Opportunities
in
Fred Yager
Jan Yager
Foreword to the Second Edition by David Carradine
Actor, Director, and Author
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Bang Hermitage 10 9 8 7 6 5 4 3 2 1
Music Appendixes
Music Supervisor 156
I. Educational Resources: Colleges and
Composer 158
Universities 228
II. Colleges, Universities, and Schools with
Miscellaneous Support Services
Relevant Graduate Degree Programs
Caterer 162
MA (master of arts) or MFA
Transportation Coordinator 164
(master of fine arts) 232
III. Selected Nondegree Acting, Directing,
Part IIIPOSTPRODUCTION and Film Courses and Programs 234
IV. Professional Unions and
Film Editing Associations 237
Editor 170 V. Competitions, Fellowships, and
Negative Cutter 173 Internships 244
Color Timer 175 VI. Film Festivals 246
VII. Film Commissions 248
Special Effects VIII. Selected Agencies, Film Studios and
Visual Effects Producer 178 Companies, and Libraries and
Titles and Optical Effects Coordinator 180 Museums 251
Sound
Glossary 253
Supervising Sound Editor 184
Selected Bibliography 256
Foley Artist 186
Books 256
Industry Publications 258
Part IVDISTRIBUTION, Web Site Resources 258
PUBLICITY AND ADVERTISING, Job Search Sites 259
AND EDUCATION Index 261
About the Authors 269
Distribution
Film Distributor 192
ix
a shield I carry. To me, sometimes, its a cross I trade, he should, because if we could be discour-
have to bear. Ive tried to release my kids from that aged, we should forget it. You need an overriding
obligation. passion for the art to survive.
xiii
At the same time, theres a real craft to storytelling, and all the other aspects. Because the collabora-
whether its done by the campfire or by projecting tive art of filmmaking is an interdisciplinary skill,
images on the celluloid screen. you want to mix with as many people as you can
People make their way into the film business to see whats going on. In the beginning part of
from lots of schools. Im associated with UCLA your career, you want to do that. Reputation is a
so I have a particular favorite. But whether you day-to-day thing. It builds. Its what people see you
attended NYU or USC, its not just what you do. Character is a lifetime thing. Its what you do
learned, its how you learned it. Did you stock up when no ones looking. You carry your reputation
on information with no resonance, or did you and your character into every meeting.
learn as a living, breathing emotional experience? The word Hollywood is an anachronism. Hol-
Did you peel it apart, or was it laid out in a thing lywood isnt a geographic reality, although theres a
all made for you? place called Hollywood. Its an international mind-
You cant teach people to have artyou cant put set. Its a type of entertainment configuration that
in what God left out. But you can assist people to could be in New York; in London; it could certainly
have craft. The craft is not just in how to turn the be in California; and it could be in Silicon Valley.
camera on and off or what scenes to keep in and Hollywood is an attitude. So, a film could be made
edit out. It is also how to survive the collaborative anywhere but have the feel of Hollywood, like Enemy
interaction we call filmmaking and those intra- at the Gates, made with a French filmmaker, shot in
psychic elements that occur between observers and Germany, with two English actors as leads, and with
participants that often determine the films success an American composer. It wasnt even edited in the
or failure. geographic Hollywood, but its still a Hollywood
Is geography a critical element to job oppor- film. On the other hand, Amlie is clearly not a Hol-
tunity in the film industry? Yes and no. If youre lywood film: Its a local French repertoire film, even
enormously talented as a screenwriter and can though it was navigated and moved and exhibited in
get your screenplay seen by an agent, a studio, or the United States with good result.
a network, then you can live in Oshkosh. It will The tools, rules, and guidelines governing the
not matter where you live. Actors generally have film industry are:
to apply their craft; once theyre successful, they
too can live anywhere they want, because theyre 1.You want to be where the action is.
called upon. But when youre just getting started or 2.Proximity is power. You want to get the
in entry-level positions, youre constantly network- power of other people. Be close with them.
ing. Youre looking for peer relationships that will Associate with them.
grow with you as you all rise up the ranks. As they 3.You have to manage relationships more than
go up the corporate ladder, the business ladder, transactions, and that takes physical proximity.
studio ladder, the network ladder, theyre still your 4.Ideas live in the ether where all creative peo-
peer group. Its important to learn how to make ple live, and you have to steep yourself in that
those relationships, because relationships are more ether.
important than transactions. Relationships endure
all your life. On the other hand, when you reach the status of
Its absolutely critical to be in a place where being the center of your own gravity, then your rep-
youre in proximity to those relationships. Physical utation allows you to live where you want to live.
proximity, where you can talk to them, drink with Filmmaking is a collaborative process. Its a
them, dine with them, walk with them, interact process of one by many. I often say if you want to
with them. The telephone is not the most perfect shoot the screenplay, what you really do is stand it
instrument to initiate that interaction. So, the up on a shelf and take pictures of it. But nobodys
answer is to be wherever there is the largest gath- going to come see it. A screenplay is a blueprint for
ering of people involved in the business, not even a film. It gives direction as to what is the intention
in your own area, but acting, writing, producing, of the vision keeper. Good old-fashioned words on
xvii
Another trend is the continued growth of inter- late 1930s. Still, making movies will remain a col-
national cofinancing and coproducing of movies. laborative effort, involving scores and sometimes
Film festivals, such as the Berlin Film Festival in hundreds of people, depending on the budget and
February and CineMart, the coproduction market scope of the film being made. Whether its shot on
of the International Film Festival Rotterdam Film film or high-definition digital tape, or whether its
Festival held in The Netherlands each January, shown on a giant Imax screen or the face of a wrist-
offer opportunities for filmmakers, producers, and watch, the act of creating the image that ultimately
directors from all the over the world to meet and appears will still involve the same basic process.
try to put together an international project. There is That process is a select group of professionals
funding available for selected filmmakers who have working in front of and behind the camera, as well
made at least one feature film to attend these festi- as in various stages of preproduction, production,
vals to participate in their cofinancing programs. postproduction, and, ultimately, marketing, distri-
The number of movies being shot entirely on bution, and exhibition.
high-definition video has increased substantially. Motion picture production and distribution is a
The last two Star Wars movies and Miami Vice, global growth industry. Even during times of eco-
Apocalypto, Superman Returns, Spy Kids, Sin City, nomic downturns, going to the movies is seen as a
and Collateral were shot completely on high-defini- relatively low-cost form of escape (compared to the
tion video and converted to film. higher cost of most stage, cabaret, or music shows)
In the near future, movie theaters will all be digi- that is also a social activity (compared to read-
tal and connected either fiber-optically or by broad- ing for entertainment, which is usually solitary).
band so they will no longer have to depend on hard Movie box office receipts in the United States for
copies of films. Movies are already viewed on giant 2006 were $9.5 billion, according to the National
screens, as well as on cell phones and iPodstrends Association of Theatre Owners (NATO). The entire
that will escalate in years ahead. motion picture industry, if you include salaries,
Another development in trying to woo movie- other fees, and related expenditures, is in the tens
goers back to the traditional movie theater is the of billions of dollars.
growth of the not-for-profit movie theater, such In the United States in 2004, there were
as the Avon Theatre in suburban Stamford, Con- approximately 368,000 wage and salary jobs in
necticut. A subscription-based membership option, the motion picture production and distribution
in addition to regular customers, enables the Avon industry, according to the U.S. government Occu-
to offer educational cultural events beyond just the pational Outlook Handbook 2006-07 Edition. (This
basic movie screening. For example, Terry George, is up from the 287,000 jobs in the industry for
the director and screenwriter of Hotel Rwanda, 2000, as reported in the first edition of this book.)
appeared at the end of the screening of the movie to The U.S. Department of Labor, Bureau of Labor
lead a question-and-answer session with the audi- Statistics reports that the employment outlook
ence. Interestingly, not long after this movie event, for the film industry as a whole is excellent, with
Terry George shot part of his next major feature a growth increase over the next decade of 17 per-
film in Stamford, Connecticut, using local locations cent (compared to 15 percent for all industries
as well as some area residents for extra parts. combined). Although a majority of the salaried
In 2008, some movie theaters have turned from jobs are located in Los Angeles and New York City,
selling only popcorn, sodas, and candy to offer- there are film industry jobs available throughout
ing high-end restaurant fare as a way to lure back the United States and in other countries. In fact,
moviegoers. there are job opportunities in the film industry
In the next 10 years, with the expansion of available at any time virtually anywhere in the
digital cinema and video on demand, the film world. Technology has made it possible for anyone
industry, which started more than 100 years ago, with a digital camera, a computer, and the neces-
will undergo its greatest transformation since the sary software to make a feature film. Will this film
introduction of sound in the 1920s and color in the show up at your local multiplex? Probably not.
xxi
who moderated that memorable panel, as well as Arthur Vinci; Elia Schneider; Jose Ramon; Lee and
Diane A. Sherer, former associate executive officer Suzanne Cobb; the staff and fellow members of the
of Women in Film; Mae Woods, who graciously Writers Guild of America, East (Freds a member);
organized a get-together of the Los Angeles chapter Heidi Wall and her Fast Forward seminar (Fred
of Sisters in Crime, an association of mystery writ- attended); Sherri Klein; publicist Maureen Lutz;
ers and enthusiasts, in our honor when we were in Cammie Morgan of Filmline International; the
Hollywood; the staff and fellow members of New late Carl Sautter; IFP (Independent Feature Project
York Women in Film and Television and Los Ange- International, of which Fred and Jan are members),
lesbased Women in Film; Michael K. Eitelman, American Screenwriters Association, Womens
director of development at Serendipity Films; Kate Media Group (Jans a member); and Andreas Grun-
Schumaecker, former director of development, Chi- berg, Grunberg Film. Actors, directors, producers,
cagofilms; Dan Victor, president/CEO Boneyard and other film industry professionals that Fred or
Entertainment; Bonnie Black, president, Bonnie Jan have interviewed over the years, including Ste-
Black Talent & Literary Agency; Allison Shigo, ven Spielberg, Tom Hanks, the late James Cagney,
director of development, Revolution Films; Gerard the late Christopher Reeve, Jane Fonda, Sigourney
Sellers, location manager; film instructor and David Weaver, Glenn Close, the late Art Carney, Henry
Lynch biographer Martha P. Nochimson; actor Fonda, Francis Ford Coppola, Sylvester Stallone,
James Garrett; Bob Mead; producer Martin Poll; Arnold Schwarzenegger, the late George Burns, the
director and producer Gil Cates; Diane Sokolow, late Lee Strasberg, the late Gwen Verdon, the late
president, Sokolow & Company; Adina Kahn; Trina Jim Henson, producer Charlie Matthau, the late
Wyatt, COO and CFO, Tribeca Entertainment; Walter Matthau, Richard Benjamin, Paula Prentiss,
producer Joel Simon; the late Harold Hoffman, Steve Martin, Walter Hill, Norman Lear, Glenda
executive secretary of the Screen Actors Guild; Jackson, Liv Ullmann, Diane Weiss, the late Syd-
Richard Brennan of Ocean Blue Entertainment; ney Pollack, the late Richard Burton; Dina Merrill,
Lee Levinson; Mary Tierney; Sharon Fisher; Judy the late Paul Winfield, Rip Torn, Cliff Robertson,
Copeland; David Carradine; Marilyn Horowitz; Estelle Parsons, and Harrison Ford.
xxiii
John Carradine but one he has very much made his programs, professional unions and associations,
own through the numerous movies he has per- competitions, fellowships and internships, festivals,
formed in (Kill Bill: Volumes I & II and Bound for commissions, and selected agencies, and film com-
Glory), as well as the ones he has directed, including panies, have been reviewed and updated.
You and Me and Americana, and through the Kung The selected bibliography and especially the
Fu TV series that he starred in. Web site resources have been updated. There is,
Producer and UCLA professor Peter Gubers of course, a new index and, finally, About the
foreword has been retained from the first edition. Authors has been updated, as we have added to
It is still relevant to read about how this Hollywood our credits since the first edition was published,
dynamo got his start in the film industry, as well as including a dedicated Web site, http://www.fredan-
his advice to those starting out or wanting to excel djanyager.com, which highlights our coauthored
in their film career. books, screenplays, plays, novels, and other print
Each career profile in this second edition was and film projects.
checked and revised as needed. No jobs were deleted
for this second edition, but the following five jobs Sources of Information
were added:
The information offered in Career Opportunities in
Animal Safety Representative (under The Talent) the Film Industry is based on a variety of sources,
Development Associate (under Producers, Stu- including:
dio or Independent)
Executive Assistant (under Financing, Legal, Interviews with professionals working in the film
and Administrative Issues) industry
Association Director (under Education) Studio tours in Los Angeles and Astoria, New
Film Archivist and Preservationist (under Edu- York
cation) Attendance at film industry lectures and educa-
tional seminars in Los Angeles and New York
Also new for this second edition are excerpts City
from more than 30 original in-person or telephone Trade union brochures, pamphlets, and other
interviews that are included throughout the book. written or recorded material
Excerpted interviews with industry professionals Web sites of agencies, unions, film commissions,
such as David Zelon, executive vice president of colleges and universities offering film programs,
production at Mandalay Pictures; film critic Susan professional associations, and others
Granger; executive producer Orly Adelson; Alexi Books about the industry and career books such
Mazareas, development associate; producer Susan as the U.S. Governments Occupational Outlook
Johnston; director Lane Shefter Bishop; film archi- Handbook, updated regularly
vist and preservationist Milt Shefter; music supervi- Articles in industry newspapers, magazines, and
sor Maxine Kozler; film instructor and Academy professional journals such as Variety, the Holly-
Awardwinning director Cynthia Wade; among wood Reporter, and New York Screenwriter, as well
others, are featured in the appropriate job category. as the popular press
Most of the time, those quotes were added in the
position description part of the job category entry, The authors also have firsthand experience with
although sometimes additional comments appear the industry, beginning with Fred Yagers attendance
elsewhere in the entry, such as in Tips for Entry. (In at New York University, where he was awarded a
addition to those excerpted original interviews, e- certificate in film production, and the four years
mail or in-person communications were exchanged he worked as an entertainment writer and movie
with more than forty additional industry profes- critic for the Associated Press, interviewing more
sionals, who shared comments about their careers.) than 200 film industry professionals, especially
The appendixes, such as the colleges and uni- actors and directors, as well as screening hundreds
versities, degree and nondegree film industry of films each year. Fred has been a member of the
The Script
as well as forms you may download to submit with your screenplay, but you can make a bad film from a great
copyright claim, go to the governments The Library of screenplay. So, a Screenwriter needs to take pride in
Congress Web site: http://www.copyright.gov.) his or her work and to write the best film he or she
A Screenwriter who is looking to make a career out can, but, since making a movie is a collaborative effort
of writing screenplays is well-advised to find a liter- with forces and creative elements impacting the final
ary agent who will submit work on the Screenwriters product beyond the Screenwriters control, he or she
behalf as well as keep his or her ears open to any poten- must also be able to let go of that final screenplay as it
tial writing assignments suitable for his client. In order becomes another entity, a film.
to even be considered by an agent, however, an aspiring
Screenwriter will usually have to write at least one com- Salaries
plete screenplay entirely on speculation. It may take Salaries vary widely, from writing on spec or for free
a few weeks, months, or even years for a satisfactory for nonunion films to receiving $1,000 for an option
screenplay, often known as the work sample, to be or several million dollars for a completed, acceptable
well-written enough to give the Screenwriter a chance script (plus such negotiable terms as profit-sharing in
at representation and a possible sale. (For a discussion the net or gross revenues of the film).
about how to approach a literary agent, see the entry The Writers Guild of America has developed a
under Literary Agent.) new program to encourage low-budget filmmakers
There are numerous excellent books that a Screen- to become signatories: In general, low-budget is con-
writer may read, such as Linda Segers Creating Unfor- sidered a film with a budget of less than $750,000; a
gettable Characters or Making a Good Script Great, as high-budget feature film has expenses of more than $5
well as Story by Robert McKee or The Screenwriters million. Here are the basic minimums, from the 2004
Workbook by Syd Field. There are also seminars that Basic Agreement, for Screenwriters who are members
may be attended, not to mention studying screen- of the Writers Guild of America: For writing a treat-
writing at college or in graduate school as part of a ment that is an original story, $24,129: for writing a
degree (or non-degree) program in film or creative completed screenplay, including a treatment for a low-
writing. The format for writing a screenplay can be budget movie, $53,256, (an option is 10 percent of that
learned, and there is software now that enables writers minimum); $99,980 for a high budget. An original story
to adhere to the screenplay format as they write. Skills treatment for a high budget film is $39,957. Note that
and techniques can be taught. However, the magic of these minimums may be raised each year, so check with
creativity and originality is still very much an indi- the Writers Guild of America (http://www.wga.org)
vidual matter and, alas, a talent and gift that can be or your literary agent for the most recent minimums.
nurtured but cannot be taught if the basic proclivity Salaried positions on staff are rare for screenwriters,
toward screenwriting is missing. Screenwriters need although many work as story editors or directors of
an ear for language and dialogue as well as the ability development while awaiting their big break.
to write action and to shownot tell.
Screenwriters also need to keep up on what mov- Employment Prospects
ies are being made and shown as well as what is in the The film industry is a growth business, and since the
works. Being called derivative is one of the biggest Screenwriter is fundamental to every film, employment
insults you can give a Screenwriter; being called inno- prospects for Screenwriters are good. Screenwriters are
vative, creative, fresh, and memorable are what most basically in two employment groups: freelance Screen-
Screenwriters strive for (and for which there are the writers, who sell their work and live by those sales,
greatest artistic and financial rewards). and Screenwriters who have an employment contract
Although you can write from anywhere in the world, with a producer or a studio for a specific movie or time
especially in the beginning of your screenwriting career, period.
it may be useful to live near a center of filmmaking, such There is little job security for most Screenwriters,
as Hollywood or Manhattan, so that it is easier to take unless they write a screenplay for a movie that becomes
a meeting with a studio executive or independent film a big box office hit and it is clearly their authorship of
producer if there is interest in you as a Screenwriter and the screenplay that is acknowledged (and thus they get
your screenplay. multiple job offers).
For Screenwriters, as for any other kind of writer, Screenwriters need to get their movies made in order
you are only as good as your most recent effort. The to advance, even if they have to find the money to make
adage goes that you cant make a great film from a bad the movies themselves. Getting a movie made, seeing
The Script
the Netherlands, England, and France, as well as other film associations that have readings of works in
related associations, listed in this books appendixes. progress. Not only could you benefit from hear-
ing your words spoken and acted out, someone
Tips for Entry might read your work, or attend the reading,
1.During middle school, high school, college, or that could help you get your first break as a
graduate school, get involved in any aspect of film- Screenwriter.
making or writing available to you, from writing 5.Attend film festivals and network with those in
for the school newspaper to writing a play to creat- the film industry, from entertainment lawyers
ing student films with a video or digital camera. and producers to actors and directors.
2.Attend seminars that are given by successful 6.Study screenwriting as part of a degree or non-
Screenwriters and learn how they got started, degree college or graduate school program in
what books they read, how they trained, and how writing or film. There are also credit or non-
they got their first break. credit summer screenwriting courses available
3.Discipline yourself to write, and keep writing, at many colleges and universities including New
until you have a completed spec script that you York University, the University of California, Los
can show to an agent, producer, or director. If Angeles, University of Southern California, and
youre short on ideas of your own, option the The New School. Online courses are also avail-
play or book written by another and buy the able.
right to adapt that material into a screenplay. 7.Job postings for writers may be announced
4.Enter your completed screenplay in screenwrit- through free industry employment Web sites such
ing contests. Even if you dont win, you will as http://www.mandy.com, http://www.infolist.
be exposing your writing to others who might com, or http://www.entertainmentcareers.net, as
help you get started by recommending you to well as through the fee- and subscription-based
their agent, attorney, producer, or director. You e-mail newsletter InkTip, available for purchase
can also submit your completed screenplay to through http://www.inktip.com.
Duties: Look for original, published, or theatrical mate- Creative Executive, Screenwriter,
rial that a company might want to purchase, adapt, or Producer
and develop into a movie
Alternate Title(s): Associate or Executive Story Editor Story Editor
Salary Range: $35,000 to $60,000
Employment Prospects: Good
Script Reader or Story Analyst
Advancement Prospects: Good
Best Geographical Location(s): Although a Story Edi-
tor could work anywhere, being located where there
is a lot of moviemaking activity, such as Los Ange-
les/Hollywood or New York City, may be preferable Special Skills and Personality TraitsFriendly;
Prerequisites: team player; able to find out about available proper-
Education and TrainingAlthough a degree is not ties through reading, networking, and maintaining a
required, a college or graduate degree with special- clear vision of what movies he or she wants to help
ization in film is useful acquire and develop; excellent writing skills
ExperienceInternship; on-the-job training as
an assistant to the vice president or director of
development
Position Description pany or working for a literary agent or film studio, the
The Story Editor supervises the script readers or story next step is to become a Story Editor.
analysts who work in his or her department or on a One of the key tasks of the Story Editor may be
freelance basis. They are in charge of all the readers to supervise the script readers or story analysts in his
of screenplays who collectively are on the lookout for or her department. According to Linda Stuart, a story
material for a film company to develop into a movie. analyst and author of Getting Your Script through the
That material might be from an original screenplay, a Hollywood Maze, in some smaller film companies the
book, a play, or an article that is optioned and devel- Story Editor may also be the story analyst. In a larger
oped into a screenplay, or other related material such as company, such as Disney, as many as 18 full-time story
true-life stories from the news. analysts may be employed, and Warner Brothers has
What a Story Editor does may depend upon the 14. By contrast, according to Stuart, a smaller produc-
size of the company he or she works for. A smaller tion company may rely on freelance story analysts, and
production company may have just one person who the Story Editor may coordinate getting the materials
is the Story Editor and reviews screenplays, plays, or to them and relaying their analyses to the director of
books that are sent to the company for consideration. development.
At a larger production company, a Story Editor may Although for many the job of Story Editor is a step
not be allowed to cultivate relationships with agents or on the ladder toward creative executive and, eventually,
publishers for direct submissions; that may be the job being head of one's own studio, it could also be a way
of the creative executive. At some companies, however, to read many scripts and see which work and which do
the Story Editor may be performing that function as not, so that the next step is to become a screenwriter.
well. This is another possible career path for a Story Edi-
If the assistant to the vice president or director of tor and the one followed by Dan Bronson, who had a
development has done all the more entry-level jobs, Ph.D. from Princeton University and taught English
such as answering the phone, and he or she has been and American literature at Prescott College before get-
learning the ropes just by being at a production com- ting an internship at Universal Studios. In Working in
The Script
Hollywood, Bronson describes how that internship led to juggle multiple assignments, and a talent for find-
to his job as a story analyst in the story department fol- ing the needle in a haystackdiscovering the next big
lowed by a job as executive Story Editor at Paramount moviewill also help.
Pictures. Bronson then became a full-time screenwriter;
he adapted the novel The Last Innocent Man, starring Experience, Skills, and Personality Traits
Ed Harris, among other film writing projects. Story Editors should have a pleasant personality that
makes others want to be around them. They must be
Salaries able to work at a fast pace, often for little money. They
Salaries vary according to the budget for this position should be articulate, good at networking, fast readers,
at the independent film company or studio. On average, humble, efficient, and excellent communicators.
Story Editors earn $35,000 to $60,000 a year.
Unions and Associations
Employment Prospects Membership associations, such as Women in Film, New
There are more people reading scripts and writing cover- York Women in Film and Television, or the American
age than there are Story Editors supervising their activi- Screenwriters Association, may help you find out about
ties. However, it is a necessary job category in the film job openings as well as new screenplays or available
industry. Your employment prospects will be improved properties that you could read and bring to your boss
if youve come up the ranks at a smaller film company for consideration.
as an intern or a script reader or as a freelancer or staff
story analyst at a studio. Literary or talent agents may Tips for Entry
have a Story Editor to supervise script readers, and cast- 1.Intern at any independent film company or
ing directors may also have a Story Editor if their agency studio, which might lead to a job in the story
has enough script readers that need to be coordinated. department.
2.Find out if someone is leaving a job and ask to be
Advancement Prospects considered as his or her replacement.
Going to the next step in the career path ladder, direc- 3.Keep up with the industry news and follow up
tor of development or creative executive, will depend on if you learn that a company is rapidly expand-
many factors, including having an opening in the next ing and needs someone to manage their story
slot at the company youre at or being able to find a new department.
company to relocate to where you can move up. Making 4.Bring an amazing property to a company and let
good choices about whom to hire as a script reader, as them know youre the one that discovered it.
well as what material or scripts to consider or develop, 5.Be willing to make someones coffee and read
and networking so that others know about your skills as scripts, for little or no pay, if necessary, just to get
a Story Editor, will help you to advance. your foot in the door.
6.Accept a secretarial or clerical job at a film com-
Education and Training pany, studio, literary, talent, or casting agency, and
Majoring in film, theater, communications, or English volunteer to read and evaluate screenplays, whether
in college or graduate school, as well as being versed or not it is part of your job responsibilities.
in all the classic and contemporary best movies, may 7.Check out relevant openings listed at http://
provide a helpful background. Having excellent man- www.mandy.com or http://www.entertainment
agement skills, the ability to meet deadlines, being able careers.net.
Duties: Read screenplays and provide coverage, Story Editor, Director of Development,
including a summary of the screenplay and a recom- Producer, or Agent
mendation about whether or not the script should
be given further consideration by an independent Script Reader
production company, literary agency, or film studio
Alternate Title(s): Hollywood Reader; Story Analyst
Administrative Assistant
Salary Range: $40 to $60 per script (nonunion); $27.89
to $33.52 per hour (Editors Guild Members)
Employment Prospects: Excellent
Advancement Prospects: Fair
Best Geographical Location(s): For staff jobs, major school or college papers; internship during or after
urban centers, especially Los Angeles/Hollywood college; on-the-job training
and New York City; for freelancers, anywhere in the Special Skills and Personality TraitsVast knowl-
world edge of film classics and contemporary films; excel-
Prerequisites: lent writing skills; able to summarize and explain in
Education and TrainingBachelors degree in Eng- a succinct and well-written way; organized; able to
lish or film could be useful meet deadlines and perform under pressure; able
ExperienceCritical reading for book reports to say no without guilt or remorse; hardworking;
throughout school; writing film reviews for high diligent; articulate; able to be critical
Position Description todays Hollywood wants to be the one to bring her boss
From the smallest production company with a staff of the next Academy Award winner, the project that will
two to the largest studio with thousands of employees, draw top talent, the screen story that will define a genera-
the first person to read a screenplay and decide whether tionthe best script around.
or not it goes on to the next step often is the Script Lerch, who has covered nearly 10,000 projects,
Reader. Although many see this job as a stepping stone describes the key function of the Hollywood Reader as
to becoming a story editor or director of development, writing the document that can sink or swim a screen-
some are content to stay Script Readers. plays chances of getting readthe dreaded coverage.
The Script Reader does for the producer, director of She highlights four elements to coverage:
development, or literary agent what those busy profes-
sionals have no time to do, based on the sheer volume 1.A one- to two-sentence summary of the storys
of material sent to them for consideration: They read concept.
through submissions and decide which ones are worth 2.Several paragraphs or pages that provide a
pursuing and which ones should be ignored. These detailed synopsis of the screenplays storyline.
