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Your Hollywood Career File Drawer #1
Ref 1. I am just starting out and want eventually to be a producer. Should I send query letters to production companies? Is there an entry level position I should aim for, offer my services on an intern basis? What do you recommend?
Ref 2. Ms. Buzzell, Is it too late for someone in his forties to begin a career as a scriptwriter and make it? Will my age be a drawback when making pitches and so forth? Any tips would be appreciated.
Ref 4. Ref 1.
Response: Before you choose a strategy, it›s important to decide if you›re aiming for creative producing or line producing or a combination of both. Creative producers acquire literary properties, sometimes attach elements to them, including stars and/or director, and then spend a lot of time selling the "package" to money sources such as studios, distributors, TV networks or groups of investors. Line producers supervise the nuts and bolts production of the film or TV project once the money is attached. Line producing is a logistical/financial craft. The line producer makes sure the project comes in on time, on budget. For creative producer, the entry level positions might be story analyst, development assistant, assistant to a producer, or agent trainee. If you›re aiming for line producing, production assistant, production secretary or runner jobs might offer a good start. See p 222 of my book "How to Make It in Hollywood" for more info on how to get entry level jobs, temp jobs and internships. Also check out the Entertainment Employment Journal at (818) 901-6330 which publishes an internship issue.
Ref 5. I am a Re-recording dialogue Mixer at a Studio. I really would like to investigate being on the other side of the table. I know a lot of people but I wonder if jumping over to be an Associate Producer would do more harm in the long run, in the career sense. Should I stay with what I am doing(it's a great living) or should I go and try to become a producer? I know I can put together better packages than what some producers are offering the studios.
Ref 6. Where can I get a magazine/newspaper with casting calls? or writing jobs? Thank you.
GV
Ref 7. Response: The bad news: I'd by lying if I told you that Hollywood isn't a youth-oriented industry. Some older writers around town have even taken young partners to improve their odds in pitch meetings, a sad commentary on this situation. A number of associations and guilds around town have committees to combat this pernicious ageism, which leads to a terrible waste of talent. The good news: as a writer of spec screenplays for films, age matters mufch less than it would if you decided to become a TV writer or actor or studio executive. If the script is truly fabulous, Hollywood won't care if you've got green hair and a third eye. But be aware that the odds are long against actually selling a spec script, and that one script sale doesn't necessarily mean a screenwriting career. Tip: put your energy into making your spec script or scripts truly irresistible.
Response: Before you choose a strategy, it's important to decide if you're aiming for creative producing or line producing or a combination of both. Creative producers acquire literary properties, sometimes attach elements to them, including stars and/or director, and then spend a lot of time selling the "package" to money sources such as studios, distributors, TV networks or groups of investors. Line producers supervise the nuts and bolts production of the film or TV project once the money is attached. Line producing is a logistical/financial craft. The line producer makes sure the project comes in on time, on budget. For creative producer, the entry level positions might be story analyst, development assistant, assistant to a producer, or agent trainee. If you're aiming for line producing, production assistant, production secretary or runner jobs might offer a good start. See p 222 of my book "How to Make It in Hollywood" for more info on how to get entry level jobs, temp jobs and internships. Also check out the Entertainment Employment Journal at (818) 901-6330 which publi
Ref 8. Linda,
I received some feedback from Steve de Souza, but I'd like to garner as many
opinions as I can (no offense to Steve!!!). I am a represented screenwriter
with an East Coast agent. At the request of my agent, I've just completed a
book proposal for a novel, based on an action/thriller screenplay I wrote a
little while back. My agent's strategy is to generate "heat" for the s'play by
shopping the book proposal to publishers because 1) He feels that it lends
itself well to the novel market (high-tech military weapons espionage), and
2) Sale of the book will automatically generate hype for the screenplay.
That's not my problem, obviously (Hey, I've got an agent who has a marketing
plan for my screenplay. I'm ecstatic! But...). It's more of a question. There's
a lot of experienced pros out there who say that development deals are the only
"reality" out there for a screenwriter. "Spec screenplays don't sell, they only
get you work." I am a little concerned that I may be limiting myself to non-
development deals pursuing this route. Are there many writers out there with
both East and West coast agents (One for books, one for screenplays. I think
perhaps Alan Dean Foster is the only one that comes to mind)? If so, did they
start out in books or in films?
