Hollywood Drive

What it Takes to Break in, Hang in & Make it in the Entertainment Industry

Eve Light Honthaner

• Editorial: Routledge
• Año: 2017
• ISBN:
  9781351866842
• Edición: 2
• Categoría: Mezzi di comunicazione e arti performative
• Categoría: Film e video

Hollywood Drive: What it Takes to Break in, Hang in & Make it in the Entertainment Industry is the essential guide to starting and succeeding at a career in film and TV. The completely updated second edition features new interviews with industry professionals, information about the changing social media landscape, the wide array of distribution platforms that are available to aspiring filmmakers, and much more. Honthaner's invaluable experience and advice give those attempting to enter and become successful in the entertainment industry the edge they need to stand out among the intense competition. Hollywood Drive explores the realities of the industry: various career options, effective job search strategies, how to write an effective cover letter and resume, what to expect on your first job, the significance of networking and building solid industry relationships, how a project is sold, and how a production office and set operate. You'll learn how to define your goals and make a plan to achieve them, how to survive the tough times, how to deal with big egos and bad tempers, and how to put your passion to work for you. Although no book or class can totally prepare you for a career in the entertainment industry, Hollywood Drive offers insights, direction, and a sense of confidence.

Chapter 1

Fade in On Reality

I don’t take the movies seriously, and anyone who does is in for a headache.

—Bette Davis

There’s a Los Angeles radio station I occasionally listen to, and a bumper message they used to play exclaimed: “Welcome to Hollywood! What’s your dream?” It’s no secret that scores of people move to this town every day, as they do New York, Atlanta and other entertainment and film centers, to try to break into the “biz,” to be discovered, to attend film school, to get an agent, to perform, to sell a script, to be seen, to be the one who discovers talent, to network, to land a great job, to find the right portal that’s going to transport them to the fantasy world they’ve been dreaming of. Some make it; many more don’t. Some have dream-come-true experiences and others leave terribly deflated and disappointed. And once in the biz, some will encounter more good experiences than not, and others will find that surviving in this industry is a struggle throughout their entire careers. It’s not easy to stay in a business everyone wants to be in.

But whether you’re someone who’s thinking of getting into the business, a film student or someone who has recently started working in the industry, no matter what you assume it’s going to be like, want it to be like, or expect, it’s going to be different than anything you’ve ever imagined—and most likely, much, much tougher! Being in this business, you will no doubt encounter some or all of what many of us have faced: the challenges, the joy, the politics, the excitement, the rejection, the camaraderie, the struggles, the fun, the frustration, the gratification, the disappointment, the adventure— the entire roller coaster ride of emotions wrapped up into one profession. And yet no one can adequately prepare you for what it’s like. No amount of reading or attending classes or seminars will teach you absolutely everything you need to know. Some of it can only be learned through practical experience and by sheer osmosis. More importantly, I can’t tell you exactly what it’s going to be like for you, because the experience isn’t the same for any two people. Having stated that, I can provide you with a thoroughly realistic understanding of how the industry works and what it generally takes to become a contributing member of this realm. Because only when you fully comprehend what it’s truly like will you be equipped to make the best decisions and choose the career path that’s right for you—whether it’s in this business or not.

HAVING WHAT IT TAKES

The further you get away from yourself, the more challenging it is. Not to be in your comfort zone is great fun.

—Benedict Cumberbatch

To succeed in this business, being smart, talented, creative and skilled in a particular craft (or two, or three) is not enough. You have to be special, to stand out, to be willing to sell yourself over and over again, to have the right attitude, temperament and personality; to be willing to play the game and relentlessly do what it takes—not only to succeed, but to simply hang in there and survive.

Wanting “it” badly enough, truly believing it’s going to happen, imagining yourself in the job of your dreams and counting on the power of positive thinking will help, but it’s not nearly enough to get you there. You’ll need to develop a thick skin, some major chutzpah and be ready to kick major butt. Only the most motivated, determined, assertive, ambitious, ballsy and tenacious need apply. You’ll want to develop strong industry relationships, know how the business works, know how to get your foot in doors and how to get your name out there. You can’t be lazy or complacent, and you must daringly venture far from the security of your comfort zone. You have to possess an abundance of passion, drive, enthusiasm, perseverance, patience, energy and confidence. You have to want it so badly you can taste it. You have to love this business so much, you can’t for one nanosecond imagine yourself doing anything else.

