So you’re moving to Hollywood
Because this site is largely aimed at aspiring screenwriters, I like to include their first-person perspective on those early steps, beginning with the move to Los Angeles. Over the last few years, we’ve had guest blog posts from Adam Davis, Kris Galuska, Jerome Schwartz and Jonny Summers — all of whom are due for an update.
George Sloan is a writers’ assistant on “How I Met Your Mother.” He graciously agreed to write up a primer for recent college grads considering making the move to Hollywood.
Hi. I’m George. You probably don’t know me. But that’s okay. We’re friends now.
Below is some information I’ve compiled over the last four-and-a-half years, based on my experience as a PA in the industry, as well as questions I’ve been asked by people considering the move to Los Angeles. Keep in mind, this is an unofficial and relatively shitty guide to working in Hollywood.
The Big Move
Every year, thousands of 20-something guys and girls pack up their cars, leave their beloved suburban towns and head west to Los Angeles. And with good reason. LA is the international capital of television and motion pictures. Argue all you want about other places — Ne w York, New Orleans, Vancouver and Eastern Europe — but when all is said and done, LA is where you need to be. Granted, that may change over the next ten years, but as of 2010, LA is still the place.
Leaving home and saying goodbye to my family and friends, though incredibly difficult, was a necessity. But before I packed my ’98 Accord to the roof, I asked myself a question. It’s the same question that I pose to anyone considering the move to LA. “Aside from film and television, is there anything else you can see yourself doing with your life?” If the answer is no, pack your stuff and get out here.
The Drive
Recruit a friend to drive with you, if possible. I drove alone, however, and loved every minute of it. Those five days in the car, thinking and listening to music, allowed me to prepare myself mentally for the enormous change I was about to experience.
Saving Up
I moved to Los Angeles with $1,200 in savings. Dumb idea. I would suggest moving with no less than $5,000 in savings. LA is one of the more expensive cities in the country and you probably won’t have a job for the first few weeks. You’ll need enough to cover gas (about 50 cents more per gallon in LA than on the east coast), food, monthly bills (student loans, car loans, etc.), as well as your first/last month of rent and security deposit. You’ll also need money for furniture if you didn’t come out here with any. I moved in with a few guys I met on Craigslist who already had a fully-furnished house. That worked out well, but if you want to live alone, prepare to drop some cash at Ikea.
The First Job
Finding a job in LA is not that hard. Finding a good-paying job that you enjoy is very hard. I did freelance PA (production assistant) work for my first year out here (additionally, I had worked as a PA back in Boston for over a year), working on some embarrassing low-budget feature films, as well as some embarrassing big-budget reality shows. The hours were impossibly long and the pay was hilariously low. The tasks I was asked to complete were menial and beneath anybody with a high school diploma. My friends like to refer to some of the jobs I had as “pride-swallowing.” I prefer the term “soul-crushing.”
The Long and Winding Road
After a year or so, I got a job as an office PA on a big-budget studio feature. It was thrilling, but eight months later, I felt like I wasn’t learning anything new and decided to leave. I scored an internship at a well-respected production company, eventually transitioning into a full-time job as an executive assistant. But after a year, I again grew restless. I thought about why I moved to LA in the first place: to pursue my dream of writing and directing. My two years in LA had certainly not been a waste (I had fun, I learned a lot and I made some great connections), but I didn’t feel any closer to my dream of writing and directing. So I set what I considered to be a realistic goal for myself: I would become a writers’ assistant on a TV show. I had heard there was a “ladder” to climb in television writing (start as an office PA, get promoted to writers’ PA, then get promoted to writers’ assistant), and was growing increasingly frustrated by the fact that no such ladder exists in the feature world.
Luckily, around this time, I received a call from a former employer who said “How I Met Your Mother” was looking for a new office PA. It seemed destined, so I started there over the summer, and busted my ass. When shooting began in the fall, a writers’ assistant position opened up and I made it clear that I was interested and prepared to do the job. I got the promotion. It took me two and a half years to find a job that I didn’t consider “soul-crushing,” but it finally happened. I still consider myself “just starting out” in the industry, but I now feel more confident in my future.
A Necessary Evil
The best advice I can give to anyone starting out in Hollywood is to find a job as a production assistant. It sucks hard, but it’s a necessary evil. Working as a PA is thankless. Truly. But it’s the nature of the beast. You must pay your dues. You’ll make shitty money, work long hours and be forced to swallow every ounce of pride that you have, but you’ll learn more in one day than you would in a lifetime of sitting in a classroom. You’ll also learn what you do and don’t want to do.
As a new PA on “How I Met Your Mother,” I was responsible for buying groceries and keeping the refrigerator stocked. Although it sounds silly, I took this job very seriously. Within a few days, the writers were telling me I was doing way better than the last guy and were offering to read any scripts I might be working on. Even the little things count. People notice.
The Giant Whirlpool
I think of Hollywood as a giant, freezing-cold, bacteria-ridden whirlpool. On the outside of the whirlpool, closest to the shore (and financial security), are the executives, the studio heads, the big-name actors, writers and directors. As you move towards the center, you come upon the lower-level employees. And moving further inwards still, you come to the PA’s. There’s thousands of them, all clamoring and clawing, trying desperately not to get sucked into the deep, dark hole of anonymity and sadness.
I’ve found, however, that if I focus on one particular point on the shore and swim hard enough, I begin to make some headway, inching further away from the center. At times I’ve felt very unmotivated. Those were the times that I lost focus and found myself swimming in a circle, passing the same people, also stuck, frustrated and sad.
Learn to swim.
Positioning Yourself
Once you get your first PA job, move as quickly as possible into the field that you want to end up in. For example, if you want to write for television, try to get a PA gig on a scripted TV show. If you want to produce reality shows, try to get into reality. If you want to be a cinematographer on feature films, get a job as an office PA, befriend the camera department PA and make it known where your interest lies. On the next show, people may offer you the position you’re looking for.
Internships
Internships are a great way to make connections and learn what you’re interested in. If you can afford to work for free (some internships do pay), get as many internships as possible. Most internships are two or three days a week and usually you can work with the internship coordinator at the company to work around whatever paying job you might have.
Some places will only hire you as an intern if you’re getting school credit. There are, however, ways around this. If you’ve already graduated from college, you can sign up for an independent study or a UCLA extension class. The company I wanted to intern with turned out to be laidback about the school credit thing, so I never had to enroll in a college class.
If you’ve already done an internship, for the love of all that is holy, use it to your advantage. Stay in touch with your supervisors. If the internship was done on the east coast, ask the people there if they know anyone in LA. If the internship was here in LA, ask them if they’re hiring. Put together a bad-ass resume and ask your supervisors if you can use them as references. Then write a bad-ass cover letter, buy the Hollywood Creative Directory (amazon.com or any LA library should have a copy) and send your info out to every office in town. Be professional and follow the guidelines of a normal cover letter, but make sure your unique personality comes across.
Film School
Film school is a tricky subject that everyone has an opinion about. You can ask ten people if they recommend going to film school and you’re likely to get ten different answers. My opinion is that film school is not necessary. I went to Quinnipiac University, a small school in Connecticut, and majored in film and television production. I’m doing just fine out here. I’ve worked with people that went to the best film schools in the country — USC and UCLA and NYU and Columbia — and we’re all at the same level. The only difference is they have some awesome looking short films and a solid alumni network. Film school is certainly a great way to meet passionate people who want to do the same thing as you, but that simply isn’t enough to convince me that film school is vital. More schooling means more money and more time, when you could just jump right into the industry. But again, opinions about going to school for film vary widely.
Connections
Connections are huge in Hollywood. Everyone has them, everyone wants them. Your best friend might know an actor from “Twilight.” Your father might know the creator of “Lost.” Your cousin might know the key make-up artist on “Avatar.” But until you are actually working in Hollywood, in a production office or on a set, none of these connections matter.
I made a list of 25 people that I knew in Los Angeles before I moved out here. When I arrived, not a single one of those people was able to help me find a job. It’s not that they didn’t want to, it’s that they weren’t able to. But I continue to check in with them periodically. A month before you move, email everyone you know in California. Send them your resume, tell them what you want to do, tell them you’ll work for free. Anything to get a foot in the door. Spread the word that you’re moving and that you’ll need a job in a few weeks. Post it on Facebook, MySpace (if it still exists) and Twitter. Text people. Send telegrams. In the unlikely chance that your big Hollywood connection does get you a job, be ready, because once that door is open, you’re gonna have to work fast to prove that you’re the best.
Tracking Boards / Job Lists
Tracking boards are online forums that many assistants in Hollywood use to track upcoming film projects. In this manner, all participants can stay current on which companies are producing which films, which scripts have “heat,” which stars are signing which contracts, etc. These boards are also used to alert other members of new job openings. Often, you have to be invited to join a tracking board. For example, Boston University has a tracking board started by some of its alumni. If someone on the board hears about a job opening, they’ll email the group and hopefully secure the job for one of their friends. It’s a form of nepotism, but get used to it. There are also dozens of job lists circulating around Hollywood. The most popular is called the UTA Job List. UTA is one of the big talent agencies in town and every week they publish a comprehensive list of open assistant positions around Los Angeles. It’s very difficult to even get an interview based on this list because it’s so competitive, but usually the best jobs will be posted here.
The Mailroom
Many people working in Hollywood insist that the best way to break into the industry is by getting a job in the mailroom at one of the major agencies (CAA, UTA, WME, ICM) or, if need be, one of the smaller agencies (Gersch, Paradigm, ATA). I have absolutely no agency experience, so I can’t speak with authority on the subject, but be aware that it’s an option. From what I’m told, you work in the mailroom and sort mail for a while, become a “floater,” where you fill in and answer calls for various agents, and eventually get promoted to a more permanent assistant position. From there, you can decide if you’ve had enough, or if you want to continue on that path and become an agent.
LA: The Pros and Cons
I’ve only been in LA for four-and-a-half years, but I can tell you it really is the best place in the world for film. Every major studio is based here, every major filmmaker is based here. Every coffee shop you go to is full of people writing screenplays on their laptops and every movie theater is packed with like-minded people, all trying to carve a place for themselves in the industry. If you want to write, direct or produce feature films or television shows, this is the place you need to be. You’ll eventually want an agent, a manager, or a lawyer, all of whom will be based in LA.
Like any major city, LA is far from perfect and will take some getting used to. Here are a few drawbacks of the city, in no particular order: traffic, smog, lack of public transportation (in some areas), superficiality, obsession with celebrity culture, earthquakes, high sales tax.
And here are a few nice things about the city: consistently beautiful weather, proximity to beaches and mountains (often possible within a few hours), free movie screenings, world-renowned museums, a burgeoning theater scene, great Mexican food, Tom Hanks.
In Conclusion
In the end, it’s all in your hands. You need to be willing to work hard every single day. If you have any doubt that working in Hollywood is what you want to do with your life, then I would say don’t do it. As a PA, you’re replaceable. If you give up, there’s a hundred guys and girls waiting to take your job. You need to make yourself a vital component of the team. You need to observe what everyone does and ask lots of questions. You need to make friends with everybody. And most importantly, you need to want it more than everybody else. A lot of people in LA want to do nothing with their lives except work in film and television. They grew up thinking that and they’ll die thinking that. Those are the people you’re competing with.