Any thoughts you have would be greatly appreciated.
Dan.R.Goforth@BRIDGE.BST.BLS.COM
Ref 9. Hello!
I am a recent graduate and have lived in LA for 8 months. I am working
towards producing documentary television and children's programming.
Having worked at a PBS station at my college for 3 years and sampled
"Hollywood" while I have been here I am trying to get back into PBS.
It was simple in college, as it was part of my telecommunications program.
My question is, what is another avenue in LA to pursue my goal? I am
applying for jobs at PBS stations in California, but as the money is
cut for CPB, unfortunately, there are few jobs. I am working in casting
right now, it is cool, but will not exactly get me to my dream job. Any
advice? Thanks Joanna decible@primenet.com
Ref 10. Hy Linda, I am a German producer, Agency/Line Producer for the last
8 years in Europe and US and, 'creative producer' for one year with a startup-
director on a trial period, that was terminated last year. I am now living in NY trying to pursue
an independent producing career but am not so sure.
Any advice...stay in NY ? move to LA ? Try to apply for a studio job ?
Thanks Martin
MPPOHL@aol.com
Ref 11. Hi Linda,
My son is enrolled in college in motion picture technology. He wants to produce and would like to know what avenues to pursue to eventually become a motion picture producer.
Any advice is appreciated.
Thanks, paulb@netrunner.net
Ref 14. DO I need to Go to A California School or Live In California to
Make It In the Motion Pic. Industry??? If Not, What Would be a Good
School to go to In Minnessota?
Thanks, Jason
gilbert@ic.owatonna.mn.us
Ref 15. I work for a producer/director who recommended your book. I'm interning through USC (Communications Major), and as a requirement have to write a research paper on an aspect of the industry. I've decided to write on networking. Any information/tips you could provide regarding this important skill would be appreciated. I'm going to check out your book soon. My e-mail address is jbarker@scf.usc.edu. Thank you. John R. Barker
Ref 17. Ref 5 Response: It's hard to answer a question like this without sitting down with you to go over your ultimate career goals in the industry. Since you seem to be doing well and making a great living as a studio Re-recording dialogue Mixer, there would need to be a real reason for making a career shift. How much would you absolutely love being an Associate Producer? Would it be worth the effort of re-marketing yourself in a new arena and possibly cutting off future mixing jobs? (As you know, some industry employers can become uncomfortable hiring you in your present craft if you're publicly pursuing another career goal). If so, by all means pursue it, but you need a savvy strategy to make this kind of career transition without burning bridges.
Ref 18. Your an apiring director... You don't have a spare $10,000 - $100,000...
So you decide to attempt to follow in the footsteps of John Singleton,
Quentin Tarintino, Lawrence Kasadan, James Gray, etc.
That is, you write a great screenplay and attempt to attach yourself
as director. The project being your directorial debut. Is this a pipe
dream or very possible if you play your cards write. If would greatly
appreaciate any solid advice you may offer.
Sincerly,
Starving Director
BYRDCAGE@aol.com
Ref 21. FROM LINDA BUZZELL< Please be patient I have had some technical difficulties with my computer unrelated to this site. I will be answering all your questions
Ref 22. Ref 5 Response: It's hard to answer a question like this without sitting down with you to go over your ultimate career goals in the industry. Since you seem to be doing well and making a great living as a studio Re-recording dialogue Mixer, there would need to be a real reason for making a career shift. How much would you absolutely love being an Associate Producer? Would it be worth the effort of re-marketing yourself in a new arena and possibly cutting off future mixing jobs? (As you know, some industry employers can become uncomfortable hiring you in your present craft if you're publicly pursuing another career goal). If so, by all means pursue it, but you need a savvy strategy to make this kind of career transition without burning bridges.
Ref 24. Ref. 6 Response: I'm hoping that this question concerns two different people, one who is pursuing acting and another who is a dedicated writer, because pursuing these two demanding crafts simultaneously could be a problem! For one thing, a full-time writing job might cut into the time you have available for the endless auditions, classes, and self-marketing that are an actor's life, never mind actual theatrical or commercial jobs... Also, if you're a pro in the biz, you know that most acting and writing gigs never appear in magazines and newspapers (see "the hidden job market," p163 of my book "How to Make It in Hollywood.") That said, I think you'll enjoy reading Drama-Logue, Backstage West and script magazine, as well as the trades, the Hollywood Reporter and Daily Variety. The reference section of my book lists phone numbers for these publications, or you may find them at a good newsstand.