REALITY STINGS

Yes, many do become successful, famous and wealthy, but it’s crowded at the top of that ladder. There’s no guarantee you’ll reach the top of that much sought-after pinnacle, and if you do, that you’ll be able to stay there. And lest you think once you’re working in this industry, you’ll have a clear shot to easy street—think again. It’s not always so easy!

The competition is brutal, and the demand for jobs is enormous. For every opening, the line of people vying for that position is out the door and down the block (and sometimes, around the corner). Legions of the newly trained and educated, as well as individuals who have never been to film school but have always dreamed of getting into the industry, flood into film centers (primarily Los Angeles) every day. Linda Buzzell, author of How To Make It in Hollywood (HarperPerennial) confers by stating: “The entertainment industry is now more ruthlessly competitive than ever. The world’s best and brightest in every job category—performers, directors, executives, technicians —are flooding into Hollywood in ever-increasing numbers.” Suffice to say, the demand for entertainment jobs far outweighs the supply.

Knowing what you’re in for is the only way you’re going to be able to decide if you have what it takes to even give it a good try. And if this is to become your chosen field, you’ll want to walk into it with your eyes wide open, armed with the tools you’ll need to give yourself a good, fighting chance.

ATTEND FILM SCHOOL OR JUMP RIGHT IN?

This is a question I’m often asked, and there is no right or wrong answer. I never attended film school but can see the advantages gained by those who have. Can you make it big without film school? Absolutely. Can you go to film school and then not succeed in the biz? Absolutely. This is a very personal choice.

Film school can be quite costly, but it provides a broad, well-rounded understanding of the industry, as it focuses on film history and theory as well as the teaching of many different skills and evolving technologies. Students generally walk away from school having learned at least a modicum of writing, producing, directing, acting, editing, cinematography, set design and so forth. It’s where you learn the ropes, learn about the equipment and make your own film. And making your own films while in school is great training. Many a student film has won acclaim at film festivals and/or other competitions, some managing to attract the attention of distributors, studio bigwigs and agents. In addition to or instead of a film, students also often walk away from school with a terrific script (or two)—another formidable calling card with which to start their careers.

Networking is another advantage to film school, because after graduation, individuals in a position to do so may help, recommend or hire their former classmates whenever possible. Many colleges and universities also offer outstanding internship programs and job placement services. And on-going support frequently comes in the form of extremely active and helpful alumni associations.

Today, in addition to entertainment attorneys, many top industry professionals hold law degrees, as opportunities do increase for those film/tv/ media/communications majors who opt for even further education.

On the other hand, while a film school education generally proves beneficial to those who want to write, produce and direct, it may not be as practical for someone whose career goal is to become a transportation coordinator, a special effects coordinator or a location manager. An advanced education may not be as necessary for someone wanting to be a casting director, script supervisor, production coordinator, stunt coordinator or key grip as it is to someone wishing to be an editor, cinematographer or production designer.

If you’re still in the “contemplating” stage, consider going to one of the fine schools in Los Angeles or New York. You’ll get so much more bang for your buck learning your trade in a city that has a large show biz community. You can take advantage of the many networking organizations, seminars, trade shows and other industry-related events L.A. and New York have to offer. Through your school, you’ll have access to internships with major studios and production companies, which will be advantageous to have on your resume when entering the job market. You’ll be exposed to the business and meeting people who work in the business, so you can start building a solid network for yourself before you ever graduate.

If it’s not practical for you to go to school in Los Angeles, your next best option is to attend one of the many universities and colleges now offering “a semester in L.A.”—classes and an internship or just an internship. Some of the schools that offer these programs include the University of Texas at Austin; Boston, Belmont, Vanderbilt, Syracuse and Carnegie Mellon universities; Curry, Emerson and Ithaca colleges and the New York Film Academy.

A film degree will provide you with a tremendous learning experience, and while it may enable you to make better connections, understand more or move up faster, it’s no guarantee. Once you enter the “reel” world, few potential employers are going to care where you went to school. They’re going to care more about your attitude, work ethic and willingness to give it your all than what your diploma looks like. Industry veterans also understand that as much as film school graduates think they know, there’s still a level of expertise that can only be attained by way of practical experience. So unless your first job is that of making your own movie, you’ve landed a great first position by way of nepotism or a law degree has earned you a junior executive slot—plan to start at the bottom and pay your dues. Check your ego in at the door and expect to be treated as any other entry-level employee—whether you’ve been to film school or not.