There is also one tiny piece of information that people tend to forget. Moving to Los Angeles isn’t permanent. Nothing in life is. You might move out here and decide it’s not for you. A few of my friends have made that decision. There’s no shame in moving back home. More likely though, you’ll move out and jump right in. Just don’t get worried if it takes you a little while to figure out what you want to do and to find a job that you’re happy in. You’ll get where you want as long as you work hard, stay open-minded and remain passionate, even in the face of seemingly impossible odds.
And, of course, feel free to contact me with any questions along the way. I can be reached at geosloan@yahoo.com. Good luck!
Below is some additional information for future production assistants.
Things to remember:
- Keep your cell phone on you at all times. Keep it charged. Silence it while on set.
- Have a car. Maintain it. Invest in a navigation system.
- Write down any instructions from your boss so you don’t forget them.
- Take a small notepad with you everywhere.
- Ask questions if you’re unsure of something. Ask more questions if you’re still unsure.
- Keep track of your mileage.
- Learn proper walkie etiquette.
- Talk to everyone.
- Other PAs are your friends.
- Be nice to everyone. You never know who might be your boss someday.
- Be especially nice to security guards.
- Check, double check, and triple check lunch orders.
- Bridges burn easily.
- Set two alarm clocks.
- Don’t go to work hung over.
- Wash your hands often. Use soap.
- Read the script.
- Read the call sheet.
- Work on your own films/scripts at night and on the weekends.
- Drink lots of water.
- Never ask if it’s time to go home. Your boss will tell you when it’s time.
- Avoid craft services unless you have a gym membership.
- Don’t lie. Ever.
- Know the difference between grip and electric.
- Don’t loiter in video village.
- If you’re going to be late, call your boss.
- Seriously, if you’re going to be late, call your boss.
Movies to Rent:
Documentaries:
- Project Greenlight (The Complete Series)
- Overnight
- The Hamster Effect
- Lost in La Mancha
- Hearts of Darkness
Narrative:
- State and Main
- An Alan Smithee Film: Burn Hollywood Burn
- The Player
- Day for Night
DVD Production Diaries to Watch:
- Blow
- Matchstick Men
- Magnolia
- Lost in Translation
Books To Read:
Writing:
- Screenplay – Syd Field
- Story – Robert McKee
- The Complete Guide to Standard Script Formats – Cole/Haag
- The Screenwriter’s Bible – David Trottier
- The Elements of Style – William Strunk & E.B. White
- Becoming a Writer – Dorothea Brande
- On Writing Well – William Zinsser
- The Comedy Bible – Judy Carter
- The Eight Characters of Comedy – Scott Sedita
- How NOT to Write a Screenplay – Denny Martin Flinn
- The Third Act – Drew Yanno
- Save the Cat – Blake Snyder
- On Writing – Stephen King
- Aristotle’s Poetics for Screenwriters – Michael Tierno Hyperion
- Creating Unforgettable Characters – Linda Seger
- Hello, Lied the Agent – Ian Gurvitz
- Making a Good Script Great – Linda Seger Samuel
- Successful Sitcom Writing – Jurgen Wolff
- The Art of Dramatic Writing – Lajos Egri
- The One-Hour Drama Series: Producing Episodic Television – Robert Del Valle
- The Power of Myth – Joseph Campbell
- The Script is Finished, Now What Do I Do? – K. Callen
- The Sitcom Career Book – Mary Lou Belli & Phil Ramuno
- The Writer’s Journey: Mythic Structure for Writers – Christopher Vogler
- Wake Me When It’s Funny – Garry Marshall
- Writing Down the Bones – Natalie Goldberg
- You’re Lucky You’re Funny – Phil Rosenthal
- Sit Ubu Sit – Gary David Goldberg
Directing:
- Rebel Without a Crew – Robert Rodriguez
- Getting Away With It – Steven Soderbergh
- Thinking in Pictures – John Sayles
- Making Movies – Sidney Lumet
- I’ll Be in My Trailer – John Badham
- My First Movie – Stephen Lowenstein
- Directing Actors – Judith Weston
- Setting Up Your Shots – Jeremy Vineyard
- The Visual Story – Bruce Block
Acting:
- Audition – Michael Shurtleff
- Respect for Acting – Uta Hagen
Producing:
- Hello, He Lied – Lynda Obst
Cinematography:
- The Five C’s of Cinematography – Joseph Mascelli Silman
- Notes on the Cinematographer – Robert Bresson
Editing:
- In the Blink of an Eye (2nd Edition) – Walter Murch
Agenting/Managing:
- The Mailroom – David Rensin
General:
- Hollywood 101 – Frederick Levy
Articles
May 18th, 2010 at 2:25 pm
Good advice and a great article. This is a great resource for anyone looking to move to LA.
From the tone of your article, I’m sure you’ll be successful at what ever you do. You seem to have a great can-do attitude. That goes a long way in life.
I did a bunch of PA jobs when I first moved to LA but I was terrible at them. PAing isn’t for everyone. It wasn’t for me. I never made any decent contacts through the PA jobs I had. One should be sure that PAing is right for them before investing a lot of time in it, because if you’re not great at it I don’t think you’ll get much of a return.
May 18th, 2010 at 2:32 pm
Wait — “Adventures in the Screen Trade” by William Goldman in not on that list? That should be the FIRST book you read before any of the others. Maybe even instead of all the others. But nice shout-out to the DVD extras on “Matchstick Men.” Surprisingly good.
Good luck, George.
May 18th, 2010 at 2:38 pm
Nice article, George. I especially love that you included a resources list!
Stumbled!
May 18th, 2010 at 2:40 pm
Nice piece!! Though I’d probably replace ALAN SMITHEE FILM with GET SHORTY.
And bonus points for mentioning to know the dif betw grip & electric :)
May 18th, 2010 at 2:48 pm
Perfect. Really well met.
I would only add… Read John August.
May 18th, 2010 at 2:52 pm
I am 40 so I guess I should stay home?
May 18th, 2010 at 2:55 pm
Have a lot of show-runners and staff writers started as production assistants and successfully worked their way up the ladder from there? That’s not a loaded question, I promise — I’m genuinely curious what percentage of the movers and shakers (in television) came up that way.
May 18th, 2010 at 2:56 pm
“From the tone of your article, I’m sure you’ll be successful at what ever you do. You seem to have a great can-do attitude. That goes a long way in life.”
I concur. I have no plans to go to LA, but if I did, I’d consult this post like a Bible.
May 18th, 2010 at 3:53 pm
Great article John. I do have a query for you & your readers however…
As was mentioned, Vancouver nor Toronto are not LA. However in this day and age is it feasible for a Canadian to pull a ‘George’ and bust a move down to the mecca that is Hollywood and be able to land some sort of legit paying full-time ‘PA’ job?
I have the biggest itch to pursue my dreams as a writer but one of my biggest fears is that — since an ‘Assistant’ anything isn’t exactly a role that would easily qualify for any sort of work visa — after pulling up my boot straps to make such a move only to end up realizing that you are virtually doomed in La La Land with no feasible means of bringing any sort of hourly income except ‘working for tips’ as it were…
Are there any Canadians with some ‘modern day’ insight into this sort of sojourn and what kind of hurdles that one needs to overcome? There has to be a few of my fellow Canadians who have survived the trek down to the promise land! :)
May 18th, 2010 at 5:22 pm
Wow. The energy! I’d almost want to move there…
Fabulous article George. Thank you for putting in the effort!
May 18th, 2010 at 5:29 pm
I’m almost two years in, and wow, you describe where I am perfectly. I just started at job #2 and I’m already restless and wondering what the heck I’m doing, but I do know that I want to stay out here.
Seriously great piece.
It gives me hope.
May 18th, 2010 at 6:04 pm
I’m moving out to LA next week after graduating from Columbia out here in Chicago. I’m gonna go ahead and say that I know the road ahead will be tough but I’m up to the challenge. I’m 25, not getting any younger and realize that if its not now, its never. I’m transfering with AT&T, I’ve worked for them through college and know many people in both television and movies who have told me there is work for me when I get there. I also have a good relationship with a big director’s assistant, and hope to work for him eventually to learn the ropes. I know that there isn’t a science to making it in this business, but I know with a good attitude and a tactful mind, anything is possible. Thanks for the article, good read :)
Jonathan Malcolm Hlutke
May 18th, 2010 at 6:25 pm
Please keep in mind that a 2 1/2 year period looks short on paper. And the economy has taken a big toll on the industry– people much more qualified than you are struggling to find paying jobs.
It’s gotten a bit harder out here, but if it’s still your dream, you need to move to LA.
May 18th, 2010 at 6:31 pm
I would also be interested in receiving any guidance about moving from Canada to LA to land an assistant or PA position, but UNPAID. What is the liklihood of a Canadian being accepted for these positions or an internship? I would assume that this would allow a person to bypass (for a limited time) the necessity for a work visa. Anybody have any supporting or clarifying info?
May 18th, 2010 at 7:01 pm
Very well done. And best of luck to you. Your positive attitude clearly puts you in great standing.
May 18th, 2010 at 7:56 pm
This is great advice, but it should also be noted that working in the industry as a low level minion is not the only way in. Just living in LA gets you connections because it’s kind of impossible to live here and not know someone in film, and you may even make a living wage and have time to write at the end of the day.
May 18th, 2010 at 8:04 pm
Curious how viable this path is for someone in their early mid 30s? Went to school in Los Angeles and worked for a year in the industry before moving…sigh…for a girl. That ended up not working out and have always wanted to move back and give it a go, but have been told by people that no producer, manager, executive etc is going to hire a 34 year old assistant.
May 18th, 2010 at 9:23 pm
George — Thanks for including my book in your suggested reading list. Your advice on breaking in was dead on. And it’s just Act One. Act Two is how to deal with any degree of success. If you get on a writing staff, stay humble. Don’t be afraid to open your mouth. Learn everything you can from everyone around you. Learn production. Don’t be a P.A. killer. I have ended up pitching pilots to network development execs who were once fetching lunch. Revenge, unlike the Chinese food you constantly send back, is a dish best served cold. Write constantly. Work on your own scripts while working on the show. Multitask like crazy. Meet people, but don’t network. It’s obnoxious. Save your money. As fast as shows get on is as fast as they go down. If you think getting your first job is a bitch, try getting your second. Or third. Save your money. Don’t get divorced. Don’t go new Porsche shopping too quickly. Get a used one, they’re still cool. I had mine for 13 years. It’s gone now. Never assume your agent loves you. Be careful who you sleep with. Save your money. And, as you said, if you don’t love writing, don’t do this. Good luck. Ian
May 18th, 2010 at 10:36 pm
Can i make a quick recommendation to the Canadians? it might be worthwhile to check out what some part time/evening writing programs could offer in the way of student visas. that way you’d both be in a writing program (i’m in an online writing program right now based at a big school in LA and it has been invaluable, so good that i won’t mention its name b/c then i’d sound like a shill.)
If you want to write and/or write and direct, PAing is great, but being a great writer is equally/more valuable … and perhaps a non-full time education program might give you the opportunity to both work in the industry and give you guided instruction at the same time.
i apologize if part time/evening/online school doesn’t qualify one for a student visa, but my point about the importance of some formal writing education stands. it doesn’t need to be a school–it can be self-designed–but being the best and most connected PA on earth doesn’t yeild a screenplay sale or a directing job; writing and directing solid marketable work do.
George, great article, very inspiring, well written, and generous. Hope good things come your way.
May 18th, 2010 at 11:15 pm
Funny how someone who works buying vegetables has so much advice to give to aspiring screenwriters… I mean no disrespect, but what’s the point? I want to read how some writer WHO MADE IT managed to get there. This feels like a janitor giving advice on how to become university teacher. After two years and a half you got to buy groceries for the writers of a tv-show? Can’t you see anything wrong there? That’s what you left your home and friends for?