Ref 25. Hi my name is Jason. I'm curently 19. I can think of nothing more
enjoyable then getting into the movie making industry. If possilbe
could you lend me some guidence as to what would be the best way to
attain this goal(in other words...Where do i start?) I really
appreciate your time.
Jason
jhart@wwdc.com
Ref 26. Iwas wondering if you knew how I could go about getting a hold of an actress, specifically Hayley Mills (Pollyanna, star of The Parent Trap), any help you could give me would be great! You can reach me over email at jrwareha@puc.edu, thanks! J. Wareham
Ref 28. Dear Ms. Buzzel,
For the last 5 years I have been a TV-production student/professional in the Netherlands, Europe. During this time I gained a lot of multi-national experience( internship in German studio, exchange with USA filmschool, worked abroad),
and worked as a camera person and lineproducer on industrials.
My year long visit to the USA was so fruitfull, I decided to pursue a career in the USA filmindustry.
I met someone who used to work for Paramount in developing, and some promising filmschoolgraduates I'd like to work with.
What would be a wise (and legal)strategy to follow? I have a Bachelors in film/tv, and will have a Masters in Interactive MultiMedia production soon.
Some of those people I met thought I should start in Disribution or an Agency, since I speak 4 languages.
Is this realistic, our just their wild guess? Any chances for well-educated and experienced(TV camera, Multimedia,line-producing) Europeans in Hollywood?
Looking forward to your reaction, Rene. (e-mail: begas-r@dds.nl)
Ref 32. hi there. i have a degree in marketing and finance with the highest aspirations to work in the
motion picture industry. i have done two internships already.
do you have any recomendations of headhunters or employment agencies
that cater to the motion picture industry??? i am located in the l.a. area. please email response protege@ix.netcom.com
Ref 34. I recently re-wrote my screenplay. There were just a few minor changes
including the name of one of the main characters. Do you think I need
to send a copy to the Copyright office and the Writers Guild? (The
title is still the same as the first time it was copyrighted and
registered) VERY FEW CHANGES. Thank you. DEBBIELW@aol.com
Ref 35. Hi Linda--
How would you suggest getting a hold of name talent (stars or very recognizable name actors) re: possibly attaching them to potential projects (without having to go through their agents and that often circuitous route)? Being the seasoned professional that you undoubtedly are, might you have any tips or creative ideas for myself or others who are in my position (and who wish to deal directly with talent, at least initially in the packaging process)?
If you would send your e-mail response to "F Filmakur@aol.com" it would be much appreciated.
Ref 36. Ref. 8 Response: Your agent's advice about trying to sell your high-tech military weapons espionage story as a book sounds good. Hollywood development execs (and I used to be one of them, at a production company based at Columbia and Lorimar) scour the book world for literary properties that would make great films or TV projects. As for whether or not to write spec scripts, I advise my career counseling clients who are writers to pursue many avenues: (1) Spec film scripts, which showcase your unique screenwriting talent in a way no other format can. Even if the odds are long for actually selling them, they serve as writing samples which are your introduction to Hollywood's development execs and can generate writing assignments if the D-people like your work and style (2) Books and magazine articles which can be turned into films (3) Spec episodes of existing successful TV series, plus ideas for additional episodes, if you're interested in working in TV. (4) Pitch ideas. These are ideas you've taken as far as the outline or treatment stage (you can register or copyright the treatments to protect yourself, but don't actually submit the written text in this form). When a development exec likes the writing in your spec script but doesn't want to buy that particular story, she or he may call you in for a meeting and ask you "what else your have." That's your cue: pitch any additional spec scripts or projects you're working on.
Ref 37. Ref. 9 Response: To get into the world of nonfiction TV, join the International Documentary Association at (310) 284-8422 and start schmoozing!
Ref 38. Ref. 10 Response: You might enjoy the section of my book called "Do I Have to Move to LA?" on page 291. Independent creative producing is one of the toughest jobs in show business, so base yourself where you have most chance of success. Also see the second half of Ref. 7 above, which includes some info about the importance of deciding whether to focus on line or creative producing. Good luck!
