So my friend introduced me to this funny little webseries on Hulu called Dorm Life.
Its really simple and is totally the sort of thing that makes you go: "now why didn't I think of that?!" Its pretty funny, although some of the characters are a little too over the top. It plays a lot like the Office, but in a dorm.
Take a look if you are bored...the episodes are only about 5 minutes each so they go by quickly and are entertaining for an evening of boredom!
http://www.hulu.com/dorm-life
Conversation with a Producer
So this week at CAA, we had a Producer come in and talk. He has worked on a large slate of highly succesful films!
Here are a few of the things we touched on...
So what are the primary responsibilities of a producer working at a studio?
Well your first duty is to go out and find ideas for films, whether it be from books or spec scripts (which is rare), or simply sitting around and discussing movie topics. Once you find the idea, you need to find the right person to write it--its very much like match-making actually. You guess at a person's talent and their ability to write this idea. You are usually wrong, but hopefully you are just right enough for the studio execs to start seeing the movie and to hire another writer (instead of just tossing the project)...often you are throwing out at least 300,000 per writer, so this can be a costly procedure!
If the studio is taking care of physical production, banking, marketing, and distribution...how much power do you have as Producer?
Right now, there is less money than every available to studios and everyone is fearful. It is your job to convince studios to make the movie you want to make and to convince them that it is relevant in today's market. Every movie is a power struggle. If you are doing a movie with Ridley Scott, and you are a young producer, he is going to be the one with all the power...but if you are doing a movie with a little-known Director, you are going to be the one with the power. If you have just gotten off of a successful film, you are always going to have a leg up with the studios; and likewise, if you have a flop, you are going to have less leverage with studios.
So is the producer basically the one who puts everything together? This title seems so loose, there seem to be all different kinds of producers, can you explain the difference?
Yes, well the Producer is basically the one who has a sense of what the movie should be...he/she is the one who tries to realize the dream of what the movie can be. This person is the one dealing with all the financial stuff, but there is also a ton of creative involved as well. He is the one on the project before the direct, at the time of the writer, and he is the one that is there at the end as well. The Producer is the one who gets to pick up the Academy Award for Best Picture.
The Executive Producer can be a variety of things...often times this is the manager who put it together, or could be a manager who didn't really do anything but just had the right client. Steven Spielberg is sometimes listed as an executive producer because his name helps sell a movie; he might have once upon a time found a good story and said it should be made, and then a studio might throw him a fee and in return, get to use his name. Associate Producer is much the same, usually its just someone who was given a credit as leverage. Line Producer is the one who is on set and making sure everything runs smoothly.
If you are a studio Producer, does that mean you only get to work with one studio?
No, what it means is that the studio you have a first look deal with has the right to all your projects first. If that studio doesn't want it, then you are free to take the project to another studio. When you have a first look deal at a studio, that basically means that the studio is paying the salaries of your executives and assistants and puts up the money to run your company. Often times these production companies are on the studio lots, but not always. We took Gladiator to Sony and they didn't want it, so we then took it to Dreamworks. In return, Dreamworks paid Sony a fee (since they were paying to upkeep our production facilities during the production).
What happens if a studio decides to take a project on and develops it, but then decides to drop it...can you take it to another studio?
Yes, this is called "turnaround." If Sony decides they are no longer going to continue on with a project, they will often give it back to you and allow you to take it to another studio; however, if Paramount picks up the film, they will be required to pay Sony back for whatever funds were spent developing the project. Often times, studios will make a deal to move a project from Sony to Paramount...but they can't pay back the 500,000 spent on development fees, so they will give 10% upfront, and then if the project is ever viable, Sony will get paid in full. This is a kindness among studios. Another thing to mention is that if you add an element, you are legally required to go back to the original studio and let them know before offering the project up to another studio. This basically means that if Sony drops a project, but then you get Brad Pitt to say that he wants to do the project...you must go back to Sony and inform them of the "changed elements" and give them a chance to come back on board before taking the script to Paramount.
How do you get a first look deal with a studio?
It changes all the time. Studios are always trying to figure out how to get movies. There was a stage where they thought younger people knew something...and that's how I got lucky. In my particular case, I was working for a director and they tried to hire me as a studio executive, but I said I only wanted to be a producer, so they took us on. If a producer has a couple hits, the person's agent will usually get a studio to meet with him/her and try to set up a first look deal.