Script Readers are not reading unsolicited material, 3.A comments page discussing the screenplays
since practically no one will read unsolicited material pluses and minuses, comparing it to other mov-
anymore for a whole host of reasons; they are the first to ies, and with a definite decision about whether or
consider material that has been requested by the literary not the company should buy, produce, or cast the
agent or the director of development. screenplay.
In her book, 500 Ways to Beat the Hollywood Script 4.A graph that shows whether the characters, dia-
Reader, Jennifer Lerch, who has worked for more than logue, story and structure are excellent, good,
a decade as a Hollywood Reader, including eight years fair, or poor and whether, ultimately, the Script
at the William Morris Agency, explains the compelling Reader feels the screenplay falls into one of these
force behind a Script Reader: Every script reader in three categories: recommend, consider, or pass.
The Script 11
Obviously, the best way to increase the prospects the college has an internship program with production
for advancement is to be the one who recommends not companies, which are always looking for new Script
one or two but many screenplays that go the next step Readers because the pay is so low and the turnover is so
and actually do get made and become the big successes great. In addition to studying film at film school or in
of future years. For some busy producers, directors, or college, having excellent writing skills is a must. Have
literary agents, coverage may not substitute for reading a work sample ready when you are job hunting so that
the finished product but coverage that gives a pass you are able to show that you know how to write cover-
usually guarantees a property will get rejected, at least age on a screenplay.
at that company.
With so few screenplays that are actually optioned Experience, Skills, and Personality Traits
or developed ever becoming movies, let alone success- A Script Reader needs to be willing to take direc-
ful ones, it is clear why breaking out of the more entry- tions and commands from her or his superiors as to
level slot of Script Reader is more difficult than it might what screenplays or properties are to be read and as to
seem. when the coverage is due back. The ability to adhere
to deadlines, often tight, is a must, as is the ability to
Salaries write clearly, succinctly, and definitively under pres-
Nonunion readers who often work on a part-time or sure. The Hollywood Reader has to form an opinion
freelance basis get $40 to $60 per script. Members of about a screenplay and back up that decision, as well as
the Editors Guild union receive $27.89 to $33.52 per handle the ramifications of being wrong, saying some-
hour minimum, depending on the length of time in the thing should be passed on only to have it picked up by
union. Hourly rates are $37.12 to $42.02, depending another studio that turns it into a big hit, or suggesting
upon the length of union membership, if a treatment something be bought and developed, only to have it
synopsis is required. turn out to be one of the biggest failures of the year
when it is finally released.
Employment Prospects
As long as there are more screenplays, novels, or plays Unions and Associations
that have to be evaluated for possible new movies than The Story Analysts Local 854 merged with Editors
there are decision makers who have time to wade Guild Local 700 (http://www.editorsguild.com), part
through all the material, there will be a need for Script of the International Alliance of Theatrical and Stage
Readers. Whether the Script Reader works for a literary Employees (IATSE). It is now called the Motion Picture
agent, a small production company, or a major movie Editors Guild, IATSE Local 700. Union Script Read-
studio, Script Readers are the first step in a long and ers usually work at the major studios. Freelance story
complex process. The story department at a studio has analysts need not be in the union, but membership in
to first go to the union of Script Readers if they need to various film industry professional associations, such
hire someone. If all the union readers are unavailable, as Women in Film and New York Women in Film and
a nonunion Script Reader may be hired. After working Television, may be beneficial.
for 30 consecutive days, the nonunion Script Reader is
eligible for membership in the union. Tips for Entry
1.Throughout the school years, including as early
Advancement Prospects as middle school and high school, work on your
Although there is always a need for Script Readers as critical skills with every book you read and report
the first line of consideration for new material, there are on as well as every movie you watch. Learn to
fewer slots as people wish to go up the ladder. It is prob- compare and contrast new writing to published
ably easier, initially, to move horizontally, from Script books.
Reader to another Script Reader position at a different 2.Watch as many classic and contemporary films as
company, than it is to move up to the next rung, story possible, so you have a vast knowledge of film to
editor. compare any new properties to.
3.Let everyone and anyone know that youre look-
Education and Training ing for work as a Script Reader and that youre
Although not a requirement, having a college degree ready to take an internship or an entry-level
and even a graduate degree in film or film studies may job whenever it becomes available. Dont be shy
help you land that first job. It is especially useful if about asking anyone and everyone you know who
The Script 13
Literary Agent
CAREER PROFILE Career ladder
Duties: Sell the work of screenwriters; get screenwrit- Head of Own Agency
ers writing assignments; represent screenwriters
to producers or film companies; and handle the Literary Agent
optioning of novels or other literary materials for
possible development as movies
Assistant to Literary Agent
Alternate Title(s): Agent
Salary Range: $15,000 to $200,000+
Employment Prospects: Good
Advancement Prospects: Fair erary Agent; reading screenplays at a production
Best Geographical Location(s): Its preferable to be company is also helpful experience
based near the movers and shakers in the film indus- Special Skills and Personality TraitsAble to deal
try in Los Angeles/Hollywood or New York City, so with people; comfortable juggling multiple projects
that in-person meetings are easier, but the Internet, and personalities; capable of performing well under
fax, and cell phone makes it possible to work from pressure; able to say no; hardworking; able to develop
anywhere as long as there is a willingness to travel screenwriting talent and cultivate good working
for meetings on a regular or as-needed basis relationships among the various components of the
Prerequisites: film industry, including the screenwriter, director,
Education and TrainingAlthough not a require- producer, casting director, and actors; legal knowl-
ment, a college or advanced degree in film or English edge to negotiate contracts or the ability to delegate
is helpful; on-the-job training at a film company or that aspect of the contract to a lawyer on staff or on
literary agency retainer
ExperienceInternship; starting as an administra- Special RequirementsSignatory of the Writers
tive assistant and working up to assistant to a Lit- Guild of America is helpful
The Script 15
cially if they wish to have their screenplays considered Agents who are signatories also agree not to charge a
by major film studios, need a Literary Agent to represent reading fee to screenwriters whose work they agree to
their work. consider.
Becoming a Literary Agent in the film industry is an
exciting, high-powered job with enormous creative and Experience, Skills, and Personality Traits
earning potential. However, a Literary Agents judgment Literary Agents should have good communication skills
has to be right enough times that his or her projects get over the phone, in person, and in writing. Being dis-
made and earn creative acclaim as well as big box office creet and tight-lipped about deals and clients will help,
grosses; word of mouth and a proven track record will as will getting a reputation for sound judgment and
build a reputation and help to keep getting those A-list shrewdness. Honesty and reliability are other personal-
screenwriters. ity traits that will help an Agent go far, as will working
hard to get the best possible deal for ones clients. Any
Advancement Prospects experience in the film business that opens up the web
If you make good decisions and the screenwriters you of contacts that a Literary Agent needs, from the direc-
represent are successful, you will advance. If your cli- tors, casting agents, producers, and directors of devel-
ents films dont get made, regardless of whether this is opment to the talent agents and Literary Agents for
because of bad luck, bad timing, or a studio going belly book authors, will increase the value of a Literary Agent
up, your advancement prospects will be bleak to nil. A to his or her clients.
Literary Agents reputation is based on the accomplish- Working for a Literary Agent, especially one who
ments of his or her clients and what money those clients handles screenwriters, is excellent on-the-job training,
are earning, since often the Literary Agent is paid on a as is working at a film studio or on a film to get a first-
commission basis (10 percent to 15 percent). Some Lit- hand look at the film business.
erary Agents also ask their screenwriter clients to cover Literary Agents need to handle many clients all at
certain out-of-pocket expenses, such as long-distance once and yet somehow make each client feel as if he or
phone calls or overnight delivery services; others absorb she is the only one being represented. Enjoying travel,
those costs as part of the commission. for meetings or to film festivals to see the work of cur-
rent or potential new clients, is also a plus. Being effi-
Education and Training cient, being able to delegate clerical work, and working
No formal education or training is required, although well with others are other personality traits that will take
most Literary Agents will be college- or graduate-school- a Literary Agent far. Most important of all is, of course,
educated, with a major in film, film studies, theater, the good judgment about what screenplays will make
or English. However, any major in college or educa- great movies and which screenwriters have potential
tional background will do, since the ability to recognize that should be cultivated. Relationships have to be fos-
excellent screenwriting talent requires a judgment about tered with producers, directors, casting directors, talent,
screenplays that may be as much instinct as training. independent film companies, and studio executives.
A knowledge of great movies, as well as a familiarity
with the screenplays upon which those movies were Unions and Associations
based, is also useful. The selling part of the job, as well Membership in the Society of Authors Representatives
as the negotiating and contractual skills and knowledge (SAR) is recommended but not necessary.
that a Literary Agent needs, may be gained by studying
marketing and contract negotiations and through an Tips for Entry
on-the-job apprenticeship, an internship, or paid job 1.Find a screenwriter who is not yet represented
experiences. by a Literary Agent and whose screenplay you
believe has merit. If the screenwriter gives you
Special Requirements the right to do so, sell it on his or her behalf.
It is preferable to become a member of the union for Nothing helps you gain entry to the world of
screenwriters, the Writers Guild of America (WGA). agents than a successful deal, and the bigger, the
Go to http://www.wga.org to find out what documenta- better.
tion and supporting materials are required. Signatories 2.Offer to intern, for no pay if necessary, as the
of the Writers Guild of America agree to adhere to the assistant to a Literary Agent or as the assistant to
minimum payment schedule negotiated by the WGA his or her assistant, just to learn the ropes. Offer
on behalf of its screenwriter union members. Literary to read scripts and write reports. (You will find
The Script 17
The Talent
Casting Director
CAREER PROFILE Career ladder
Duties: Break down the script to determine what roles Casting Agency Head or Producer
need to be filled; find, audition, and negotiate for
the services of actors for a movie Casting Director
Alternate Title(s): Casting Agent
Salary Range: Varies widely
Assistant to Casting Director
Employment Prospects: Fair
Advancement Prospects: Fair
Best Geographical Location(s): Los Angeles/Holly-
wood, or any major urban center where there is ExperienceSeveral years in lower-level positions,
a lot of moviemaking activity, such as New York such as administrative assistant, receptionist, or
City assistant to a Casting Director
Prerequisites: Special Skills and Personality TraitsInstinct
Education and TrainingNo educational require- about acting talent; ability to apply an actors proven
ments, although a knowledge of film and acting is abilities in one role to a new, unknown one; orga-
useful; most training is on-the-job in the casting nized; knowledge of Screen Actors Guild (SAG)
department at a studio, production company, or rules, how to hold auditions, and contracts; excellent
casting agency networking skills; team player
Position Description ground was definitely a plus for her, as she explained:
Even when a movie goes into production with some The advantage I had was that I knew a lot about actors
major box office stars attached, there is still a need to from my prior existence as an actress. By contrast,
find, audition, and select the other principal and sup- Hirshenson got into casting through a temporary sec-
porting actors. retarial job that landed her in the casting offices of
The Casting Director works for the studio, produc- Rastar Films, answering phones. She became the Cast-
tion company, director, or producer. They do not work ing Directors assistant and cast her first movie three
for talent, in contrast to the literary agent, whose client is years later. Noted Hirshenson: We start off with the
the screenwriter, and the talent agent, whose client is the leadsdetermine whether theyre name or nonname.
actor. The Casting Directors client is the company mak- If its name, then we make some lists, we call for avail-
ing the film. ability. If its nonname, then we bring in pictures.
The Casting Directors first job is to take a script and Although there are lots of business details associated
break it down into scenes, noting all the characters in with being a Casting Director, Jenkins, who together
the screenplay, how many lines of dialogue they speak, with Hirshenson has cast such films as A Beautiful
and their characteristics. Breaking a script down as thor- Mind and When Harry Met Sally, emphasized: Busi-
oughly as possible may make a big difference in casting ness aspects aside, most important of all, youve got to
options, as well as the movies budget. Knowing that a learn who the actors are and learn as much as you can
particular character only says so many lines or is in so about what they are capable of.
many scenes might make it possible to hire an actor who
would be unavailable for more extensive scenes and days Salaries
of shooting. Since there is no union for Casting Directors, salaries
Janet Hirshenson and Jane Jenkins, who founded will vary depending on a films budget and whether
The Casting Company in 1981, discuss their careers a casting agent is a freelance or independent Casting
as Casting Directors with coauthors Alexandra Brou- Director, working for a studio casting department. As a
wer and Thomas Lee Wright in Working in Hollywood. Casting Director gets a reputation for excellent choices
Jenkins went from acting to casting; having that back- that help a films success, he or she will get larger fees.
The Talent 21
Principal Actor
CAREER PROFILE Career ladder
Duties: Play the characters in a film; act out the screen- Movie Star, Director, or Producer
writers words and movements; become the vehicle
through which the writer and directors vision for Principal Actor
the story are communicated to the audience
Alternate Title(s): Thespian; Film Star; Talent
Supporting Actor
Salary Range: Varies widely
Employment Prospects: Fair
Advancement Prospects: Fair
Best Geographical Location(s): Major filmmaking ExperienceWorking on student or independent
centers, especially Los Angeles/Hollywood and New films, in theater, in commercials, or on television
York City Special Skills and Personality TraitsOutgoing;
Prerequisites: introspective; determined; able to withstand rejec-
Education and TrainingFormal education is not tion; able to interpret a character; willing to dress
necessary, but a college or graduate degree, study- up in unique contemporary, historical, or fantasy
ing acting or film, is helpful; also useful is training clothing or makeup
in acting for film, as well as related skills, such as Special RequirementsUnion membership may
dialect, dancing, fencing, or singing be required
Position Description talent agent that helps them make the best choices for
Being a Principal Actor in a film is the stuff that dreams their career are also important.
are made of. Actors have been enchanting audiences for As newcomers get positive reviews and begin to
centuries and certainly before movies. Of course some make a name for themselves, they are going to be offered
who performed for the stage have attained international parts for certain types. Getting typecast, as its called,
reputations and acclaim, but the film industry has cata- can be a double-edged sword. On one hand, an actor
pulted the job of actor to one with global attraction and can begin to build a career around playing a certain
instant name recognition. character type; John Wayne certainly did. But it could
There are as many myths about what it takes to get harder and harder to land those roles if the actors
become a successful film star as there are facts. Legions performance fails to live up to expectations. Also, once
of boys and girls and men and women from throughout an actor is typecast, it becomes more difficult for them
the United States and from around the world flock to to play other types of characters. This isnt always due to
Hollywood in search of fame and fortune. Few will acting ability, but often to audience expectation. They
become the leading stars of the stature of a Greta Garbo identify certain actors with specific characteristics. On
or a Laurence Olivier with the wealth of a Will Smith the other hand, some actors have succeeded in playing
or a Julia Roberts. But there are still jobs for character against type. It can be used as a strategy for an actor to
and supporting actors as well as lesser roles that may make a comeback after their career of playing the same
provide enough work to earn a living or be the primary character has waned.
wage earner for a family. However, there are simply As actors age, they often have to move into a differ-
more people who want to become actors than there are ent type or category. This is particularly true for child or
parts for them to play. teenage actors, such as Roddy McDowall, who worked
Yes, hard work and luck are key factors in determin- for years as a child actor and then later as a middle-aged
ing which actors become famous and bankable A-list character actor. Since so many movies are made for
box office stars. But having enough basic talent, train- younger or teen and young adult audiences, there are
ing that capitalizes on that talent, a savvy manager or fewer and fewer leading parts for aging thespians. A
The Talent 23
part, since he or she could be out the millions in salary Even after graduating from acting school or major-
that he or she could command for another movie if ing in drama at college, actors may continue to work
the movie fails to turn a profit. Jack Nicholson took a on their acting techniques by studying with an acting
deferred salary for his performance in Batman, as did teacher or coach or taking an acting class. Actors may
Tom Hanks for his role in Forrest Gump. For both the also go for specialized training, depending on the spe-
gamble paid off financially, as they each earned tens of cific parts they are auditioning for or are hired to play,
millions of dollars. such as learning how to box, practicing karate moves,
conducting interviews, or observing in settings similar
Employment Prospects to the one into which they will be placed. Some actors,
This is an extremely competitive category. There are if asked to play a real person, may wish to meet that
simply many more people seeking acting roles in mov- individual, if he or she is still living; others may prefer
ies than there are roles to go around. There are nearly to study videotapes or audiotapes for physical man-
120,000 members of the Screen Actors Guild, and only nerisms and vocal details. If a screenplay is based on a
a fraction are employed at any given time. Also, an novel or play, actors may wish to read the original novel
actor has a series of temporary jobs; once a film is fin- or attend a performance of the play to help develop
ished, the job is over and the search for employment their character.
begins all over again. Fine-tune the actors instrumentsthe voice, body,
and appearance. Whether you are aspiring to the lead-
Advancement Prospects ing role or a supporting character, you will want to be at
If breaking into acting is highly competitive, growing your best in your acting skills, knowledge of film as well
a successful career is even harder. Only a handful of as of makeup, costume, dance, and speech, with as wide
the thousands of actors starting out each year become a background in literature and classic and contempo-
movie stars. Some, such as Drew Barrymore or Mel Gib- rary films as possible.
son, take control of advancing their careers by becoming
producers or directors. Special Requirements
Union membership in the Screen Actors Guild (SAG),
Education and Training the union for film actors, may be required.
Acting in school, college, or graduate school is helpful
but not required. Studying acting at an acting school, Experience, Skills, and Personality Traits
in college, or in graduate school may also be beneficial The ability to withstand rejection, a good memory, an ear
in terms of skills as well as networking. On-the-job for dialect and dialogue, and the power to understand
trainingacting in theater, commercials, television, or the world from anothers perspective are all important
filmwill be helpful. The variety of roads to success traits for an actor. One most also be at ease performing
as a film actor are varied and diverse. Walter Matthau in front of others or able to do so despite fears or hesi-
(Grumpy Old Men, The Odd Couple) studied acting at tancy. Most actors feel a need to please an audience. The
the Drama School of The New School in New York. Ben ability to work well with others is essential, especially
Stiller (Meet the Parents) dropped out of the Univer- in taking orders from directors. Of course, there is a
sity of California to pursue his acting dream. Stockard lot about acting that includes natural ability, but there
Channing (Six Degrees of Separation) graduated from is also a great deal that can be learned or fine-tuned,
Radcliffe College. Sylvester Stallone (Rocky) wrote the including movement, character interpretation, voice,
screenplay for Rocky and refused to sell it unless he how to audition, finding an agent or manager, and creat-
could play the lead. Countless film actors started off ing a portfolio of head shots and photographs.
performing on the stage. Brian Dennehy started acting
off Broadway, became a film actor, and then returned to Unions and Associations
the stage on Broadway in Death of a Salesman. There are Film actors may belong to several unions: Screen Actors
also examples of wrestlers-turned-movie-actors, such Guild (SAG) for film work, American Federation of
as Hulk Hogan and The Rock, as well as fashion models Television and Radio Artists (AFTRA) for television,
or rock stars who become successful actors, including and Actors Equity (AEA) for live performances on the
Vanessa Williams and Jon Bon Jovi. Tom Hanks and stage. Associations such as Women in Film, Academy
Tim Allen starred in television sitcoms before becom- of Motion Picture Arts and Sciences, or clubs like the
ing movie box office draws. Players Club (http://www.theplayersnyc.org) may be
The Talent 25
Extra
CAREER PROFILE Career ladder
Position Description ers to employ him or her based on a special need, such as
Extras or background actors are those union (SAG) or he or she has a certain look or speaks a language and the
nonunion actors who make up crowd scenes, indoors film company could not find a SAG member who could
or outside. In general, an Extra does not have speaking fill that part, those extra work experiences could qualify
parts; but some may have speaking parts for which they the actor to join SAG. (For more information on SAG,
receive higher pay. see the section on Principal Actors, the listing on SAG in
Like so many others in filmmaking, the job of Appendix IV, or go to their Web site, www.sag.org.)
Extra appears to be easier than it really is. In addition
to the time they might take to get into makeup or a Salaries
costume, Extras must be available on short notice Most Extras also have another part-time or full-time
and willing to wait for hoursor longeruntil their job, or are students, since the work is so sporadic and
scene is shot. An Extras work is often uncredited and, short-term. Background actors who are members of
depending on how the film is cut, the scene that he the Screen Actors Guild (SAG) are entitled to the union
or she appears in may not even make it into the final minimums, which are $130 for a general Extra, $140
movie. Therefore, enjoying the work itself and being for someone whose photo is used in a scene or who has
part of the process of making a movie, rather than special abilities (such as roller skating), and $145 for an
fame, fortune, recognition, or even being part of the Extra who is a stand-in for a principal actor. Few Extras
final cut of the movie, are some of the requirements get rich from their experiences, but it is a way to get
of Extra work. involved in the world of movies as well as to have the
If a production company is a signatory of the Screen thrill of observing the making of a major feature film.
Actors Guild, there are guidelines about how many
SAG Extras need to be employed before opening the Employment Prospects
hiring up to non-SAG members. These numbers vary This definitely depends on where you live, since there
by state; the production company should know what will be much more work for Extras in Hollywood and
the guidelines are for their specific film. New York City than there will be in cities or towns
There is another benefit to being an Extra. If a non- with fewer movies in production. However, even in the
union actor has three jobs as a background performer smallest community, if a movie is being filmed, there
(Extra) on a SAG film and the films have received waiv- will probably be a need for Extrasand lots of them.
The Talent 27
Talent Agent
CAREER PROFILE Career ladder
Position Description also negotiate the best deal for his or her client, taking
The power of the Talent Agent reached epic propor- into account such considerations as getting a client a
tions in the 1990s, when the legendary Michael Ovitz share of merchandising income, a possible share in the
was getting his acting clients the biggest salaries in profits of a film, and even such luxury demands as a
Hollywood history. Talent Agents, in conjunction with private jet for traveling to and from location. Although
literary agents who handle screenwriters, may also the acting or directing unions may set the minimums
package movies by putting together the various ele- for their members, Talent Agents can help those in
ments of the film, from actors to director, and then demand get the maximum.
taking the package to a studio. Most actors, as well as Donna DeStefano runs a talent management com-
directors and producers, rely on their Talent Agent to pany, Siren Song Entertainment, Inc. (http://www.
get them work. It is their job to pitch their clients to sirensongentertainment.net), based in New York City.
the studios, directors, producers, or casting directors, She founded the company four years ago; it represents
if they hear about a new project that would be right actors, directors, and writers. Although the more tra-
for their client. The Talent Agents job is not just to get ditional career path to becoming a talent manager is to
work for his or her clients but to get the right projects. work for a management company or a casting director,
How often has a talented actor, who started out with starting off as someones assistant to learn the business,
one or two hit movies, faded into oblivion because the DeStefano broke into the profession in a less direct way.
next couple of roles were wrong for him or her? Cre- DeStefano, a New Yorker who previously worked as a
ating and developing a reputation in the film industry stockbroker, found that the terrorist attacks of Septem-
is dependent upon making the right choices, at least ber 11, 2001, caused her to rethink her career and her
often enough that a body of work evolves that reflects future goals: After 9/11, I was staring at, Whats next?
well on the actor, director, or producer and showcases wanting to evaluate how I wanted to spend the rest of
his or her skills in both a creative and commercial way. my years. Ive always worked with artists. All of my
In addition to securing the work, the Talent Agent will friends were artists. I talked to a lot of people and then
The Talent 29
Unions and Associations 2.Get your foot in the door at a talent agency by
The Association of Talent Agents (ATA), originally getting a summer internship, apprenticeship, or
known as the Artists Managers Guild when founded in part-time job.
1937, is a nonprofit association of more than 120 agen- 3.Go to educational seminars offered by the ATA
cies engaged in the Talent Agency business. For more in Los Angeles or New York.
information, see their Web site at http://www.agents 4.Network informally or through associations with
association.com. directors, producers, actors, and casting agents,
and let them know about your interest in becom-
Tips for Entry ing a Talent Agent.
1.Get a job in the mailroom or as an administrative
assistant at a talent agency.
Duties: Responsible for all mailroom duties, includ- Assistant to Agent or Producer
ing sorting and distributing incoming and outgoing
mail, managing all express mail service, and run- Mailroom Clerk
ning errands
Alternate Title(s): None
College Student
Salary Range: $25,000 to $30,000
Employment Prospects: Good
Advancement Prospects: Fair
Best Geographical Location(s): Major urban centers,
especially Los Angeles/Hollywood, New York City, Special Skills and Personality TraitsComputer
and Chicago skills; a pleasant phone manner; ability to work well
Prerequisites: with people; well organized; enthusiastic; motivated;
Educational or TrainingA college degree is able to function in a fast-paced work environment
expected
ExperienceNo experience is required; part-time
or internship experiences throughout high school or
college in office environments may be helpful
The Talent 31
Education and Training Tips for Entry
A college degree is expected. Computer skills, such as 1.Get to know the Mailroom Clerks at the com-
how to use Microsoft Word or a computer e-mail man- panies you want to work at. Keep track of their
agement program, may be helpful in getting the job career advancement, since they might be encour-
initially. Internships or paid jobs throughout the school aged to find their replacement when they are
years or summer breaks that offer opportunities to work promoted.
with a companys mail, as well as answering the phone 2.Read the want ads in the industry trades, such as
and interacting with people in a company setting, will the Hollywood Reporter, as well as online services,
also be useful. such as http://www.entertainmentcareers.net.
3.Network at parties, industry seminars, and trade
Experience, Skills, and Personality Traits shows, letting executives or human resource
Although technically no experience is required, prior managers at specific companies know that you
office or mailroom experience will be useful. Skills want to get a job as a Mailroom Clerk.
related to the duties of the Mailroom Clerk, such as 4.Register with a temporary employment agency
handling outgoing and incoming mail and going on and be willing to take any Mailroom Clerk open-
errands, are the obvious ones but it also helps to have ings, since a temporary replacement job might
an excellent phone manner and to be efficient, hard- lead to a permanent slot.
working, and pleasant to be around. Knowledge of the 5.To shine above the competition, attend one of
various mail services, such as the United States Postal the national seminars offered by National Asso-
Service, FedEx, and UPS, as well as other overnight ciation of Professional Organizers (NAPO) (go
options, is useful. Personality traits include being highly to: http://www.napo.net for more information)
motivated, energetic, and committed to a career in the and also read up on organizing and mailroom
film industry. procedures.
6.For examples of real-life mailroom-to-major-
Unions and Associations Hollywood-player stories, read David Rensins
There are no unions or associations for mailroom book The Mailroom: Hollywood History from the
clerks. Bottom Up (Ballantine Books, 2003).
Duties: Coordinate the stunts and stunt persons used Second Unit Director or Actor
in the creation of a movie that requires the special-
ized physical skills of trained stuntpersons Stunt Coordinator
Alternate Title(s): None
Salary Range: $759 a day or $2,828 per week (Screen
Stuntperson
Actors Guild minimum) (employed at less than
flat deal)
Employment Prospects: Good
Advancement Prospects: Good
Best Geographical Location(s): Major urban center ExperienceOn-the-job experiences as a stunt per-
where moviemaking is a key activity, such as Los son for documentary or feature films
Angeles/Hollywood, New York City, or Toronto Special Skills and Personality TraitsAttention to
Prerequisites: detail; precision; team player; ability to work with
Education and TrainingMastering physical activi- the entire production team, including the producer,
ties such as horseback riding, race car driving, high casting director, talent, and screenwriter
dives, or pratfalls; learning to manage a team of stunt
people
The Talent 33
Advancement Prospects well as how to work with the director, writer, producer,
While Stunt Coordinators may not be as necessary as and talent.
they used to be due to advances in digital technology,
some may make the transition to principal actor or Unions and Associations
even director. Hal Needham was famous as a Stunt There is an invitation-only association for stunt people,
Coordinator before he made his film directorial debut with 128 members, known as the Stuntmens Associa-
in Smokey and the Bandit. tion of Motion Pictures (http://www.stuntmen.com).
