant, No Pay.

Location (Need) –
Often searching for Apartment, House, or Mansion. No mentions of insurance, or compensation, aside from copy, credit, ability to eat production food (often pizza), as well as huge appreciation from film makers. If compensation is offered, it is $100-300 a day, or flat fee of $1000. No mention if you will be able to access your place during production.
NOTE: Your place WILL be damaged as a result of a film shoot, no matter how careful people are. That is the nature of the business. Insurance covers that, insist on production insurance, and read it to make sure that it covers damage to your property, as well as injuries to crew on your property. Also, check to see that the insurance is valid! Sad to say, but people will fake their insurance paperwork.

No Pay –
Implied Meaning: You will not be paid, compensated for your time, or given any money whatsoever.
Actual Meaning: You wont be paid at all, or compensated for expenses, will be expected to do the impossible, “work” overtime, and be treated like crap.
Often seen with: Great Experience, Excellent Connections
See Also: Slave Labor

Paid –
Implied Meaning: 1) You will be fairly compensated for your time, experience, and expendables.
2) We are professionals, and want to compensate you fairly.
Actual Meaning: You will receive $125 for your time, experience, and expendables.
NOTE: 1) Most CL posters are not familiar with the term ‘expendables’.
2) $125 is just above Minimum wage, not counting overtime.

Party Scene –
Implied Meaning: The shoot will consist of elements of a party, including extra’s drinking, dancing, and having fun. We will shoot this with coverage.
Actual Meaning: We are inviting our friends over, giving them beers, and need you to film it.
As seen on Craigslist: “We will be shooting a party Scene Saturday night, and need Art Dept, a DP, and Sound. No pay, but there will be cute girls and free Beer! Serious Inquires Only”
Often seen with: Unfortunately, great experience, no pay
NOTE: Beer is often included as a form of payment.

Pay –
See Paid

Production Assistant/PA -
Implied Position & Responsibilities: inexperienced learning position, Driver, “gopher”, coffee fetcher, assistant to whomever needs them on set, trash emptier, odd job completer. Often leads to being invited to join other crew members on future shoots.
Actual Low Budget Position & Responsibilities: same, but often for no pay or appreciation, can be a dead end position.
As seen on Craigslist: “We are looking for an awesome PA to help us out in our busy office, scheduling interviews, casting sessions, and go on lunch runs.” “PA needed to work from home replying to submissions via email for casting. Great Experience!” “Experienced PA needed to assist on set, go on runs, and assist busy producer. No pay, Great Experience! Copy/Credit/Food”

Reel –
Actual Meaning: Demonstration of abilities on previous projects in the creative sense, such as Director, DP, Editor, Composer, Art Director or Set Designer.
Implied Meaning: Demonstration of abilities.
As seen on Craigslist: “We are looking for an experienced (grip, boom operator, set dresser, PA) for our feature. Please send reels and résumé’s to this address. APPLICATIONS WITHOUT REELS AND RESUME’S WILL NOT BE CONSIDERED!
Note: These positions are not ones that have reel’s. This is analogous to requiring applicants to McDonlads to have previous and extensive work experience in the food service industry, or not bothering applying.

Script Supervisor –
Implied Position & Responsibilities: Keeping performances to the script, tracking coverage and shots to ensure that everything was covered for editing, maintaining logs for the editing process, taking continuity photographs and maintaining them for later reference when scenes are later referred to, or reshot.
Actual Low Budget Requirements/Expectations: Picking up the dogshit from the lawn between takes or shoot dates, so we can “maintain continuity”.

Simple –
See Easy

Sound Mixer –
Implied Position & Responsibilities: Upon reviewing script, consulting with camera, lighting, and art department, selects microphones, mixers, and other equipment. Goes on Tech Scouts. Mixes production sound to a recorder and in some cases to camera as well, works with Boom Operator to record clean, crisp audio.
Actual Low Budget Requirements/Expectations: Show up on the day with all necessary equipment without seeing script and get good sound, even though we are shooting next to the (freeway/airport/railroad/playground). Oh, and here is a PA to hold your Boom Pole. He’s getting great experience!