May 18th, 2010 at 11:35 pm
Lucien,
The vast majority of people who currently are at the top of the industry used to pick up other people’s dry cleaning do random lousy personal crap. Even Jerry Bruckheimer’s assistants probably have to do it. I don’t have any interest in being a writer or director but anyone who does needs to learn how the business works, make contacts, hopefully have some talent, find people to collaborate with, and then produce something to give to those connections etc. And to do that you usually have to move to LA and maybe buy someone’s vegetables/work as a PA. People who have any clue what it takes to make it like hearing these types of stories because they want to know how to get their foot in the door…and then let their “talent” do the rest.
May 19th, 2010 at 6:47 am
This is a very helpful article. I’d like to add it would be good to find a job at home with a corporate company that you can transfer out here. Most corporate “Big Box Stores” or restaurants like Olive Garden or Outback will let you transfer so you will have a job as soon as you’re out here (restaurants are best because you will be able to eat.)
Also buy a 3 ring binder and those tabs and write every film/tv/agency department on those tabs and write the name or attach a biz card of everyone you meet on a piece of paper and stick it in your “bible”. Make notes on how you met, conversations, etc. Also call sheets and production lists. Thank everyone and consistently keep in touch with everyone who helps you and help everyone you can.
The days start at 12 hours and only get worse and if you think the higher up you get in the chain, the less hours you will have to work, you are wrong. 16 hour days are the norm. Not working is becoming the norm. Hollywood is not for the faint of heart, but there will always be an open door – you just have to find it.
Thanks for the great article and best of luck to everyone.
May 19th, 2010 at 8:24 am
Lucien, did you miss the rule “Bridges burn easily”?
May 19th, 2010 at 8:47 am
Ditto. Lucien: Why go out of your way to be such a shining example of insensitivity? I know several writers who have made it but give lousy advice. Expand your menu. The kid can write and his wit and energy will catapult him far, I bet.
May 19th, 2010 at 9:02 am
Lucien, while in many other businesses, you might be right — you’re wrong, especially with regard to television writers’ offices.
I am a staff writer for a network drama, and worked first as an assistant to a writer. Nearly every staff writer I know (as well as a number of high-level TV writers) started as an assistant, or writers’ P.A., in a TV writers’ office. George’s post is dead on — especially in his point about doing the small things right, so that people want to help you move up.
May 19th, 2010 at 10:07 am
As a writer who has made it, and has hired people like George, he’s pursuing one path among many and he’s approaching it correctly. After two and half years, he’s working in the business on an actual and legitimate production. Will he “make it” as a writer or director? Who knows? But, through his choices and hard work, he has placed himself in a position where he has a better chance than most to find out. And has done it within production, which gives him a huge advantage over people who want to be writers, but don’t understand the demands of production. Where he is now is a better position than people who are vainly searching for shortcuts or expect an instant career after two and a half years. It doesn’t work that way. A couple of things I want to underline from George’s article. The first is that, though you aspire to something greater, never forget that you are hired to do the job you were hired for. In other words, if you are a P.A, be the best damn P.A. there has ever been. Don’t constantly badger the producers by asking if they want to read your script or pushing yourself into areas where you aren’t wanted or needed. Everyone assumes you have higher aspirations and they will ask you what they are. If they like you and see you as a hard worker, they will be more favorable to helping out. If they get the feeling that your job takes second place to using them as a stepping stone, you’ll be unemployed fairly quickly. George, apparently, did his job and did it exceptionally well. That caught the eye of the people around him. Second, be professional at all times. This is a business. It doesn’t have time for indulging petulant artists until they can bring millions into the business. Treat others with respect and never forget the bottom rung is only a mistep away. Third, reread George’s “Things to remember”. He’s spot on with everything there. Again, this is just one of many paths to choose. I was never a P.A. but I’ve hired Assistants who have gone on to be showrunners.
Finally, for Lucien, if you were to ask me how to “make it” as a writer in this business, one of the things you would get from me would be a link to this article. You may say you mean no disrespect, but your comparison to what George is doing to that of a Janitor aspiring to be a teacher shows, at the least, a misunderstanding of the business and an attitude you need to lose. Good luck, George.
May 19th, 2010 at 10:23 am
Well, maybe that’s why so many mediocre tv shows and movies are made nowadays, because they give the assignment to the friendly guy who made coffee for three years with a perennial smile instead of finding a writer with talent. That figures…
If you write a good script and there’s money to be made from it, nobody is going to care if you are an A-hole: Joe Eszterhas, who never bought groceries or made coffee or cared for networking at all, and many others like him.
May 19th, 2010 at 10:29 am
Lucien;
Arrogance is no substitute for talent.
IF you write a good script (subjective) and IF there’s money to be made from you (unproven until you do).
When you are a somebody, you can be an a-hole. When you are a nobody, you are JUST an a-hole.
May 19th, 2010 at 10:42 am
Actually, Lucien, people do care. Even in my own incredibly limited experience, I’ve seen that just being a decent human being can get you far, and it has to do with the intensity of the work that goes on in these places. The work itself, and the long hours, already create a fair amount of stress for everyone in the environment. Do you really think anyone wants to compound that by throwing in someone who is awful to work with?
I’ll admit that I don’t have a solid piece of evidence to back this up, but I would bet that 5 moderately-talented people who are good to each other and can get along well will produce much better work than 2 uber-talented jerks trying to work together.
And even if I’m wrong on all those counts, just be decent to people anyway. They’re human beings. It’s the right thing to do and it makes things better for everyone.
May 19th, 2010 at 10:46 am
Lucien reminds me: I would recommend adding SWIMMING WITH SHARKS to that movie recommendation list.
May 19th, 2010 at 10:50 am
Great article. Had a blast reading it, even though it made me nervous about moving out west (well, down south as I’m in Vancouver). Best of luck in your career, George.
May 19th, 2010 at 10:57 am
Lucien has just reminded me WHY I am so confident that a nice guy with great writing skills will win over the bitter poster with great writing skills.
Thanks, bud.
May 19th, 2010 at 11:28 am
A question for you, fellow posters: if you all know so much about what it takes to make it, how come you are posting here with all the nobodies? Shouldn’t you be buying groceries for someone’s secretary?
May 19th, 2010 at 11:46 am
Lucien; Because this is good information and the “nobodies” (as you put it) would be well served by it. I’m giving it my endorsement and support.
At least two people posting have stated they are professional writers. One of them states she broke in as a writer’s assistant. The other (me) watched people move up from those positions.
A question for you: Why are you so insistent that it doesn’t work? If you’ve found another way, good for you, there are many paths. But to dismiss George’s plan is ridiculous in the face of the obvious success stories.
One of my office assistants was Alex Kurtzman. That job led directly to him being part of the top writing team in the business right now (along with his partner Robert Orci). Kind of hard to argue with success like that.
Oh…. and Alex and Bob are both great guys to hang with. Neither is an a-hole.
May 19th, 2010 at 11:56 am
Well, now I know why Transformers sucked so badly. Anyway, I’ll crawl back into my hole now.
May 19th, 2010 at 12:06 pm
Lucien;
It’s easy to criticize someone else’s credits when, in fact, they actually HAVE credits to criticize.
You should be so lucky as to be as “bad” as they are.
May 19th, 2010 at 12:26 pm
Yeah, you’re right, my bad: Transformers is awesome. Not as good as Sheena, but almost.
May 19th, 2010 at 12:42 pm
Lucien;
I was wondering how long it would take before you attacked my credits. I called my accountant to see if I should be offended. He wasn’t too worried about it. I called my agent to see if your opinion meant anything. As expected, he laughed.
You have me at a disadvantage because I actually have credits to criticize. You? What’s your story? You came in here swiping at George’s experience and advice as if you know much more than anyone else. You have yet to prove it. In fact, you’ve proven just the opposite.
If you feel that being an a-hole is the primary requirement to success, then you must have an enormous resume’ to back it up.
But you do have one thing: your anonymity. Without that, you’d understand what George meant when he said it was easy to burn bridges. Hopefully, for the sake of your aspirations, the face you show here isn’t the one you show to the business.
May 19th, 2010 at 12:49 pm
No, dude, what I feel is a primary requirement to success is talent, but you wouldn’t know talent if it bit you in your behind, so anyway.
May 19th, 2010 at 1:08 pm
Although I wish nothing but the best for George, I’ve found that the more i gave (in doing a great job as a PA or otherwise, favors, networking) the less I actually received back from Hollywood. In being so replaceable as an Assistant or PA, I haven’t yet been around the people who want to see me do well as opposed to crush my soul as I assist their dreams coming true. I think George’s article is full of true, positive points, but he also sounds very naive, in that he doesn’t seem to appreciate how LUCKY he has been with where he has ended up.
In true Hollywood fashion, he got his great gig (as it were) through connections. I’m sure, and I mean no disrespect, that there were hundreds or more others who were just as qualified/friendly/positive who didsn’t have his connections and therefore didn’t get the gig. Nepotism is rampant (boohoo) but in this case, the article seemed pretty flip to the fact that he got his continuous bit of work bc of how great he was, as opposed to his connections. Not sure if I follow that.
As a person who has been trying to get an Office PA job for over 8 months, to no avail, who graduated from a top university and who has worked as a PA previously (ie. paid dues on low budget projects, etc.) it is somewhat annoying to read about George’s seemingly swift, almost effortless ride to where he wants to be, closer to the shore. Especially as he espouses how hard it was for him to get there. Really, it didn’t read as if you’d been through a lot or paid your dues. It sounded more like you calculated where you wanted to be and with your connections, you made it happen. Good for you, but it surely isn’t the norm in this town, especially for people who don’t have your background or who are, gasp, female and trying to break in.
May 19th, 2010 at 1:09 pm
Lucien;
(Ignoring the attack from a bitter child)
Talent is a requirement. But so are social skills (something that you might want to check out). There are lots of talented people out there who aren’t working and many that work who some question. None of that was a part of this question. No one doubted talent or debated it. In fact, it’s assumed.
As I stated before, whether George is a success or not has yet to be seen; there’s no way, from what he’s written here, to determine if he’s a talented writer or director. But he has put himself in the right place to find out. Without putting yourself in a position where it can be seen, your talent means nothing.
I will absolutely say this, though. If I read your script and read George’s script and yours was slightly better? I’d hire George. Why? Because this is a business and I have to work with the writer day in and day out. Your know-it-all-without-experience attitude doesn’t hack it in the real world. I know that George will only improve. People like you will only argue that you don’t need to improve. Your “talent” isn’t worth the extra effort. Not to me, not to anyone.
Now, when you become a million dollar maker for the studios or networks, then you can be a jerk. But you soon discover that you have to be a MAJOR million dollar maker to have people tolerate you. And when you start to slide (and you will), the rest of the business will just step back and watch you slide all the way down, without anyone reaching in to help. Why? Because you burned the bridges you thought you were building.
Of course, to even get to that point, you have to start somewhere as a nobody. Do you honestly think anyone has time for a nobody who is a jerk? Or for someone wannabee who actually thinks he knows much more than the people who have the success he aspires to?
You said you wanted to hear from writers who have made it. You just have. Take your fingers out of your ears and learn from it.
May 19th, 2010 at 2:03 pm
I like reading biographies of people whose work I admire. While much has been said about them, the bios of the studio founders are pretty interesting.