What has been your shortest time frame between pitching a movie and starting filming?
2 or 3 years.
Here are a few of the things we touched on...
So what are the primary responsibilities of a producer working at a studio?
Well your first duty is to go out and find ideas for films, whether it be from books or spec scripts (which is rare), or simply sitting around and discussing movie topics. Once you find the idea, you need to find the right person to write it--its very much like match-making actually. You guess at a person's talent and their ability to write this idea. You are usually wrong, but hopefully you are just right enough for the studio execs to start seeing the movie and to hire another writer (instead of just tossing the project)...often you are throwing out at least 300,000 per writer, so this can be a costly procedure!
If the studio is taking care of physical production, banking, marketing, and distribution...how much power do you have as Producer?
Right now, there is less money than every available to studios and everyone is fearful. It is your job to convince studios to make the movie you want to make and to convince them that it is relevant in today's market. Every movie is a power struggle. If you are doing a movie with Ridley Scott, and you are a young producer, he is going to be the one with all the power...but if you are doing a movie with a little-known Director, you are going to be the one with the power. If you have just gotten off of a successful film, you are always going to have a leg up with the studios; and likewise, if you have a flop, you are going to have less leverage with studios.
So is the producer basically the one who puts everything together? This title seems so loose, there seem to be all different kinds of producers, can you explain the difference?
Yes, well the Producer is basically the one who has a sense of what the movie should be...he/she is the one who tries to realize the dream of what the movie can be. This person is the one dealing with all the financial stuff, but there is also a ton of creative involved as well. He is the one on the project before the direct, at the time of the writer, and he is the one that is there at the end as well. The Producer is the one who gets to pick up the Academy Award for Best Picture.
The Executive Producer can be a variety of things...often times this is the manager who put it together, or could be a manager who didn't really do anything but just had the right client. Steven Spielberg is sometimes listed as an executive producer because his name helps sell a movie; he might have once upon a time found a good story and said it should be made, and then a studio might throw him a fee and in return, get to use his name. Associate Producer is much the same, usually its just someone who was given a credit as leverage. Line Producer is the one who is on set and making sure everything runs smoothly.
If you are a studio Producer, does that mean you only get to work with one studio?
No, what it means is that the studio you have a first look deal with has the right to all your projects first. If that studio doesn't want it, then you are free to take the project to another studio. When you have a first look deal at a studio, that basically means that the studio is paying the salaries of your executives and assistants and puts up the money to run your company. Often times these production companies are on the studio lots, but not always. We took Gladiator to Sony and they didn't want it, so we then took it to Dreamworks. In return, Dreamworks paid Sony a fee (since they were paying to upkeep our production facilities during the production).
What happens if a studio decides to take a project on and develops it, but then decides to drop it...can you take it to another studio?
Yes, this is called "turnaround." If Sony decides they are no longer going to continue on with a project, they will often give it back to you and allow you to take it to another studio; however, if Paramount picks up the film, they will be required to pay Sony back for whatever funds were spent developing the project. Often times, studios will make a deal to move a project from Sony to Paramount...but they can't pay back the 500,000 spent on development fees, so they will give 10% upfront, and then if the project is ever viable, Sony will get paid in full. This is a kindness among studios. Another thing to mention is that if you add an element, you are legally required to go back to the original studio and let them know before offering the project up to another studio. This basically means that if Sony drops a project, but then you get Brad Pitt to say that he wants to do the project...you must go back to Sony and inform them of the "changed elements" and give them a chance to come back on board before taking the script to Paramount.
How do you get a first look deal with a studio?
It changes all the time. Studios are always trying to figure out how to get movies. There was a stage where they thought younger people knew something...and that's how I got lucky. In my particular case, I was working for a director and they tried to hire me as a studio executive, but I said I only wanted to be a producer, so they took us on. If a producer has a couple hits, the person's agent will usually get a studio to meet with him/her and try to set up a first look deal.
What has been your shortest time frame between pitching a movie and starting filming?
2 or 3 years.