As advantageous as a film school education can be, I’ve seen individuals graduate with such a keen sense of entitlement, or such unrealistic expectations or ego-driven attitudes, they often crash and burn without ever reaching their destinations. I’ve witnessed other film school grads who are incredibly talented but fail to establish themselves because of their deficiency in networking and/or political skills.

Then there are those who, like me, never attended film school. I landed in the business by accident, and once there, never wanted to leave. Some don’t attend because they can’t afford to and still others are too anxious to wait a moment longer than necessary to jump right in and learn as they go. While a part of me has always missed not having had the more well-rounded education and in-depth exposure to aspects of the industry beyond my areas of expertise, there have always been opportunities to continue learning. Extension and short-term evening courses, seminars and books are plentiful to anyone wishing to take advantage of them. For those of us in production especially, there are vendors who offer learning opportunities and tours of their facilities, while smaller vendors, upon request, are generally quite amenable to educating both customers and potential customers about their equipment and services on a more one-on-one basis. I’ve also learned a lot just by asking co-workers to explain how they’ve achieved or are planning to achieve a certain shot, a design, a mood, a sequence, an effect, a look or a scene.

For me, my best education has always been in the doing. Each job, each show has been an education in itself and an opportunity to continue learning.

MAKING COFFEE INSTEAD OF MOVIES

One of the biggest misconceptions people have upon graduating film school or just deciding to get into the entertainment field is that because they are bright, talented and creative and may know how to stage a scene, operate a camera or edit a montage, they should be able to land a job as a producer, director, cinematographer, editor, production designer or some other notable position, and that it shouldn’t take longer than six months to a year to achieve this worthy goal. Sometimes it happens that way, but not often. No matter how incredibly talented you are, what school you graduated from and how many student films you’ve made—unless you’re off making your own films, you’ll most likely have to start at an entry-level position and work your way up—a process that may take longer than you anticipate. Your entry-level position will most likely be that of someone’s assistant or apprentice, a receptionist, a production assistant (PA) or a mailroom clerk. And as menial as the job may appear or feel or be, think of it as the first step toward where you want to go—a means to an end. It’s fairly obvious that most entry-level employees are way, way, overqualified for washing coffee cups, pushing mail carts, making deliveries and photocopying scripts; and while you might find this work ego-deflating, remember that many of the most successful people in this business started this way, having learned from the bottom up.

I’ve seen my share of PAs who start their first show by walking in with such an overblown opinion of themselves and their talent, they’re offended when asked to file or make coffee. A very well-established producer I know told me when interviewing candidates for an office staff job, a young man had made a specific point of telling him he didn’t make coffee. The producer told the candidate if he himself could make coffee, his entire staff would be expected to do so as well. He told the young man if he wasn’t willing to pitch in and do whatever it took to keep the production office running smoothly, he wouldn’t be considered for the job.

The trick is to be the very best PA, runner, receptionist, apprentice or assistant that ever existed. Short of being totally abused or exploited, don’t whine or groan when asked to do something you don’t want to do. Accept tasks willingly. No one is asking you to do anything just to make your life miserable. If it has to be done and falls within your sphere of responsibility, you don’t have much choice. You’re there as support staff, and your job is to provide the support, whatever that entails. Don’t complain. Everyone is busy, and no one wants to hear it. Be a pleasure to have around; be a team player; and if you have any extra time, volunteer to help others with their work. Everyone will agree that you’re wonderful, and they’ll all want to work with you again. And in time, your talent and abilities will be recognized, and you’ll have the opportunity to move up.

You’ll never stand out, or truly “make it,” unless you’re willing to put in the extra effort, to keep learning, to perfect your craft and to keep your ego in check (at least at the beginning of your career; hopefully, always). You can’t assume anything, much less that you’ll be instantly discovered. If you are—great! What a nice surprise that’ll be. But those opportunities come along rarely.

Every job you’ll ever have, from the very bottom on up, is an opportunity to learn, cultivate skills and relationships and soak up valuable information from everyone around you. Each new experience will become part of your continuing education, and how well you do will more often than not depend on the effort you’re willing to invest in your future.

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