May 19th, 2010 at 2:23 pm
Great to hear a couple tidbits of advice for Canadians. :)
Thanks for the suggestion Marc. I will looking to the student visa option, but that doesn’t sound like a possibility on the Canadian side of things to be honest. However could you perhaps give me a subtle (un-shill-like) hint as to what school I should be Googling? ;)
Also to clarify my previous post… Like James I definitely would consider the PA’ing or interning UNPAID but clearly that’s a rocky road that will become hella more stressful as the funds begin to dwindle. e.g. 7-8 months in. It’s one thing to work for peanuts but another to have be faced with counting the days till you’re having to dip into your return flight stash. Lol. All I was trying to say was that even if you worked for nothing eventually the wallet gods would insist that you find some work (preferably in the film industry) that paid and I didn’t see how that was possible with any documentation. Call me crazy but unlike ‘doctors’ or ‘architects’ I reckoned that frugality kinda rules in the ‘film’ industry and that not many are in the habit of shelling out a couple grand to sponsor a Canuck for a visa, especially when there is always ‘visa-not-needed’ American factor present.
It almost seems that us Canucks would better off trying to find some like-minded Canadians looking to take the plunge and try to co-ordinate a group move to LA rather that got at it alone. I’d definitely be interested in making contact with anyone interested in such a far-fetched plan!
Hopefully some more folks can add some insight. Thanks again for all who can shed more light.
May 19th, 2010 at 5:24 pm
Thanks for sharing your experiences as you try to make it in LA. Good luck to you! Your positive attitude, friendly demeanor, and honesty will serve you well as you soldier on.
May 19th, 2010 at 6:36 pm
Lucien is obv. just a troll
No sense in arguing with him.
If anyone has insight into the question I asked earlier that would be appreciated – “Curious how viable this path is for someone in their early mid 30s? Went to school in Los Angeles and worked for a year in the industry before moving…sigh…for a girl. That ended up not working out and have always wanted to move back and give it a go, but have been told by people that no producer, manager, executive etc is going to hire a 34 year old assistant.”
May 19th, 2010 at 6:52 pm
@annie
As someone who had a fair share of soul-crushing assistant positions, my advice is to hang in there, keep looking and hopefully you will eventually find yourself in the right place at the right time. Some people – perhaps George – luck out early, some – maybe you, definitely me – have to pay substantial dues for quite some time.
Good luck.
May 19th, 2010 at 7:10 pm
@Annie
The key is to be very selective about what type of job you take even if it means you take a job that pays less or requires you to do more personal tasks etc etc. I have countless friends who admit that they delayed or screwed up their movement upwards by taking the wrong assistant or PA job for superficial reasons(usually it was higher paying).
Certain assistant and PA jobs are just jobs and you are a just the 9th or 10th assistant that person has had and they could careless about who you are or where you end up 3 years from now. Other positions are for people who have been known to mentor/take an interest in seeing that person they hire as their assistant climb the ladder to be a writer, or exec, or manager etc. You have to bust your ass to want them to take an interest.
If you get into a job that isn’t what you thought it was…find a better one and then leave.
Do a great job where ever you are, but you also need to focus entirely on networking. You should be having drinks 3-5 days a week. Write letters to show runners, writers, executives and talk about the things you love about the work they have done, and how you would love to take them to lunch and pick their brains. You will be shocked when some of them take you up on your offer. Obv. don’t ask them for a job.
Finagling your way onto to just 1 solid tracking board can be the difference between landing a gig and not landing a gig.
If I could go back in time and be a young inexperienced 23,24,25 year old starting out in the industry…I have 0 doubt I’d be beyond the assistant ranks in 3-5 years.
May 19th, 2010 at 8:18 pm
Hell Chris, I’m 41 and I am still planning on making a break for Los Angeles. I will find my way as will you and everyone else out there. We are all traveling different paths. The secret is to not give up. You just have to believe in yourself and chase your dreams. I live in Atlanta and find myself surrounded by people devoid of dreams. Not that a lack of dreams is indicative of people living in Atlanta, but rather most people are not dreamers or doers. They are simply floating through life on currents of status quo and doing exactly what they think society expects of them.
I would love to know who the people are that gave you the following advice….”no producer, manager, executive etc is going to hire a 34 year old assistant.” They sound like people who have either never tried or didn’t make it for whatever the reason. The people who are giving you that advice are bitter at their own lack of success and the last thing they want to see is someone else make it where they did not.
I find that the keys to success in any industry are rather simple. Hard/smart work, integrity and being a good person will always bring success. Get yourself out there before you get tied down and it becomes difficult to transition. I am doing my damndest to resolve some business issues so I can start spending more time in LA and eventually move there full time. Meanwhile, I am writing often and have recently completed my first screen play. I think it is good, but it is yet to be seen if anyone else does.
You can do it Chris and so can all of you! When the time is right you will make your move. I have been dreaming about it for 23 years, ever since I had 6 lines in a movie at the age of 18. It has just not been the right time for me yet, but I have been working towards it for a long time. Gathering life experience along the way which will make me better at whatever the universe has planned for me. At the end of the day do you think you will look back on your life and have regrets for not having tried? The worst thing you can do is to not try. Good luck and get going!
May 19th, 2010 at 8:30 pm
I’m 35 years old, and similar to a couple of the non-Lucien-related posts am curious about the likelihood of being hired as an assistant at my age.
I’m moving to LA in July.
My experience is primarily as an actor in sketch comedy and political satire. I’ve written 3 feature scripts, 2 specs, 1 pilot and a ton of shorts, two of which I’ve produced.
Do you guys think I can move to LA, work a non-industry job and still pursue a writing career?
I hope so! A lot of the “moving to LA” and “breaking into the biz” posts are for the yutes. Understandably so, but I would love your thoughts on this. I’m accustomed to being the person who hires and trains people. I’m not “above” making coffee and hauling cables, but I’d like to know if there is an alternate route for those of us who will soon be pushing 40.
Steven – Any thoughts on this? It seems you didn’t go the PA route.
May 19th, 2010 at 9:19 pm
Lucien, you make no sense. No shit you need talent. The hard part is getting into a position where people can see your talent and give you that crucial opportunity. What’s better – being talented but not working in the industry and having no connections, or being talented and working in the industry with people who can help you move up? It seems like a no brainer to me.
Without fail, everyone I know who is working in the industry started at the bottom and worked their way up. There was one person in our film school class who was extremely talented, but looked down on entry-level positions. He’s the only one who hasn’t done a thing since graduation (2007).
When I graduated, I got an entry level position as a tape operator at a major post-production house. It was soul crushing work, but I got to see a lot of high level features get made, and got to mingle with the assistant editors and meet and chat with the film editors and occasionally the directors.
I got to see feature films come together, from the rushes to work in progress edits to finished films. I learned a hell of a lot from that. In my spare time, I made two short films, and my company let me use their facilities and resources for free. My shorts played in a lot of festivals and won several awards.
When I wanted to move on, my two years of experience as a technical operator plus my demonstrated creativity as a writer, director and editor got me my current job, as an editor for a nationally broadcast television series. I’ve always had talent, but there’s no way I could have landed this job straight out of film school.
Talent goes without saying. It’s getting good enough, and getting into a postion where people will notice it that’s the hard part.
May 19th, 2010 at 9:44 pm
Great post George, especially the reading lists. You’re a good writer; that just shines right through.
Thanks to the pros on the site for adding their insight. Most of us really appreciate it.
Speaking of Lucien, I have a book recommendation for you: The Artist’s Way. All that fear and criticism must be hard to put aside when you want to write. The book can help you with that.
Those of us who are published anywhere, or have gotten on a stage, or submitted a screenplay to someone “important” share something: the courage to be exposed. I hope you find it some day, because considering your attitude, I would find it hard to believe you’ve ever really put yourself out there.
And nobody is a nobody.
May 19th, 2010 at 9:49 pm
Well, a few things.
First, yes, there is ageism in this business. And it’s a big problem. The older you get, the harder it is.
Second… so? What are you going to do about it? Nothing in this business is easy. Of all the things to worry about, age, race and gender are the easiest to deal with because there’s nothing you can do about them. You just understand the problem and factor it into your overall plan. If the fear of being too old can discourage you, then you would have found something else to discourage you at twenty.
Hiring older P.A.s is rare, yes. Mostly because of the fast pace that is expected from the P.A.s It’s a high energy “young ‘uns” job. Being hired as a writer’s assistant, not quite as dependent on the age issue as long as you have proven yourself. However, how you prove yourself without experience, aye, there’s the rub. I’ve had several assistants who were older than me. But they all had experience and resume’s as assistants.
Still, the focus on being a writer’s assistant as the key to breaking in as a writer is overrated. As I’ve said a few times, the path that George outlined is but one path. And, in fact, I’ve long believed that getting one of those Writer’s Assistant jobs might be harder than getting an actual writing assignment. So for those who feel they might be at an age-disadvantage, I recommend you certainly try to get those assistant or P.A. jobs. But don’t rely on them or think that those are the only paths.
If you want to eventually break in as a writer, then you should write. And write. And write. Involve yourself with other writers. Network with them. Learn the business side of writing and get your work out there. Those are the essentials.
As to the question of whether you can work a non-industry job while pursuring a career as a writer, the answer is a resounding “yes”. While an industry job might help you out, a non-industry job won’t hold you back. UNLESS it’s a job that doesn’t allow you the freedom to write; take a meeting; or “owns” you because of an income you can’t walk away from.
I broke in in the mid-1980’s, but not much has really changed as far as how I did it. Not only was I working in a non-industry job, I had never planned to be a writer. I never read a book on it or attended a class in it. The concept wasn’t even on my radar. I was making $130 a month putting ads in the front of shopping carts. And that was only after I left my job waiting tables. I was an aspiring actor. I learned to write by reading and analyzing scripts. I only wrote the spec scripts that I wrote because I thought it was fun. I honestly never considered you could make a living at it.
My “big break” came when I called a production company to ask if they had a writer’s guide for a new series they had on the air. I got into a nice discussion with a producer’s assistant about their series and what I liked about it. Eventually, she told me that the producers were reading through spec scripts for freelancers. She asked me if I had any scripts (I did). She asked me if I had an agent (I told her I did). She advised me to send my scripts to the producers (with a warning NOT to send a spec of the series they were producing… important warning for all).
So my partner and I (I was writing with a close friend) called an agent we knew who wouldn’t take us on, but said he would send out our scripts if we needed him to. He sent out the scripts.
A few weeks later, we got called in to the production office to meet the producers. We pitched our ideas. They bought one. We wrote the story and first draft and, off that, they offered us staff jobs on the series.
That’s my story. That’s how I broke in. It was that “simple”.
There are a few things to note in my story. First; I knew absolutely no one. I made a cold call with a legitimate reason; asking about a writer’s guide. Second; When I got someone on the phone, I was friendly and pleasant. I was truly curious about the series. I didn’t act arrogant or pretend I was anything other than what I was; an aspiring writer. (hence my warning about being a jerk). Third: I didn’t expect nor ask for any special favors from the assistant. I didn’t ask if she would slip my script to the producers or anything else. I assumed she willingly gave me as much information as she felt comfortable with and went with it. Fourth: I acted on her advice. I didn’t question it or think that I knew better. My partner and I got two scripts and didn’t send the spec we had already written for the series. Fifth: When we got the meeting (and this is important) we had a great time with the producers. We didn’t go in as jerks, we went in enthusiastic about the series (as a side note, we actually got the job that another writer had lost… because he was an a-hole). And, finally, the obvious; we delivered what they needed on time and in a professional manner.