Please boys, take a hint
Okay so I already spoke earlier about the dude who kept using the "gorgeous" and "babe" speech. But I felt I should follow up on that story since this is kind of comedic...
So just a re-cap for those who didn't read my post below...met a dorky guy at a club, accidentally gave him my number. We chatted via facebook for a while and he seemed like a sweet kid, then he asked me to dinner, I said yes and he immediately started acting all cocky and texting me all day using sappy language. So I told him I couldn't go out (told him I didn't feel well, which wasn't a lie).
ANYWAYS, he keeps texting me all the time anyways. Then last night I get this:
"What's ur fav romantic movie? Frozen yogurt flavor and topping? Personal trait? Biggest turn off? the most memorable thing Ive said 2 u? Do u like surprises?"
I responded because I'm a nice person and hate ignoring people:
"When Harry Met Sally (I like Gone with the Wind and Casablanca but both of those end sadly); vanilla with oreo; ambition; baby talk; ha dunno; hate surprises"
He asks some more questions but I don't respond (I'm busy getting ready to go out)...Then 40 minutes later I notice that I have gotten 4 texts from him...
"I gotta be random w u. u don't respond well 2 blantant interest, prob bc bar/club exp. has told u tat bc ur cute, guys will do anything 2 get w u."
"Eh, im not tat way, but doesnt every1 say that? 1 want 2 get 2 kno u really. im in the same boat, very focused on my future, but u seem worth gettin 2 kno.
"So im jst havin fun askin u random questions that pop in2 my head. like: fav hobby? what made you fall in love? how many kids do u want? Fav restaurant?"
"I don't think you like it when im very open like that? I dont kno why. It wud be nice 2 kno what goes on in ur head."
I was kind of lost by all that but responded saying:
"Woah that was a lot of texts. I appreciate your honesty and interest but I really am not interested in you in that kind of way (aka romantic way), you are very nice and sweet but I don't want to lead you on."
So then he immediately goes on the defensive and I get these series of texts...literally one after the other...
"No prob, I actually appreciate the honesty. yeah I felt the same way, but figured i didn't want 2 make a call on it til i actually hung out w u once."
...Few minutes later...
"I always try 2 give ppl a very good chance before I decide. Would hate 2 misjudge someone's potential."
Me: No worries
"No prob, haha, its okay...I already knew we weren't gonna work; totally diff ppl, but great in our own ways. Tkae care babe. Hope u get everything u want in life."
So I thought that was the end of it...but then I get a FB CHAT from him.
Him: Hey thought this would be easier to chat on! So were you ever interested in me? Like when you met me at Hwood? I have a hard time knowing when girls are flirting with me or not...I was in a relationship that ended 2.5 mo ago and so I'm a little slow on this stuff right now.
Me: I flirt with everyone. Girls included.
Him: Haha, that should be your pickup line! I hear a lot of guys are into that...not me, I think its really gross when girls make out...but some guys think its really hot. Don't really understand why.
Me: Ummmm, I'm bi
Him: Oh really??
Well I actually have a lot of friends who are bi, believe it or not.
I'm not homophobic, I'm actually pretty liberal socially.........
I let him suffer for a while before telling him I wasn't really bi.
So just a re-cap for those who didn't read my post below...met a dorky guy at a club, accidentally gave him my number. We chatted via facebook for a while and he seemed like a sweet kid, then he asked me to dinner, I said yes and he immediately started acting all cocky and texting me all day using sappy language. So I told him I couldn't go out (told him I didn't feel well, which wasn't a lie).
ANYWAYS, he keeps texting me all the time anyways. Then last night I get this:
"What's ur fav romantic movie? Frozen yogurt flavor and topping? Personal trait? Biggest turn off? the most memorable thing Ive said 2 u? Do u like surprises?"
I responded because I'm a nice person and hate ignoring people:
"When Harry Met Sally (I like Gone with the Wind and Casablanca but both of those end sadly); vanilla with oreo; ambition; baby talk; ha dunno; hate surprises"
He asks some more questions but I don't respond (I'm busy getting ready to go out)...Then 40 minutes later I notice that I have gotten 4 texts from him...
"I gotta be random w u. u don't respond well 2 blantant interest, prob bc bar/club exp. has told u tat bc ur cute, guys will do anything 2 get w u."