Members of the association are required to belong to
Education and Training the Screen Actors Guild (SAG).
Stunt Coordinators have previously been stuntpersons,
so they already have the physical skills that are required Tips for Entry
to fall without getting hurt and the necessary athletic 1.Moving from stunt person to Stunt Coordinator
abilities, including proficiency in such sports as boxing, is a usual career progression, so let it be known
karate, gymnastics, swimming, and climbing. Training in when you are performing stunts that you would
safety is as important as the preparation for the stunts that like to become a coordinator.
they will perform. 2.Stay aware of the career plans of the Stunt Coor-
dinators that you are working with. If they move
Experience, Skills, and Personality Traits up to second assistant director or leave to become
Prior experience as a stunt person is crucial prepara- actors, there may be a vacancy.
tion for the job of Stunt Coordinator. In addition to the 3.Network with casting directors, writers, produc-
required athletic skills, a Stunt Coordinator needs to ers, and directors, as well as other stuntpersons.
know how to manage a team of stunt professionals, as
The Talent 35
nature of the stunt, and the budget of the movie. For but it might prove beneficial for pursuing other jobs
projects covered by SAG (Screen Actors Guild), the later.
day rate depends on the budget of the movie: $100 a
day for a low-budget film to $268/day, $504/day, or Special Requirements
$759/day for a regular-budget film (anything above Membership in the Screen Actors Guild (SAG) may be
$2.5 million). required.
The Talent 37
ful because of its choreography, such as Moulin Rouge, what their vision is for the dance sequences of a movie,
Chicago, Flashdance or Dirty Dancing, can be a ticket to so they must be articulate. They also need to have the
career security and employment. special skill of creating dance routines, as much a ques-
tion of innate talent and a knowledge of dance as it is of
Education and Training experience.
Training as a dancer followed by education and train-
ing as a Choreographer at a dance school, in col- Unions and Associations
lege, or graduate school, majoring in dance, is usually The Society of Stage Directors and Choreographers is
required. Studying privately with renowned dancers the only union for Choreographers, and it covers all
and Choreographers or doing choreography for music Choreographers, whether they work in film, on stage,
videos or live musicals are other ways to train and gain or in television.
the necessary education. Learning about film and the
filmmaking process will also help the Choreographer Tips for Entry
who wants to work primarily in film. Training as an 1.Dance in any performing arts opportunities
actor may also be useful. Teach yourself by watching available on television, in the movies, in live stage
and studying movies with impressive dance routines, musicals, or in plays.
such as Cabaret, and figuring out what works and 2.Assist anyone who is a Choreographer on a film,
why. whether as a paid employee, as an intern, or as
an apprentice, to see firsthand how the process
Experience, Skills, and Personality Traits works.
Working on films as a dancer will provide background 3.Choreograph music videos and send cassettes of
experience, as will working as a Choreographer in other your work to directors, producers, screenwriters,
creative settings, such as stage musicals or music videos. casting directors, or composers, who might then
Choreographers must communicate to other dancers hire you to choreograph a film.
Duties: Responsible for teaching and training all types Head Trainer
of animals used in movies
Alternate Title(s): Trainer; Head Trainer Trainer
Salary Range: $18,000 to $34,000+
Employment Prospects: Fair
Zookeeper or Pet Groomer
Advancement Prospects: Fair
Best Geographical Location(s): Training may be
acquired anywhere, but it may be necessary to move
to Los Angeles/Hollywood
Prerequisites: ExperienceWorking at a zoo, with Animal Train-
Education and TrainingA high school degree is ers, or with a dog or cat groomer
expected; a B.A. degree possibly in zoology; spe- Special Skills and Personality TraitsPatience;
cialized education in training animals for the film hard-working; genuine rapport with animals; ability
industry to use positive reinforcement as a training technique
The Talent 39
California, known as Exotic Animal Training and Man- it to what will or will not work for a particular animal
agement, while others get a degree in zoology from being used in a film.
other colleges or work as a zookeeper. On-the-job train-
ing as an Animal Trainer, including volunteer work or Unions and Associations
in an internship or paid apprenticeship, is another way There is no union for Animal Trainers. They work
to gain the education and training for this specialized closely with the American Humane Association.
field.
Tips for Entry
Experience, Skills, and Personality Traits 1.Gain the necessary knowledge and experience
Experience working with animals, especially the type working with animals and training animals, so
of animal that an Animal Trainer plans to specialize in, that you can apply that knowledge to animals in
such as dogs, cats, or exotic animals, is useful, as is hav- a film setting.
ing the patient and hardworking personality associated 2.Get a job at a zoo, in a pet shop, or for a company
with animal training. Another key aspect of the job is that trains animals for any kind of performance
making sure that the rules of the American Humane work, such as commercials or still photography, as
Association (AHA) are observed while the animals are well as for films.
part of the moviemaking process. It is also useful to 3.Volunteer to work for an Animal Trainer.
understand the filmmaking process, so you can apply
Position Description at a film set in terms of the safety of the animal actors
The film industry set up a formal program for monitor- involved. They make sure that if there is a scene that
ing the use of animals in filmmaking beginning in 1925 uses a live animal, including horses, dogs, cats, exotic
when the American Humane Association, a national animals, reptiles, primates, birds, and even insects,
association that has been protecting children and ani- there is no mistreatment or abuse of the animal actors
mals from abuse or mistreatment since 1877, created a during shooting. By following the American Humane
committee to explore suspected abuse of animal actors. Associations Guidelines for the Safe Use of Animals in
The catalyst to a more concerted approach to the Filmed Media and having an American Humane Certi-
problem occurred in 1939 during the filming of Jesse fied Animal Safety Representative on set, the film will
James when a horse and rider plunged over a 70-foot be able to earn and to display the coveted end-credit
cliff. Although the rider survived, the animal, which disclaimer No Animals Were Harmed. The public
had broken its back during the fall, died. The following finds that credit reassuring, especially if the film has
year, the Hollywood office of the American Humane had a lot of scenes involving horses, dogs, cats, or pri-
Association was granted the authority to monitor movie mates acting in ways that might have been perceived as
production that used animal actors. painful or abusive without that credit being displayed.
Animal Safety Representatives are the trained pro- Jan Caputo, who was president of the Utah Wildlife
fessionals who go into the field, to observe what goes on Rehabilitation Center, has been working for the Film
The Talent 41
& TV Unit of the Animal Humane Association as a or to become a producer supervising all the details of
certified Animal Safety Representative for the last 16 the making of a film, not only those aspects concerning
years. Based in Oregon, she spends most of her time on the care of animal actors.
location on film sets, including those of such popular
films as The Horse Whisperer and The Mask of Zorro. Educational and Training
She is an on-call rep who has been selected to be on the Taking the Exotic Animal and Training Management
set of each of the Harry Potter movies over the last five (EATM) program at Moorpark College, including
years, spending most of that time on location in Great any animal science courses, is useful, as is having an
Britain. advanced degree in animal behavioral sciences. Having
Tonya Obesa recently returned from the Hawai- experience with equines (horses) is very helpful, includ-
ian rain forests, where for the previous month she had ing knowing how to ride and take general care of horses.
been working on a movie as the certified Animal Safety Other useful training is working as an animal trainer,
Representative. I always loved animals, says Obesa. at an animal shelter, or as a zookeeper. If you want to
Growing up, I knew I wanted to do something with work for the American Humane Associations Film &
animals. When I was in college, my counselor found TV Unit, you will be required to participate in its train-
this program at Moorpark that is one of the only ones ing program and become certified. After your rsum is
in the world to offer a specialized degree in exotic ani- considered at the Film & TV Unit, an interview will be
mal training and management with an opportunity for set up with the director and the production manager of
an incredible experience. I did dog training for a while. the program. If the applicant is chosen for the training
Then I worked for a studio company for about a year. I program, she or he will go through a one-week class-
met an Animal Humane representative on the set of a room course that covers the Guidelines for the Safe Use
movie called Black Sheep. The American Humane rep of Animals in Filmed Media, an 82-page booklet detail-
that day did a fantastic job helping us out with produc- ing with all the specific rules that need to be followed,
tion and the animals, and that inspired me to use my in general and for specific species, as well as training
background and experience and apply it to the unique in how to write comprehensive reports when on a set
work that American Humane Safety Reps do. observing as well as role-playing typical situations that
might arise and how they would be dealt with. After
Salaries this one-week training, some attendees will be chosen
From a starting range of $15 per hour or $39,000 per to become a safety representative apprentice and, upon
year for a newer animal safety representative, the sal- gaining firsthand experience, earn the certified status.
ary may increase based on seniority or any special-
ized expertise and experience. When traveling for a job, Experience, Skills, and Personality Traits
all expenses will be paid, including food, lodging, and Animal experience, especially knowledge of equines, is
transportation, such as airfare or reimbursement for very useful. Knowing when to be firm but tactful with
gas, if driving. Salary may be higher for international the producer or director is important. Being flexible is a
placements. personality trait that is important for an Animal Safety
Representative. For example, Obesa went to the set of
Employment Prospects the film Evan Almighty, starring Steve Carell, where
Employment prospects are fair for this unusual work. more than 100 species of animals had to be monitored.
Each year the American Humane Association looks Says Tonya: It was supposed to be for three weeks, and
to continue to increase its ability to cover more films, my time there kept getting extended. By the time I came
television shows, commercials, and other forms of back, I had stayed for three months. Enjoying travel and
filmed genres. However, nonprofit ventures may rely on being away from home, as well as having to move on to
grants and donations to support this work, and as funds other locations or jobs after a very brief time of, perhaps,
become available, they may make efforts to expand their only a day, weeks, or months is another necessity for the
ability to cover as many productions as possible. job. Obesa, whose father was in the U.S. Air Force, says,
I was born in Guam, and we moved every two or three
Advancement Prospects years till my Dad retired. Picking up and moving on is a
These are also only fair because Animal Safety Repre- part of the job that Obesa is comfortable with.
sentative is such a specialized career. Two key means of Being at ease around all kinds of animals is an
advancement would be to become an administrator of important skill for this job, as is being bright, being
Animal Safety Representatives, who work in an office, attentive to detail on the set, and learning the very
The Talent 43
Wrangler
CAREER PROFILE Career ladder
Duties: Choose and take care of horses and other live- Stuntperson or Head Trainer
stock, such as sheep, cows, or mules, used in making
a movie Wrangler
Alternate Title(s): None
Salary Range: $30/hour for a feature
Horse Rider/Equestrian
Employment Prospects: Poor
Advancement Prospects: Poor
Best Geographical Location(s): Los Angeles/Holly-
wood ExperienceOn-the-job experience working on a
Prerequisites: ranch and riding horses or with particular animals
Education and TrainingKnowledge in the selec- Special Skills and Personality TraitsAbility to
tion, care, feeding, and riding of horses and other work with people as well as animals; patience; able
animals to help the actors, as well as the animals
The Talent 45
PRODUCERS
(Studio or
Independent)
Head of Production
CAREER PROFILE Career ladder
Position Description best director to bring it to the screen, and casting the best
For anyone seeking a career in the film industry, the actors to play the parts.
title Head of Production is the top of the ladder. While According to Medavoy, it all starts with the story,
a producer or director makes one or two films a year, which may come from a spec script, a book, a play, a
the Head of Production can be responsible for 10 to 20 magazine article, or an idea. He says that once the story
movies a year, depending on how many films the studio is selected, the most important factor in whether or not it
or financing entity can afford. gets made into a movie is the script. He has four criteria
The Head of Production works for the company for selecting a compelling script: Does he care about the
financing the movie, usually a studio or major produc- characters? Does it strike an emotional chord? Is it the-
tion company. As Head of Production, you report to the matically interesting? Is it unique?
head of the studio or production company. Your job is Often, the script will determine the budget. The Head
to decide which film to make; to determine how much of Production has to decide how much to spend on a
youre willing to spend to make it; to hire the talent, particular movie in order to make a profit. Managing
which includes writers, directors, producers, and actors; this risk/reward process determines the overall success
and then to oversee the preproduction, production, and or failure of a Head of Productiondo the films one
postproduction phases, as well as the marketing and greenlights make money or lose money? This doesnt
distribution processes. The Head of Production will mean that every movie made by a studio or production
have a team of creative executives, director or directors company has to make money for the Head of Production
of development, story editors, script readers and others to keep his or her job. In fact, that never happens. But out
to help in these duties. of the 10 to 15 movies a Head of Production greenlights
In his book, Youre Only as Good as Your Next One, every year, the total profits should be larger than the total
Mike Medavoy, who has been Head of Production for losses. A Head of Production might be able to survive
United Artists, Orion, TriStar, and Phoenix Pictures, says one or possibly two losing years, but that is usually the
a key aspect of being Head of Production is being able to limit. This is why turnover in this position is so rapid.
choose the right talent for the right movie. That means Therefore, a Head of Production may greenlight one
matching the best writer with the best script, finding the or two $100 million dollar budgets, hoping to make
Position Description ing the picture, that person plays a more active role in
The title of Executive Producer is ambiguous within the monitoring the films production.
industry; it can sometimes be given as a perk to some- Unlike a producer, the Executive Producer, or Execu-
one, such as a powerful agent, who helped get a project tive in Charge of Production, may work on six or seven
made. Sometimes, it is used as currency in exchange for films all at the same time. An Executive Producer nor-
a lower fee paid to a writer, actor, or a director, and other mally will not be on the set every day, and he or she
times it is used to attract financing by having a well- tries to anticipate problems before they get out of hand.
known name attached as Executive Producer just to Therefore, the Executive Producer will closely moni-
add luster to the credits. tor day-to-day activities and keep track of whether the
Unfortunately, over the years, the title of Executive film is on schedule and on budget. This is achieved by
Producer has come to mean different things to different reviewing production reports, and the Executive Pro-
people working on different films. Usually, it refers to ducer only gets involved if he or she finds a problem
one of two types of people: those who play a role in the such as cost overruns. At that point, the Executive Pro-
films financing, such as a major investor or a recogniz- ducer would have to confer with the producer and direc-
able name that will attract investors; or those who work tor to see what can be done to get back on track. This
for the financing entity, such as a studio or production might result in eliminating or changing later scenes in
company, and have acted as the Executive in Charge of order to trim costs.
Production on the film. Orly Adelson is Executive Producer of the produc-
The title of Executive Producer is sometimes a credit tion company that bears her name. Born in Israel, she
given to a major investor in a film or to a recognizable served in the Israeli army, earning the rank of lieuten-
name within the industry used to raise funding who ant. After her army duty, she earned a degree in soci-
will likely have no involvement in the actual produc- ology and musicology from Hebrew University and,
tion of the film. His or her sole purpose is to assist in at the same time, a degree in music and dance from
financing the movie, directly or indirectly. However, if Jerusalems Academy of Music and Dance. But she was
the Executive Producer credit is for someone who is the destined to relocate to America once she met producer
executive in charge of production for the studio financ- Andrew Adelson at a party in Israel, where he had trav-
Position Description TV series, and feature films. Alexi credits his ability to
Development Associate or assistant is an entry-level quickly land a Development Associate position with
position that enables someone to read and evaluate a company, searching for screenplays or properties to
finished screenplays, treatments, idea pitches, or other produce as well as being an assistant to Orly Adelson,
materials, such as books, plays, or real-life stories, for the president of the company, to the two internships he
acquisition by a production company. This position had at other film companies during his college years.
requires reading and writing comments about screen- Says Mazareas: I had two great internships. The first
plays and other materials, as well as performing admin- one was for the Mark Gordon Company. They did Sav-
istrative functions, such as answering and placing ing Private Ryan. Theyre doing Greys Anatomy and
phone calls, as the assistant to the development execu- Private Practice now. It was my first time in the busi-
tive. Depending on the size of the production company, ness, and I was doing a lot of script coverage. It was a
this position may combine administrative and devel- very busy company. The second internship was for The
opment duties, such as in a smaller office with only Bedford Falls Company. Bedford Falls is a partnership
a few key executives as opposed to a larger company, of director Ed Zwick, who directed Legends of the Fall
where only development-related duties are performed and Glory, and Marshal Herskovitz, who is president of
by the Development Associate. In a smaller office, the the Producers Guild. Says Mazareas: When I was there
Development Associate or assistant may also be jug- in the summer of 2005, they were in preproduction on
gling the role of executive or administrative assistant to Blood Diamond, so I got to see how that [film] was all
the development executive, who may also be the presi- put together.
dent of the company as well as a producer. Mazareas got his internships by sending out a lot
Alexi Mazareas is a 23-year-old graduate of Harvard of inquiry letters. I didnt know anyone in the [film]
University who majored in film studies and English. business, he explains. My family is from Boston. My
His first job after graduating was a full-time position dads a business consultant, and my mom runs a youth
as a Development Associate working for Orly Adelson center north of Boston. He sent out 15 letters initially.
Productions, a Los Angelesbased production company His plan was to send out another batch of letters if he
founded in 1995 that produces movies for television, didnt hear back from anyone. But he got answers from
Duties: Find and develop the story, material, or prop- Head of Production
erty to be made into a movie; hire the writer or
writers, director, and principal actors; arrange the Producer
financing; oversee the films production and release
Alternate Title(s): None
Writer or Director
Salary Range: Varies widely
Employment Prospects: Fair
Advancement Prospects: Fair
Best Geographical Location(s): Los Angeles/Holly-
wood, New York City and casting, creating a budget, and in writing pro-
Prerequisites: posals and business plans
Education and TrainingBachelors or advanced Special Skills and Personality TraitsProblem
degree recommended but not required solving; good communication skills; organized; a
ExperienceExperience in television or theater passion for movies; able to commit to a project that
production; raising money, script development may take a year or more to complete
Position Description level production assistants (PA) all the way up to the
When they hand out the Academy Award for best pic- executive producer.
ture, it is bestowed upon the Producer. It is the Pro- The first task for a Producer is to find and develop
ducer who makes the picture happen. Of course, every the story, often referred to as the material or property,
movie needs to be based on a screenplay, but, without that will ultimately be made into a movie. This can be
the Producer, that screenplay would just be 120 or so in the form of a spec script (a screenplay completed on
pages of type. speculation), a novel or nonfiction book, a magazine
A Producer gathers together all the elements of a article or short story, a treatment, or even an idea or
movie, such as a story or material, the writer or writers, pitch. Even if the story comes in the form of a spec
a director, the actors, and the production and editing script, in nearly every case, a certain amount of rewrit-
team. He or she then makes sure they have whatever ing will be done in order to get the material in shape
they need to complete the moviemaking process. to attract a director or principal actor. The Producer
Whether a movie has a budget of $100 million options the material and then hires either the original
or $500,000, someone has to produce it, even if, as writer or another writer to rewrite, reshape, and pol-
with a low-budget film, the director or screenwriter ish the script before submitting it to a studio or other
is also the Producer. Someone has to deal with all the financing entity.
details related to the film. The Producer oversees the Since the script is usually the most important ingredi-
whole process, from preproduction through produc- ent in getting financing, this development process can be
tion to postproduction and distribution. The Producer costly, time-consuming, and difficult, depending on how
makes the movie happen by putting all the elements many rewrites are required. Each time a principal creative
togetherthe screenplay (screenwriter) plus the direc- talent is hired, such as a director or main actor, he or she
tor, the actors, and the financing, whether indepen- has an opinion regarding script changes, as does the stu-
dently or by going to a film studio. dio or financing entity.
There are many categories of Producer. For a small The Producer has to oversee this delicate process
or no budget film, there may only be one Producer. of revision to make sure the reason he or she wanted
On a film with a bigger budget, such as a multimillion to make the movie in the first place isnt lost in all the
dollar studio film, there may be several Producers. The rewriting. However, its a common adage that you can
work may be handled by many people, from the entry make a bad movie out of a good script, but you cant
Duties: Run the production office and coordinate Unit Production Manager
activities between the office and the set
Alternate Title(s): Production Office Coordinator Production Coordinator
Salary Range: $30,000 to $75,000, depending on
experience and the size and location of the film
Assistant Production Coordinator
company
Employment Prospects: Good
Advancement Prospects: Good
Best Geographical Location(s): Los Angeles/Holly- panies, or business or documentary film production
wood, New York City offices
Prerequisites: Special Skills and Personality TraitsStrong orga-
Education and TrainingAn undergraduate col- nizational skills; detail oriented; time management
lege or graduate degree is not required but is helpful, skills; filing and paperwork management skills; good
especially a film school background communication skills, especially on the phone; high
ExperienceAny experience on a film shoot; expe- tolerance for stress; able to get along with a wide
rience running an office, whether or not its in the variety of personality types
film industry; experience with cable or TV compa- Special RequirementsUnion membership may
nies, music video or commercial production com- be required
Duties: Support and assist in all areas, from preproduc- Production Coordinator or
tion to production and even in postproduction DGA Trainee
Alternate Title(s): PA
Salary Range: $0 for nonpaying or internship positions Production Assistant
to $75 to $200 per day or $500 per week
Employment Prospects: Good
Student
Advancement Prospects: Fair
Best Geographical Location(s): Los Angeles/Holly-
wood, New York City
Prerequisites:
Education and TrainingHigh school diploma Special Skills and Personality TraitsHard
usually required; college or film school is helpful worker; able to put in long hours; punctual; able to
ExperienceWork as a Production Assistant on follow directions and take orders; humble; easy to
student films or low-budget films; work-related get along with; dependable
experience at film school
Duties: Responsible for all cast and crew members, Producer or Studio Head
especially for directing actors and for taking the
screenplay from words on a page to cinematic images Director
that represent the Directors vision for the film
Alternate Title(s): None
Screenwriter, First Assistant Director,
Salary Range: Varies widely depending upon whether
or Unit Production Manager
it is a union or nonunion film, as well as whether it
is a low- or high-budget picture.
Employment Prospects: Excellent
Advancement Prospects: Good
Special Skills and Personality TraitsStrong lead-
Best Geographical Location(s): Los Angeles/Holly-
ership ability; visual creativity; a decision maker;
wood, New York City
keen judge of talent; able to collaborate; excellent
Prerequisites:
interpersonal skills
Education and TrainingBachelors or advanced
Special RequirementsUnion membership may
degree optional
be required
ExperienceFilm school background helpful but
not essential
Directors 73
HBO/Cinemax and is out on DVD in wide release. My Advancement Prospects
second film, My Nose, a short, is playing the festival Prospects for advancement in the Director ranks
circuit now. Both of these personal films thrust me in are very much determined by each Directors track
front of the camera, and I love being there. My next film record. If you direct movies that become financial or
is going to be a feature film, a romantic comedy. I love critical hits, then your prospects for advancement are
telling stories that deal with universal themes and are enhanced. If your movies fail for whatever reason, then
poignant and humorous. it will be that much harder to get the next job directing,
which is one of the reasons most Directors have their
Salaries next job lined up before the film theyre working on
Salaries vary widely, from very little for low and no even comes out.
budget independent films to six to seven figures for
$200 million dollar studio epics. If you are a member Education and Training
of the Directors Guild of America (DGA) (see http:// There are hundreds of college and university film pro-
www.dga.org), then there are minimums that you will grams as well as studio training programs designed to
be paid. Because contracts are negotiated periodically, help the would-be Director land his or her first job.
for the most up-to-date information and newest rates, There are short film workshops where many Directors
it is best to check the Web site of the DGA (http:// first learn their craft. The Directors Guild of America
www.dga.org). In 2008, for a high-budget union film, has an excellent training program. Another route to
the weekly salary for a director was $15,108. The low- directing feature films is to get experience directing
budget union film weekly salary for a director, up to music videos, commercials, or documentaries and then
June 30, 2011, was $11,331. (Check with the DGA for move to features.
weekly salary minimums for low-budget films, because
they have four low-budget levels, based on the bud-
Experience, Skills, and Personality Traits
The key to directing is knowing what you are doing,
get for the low-budget film.) Other considerations that
which means you have to be experienced in virtu-
are part of the DGA minimum pertain to the number
ally all aspects of filmmaking, from acting and writing
of weeks to prepare as well as the guaranteed shoot-
to cinematography and lighting to editing and sound.
ing period and cutting allowance. This refers to the
Frankly, the only way to learn how to be a Director is
minimum amount of time allowed for preproduction,
to be one. Master the craft before attempting the art,
production or principal photography and then post-
wrote Richard Bare in his textbook The Film Director.
production or editing. The DGA minimum actually
In these days of digital cameras, anyone can rent or buy
guarantees a Director will be given a minimum number a digital camera and then use it to direct and shoot a
of weeks to accomplish each phase of production. short video.
As for personality traits, a Director has to be com-
Employment Prospects fortable being in charge because she or he is the guide
The film industry is a growth business, and since the to everything. He or she needs to be self-confident,
Director is key to every film, employment prospects for able to make clear decisions, and to possess a vision for
Directors are excellent. Feature-film Directors are basi- each movie. Another essential characteristic is being
cally in two employment groups: union and nonunion. able to recognize talent, especially acting and writing
To work on a studio film, you have to be a member of talent, because filmmaking is a collaborative medium;
the Directors Guild of Americain the union. in order for the Director to get his or her vision on the
Job security for Directors usually depends on how screen, he or she has to depend on the talents of other
well their last film performed. There is a belief that one people, including the costume designer, makeup artist
good hit will cover a Director through three or maybe or special effects artist, and the director of photography
even four flops. Like most positions in films, once the (cinematographer).
film is complete, the Director is out of a job and has to Director Taylor Hackford (Officer and a Gentleman),
seek work on another project. The Director is usually in his interview quoted in Working in Hollywood, advises
hired either by the studio or the producer who owns anyone interested in pursuing a career in directing to
the property being developed. It is often the first posi- gain as much life experience as possible: I think its bet-
tion filled and one of the few that remains through all ter to develop a wealth of experience and talent and have
three phases of a movie: preproduction, production, something to say before you pick up that camera and try
and postproduction. to say it.