Suddenly, we had parking spaces, an office, and a medical plan. Go figure. That started my career that has (thankfully) continued to this day.
Oh, and the producer’s assistant I originally spoke to? She ended up being MY assistant later on.
So, yes, you can certainly break in. You can break in many ways. There are no real shortcuts to this business (anyone who tells you there are is trying to sell you something). There are just different ways to do it. When you break in, you’ll look back and be able to tell others how you did it. Only then will you know what was the correct path… for you.
But getting back to the main reason for all this discussion, George’s post. People have often asked me about the path that includes being a P.A. or assistant and I’ve had to fumble my way through an answer because I didn’t take that route. What I like about George’s post is that it is very concise, thoughtful, and unapologetic about the demands made on you. And, more, it matches my side of the experience. As I said, I’ve had assistants who have gone on to amazing careers. None of them had to wash my car or shop for me (I’m not that kind of boss; I still prefer to get my own coffee), but all of them would have for the opportunity to learn about the business from the inside. They did and it served them well.
I hope some of that verbage helps answer the question.
May 19th, 2010 at 9:52 pm
Okay I’ll say it again for Jason’s sake.
No, Jason, you DO NOT have to have an industry job to break in. An industry job is great for making connections and learning the business and probably moves you up the ladder faster if you have a great script.
But just living here and socializing will also get you connections. I’m a school teacher and I have made tons of connections and am progressing through the system, as are others I know who have never worked as PAs. I made that choice because I wanted to be able to spend tons of time writing. Many of my PA friends are too exhausted to write at the end of the day, and they’re saturated with the film industry to the point where they don’t know what else to write about. That doesn’t apply to all of them of course, but I’ve seen it happen.
So it’s a slightly slower process to take a non-industry job, and it requires a lot of extra socializing on your part, but it’s completely doable and sometimes better.
May 19th, 2010 at 11:33 pm
@ Steven L. Sears: why shouldn’t people sent specs for the current show? is it because it could send the message “I think I know better than you”? Thank you very much for the time taken to write these posts. It’s very interesting to learn how different people got in the business. Also, I’d like to thank George for writing such a detailed and informative account of his experience. Best wishes to you from Spain, George.
May 20th, 2010 at 3:21 am
Thanks so much for this, you may have just been the much needed guide to my success. Hopefully things can all work out well for me. I’m 17, so starting at a young age may come in handy. I plan on moving over from my home in Australia to L.A the minute I get enough $$$!
If I ever make it big, I’ll be sure to give you a very public and well deserved “thank you”.
Matt.
May 20th, 2010 at 7:31 am
Very nice article…I definitely would include Ed Wood on the list of films though.
May 20th, 2010 at 8:02 am
Great info George. Thanks! Even though I’m still in the midst of my undergrad years, I’m still struggling with the internship hunt. I’ve been lucky enough to land two in the past and just barely got this past one but you’re completely correct: talk to everyone and never lose to touch.
Thanks again and best of luck. Who knows, maybe I’ll see you the writer’s room one day.
-Gabe
May 20th, 2010 at 8:13 am
I have to thank Lucien for being such a putz and motiving Steven to share, what I believe is the perfect yin to George’s yang.
Thanks a lot!
“Idiosyncratic process, writing career is.” – Yoda, if he were a screenwriter.
May 20th, 2010 at 9:41 am
Great article.
Appreciate the book recommendations at the end.
Awesome!
May 20th, 2010 at 9:58 am
Thank you for your insights and encouragement, Humperdinck and Charlie. Cheers!
May 20th, 2010 at 10:01 am
Well, I’m happy to answer questions, but I don’t want this forum to be about me. It wasn’t Lucien who motivated me to post here, it was George’s blog.
The question about “not sending a spec script to the series you wrote it for” comes up a lot. Understand, this is a frustration that seasoned pros deal with. It isn’t unique to pre-pro writers. The difference is that the seasoned pro is more apt to resist the urge to act on it. For reasons below.
(I’m going to cut ‘n paste and modify from a “book” I wrote called “The Non-user Friendly Guide for Aspiring Television Writers” — no, don’t look for it, this is not a sales pitch, it’s not published, it’s not for sale; I use it as my own teaching reference book)
You might just be thinking that writing a TV spec seems like a waste of time if you can’t sell it. In TV, Spec scripts are intended as a sample of your work only. A tool used to sell yourself. In fact, specs should NEVER be sent to the series that you wrote it for with the blind idea that they might just buy it. TV Series don’t buy scripts, we buy Writers. We want to bring in a Writer, hear a pitch, buy a story and develop it with the Writer. It has nothing to do with ego, it has to do with the speed of Television and the careful crafting of stories and characters.
Film companies buy scripts. They have no use for the Writer once they own the script (sad but true). The script is finished, here’s your check, stop in at the gift shop on the way out. Done. Not so in Television.
Yes, I know, we all have “But I know this guy…!” stories of people who sold spec scripts. The Star Trek franchise was famous for having an “open door” policy of accepting spec Trek scripts. Again, that was an exception. An extreme exception. And, to be honest, a lot of that was done for the benefit of the huge fan base for the series. I think I heard of one, maybe two, stories that were acquired that way.
But I know what you’re going to say. You wrote a great spec CSI Muncie (or whatever). It’s perfect! It is EXACTLY what they need and in EXACTLY the style they write!
No, it’s not. No matter how “perfect” you think it is, it isn’t. It can’t be. In fact, you’ve just made it more difficult to judge you as a writer. You’ve just taken your shot at an assignment and diminished your odds of success by raising the bar of judgement.
Look at it this way: If I am running a series, I live, eat and breathe that series twenty-four hours a day. Everything I come into contact with is interpreted through that series. I hum the theme song on the way home. The same with other Producers. They are privy to every meeting that discusses every nuance of the series. And, more than anything else, they are in production mode. So every bit of their existence has some attachment to that series and the production of it.
When your script comes across their desk, if it is for their series, they automatically start assigning all their rules and nuances of the series to your script. These are things you couldn’t possibly know and certainly couldn’t know to the depth that they do. The bar for judging your script, on that alone, has just shot up to dizzying heights. That script will subconsciously be judged not as a spec script, but as a production script. Why? Because that is where the mind of the Producer is at that moment. Even if we try our best to avoid it, we just cannot be objective on a script for our series. Every small incorrect detail becomes a red mark. There is no subjectivity in which to just simply judge the writing and the Writer’s ability.
There is NO WAY you, an outsider, is going to be able to hit that mark no matter how good you think it is. It doesn’t sound fair, but it is human nature. Hell, the writers on staff have to go through several drafts even with all their inside knowledge. The odds that you, as an outsider not privvy to the internal workings, could hit that standard on your first try?
No. And, yet, you insist it’s a perfect “CSI Muncie” script! I’m telling you, it’s not.
What you want to do is send a script from a show that is similar to the one you want to get a meeting on. And by similar, I mean as similar in tone and characterizations as you can get. When I get a script from another series, I can’t read it from a production viewpoint, I am forced to evaluate the writing. And that’s what you want me to do.
See, what you are showing me is that you are a competent Writer with your spec script. I can then teach you the intricate and subtle details of our particular show. The last thing you want to show me is how wrong you are for my series by committing those subtle mistakes that you couldn’t be aware of.
Another problem is that if you send me a spec script for my series, you are running the chance that I see you already have a disposition toward the series that might not match mine. Too many writers write specs for their favorite shows with the intention of “fixing” the shows problems. Huge mistake. The producers aren’t looking for a new writer to fix our series. There are reasons why those “mistakes” are in the series and, again, you can’t know what they are or why we made those choices. We generally find it easier to teach than unteach your preconceptions. Again, fair? Well. . . in this business, yes. Fair to the series and the precious time we have to service the writing.
Getting a shot at a pitch meeting is difficult enough. Why would you risk, to any degree, blowing that shot? It’s not worth it, no matter how “perfect” your spec is.
As a final note (about time!) I mentioned that my writing partner and I had a spec script for the series that first hired us, but we didn’t send it in because the assistant advised us not to. Well, once we were on staff, the producer said “we have to find an idea for your next script”. I them told him that we had already written a spec for the series. He asked to read it. When he was done, he told us “If we had gotten this script first, we would never have brought you in.” After working on the series for just a few weeks, we understood why. Our spec script missed on so many points.
And yet… it was perfect for the series! Right.
May 20th, 2010 at 10:11 am
The way into the business, whether directly or indirectly is the same.. DO IT. LOVE IT.
One of these days I’d love to write and direct. I have scripts that I’ve shown people. I have a clear vision for a film I want to direct. As an (older) crew guy with 23 year of experience.. I hope that someone will let me earn my chance.
You’ll notice i didn’t say GIVE me a change. Nothing is given to you in this town; but much is and can be taken away.
The most important thing.. DON’T talk about people behind their back, you NEVER know who is who’s best friend.
NEVER lie on your resume.. or lie period. The will ALWAYS find its way the the wrong person who knows the truth.
If you’re new.. especially if you’re a nervous type. Glue your mouth shut. I’ve seen more people in ALL positions come and go fast because they didn’t listen.. or worse.. because they talk too much. Sometimes its’ about their last film, sometimes its about themselves, sometimes it’s just name dropping… but it’s always bad. Keep your mouth shut and your ears open. All will be right with the world.
May 20th, 2010 at 10:37 am
“Breakfast With Sharks” is also a good book. It’s not like every other screenwriting book that talks about craft, formatting, etc. I don’t think it even spends more than a page on any of that. Instead, it reads more like an aspiring screenwriters survival guide, focusing on everything else one must do before, during and after writing the script.
May 20th, 2010 at 10:48 am
I think George’s post is well-written. He’s obviously a hard-worker, positive, a bit naive, and certainly not jaded …..yet. I think it needs to be pointed out, realistically, that nothing is EVER GUARANTEED, in this business. I was a hardworking PA for a few years, nice, never complained, and was promised jobs by higher ups that never materialized. i’ve worked as a temp assistant at Sony Pictures and Miramax. I’m 33, still writing feverishly, with a few short films produced, two spec scripts, had a few bit parts in 30 Rock and Lipstick Jungle, wrote a Dean Koontz adaptation that went nowhere. I’m a bit frustrated, but still will never give up, but my strategy has certainly changed. I think it was Robert Towne who said “Nobody knows anything” Never give up on your dreams, but also, do not delude yourself into thinking that just because you work hard, have talent, and have the interpersonal skills, that you will make it. That will only lead to bitterness and frustration.
May 20th, 2010 at 10:49 am
George:
A fine article, made doubly so by inspiring Mr. Sears to provide so many helpful comments.
In terms of ageism, one important factor is the willingness to work long hours for low wages. The younger you are, the more willing you are to deal with it. It is not that older folks can’t follow this path, but they often do not have the energy or patience to do so. And it’s always awkward to be the “old” PA. In fact, if you truly have the fire, Hollywood remains one of the few places where having a college degree is not required. Starting in the business right out of high school gives you a four year head start. Personally, I would not advocate this approach, but it is an option for the right person.
May 20th, 2010 at 11:38 am
@Chris
Hi, I am a 34 year old Writers’ Assistant–this is my 2nd WA job. I came out here at 29 years old, so I know what it is like to go up for jobs against 23 year-olds. Here is something I have learned, unless the person hiring is younger than you….people want the older person. We are much less likely to be in LA to party, get laid, drunk, etc. We have some experience in “real world” atmosphere, and I moved up rather quickly.