"Eh, im not tat way, but doesnt every1 say that? 1 want 2 get 2 kno u really. im in the same boat, very focused on my future, but u seem worth gettin 2 kno.
"So im jst havin fun askin u random questions that pop in2 my head. like: fav hobby? what made you fall in love? how many kids do u want? Fav restaurant?"
"I don't think you like it when im very open like that? I dont kno why. It wud be nice 2 kno what goes on in ur head."
I was kind of lost by all that but responded saying:
"Woah that was a lot of texts. I appreciate your honesty and interest but I really am not interested in you in that kind of way (aka romantic way), you are very nice and sweet but I don't want to lead you on."
So then he immediately goes on the defensive and I get these series of texts...literally one after the other...
"No prob, I actually appreciate the honesty. yeah I felt the same way, but figured i didn't want 2 make a call on it til i actually hung out w u once."
...Few minutes later...
"I always try 2 give ppl a very good chance before I decide. Would hate 2 misjudge someone's potential."
Me: No worries
"No prob, haha, its okay...I already knew we weren't gonna work; totally diff ppl, but great in our own ways. Tkae care babe. Hope u get everything u want in life."
So I thought that was the end of it...but then I get a FB CHAT from him.
Him: Hey thought this would be easier to chat on! So were you ever interested in me? Like when you met me at Hwood? I have a hard time knowing when girls are flirting with me or not...I was in a relationship that ended 2.5 mo ago and so I'm a little slow on this stuff right now.
Me: I flirt with everyone. Girls included.
Him: Haha, that should be your pickup line! I hear a lot of guys are into that...not me, I think its really gross when girls make out...but some guys think its really hot. Don't really understand why.
Me: Ummmm, I'm bi
Him: Oh really??
Well I actually have a lot of friends who are bi, believe it or not.
I'm not homophobic, I'm actually pretty liberal socially.........
I let him suffer for a while before telling him I wasn't really bi.
Career Tips from Exec at Leading Talent Agency
Monday morning, I had the great opportunity to meet with an executive at one of the leading talent agencies (I'm keeping his name secret for privacy's sake!). My dad's best friend golfs with him and so he arranged for us to meet.
He had a lot of great advice, that I thought would be good to share here.
He started out by telling me that in this business, there are two sides...
The business side--which encompasses agents, managers, lawyers, studio execs, producers, etc.
And the purely creative side--actors, writers, and directors.
He says that when you are going to go into entertainment, its good to figure out which side you want to be in. Not that nobody ever switches, but its much more difficult than say, switching from a manager to an agent. He says he does know agents that have turned writer and such though, so it definitely does happen.
He then explained that for the business side, starting out at an agency in the mail room and going through the agent trainee program can be a great way to learn about the business because agencies are kind of at the center of everything. They deal with actors, writers, directors, studios, lawyers, etc. This is actually something I have heard before from others.
Next I asked about graduate school....he didn't seem to think it was going to be necessary at all...unless you seriously want to be an entertainment lawyer. You have to start at the bottom and work your way up pretty much regardless of your education. This is something that I have definitely realized...when I was working on set, I was a PA and on the same level as the kid who didn't go to college at all. I knew what all the equipment was called and yet I wasn't allowed to touch it because I was just a PA. The more time that goes by, the more I have come to realize it doesn't really matter what you major in to get into entertainment...the best part about USC is the networking and contacts you build while at school. Everything else you can learn once you get out there and are working in the real world. I mean school definitely makes you a smarter assistant, but the english major, the economics major, and the film major are all going to start out on the same level.
The next thing I asked was about networking and how you build up a solid base of contacts, which is essential to being a good agent. This was one of the most interesting things I learned during my meeting. He said that the only thing that was important was to build contacts among the people in "your class" (i.e. the people you are in the mail room with, the people you go to school with, the people around your age)...these are going to be the filmmakers of tomorrow. Its not as necessary to build contacts with older people because these probably aren't going to be the people working when you are an agent (or whatever you want to be). So networking really not this ominous difficult task, as it might seem.
Next up, it was...what are the characteristics that you feel make a great agent?
1. Great social skills...this is all about building relationships with people...both clients and others who will can use your clients. You have to be a good communicator and be able to connect with people.