Directors 75
First Assistant Director
CAREER PROFILE Career ladder
Duties: Assist the director during preproduction and Unit Production Manager or Director
production; organize and maintain order on the set;
meet production schedules; establish daily crew and First Assistant Director
cast calls; oversee the selection and management of
extras
Second Assistant Director
Alternate Title(s): 1st AD
Salary Range: $1,025 to $1,434 daily; $4,100 to $5,734
weekly (check with DGA for most up-to-date sala-
ries since a new contract with revised rates is negoti- ExperienceA film school background is helpful
ated periodically) but not essential; experience managing large groups
Employment Prospects: Good of people
Advancement Prospects: Good Special Skills and Personality TraitsAble to moti-
Best Geographical Location(s): Los Angeles/Holly- vate groups; leadership skills; well organized; visually
wood, New York City creative; an overall knowledge of all aspects of film-
Prerequisites: making
Education and TrainingBachelors or advanced Special RequirementsUnion membership may
degree is optional be required
Position Description final films continuity, the 1st AD will schedule them
Whereas the director yells, Action!, the First Assistant together no matter where they come in the film. A
Director will be the one yelling Quiet on the set. similar formula is followed when it comes to actors,
The First Assistant Director (1st AD) is the directors especially stars whose schedules are often busy. Sched-
right hand, whose main job is to keep everything mov- ules, however, are never inflexible, because bad weather
ing forward to help the director realize his or her vision. could force a delay in exterior location shots. Its up to
The 1st AD is also responsible for the production board, the 1st AD to prepare a realistic shooting schedule that
which is an up-to-the-minute shooting schedule. He or takes into consideration the number of script pages the
she may also fill the role of production manager on director is supposed to shoot in a day. This will depend
low-budget films. The 1st AD is usually hired during on each director: A good 1st AD will know her or his
preproduction to do a script breakdown and to prepare bosss style. For example, Clint Eastwood, when direct-
and coordinate everything that happens on the shoot. ing, is known for his rapid shooting schedules and for
In a script breakdown, the 1st AD produces a shoot- shooting as few takes as possible, while other directors
ing script with each shot numbered, a cast and crew may require more time to get the shot they want.
sheet for each day of shooting, and a sheet with vari- During production, the 1st AD does whatever the
ous information broken down for set designers, props, director needs him or her to do. This could involve
special lighting requirements, costumes, and any details managing a large group of extras or making sure the art
necessary to make sure the director gets the shot she or department has built the correct set. A 1st AD is also
he wants. The 1st AD will also note which actors and responsible for ensuring that the effects department
extras are in each scene. has the right equipment and that the set is ready for
After breaking down each scene, the 1st AD will shooting.
put the script back together with the aim toward creat-
ing the most efficient shooting schedule. That means Salaries
scenes are seldom shot in the order they appear in On union films, minimum salaries are set by the Direc-
the script. If there are a number of shots in the same tors Guild of America (DGA). They cover a wide range,
location, to save time and money and to help with the depending on several considerations, including whether
Directors 77
Second Assistant Director
CAREER PROFILE Career ladder
Duties: Work for the first assistant director; prepare First Assistant Director
and distribute the daily paperwork, such as shooting
schedules, cast and crew calls, and the production Second Assistant Director
report
Alternate Title(s): 2nd AD; Key 2nd Assistant Director
DGA Trainee, Film school graduate
Salary Range: $687 to $960 daily; $2,748 to $3,840
weekly (check with the Directors Guild of America/
DGA for the most up-to-date salaries because a
new contract with revised rates is negotiated peri- ExperienceDirectors Guild of America (DGA)
odically) training program; film school background helpful
Employment Prospects: Good but not essential
Advancement Prospects: Good Special Skills and Personality TraitsAble to
Best Geographical Location(s): Los Angeles/Holly- manage and motivate large groups of people; leader-
wood, New York City ship skills; well organized; visual creativity; overall
Prerequisites: knowledge of all aspects of filmmaking
Education and TrainingFilm degree or advanced Special RequirementsUnion membership may
degree optional but useful be required
Position Description and who needs to be where, when. The extras usually
The Second Assistant Director is there to support the arrive after the actors, since they do their own makeup
first assistant director. His or her primary responsibility and hair, followed by the crew. All this time, the 2nd
is to carry out various functions of the 1st AD and to get AD keeps track of whos ready, so that if a particular
the extras on the set ready for the 1st AD during shoot- actor is needed for a rehearsal or shot, the 2nd AD will
ing. They also distribute and maintain the call sheets, know where the actor is and if he or she is made up and
which are records of the days shooting schedule. The in wardrobe, or not. Like the 1st AD, the 2nd ADs job
2nd AD makes notes on the call sheets as to whether is to help move things along. When the 1st AD arrives,
they are on schedule or whether there were any prob- the 2nd AD reports on whos ready and whos not. Once
lems during the shoot with cast, crew, or equipment. the actors and crew are ready for a rehearsal or a shot,
This is used as the basis for a final production report. the 2nd AD prepares, or blocks, the background with
A 2nd AD is among the first people to arrive on the set extras. Moving extras around is a key part of a 2nd ADs
and among the last to leave. They also help out in block- job. There is a certain amount of creativity involved
ing the movements of the extras, while issuing, collect- here in that if the background doesnt look right, it will
ing, and accounting for the extras pay vouchers. A 2nd affect the image on the screen. Its up to the 2nd AD
AD is also responsible for making sure the cast and crew to make the background work for the director and the
is in the right place at the right time, maintaining a daily 1st AD. If the scene calls for excitement in the back-
shooting log. ground, people should not be standing around doing
On a typical day, a 2nd Assistant Director arrives nothingthe 2nd AD has to give them directions to get
before sunrise, and there are only a few other people on the right effect.
the set. The night before he or she gave out call sheets to The 2nd AD keeps track of meal breaks and whether
cast and crew who are supposed to show up today, so he a particular actor who is only contracted for a short
or she has to be there early to make sure hair, makeup time will finish her or his work without going into
and wardrobe are set up and ready before the actors overtime. A 2nd AD has to know the various contracts
arrive. When the actors arrive, he or she tells them and keep up with lots of paperwork. The 2nd AD tracks
where to go, who gets made up first, who can go eat, the hours the cast and crew worked, the amount of film
Directors 79
Script Supervisor
CAREER PROFILE Career ladder
Duties: Maintain continuity while the film is being shot Line Producer
by keeping track of the different takes, timing the
takes, and making notes for the director as an aid for Script Supervisor
when she or he edits the film.
Alternate Title(s): Continuity Coordinator
Assistant to Script Supervisor
Salary Range: $1,800 to $2,400 per week; $25 to $40 an
hour for daily union employees depending on their
experience and size of the budget
Employment Prospects: Good
Special Skills and Personality TraitsStrong ver-
Advancement Prospects: Good
bal skills; fluency in written and spoken English;
Best Geographical Location(s): Los Angeles/Holly-
organized; detail oriented
wood, New York City
Special RequirementsUnion membership may
Prerequisites:
be required
Education and TrainingHigh school education
is required
ExperienceTo join the union, you must work 30
days on a set and complete an introductory script
supervisor course
Directors 81
DGA Trainee
CAREER PROFILE Career ladder
Directors 83
Financing,
Legal, and
administrative
Issues
Auditor
CAREER PROFILE Career ladder
Duties: Keep track of all production costs; make sure Unit Production Manager
the production stays within its budget
Alternate Title(s): Production Accountant Auditor
Salary Range: $80,000 to $120,000
Employment Prospects: Good
Assistant Auditor
Advancement Prospects: Fair
(Production Accountant)
Best Geographical Location(s): Los Angeles/Holly-
wood, New York City
Prerequisites:
Education and TrainingA masters of business Special Skills and Personality TraitsBeing good
administration (MBA) is preferred, with a film with numbers; strong accounting ability; able to
minor work under pressure
ExperienceA combination of accounting and film Special RequirementsState license required; cer-
experience is beneficial, including working on a tification as a certified public accountant (CPA) is
low-budget independent film also required
Position Description every expense and having invoices to go with each expen-
The Auditor has the daunting task of keeping track of diture. If a director is taking too long to set up shots or
every penny spent during the making of the film, begin- seems to be falling behind the schedule, the Auditor will
ning in preproduction, moving through principal pho- alert the production manager and studio, and action will
tography, and continuing to the end of postproduction. be taken. Scenes may have to be cut, and in extreme cases,
Often, the Auditor will work with the production man- the director replaced.
ager in preparing a preliminary budget. The Auditor During production, the Auditor and production
is responsible for managing all expenses as well as all manager approve any changes that affect the costs. Its up
sources of payments during production. He or she must to the Auditor to keep accurate daily financial records
give the production manager and, if a studio is involved, and to report any overspending or underspending.
the studio executive in charge, an accurate financial An Auditor isnt required on the set everyday. Nor-
accounting. The goal is to keep all spending within the mally, a biweekly visit is sufficient unless problems arise.
budget of the film. Then, the Auditor may be called upon to watch every-
The job begins in preproduction, with the prepara- thing more closely.
tion of an initial production budget. This budget is used In postproduction, the Auditor keeps track of the
to determine the cost of actually making the movie. editing process as well as any special effects spending.
This part of the process can become quite costly and
The Auditor will make a chart of accounts, listing all
out of control, if not maintained.
departments involved in the production, crew costs,
equipment, catering, and other expenses. To do this, Salaries
the Auditor first reads the script and its breakdown. He Auditors may earn $80,000 to $120,000 a year, depend-
or she prepares an above-the-line and below-the-line ing on their experience, the budget of the films they
budget, taking into consideration as many elements as work on, and whether they are on staff at a studio or
possible. The more elements in place, the easier it is to large production company. Weekly average earnings for
prepare a budget. Often, the Auditor will have to pre- Auditors are $2,200.
pare a very early preliminary budget before a director
or producer is even attached. Employment Prospects
Once a budget has been agreed upon, it is up to the Employment prospects for Auditors are good, since every
Auditor to keep costs in line. That means accounting for studio film needs to have one. Once an Auditor develops
Duties: Handle a variety of legal issues for clients, Producer or Studio Executive
including contract review, negotiation, intellectual
property protection, and preparation of invest- Entertainment Lawyer
ment packages, such as private placement offer-
ings for independent producers
Lawyer
Alternate Title(s): Entertainment Attorney
Salary Range: Varies widely
Employment Prospects: Good
Advancement Prospects: Good
Special Skills and Personality TraitsA work-
Best Geographical Location(s): Los Angeles/Holly-
ing knowledge of film production, distribution and
wood, New York City
financing; understanding of the egos involved in the
Prerequisites:
business; diplomatic; aware of the politics involved
Education and TrainingCollege and law degrees
in the film industry; honest; a high degree of integ-
ExperienceWorking in the entertainment indus-
rity; able to handle a great deal of stress
try, such as for the business affairs department of a
Special RequirementsState license required
studio, television agency, or production company
Position Description When that happens, the title is frozen until the issue is
The Titles Registrar works in the legal department of a negotiated or taken to arbitration.
studio, for a production company, or for an entertain- Often, a company will sell rights to a title if one
ment lawyer. While this position is normally filled by company is closer to completing production. In any
a paralegal, its significance is considerable in that title event, companies prefer to negotiate a settlement, since
protection has become a key element in the continued arbitration may take too long and hinder a films start
financial success or failure of a film project. It is the date.
Titles Registrars job to make sure a title is registered
and to deal with any and all issues that may ensue, Salaries
such as titles protestation, even though registering a Salaries vary, depending on whether the Titles Registrar
title with the MPAA does not offer legal protection. is an attorney or a paralegal. Most are paralegals work-
While you cant copyright a title, you can register ing within the legal departments of studios, production
one with the Motion Picture Association of America companies, or for entertainment attorneys. They earn
(MPAA). This does not offer total protection against an an average of $45,000 to $60,000 a year.
independent producer using a title that may have been
registered with the MPAA. But it does offer a limited Employment Prospects
guarantee that another signatory of the MPAA will not All studios and most major production companies have
use the title if youve registered it first and intend to use someone to register titles. However, there are only a
it within a reasonable period of time. relatively small number of openings, so employment
A Titles Registrar gets titles from a variety of sources prospects for a Titles Registrar are only fair.
within the studio or production company. They come
from development executives, producers, or other Advancement Prospects
attorneys. Normally, they are titles to films that are in The position of Titles Registrar usually leads to other
development. work within the business and legal affairs departments.
The Titles Registrar fills out the paperwork with the For those who continue as paralegals, advancement is
MPAA and then waits for possible protests from other limited to areas not requiring a law degree, such as
companies who may have similar titles in development. publicity or possibly an entry-level development posi-
Position Description A typical day for the DP will involve working with
The Director of Photography, or DP, is the person who three key crew membersthe actual camera operator;
directs the camera crew to create the moving image the gaffer, or person responsible for lighting; and the
portion of the directors overall vision of the film. Also key grip, the person in charge of moving the camera,
known as the cinematographer, the DP works hand in lights, and all other equipment associated with the cam-
hand with the director to put on film or video what era crew.
the audiences eventually see on the screen. He or she Prior to shooting, the DP will have selected the
is responsible for everything involved in capturing camera, film or video stock, lighting, and grip equip-
the image to be used in the film, including selecting ment and will have tested the sets, the set dressing,
the camera, lenses, filters, lighting, and grip equip- and any scenic art, such as matte backgrounds, props,
ment. The Director of Photography also gets involved actors, costumes, and makeup.
in setting camera positions, framing the shot, and During the shooting, the cinematographer keeps
controlling the overall quality of everything filmed or track of camera positions and angles, as well as lighting
videotaped for the production. A Director of Photog- and movement, so the shots will match from scene to
raphy must be able to lead her or his camera crew in scene. There are constant decisions to be made, involv-
order to get the vision she or he and the director share. ing everything from light readings and exposures to
It is an extremely demanding and important position camera angles and film stock, all while supervising the
and one that is crucial to the overall quality of the film camera operator, the focus puller (usually the first assis-
being produced. The DP is responsible for how the tant camera operator), and the key grip (the person
movie looks on the screen. who moves the camera around).
The DP does all this without actually touching any The key to everything is the cinematographers
of the equipment. He or she has a camera crew to do close relationship to the director. They must trust each
all that, and in the United States, the cinematographer other completely. The DP has to understand and con-
is prevented by union rules from even operating the nect to the directors vision. If she or he doesnt, then
camera. In Europe, the Director of Photography, or cin- the director will find a DP who will; thus, the DP and
ematographer, is also the camera operator. director spend a lot of time together talking through
Camera 101
3.Shoot as much film or video as possible, and by the local chapter of the Directors Guild of
make a showcase film of your work. America (DGA), as well as any other associa-
4.Make short films or music videos. tions or get-togethers that attract directors to
5.Work in television. their ranks, such as film festivals or conferences.
6.Since the director usually hires the Director of 7.Read American Cinematographer, the publica-
Photography, get to know as many directors as tion of the ASC (the American Society of Cin-
you can. Go to networking functions sponsored ematographers).
Position Description Camera Operator to understand how the film will look
Since the director of photography is not allowed to when it is developed and shown on the screen. Since
touch the camera, its up to the Camera Operator to the Camera Operator is the only one who sees what the
do the actual filming. When the director yells, Roll camera sees, it is up to him or her to call for another
film, then Action!, it is the Camera Operator roll- take if he or she fails to get the shot the DP or director
ing the film behind the camera, not the director of wants.
photography. The Camera Operator is usually hired by the direc-
The Camera Operator is responsible for actually get- tor of photography and begins work on the first day of
ting the shot the director and the director of photogra- principal photography.
phy are seeking. The Camera Operator, often working A typical day for a Camera Operator begins with
with one or two assistants, frames the shot, focuses it, blocking the set. The director of photography, working
moves the camera, changes filters, sets the f-stop, makes with the director, has positioned the cameras. Once
sure the correct film stock has been loaded, and main- thats done, the DP calls for a run-through with the
tains the camera and accessories. camera and lighting team to determine how she or he
In many cases, especially on big budget studio films, wants to light the shot and to figure out camera move-
the Camera Operator has his or her own team to assist ments.
in loading the film, changing the focus, and moving After a couple of rehearsals with the actors, lighting
the camera. The DP puts a lot of trust in the Camera is set, and tracks are placed if needed for a dolly shot.
Operator to get the shot she or he has told the director Operating the camera is usually a team effort, with the
she or he is going to get. And while the job of the Cam- Camera Operator looking through the lens and mov-
era Operator is mostly technical, he or she has to be in ing the camera on its tripod; the first assistant Cam-
touch with whats going on in each scene. era Operator pulling the focus; the second assistant
A Camera Operator has to know how various film handling the film stock; and the dolly grip moving the
stock reacts to different light and colors. Its his or her camera, tripod, and Camera Operator on a dolly, when
eye that is seeing what the film sees, so it is up to the required.
Camera 103
Salaries Special Requirements
Salaries vary widely. Most Camera Operators earn Professional certification or state licensure is not
between $70,000 and $110,000. The average weekly rate required, but you may be required to become a mem-
is $2,100. According to the rate card for the Interna- ber of the International Cinematographers Guild, Local
tional Cinematographers Guild (ICG), the average daily 600 of International Association of Theatrical Stage
rate is $414 to $531 for work either at a studio or a Employees (IATSE), especially if you are working on a
distant location; $2,052 to $2,280 for weekly rates for union film, which most studio productions are.
Schedule B weekly employees, depending on whether
work is at a studio or distant location; and $2,007 to Experience, Skills, and Personality Traits
$2,230 for Schedule C weekly employees, depending on Working first as a focus puller and film loader on as
whether work is performed in a studio or at a distant many films as possible will give a would-be Camera
location. Since these rates usually increase regularly, Operator experience, as will working as a Camera Oper-
check with the ICG for the most recent rates and other ator on low-budget, independent, or student films.
factors influencing the pay scale. Skills include a strong visual sense and visual cre-
ativity; intimate knowledge of the movie camera and
Employment Prospects photography; ability to work with lighting, design,
The Camera Operator is a key position on any film, so color to create drama, and many of the other skills that
employment prospects are good. However, there can be go into being a director of photography.
a lot of competition for desirable jobs. Those with the kind of personality comfortable fol-
lowing orders will find it easier to be part of the team,
Advancement Prospects but the Camera Operator also needs to speak up when
Prospects for advancement are good. By word of mouth, he or she knows something isnt working.
Camera Operators will be assured steady work, espe-
cially since a director of photography will often want Unions and Associations
to work with the same Camera Operator over and over Membership in the International Cinematographers
again if they work well together. Camera Operators Guild, Local 600 of IATSE (http://www.cameraguild.com)
may advance to bigger budget films or go on to become is not only beneficial but required if a Camera Operator is
directors of photography. hired to work on a studio or union film. Once you are a
member of the union, it is also important to be inducted
Education and Training into the American Society of Cinematographers (ASC).
There are hundreds of college and university film pro-
grams, as well as studio training programs, designed Tips for Entry
to help the would-be Camera Operator land his or her 1.Work on low-budget, independent, or student
first job. There is a Camera Operators union appren- films, commercials, or music videos.
tice training program too. The program focuses on 2.Associate with camera rental houses and be avail-
field training on union films. Trainees are required able when work comes in.
to work on at least six productions for a minimum of 3.Contact the directors of photography whose work
120 days to become familiar with a variety of camera you admire and ask for work as an assistant.
systems. They learn about the latest technology and 4.Take any job to get on a film set and work your
cutting-edge skills. way up.
Position Description rate of $302 per hour. Since rates do change based on
The First Assistant Cameraperson works for the cam- the negotiation of a new contract,check with the Inter-
era operator as part of the camera team. The First national Cinematographers Guild for the most recent
Assistant Cameraperson is usually in charge of the salary rate card.
equipment, maintaining it and assembling it, and then
acts as the focus puller during the shots. The focus Employment Prospects
puller makes sure the proper focus is used during the Studio films, as well as independent movies with bud-
shots. This is an important part of the First Assistant gets of $10 million or more, will have at least one First
Camerapersons job, and he or she works closely with Assistant Cameraperson, so employment prospects are
the camera operator to get the focus just right, espe- good. Some films, such as action movies with compli-
cially during mobile shots when both the camera and cated stunts and explosions, may use more than one
actors are moving in and out of a designated depth camera to get different angles of the same shot. In that
of field. Sometimes, it takes four people working in case, each camera operator could have a First Assistant
conjunction to keep a shot in focusthe First Assistant Cameraperson.
Cameraperson, the crane operator, the dolly grip, and
the camera operator. Advancement Prospects
On larger studio films, a second assistant camerap- Prospects for advancement from First Assistant Cam-
erson loads the camera and supports the First Assistant eraperson to camera operator are very competitive.
Cameraperson. He or she also handles any paperwork, Its important to develop the right skills and a good
works the slate at the start of the shot, and alerts the reputation.
production manager when more film is needed.
Education and Training
Salaries A bachelors degree with a major in film is recom-
Salaries for assistant camera operators are usually set mended but not required. Assistant camerapersons can
by the camera guild, which is a unit of the Interna- get on-the-job training by working on student or low-
tional Alliance of Theatrical Stage Employees (IATSE). budget nonunion films, or through the unions appren-
The average weekly pay is $1,600 to $2,000 per week, tice training program, where trainees learn about the
depending on such factors as whetherwork isat a stu- latest technology and master a variety of camera sys-
dio or distant location and whether one is hired as a tems. They are required to work on at least six produc-
Schedule B-1 or C-1 weekly employee or at an hourly tions for a minimum of 120 days.
Camera 105
Experience, Skills, and Personality Traits Tips for Entry
Assistant camerapersons need a strong visual sense, 1.Develop contacts with DPs and camera opera-
visual creativity, and an intimate knowledge of a variety tors.
of camera systems. They should be comfortable follow- 2.Work as a second assistant cameraperson.
ing orders, happy to work as a team, and be physically 3.Take any production assistant job.
fit.
Duties: Supervises the crew responsible for all the Assistant Camera Operator
equipment used by the director of photography
(DP), including the camera and accessories, lights, Key Grip
rigging, dollies, cranes, booms, and scaffolding
Alternate Title(s): None
Best Boy
Salary Range: $36.35 and hour minimum per basic
agreement with IATSE Local 80
Employment Prospects: Good
Advancement Prospects: Good
program and work on low budget films, industrials,
Best Geographical Location(s): Los Angeles/Holly-
and documentaries
wood, New York City
Special Skills and Personality TraitsStrong
Prerequisites:
mechanical abilities; able to move heavy equipment;
Education and TrainingBachelors or advanced
working knowledge of equipment used by grips;
degree is not required
knowledge of lighting, electricity, and colors; ability
ExperienceGet experience as a grip, then par-
to handle cranes and dollies
ticipate in the International Alliance of Theatrical
Stage Employees (IATSE) training and advancement
Camera 107
Experience, Skills, and Personality Traits Unions and Associations
Working first as a grip on as many union films as possi- Membership in IATSE is required for studio or union
ble is the only way you can advance to Key Grip. There films. Local 80 (http://www.iatselocal80.org) is the local
is an apprentice program sponsored by the union, branch of IATSE whose membership includes Key Grips.
which gives grips experience in working as trainees on
a variety of union films. Tips for Entry
Skills include agility, comfortable with heights, 1.The best way to becoming a Key Grip is through
strong mechanical ability, leadership abilities, and the the union training program.
strength to be able to move heavy equipment. 2.Work on low-budget, student, and nonunion films.
A Key Grip should like manual labor, traveling, and 3.Take any grip job to get on a film set and work
working long hours. your way up.
Position Description gaffing crew lays cable wherever lights are going to be
The Gaffer, the chief electrician in charge of all light- needed.
ing setups, works with the key grip in the selection and Lighting is an expensive part of the budget, so the
positioning of lights and lighting equipment. As chief Gaffer has to work with the director of photography
electrician, the Gaffer also maintains and supervises the and the production manager to select equipment they
use of all electrical equipment, as well as the loading, can afford but still give the DP the lighting he or she
transportation, rigging, operation, and striking of all needs to get the shot the director wants.
lighting equipment. Its the Gaffers job to make sure
working conditions are safe. Salaries
The Gaffer, the key grip, and the best boy all work International Alliance of Theatrical Stage Employees
together to light a set. While the key grip focuses on the (IATSE) Gaffers have a basic hourly minimum rate of
rigging, the Gaffer is responsible for the lights and the $36.35.
electrical power supplying those lights. Like the key grip,
the Gaffers second in command is also called a best boy Employment Prospects
(regardless of gender). The Gaffer usually gives the best A Gaffer is used on all studio films, so employment
boy instructions on where to put the lights, and the best prospects are good.
boy supervises the actual positioning of the lights.
Lighting a set can be complicated. First of all, there Advancement Prospects
are different kinds of lights, such as key lights, fill lights, Prospects for advancement are good. The union
and backlights. The key light, usually the brightest, (IATSE) has an apprentice training program.
lights the crucial elements of the action. A fill light is
used to remove shadows caused by the key light, and Education and Training
backlight is added to provide different effects. Each Training as an electrician is required. There are also
light must be focused and diffused, using reflectors or specific union (IATSE) requirements; members must
scrims. complete training and safety programs sponsored by
A typical day of production begins with the grip the locals. Apprenticeship periods have been short-
and Gaffer crews preparing the set. The grips prerig ened, which makes these safety programs even more
the scaffolds where the lights will go, and then the important, since new members begin work on a set that
Camera 109
requires them to have knowledge of voltage, amperage, Unions and Associations
and lighting capacity. Membership in IATSE (http://www.iatse-intl.org) is not
only beneficial but is also required if hired to work on a
Special Requirements studio or union film. Gaffers may be members of IATSE
Professional certification or state licensure is not Local 728 (http://www.iatse728.org), which is based in
required, but you may be required to become a member Panorama City, California.
of IATSE, especially if you are working on a union film,
which most studio productions are. Tips for Entry
1.Take any job on a film production.
Experience, Skills, and Personality Traits 2.Work as a lamp operator.
Working first as a best boy or lamp operator on as many 3.Get experience working on low-budget features,
union films as possible is the best way you can advance nonunion films, or student films.
to Gaffer. Skills include a firm knowledge of electricity 4.Study Variety for lists of productions just starting
and lighting, strong mechanical ability, leadership skills, and see if an internship is available.
and the ability to move heavy equipment.
Gaffers should like manual labor, traveling, and
working long hours.
Position Description The origin of the term Best Boy is unclear. Some say it
The Best Boy (so-called regardless of the gender of the started in the days of hand-cranked silent cameras, when
person performing the job) is the second in command, the camera operator would have his most dependable
after the key grip and the gaffer. The Best Boy is the crewmember, or best boy, help in lighting the shot.
person who actually supervises as the rest of the crew,
takes care of the equipment, hires extra people, orders Salaries
supplies, and prerigs the set. International Alliance of Theatrical Stage Employees
On the set, the director and the director of photog- (IATSE) Best Boys have a basic hourly minimum rate
raphy (DP) will decide how to shoot a scene. The DP, of $32.40.
gaffer, and key grip will work out how to light it. The
Best Boy will then carry out their decisions about where Employment Prospects
to position the lights and scrims. Since most studio films, as well as major independent
The Best Boy and lamp operators, working for the features, require the services of a Best Boy, employment
gaffer, are responsible for all the lights and the electric- prospects are good. As the actual crew leader for grips
ity. The Best Boy is the real leader on the lighting crew. and gaffers, this position has become essential during
A typical day on the set involves a lot of moving the production phase of filmmaking.
very heavy lighting equipment and cable. A Best Boy
has to know exactly what gaffers want when they ask Advancement Prospects
for a specific light, because different lights provide dif- Advancement from the grip or gaffer crews to Best Boy
ferent effects. A Best Boy has to know about voltage continues to be good because turnover is fairly steady.
and whether enough power is available for any lighting Advancing from Best Boy to key grip or head gaffer also
needs. appears to be good, as these positions are in constant
A Best Boy also has to know about diffusion. Vari- need of being filled during production, and more films
ous types of material are used to soften and diffuse the continue to be made each year.
light on a set. The thicker the material, the softer the
light. Education and Training
The heavy lifting usually happens when you have to Training as an electrician, lighting specialist, or lamp
prerig the set. That involves building scaffolds, install- operator is essential. There is a union (IATSE) train-
ing heavy lights and generators, laying cable, and mov- ing program that teaches Best Boys important safety
ing camera equipment around. procedures.