After the strike I went through a huge dry spell where I couldnt even find a PA job, things were horrible (I worked 6 months in a 2 year period). But I survived off unemployment and odd-jobs and am now on a successful show where my opinion is wanted.
LA is beautiful, the industry has many wonderful, helpful people at all levels….if this is what you want to do, and dont want to be 80 years old on your bed wondering ‘what if’—come out here.
Cheers!
May 20th, 2010 at 12:09 pm
@ — Chris and other Older Adventurers
Hi, I am a 34 year old Writers’ Assistant–this is my 2nd WA job. I came out here at 29 years old, so I know what it is like to go up for jobs against 23 year-olds. Here is something I have learned, unless the person hiring is younger than you….people want the older person. We are much less likely to be in LA to party, get laid, drunk, etc. We have some experience in “real world” atmosphere, and I moved up rather quickly.
After the strike I went through a huge dry spell where I couldnt even find a PA job, things were horrible (I worked 6 months in a 2 year period). But I survived off unemployment and odd-jobs and am now on a successful show where my opinion is wanted.
LA is beautiful, the industry has many wonderful, helpful people at all levels….if this is what you want to do, and dont want to be 80 years old on your bed wondering ‘what if’—come out here.
Cheers!
May 20th, 2010 at 12:52 pm
inspiring post Mike. It still gives me hope. I’ve always been NY-based, but should give L.A. at least a shot for 6months to a year.
May 20th, 2010 at 2:15 pm
Tom Hanks is a plus? LA hasn’t been beautiful since the late 70’s gladIi escaped that that hell hole.
May 20th, 2010 at 2:22 pm
People are really nice when they realize you are dedicated, work hard, do good work, love film & writing, are considerate & know & care about great movies, craft & writing. A lot of people love movies & enjoy giving advice, info & resources to people who are new & love them as much as they did when they started out.
In many ways, it is a very wonderful community to work in, & it is good to keep perspective.
May 20th, 2010 at 3:09 pm
I just had a friend who is a member of The Actors Network (great professional organization for actors) send this article out to our powergroup because the rules of creating your own opportunities for writers/directors are the same common themes for actors… unbeknownst to me was that it was actually written by a talented writer/director I’ve worked with back in Boston… small world and yet another example of networking.
The recommended books and documentaries are fantastic… A Challenge for the Actor is another great one by Uta Hagen.
Well done George!
May 20th, 2010 at 3:46 pm
Great and informative article. Thanks. It’s a tough time at the moment to get work, so any helpful advice is always much appreciated. I also enjoy reading the Anonymous Production Assistant (TAPA). He has some very humourous stories about being a PA. http://anonymousassistant.wordpress.com/
May 20th, 2010 at 6:36 pm
I am quite proud to identify myself as one of the low budget indie producers (TKO) whom George worked for when he was relatively new to Los Angeles. For those of you (Annie, I’m looking at you) who assume George somehow got where he is thus far through connections, you are sadly mistaken. This guy brings a positive attitude like no other and before my shoot was done we had of course fired a few people for general all around suckiness which moved George right up the chain and you know what happened? Things got better. Not minutely better. Instantly better. Like first 30 seconds in the new position better. It is guys like George that make me bust my ass to get into production, that make it fun and productive to be on set.
May 20th, 2010 at 8:10 pm
George, Steve, Mikee all make awesome points.
Lucien provides much valuable instruction for people who would like to implode within 6 weeks of their first job and never work again. (Seen it with my own eyes.) If that’s your cup of tea, have at it — you’ll be enrolled in Dental School with a perfectly good story about why you gave up trying to work in Hollywood in no time.
Youth is good for MTV reality series, not so much for the kind of jobs that you want to work towards. There is so much to be said for having a baseline of maturity and calm that comes from already proving yourself in a previous career. Alas, you probably have to shave the first 5 – 10 years of your professional experience off the bottom of your resume to avoid getting dinged for being over qualified, but the essential groundedness will be with you in the interviews.
Just don’t make a big deal about your age, and especially, don’t let yourself fall into the trap of thinking you are “too old” or you are “running out of time” — it generates a forcefield of frustration and anger around you that others can pick up on, and that, not your actual age, will keep you from succeeding.
Lately I’ve talked to a bunch of people who all say “I have no social networking skills” and “I’m no good with people” — by way of saying that they plan to break in on the strength of their written work. I think if you plan to work in TV, you HAVE to fix this. Not because it will help you find work, but because TV is five to ten people locked in a room until the episode is done. You can’t get in that room if you’re a prickly bastard (unless it’s your show, and you’re the prickly bastard running it, but good luck getting a showrunner spot with no previous experience.)
And as far as it being harder for women? Sister, if you knew how many (male and female) writers will ONLY hire female assistants, you would bite your tongue.
May 20th, 2010 at 9:08 pm
Not that i’m in the industry, or that i hope to be in the industry … but i know several people who are at various levels, and i absolutely have to second the recommendation of “Day for Night” as a film to watch. (Similarly, for those trying to break into the music business, “The Commitments” is worth a watch…)
May 20th, 2010 at 9:11 pm
Just a quick word here for the Canadians asking about the best way to “get to LA”. I’m not really qualified to comment on that subject in the present because I haven’t lived in H’wood since the early ’70s (I’m 59 now) when I did a bit of work in the film industry there.
However, I don’t think I’d be too quick to ignore the vibrant film industry in Vancouver. About six years ago, I went to Vancouver to attend “The Art and Craft of the Director” class taught by Peter D. Marshall. Peter’s worked in the industry for over 30 years, primarily as a 1st AD, but he’s also been the director on numerous projects. My goal was to hone my directorial chops to improve the quality of the performances by the actors, and sometimes non-actors, in the planetarium shows that I produce as part of my regular job. Peter’s class did that for me very well.
I had the opportunity to meet several folks involved in the industry in Vancouver and was impressed by their skill, talent and love for the business. My feeling was that Vancouver would be a great place for someone who’s looking to get a solid start in the industry. Hollywood is truly “the big time”, and it’s the ultimate goal for many people. But the experience gained by doing some groundwork in an environment like Vancouver could only be a plus when you finally decide to make the move to LA. Sometimes, there are benefits close to home that we tend to overlook, to our disadvantage.
I would never discourage anyone from following their dream of making it in Hollywood, but don’t overlook the opportunity of gaining needed experience where you are. Before you take the big step.
I wish all of you the best of luck as you pursue your dreams.
ldb Texas USA
May 20th, 2010 at 10:10 pm
@ Kasim
Good point about George being great to work with, but you had to give him a break (ie. hire him) before you ever knew how you could never live without him. How did you end up hiring him? Your attitude also seems more like the exception, rather than the rule (ie. appreciating and mentoring those working their way up the ladder). I never assumed George got where he is through connections, rather I was simply stating that his situation (ie. getting his dream job, as it were) is more unique than simply doing a great job and being a great person to have around.
@ Harriet Ha. Sounds like a double edged sword, re: female assistants!
May 20th, 2010 at 11:00 pm
I moved here for Tom Hanks too!
May 21st, 2010 at 7:33 am
First of all, thank you George for writing this. I am taking the big step to move to LA this Aug. from Boston no less, and I’m freaking out even with all the planning I’ve done for the past 2 years.
I’ll be graduating with a BA in Entertainment Business from Full Sail University this April and I know only two people in LA, my cousin and my friend who I interned with here in Boston before she moved there to intern with ABC at GH.
I don’t want to be a screenwriter, I got a D in that class. I want to be a producer one day, or even just in development. I feel thats where things start and can go wrong if it’s not done right. However, with the economy the way it is, even with my savings (I have twice what George said to have) I’m scared out of my mind that I’ll be one without a job or a place to live by the time I graduate. But I’m hopeful, ridiculously nice and kind and pray, a lot.
One question though: “Don’t loiter in video village” What does that mean?
For anyone who’s looking for a friend or wouldn’t mind a new one soon please feel free to contact me @ theatre396@gmail.com
I’ll work for free. At least for a few months…
May 21st, 2010 at 8:28 am
Mikee has a point – You’re not ‘too old’ at 30-plus. I know quite a few people in their 40’s, 50’s and 60’s even that have more energy and spirit than some 25-year-olds. If you’re enthusiastic, committed, pleasant, have a great attitude and sense of humour and are willing to work hard, there’s no reason someone with a bit of life experience wouldn’t be a prime candidate for a PA/Assistant job with a view to climbing higher.
In your 30’s and 40’s you know what you want better and are more willing to say, “Can’t party tonight – got an early start in the morning” and not care what others think. Also, you may be better able to handle tough and tricky situations because you’re more mature, and also better able to cope with any measure of success that may come your way. I’ve seen people in their 20’s shoot up very fast and burn out just as quickly because they just couldn’t handle the pressure when they started to do well. George seems an exception, to my eyes – very self-possessed and focused at a young age but that’s pretty unusual from my experience. In a way, it can be easier to struggle than be successful, which can be very isolating actually. My Dad used to say, “Only your true friends will forgive you for your success.” Generally, at 30-plus, you have a good foundation of trusted friends and/or family, which is important as everybody needs a supportive base.
This is not our father’s or grandfather’s time – where they picked a job at 20, did it for 45 straight years, got a gold watch and retired, The End. People can have as many careers in their lifetime as they wish nowadays. If you’ve done the soul-searching, have the talent and drive, have made the preparations for a move into this field and understand that, because you’re not Lana Turner, you’re going to have to start at the bottom – why not? Why not YOU? Even if you give it a shot and it doesn’t work out – there’s no doubt you’ll have some fun stories to tell to the grandkids about your time in Hollywood! Gretzky said he missed 100% of the shots he didn’t take. And he’s The Great One, he knows of what he speaks. :-)
Great post George and fantastic comments from Steve.
May 21st, 2010 at 9:08 am
Oh, and a note to my fellow Sisters-in-Arms. Don’t let the idea that ‘It’s because I’m a woman’ become your mantra. That way lies bitterness and misery. Hey, Mary Pickford and Lillian Gish were producing movies and shaking up the system before women had the vote. Mae West was writing her own scripts (and staring as the sexy leading lady at 40, when she made her first picture!) and hand-picking Cary Grant to act alongside her: she was calling the shots. This town has actually been a feminist ally from way back if you read and know your movie history.
I remember working for a well-known director who called all the girls on his set ’sweetheart’ and ‘honey’. I took it in my stride (he was my Dad’s age, and a bit of an old-fashioned gent type, it wasn’t meant to be insulting. He also opened doors, which I thought was lovely actually.) whereas a couple of other girls got on their high horse over it. When it came time to get a letter of recommendation, I got a really amazing one and they got…squat. And sometimes, you ARE being baited but it’s how you deal with it that shows your character and that you’re either A – not a gal to be easily flustered or B- a precious, easily-hurt, overly-sensitive female. Yes, sometimes, as a woman, you feel as if you have to work 10X harder just to reach the middle of the pack but complaining won’t endear you to anyone. Sometimes, a man gets promoted on the basis of rather unfair bias, like the worry that a woman will get pregnant during a project that calls for high-energy and focus. (That’s not an example I just pulled out of thin air, BTW) Is that totally fair? No. But from what I’ve learned by listening to women in high positions – the one trait they all had in common is – they didn’t moan, they didn’t cry ‘Shennanigans!’ – they kept on proving their worth and were rewarded for it. They conducted themselves like ladies all through the downs as well as the ups.