2. Extremely strong work ethic. You will never get off at 5PM--its very intense. You gotta be the one out there always going the extra mile in order to succeed.
3. Lastly, you have to passion about the business through and through. You have to be ready to have less time and less money than all your friends not working in film. But passion is what makes people go far in this business.
Noticing his family pictures on the mantle, I asked about how he managed to balance out family life with work. He said that it is very hard. He didn't get married until later in life. There are always people who are the exception to the rule and make it work. But its difficult to work super long hours and have a spouse/children...you miss out on a lot and that can lead to resentment, or you aren't going to at work and might miss out on opportunities for advancement.
He gave me a lot of good things to think about. He ended the meeting by saying that when I graduate to let him know and if I'm interested, he can set me up with the woman who manages the trainee hiring. That would be really cool if I could get started there! We'll see what happens though, this is a crazy business! I love it though :)
He had a lot of great advice, that I thought would be good to share here.
He started out by telling me that in this business, there are two sides...
The business side--which encompasses agents, managers, lawyers, studio execs, producers, etc.
And the purely creative side--actors, writers, and directors.
He says that when you are going to go into entertainment, its good to figure out which side you want to be in. Not that nobody ever switches, but its much more difficult than say, switching from a manager to an agent. He says he does know agents that have turned writer and such though, so it definitely does happen.
He then explained that for the business side, starting out at an agency in the mail room and going through the agent trainee program can be a great way to learn about the business because agencies are kind of at the center of everything. They deal with actors, writers, directors, studios, lawyers, etc. This is actually something I have heard before from others.
Next I asked about graduate school....he didn't seem to think it was going to be necessary at all...unless you seriously want to be an entertainment lawyer. You have to start at the bottom and work your way up pretty much regardless of your education. This is something that I have definitely realized...when I was working on set, I was a PA and on the same level as the kid who didn't go to college at all. I knew what all the equipment was called and yet I wasn't allowed to touch it because I was just a PA. The more time that goes by, the more I have come to realize it doesn't really matter what you major in to get into entertainment...the best part about USC is the networking and contacts you build while at school. Everything else you can learn once you get out there and are working in the real world. I mean school definitely makes you a smarter assistant, but the english major, the economics major, and the film major are all going to start out on the same level.
The next thing I asked was about networking and how you build up a solid base of contacts, which is essential to being a good agent. This was one of the most interesting things I learned during my meeting. He said that the only thing that was important was to build contacts among the people in "your class" (i.e. the people you are in the mail room with, the people you go to school with, the people around your age)...these are going to be the filmmakers of tomorrow. Its not as necessary to build contacts with older people because these probably aren't going to be the people working when you are an agent (or whatever you want to be). So networking really not this ominous difficult task, as it might seem.
Next up, it was...what are the characteristics that you feel make a great agent?
1. Great social skills...this is all about building relationships with people...both clients and others who will can use your clients. You have to be a good communicator and be able to connect with people.
2. Extremely strong work ethic. You will never get off at 5PM--its very intense. You gotta be the one out there always going the extra mile in order to succeed.
3. Lastly, you have to passion about the business through and through. You have to be ready to have less time and less money than all your friends not working in film. But passion is what makes people go far in this business.
Noticing his family pictures on the mantle, I asked about how he managed to balance out family life with work. He said that it is very hard. He didn't get married until later in life. There are always people who are the exception to the rule and make it work. But its difficult to work super long hours and have a spouse/children...you miss out on a lot and that can lead to resentment, or you aren't going to at work and might miss out on opportunities for advancement.
He gave me a lot of good things to think about. He ended the meeting by saying that when I graduate to let him know and if I'm interested, he can set me up with the woman who manages the trainee hiring. That would be really cool if I could get started there! We'll see what happens though, this is a crazy business! I love it though :)
Woo
So I got a bunch of responses back today...
The script supervisor who I worked with on an indie feature said I could come shadow her at work (as long as it was okay with the next production she was on). So yay!
AND I sent an email to Diablo Cody's agent asking her to forward a note I had written along. She sent an email back saying it was a very sweet note and that she'd be happy to pass it on! Woooo!