Ref 39. Ref. 11 Response. Buy him a copy of my book as a present! Also see my comments in the second half of Ref. 7 above on the importance of knowing whether you're going to pursue line and/or creative producing. At some point, if he's in LA, he might want to come in for an individual career counseling session to make sure he has a good job search strategy in place and he's making the right career moves.
Ref 40. Ref. 12, 13, 14 Reponse: See "Do I Have to Move to LA?" on page 291 and "The Pros and Cons of Film School" on page 103 of my book "How to Make It in Hollywood." It makes most sense to go to a film school in a city with a serious film/TV industry, like LA, New York, Chicago. They should have close ties with nearby industry professionals and the contacts you make in school will be a great help in your work life in the biz. If that's not possible, however, go to a good school near you and concentrate on writing a script or making a student film that will win awards at festivals and gain industry attention that way.
Ref 41. Ref. 15. Response: For your school paper on networking, check out the chapter on "The Shmooze Factor" in my book "How to Make It in Hollywood." USC is a great school for industry shmoozing!
Ref 43. Ref. 18 Response: I taught a class on how to become a director at the Directors Guild of America for three years, each year with a different all-star panel of wonderful directors who shared with the audience their techniques for breaking into film/TV directing. There were people who started as commercial or music video directors, assistant directors, production managers, actors as well as writers. The consensus was that too many newcomers are given the old "write a great script" advice. Even if the script is drop-dead fabulous, few producers will take a chance on a first-time director who hasn't already sold a few screenplays that have become successful films or made a showcase film or his or her own. Another point made by my panelists: there are no more excuses for not making your showcase film and entering it in festivals now that low-cost broadcast-quality Hi-8 video and desktop editing are a reality. If you really have the talent, it will shine through. Write yourself a great script or find a friend with a great script, put together a team and shoot! Good luck.
Ref 44. Ref. 8 Response: Your agent's advice about trying to sell your high-tech military weapons espionage story as a book sounds good. Hollywood development execs (and I used to be one of them, at a production company based at Columbia and Lorimar) scour the book world for literary properties that would make great films or TV projects. As for whether or not to write spec scripts, I advise my career counseling clients who are writers to pursue many avenues: (1) Spec film scripts, which showcase your unique screenwriting talent in a way no other format can. Even if the odds are long for actually selling them, they serve as writing samples which are your introduction to Hollywood's development execs and can generate writing assignments if the D-people like your work and style (2) Books and magazine articles which can be turned into films (3) Spec episodes of existing successful TV series, plus ideas for additional episodes, if you're interested in working in TV. (4) Pitch ideas. These are ideas you've taken as far as the outline or treatment stage (you can register or copyright the treatments to protect yourself, but don't actually submit the written text in this form). When a development exec likes the writing in your spec script but doesn't want to buy that particular story, she or he may call you in for a meeting and ask you "what else your have." That's your cue: pitch any additional spec scripts or projects you're working on.
Ref 45. Ref. 9 Response: To get into the world of nonfiction TV, join the International Documentary Association at (310) 284-8422 and start schmoozing!
Ref 46. Ref. 10 Response: You might enjoy the section of my book called "Do I Have to Move to LA?" on page 291. Independent creative producing is one of the toughest jobs in show business, so base yourself where you have most chance of success. Also see the second half of Ref. 7 above, which includes some info about the importance of deciding whether to focus on line or creative producing. Good luck!
Ref 47. Ref. 10 Response: You might enjoy the section of my book called "Do I Have to Move to LA?" on page 291. Independent creative producing is one of the toughest jobs in show business, so base yourself where you have most chance of success. Also see the second half of Ref. 7 above, which includes some info about the importance of deciding whether to focus on line or creative producing. Good luck!
Ref 48. Ref. 11 Response. Buy him a copy of my book as a present! Also see my comments in the second half of Ref. 7 above on the importance of knowing whether you're going to pursue line and/or creative producing. At some point, if he's in LA, he might want to come in for an individual career counseling session to make sure he has a good job search strategy in place and he's making the right career moves.