So – Women of Film and TV – be lady-like, be strong, be prepared and, most importantly, support other talented women. I see far too much back-biting among industry chicks which I don’t see with the majority of our male counterparts. That’s got to stop or we’ll get nowhere. Foxy Boxing is best left to the pros. Best of luck to us all.
May 21st, 2010 at 9:52 am
Annie, if memory serves he came via our 1st A.D. However, I would caution you that a bad or nails on a chalkboard attitude or personality comes through loud in clear in body language and every breath you take.
May 21st, 2010 at 9:55 am
@Rachel, Video Village is where all the monitor feeds are set up and where you can almost always find the director, producers and stars watching their takes.
May 21st, 2010 at 10:02 am
What a great thread (Lucien notwithstanding). Thanks to everyone!
I’m not living in LA and have no plans to do so (uprooting spouse and young boy right now not doable).
And I’ll be 50 in a few months.
Double whammy? I hope not.
In the past five years I’ve worked as a PA, Props, Art Director or Director on a number of projects in my area, and the one thing I’ve learned (well, there are a lot, but one of the most important) is show up when you say you will, and do what you commit to. So many simply don’t do those two simple things, you’ll stand out.
Add to that doing it pleasantly, being a good person, being someone others will want to work with again, and even in my small pond I’ve been able to develop a network of folks who will work for me when I ask, and who will ask for me when they need someone.
While bad knees are keeping me from spending all day on my feet like I could even just a few years ago, I still find ways to spend time on a set when I can, and make myself as useful as I can.
All of this aimed ultimately at writing, but knowing the biz, how to work and play well with others, what all the other departments’ contingencies and concerns are, all matters to being a good collaborator.
I’m buoyed by the reinforcement here that (hopefully) 50 isn’t too old to start fresh, and living a half-day drive from LA isn’t too far removed from the heartbeat of the biz.
Thanks again. Love this blog.
May 21st, 2010 at 10:20 am
Excellent posts Liz.
May 21st, 2010 at 10:26 am
@ Kasim Wow – I feel personally insulted by your reply. But, c’est la vie. A good point about body language, etc (and something I’ll keep in mind, as I have previously), but wow. Hopefully that’s not the impression I was making.
And you missed my point – George had to GET HIRED before he could show his loveliness. I can give great interview – really! – I’ve had some fun jobs – really! – but if, for instance, George got a call bc of his connections (good for him, I am HAPPY for him, something I think you missed) then that is a fact of life, not a boohoo. I was just pointing out that being wonderful is part of the package, not the whole package.
May 21st, 2010 at 10:38 am
@ Liz Very true! Always something to keep in mind.
“So – Women of Film and TV – be lady-like, be strong, be prepared and, most importantly, support other talented women.”
Here, here!
May 21st, 2010 at 11:42 am
:-)
I feel a little like ‘Columbo’ here, but “…One more thing…”
A ‘Thank You’ card can be your biggest ally. I have always sent ‘Thank You’ cards after an interview or when I finished a job and still do. I would often be accused of being an apple-polisher or whatever but I was brought up to write cards like that, so it just seemed polite to me – if someone took the time to meet with me or I had a great learning experience on a job, why not thank people?
Let me tell ya, most of my work, contacts, meetings and, hell, even my apartment, I got because people like to be appreciated. (The apartment esp. was a real victory of good manners, cos it was a steal that at least 10 other people wanted and I’d no credit history in this country! But the landlord felt that if I was nice enough to do that, I would take care of his property and we’ve had a great relationship for 6 years). And it’s nice to get a card in the post in this day of email and texts. I don’t send gifts or anything – just a hand-written card.
The first book of stamps and blank notelets I bought here have paid their way a thousand-fold!
May 21st, 2010 at 3:00 pm
By the way, Liz makes a GREAT point about “thank you” notes. Not only by sending cards, but anytime you ask a question on a forum and someone takes the time to answer, be SURE to thank them. I see it time and time again that people post their questions then, once they have the answer, they just go about their business without even acknowledging someone’s willingness to help.
It does get remembered because, believe it or not, it’s rare.
(and, no, I’m not fishing for me… this is good advice that Liz posted)
May 21st, 2010 at 3:39 pm
@ Annie, I’m sorry you feel insulted, that was certainly not the point of my post.
Everyone has to get hired before they can show how wonderful they are and those people usually sit in a room and get interviewed. As I mentioned earlier, I do not micromanage so there were some folks who made it on to our crew that would not have been my first choice but I let those responsible own their choices and when it it fell apart, I stepped in and did it my way. This way everyone involved learns something in the process. Of the interviews I was directly involved in, I could see the problem coming a mile away. It has been my experience that it takes a person on average about 15 minutes or so to either nail it or fall apart. It is in this interview process that your very essence comes through. We don’t do it with one person in the room but many. Not all of us are listening to what you say, some of us are just watching you. When you leave, we put it all together. As a low budget feature however, we couldn’t be choosers, we often times had to simply make do and get the broken horse across the finish line as best we could.
I’ve taken the time to read your response again. It simply rubs me the wrong way because you seem to honestly hustle out there but are unaware of the somewhat negative energy you seem to put off or are putting off now. In short, you say that George seems pretty naive, fairly flip and not appreciative of his luck. Are you aware that your mental state is directly responsible for your reality? That the vibe you put out, is the vibe you get back and lastly, that luck is when preparation meets opportunity?
I have done plenty of things for others because I was in a position to, not because I expected something in return. I know I will get what I need or require in the end and it’s not important to me whether it comes from the person I gave to or not. I am responsible for me and me alone.
May 21st, 2010 at 6:40 pm
Thank you, Steven L. Sears, for all your insight.
Thank you, George Sloan, for an interesting description of your work & perspective.
Thank you, John August, for this column series.
May 21st, 2010 at 6:56 pm
P.S. Harry Cohn was a streetcar conductor & Darryl Zanuck sold a hair product, which he turned into his first picture when he made a film about it.
May 21st, 2010 at 10:11 pm
@ Kasim
Thank you for your reply. I appreciate any and all chances to improve and lead a happier life – whether in my work, personal life, etc. I like your approach, of putting out there the vibe that you want to come back to you. Really. And I am honestly happy for George and truly appreciate his post and insights. I usually don’t reply on blogs, esp because of the time involved and the back and forth that seems to ensue. I think your statement “your mental state is directly responsible for your reality” is nice in theory, but a little lacking in full blown reality, just as George’s article seemed to be. Ha! Thank you for giving me a glimpse into the world of the hiring as opposed to the world of those seeking work. All notes have been taken, cheerily, under advisement.
May 21st, 2010 at 10:42 pm
Well, I can honestly say I wasn’t expecting this large of a response. I think it’s great that everyone has such strong opinions about breaking into the business. Thanks to Steven for all the additional advice and to Annie and others for challenging what I wrote.
I do want to clarify one thing, however. Some of my essay might imply that I’m naive to the harsh realities of Hollywood. If you knew me, you’d know that couldn’t be further from the truth. In fact, I feel I’ve been quite hardened over the last five years, often feeling frustrated, depressed and disillusioned. But I truly believe that I haven’t had any lucky breaks. The path that led me to my current job was not lined with a single familiar face. I’ve been on unemployment several times, was fired from a reality show, and have worked more than thirty different jobs since moving here. I did, however, work extremely hard and when an opportunity finally presented itself, I jumped on it. And still, I’m light years away from reaching the goals I have set for myself. But I refuse to believe that remaining hopeful is a bad thing because, at many times, it’s the only thing that kept me going.
Again, if anyone wants to discuss anything one-on-one, feel free to email me at geosloan@yahoo.com.
May 21st, 2010 at 10:47 pm
This post was spot on. I’m sharing it with every actor I know — and there’s a lot of them!
May 22nd, 2010 at 11:54 am
QUOTE: “…In short, you say that George seems pretty naive, fairly flip and not appreciative of his luck. Are you aware that your mental state is directly responsible for your reality? That the vibe you put out, is the vibe you get back and lastly, that luck is when preparation meets opportunity?…”
But apparently lecturing someone — who you don’t even know, who already reclarified her position as not meaning any harm, but was simply frustrated and seeking more information — is a-okay? What happened to that “vibe you put out is what you get back thing” you just espoused?
Advice is great. George’s experiences, priceless. It’s why we flock to this site — different experiences, different perspectives, and opinions. Blatant self-righteousness? Not so much.
May 22nd, 2010 at 2:50 pm
I agree re self-righteousness. I call it the halo effect. Sometimes when people succeed they feel the need to insult everybody else who didn’t succeed. That’s how you can have somebody like Donald Trump saying that homeless people are lazy.
What I find difficult living in “Hollywood” while still being somewhere near the bottom of the totem pole (after a decade of ordeals you don’t want to know about) are all those ridiculously good-looking people passing me every 30 seconds in Land Rovers and Porsches, and I wonder, what do they know that I don’t know? Why am I such a failure?
It’s good to hear from somebody like Goerge and others here, to keep some sort of perspective. Good luck to everyone.
May 22nd, 2010 at 5:34 pm
I do not know why I’m called to write in this discussion, as I’ve never been to the US, and doing something in Hollywood is so far out that it seems more like a childish dream.. I do consider myself and aspiring filmmaker though, and study directing at a renowned filmschool in Europe (at 28 and worked for 8 years in local film industry before that).
Still I’m enormously fascinated by the stories coming out of your place. There seems to be so many contradicting requirements for people to make it there, and I am wondering if this is actually affecting the produced works. I’ve met many Americans, some very naive Americans and some inhumanly shiny and energetic Americans, and some tired Americans.
(This is not an America Bashing post! I’ve never been there, but I love and hate the place, never getting tired of reading about it. I will for sure go and have a look one day. I also met mostly very cool Americans!)
I have 2 questions. One is perhaps a troll inducing one, and might hurt some.
a: Shiny, young, energetic, always smiling, hard working, pretend to be hard working, good looking, positive energy emitting, always on time, always on the party, put up with everyone elses mistakes that get loaded on to you, kind of person, and also well connected?
b: Talented, nervous, life experienced, well read and well seen(?), depressed, funny, creative, original, sensitive, imaginative, closet philospher, and least but not last, interesting?
If there exists such a kind of “paradox”, then does it affect the stories being written, bought and produced? Is there a “Shiny” wall in Hollywood? Or maybe it is everywhere :-)
Good luck folks!
May 22nd, 2010 at 7:27 pm
@Carol, the lecturing if you will started when Annie, who does not know George, told him exactly how he managed to succeed to the degree he has thus far. That you feel my response to her was self righteous says more about you and your reading comprehension than it does my tone, which was merely to point out to Annie that she can’t afford the negativity in these hiring and/or job situations. Now she may, or may not actually be giving that vibe off in her every day life. I honestly don’t know because as you point out, I’ve never met her. But I’d bet money that she is.
It is interesting to me that neither of you bother to use anything other than your first names when replying to this thread. As I’ve read through it, I’ve learned a great deal and kept a mental note of who I’d like to work with, for or around.
I’ve got nothing to hide Carol. I’m just calling it like I see it.
May 22nd, 2010 at 7:30 pm
@ Nemo, you aren’t a failure and most of those Porsches and Range Rovers you see are leased or never parked in the same place twice lest the repo man find them.
May 22nd, 2010 at 8:59 pm
http://www.youtube.com/watch?v=KuStsFW4EmQ
May 23rd, 2010 at 5:01 pm
@ Carol
Thank you for calling a spade a spade! Kasim showed his true colors when he replied to your post and to mine. I always try to keep an open mind about people, to learn from them, but someone like Kasim, with his attitude, sure seem a dime a dozen. People like George, as I have evaluated from his essay and reply on this board, are clearly special. Kasim never really understood what I was trying to say and even when he claimed to try, he insulted me at every turn. Self-righteous indeed.