Unfortunately –
Implied Meaning: We are truly regretful and/or sorry.
Actual Meaning: 1) Bend over and take it, and don't complain.
2) We are incompetent schmucks, and this professional wont put up with our shit.
As seen on craigslist: “Unfortunately, we can not pay you at this time,” “Unfortunately, our (AD/Sound Mixer/PA) had an (emergency/Prior Commitment/mysteriously disappeared), and we need a replacement ASAP.”
Often seen with: Great Connections, Great Experience, Award Winning, Professional

Well Fed -
Implied Meaning: You will get hot, catered meals, and have craft services on set.
Actual Meaning: You get two slices of pizza.
See Also: food, copy/credit/food

Way to go SAG

Thanks for ruining my job prospects...

Just Kidding. You know I love you.

However, with 2/3 of the industry shut down, and Paramount now on it's 3rd series of layoffs, lots of people are losing their jobs. And, since people are LOSING their jobs, there's not a lot of jobs to go around. Writer's Assistant jobs are going to WRITERS who were laid off, Production Coordinator jobs are going to UPMs who were laid off, and so on down the line.

So, for those of you moving to the gold coast, I'll summarize what a Temp Agent told me today: "This town died in December". Now, that's quite an oversimplification, and there are still jobs, and there will always be jobs, at least in TV.

But, people are MUCH pickier now than they were pre-strike. Someone told me that they are looking for resumes and interviews from TEMPS! you know, the guys who come in and screw everything up...well now they want to interview the temps before the hire him. My question would be, shouldn't you be trying to fix this problem and don't do you have something better to do than to interview temps? I guess not, since there are no films going on.

And the big issue is, people with much more experience than you were laid off, and they need jobs. Since they can't find another job at their level, they are settling on jobs below their level. And THEY are competing with YOU. So, good luck with all that. Before you make the trip, make sure you can roll calls, take notes, do budgets, write coverage, and do all the other assistant type duties. I was told that I may be a hard sell because:

a) I can't roll calls and
b) I have ambition.

Yes, that's right. Apparently, according to a different temp agent, people want to you know you'll be there forever, and that you can't or don't want to do anything but be an assistant for the rest of your life.

If this is true, it paints a very bleak picture of breaking into an already difficult industry to break into. So, please, for my sake, stop trying to do better by yourself, and do better by me...

Just kidding. Solitary.

Become a reader...

***NOTICE: I am not advocating companies USING free labor, instead of PAID labor. I am not condoning WORKING for FREE. I do not advocate union companies hiring scabs, or skirting the law. I do NOT advocate or condone ANY Company who would try to hire FREE workers instead of PAID workers. In this post I am SPECIFICALLY talking about INTERNSHIP possibilities, where the goal of the work is to LEARN and EVOLVE. This
post is specifically designed to help people to BREAK INTO the industry if they do not have the requisite skills to do so, and to HONE their writing ability.***

No, I don't mean to actually read books, which is a given. I mean try to land an internship READING SCRIPTS. I will now explain why this is ONE WAY, an effective way, to help improve your writing.

These are some of the easiest internships to perform from outside Los Angeles/New York. Literary managers, agents, production companies, etc all need people to read scripts. They are desperate because they are deluged with scripts daily. On the flip side, because you're not intimately involved in the day-to-day, it's not an internship that will most likely lead to somewhere. With the introduction of the internet, scripts can be delivered over e-mail, depending on the company.

However, it can be done in spare time, and for those who want to be writers but may not have a critical eye, it's a great way to understand who the first line of defense is, how they operate, as well as establish what else is out there. Also, because it is a reader position, it is POSSIBLE to do outside of LA or NY, if you find the right agencies. Also, those of you who love to read, which should be everyone, have a read and an outlet for that love that will help further your career.

Usually, a company will not require you to finish your coverage in an 8 hour shift, but by a certain date, possibly handing you a script or 2 on Monday expecting them by Friday. Whether you are 65 and retired, 35 and working 80 hours a week, or 22 and just out of college, you should be able to find the energy to do this coverage. This is NOT a development internship, which is usually in the office. This is SPECIFICALLY doing reading for a company.