The script supervisor who I worked with on an indie feature said I could come shadow her at work (as long as it was okay with the next production she was on). So yay!
AND I sent an email to Diablo Cody's agent asking her to forward a note I had written along. She sent an email back saying it was a very sweet note and that she'd be happy to pass it on! Woooo!
Women in Film & Tips From A Scripty
I've decided that I'm going to start writing to women in film who have careers I'd like to emulate or who I think I could learn something from.
I started tonight. I wrote several emails to some script supervisors and to a few writers. We'll see if I get anything back, but I figure that if I send out enough, someone is bound to read it and agree to meet with me!
One script supervisor wrote me a nice note in response to my email about working in Dallas vs. LA (she is based out of Dallas).
Thanks for the compliments.
You've asked a tricky question. This industry tends to be very cyclic: one
place is the hotspot now, but two years later, it's somewhere else. Things
happen like union strikes and film incentive programs that cause work to
migrate to certain areas. Sometimes Texas is a happening place; sometimes
not. Since Texas is so big, you might live in Dallas and miss out on
everything going to Austin or vice versa.
Two places you can ALWAYS count on film work are NY and LA. However, that's
where the competition is most fierce. Plus, they're union towns, and the
cost of living there is very high. I don't know your personal situation,
but you might want to consider marrying and raising a family there vs.
Texas. I've known a lot of people that started off in Texas, moved to LA to
work on the big stuff, then moved back to Texas to raise a family.
Last year, I worked pretty steadily until August, then I didn't work again
until March (when I accepted a job on a TV series as a logger for a PA
rate). I didn't work again until July, when I did 2 movies back to back.
I've had to turn one down in Louisiana and I've got another one that
hopefully will start in mid-October. So now I'm busy again. It's always like
this, and I've been freelancing for almost 20 years. It's always feast or
famine.
So consider these factors in making your decision:
One of a handful of scriptys vying for a handful of movies (Texas) or one of
a thousand scriptys vying for one of a thousand movies (LA).
Quality of life
Family and personal connections
You can always work for a while in one place, and then move if things don't
work out or you want to change things up. No decision is forever. If you're
in LA already, you have a place to stay and friends and contacts--what about
trying to start your career there? You can always come back home and stay
with your family to regroup in Austin, but if you come back to Austin you
may find it hard to go back and start over in LA.
Good luck to you!
Eve
I started tonight. I wrote several emails to some script supervisors and to a few writers. We'll see if I get anything back, but I figure that if I send out enough, someone is bound to read it and agree to meet with me!
One script supervisor wrote me a nice note in response to my email about working in Dallas vs. LA (she is based out of Dallas).
Thanks for the compliments.
You've asked a tricky question. This industry tends to be very cyclic: one
place is the hotspot now, but two years later, it's somewhere else. Things
happen like union strikes and film incentive programs that cause work to
migrate to certain areas. Sometimes Texas is a happening place; sometimes
not. Since Texas is so big, you might live in Dallas and miss out on
everything going to Austin or vice versa.
Two places you can ALWAYS count on film work are NY and LA. However, that's
where the competition is most fierce. Plus, they're union towns, and the
cost of living there is very high. I don't know your personal situation,
but you might want to consider marrying and raising a family there vs.
Texas. I've known a lot of people that started off in Texas, moved to LA to
work on the big stuff, then moved back to Texas to raise a family.
Last year, I worked pretty steadily until August, then I didn't work again
until March (when I accepted a job on a TV series as a logger for a PA
rate). I didn't work again until July, when I did 2 movies back to back.
I've had to turn one down in Louisiana and I've got another one that
hopefully will start in mid-October. So now I'm busy again. It's always like
this, and I've been freelancing for almost 20 years. It's always feast or
famine.
So consider these factors in making your decision:
One of a handful of scriptys vying for a handful of movies (Texas) or one of
a thousand scriptys vying for one of a thousand movies (LA).
Quality of life
Family and personal connections
You can always work for a while in one place, and then move if things don't
work out or you want to change things up. No decision is forever. If you're
in LA already, you have a place to stay and friends and contacts--what about
trying to start your career there? You can always come back home and stay
with your family to regroup in Austin, but if you come back to Austin you
may find it hard to go back and start over in LA.
Good luck to you!
Eve
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