May 23rd, 2010 at 5:04 pm
Personally, I find it helpful to read any honest description of a job related to filmmaking even if it is not one I have worked because their job works together with jobs you might work to make a project. Anyone who works in Hollywood has worked with assistants.
A note regarding the cars. I met a person who told me a similar feeling when all his friends were out of graduate school and he was working as an assistant. In time, he was successful in development. It was not that his friends no longer had nice cars but rather he could buy a nice car too and was doing the job he wanted versus a few of his friends doing perhaps less risk-taking jobs but with less potential upside in terms of fulfillment, or even in some cases extremely high financial reward. People who really like their job & do well at it are very fortunate. Some occupations involve more risk, more ups & downs & a longer, less certain road to eventually buying the car you most prefer & think worth the cost. Creative people might have a great car but then not have it a few years later.
Other jobs involve relatively less risk but tend to involve less creativity or less extremely high potential for upside. Some of those people driving those cars & who make a great deal of money envy the risk-takers, e.g., business people, entrepreneurs and very successful creative people. They may not be willing to take that risk or suffer through those years without the car to hope to end up with the higher upside. The ones I met who seemed both to love their work & to have reached a very high potential upside went through years of having taken a riskier road.
A few people once told me what would have been their career if they had had the talent to attempt it. These people are the ones you are referring to with the cars though, of course, that is not true of everyone with a nice car. It’s a personal choice what that path is. Warren Buffett gives advice to do what you love and would do for free because it works out nicely long-term that way.
May 24th, 2010 at 1:20 am
Thank you, George – and Steven, and the other individuals who added their great insight along the way! It’s a real act of kindness to take a pause and give those behind you a hand up.
If I may put forth another question, thoughts would be well appreciated:
How feasible is it to try to work your way up in Hollywood, along the PA/assistant route, when you also have a family and children? I imagine it’s virtually impossible, given the hours and unpredictability, to do so as a single parent – but is it really any easier, even if you have an understanding and supportive partner?
May 24th, 2010 at 8:59 am
Excellent article, and a great template for planning the Big Move. I went to film school in L.A., had some great internships, but had to move back to Northern California after some deaths in my family. My question for some of the posters: how long out of the loop is too long? I have a good friend who is steadily working her way up the management ladder, and another who is busting ass as an intern at Scott Free – neither is in a position to get my scripts to anyone yet, but I know they’re friends and will help if they can. I’ve been through the PA gauntlet in San Francisco, but that path is limited, as less and less productions are coming to the Bay Area… my thinking is to get back to L.A. as soon as I can… if anyone has a though, I’d appreciate the feedback. Thanks to George and the rest of the professionals and soon-to-be-professionals taking the time to comment here… and thanks to John, of course.
May 24th, 2010 at 1:39 pm
@ Thomas – I think it sounds contradictory when you read all these posts together because everyone’s experience is different. No 2 stories are going to be the same. But, like any business that’s competitive with a lot of money at stake, you have to work hard and bring something to the table. I don’t think looks amount to much behind the scenes really. However, being presentable and having good hygiene should be standard for any business environment.
Honestly, here’s what I believe, and note, this is just my experience:
The truth is; whatever your age, race, gender, etc – the harder you work and the smarter you work – the luckier you’ll get. I used to know far too many people that would sit and day-dream about the Oscar or the multi-million dollar picture deals they SHOULD be getting, instead of actually doing anything. At all. Unless sitting around, talking about your own unrecognized genius and then sulking is ‘doing’ something. I couldn’t understand why these people felt so entitled. Mind you, my big dream when I came here was to simply pay for my rent and food (and hopefully have a little left over) with the money I made working in film/TV, and I can’t say I’m totally there yet. But I get closer and closer each day. I have bad days, sure, but they’re outnumbered by the good ones and I do my best to remember that.
What George’s article does, in a very healthy way, is dampen the pie-in-the-sky ideas that a lot of people have when they move here, because many film magazines and entertainment TV shows tend to make TV and film production way too romantic. To contradict something from this article, I would actually advise someone moving here to NOT travel with a friend. I came here alone, didn’t know a soul and, yes, I was quite lonely for about 2-3 months but it made me really put myself out there, both work-wise and socially. In particular because there was no Skype or whatever, so I had very few links to home. It made me brave and, after, very confident – cos I did it! I survived! And that made me think that I could do anything. Again, that’s only from my perspective.
I’m not saying that people shouldn’t have big dreams but they should also live in some realm of reality too. There’s loads of people making a great living whose names you don’t know or don’t just roll off the top of your head. Maybe you WILL win an Oscar or get that crazy-good studio deal but making that your primary focus is very damaging. Anyone keeping their head above water, esp. at the moment, is doing extremely well in my book!
My cousin had that dream that a lot of girls do to become an actress. When she was 17, and before she headed off to a very expensive drama school, she came to stay with me. I got her some extra work on a film I was doing. I asked her to tell me honestly what she thought of it after her first day and she told me it was the most boring day of her life and re-figured her ambitions. But she’s glad she gave it a go as now she doesn’t have doubts but this industry isn’t for everyone.
Me? I LOVE being on set, I love the long, long hours, I usually like the people, I even liked getting coffee or dry-cleaning or whatever, just cos I was assisting in making a film/TV show/commercial; I was part of it, however small. (Whenever I see this one film on TV – I always say to whoever’s with me, “I got toilet paper for that film!!!!” and I’m still proud of that fact.) I think when you have that vibe; that you’re just in love with the whole process and don’t consider menial tasks beneath you, it really comes across and that’s what separates people – not looks, not flash cars, not shiny teeth. Hand to God, I didn’t even have a car during my first job – I was kept around because I was really enthusiastic. Rare, I know, but what that tells me is -so is pure, true enthusiasm. ‘Too cool for school’ doesn’t count for much. (Although, I wouldn’t recommend that anyone try this with no transport and would agree a million per cent with George that a car is very, very important here. Buy reliable rather than racy and keep it as clean as you can – your car doesn’t need to be posh but a tidy car says, “I’m organized.”)
And, again @Thomas, having an accent does help sometimes! :-) I think it’s just cos anything different is a little exotic, but that only gets you so far. The novelty factor wears off fairly quickly.
May 24th, 2010 at 2:51 pm
Thanks Liz!
I know something about filmmaking from my professional experience. (But far far away from everything!) And you have to love every bit of it, thats true. (If not its very though!) I spoke to an older cinematographer, currently working as a gaffer for a yonuger one last summer, and he was tired. But he said that his life was worth it, because every day he met new people, saw new places, and did new and challenging things. I’ve been working in an office, and I prefer by far being on set!
One more thing Liz.
Know that you are a good reader! ;-)
May 25th, 2010 at 9:47 am
Let’s give this yet another twist:
Yes, I’m a Spanish screenwriter. A wannabe indeed, since I’ve got no script sold or produced yet. I’m working in three spec scripts that I’m very confident about though. [Ok, I deserve it; go for it: "O rly?!"]
My goal slash unrealistic dream is to eventually move to LA and get a living there as a screenwriter.
What are the chances for a “yet-to-be-regularized” worker in the States’ filmmaking industry? How common are they in these kind of entry level jobs?
Can you think of any other way to enter the industry other than winning a Nicholl Fellowship? [I'm winning it anyway, but, y'know, ha, just in case... ]
Thanks.
May 26th, 2010 at 1:08 pm
@Daniel
“How feasible is it to try to work your way up in Hollywood, along the PA/assistant route, when you also have a family and children?”
When you are interviewed for the job, there is one question that you’ll have to answer and you have to answer it honestly. That question (more or less) is: “Are you available to me at a moment’s notice, willing to work the hours required, to get the job done?”
No one wants to hear something that implies you might have to leave early to pick up the kids or take over for your spouse.
However… having said that. I have worked on many shows where we had married people with kids working in some sort of support position. Speaking only for my experience, a certain amount of understanding for their home responsibilities was there. Usually a gopher job goes to the youngest kid who has no responsibilities and is willing to live at work. But office assistants and writer/producer’s assistants are given more leeway. Despite the hard cold nature of the business (and it is there, don’t mistake me) most of the people actually doing production are, believe it or not, human beings. They do understand and they will value what you bring to them over the infrequent interruptions as a result of life. We all have those things happen.
But you have to stand out. If all things are equal, the office would hire someone who has no responsibilities. So your job is to make sure all things are NOT equal. You have to make sure that, when you walk out of that interview, they’ve notice that you are definitely the choice above the others.
As a general statement for everyone: Never forget that the jobs in this business can come and go, as difficult as those opportunities are. But your family is your life. Never let them take a backseat to this business.
Too many people learn that lesson in retrospect, after they’ve lost them.
May 27th, 2010 at 5:49 am
Well, I may have that one made up…
Seriously, how usual is it to find undocumented people at this point of the business ladder, working as an assistant of some kind?
Thanks.
June 2nd, 2010 at 11:43 am
Thank you to everyone who gave advice here. I don’t work in this industry, but the kind of advice George gave will work for any entry level position in any industry. I’ve hired and fired people for exactly the same reasons – who was willing to go the extra mile and think about their job versus who was just collecting a paycheck.
This is such a rough industry that proving yourself is a necessity. There are more applicants than jobs, and cream rises to the top. I think George, you sound like cream.
The servant leader is a concept that starts when you begin your career. How you can help other people in their journey is as or more important than anything else you do in life. The people in the industry who don’t help deserving people will find that they don’t get the help they’d like someday.
As Kasim said, “your mental state is directly responsible for your reality” – I always think of the man in Auscwitz who took responsiblity for his reality. Negativity bites me every time, and optimism has never bitten me yet.
June 8th, 2010 at 8:34 am
Awesome discussion. Thank you George for taking the time to share your experiences!
I’d like to add a special shout to all the “older adventurers” above – if you haven’t done it already, pack your car and go. life is toooo short to sit pondering the thought of what might be.
maybe you’re 35. well, at 45 or even 40 you’ll think “oh i was so young. i should have done it then.”
besides, who needs to know?
June 9th, 2010 at 10:15 pm
@ Steven – thank you for all the information you’ve shared, very helpful for aspiring writers.
June 15th, 2010 at 5:20 am
George, you are fantastic, my man! I totally dig everything you said– smashing article, advice, attitude, the whole lot!
It’s good to know there are people like you in L.A. workin’ out the dream. Reading your post was like a breath of fresh air. Seriously. It can be exhausting listening to people constantly complain about how hard it is to make it in Hollywood.
If you ever find a way to bottle your energy and sell it, I’ll be your first customer.
Well, maybe I’ll see ya someday in Hwood, but for now let’s keep on keepin’ on!
Cheers:D
June 18th, 2010 at 9:58 pm
Must say that after reading this article I am now convinced that a move to LA has to be done — at some point or another. I’ve been writing all my life — I’ve been watching movies all my life. And I must be honest when I say that when one noticed the other, there was a merge-effect that is just right in my soul. In the past year and a half I’ve completed four full feature screenplays. And it’s been the best experience of my life thus far as a screenwriter — seeing my imagination come to life on paper. I can only imagine what it must/will feel like when I break into the business. You’re testimony has been very insightful and beneficial. Really thank you for it. May you continue to prosper in your journey and may your dreams and inspirations come to full fluition. Best of luck…
-Nathan Immanuel