Camera 111
Experience, Skills, and Personality Traits beneficial. Membership in IATSE is required if hired to
Working as a lamp operator on as many union films as work on a studio or union film.
possible is an excellent way to advance to Best Boy.
Skills include knowledge of electricity and light- Tips for Entry
ing; strong mechanical ability, leadership ability, and 1.Take any job on a film, so you can observe a film
the strength to move heavy equipment. Best Boys being made and get exposure to the technical
should like manual labor, traveling, and working long aspects of filmmaking.
hours. 2.Work on low-budget, nonunion, or student
films.
Unions and Associations 3.Study Variety and The Hollywood Reporter for
Membership in the International Alliance of Theatrical lists of productions just starting and see if they
Stage Employees (IATSE) (http://www.iatse-intl.org) is have an unpaid internship available.
Duties: Find the appropriate place to shoot specific Second Assistant Director
locations on a film; secure the necessary permits or
licenses from local authorities, such as fire or police Location Scout
departments
Alternate Title(s): Location Manager
Assistant to Producer or
Salary Range: Varies based on union membership as
Assistant to Director
well as location; in California and 12 other western
states, $2,423 per week plus $70 a day for car use,
according to Teamsters Union Local 399
Employment Prospects: Good
Advancement Prospects: Fair Special Skills and Personality TraitsAble to
Best Geographical Location(s): Wherever a film is work as part of the production team; capable of
being shot, especially Los Angeles/Hollywood and breaking down a script into the necessary locations;
New York City detail oriented; able to work under time and budget
Prerequisites: constraints; able to take still photographs or vid-
Education and TrainingStudying film in college eotape locations; widely traveled; strong research
or film school provides a useful background skills
ExperienceWorking on a film or in any job in
the film industry, such as assistant to a producer or
director
Duties: Create the blueprints from which the sets will Art Director
be built; work closely with the director, cinematog-
rapher, and special effects department; help deter- Set Designer
mine how parts of the set are used and shot
Alternate Title(s): None
Salary Range: Union minimums range from $34.35 for Set Decorator
a junior to $37.65 an hour for a senior
Employment Prospects: Good
Advancement Prospects: Good
ExperienceWorking as an architect or designer
Best Geographical Location(s): Los Angeles/Holly-
Special Skills and Personality TraitsArtistic;
wood, New York City
strong sense of design; visually acute; good inter-
Prerequisites:
personal skills
Education and TrainingBachelors or advanced
degree in art; courses in design and architecture are
optional
Duties: Supervise the crew that will decorate the set Set Designer
similar to an interior decorator
Alternate Title(s): None Set Decorator
Salary Range: $2,224 per week is the minimum set by
the union (IATSE Local 44)
Lead Man/Swing Gang
Employment Prospects: Good
Advancement Prospects: Good
Best Geographical Location(s): Los Angeles/Holly-
wood, New York City
Special Skills and Personality TraitsArtistic;
Prerequisites:
strong sense of design and lighting; well organized;
Education and TrainingBachelors or advanced
good management abilities; excellent communica-
degree in film, theater, art, or design is optional
tion skills
ExperienceWorking in film or the theater as a
carpenter
Duties: Design and create scale duplicates of imaginary Head of Special Effects Company
or real artifacts when, because of cost or practical
considerations, the actual object is unavailable Model or Miniature Builder
Alternate Title(s): None
Salary Range: $36.85 per hour for members of IATSE
Toymaker or Artist
Local 44
Employment Prospects: Fair
Advancement Prospects: Fair
Best Geographical Location(s): Where filmmaking is
ExperiencePractice creating models from kits and
a major activity, such as Los Angeles/Hollywood or
from scratch; make models and miniatures
New York City, although being affiliated with a com-
Special Skills and Personality TraitsPatience;
pany that is hired by the studio is more important
ability to work as part of a team; attention to detail;
and that company might be based in other locations
dexterity; good eyesight and sense of proportion
Prerequisites:
Education and TrainingArtistic ability; bachelors
degree; classes in architecture or landscape architec-
ture may be helpful
Position Description toy cities and mountains. For the movie 1941, Greg
Model or Miniature Builders create real or imaginary Jein built director Steven Spielberg a toy Hollywood
objects when it is either too expensive or not possible Boulevard, as well as a miniature amusement park and
to film the actual object. The Model and Miniature Ferris wheel.
Builder, working closely with the director and produc- Models have to be made to scale so that people
tion designer, handles all aspects of the model or min- watching the movie will not be able to tell the difference
iature that a film requires. Sometimes, a model will between a real battleship and the model that just blew
be created for a movie and used to shoot just certain up and sunk in a water tank.
scenes, even if a replica of some or all of the original
object is also used, as was done with the ship in James Salaries
Camerons historical epic, Titanic. Model and Miniature Builders who are members of
As Greg Jein, Model and Miniature Builder on the union, IATSE Local 44 have a minimum salary of
Close Encounters of the Third Kind, points out in $36.85 an hour.
Working in Hollywood, Model and Miniature Builders
are part of Local 44, the carpenters union, in Holly- Employment Prospects
wood. In San Francisco, those who work for Lucasfilm This is a very competitive and specialized field that is
are under the Bay Area Local, with each local having difficult to break into. Although there is still a need for
its own guidelines about what aspects of model and models or miniatures in some films, the growth of com-
miniature building someone is able to do, such as puter-generated images (CGI) has narrowed the field.
whether or not it is permissible to paint or mold ones
models, or if someone else has to carry out that task. Advancement Prospects
This means that specific duties will vary, depending Working on a successful film that attributes its acclaim
on your location. to the models or miniatures built for it will help
Basically, Model and Miniature Builders are sophis- advancement. Model and Miniature Builders can move
ticated toymakers. They make toy boats, toy planes, toy on to higher level special effects jobs or even become
space ships, and toy monsters. Sometimes, they make art directors or production designers.
Duties: Responsible for the design, selection, acquisi- Head of Property Department
tion, placement, and disposal of all props used in a
motion picture Property Master
Alternate Titles(s): Prop Master, Director of Props
Salary Range: $37.44 per hour is the union minimum
Assistant Prop Master or Comaster
Employment Prospects: Good
Advancement Prospects: Good
Best Geographical Location(s): Hollywood/Los Ange-
les, New York City Special Skills and Personality TraitsAble to get
Prerequisites: anything anytime anywhere; well organized; detail-
Education and TrainingBachelors or advanced oriented; reliable
degree not necessary but helpful Special RequirementsSpecial licenses may be
ExperienceWorking as an assistant Property Mas- required
ter or in the prop department
Position Description Its the Property Masters job to make sure that all the
The Property Master is responsible for the purchase, props are ready when the actors need them, that they are
design, manufacture, and acquisition of all props, which positioned properly, and that they are stored afterward
generally means all those items used by actors, includ- in case a scene has to be reshot or the prop reused in
ing food, guns, toys, household items, office supplies, a different scene. Its also up to the Property Master to
and so forth. instruct the actors on the proper and safe way to handle
A prop is defined as anything other than actors or a prop, especially a weapon. The Property Master is
animals that moves or anything handled by an actor. responsible for maintaining a safe and secure environ-
For example, if a dinner setting was used as background ment whenever firearms or explosives are being used.
but no one actually ate dinner, then the dinner setting If cue cards are being used, the Property Master is
would be considered a set decoration. But if an actor sat responsible for them, making sure that they are placed
down and picked up a plate for whatever reason, that so that the actors can see them clearly and that the cor-
plate just became a prop. rect card is facing the correct actor.
A Property Master gets involved in preproduction The Property Master usually has at least one assistant
by doing a prop breakdown from the script. Sometimes, and may have a whole team on a big-budget studio film.
the prop is actually mentioned in the script, but the art If special requirements are needed, it is up to the Prop-
director, director, or production designer will also some- erty Master to provide technical advisers for these spe-
times add a prop that is not even mentioned in the script, cial needs, such as animal handlers, food specialists (also
mainly because the scene needed it. The Property Master known as food stylists), bartenders, weapons specialists,
also determines how much each prop is going to cost and computer technicians, law enforcement and military
produces a prop budget. advisers, medical technicians, and special mechanics.
If a prop is not going to be easy to find, the Prop- The place on the studio lot where props are stored is
erty Master will need as much time as possible to called the prop boneyard.
either find or have made the necessary prop before
shooting begins. The Property Master must also be on Salaries
the set during filming, because there are always last Salaries vary according to a Prop Masters standing in
minute changes in the script, the set, and, especially, the film community and the budget of the film. The
the props. basic minimum set by the International Alliance of
Duties: Supervise the crew, known as the Swing Gang, Set Decorator
used to decorate, or dress, the set
Alternate Title(s): Swing Crew Lead Man/Swing Gang
Salary Range: $1,800 per week for union films; less for
nonunion features
Set Dresser
Employment Prospects: Good
Advancement Prospects: Good
Best Geographical Location(s): Los Angeles/Holly-
wood, New York City
Special Skills and Personality TraitsStrong; able
Prerequisites:
to move heavy objects; excellent leadership abilities;
Education and TrainingHigh school diploma is
good communication and accounting skills
a minimum requirement
ExperienceWorking as a set dresser or produc-
tion assistant
Position Description factor in what a lead actor will wear. Clothing manufac-
Whether its for a historical feature requiring the re- turers will pay the film company if the principal actors
creation of the period costumes for a diverse range of wear their brands.
principal actors, supporting cast, and extras or its for On the set, the Costume Designer makes sure the
a contemporary drama requiring certain fashions, the actors are dressed in their characters wardrobe and that
Costume Designer plays a pivotal role in the look of a they are comfortable.
movie. From the color of the clothes to the fabric, style, Actor James Woods said in an interview with Fred
and authenticity of each costume to the accessories that Yager that he wasnt able to get into his character for
are chosen, the Costume Designer is a fundamental and the film The Onion Field until he put on a bolo tie as
critical part of every film. Some well-known Costume part of his outfit. He says it was that tie, which was part
Designers, like the late Edith Head, have international of the wardrobe created by the Costume Designer, that
reputations as wide as the best-known actors whom they allowed him to become the character of a cop killer that
designed costumes for in films. Costume Designers also won him an Academy Award nomination.
supervise the seamstresses, dressers, and cutters, who
transform their costume designs into actual garments. Salaries
The Costume Designer will work closely with the Costume Designers earn an average of $2,500 to $10,000
production designer and art department to come up a week, with the average earnings of $4,500 a week for
with wardrobe ideas. He or she will also meet with union or studio films, depending on budget and what
principal actors to make sure that a particular costume the Costume Designer negotiates. The minimum for
is appropriate for that character. Sketches and designs Costume Designers who are members of IATSE Local
are then submitted to the director for approval. 892 is $21.68 an hour. Wages are determined by ones
Once the director signs off on the costume designs, reputation and the budget of a film.
the designer prepares to build the wardrobe. Some
costumes are designed from scratch, while others are Employment Prospects
either purchased, rented, or found in a studio wardrobe Every movie needs a Costume Designer, even a low-
department. Recently, product placement has become a budget feature, so there are as many employment oppor-
Duties: Work for the costume designer; supervise the Costume Designer
entire wardrobe; assist with the costume budget
Alternate Title(s): Wardrobe Supervisor Key Costumer
Salary Range: $30.64 is the minimum hourly rate for
those who are members of IATSE Local 705
Set Costumer
Employment Prospects: Good
Advancement Prospects: Fair
Best Geographical Location(s): Los Angeles/Holly-
wood, New York City ExperienceWorking in the costume department
Prerequisites: as a fitter or cutter
Education and TrainingBachelors degree in Special Skills and Personality TraitsCreative;
fashion and design is helpful but not required aware of fashions past and present; organized; reliable
Position Description The Key Costumer also keeps track of all costumes
The Key Costumer is the wardrobe supervisor. He or for both continuity and maintenance.
she is in charge of the wardrobe on the set, fixing any
problem involving costumes, assisting in the budget, Salaries
and selecting the costumes the actors will be wearing. Salaries vary according to ones standing in the indus-
It is the Key Costumers responsibility to make sure that try, but Local 705 of IATSE sets $30.64 an hour as the
each costume works, that it doesnt clash or look too minimum rate for members of its union.
much like another actors wardrobe, and that it makes
a statement about the character. He or she supervises Employment Prospects
all costume fittings and is responsible for choosing and Since most films, whether they are studio films or inde-
acquiring the wardrobe to be used by the actors. In pendently produced, require the actors to wear costumes
low-budget films, the Key Costumer may also be the of one kind or another, employment prospects for the
costume designer.
Key Costumer, or those people who provide those cos-
The Key Costumer not only picks the costume, but
tumes, is pretty good.
he or she also has to either rent it, buy it, have it made,
and then make sure that it survives the entire shoot.
It is up to the Key Costumer to supervise all fittings. Advancement Prospects
He or she usually hires all the set costumers who do the Key Costumers may advance to costume designer.
actual fittings of the actors. From there, it is possible to move up to other art-
As head of the wardrobe department, the Key Cos- and design-related positions. Advancement also comes
tumer works closely with the production designer and through working on higher profile, bigger budget
director of photography to make sure that all the cos- films.
tumes work within the overall design and look of the
film. Education and Training
Another job for the Key Costumer is to take the Fashion training is helpful but not required. The best
costume designers script breakdown and do a scene- training is that acquired on the job at a costume house.
by-scene analysis to figure out how many costumes are A costume house is a business that specializes in provid-
needed for principal actors and extras, as well as how ing wardrobes for film production companies. Although
many identical costumes to acquire for key perform- studios have their own Costume Department, they may
ers whose costumes may get torn or otherwise affected need a specialized costume that can only be found at an
during filming. outside costume house.
Duties: Make sure that the face and appearance of the Special Effects Makeup Producer or
talent in a movie is appropriate for the role as envi- Owner, Makeup Line
sioned by the screenwriter and director
Alternate Title(s): None Makeup Artist
Salary Range: Ranges from minimum of $20 to mid-
$40s an hour for studio or union films, based on Cosmetologist
film budget and the contract signed with IATSE
Employment Prospects: Good
Advancement Prospects: Fair ExperienceWorking for a Makeup Artist or in a
Best Geographical Location(s): Major urban centers makeup studio
where moviemaking activity occurs, such as Los Special Skills and Personality TraitsCreativity;
Angeles/Hollywood and New York City patience; ability to work with talent at very early
Prerequisites: hours in the morning or in stressful situations where
Education and TrainingSpecialized training in having makeup applied may be an extensive activity;
makeup is required diplomatic
Position Description On a typical day on the set, the Makeup Artist will be
Makeup Artists apply makeup to principal actors and working long hours and usually on their feet. Between
extras in a film to reflect the period, vision, or charac- each take, they have to make sure the makeup they
ters as conceived by the screenwriter and the director. spent hours applying still looks good on the 34th take.
Some Makeup Artists, such as the legendary George Each Makeup Artist has his or her own brushes and
Westmore, go on to start their own business. West- various types of makeup, such as old-age makeup or fash-
more started a makeup studio in 1917 at Selgi Studio ion makeup. There are two basic types of makeup: street,
and went on to create his own line of makeup. The late or normal everyday makeup, and character makeup,
John Chambers, most well known for his makeup work which is needed for that particular part, such as aging
on the first Planet of the Apes film series, for which he makeup for an elderly character or makeup used to make
received an Academy Award in 1969, began his career a character look injured.
designing the prosthetics that amputees need following Makeup Artist Carola Myers grew up in Bolivia; she
reconstructive surgery, then moved to working in tele- learned the basics of makeup artistry there and in Brazil.
vision and on feature films. She moved to the United States and was hired by Trish
There is an intimate bond between Makeup Artists McEvoy, a Makeup Artist from New York. For several
and principal actors. The Makeup Artist is usually the years, Myers worked at a major department store, study-
first person to see actors when they arrive on the set, ing skin tone, blending color from all kinds of textures
often before sunrise. Some big-name talent have their and pigment types, and working with different kinds of
own personal Makeup Artists, who follow them from products while learning from beauty industry pros such
film to film. as Guy Lento, Osvaldo Perez, Trish McEvoy, and Fran-
Most productions have more than one Makeup Art- ois Nars. She has perfected her own makeup techniques,
ist, and they are hired by either the production designer including high-definition airbrushing.
or costume designer. Now based in the Washington, D.C., area, Carola
Depending on the character, some Makeup Artists works in the film and television industries, and she also
may have to work on an actor for hours, getting a cer- has a clientele of politicians, socialites, and brides who
tain look just right, such as aging, or if the character has hire her to apply their makeup for special occasions. Her
an illness, an unusual appearance. Makeup Artist film credits include the independent fea-
Duties: Responsible for the hair of the actors, includ- Creator of Hair Product Line or
ing the style, cut, and color, as well as any necessary Owner, Hair Salon
wigs
Alternate Title(s): Key Hairstylist; Hairdresser Hairstylist
Salary Range: Ranges from a minimum of $16 to low-
$40s an hour for studio or minor films, based on the
Assistant Hairstylist
films budget and the contract that is signed with the
International Alliance of Theatrical Stage Employ-
ees (IATSE)
Employment Prospects: Good
Advancement Prospects: Fair Special Skills and Personality TraitsAble to get
Best Geographical Location(s): Areas with access to along with actors, directors, and the rest of the films
constant moviemaking activity, such as Los Angeles/ production team; willingness to work long hours;
Hollywood or New York City strong sense of style
Prerequisites: Special RequirementsCurrent cosmetology
Education and TrainingBeauty school license required; to work on a union film, a Hair-
ExperienceWork in a hair salon; work on student stylist must also be a member of the Makeup Artists
films, independent movies, or music videos and Hair Stylist Local 706 of IATSE
Position Description will have their own Hairstylist because they have devel-
The key Hairstylist is in charge of all the Hairstylists on oped a trust or friendship.
a film. The director will provide the Hairstylist with the Besides the actors, the Hairstylist works most closely
screenplay, and decisions will be made about the style, with the second assistant director, who is the stylists
color, and length of hair for each character, including liaison with the rest of the production. For example, the
whether or not a wig will be used. The Key Hairstylist second assistant director will appear every five minutes
will oversee the daily hairstyling and continuity, so that to check on an actors availability for a shot or to say
hair looks the same in scenes shot over a period of time that the director is ready to shoot.
but supposed to take place at one point in time in the
film. At the end of the day, the Hairstylist and his or her
Salaries
Salaries depend on the budget of the film. Earnings
staff are responsible for brushing wigs in preparation for
range from a minimum of $16 to low-$40s an hour for
the next days shooting.
studio or union films, based on the films budget and
In preproduction, the Hairstylist will research var-
the contract that is signed with the IATSE.
ious hairstyles or periods of style, depending on the
script, and then will make sure that he or she has the Employment Prospects
necessary supplies for the production. Reading the Hairstyling is a pivotal part of each movie, along with
script also prepares the Hairstylist for special needs, makeup and costume. Union films require that a Hair-
such as a scene where it rains or snows. stylist is a member of the union, and there are specific
During production, like the makeup artist and key requirements that must be met in order to join. Once one
costumer, the Hairstylist begins his or her job long qualifies, there will be a good number of opportunities.
before shooting begins and continues throughout the
entire day to maintain hairstyles for each take. A key Advancement Prospects
part of this job is making sure that the actor feels com- Once a Hairstylist becomes popular with specific actors,
fortable with the way she or he looks. Many top stars he or she will often be requested by the talent to be on
Duties: Responsible for the overall design and shape Film editor or
of the entire sound track and all of the sound ele- Supervising Sound Designer
ments of a movie, from dialogue and sound effects
to music Sound Designer
Alternate Title(s): None
Salary Range: $50,000 to $100,000+ for studio or union
Sound Mixer
films
Employment Prospects: Limited
Advancement Prospects: Good
Best Geographical Location(s): Los Angeles/Holly-
wood, New York City Special Skills and Personality TraitsBesides
Prerequisites: knowing everything there is to know about sound,
Education and TrainingA broad liberal arts, should have knowledge of how sound affects emo-
music, and film background are recommended; any tions; be a team player; creative; musical; technically
formal training with sound and recording equipment astute regarding sound equipment
ExperienceWork in a range of sound areas,
including mixing, recording, editing, radio, televi-
sion, and music studios
Sound 149
Sound Mixer
CAREER PROFILE Career ladder
Position Description the Sound Mixer will alert the director, who will then
The production Sound Mixer is in charge of hiring decide whether or not to film another take. It is generally
and supervising the production sound crew, which believed that its better to capture dialogue during produc-
includes the boom operator and cable personnel, as tion, because it sounds the most natural. A viewer with a
well as obtaining and maintaining all sound recording keen ear can usually tell when dialogue has been looped,
and mixing equipment. Another key responsibility of or recorded later and then matched to the characters lips.
the production Sound Mixer relates to the quality of all There is usually a subtle or, in some cases, not-so-subtle
sound recorded during production and the mixing of otherworldly quality to the finished scene.
the various sounds into the films overall soundtrack. During production, a typical day will see the Sound
Have you ever been watching a movie in a theater or Mixer overseeing the set up of the equipment, micro-
on DVD and found yourself wondering what the actor phones, boom, and cables, then cueing tape in the record-
just said? With a DVD, you can always go back and ing gear to capture dialogue and background sound in
listen again, but in the theater, this can be a frustrating the best way possible. Working with the director, the
experience. Its up to the Sound Mixer to make sure that Sound Mixer will pass along instructions pertaining to
this doesnt happen, or if it does, to make sure that it is sound, such as asking actors to speak louder or softer, to
corrected in postproduction. change an angle from a microphone to avoid popping p
Poor sound can ruin a good film. And, often, a well- sounds. In between takes, the Sound Mixer will record
mixed sound track can enhance or improve an other- something called room tone, which is the natural way
wise mediocre movie. a room or location sounds when no one is talking. Even
Normally hired by the director, the Sound Mixers in silence, different places have different sounds, so room
job begins during preproduction, when he or she does tone is recorded in case dialogue has to be looped later.
a script breakdown to determine what equipment will The room tone will be mixed under the actors voice so
be required to capture the best quality sound for each that it sounds as if it was recorded during production.
shot. A recurring task is making sure that the boom mike
The Sound Mixer will maintain microphone levels or any other recording equipment is out of the shot.
to make sure the dialogue between characters is even This isnt as easy as it seems, because in order to capture
and clearly heard. If an actors voice is too soft or muddy, the best quality sound, the boom mike has to be as close
Sound 151
Boom Operator
CAREER PROFILE Career ladder
Position Description might miss it. Sometimes, the scene worked so well the
The Boom Operator works with the sound mixer. He director decides to keep the take anyway.
or she is responsible for placing and operating all the
microphones in order to get the best quality sound. He Salaries
or she is also responsible for making sure that none of Salary minimums for a Boom Operator are about $35
the microphones are visible during the shot. an hour; 250 and up for union shows. Earnings are
To do his or her job effectively, a Boom Operator set by the International Alliance of Theatrical Stage
should be on the set at all times, following the direc- Employees (IATSE).
tor closely as he or she sets up the shot, which will
often determine where to place the microphone. For Employment Prospects
example, if the director is shooting an establishing shot, Just about every film needs a Boom Operator, so job
the boom mike will have to be far away from the talent prospects are good.
to stay out of the frame.
A Boom Operator also has to be aware of the lighting Advancement Prospects
to determine whether a mike will cast a shadow. It is usu- Advancement prospects to sound mixer are fair. There
ally up to the sound mixer to choose which type of micro- is heavy competition for this move. Once advance-
phone to use. Does she or he want an omnidirectional ment is underway, one can go on to become a sound
mike, which picks up sound from a wide area, or a shot designer.
gun mike, which has a narrow field and is used to capture
dialogue from a distance? The Boom Operator has to Education and Training
know the different types of mikes and how they perform. A college degree or film school is recommended but
One of the main problems the Boom Operator has to not required. Some training in sound technology is
deal with is keeping the boom mike from dipping into important.
the frame. This seems to happen a lot. Normally, the
camera operator will see it and tell the Boom Operator Experience, Skills, and Personality Traits
to move the mike. But once a scene is underway, if the Gain experience as a sound assistant or cabler. Have
boom begins to slowly move down, the cameraperson strong audio skills and a keen understanding of sound.
Sound 153
Music
Music Supervisor
CAREER PROFILE Career ladder
Position Description how these songs are going to be used in the movie. Are
Finding the right songs for a movies sound track has they going to be heard coming from a radio, played by
become increasingly important as more and more a band, either onscreen or off, or added for dramatic
movie sound tracks are released on CDs as promo- effect instead of dialogue?
tional tools for the film and as an another way to The Music Supervisor plays his or her ideas for
make money. In other words, movie sound tracks have songs for the director and producer to see if this is what
become big business; the person responsible for find- they want. This can be a long process, and songs are
ing the songs for the sound track is called the Music often changed, switched or replaced at the last minute
Supervisor. or even after the movie has been test marketed in the-
Working closely with the director and producer, the aters. Once the songs are selected, the Music Supervisor
Music Supervisor searches for the best music or song- must then obtain permission to use them in the film
writers to create the songs that become the theme songs and on the sound track.
or signature songs for a movie. Since licensing music can be expensive, the films
Unlike the composer, who comes in toward the budget will often determine whether a particular piece
end of postproduction, the Music Supervisor is usu- of prerecorded music can be used for the soundtrack.
ally hired early so that he or she can get a feel for what Often, it is cheaper to use cover musicians (an unknown
kind of music will work for this movie. They will often or less popular musician who sings a song made popu-
go to dailies and visit the set to increase this feeling. lar by someone else) or to write new music.
