directing non-union television

I watched a TV show I directed last year, and ended up producing/writing the pilot episode. Now, usually you would get pay for each Writing, Directing, and Producing, you would be entitled to residuals, etc. But with a non-union show, you are expected to do a lot more. In fact, since it's your name at the end credits, people associate you with the good and bad of the end product.

See, I'm a writer, but I'm also a director, and a producer, so I can see things from a lot of angles. The thing I like best about writing, besides creating a world from scratch, is that after you write the script, you can defer to both the director and producer as having the responsibility for the end product. For every mind-numbing change, for every stupid plot hole, you can say, hey it's not me, it's the director. However, when you are directing, that's not the case. Even if you have the footage ripped from you and edited without any input from you, which is what happened to me, it is still your show. Even if you have only been in editing for 2 hours because that's all the producer can afford (which by the way I was never paid for), it's still your baby. Even if everyone on set compliments how you run the show, when a producer or editor screws up it's all on you.

Now, with this project it wasn't so bad. The editor had never edited for TV before, and the on set crew was lack-luster at best. However, I am not going to be ashamed when I show it to potential distributors and tell them this is a rough cut. But it brings up a point that I should mention...

• writing, directing, producing, or acting on assignment is just that...an assignment. You are not an auteur, unless you are very lucky. No, you are a person who is paid to do a job, do it well, and bring in your expertise. It's not being a writer/director on a high budget film.
• It's not your vision, it's their. Your job is to make their vision come to life, cut out the bad ideas, leave the good, and make it the best project it can be.
• You are meant to get in, on time, under budget, and still maintain the artistic integrity.
• The best you can ask for is a thanks. What you normally get is yelled at, complained to, undermined, and threatened.
  

Ahhh. TV Directing. It's a blasty-blast.

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...

Cinegear/Pitchfest

I was reading one of my recent posts and forgot that i didn't mention Cinegear. Cinegear is the best show outside of NAB for learning about the technology of film/tv. There were red cameras, Dalsas, lights, and about every cool gadget, fun fact, or production resource a person can ask for.

Now, on the flip side, it was on the Universal backlot...outside...in a freak heatwave... and i was in long sleeves and pants. It was about the hottest I've ever been. In fact I was going to go both days, but I decided I couldn't put up with it a second day. Instead, I met some friends at the 3rd St. Promenade for dinner in the bearable heat. Still, where else but La are you going to get onto a Hollywood Backlot (where they made spartacus) and be able to touch and play with tons of gear.

BTW, the coolest thing by far I saw was a lighting effects board which gave incredible control for lightning effects, explosions, and even candlelight. It was really amazing.

The next day, instead of Cinegear, I went to Pitchfest and sat at the Scriptwriter's Network table. We signed up about 10 people, and got to meet a lot of awesome people... I met the writer of Liar, Liar, which was cooler than anything else I've done in LA except for Warner Brothers. I'm telling you, I've met more people who can help my career in La in 2 weeks than I did in an entire career in DC.

For those of you who don't know, the GREAT AMERICAN PITCHFEST is an event where a bunch of potential producers pitch their projects to a room full of production companies and agents. Basically, how it works is that the producer stands outside a little cubicle booth, and every five minutes a new producer goes into the booth and pitches the production company inside. Then, five minutes later, the pitch is done and they move onto the next booth. It's a really great event. I know someone who pitched at the event and someone who was being pitched and I heard great feedback from both.

There is an event called FADE IN which is similar in late summer, and another on called the Writer's Expo in November. I'm going to try to get to both.

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.

Query Letters

Query letters are criminally inefficient, take forever, and are a necessary evil. having just moved to La, i sent out 480 to different tv shows and agents, and will most likely hear back from non of them.

Here's how it works:

1. move to LA. Make sure you have that La number/address.
2. buy the Creative Directory/Representation Directory.
3. Write a query letter saying all the best things about you.
4. Look through the directories and find the addresses of all the companies/agents that interest you.
5. For agents, include a postcard. For production companies, include your resume.
6. Send those suckers out. Don't forget postage, that's how they get ya.
7. Wait a while.
8. Get either no call or a rejection letter.
9. Go to #1.

That's it for now. Next up...temp agencies.