Ref 49. Ref. 12, 13, 14 Reponse: See "Do I Have to Move to LA?" on page 291 and "The Pros and Cons of Film School" on page 103 of my book "How to Make It in Hollywood." It makes most sense to go to a film school in a city with a serious film/TV industry, like LA, New York, Chicago. They should have close ties with nearby industry professionals and the contacts you make in school will be a great help in your work life in the biz. If that's not possible, however, go to a good school near you and concentrate on writing a script or making a student film that will win awards at festivals and gain industry attention that way.
Ref 50. Ref. 15. Response: For your school paper on networking, check out the chapter on "The Shmooze Factor" in my book "How to Make It in Hollywood." USC is a great school for industry shmoozing!
Ref 51. Ref. 18 Response: I taught a class on how to become a director at the Directors Guild of America for three years, each year with a different all-star panel of wonderful directors who shared with the audience their techniques for breaking into film/TV directing. There were people who started as commercial or music video directors, assistant directors, production managers, actors as well as writers. The consensus was that too many newcomers are given the old "write a great script" advice. Even if the script is drop-dead fabulous, few producers will take a chance on a first-time director who hasn't already sold a few screenplays that have become successful films or made a showcase film or his or her own. Another point made by my panelists: there are no more excuses for not making your showcase film and entering it in festivals now that low-cost broadcast-quality Hi-8 video and desktop editing are a reality. If you really have the talent, it will shine through. Write yourself a great script or find a friend with a great script, put together a team and shoot! Good luck.
June 26, 1996 - Ref 212. Ref 1.
Response: Before you choose a strategy, it's important to decide if you're aiming for creative producing or line producing or a combination of both. Creative producers acquire literary properties, sometimes attach elements to them, including stars and/or director, and then spend a lot of time selling the "package" to money sources such as studios, distributors, TV networks or groups of investors. Line producers supervise the nuts and bolts production of the film or TV project once the money is attached. Line producing is a logistical/financial craft. The line producer makes sure the project comes in on time, on budget. For creative producer, the entry level positions might be story analyst, development assistant, assistant to a producer, or agent trainee. If you're aiming for line producing, production assistant, production secretary or runner jobs might offer a good start. See p 222 of my book "How to Make It in Hollywood" for more info on how to get entry level jobs, temp jobs and internships. Also check out the Entertainment Employment Journal at (818) 901-6330 which publishes an internship issue.
Ref 2.
Response: The bad news: I'd by lying if I told you that Hollywood isn't a youth-oriented industry. Some older writers around town have even taken young partners to improve their odds in pitch meetings, a sad commentary on this situation. A number of associations and guilds around town have committees to combat this pernicious ageism, which leads to a terrible waste of talent. The good news: as a writer of spec screenplays for films, age matters mufch less than it would if you decided to become a TV writer or actor or studio executive. If the script is truly fabulous, Hollywood won't care if you've got green hair and a third eye. But be aware that the odds are long against actually selling a spec script, and that one script sale doesn't necessarily mean a screenwriting career. Tip: put your energy into making your spec script or scripts truly irresistible.
Ref 5 Response: It's hard to answer a question like this without sitting down with you to go over your ultimate career goals in the industry. Since you seem to be doing well and making a great living as a studio Re-recording dialogue Mixer, there would need to be a real reason for making a career shift. How much would you absolutely love being an Associate Producer? Would it be worth the effort of re-marketing yourself in a new arena and possibly cutting off future mixing jobs? (As you know, some industry employers can become uncomfortable hiring you in your present craft if you're publicly pursuing another career goal). If so, by all means pursue it, but you need a savvy strategy to make this kind of career transition without burning bridges.
Ref. 6 Response: I'm hoping that this question concerns two different people, one who is pursuing acting and another who is a dedicated writer, because pursuing these two demanding crafts simultaneously could be a problem! For one thing, a full-time writing job might cut into the time you have available for the endless auditions, classes, and self-marketing that are an actor's life, never mind actual theatrical or commercial jobs... Also, if you're a pro in the biz, you know that most acting and writing gigs never appear in magazines and newspapers (see "the hidden job market," p163 of my book "How to Make It in Hollywood.") That said, I think you'll enjoy reading Drama-Logue, Backstage West and script magazine, as well as the trades, the Hollywood Reporter and Daily Variety. The reference section of my book lists phone numbers for these publications, or you may find them at a good newsstand.