Often, the director or producer will know some of the Maxine Kozler has been in the music industry since
music he or she wants for a film, but usually this idea she was 19 years old, and she also has a degree in film
is quite vague, such as 70s funkadelic type sound. Its production from Boston University. Now in her mid-
the Music Supervisors job to know what she or he is 30s, two years ago, when she started La La License,
talking about. her New Yorkbased music supervision and clearance
As various songs that either already exist or are being company, she combined her backgrounds. Kozler, who
written for the film are gathered, it must be decided is a Music Supervisor for film, got to this point through
Music 157
Composer
CAREER PROFILE Career ladder
Duties: Compose the music that will be heard through- Music Supervisor or Director
out the movie, including background music, instru-
mental and vocal themes, the underscoring used for Composer
dramatic effect, and popular songwriting
Alternate Title(s): None
Orchestra Conductor, Arranger, or
Salary Range: $0 to $100,000+
Musician
Employment Prospects: Fair
Advancement Prospects: Fair
Best Geographical Location(s): Los Angeles/Holly-
wood, New York City
Prerequisites: Special Skills and Personality TraitsAble to
Education and TrainingBachelors degree in express emotions musically; a strong background in
music recommended but not required classical music and opera
ExperienceWork as a Composer to build a body
of work that reflects a wide range of emotions
Position Description tor, where they screen the film and decide where music
The primary job of the Composer is to create a music should come in and fade out.
score that adds an emotional layer to the film. This When the director feels the editing is complete, the
includes both the dramatic underscoring and a musical Composer, with the film playing on a screen, begins
theme or song. When it works well, the musical score creating the music that will accompany each scene. The
of a movie can breathe life into an otherwise listless score will contain beats and measures to match the
scene, whereas the wrong score can destroy a beauti- action on the screen.
fully filmed and acted moment. In other words, the Once the score is written, musicians are brought into
score can either help or hurt a movies success, which a scoring session to work with the Composer, music
is why directors and producers take great care in hiring editor, and conductor to perform the music on a scor-
the best Composer for their film.
ing stage, which is comprised of a mixing console and a
While most of the Composers work doesnt begin
screen to show the movie. After the score is recorded,
until the film is in its final editing stages, he or she
the music editor and Composer mix the music and then
may have begun composing themes or songs for the
film. Still, it is not until a near final cut is ready that turn it over to a final mixing stage to be mixed into the
the Composer will begin actually creating the dramatic final sound track.
underscore used to heighten the drama, suspense,
action, or comedy of a particular scene. The main rea- Salaries
son for waiting as long as possible is primarily eco- Salaries vary widely from Composer to Composer and
nomic; the producer or financing entities do not want depend on a films budget. On no- or low-budget films,
the Composer, orchestra, music editor, or scoring mixer a beginning Composer may receive a deferred salary
to waste time and money on scenes that are not going to and use the opportunity to showcase his or her talents.
be in the movie. A veteran established Composer, such as John Wil-
To compose the score for a movie, the Composer liams, will earn more than six figures a year.
first looks at a rough cut of the movie to get a creative
sense of what kind of musical themes will be needed, as Employment Prospects
well as ideas for possible theme songs. Next, he or she Although just a few Composers seem to get most of the
does whats called a spotting session with the direc- work on big-budget studio films, every movie needs
Music 159
Miscellaneous
Support Services
Caterer
CAREER PROFILE Career ladder
Duties: Provide food for the films cast and crew Restaurant Owner
Alternate Title(s): Craft Services
Salary Range: $30.20 an hour; $1,600 per week Caterer
Employment Prospects: Good
Advancement Prospects: Fair
Chef
Best Geographical Location(s): Los Angeles/Holly-
wood, New York City
Prerequisites:
Education and TrainingBachelors degree in food
service recommended but not required Special Skills and Personality TraitsHave good
ExperienceWorking as a chef in any restaurant or social skills; flexible; creative; fast worker; strong
catering service culinary sense
Position Description over a wide area of the country or world, then he or she
The Transportation Coordinator is in charge of choos- could be coordinating a convoy of 40 to 50 drivers.
ing and maintaining all vehicles used in the produc- There are a variety of vehicles used to transport a
tion of the movie. That includes all vehicles used to film production company. They include a camera truck,
transport the cast, crew, and equipment wherever they which carries not only the cameras but the crew mem-
have to go during production. He or she also finds any bers who work them; a production van, which is a tractor
vehicle that may be used on camera; these are called trailer that carries the lights, rigging, and generators; a
picture cars. wardrobe trailer filled with clothing; a makeup trailer
Working for the production coordinator, the Trans- equipped with hot and cold running water, lights, mir-
portation Coordinator hires transportation captains rors, counters, hair dryers, and its own generator; a prop
and drivers and assigns the drivers to vehicles. truck for all the props and special effects; and, finally, the
A Transportation Coordinators job begins during mobile homes used by principal actors.
preproduction when she or he does a script breakdown The primary function of the Transportation Coordi-
to determine what type and age of picture cars are nator is to make sure that everything moves smoothly
going to be needed, what cars will be needed for stunts, and that everything arrives on time and in good shape.
and what cars will be used by principal actors. Once he A film in the middle of principal photography could be
or she determines whats needed, a budget and schedule spending an average of $100,000 a day, so even a flat tire
are worked out with the production manager to come is going to cost the production a lot of money. Thats
up with the most cost-efficient method of acquiring the why one of the key jobs for a Transportation Coordina-
vehicles to be used. tor is to ensure that the vehicles are well maintained,
The vehicles needed for transporting the production inspected constantly, and cared for to avoid breakdowns
team and equipment depends on the locations to which before they occur.
everything has to be moved. For example, if the film is
shot entirely either on a soundstage or a studio back lot, Salaries
the Transportation Coordinator may be able to get away Salaries are negotiable and vary according to many fac-
with using fewer than a dozen drivers for everything. tors including size and length of shoot and whether it
But if several locations are scheduled and they spread involves location shoots.
Duties: Choose the best shots or takes for each scene; Director
assemble the shots in the most effective way possible
to reflect the directors vision of the overall film Editor
Alternate Title(s): Film Editor, Motion Picure Editor
Salary Range: Varies widely but a minimum for a union
Assistant Editor
film is $2,653 per week for West Coast major features
and $2,557 per week for East Coast major features
Employment Prospects: Excellent
Advancement Prospects: Good
Best Geographical Location(s): Los Angeles/Holly- ExperienceEdit student films at college in the film
wood, New York City department; take Editors Guild training programs
Prerequisites: Special Skills and Personality TraitsStrong cre-
Education and TrainingBachelors or advanced ative nature; effective communication skills; power-
degree, with courses in all phases of filmmaking ful judgment; good vision; sense of story pacing
Position Description While Woody Allen may joke that the projectionist
While an enormously monotonous job, the work of a has the final cut, it is actually the Negative Cutter who
Negative Cutter is critical and has virtually no room for has that distinction. If a negative is destroyed, it cannot
mistakes. If the Negative Cutter makes an error, the only be replacedthe film is lost forever. This is one reason
way to correct it is to reshoot the footage and this may be more and more filmmakers are moving away from film
impossible or too costly. as the medium of choice. High-definition video has
Even though final editing may not take place until reached the quality of film, and as this becomes the
after principal photography is completed, the Negative standard, the position of Negative Cutter may become
Cutters job begins on the first day of shooting. Negative obsolete (since there is no negative to cut).
Cutters have to break down and catalog the negatives of
all the dailies into individual scenes. That way, when the Salaries
director and editor decide which take or takes to print, Salaries for Negative Cutters are set by Local 683 of
the shots will be available. the Film Technicians Union. Hourly minimums start
Every foot of the negative is coded with numbers. between $35 and $40 per hour, not counting overtime,
Negative Cutters use these numbers to locate where which is set at time and a half or double time. Some
to cut the beginning and end of shots in a scene. The Negative Cutters may earn more.
film editor has marked where to cut on a work print
by noting the number on the film. The beginning cut Employment Prospects
number is called the head key, and the end is the tail Prospects for Negative Cutters are poor. While studios
key. The Negative Cutter has to follow these cuts pre- continue to shoot most of their movies on film, there
cisely. Two minutes of film time could have more than has been an increasing trend to use high-definition
300 cuts. video instead of film. This eliminates the need for a
After all the cuts are complete and the negative Negative Cutter.
matches the editors work print, the Negative Cutter
sends it to the lab, where it is physically spliced together, Advancement Prospects
and then sends it to color timing to set the color balance Prospects for advancement from Negative Cutter to assis-
so that the color of each scene matches. tant editor have always been competitive. The Motion
Duties: Work in the film processing lab; balance the Negative Cutter
films color, contrast, and density so that the color
matches from scene to scene and there is consis- Color Timer
tency of tone and mood throughout the movie
Alternate Title(s): None
Assistant Color Timer or
Salary Range: $37,000 to $51,000
Film Lab Technician
Employment Prospects: Fair
Advancement Prospects: Fair
Best Geographical Location(s): Los Angeles/Holly-
wood, New York City ExperienceWork in film labs
Prerequisites: Special Skills and PersonalityPrecision; excellent
Education and TrainingCollege degree is not vision; steady hands; understand color; detail-ori-
required ented; able to work in isolation
Position Description methods. The films budget will often determine which
As advances in technology impact the way movies are of these methods can be used to create the illusion.
made, filmmakers are relying more than ever on the The Visual Effects Producer is usually hired during
Visual Effects Producer to create images on the com- preproduction or before so he or she can do a script
puter that once either had to be filmed at great time breakdown to estimate how much the special effects are
and cost or could not even be created. This may include going to cost. If it is not within the budget, the script
computer-generated imagery (CGI); digital video effects; may have to be rewritten so that the scene can be elimi-
special effects makeup; mechanical effects, such as rain nated or created without using special visual effects.
and snow; and blue screen, a technique in which actors During preproduction, the visual effects team will work
are filmed before a blue screen and later placed in front with storyboards to decide how to re-create a particular
of another background shot at a different time. This cre- visual image. Some might lend themselves to miniature
ates such illusions as people driving in cars when they models, while others will need blue screen or CGI.
are actually on a stage in a fake vehicle, and living in far- During production, members of the visual effects
away exotic locations when, in reality, they havent left Los team will be on the set whenever shooting involves a
Angeles. The Visual Effects Producer is responsible for special effect, such as rain, snow, or an explosion.
more subtle optical effects as well as effects such as freeze It is during postproduction when much of the spe-
frames, fades, dissolves, and wipes. Pyrotechnics, includ- cial visual effects are created. Often, during production,
ing explosions and gunfire, also fall under the Visual actors will perform before a blue or green screen and
Effects Producers domain. interact with people in blue costumes so that they can
Today, if you can think it up, someone can cre- be replaced later with creatures or animals.
ate it through computer-generated imagery, or CGI, Today, digital images of actors are being used to
technology. make it appear as if an actor is actually in a burning
It is up to the Visual Effects Producer to work with building or shooting across the sky. Some even argue
the films director and producer to figure out which spe- that we are getting close to the point where actors may
cial effects images are needed. The Visual Effects Pro- not even be needed, because they can be replaced by
ducer will then create those images through a variety of their digital images.
Duties: Responsible for the titles seen at the begin- Owner of Titles and Optical House
ning and end of the movie, as well as the optical
effects in between shots, such as dissolves, fades,
Titles and Optical Effects Coordinator
wipes, and superimpositions
Alternate Title(s): Titles and Optical Effects Supervisor
Salary Range: $32 per hour Titles Designer
Employment Prospects: Good
Advancement Prospects: Fair
Best Geographical Location(s): Los Angeles/Holly-
wood, New York City ExperienceWork in film labs
Prerequisites: Special Skills and Personality TraitsPrecision;
Education and TrainingCollege degree in com- excellent vision; steady hands; understanding of
puter graphics is helpful basic editing techniques; graphic design; artistic
Sound 185
Foley Artist
CAREER PROFILE Career ladder
Sound 187
PART IV
Distribution,
Publicity and
Advertising,
and Education
Distribution
Film Distributor
CAREER PROFILE Career ladder
Duties: Responsible for getting the film into theatrical Head of Production
release in movie theaters
Alternate Title(s): Major Distributor; Mini-major Dis- Film Distributor
tributor; Independent Distributor
Salary Range: $0 to $10,000,000+
Independent Producer
Employment Prospects: Good
Advancement Prospects: Fair
Best Geographical Location(s): Independent distribu-
tors may work in just one region or territory, but
ExperienceWorking for an independent producer
major or mini-major distributors will have an office
or film company, especially in the distribution part
where filmmaking is predominant, such as Los
of the business
Angeles/Hollywood, as well as auxiliary offices in the
Special Skills and Personality TraitsGood busi-
32 territories, or exchanges, into which the United
ness sense; excellent at sales; detail-oriented; able to
States has been apportioned for film distribution
coordinate various advertising, marketing, and sales
Prerequisites:
functions; willing to get involved in the creative part
Education and TrainingCollege degree in film or
of filmmaking as needed
business, with a knowledge of how a film is distrib-
uted in the United States and around the world
Distribution 193
training in filmmaking and the business part of the film Motion Picture Arts and Sciences and Women in Film,
industry, such as producing and distribution, will also may be helpful for networking.
be useful.
Tips for Entry
Experience, Skills, and Personality Traits 1.Work for an independent film company so that
Working in the film industry, at a production company, you can see how a movie is made and distributed,
or for a film studio will provide experience related to from start to finish.
becoming a Film Distributor. Even working part-time, 2.Take a job at an independent distribution com-
summers, or full-time at a video rental store will provide pany and learn how the decision is made about
exposure to part of the distribution process, albeit only what films to acquire and how the distribution
the fifth step in the distribution chain (following theat- process works.
rical, foreign, nontheatrical, and television distribution). 3.Attend trade shows and film festivals: Network
with Film Distributors.
Unions and Associations 4.Start as an administrative assistant or in the mail-
Film Distributors do not have a union. But member- room and work your way up at a studio.
ship in industry associations, such as the Academy of
Distribution 195
Salaries producers, distribution companies, and buyers in other
Sales Agents are paid on commission, typically 30 per- countries is an important part of ones training.
cent of the foreign box office receipts. This can range
from very little or zero if no one wants it or the film is a Experience, Skills, and Personality Traits
flop, to several million dollars if it is a hit. Having a genuine positive feeling toward movies will
help, since those who deal with a Sales Agent want to
Employment Prospects know that there is a concern for the product and not
This is a very difficult field to break into and even just for the deal. Having as wide an international base as
harder to get established in. It is based almost com- possible will also be useful, as will an aptitude for many
pletely on developing a detailed knowledge of film- languages, or the ability to communicate effectively,
making and distribution around the world, as well as through translators or other options, when language
knowledge of the right buyers and markets in each could be a barrier.
territory. Contacts and connections are everything, but
with more and more films relying on foreign markets Unions and Associations
for their profits, opportunities do exist. Sales Agents do not have a union, but membership in
industry associations, such as the Hollywood Foreign
Advancement Prospects Press Association or Women in Film, are good for net-
Making excellent deals and placing the right movie in working.
the right market so that it brings in additional revenues
will enhance a Sales Agents reputation. Advancement is Tips for Entry
based on word of mouth and referrals. Sales Agents can 1.Work in a paid or internship capacity in the pro-
also move up by taking on bigger clients and films. gram department of a television or cable com-
pany and learn how movies are acquired.
Education and Training 2.Work as an apprentice or assistant to a Sales Agent
More important than credit or noncredit courses in at a company that sells films internationally.
business, selling, or the movie industry is on-the-job 3.Attend two of the key markets for buying and
training at a television, cable network, or film company selling filmsAmerican Film Market (AFM)
in program acquisitions. Learning how to read con- and Cannesand observe how films are bought
tracts and negotiate deals is crucial. Getting to know and sold.
Duties: Own and manage the theater where movies are Theater Chain Owner
shown
Alternate Title(s): Exhibitor Theater Owner
Salary Range: $0 to $1,000,000+
Employment Prospects: Fair
Theater Staff or Projectionist
Advancement Prospects: Fair
Best Geographical Location(s): Anywhere there are
enough people and, for suburban or rural loca-
tions, easy access by driving
Prerequisites: taking tickets and working at the concession stand
Education and TrainingBachelors degree in busi- at a movie theater
ness administration; a knowledge of films; classes Special Skills and Personality TraitsBusiness
in selling, advertising, and marketing; management skills; able to network within the community where
training the theater is located; organized; good communica-
ExperienceOn-the-job, paid, or internship expe- tion skills; excellent interpersonal skills
riences working in a store or office setting; selling or
Distribution 197
Employment Prospects are also required. Theater Owners need to be adept at
According to the National Association of Theatre Own- selling and marketing. They should be detail-oriented
ers (NATO), since 1999 the number of movie screens and focused on the current films being shown, as well
has increased in the United States, from 37,131 in 1999 as aware of what films may be offered in the future.
to 38,794 in 2007, but the number of movie sites has This may require attending trade shows and reading the
decreased from 7,477 in 1999 to just 5,928 in 2007. trade newspapers, such as Variety and the Hollywood
Being a Theater Owner is, therefore, a declining occu- Reporter.
pation, as fewer theater sites supply more screens.
Unions and Associations
Advancement Prospects The National Association of Theatre Owners, based in
Being a Theater Owner is becoming more difficult for North Hollywood, California, is a membership associa-
individual owners as chains of theaters become more tion. Its Web site states that it is the largest exhibition
predominant and as operating costs and overhead trade organization in the world, representing more than
increase. Highly successful Theater Owners may start 26,000 movie screens in all 50 states and in more than
their own chain or move into the distribution arm of 20 countries worldwide. Our membership includes the
the industry. One of the most successful Theater Own- largest cinema chains in the world and hundreds of
ers was Sumner Redstone, who became chairman of independent theater owners too. Their informative
Viacom, one of the worlds largest communications and Web site (www.natoonline.org) also has statistics about
entertainment empires. the industry, as well as links to related associations,
upcoming conventions, and information about their
Education and Training publication, In Focus.
Having an education in business, management, and
film will help someone acquire the many business skills Tips for Entry
and film knowledge necessary to run a movie theater 1.Work at an independent or chain movie theater
successfully. In addition to managing the people who and develop the skills and capital necessary to
staff the theater, a Theater Owner has to be able to deal eventually buy a theater or get promoted by the
with the customers as well as with the distributors from cinema chain.
whom they rent each film. There is a lot of bookkeeping 2.Attend local, regional, or national conferences or
that has to be attended to, and a knowledge of adver- conventions of theater owners.
tising and marketing helps guarantee that customers 3.Place or answer classified ads in your local com-
choose to go to your theater instead of the ones owned munity about movie theaters that are for sale.
by the competition.
Duties: Create interest in a specific film through inter- Advertising and Marketing Executive
views with the stars of the movie; generate feature
articles related to the film, the screenwriter, director, Publicist
or talent
Alternate Title(s): Public Relations Executive
Assistant to Publicist
Salary Range: Varies widely
Employment Prospects: Good
Advancement Prospects: Fair
Best Geographical Location(s): Major urban centers ExperienceWorking in the publicity department,
with a concentration of filmmaking activities, such doing public relations, for individuals or compa-
as Hollywood/Los Angeles, New York City, Toronto, nies, especially filmmakers, production companies,
and Orlando or studios
Prerequisites: Special Skills and Personality TraitsDetail ori-
Education and TrainingHigh school diploma; ented; energetic; creative; able to work with differ-
college degree in liberal arts, business, communica- ent types of personalities and employees, from the
tions, or film is helpful and may be required; train- director and talent to the producers; strong contacts
ing in public and media relations and good relationship with the media or journalists
Position Description including Guerrilla P.R., Charming Your Way to the Top,
Publicists help get the word out about a new movie by and Broken Windows, Broken Business: How the Small-
talking to journalists, writing press releases, planning est Remedies Reap the Biggest Rewards, Levines first
a premier, organizing press junkets, attending industry clients were comedians Joan Rivers and David Brenner,
trade shows, and contacting producers at television and who were touring together, and it snowballed from
radio stations to set up interviews for the screenwriter, there, he says. A self-made man, Levine grew up in
director, or talent of a movie. A movie Publicist will New York City, left home at the age of 17, went to col-
carry out the campaign that has been created by the lege for six months, quit, and became self-employed
advertising and marketing executives and will submit at the ripe age of 18, and Ive been self-employed ever
the film to the appropriate film festivals. A Publicist will since.
also make sure that there are production stills of all the Levines company, which currently has 15 employ-
principals in the movie and will coordinate the activities ees, has a film industry client roster of A-list celebrities
of the photographer for the films shooting. Stills may that includes, or has included, Sandra Bullock, Michael
be used for publicity purposes or possibly collected in a J. Fox, Cameron Diaz, Kirstie Alley, and countless oth-
book about the films production. If the film is going to ers. Levine shares about his film publicist career:
have a Web site, a Publicist would be expected to work My job was to get Joan Rivers and David Brenners
with a webmaster to make sure that the Web site effec- tour publicity. At that time, I worked hard and I worked
tively publicizes and promotes the movie. cheap. I was all self-taught. My story is that I never
Film industry Publicists work in a wide range of sit- let school interfere with my education. I always used
uations, from the publicity department of an indepen- self-education as a tool. I have a very, very strong work
dent or studio film company to working on a freelance ethic. I had no formal education, so I had to do it
basis for a specific film to running their own public through hard work.
relations firm, specializing in the film industry. I spend several hours a day networking. I go to a lot
Michael Levine has been running his own film of events. Im invited out a great dealcocktail parties,
industry publicity firm, Levine Communications screenings, private dinners. To succeed [as a film pub-
Office (LCO), for the last 25 years. Author of 18 books, licist], to a large degree you have to be obsessed with
Duties: Take pictures (called production stills) during Publicist or Camera Operator
production for later use by the publicist in press kits;
maintain a photographic record of the production Still Photographer
Alternate Title(s): None
Salary Range: $300 to $463 per week or $1,500 to
Photographers Assistant
$1,700 per week, depending on whether it is a studio
or distant location
Employment Prospects: Fair
Advancement Prospects: Fair
Best Geographical Location(s): Hollywood/Los Ange- ExperienceWorking as a news photographer or
les, New York City for a magazine; working in a photo studio
Prerequisites: Special Skills and Personality TraitsTalent for
Education and TrainingBachelors degree, with a photography; a photographers eye; organized;
major in photography is helpful but not required reliable
Position Description or she thinks will have the biggest impact in terms of
Whenever you see a photo from a movie in your local marketing. These are the photos the publicist uses in
newspaper or in a magazine, chances are it was shot press kits, which are sent to the media to begin promot-
by the film companys Still Photographer, whose job it ing the movie.
is to take pictures during production of all principal A member of the same union as the director of pho-
cast members, important action sequences and spe- tography, the International Photographers Guild, the
cial effects, key crew members, as well as the director, Still Photographer is supposed to be the only person on
producer, writer, and director of photography, plus any the set allowed to take actual photographs.
other aspect of the film that could be used in promo- Besides publicity, the Still Photographer has other
tion. The Still Photographer reports to the producer responsibilities. They take pictures of the set each day
and the financing entity or studio. so that if it must be re-created for later reshooting, the
The Still Photographer works in and around the crew can refer to the stills to make sure everything is
actors and set without getting in the way or affecting placed in its proper spot. There will be some people
the shot or actors performances. He or she will some- from various departments shooting Polaroids from
times use a special device called a blimp, which is time to time, but these are used to maintain continuity
soundproof housing fitted to the camera to silence the in day-to-day shooting.
sound of the shutter and motor drive, although newer The Still Photographers photos are also used as
digital cameras are silent. documentation of the production, which means every
Since it would be impossible to shoot every part of member of the crew will appear somewhere in a photo.
every take, the Still Photographer has to use his or her If a star or celebrity visits the set, the Still Photographer
judgment as to what to shoot. Also, not every picture will may be asked to take his or her photo, unless he or she
lend itself to promotion, even if it captures a wonder- refuses. Sometimes, photos of actors in the movie are
ful moment. Sometimes, an actor might feel that these needed as props in a scene. It would be up to the Still
moments are too private to be made public; in fact, many Photographer to take those pictures as well.
actors have in their contracts the right to destroy any still
photo they do not want released. Salaries
The Still Photographer works most closely with the Salary minimums are set by the International Photogra-
publicist, who will often request certain photos that he phers Guild at $360 to $463 per day or $1,500 to $1,700
Position Description tests open to the public to see a movie before anyone else
Advertising and marketing have become pivotal ele- or even to be in it.
ments in the success of a motion picture, regardless He or she spends a lot of money promoting a film,
of the films budget. The enormous prosperity of the in hope of earning back a profit. A lot of the success
surprise hit The Blair Witch Project was driven by the or failure of big-budget movies are often determined
Internet. The Web site promoted the movie in a way within the first or second week of release. Therefore,
that led scores of moviegoers to seek it out in the the- release schedules become very important. Advertising
aters, demonstrating how even a low-budget movie and Marketing Executives play a key role in when a film
can make millions of dollars if the advertising and is released, because if a movie opens at the wrong time,
marketing campaign is effective. Generally, advertising it can affect box office receipts. For example, several
is considered the exposure for a product that is paid films that had terrorism as part of the plot were pulled
for through advertisements in newspapers, magazines, from release following the September 11, 2001, attacks
or in television or radio commercials; marketing is on the World Trade Center and in Washington, D.C.
the overall campaign, which includes advertising and At the studio level, hundreds of people are involved
publicity, such as interviews with the films director or in a marketing plan for a major motion picture. Adver-
stars in magazines, newspapers, television, or radio. tising and Marketing Executives have many factors to
Whether or not a film will have a gala premiere or be consider, including whether the release date is right,
entered in film festivals are some of the decisions that what the competition will be at that time, and the best
the Advertising and Marketing Executive will be mak- way to market this particular movie.
ing, either directly or through his or her staff. If television advertising is involved, commercials
Advertising and Marketing Executives will use a vari- have to be made. This is all tricky business, because in
ety of strategies to get people to buy tickets to their mov- commercials, as in trailers, you want to give away just
ies. These vary from holding advance screenings for key enough to entice people to see the movie without giving
journalists or opinion leaders to creating elaborate con- away too much.
Duties: Write magazine, newspaper, or Internet articles Film Critic, Screenwriter, Producer, or
or books about the film industry, film companies, Director
directors, actors, producers, or specific movies
Alternate Title(s): Film Historian; Film Biographer; Entertainment Writer
Film Author
Salary Range: $0 to $50,000+
Writer
Employment Prospects: Good
Advancement Prospects: Good
Best Geographical Location(s): Because of the Inter-
net and telecommunications, it is no longer neces- ExperienceWorking as the assistant to a Film
sary to be in a major urban filmmaking area or even Biographer or Historian may be helpful; journalism
near a library; as long as a writer can do the neces- or writing experience; learning as much about film
sary research for a story or project, any location is as possible; screening movies
possible Special Skills and Personality TraitsAble to con-
Prerequisites: duct an interview; good research skills; diligence; a
Education and TrainingNo formal educational self-starter and highly motivated; able to work alone
requirements; college degree, majoring in film, film for long periods of time; willing to stick to a book-
studies, or English and credit or noncredit special- length project for the years that a film biography
ized courses may be useful might take; excellent journalism skills; writing ability
Education 215
major newspapers, such as the Los Angeles Times 7.Contact the high school, college, or graduate
and the New York Times; and on the Internet. school you attended. Ask their job placement
6.Apply directly to specific high schools, colleges, department to keep you in mind for any open-
graduate programs, film schools, or specialized ings for a teacher in the film department or at
nondegree film or film studies programs. other schools with which they have reciprocity.
Duties: Help actors learn and continue to improve their Head of Acting School or
acting skills Acting Professor at a College
Alternate Title(s): Acting Coach; Acting Mentor
Salary Range: $50 to $200+ per hour Acting Teacher
Employment Prospects: Fair
Advancement Prospects: Poor
Actor
Best Geographical Location(s): Major urban centers,
such as Los Angeles/Hollywood, New York City,
Chicago, Denver, and Seattle, as well as in university
settings
Prerequisites: Special Skills and Personality TraitsActing
Education and TrainingCollege degree is helpful, talent; diplomatic; able to generate confidence in
along with a graduate degree in acting or profes- students; patient; excellent teaching and communi-
sional training at an acting school cation skills; comfortable working with novices and
ExperienceProfessional acting on the stage or in celebrities; sensitive to artistic egos
films
Education 217
Experience, Skills, and Personality Traits Writers Guild of America (WGA) may expose the
Acting Teachers are expected to combine excellence in Acting Teacher to actors, producers, directors, and
acting with the skills and personality traits associated screenwriters who may know of potential students.
with a superior teacher. An Acting Teacher must have
the ability to express what he or she is looking for in Tips for Entry
a performance, patience in dealing with students, and 1.Let people know that you wish to teach acting.
a commitment to teaching. An Acting Teacher should Act and network.
also be able to handle the business aspects of running 2.If you have an Acting Teacher, tell him or her
an acting school or the pressures of being on the faculty that this is something you want to do. Intern or
of a private school, college, acting school, or graduate team-teach.
school. 3.Apply directly to acting schools that may be hir-
ing through word of mouth, alumni or career
Unions and Associations departments, or advertisements in trade or local
Full-time college professors who teach acting may newspapers.
be members of the National Education Association 4.Establish a reputation as an actor; it will be easier
(NEA), the teachers union. Participating in activi- to teach acting if you are acclaimed as an actor.
ties sponsored by the Screen Actors Guild (SAG) and
Education 219
fees and working with higher profile performers and personality and skill to communicate those contrasts
stars. to actors. Flexibility is also a useful personality trait,
since a Dialect Coach may be called upon to teach in
Education and Training person, by phone, or even through audiotapes.