Internships are usually flexible on hours, and even how long you can commit. If you want to only do a "semester" which is 3 months, you can. It's not a long term commitment. So, you will most likely do 3 months, maybe 10-20 covers, have a better understanding, get your experience, and get out. And since it's not an office job, though you may have to pick scripts up, you can do it wherever, whenever. Trust me, they will not trust you with their RUSH or high priority covers. And if they do, RUN from that company.

In addition, most of these internships are relatively easy to accomplish, as most people won't trust you with many scripts, as they don't know how well you will cover the script. Most internship won't ask you to read more than 2-3 scripts a week. some may require more, but some require less too.

In return you will learn an invaluable skill of reading scripts critically AND writing summaries for scripts. This skill is imperative for your own writing, as a good summary can mean a company will read your script.

Now, you may disagree with me, and I'm sure there are going to be a couple comments telling me its not as easy as it looks to land one of these. However, I remember when I was first starting out companies were desperate for anyone to read scripts that understood coverage and the basics of plot.

I should tell you that MOST companies will ask you to send in a sample coverage, possibly even a sample PASS, CONSIDER, and RECOMMEND. So, if you don't have any...you really should. You can go to places like www.scriptcoverage.com for samples on how to write coverage. Then, take a script and get to writing. What companies are looking for is:

-Do you understand story?
-Do you make educated decisions as to the script?
-Can you speak in the language of the script?
-Can you accurately summarize the script to give a flavor of the story?

Because this is an internship, its job should be to teach as well, which makes this a great place for someone to start who may not FULLY grasp these but has a moderate to good understanding. And they are light on stress because if you do lousy coverage, your script will be covered by a professional, but if it's covered well, you will become invaluable.

so, let's skip ahead and answer your next question, this is a writing and production blog, WHY get an internship reading? How will this help MY writing?

First, because most success people this business, whether it's a writer, producer, director, or actor, know how to cover scripts. They may not know the correct format, but everyone who is successful can dissect a movies flaws, at least in broad terms. So, knowing how to talk about movies is incredibly important.

Also, as a writer, it's the easiest way to understand how much crap there is out there, and how much readers HATE reading bad scripts. Once you read 10-15 bad ones, you'll understand that a reader has to read this many a WEEK, and write extensive coverage on it, including a synopsis of a usually flimsy and convoluted storyline. They're whole job is reading terrible scripts...hopefully a decent or good on slips in every 50 or so. You will see what you need to do to get a script to a place where readers will not pass on it.

And, most importantly, when you start an internship you get a READER'S RUBRIC. This tells you what is a recommend, a consider, and a pass. OR if you have a grading system, what is a 0-5. AND, then you can transfer that to your own writing. See, when you actually KNOW what a company wants to see, you can go back to your script and say HEY, this is how I make this script better. One of the better rubric's I've ever gotten even showed the page breakdown of generally where they expect things to happen, and in what order. The READER'S RUBRIC is gold for a writer, esp. a new writer.

I should mention, under California Law in order to take an internship, you must be enrolled in a class. You can enroll in a class at UCLA extension which will allow you to get credit. However, PLEASE, PLEASE, PLEASE, do not enroll until AFTER you get the internship. While most companies in LA are strict about interns, some will not make you enroll for a class, Usually the smaller companies...but also some VERY SHADY ones, so make sure you are careful. I always recommend companies that work legitimately under the law, but I'm sure there are many companies that are legitimate that may not require credit, which is a savings of a few hundred dollars.

So, how do you find companies that need readers? Basically, EVERYONE. Now, most have readers, or want more experienced readers, or don't want to deal with interns, but if you call enough places you will have a shot. You can also try craigslist, or mandy, or any of the other jobsites. Trust me, if a company is small enough, esp. if they just turned out a hit or released a film theatrically...they need readers. Scripts are coming in faster than they can read them. And, they can't beat the cost...free.

It may not be the PERFECT way to become a professional writer, but if you can READ, and you can LEARN how to give good comments. It can do nothing but help you. You'll be able to see why 130 pages is bad, why thematic changes are bad, and why all of the things you've heard but never understood is bad.

Now, let the deluge of comments about how this post is terrible and wrong begin...now.