Ref. 8 Response: Your agent's advice about trying to sell your high-tech military weapons espionage story as a book sounds good. Hollywood development execs (and I used to be one of them, at a production company based at Columbia and Lorimar) scour the book world for literary properties that would make great films or TV projects. As for whether or not to write spec scripts, I advise my career counseling clients who are writers to pursue many avenues: (1) Spec film scripts, which showcase your unique screenwriting talent in a way no other format can. Even if the odds are long for actually selling them, they serve as writing samples which are your introduction to Hollywood's development execs and can generate writing assignments if the D-people like your work and style (2) Books and magazine articles which can be turned into films (3) Spec episodes of existing successful TV series, plus ideas for additional episodes, if you're interested in working in TV. (4) Pitch ideas. These are ideas you've taken as far as the outline or treatment stage (you can register or copyright the treatments to protect yourself, but don't actually submit the written text in this form). When a development exec likes the writing in your spec script but doesn't want to buy that particular story, she or he may call you in for a meeting and ask you "what else your have." That's your cue: pitch any additional spec scripts or projects you're working on.
Ref. 9 Response: To get into the world of nonfiction TV, join the International Documentary Association at (310) 284-8422 and start schmoozing!
Ref. 10 Response: You might enjoy the section of my book called "Do I Have to Move to LA?" on page 291. Independent creative producing is one of the toughest jobs in show business, so base yourself where you have most chance of success. Also see the second half of Ref. 7 above, which includes some info about the importance of deciding whether to focus on line or creative producing. Good luck!
Ref. 11 Response. Buy him a copy of my book as a present! Also see my comments in the second half of Ref. 7 above on the importance of knowing whether you're going to pursue line and/or creative producing. At some point, if he's in LA, he might want to come in for an individual career counseling session to make sure he has a good job search strategy in place and he's making the right career moves.
Ref. 12, 13, 14 Reponse: See "Do I Have to Move to LA?" on page 291 and "The Pros and Cons of Film School" on page 103 of my book "How to Make It in Hollywood." It makes most sense to go to a film school in a city with a serious film/TV industry, like LA, New York, Chicago. They should have close ties with nearby industry professionals and the contacts you make in school will be a great help in your work life in the biz. If that's not possible, however, go to a good school near you and concentrate on writing a script or making a student film that will win awards at festivals and gain industry attention that way.
Ref. 15. Response: For your school paper on networking, check out the chapter on "The Shmooze Factor" in my book "How to Make It in Hollywood." USC is a great school for industry shmoozing!
Ref. 18 Response: I taught a class on how to become a director at the Directors Guild of America for three years, each year with a different all-star panel of wonderful directors who shared with the audience their techniques for breaking into film/TV directing. There were people who started as commercial or music video directors, assistant directors, production managers, actors as well as writers. The consensus was that too many newcomers are given the old "write a great script" advice. Even if the script is drop-dead fabulous, few producers will take a chance on a first-time director who hasn't already sold a few screenplays that have become successful films or made a showcase film or his or her own. Another point made by my panelists: there are no more excuses for not making your showcase film and entering it in festivals now that low-cost broadcast-quality Hi-8 video and desktop editing are a reality. If you really have the talent, it will shine through. Write yourself a great script or find a friend with a great script, put together a team and shoot! Good luck.
Response to Ref 25: Jason, I wrote my book "How to Make It in Hollywood" Second Edition (HarperPerennial) to give readers the guidance I believe you're looking for. You can get (or order) or order it at any of the big bookstores or you can call my office at (310) 553-9660 for a free brochure and book order form. If you have any questions after reading it, pop them up here and I'll do my best to help you with your personal situation.
Response to Ref 26: Every actor who is a Screen Actors Guild member can be reached by calling SAG in Los Angeles and requesting the name of his or her agent. Correspondence can be addressed to the agent. Actors value their privacy and, unfortunately they sometimes don't make it easy to reach them. If you have a specific reason to reach an actor (getting a script to them, for example), contact me again and I'll go into more detail.
Response to Ref 28: Rene, the first thing you need to do it target your exact goal in the industry. Do you want to work in hands-on production, in cinematography, in development... in film/TV or Interactive Multimedia? Your goal will determine the proper starting point. Different entry level jobs lead in different directions. Please let me know what your goal is, and I'll try to respond to your question.
Response to Ref. 34: Debbie, I suggest you call the Writers Guild and get their guidelines on when you need to re-register a script.
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