Basic training in language, speech, phonetics, and
dialects at the undergraduate or graduate level, acting Unions and Associations
training, and education training are useful. An enor- Dialect Coaches have no union, but membership in
mous amount of research is required of the Dialect industry associations, such as Women in Film, may be
Coach, from listening to various languages and dialects helpful for networking.
to researching historical periods and times to using
television or films from around the world as educa- Tips for Entry
tional tools. 1.Keep notes on all the languages that you hear or
the dialects and accents that you are exposed to.
Experience, Skills, and Personality Traits What makes someone sound a particular way?
Working and living in a variety of countries will help, 2.Study as many languages as possible and travel as
as will being observant of language and dialect differ- widely as you can.
ences. This is a highly developed skill, with few people 3.Become an intern to a Dialect Coach or become
able to achieve the necessary combination of the abil- part of an apprenticeship program.
ity to hear the differences in dialect and accent and the
Position Description (WIFV). Lawler, who grew up in New Jersey and who
This is an administrative job for someone who has a moved to New York City to go to film school, where
combination of management skills and a knowledge of she studied production, initially thought she was going
the film industry. There are two key ways of becoming to make films. Says Lawler: I did love films. I was very
an Association Director for a film industry association: interested in social issue films.
working your way up the ladder within a film associa- Lawler began as a film editor at a nonprofit com-
tion or getting experience in film or in association work pany that was making films on social issues. But she
in another industry and transfering those skills to an found herself being drawn into arts administration,
association in the film industry. becoming program coordinator and, eventually, execu-
Terry Lawler has been executive director of the tive director of a nonprofit film fund. Says Lawler: I
New York Women in Film and Television (NYWIFT) like solving problems and supporting creative people,
association for more than 10 years. NYWIFT is one says Lawler, as she highlights some of the responsibili-
of 40 chapters of an international association, Women ties of her position. Her association has approximately
in Film International (WIFI), which has more than 1,600 members, as well as 250 active volunteers who
10,000 members internationally including such major help with everything from breakfast, evening, and occa-
chapters as Los Angelesbased WIF (Women in Film) sional weekend educational and networking programs
and Washington, D.C.based Women in Film & Video offered regularly to members (and nonmembers) to an
Education 221
annual awards luncheon, which is attended by around Employment Prospects
1,200 members and guests. The employment prospects are only fair because this is
Karen Rosa, director of the Film & TV Unit of the a specialized field with only so many associations serv-
American Humane Association, became an Associa- ing the film industry. Association Director is the top
tion Director through a different route than Lawlers. job at an association, so the opportunities for that job
Rosa, who grew up in New Jersey and who studied art will be much more selective than for the more plentiful
at Moore College of Art in Philadelphia, worked for entry-level association jobs.
more than a decade as a textile designer. She managed
a design studio and style lines at Burlington Industries. Advancement Prospects
So I came to this position with some management Since this is the top job at an association, there will
background, says Rosa. After working in Florida as art be few advancement opportunities at a specific asso-
director at an advertising agency that she co-owned, ciation, unless it merges with another association or
she became involved in designing theater sets. It was two and becomes an even larger association with more
through a friend that she decided to relocate to Cali- members and staff reporting to the Association Direc-
fornia and try to get a job at the American Humane tor. If that does not occur, advancement may depend
Associations Film & TV Unit. [For a more in-depth upon moving to another association or transferring the
description of what the unit does, go to the entry for administrative skills to a for-profit situation, such as
Animal Safety Representative in the Talent section running a film company or becoming a film producer.
of this book.] Rosa explains: A friend of mine from
the theater community in Tampa mentioned that the Education and Training
American Humane Association had representatives A high school diploma is expected and a college degree
who go out on movie sets to oversee the treatment of with courses in film, management, or business is recom-
animals. She thought it would be a good part-time job mended. Graduate courses in film and even a masters
to introduce me to a brand-new city. She knew I had of arts administration with specialization in nonprofit
dogs and cats and that I knew how to ride [horses]. administration considerations is useful and could give
Rosa did move out to California; she applied for the you a competitive edge today. Training in delegating
part-time job, was trained, and then she was asked if and managing a staff will help for this top position.
she could fill in for someone who was going on a leave Knowing how a budget is put together as well as how to
of absence. That was 15 years ago, and I never left. keep track of the associations fiscal health, even if there
Like Lawler, Rosa believes in the mission of the is an accountant or financial consultant responsible for
association that she heads. I love the commitment of those concerns, will be helpful training.
this program, she says. Association Director requires
a wide range of skills. Having the ability to use a com- Experience, Skills, and Personality Traits
puter was initially one of the skills that helped her to Having experience working at a nonprofit association,
get hired. especially in the arts, including film, will be excellent
Rosa explains: You need to be a multitasker. I have background for this high-profile job. Being an excel-
to be a grant writer, and I have to manage the grant. I lent manager of your timeknowing how, when, and
manage people, and I have to stay informed and repre- what to delegatebeing able to stretch a budget as far
sent the organization. In preproduction, I read scripts as possible, as well as being able to juggle many projects
to understand the animal action, and I do outreach and events are necessary skills. Having a passion for
to productions. Were actually scheduling people on movies and film, as well as being a people person, are
the set who oversee the welfare of the animals and other skills and personality traits expected in this job.
uphold extensive Guidelines for the Safe Use of Animals A love of travel is important because there may be a
in Filmed Media. In postproduction, we screen to see if lot of local, as well as national or international, travel
its eligible for the end credit. Theres staying abreast of involved. A willingness to work long and nontraditional
research. Its an amalgam of being in the film industry hours is also required, since so many of the association
as well as animal welfare. events may be offered before the workday begins, dur-
ing the workweek evenings, and even occasionally over
Salaries the weekend. Getting to know the association mem-
Ranges from $50,000 to $100,000+ depending upon the bers as well as being able to handle a support staff
size of the association (number of members) as well as are other requirements of the job. Association Director
its annual budget. Lawler adds these personality traits for this job: Being
Education 223
Film Archivist/
Preservationist
CAREER PROFILE Career ladder
Education 225
the Image Permanence Institute (IPI), the AMIA, and Archivists (SAA, http://www.archivists.org), with more
the Rockefeller Archive Center. Skills include library than 5,000 members.
science and cataloging competence, knowledge of film
production as well as the particular storage, cataloging, Tips for Entry
or retrieval challenges of movies or TV programs made 1.Work for a company or library that does film
on film, digital video, or analogue video. Personality archiving or preservation and get on-the-job
traits that a Film Archivist or Preservationist should training.
have include being detail-oriented as well as the ability 2.Join the Association of Moving Image Archi-
to work behind the scenes and in a technical capacity vists and become active in its local and national
rather than in front of the camera. Finding the catalog- activities, including attending workshops, sym-
ing of data interesting and challenging is essential to posiums, and the annual conference. Network
this job, as is having an interest in the preservationist with Film Archivists and Preservationists about
tasks and challenges that a Film Archivist/Preservation- what they do and about any job openings at their
ist deals with. companies or libraries.
3.Become active in the Womens Film Preservation
Unions and Associations Fund, a New York Citybased effort founded in
The key association for Film Archivists is the Associa- 1995 by New York Women in Film and Television
tion of Moving Image Archivists (AMIA, http://www. and the Museum of Modern Art. They are always
amianet.org), based in Hollywood, California. Another looking for active members of their committee. For
association is the Chicago-based Society of American more information, go to: http://www.nywift.org.
*Throughout these appendixes, you will find street addresses, Web site
addresses, and other contact information for schools, companies, asso-
ciations, and organizations. However, since this information may change
at any time, including even the name of an association or the existence of
a Web site on the Internet, neither the publisher nor the authors take any
responsibility for the accuracy of any listings. Being listed in these appen-
dixes does not imply that the authors are recommending an association,
company, product, school, or service, nor does omission from these lists,
due to space and other considerations, imply disapproval. The publisher
and authors shall have neither liability nor responsibility to any person or
entity with respect to any loss or damage caused or alleged to be caused
directly or indirectly by the professionals, associations, schools, or compa-
nies listed and/or their services rendered to the reader. Any corrections to
any listings in this book or any suggestions for possible inclusion of Web
sites, schools, associations, organizations, books, or resources for future
editions should be sent to the authors at their mailing address: Fred and Jan
Yager, P.O. Box 8038, Stamford, CT 06905-8038 or to their e-mail: fyager@
aol.com or jyager@aol.com.
Appendix I
Educational Resources:
Colleges and Universities
If you plan to pursue an undergraduate degree in film, psychology, biology, chemistry or the myriad of other
you may be familiar with some of the better-known possibilities. For those who wish to pursue a costume or
schools offering a degree program, such as the Uni- set design career in the film industry, you may want to
versity of Southern California (USC), the University of major in art. Those who are considering a career in the
California at Los Angeles (UCLA), New York Universi- film industry in the postproduction marketing, publicity,
tys Tisch School, or the University of Texas at Austin. or distribution aspects of the business may wish to major
However, there are also several graduate schools that in business, marketing, or communications.
are considered key film schools (listed in Appendix II), The following list provides just a few of the hun-
such as the American Film Institute, Columbia Uni- dreds of colleges and universities in the United States
versity, as well as selected nondegree programs (listed that offer majors or courses, through a film or drama
in Appendix III). Following is a more extensive list of department, which could prepare you for a career in
colleges and universities that offer a major in film, and the film industry. It is not intended to be comprehen-
related areas, such as theater or digital media including sive. You could also consult with your high school
cinema studies, because preparing for a career in film guidance counselor about other colleges or universi-
could include such a diverse range of jobs, from the ties to consider, especially those in a geographic area
actors in front of the camera to the director behind it, not included in the following list. If a school you are
as well as the casting, talent, and literary agents who interested in is not listed below, contact the admis-
help bring everyone together. For that reason, it is dif- sions department of that school or go to that schools
ficult, at the undergraduate level, to point to just one Web site to discover if they have a film, cinema stud-
course of study or major that will be right for everyone. ies, art, communications, or acting department. (To
If you want to be an actor after you graduate, you may find the Web site for those colleges or universities
wish to major in acting. Or you may want to major in omitted below, do a search on the Internet using a
philosophy, literature, physics, or art, and get a masters search engine, such as http://www.google.com.) An
degree in acting or take nondegree or postgraduate act- excellent resource on selected colleges and universi-
ing courses. ties in general is the Princeton Reviews The Best 368
The same is true for the dozens of other career Colleges, written by Robert Franek, Tom Meltzer, Roy
options related to the film industry. At the undergradu- Opochinski, Eric Owens, and Tara Bray, published by
ate level, there are a wide range of majors that provide Random House, and updated annually.
a solid foundation for the acting, directing, produc- Another way to find a college or university that
ing, technical, and business-related careers in the film might offer preparatory courses and training for a
industry embarked upon after graduation. Apprentice- career in the film industry is to look through Appen-
ships or internships during college or after graduation dix IV, Professional Unions and Associations, and find
offer additional training for specific careers in film- the union or association that is tied to your career
making. (See Appendix V for a list of selected competi- interest. For example, the Directors Guild of America
tions, fellowships, and internships in the film industry.) (DGA) would be helpful for future directors, as would
For some, the time to specialize in film may be after the Producers Guild of America (PGA) for would-
graduating from college, pursuing a graduate degree or be producers. See if there is anything useful at their
nondegree classes in a specific film area, such as cin- Web site or if someone at that union or association
ematography, directing, screenwriting, acting, anima- has any suggestions about colleges or universities that
tion, or production. are especially noted for offering courses or even a
It is a challenging decision: to major in drama or major related to the specific career that interests you.
film or to garner a broad background by majoring in (Appendixes II and III provides information about
Appendix I 229
FLORIDA Department of Film and Television Columbia University
640 Commonwealth Avenue Columbia College
Florida State University Film Boston, MA 02215 School of General Studies
School http://www.bu.edu/com/filmtv Film Studies
University Center 3100A
513 Dodge
P.O. Box 3062350
Clark University New York, NY 10027
Tallahassee, FL 32306-2350
Visual and Performing Arts http://www.columbia.edu
http://film.fsu.edu
Department Offers a major in film studies
Screen Studies through the School of General
Illinois 950 Main Street Studies. See the listing for the
Northwestern University Worcester, MA 01610 MFA in Film program under
Department of Radio, Television http://www.clarku.edu graduate programs, Appendix II.
and Film
1800 Sherman Avenue Emerson College Fordham University
Suite 106 School of the Arts Department of Communication and
Evanston, IL 60201 The Department of Visual and Media Studies
http://commweb.soc.northwestern. Media Arts Rose Hill Campus
edu/rft/programs/undergraduate 120 Boylston Street Bronx, NY 10458
Boston, MA 021164624 http://www.fordham.edu
Indiana http://www.emerson.edu
Hofstra University
Indiana University Hampshire College School of Communication,
Department of Communication and School of Humanities, Arts and Department of Audio/Video/Film
Culture College of Liberal Arts and Sciences
Cultural Studies
Film and Media Studies Humanities Department,
Film, Photo & Video Production
Ashton-Mottier Department of Drama and
Emily Dickinson Hall
1790 E. 10th Street Dance
Amherst, MA 01002
Bloomington, IN 47405 Hempstead, NY 11549-1000
http://www.hampshire.edu
http://www.indiana.edu/~cmcl/ http://www.hofstra.edu
filmstud.html
Northeastern University
Theatre Ithaca College
Iowa 150 Richards Hall Department of Cinema,
University of Iowa Boston, MA 02115 Photography, and Media Arts
College of Liberal Arts and Sciences http://www.neu.edu School of Communication
Department of Cinema and 953 Danby Road
Comparative Literature Ithaca, NY 14850-7250
Michigan
425 English-Philosophy Building http://www.ithaca.edu
Iowa City, IA 52242 Central Michigan University
http://www.uiowa.edu/~cc/ College of Communication and New York University
Fine Arts Tisch School of the Arts
Broadcast and Cinematic Arts Undergraduate Department of
Maryland Drama (Institute of Performing
Mount Pleasant, MI 48858
Goucher College http://www.cmich.edu Arts)
Communication and Media Studies Department of Design for Stage
Department and Film
New York
1021 Dulaney Valley Road Maurice Kanbar Institute of Film
Baltimore, MD 21204-2794 The City College of New York and Television
http://www.goucher.edu The Media & Communication Arts Skirball Center for New Media and
Department Film: Department of Cinema
Film and Video Production Studies
Massachusetts
138th Street & Convent Avenue 721 Broadway, 8th floor
Boston University New York, NY 10031 New York, NY 10003
College of Communication http://www.ccny.cuny.edu http://www.tisch.nyu.edu
Appendix I 231
Appendix II
Colleges, Universities, and Schools
with Relevant Graduate Degree
ProgramsMA (master of arts)
or MFA (master of fine arts)
A. MA or MFA in Acting
California Connecticut Graduate Acting Program
721 Broadway
University of California at Irvine Yale School of Drama New York, NY 1003
Department of Drama Yale University http://www.tisch.nyu.edu
249 Drama P.O. Box 208235
Irvine, CA 92697-2775 New Haven, CT 06520
http://www.uci.edu http://yale.edu/drama Pennsylvania
Appendix II 233
Appendix III
Selected Nondegree Acting,
Directing, and Film Courses
and Programs
Appendix IV 237
Directors Guild of America (DGA-NY) A union local with roots that go back more than 75
New York/Eastern Region Headquarters Building years to seven cameramen working in New York City
110 West 57th Street that was formed in 1996 by merging Local 644 (New
New York, NY 10019 York City), Local 659 (Hollywood), and Local 666 (in
http://www.dga.org Chicago). Local 600 has more than 5,000 members
See above description of DGA. who are directors of photography, camera operators,
assistants, still photographers, and visual effects,
Electricians animation, and video specialists.
Local 40, IBEW, AFL-CIO
http://www.ibewlocal40.com Makeup Artists and Hairstylists Guild
The local union of the International Brotherhood Local 706 (MPMO, Motion Picture Machine
of Electrical Workers, started in 1923, that represents a Operators), IATSE
range of works in the film and entertainment industry, 15503 Ventura Boulevard
including electronics, production, telecommunications, Encino, CA 91436
sound, air conditioning, special effects, stage managers, http://www.local706.org
and set lighting. A local IATSE and MPMO union for makeup artists
and hairstylists chartered in 1937. Check their Web site
Film Technicians or contact the union for guidelines for applying to join
Local 683, IATSE Local 706.
9795 Cabrini Drive
Suite 204 Motion Picture Editors Guild (MPEG)
Burbank, CA 915047429 Local 776, IATSE
Local683@mindspring.com West Coast office
http://www.ialocal683.com 7715 Sunset Boulevard
Local union of IATSE representing approximately Suite 200
1,400 film technicians nationally. Contact the local for Hollywood, CA 90046
information on requirements for joining. http://www.editorsguild.com
A local union of IATSE for motion picture editors
The International Alliance of Theatrical Stage with more than 6,000 members.
Employees, Moving Picture Technicians,
Artists and Allied Crafts of the United States Publicists Guild of America
and Canada (IATSE) Local 600 (formerly Local 818), IATSE
1430 Broadway, 20th floor 7715 Sunset Boulevard
New York, NY 10018 Suite 300
http://www.iatse-intl.org Los Angeles, CA 90046
This labor union, affiliated with the AFL-CIO, A local IATSE union for publicists in the film
represents technicians, artisans, and craftspersons in the industry. Merged in 2002 with the International
entertainment industry, including film and television Cinematographers Guild, Local 600.
production, live theater, and trade shows. Dating
back to 1893, when 1,500 stage workers organized, Scenic, Title, and Graphic Artists
the crafts of the IATSE include stage technology Local 800 (formerly Local 816), IATSE,
(carpentry and rigging, electronics, sound, and props); AFL-CIO
cinematographers; costume design; set design; wardrobe http://www.artdirectors.org
art; hair and makeup design; and animation. A directory A local union chartered in 1949 for scenic, title, and
of the more than 550 local unions of the IATSE is graphic artists. Merged with the former Local 876 (Art
available at the online site. Directors Guild) and is now Local 800. See listing for Art
Directors Guild and Scenic, Title, and Graphic Artists,
International Cinematographers Guild Local 800.
Local 600, IATSE
National Office/Western Region Script Supervisors/Continuity and Allied
7755 Sunset Boulevard Production Specialists Guild
Hollywood, CA 90046 Local 871, IATSE
http://www.cameraguild.com 11519 Chandler Boulevard
Writers Guild of America East (WGAE) The Academy of Science Fiction, Fantasy &
555 West 57th Street Horror Films
Suite 1230 334 West 54th Street
New York, NY 10019 Los Angeles, CA 90037-3806
http://www.wgaeast.org http://www.saturnawards.org
Appendix IV 239
A nonprofit membership association, founded in is a free newsletter that may also be accessed by
1972, dedicated to commemorating films and TV in nonmembers; a members-only section requires a
this genre, such as Frankenstein, The Wizard of Oz, and password, which you assign yourself upon joining the
Harry Potter and the Sorcerers Stone. Screens movies in association.
Southern California; bestows an annual Saturn Award
for the best entertainment in these genres. American Society of Cinematographers (ASC)
1782 North Orange Drive
Alliance of Motion Picture & Television Hollywood, CA 90028
Producers (AMPTP) http://www.theasc.com
15503 Ventura Boulevard Founded in 1919, this association of directors of
Encino, CA 91436 photography is open by invitation only. Publishes
http://www.amptp.org American Cinematographer magazine. Provides
Trade association founded in 1982 concerned with educational and professional activities as well as
labor issues in the film and television industries. sponsoring awards.
American Cinema Editors, Inc. (ACE) American Society of Composers, Authors &
100 Universal City Plaza Publishers
Rose Hunter Building B, suite 202 ASCAP Building
Universal City, CA 91608 One Lincoln Plaza
http://www.ace-filmeditors.org New York, NY 10023
An honorary society for editors, founded in 1950. http://www.ascap.com
Membership requirements include at least 60 months A membership association of music composers,
of features or television editing experience, sponsorship songwriters, and publishers in the United States and
by at least two active members, approval by the board of worldwide. ASCAP was created by and is currently
directors, and acceptance by the general membership. run by composers, songwriters, and music publishers;
Publishes the magazine Cinema Editor. the board of directors is elected by and from the
membership. ASCAP protects the rights of its
members by licensing and distributing royalties for the
American Federation of Film Producers (AFFP)
nondramatic public performances of their copyrighted
http://www.filmfederation.net
works.
Membership association of filmmakers who have
successfully completed at least one film that was Association of Film Commissioners International
commercially distributed. (AFCI)
See listing in Appendix VII, Film Commissions.
American Film Institute (AFI)
2021 North Western Avenue Association of Talent Agents (ATA)
Los Angeles, CA 90027 9255 Sunset Boulevard
http://www.afi.com Suite 930
A nonprofit organization established in 1967 by Los Angeles, CA 90069
the National Endowment for the Arts to foster new http://www.agentassociation.com
talent, ensure the preservation of film and video, and Nonprofit trade association of 100 talent agencies
promote the appreciation of film as an art form. (See also started in 1937. Member agencies represent a range of
listings for the AFI masters of fine arts (MFA) degree talent in the film industry, from actors, directors, and
and certificate programs in six film disciplines listed in puppeteers to choreographers. You may search for an
Appendixes II and III.) actor or actress at the site by putting the name of the
person into the search engine, which will get you to the
American Screenwriters Association (ASA) name of his or her talent agent, if the person has one.
269 S. Beverly Drive More than 40,000 actors and actresses are listed.
Suite 2600
Beverly Hills, CA 90212-3807 Broadcast Film Critics Association (BFCA)
http://www.goasa.com 9220 Sunset Boulevard
International membership association for more Los Angeles, CA 90069
than 1,300 screenwriters in 36 countries. There http://www.bfca.org
Appendix IV 241
affecting the musical community, such as record piracy New York Women in Film and Television
and censorship. (NYWIFT)
6 East 39th Street, Suite 1200
The National Academy of Television Arts and New York, NY 10016-0112
Sciences (NATAS) http://www.nywift.org
111 West 57th Street, Suite 600 This professional membership association,
New York, NY 10019 founded in 1978, is part of the Women in Film
http://www.emmyonline.org network of chapters, with approximately 1,200
Founded in 1957, this national association recognizes members, each with a minimum of four years of
excellence in television through the prestigious annual professional experience in film or television, above
Emmy Award. There are 18 chapters throughout entry level. Offers educational opportunities including
the United States, including Seattle, Boston, Atlanta, screenwriting readings, film screenings, and an
Cleveland, Colorado, and Texas. (See the Web site
annual holiday luncheon that recognizes women who
for a list of local chapters with contact information.)
have been role models for those in the industry. In
Membership is open to professionals working in
addition to dues, new members need to be sponsored
television, for at least one year or who have been
by two current members and pay a onetime initiation
approved by the Membership Committee. Members
fee. Maintains a directory, updated annually, for
work in a wide range of jobs in television, from
networking with other members, and also coordinates
executives, producers, newscasters, and performers to
writers, directors, designers, entertainment attorneys, the Revlon Intern/Mentor Program (see listing in
academics, camera operators, and others. The NATAS Appendix V).
has a free job bank for its members and also publishes
Television Quarterly. Online Film Critics Association (OFCS)
http://ofcs.rottentomatoes.com
National Association of Latino Independent Founded in 1997, this is an international
Producers (NALIP) membership association of Internet-based film critics
P.O. Box 1247 and writers. Member profiles at the associations Web
Santa Monica, CA 90406 site include the writers photograph, a bio, and his or
http://www.nalip.org her e-mail address.
A membership association, offering educational
workshops, networking, advocacy, and mentoring. There Organization of Black Screenwriters (OBS)
is also an East Coast office in New York City. 1968 West Adams Boulevard
Los Angeles, CA 90018
National Association of Theatre Owners (NATO) http://www.obswriter.com
750 First Street NE Founded in 1988, this international membership
Suite 1130 association assists screenwriters who are creating works
Washington, DC 20002 for film and television, through educational programs,
http://www.natoonline.org
workshops, networking, and job openings posted and
Trade association representing almost 38,800 movie
updated at the Web site.
screens throughout the United States and additional
screens internationally. Sponsors trade shows and
gathers and publishes statistics about the film industry, Producers Guild of America, Inc. (PGA)
including box office revenue. 8530 Wilshire Boulevard, Suite 450
Beverly Hills, CA 90211
New York Film Critics Circle http://www.producersguild.org
http://www.nyfcc.com An association of more than 3,500 members with
Founded in 1935, this is an association of film critics strict membership criteria for those who are part of a
who write for New Yorkbased publications, such films production team, including executive producers,
as People, Entertainment Weekly, and the Wall Street producers, line producers, associate producers,
Journal, with membership over the years varying from postproduction supervisors, and managers, among
11 to 31 members. Current members are listed at the others. PGAs mission statement at their Web site:
site, with their photograph, professional affiliation, and The New PGA represents, protects, and promotes the
a bio. interests of all members of the producing team.
Appendix IV 243
Appendix V
Competitions, Fellowships,
and Internships
There are hundreds of competitions for almost every Another way to get on-the-job experience and network-
aspect of filmmaking, from screenwriting and directing ing opportunities in the film industry is to volunteer to
to cinematography and costume design. The list that fol- help at any of the hundreds of film festivals each year.
lows is a very small sample of the available competitions, Many festivals, including Sundance, are dependent upon
fellowships, and internships. Other sources of infor- volunteers to help out during the week or 10 days of
mation for competitions, fellowships, and internships screenings, seminars, and parties. Some festivals, like the
include the unions and associations listed in Appendix Chicago International Film Festival, offer unpaid intern-
IV. Contact the union or association related to the area ships in a variety of areas, including film programming,
of film that you wish to explore, such as makeup, act- marketing, and graphic design. Volunteers may get tick-
ing, or screenwriting, and see if they have information ets to screenings or invitations to seminars or parties,
posted on their Web site or available through the mail on space permitting, in exchange for performing various
competitions, fellowships, or internships. Film industry functions at the festival. Although the cost of getting to
information Web sites may also provide information; for an out-of-town film festival is usually picked up by the
example, at http://www.moviebytes.com there are list- volunteer, admission fees to events are usually waived in
ings of hundreds of contests for screenwriters along with exchange for volunteer service. (See Appendix VI: Film
links to more information on each award, entry fees, Festivals, for listings for possible volunteer or internship
and deadlines. (For additional film industry informa- opportunities. Check the festivals Web site for informa-
tion Web sites, go to Web Site Resources, page 258.) tion, including application procedures or deadlines.)
Academy of Motion Pictures Arts & Sciences 1313 North Vine Street
(AMPAS) Beverly Hills, CA 90028
8949 Wilshire Boulevard http://www.oscars.org/nicholl
Beverly Hills, CA 90211-1972 Annual international screenwriting fellowship,
http://www.oscars.org started in 1986, open to screenwriters who have not
The Academys annual grant activities extend support earned more than $5,000 writing for film or television.
to film festivals and college film departments with Each year, up to five $30,000 fellowships are awarded.
internship programs. Grants are not usually awarded to May 1 is the final submission deadline. See the Web site
individuals. for submissions, guidelines, and application.
Appendix V 245
Appendix VI
Film Festivals
As Adam Langer notes in his comprehensive The Film addition to Langers book, here is a Web site that offers
Festival Guide, there are over 500 film festivals held up-to-date information on film festivals throughout the
annually worldwide. Fifteen of the more prominent film world: http://www.filmfestivals.com.
festivals are included in this Appendix. For listings in
Appendix VI 247
Appendix VII
Film Commissions
North Dakota
South Carolina Washington
North Dakota Film
Commission South Carolina Film Office Washington State Film Office
604 East Boulevard, 2nd floor 1210 Main Street 2001 6th Avenue
Bismarck, ND 58505 Suite 2010 Suite 2600
http://www.ndtourism.com Columbia, SC 29201 Seattle, WA 98121
http://www.scfilmoffice.com http://www.wafilm.wa.gov
Ohio
South Dakota West Virginia
Ohio Film Office
South Dakota Film West Virginia Film Office
77 South High Street, 29th floor
P.O. Box 1001
Commission 90 MacCorkle Avenue SW
711 East Wells Avenue South Charleston, WV 25303
Columbus, OH 43216-5156
Sierre, SD 57501-3369 http://www.wvfilm.com
http://www.discoverohiofilm.com
http://www.state.sd.us
Wisconsin
Oklahoma Tennessee
Wisconsin Film Office
Oklahoma Film Commission Tennessee Film, Entertainment 648 North Plankinton Avenue
15 North Robinson, #802
& Music Commission Suite 425
Oklahoma City, OK 73102
312 8th Avenue North, 9th floor Milwaukee, WI 53203
http://www.oklahomafilm.org
Nashville, TN 37243 http://www.filmwisconsin.net
http://www.state.tn.us/film
Oregon Wyoming
Oregon Film & Video Office Texas
Wyoming Business Council
121 Southwest Salmon Street Texas Film Commission 214 West 15th Street
Suite 1205 P.O. Box 13246 Cheyenne, WY 82002
Portland, OR 97204 Austin, TX 78711 http://www.wyomingfilm.org
http://www.oregonfilm.org http://www.governor.state.tx.us/film
Pennsylvania Utah
Greater Philadelphia Film Utah Film Commission
Office American Plaza III
100 South Broad Street 47 West 200 South
Glossary 253
applies to the go-ahead given to a project by one of the screenplay, purchase the property, and make the
the major studios. movie.
grip Person who moves materials and helps set up postproduction The phase that begins once principal
equipment required on a set or location, including photography is finished. The film is edited. A final
the camera dollies. print is then copied and distributed to audiences.
HD High definition preproduction The first of the three phases of creat-
independent A director or producer who is not ing a film (the other two phases are production and
employed by a major studio but instead obtains ini- postproduction). During preproduction, financing
tial funding for a film project from private sources, will be raised; the cast will be chosen; the script will
such as banks, wealthy investors, or friends and fam- be purchased and written or rewritten; the film crew
ily members. for production will be hired; and the location or
key grip The supervisor responsible to the director of locations where the film will be shot will be scouted.
photography and the gaffer. producer Brings together all the elements needed to
line producer Person responsible for all the details of make the movie. Often, movies begin with a pro-
moving a movie along, on schedule and on budget. ducer finding literary material he or she wants to see
This job contrasts with that of the producer, who developed into a screenplay, hiring a screenwriter to
usually puts the project together but then turns over write an original screenplay, or purchasing a com-
the day-to-day concerns to a line producer. pleted screenplay (known as a spec screenplay).
literary material A screenplay or any book, play, arti- production The actual shooting of a film; also referred
cle, or movie from which a screenplay is derived. to as the commencing of principal photography.
makeup artist Person responsible for the makeup rough cut An early assembly of the scenes, often lacking
of the actors in a movie, from the principal actors final music and looping dialogue, color correction,
to the extras. The makeup may be contemporary and some scenes that may require special effects.
or might include making someone up to portray a screenplay Term used for the script that serves as the
character from history, aging a contemporary char- basis of a movie. Screenplays adhere to certain con-
acter, or producing special effects. See also Special ventions in terms of technical specifications for pre-
effects makeup artist. sentation, such as the margins and font to be used
negative costs The cost of a film, including above-the- and how dialogue or directions are presented, and
line and below-the-line costs, but excluding costs based on the projected length of the final movie. For
related to marketing and distributing the film. example, the standard is one page of a screenplay for
option A payment made by a director, producer, or stu- approximately one minute of a movie.
dio for a screenplay or literary material for the right screenwriter One who writes feature films, which fol-
to find independent funding sources or a studio to low a strict format in terms of writing style, look,
finance making the movie. If the funding sources and length. Unlike writing a novel or a play, writing
are not available, or if the talent that the producer feature films is usually a collaborative effort. Rarely
hoped to obtain cannot commit to the project, the will the final film be exactly the way the screenwriter
option may expire, and there are no further financial first wrote it, or shot without the benefit of one or
or creative obligations to the writer. Options are more rewrites by the original screenwriter, other
usually for anywhere from six to 18 months; some screenwriters, and, in some instances, by the direc-
options have provisions for an additional payment if tor or producer.
the option is renewed. The option may be part of an scrim A type of screen used to diffuse the light on a set
agreement that also covers the payment and terms in order to eliminate or at least soften the shadows.
of sale for the screenplay or property if a movie It also reduces glare.
does commence production, or the option can be a script reader Reader of screenplays who summarizes
completely separate agreement with another agree- the work and issues a written report to a studio
ment drawn up once the project is greenlighted or or film company; this report notes which of these
definitely moving forward. actions the studio or company should take regarding
pitch A succinct verbal synopsis of the key concept, the script: recommend, consider, or pass.
plot, and characters behind a screenplay or film script supervisor Keeps track of the different takes
project that a screenwriter or literary agent gives while the movie is being shot, times the takes, and
to a director or producer, in person or over the makes notes for the director as a way of maintaining
phone, with the hope that he or she will want to read continuity when the director edits the film.
Glossary 255
Selected Bibliography
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Actors, Acting, and Casting Agents
Directors Hollywood Creative Directory. Hollywood Represen-
Adler, Stella. The Art of Acting. New York: Applause tation Directory Agents & Managers. 62nd edition.
Theatre Book Publishers, 2000. Los Angeles, Calif.: Hollywood Creative Directory,
Caine, Michael. Acting in Film: An Actors Take on 2008.
Moviemaking. Rev. ed. New York: Applause The- Rainford, Nancy. How to Agent Your Agent. Los Ange-
atre Book Publishers, 1997. les, Calif.: Lone Eagle Publishing, 2002.
Chekov, Michael. On the Technique of Acting: The
First Complete Edition of Chekovs Classic to the Directors and Directing
Actor. New York: HarperCollins, 1993. Bare, Richard. The Film Director. New York: Collier
Hagen, Uta, with Haskel Frankel. Respect for Acting. Books, 1971.
New York: Wiley, 1973. Katz, Steven D. Cinematic Motion: A Workshop for Stag-
Henry, Mari Lyn, and Lynne Rogers. How to Be a
ing Scenes. Studio City, Calif.: Michael Wiese Pro-
Working Actor: The Insiders Guide to Finding Jobs
ductions, 1992.
in Theater, Film, and Television. 4th ed. New York:
. Shot by Shot: Film Directing, Visualizing from
Watson-Guptill, 2000.
Concept to Screen. Studio City, Calif.: Michael Wiese
Hollywood Creative Directory. Film Actors. 6th edition.
Productions, 1991.
Los Angeles, Calif.: Hollywood Creative Directory,
Landau, Camille, and Tiare White. What They Dont
2003.
Teach You at Film School: 161 Strategies for Making
Joseph, Erik. Glam Scam: Successfully Avoiding the Cast-
Your Own Movie No Matter What. New York: Hyper-
ing Couch, and Other Talent and Modeling Scams.
ion, 2000.
Los Angeles, Calif.: Lone Eagle Publishing, 1994.
Lone Eagle Publishing. Film Directors. 16th edition. Los
Kanner, Ellie, and Paul F. Bens, Jr. Next! An Actors
Angeles, Calif.: Lone Eagle Publishing, 2002.
Guide to Auditioning. Los Angeles, Calif.: Lone Eagle
Lowenstein, Stephen, ed. My First Movie: Twenty Cel-
Publishing, 1996.
ebrated Directors Talk about Their First Film. New
Kondazian, Karen, and Eddie Shapiro. The Actors
York: Penguin, 2002.
Encyclopedia of Casting Directors: Conversations with
Rodriguez, Robert. Rebel Without a Crew: Or How a
over 100 Casting Directors on How to Get the Job. Los
23-Year-Old Filmmaker with $7,000 Became a Hol-
Angeles, Calif.: Lone Eagle Publishing, 2000.
lywood Player. New York: Plume, 1996.
Lewis, M. K., and Rosemary R. Lewis. Your Film Act-
Singer, Michael. A Cut Above: 50 Directors Talk about
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Their Craft. Los Angeles, Calif.: Lone Eagle Publish-
Survive in Hollywood. 4th ed. Santa Monica, Calif.:
ing, 1998.
Gorham House Publishers, 1997.
Tibbetts, John C., and James M. Welsh. The Encyclope-
Meisner, Sanford. Meisner on Acting. New York: Vin-
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2002.
Nicholas, Michael S. An Actors Guide: Your First Year
in Hollywood. New York: Allworth Press, 2000.
Shurtleff, Michael. Audition: Everything an Actor Film Festivals
Needs to Know to Get the Part. Studio City, Calif.: Gore, Chris. The Ultimate Film Festival Survival Guide.
Players Press, 1984. 2d edition. Los Angeles, Calif.: Lone Eagle Publish-
Stanislavski, Constantin. An Actor Prepares. Trans- ing, 2001.
lated by Elizabeth Reynolds Hapgood. Philadel- Langer, Adam. The Film Festival Guide. 2d ed. Chicago:
phia, Penn.: Taylor & Francis, 1989. Chicago Review Press, 2000.
http://www.moviebytes.com
Lists agents, screenplay contests, and some markets for
screenplays.
Page numbers in boldface indicate AFTRA. See American Federation of AMPAS. See Academy of Motion
main articles. Television and Radio Artists Picture Arts and Sciences
Agency for the Performing Arts AMPTP (Alliance of Motion Pictures
(APA) 251 & Television Producers) 240
A agents assistant 28, 31 AMTA (American Music Therapy
AAUP (American Association of AHA. See American Humane Association) 126
University Professors) 215 Association animal safety representative 4143
ABC Entertainment Television A.I.: Artificial Intelligence 143 animal trainer 3940
Group 251 Alabama Film Office 248 The Animation Guild and Affiliated
Academy of Motion Picture Arts and Alaska Film Program 248 Optical Electronic and Graphic
Sciences (AMPAS) 239, 244 Alda, Alan 23 Arts (Local 839, IATSE) 237
advertising and marketing Aliens 143 APA (Agency for the Performing
executive 205 Allen, Tim 24 Arts) 251
executive producer 53 Allen, Woody 173 Apocalypse Now 148
film archivist/preservationist Alley, Kirstie 200 Arachnophobia 44
225 Alliance of Motion Pictures & Arizona Film Commission 248
head of production 50 Television Producers (AMPTP) Arkansas Economic Development
principal actor 24 240 Commission Film Unit 248
Academy of Science Fiction, Fantasy American Association of University art department production assistant
& Horror Films 144, 179, 239240 Professors (AAUP) 215 120, 122
account manager 204 American Cinema Editors, Inc. art director 114, 116117, 120, 124
ACE (American Cinema Editors, (ACE) 171, 240 Art Directors Guild (ADG) 115,
Inc.) 240 American Cinematographer 237
acquisitions executive 54 (publication) 102 artist 128, 130
Across the Universe 37 American Federation of Television Art Pallette Productions 141
acting teacher 217218, 219 and Radio Artists (AFTRA) 24, ASA. See American Screenwriters
actor 33, 217, 219 237 Association
Actors Equity Association (AEA) American Film Institute (AFI) 232, ASC. See American Society of
24, 237 234, 240 Cinematographers
Actors Studio MFA 232 American Film Market (AFM) 93, ASCAP. See American Society of
Adelson, Andrew 5152 195 Composers, Authors & Publishers
Adelson, Orly 5152, 56 American Humane Association assistant art director 116
ADG. See Art Directors Guild (AHA) 40, 41, 222 assistant auditor 86
Adler, Stella 217 American Museum of the Moving assistant camera operator 107
administrative assistant 11, 56 Image 252 assistant color timer 175
administrator 41 American Music Therapy assistant editor 170, 173
advertising and marketing executive Association (AMTA) 126 assistant hairstylist 145
200, 204205 American Screenwriters Association assistant literary agent 14
AEA. See Actors Equity Association (ASA) 10, 212, 240 assistant production coordinator 67
AFCI. See Association of Film American Society of assistant prop master 132
Commissions International Cinematographers (ASC) 101, assistant to script supervisor 80
AFCI Locations Trade Show 93 240 association director 221223
AFF (Austin Film Festival) 246 American Society of Composers, Association of Film Commissions
AFFP (American Federation of Film Authors & Publishers (ASCAP) International (AFCI) 93, 248
Producers) 240 159, 240 Association of Moving Image
AFI. See American Film Institute American Women Film Journalists Archivists 225, 226
AFM. See American Film Market 209 Association of Practicing CPAs 87
Index 261
Association of Talent Agents (ATA) Broadway Nederlander Organization choreographer 3738
30, 240 52 Cinematic Motion, A Workshop for
athlete 35 Brolin, James 49, 52 Staging Scenes (Steven Katz) 73
Auburn University 229 Brolin, Josh 49 Cinema Training Center 234
auditor 8687 Bronson, Dan 910 Citizen Kane 193
Austin Film Festival (AFF) 246 Brooklyn Rules 52 City College of New York 230
Authors Guild 212 Brouwer, Alexandra 20 City of New York Mayors Office of
Avenue Music Group 157 Bud Abbott and Lou Costello in Film, Theatre & Broadcasting 250
The Aviator 23 Hollywood 208 Clark University 230
Avid Education Seminars 234 Bullock, Sandra 60, 200, 201 Close Encounters of the Third Kind
Burtt, Ben 148 128, 130
college student 31
B Colorado Film Commission 248
Baldwin, Alec 52 C color timer 175176
Ball, Lucille 208 CAA (Creative Artists Agency) 251 Columbia Pictures 251
Baltimore Pictures, Inc. 251 Caan, Scott 52 Columbia University 230, 233
Bare, Richard 73 Cabaret 38 composer 158159
Barrymore, Drew 24 cabler 152 computer-generated imagery (CGI)
Bateman, Justine 61 California Film Commission 248 178
Batman 24 California Institute of the Arts 229 Connecticut College 229
A Beautiful Mind 20 camera operator 100, 103104, 105, Connecticut Commission on Culture
Beauty in the Eye of the Beholder 141 202 & Tourism 248
Bedford Falls Company 56 Cameron, James 128 Connecticut Radio Network (CRN)
Bennington College 231 Cannes Film Festival 93, 195, 207, 246 209
The Berkeley Connection 52 Canton, Mark 60 consultant 221
Berlin International Film Festival 246 Caputo, Jan 4142 Contardi, Bill 15
best boy 107, 109, 111112 Carell, Steve 42 Conversations with God 209
Better Homes and Husbands 15 Carnegie Mellon University 231 Coppola, Francis Ford 72, 148
BFCA. See Broadcast Film Critics casting agency head 20 Corman, Roger 72
Association casting agent, working for 28 cosmetologist 140
Black, Bonnie 15 The Casting Company 20 costume designer 136137
Black Sheep 42 casting director 2021 Costume Designers Guild (CDG)
The Blair Witch Project 200 Casting Society of America (CSA) 237
Blood Diamond 56 241 CPC Entertainment 60
BlueCat Screenplay Competition caterer 162163 Creative Artists Agency (CAA) 251
244 CBS Entertainment 251 Creative Executive 9
Blue Sky Studios 122 CDG (Costume Designers Guild) creator of hair product line 145
Bonfire of the Vanities 114 237 Criterion 193
Bon Jovi, Jon 24 Central Michigan University 230 critic at large 208
Bonnie Black Talent & Literary CGI (computer-generated imagery) CRN (Connecticut Radio Network)
Agency 14 178 209
boom operator 150, 152153 Chambers, John 140 Crowe, Russell 44
Born Yesterday 208 Chane, Peggy Howard 61 Cruise, Tom 60, 208
Boston University 230, 233 Channing, Stockard 24 CSA (Casting Society of America)
Bowie, David 201 Chaplin, Charlie 33 241
Branagh, Kenneth 73 Charming Your Way to the Top
Brandt & Hochman Literary Agents, (Levine) 200
Inc. 15 Chauvin, Lilyan 73 D
breakdown operator 173 chef 162 dancer 37
Brenner, David 200 Chewbacca 149 daredevil 35
Brickman, Marshall 52 Chicago 37, 38 Davis, Martin 201
Broadcast Film Critics Association Chicago International Film Festival The Day Laborers 73
(BFCA) 209, 240241 246 dean of students 214
Index 263
hairstylist 145146 I International Creative Management
Hampshire College 230 IATSE. See International Alliance of (ICM) 251
Hanks, Tom 24, 60 Theatrical Stage Employees International Makeup Artist Trade
Harris, Ed 10 ICG. See International Show 142
Harry Potter 15 Cinematographers Guild In the Bedroom 193
Harry Potter and the Sorcerers Stone ICM (International Creative In the Eyes of a Stranger 60
195 Management) 251 Into the Blue 49
Hawaii Film Office 248249 Idaho Film Bureau 249 Iowa Department of Economic
HBO/Cinemax 74, 215 IFP. See Independent Feature Project Development 249
HBO Films 252 IFTA (Independent Film & IPI (Image Permanence Institute)
Head, Edith 136 Television Alliance) 241 225
head animal trainer 39, 44 Illinois Film Office 249 Ithaca College 230
head designer 136 Image Permanence Institute (IPI) 225
head of acting school 217 Independent Feature Project (IFP) 7,
head of production 4850, 51, 54, 95, 212, 223, 241 J
59, 192 Independent Film & Television Jack, Andrew 219
head of studio 48, 72 Alliance (IFTA) 241 Jein, Greg 128
Henson, Jim 130 Indiana Film Commission 249 Jenkins, Jane 20
Herskovitz, Marshal 56 Indiana Jones (series of films) 15 Jesse James 41
Hester, Laurel 215 Indiana Jones and the Temple of Johnston, Susan 61
Heston, Charlton 201 Doom 44 journalist 208
HFPA. See Hollywood Foreign Press Indiana University 230 The Juilliard School 245
Association Industrial Light and Magic 122 Jurassic Park 143, 148
Hirshenson, Janet 20 In Focus (publication) 198
Hofstra University 230 Inside the Actors Studio 235
Hogan, Hulk 24 intern 94 K
Hollywood Creative Dictionary 12 International Alliance of Theatrical Kansas Film Commission 249
Hollywood Discovery Awards 245 Stage Employees (IATSE) 238. Katz, Steven 73
Hollywood Film Institute 234 See also specific IATSE guilds, e.g.: Keaton, Buster 33
235 Motion Picture Editors Guild Kelly, Gene 37
Hollywood Foreign Press art director 116 Kentucky Film Commission 249
Association (HFPA) 4, 196, 205, best boy 111 Kerrigan, Nancy 201
209210, 241 camera operator 104 key costumer 136, 138139
Hollywood Makeup Artist and first assistant cameraperson key grip 107108
Hair Stylist Guild 142 105 King Kong (1975) 130
Hollywood Networking Breakfast gaffer 109 Kirschenbaum, Gayle 73
235 hairstylist 146 Kodak Fellowship 225
Hollywood Operating Systems 27 key grip 107, 108 Kozler, Maxine 156157
Hollywood Reporter (magazine) production coordinator 68
best boy 112 production designer 115
film instructor 215 property master 133 L
line producer 64 script supervisor 81 lab worker 224
mailroom clerk 31 set decorator 126, 127 LAFCA (Los Angeles Film Critics
principal actor 25 set designer 125 Association) 241
theater owner 198 sound designer 149 lamp operator 109, 111
Homeward Bound 39 sound mixer 151 Lane, Stewart F. 52
Honess, Peter 171 storyboard artist 120 Lassie 208
Hornaday, Jeffrey 37 International Association of Audio/ The Last Innocent Man 10
horse rider 44 Video Communicators 151 Law & Order: Criminal Intent (TV
The Horse Whisperer 42, 44 International Cinematographers Series) 94
Howard University 229 Guild (ICG) (Local 600, IATSE) Lawler, Terry 94, 221
How the West Was Won 44 104, 105, 238 lawyer 88
Index 265
Nicholson, Jack 24 Planet of the Apes 140 Rivers, Joan 200
Night of the Living Dead 192 The Postman Always Rings Twice 52 RMA (Recording Musicians
1941 128 Princess Diaries 15 Association) 243
North Carolina Film Commission principal actor 2225 Road to Tombstone 60
250 Prinze, Freddie, Jr. 52 Roberts, Julia 22
North Carolina School of the Arts Private Practice (TV series) 56 Rocky 24
231 producer 5962 Room 32 60
North Dakota Film Commission 250 independent 192 Rosa, Karen 221222
Northeastern University 230 line producer 63 Rosenbloom, Ralph 73
Northwestern University 230 unit production manager 65 Roswell (TV series) 15
Nutt-Birigwa, Mirembe 9495 producers assistant 31, 118 Rowe, Clint 39
NYWIFT. See New York Women in Producers Guild of America, Inc. Russo, John 192
Film and Television (PGA) 61, 64, 242 Rydstrom, Gary 148
production accountant 86
production assistant 6970, 82
O production coordinator 65, 6768, S
Oberlin College 231 69 SAG. See Screen Actors Guild
Obesa, Tonya 42 production designer 114115, 116 sales agent 195196
OBS. See Organization of Black production illustrator 122 San Diego Zoo 130
Screenwriters production manager 164 San Francisco State University 229
OFCS. See Online Film Critics program acquisitions 195 San Sebastin International Film
Association program coodinator 221 Festival 246
Ohio Film Office 250 project attorney 90 Sarah Lawrence College 231
Oklahoma Film Commission 250 projectionist 197 Saturday Night Live (TV Series) 201
Olivier, Sir Laurence 22, 219 property department, head of 132 Saving Private Ryan 56
The Onion Field 87, 136 property master 132133 Scenic, Title, and Graphic Artists
Online Film Critics Association publicist 94, 200201, 202 (Local 800, IATSE, AFL-CIO) 238
(OFCS) 209, 242 publicists assistant 200 Schwarzenegger, Arnold 49
orchestra conductor 158 Publicists Guild of America (Local Scorsese, Martin 171
Oregon Film & Video Office 250 600, IATSE) 238 Screen Actors Guild (SAG) 23, 24,
Organization of Black Screenwriters puppeteer/sculptor 130131 26, 218, 239
(OBS) 212, 242 Screen Actors GuildNew York
Orion 48 (SAG-NY) 239
Outer Critics Circle 209 Q Screen Composers of America 159
owner of titles and optical house 180 Quinnipiac University 229 screenwriter 48, 72, 211
script reader 1113
script supervisor 8081
P R script supervisor, assistant to 80
The Paley Center for Media 252 Rambaldi, Carlo 130131 Script Supervisors/Continuity and
Paramount Pictures 224, 252 receptionist 94 Allied Production Specialists
Parker, Frances 73 Recording Musicians Association Guild (Local 871, IATSE) 238239
PBS Network 215 (RMA) 243 SDSA (Set Decorators Society of
PEN American Center 212 Redford, Robert 44 America) 243
Pennsylvania Film Office 250 Red Skelton 208 Seattle International Film Festival
Perez, Osvaldo 140 Rensin, David 32 246
pet groomer 39 researcher 224 second assistant cameraperson 105
pet store owner 41 restaurant owner 162 second assistant director 76, 7879,
PGA. See Producers Guild of Resurrecting the Champ 23 82, 118
America, Inc. Rhode Island Film & Television second unit director 33
Phoenix Pictures 48 Office 250 Seger, Linda 6
photographers assistant 202 Richards, Ron 73 September 11, 2001, terrorist attacks
Pirates of the Caribbean 15 rights and music clearance manager 28
Pixar Studios 122 156 Sesame Street (TV series) 130
Index 267
W WMM (Women Make Movies) 243 Woods, James 136
Wade, Cynthia 214215 Wolfe, Tom 114 Working in Hollywood (Brouwer and
Walas, Chris 143 Women in Film (WIF) 243 Wright) 44, 74, 219
walker 186 advertising and marketing WorldFest Houston International
Walt Disney Pictures/Touchstone executive 205 Film Festival 247
Pictures 252 association director 221 wrangler 4445
Walter Reade Organization 192 auditor 87 Wright, Thomas Lee 20
wardrobe supervisor 136 executive assistant 95 writer 59, 211, 224
Warner Brothers Pictures 9, 31, 54, executive producer 52, 53 Writers & Artists Agency 251
252 head of production 50 Writers Guild of America (WGA)
Washington, D.C., Office of Motion principal actor 24 Acting Teacher 218
Picture & TV Development 248 sales agent 196 Literary Agent 14, 16, 17
Washington State Film Office 250 screenwriter 7 Screenwriter 46
Wayne, John 22, 44 script reader 12 Writers Guild of America East
West Side Story 37 sound mixer 151 (WGAE) 239
West Virginia Film Office 250 story editor 10 Writers Guild of America West
The West Wing (TV series) 23 titles registrar 91 (WGAW) 239
WGA. See Writers Guild of America visual effects producer 179 Wyoming Business Council 250
When Harry Met Sally 20 Women in Film International (WIFI)
WIF. See Women in Film 221
WIFI. See Women in Film Women in Film & Television Y
International International (WIFTI) 141, 193, Yale School of Drama 232
WIFTI. See Women in Film & 243 Yale University 229
Television International Women in Film & Video (WIFV) Youre Only as Good as Your Next
WIFV. See Women in Film & Video 141, 221 One (Mike Medavoy) 48
William Morris Agency 14, 251 Women Make Movies (WMM) 243
Williams, Vanessa 24 Womens Film Preservation Fund
Windtalkers 33 226 Z
Winston, Stan 143144 Womens Media Group (WMG) 243 Zelon, David 49
Wisconsin Film Office 250 Woo, John 36 zookeeper 39, 41
WMG (Womens Media Group) 243 Woodruff, Tom 130 Zwick, Ed 56