Lindsay Grayzel
Goodwin Grayzel Productions
2927 NE Davis Street
Portland, Oregon 97232
(503) 740-9805
http://goodwingrayzel.com
Write up of interview conducted by phone.
Lindsay Grayzel is a freelance video producer and documentary editor with her own production company in Portland, Oregon. Her projects tend to be message oriented, though some are product-oriented. After being approached by a client with a concept, Lindsay considers the client’s needs, goals, and budget before returning a proposal. After landing the job, Lindsay writes a treatment with the project’s goals, target length, and projected costs. Then Lindsay will conduct pre-interviews with subject matter experts to determine direction of the video. She will then go out with a crew, usually a camera person and a sound person, to conduct interviews and gather visuals that will bring the project to life. Depending on the capacity in which she is working, the final stage usually involves Lindsay sending the tapes off and never seeing them again.
Lindsay got her start in the business through the Salt Lake City, Utah news industry. After working there for three years, she moved with her husband to Portland. After having children, Lindsay began to produce documentaries on her own, then began to do freelance work for other filmmakers. Eventually she developed her company and freelancing became her full time job.
Lindsay tries to define the abilities of a project in the process of writing the treatment. She says a carefully laid out treatment can define what can and cannot be done. However, even the best treatments cannot stop a client from having impossible expectations. She remembers a client who insisted on an aerial helicopter shot for a ten minute video. There was just no room in the project’s budget for such an extravagant shop. Lindsay believes being straight forward is the best policy when confronting an undoable task.
Lindsay’s best advice for media students is to not pay too much attention to the naysayers. When she first declared her career goals, she heard a lot of grumbling from people who did not think production was a reliable industry. She believes that if you are driven, can produce quality work, and are able to develop a good reel, then you should be able to excel in the industry.
Saturday, January 31, 2009
Assignment 1 Portland, Oregon
Rebekah of ADi-- Producer
www.flypixels.com
Interview via Email
Question 1: Can you briefly define your job to me?
Question 4: Do you have any advice for a media student who is just starting out?
www.flypixels.com
Interview via Email
Question 1: Can you briefly define your job to me?
When we are first contacted about a potential project, I work with the client to define what they want to see, and what their budget and schedule parameters are. Then I work with our creative team to discuss our approach to the work and whether we can meet their needs in terms of time and budget. Then I write up a detailed scope of work for the client to approve, including budget and scheduling milestones.
While we’re actively working on the project, I keep an eye on the schedule and on the scope of work- if something turns out to be much more difficult than we anticipated for whatever reason, we need to work together to determine if that’s something we need to work through, or if we need to go back to the client and request a change order. For every review, I send the deliverable to the client and try to frame it for them- tell them what they’re seeing, what’s changed since the last time, what they can expect further stages to be, what kind of feedback we’re looking for from them, etc. When we get feedback, I first review it to make sure that it makes sense and is within the scope of the project, then pass it to the creative team. Basically I try to keep everything on track and keep communication flowing during the whole project- if the schedule slips, or the client requests things outside the scope of work, or if there are way too many reviews (a typical deliverable has 2-3 rounds of review, where a client gives feedback and we make changes- if we get into 4-5 rounds of review and they still aren’t happy with the work, then it needs to be addressed), I’ll talk with the client and with our team to manage those challenges in a way that is productive for everyone.
When we’re done with a project, we usually have a post-mortem where we talk through the project and see if there’s anything we’ve learned from it. I try to implement those lessons wherever possible.
Finally, I do miscellaneous stuff- arranging for freelancers and interns, conducting reel reviews and fielding job inquiries, entering our work for awards, writing press releases, etc.
I just realized that’s not “brief”. J
Question 2: How did you get started in this business?
I was always interested in visual effects, and felt stuck working for an insurance company, so I went to school to learn 3D animation. About halfway through, I realized that I’m better suited to the life of a coordinator/manager than to the life of an artist, so I skewed my education in that direction without actually changing my degree.
Question 3: How do you tell someone over you (your boss) that you can't accomplish an assigned task?
I’m not sure what this question means. There are things that I don’t know how to do, so I ask for advice/guidance on the approach, or things that there just isn’t time to do. However, I’m the keeper of all the schedules, including my own, so if there isn’t time to do something that needs to be done, I need to prioritize and strategize a solution. It sometimes involves working late or on the weekend, but that’s the life of production- everyone has to do that sometimes. If I’ve scheduled everything correctly, we don’t run up on that very often, and I’m pretty good at managing everyone’s time. I can’t think of any tasks that I flatly can’t do.
Question 4: Do you have any advice for a media student who is just starting out?
I always have advice! Firstly, take every opportunity to meet people and make a positive impression- go to networking events, request informational interviews (you’d be amazed at how many people will do this for you), volunteer for things (there are always professional organizations that need volunteers). The idea is that you’re not only talented, but cool, and people want to work with you. Your personality matters a lot, so protect your reputation, be kind to people (even if you don’t like them, don’t be rude or alienate them), be friendly and professional all the time (don’t think that it’s okay to get drunk and obnoxious because you’re at a festival or convention- these are still people who are judging you professionally).
If you’re working for free or cheap, especially if you’re working for free on portfolio pieces, set limits ahead of time and communicate expectations clearly. It never hurts to write up ahead of time what you think the project will be, what the work is that you anticipate doing, what the time frame is, how many rounds of review the client will get (this is really important, people will kill you on free projects with endless tweaking- say ahead of time how many reviews they get and set and end date to the project), and stick to this agreement or request changes to it in writing. It’s an important work habit and will save your butt many times over.
Finally, never burn bridges unless you are really sure about it. The free project that backfires on you and now there’s some bad feeling- make up to that person (I’ve had to tell people that I’m sorry the project went haywire and things got tense, but that I still like and respect THEM, and hope that we can maintain a positive relationship). Leave events, jobs, volunteer gigs, meetings, with good feelings behind you, and talk through misunderstandings. The person in your class today will be on a crew with you sometime in the future, and the receptionist at one place will someday be a producer somewhere else- people stay in this business and move around, so, again, don’t burn bridges.
Friday, January 30, 2009
Assignment 1 Kette. Nevada
Matt Skurow
Website: http://www.skurowenterprises.com
Phone: 702-478-8118
746 Pomegranate Ct., Henderson, NV 89014
1. Can you briefly define your job to me?
-I am a film director/writer/producer. My company still handles some t.v. and local video projects.
2. How did you get started in this business?
-I started out in the I.A.T.S.E union as a video utility and worked my way up the chain. Learning every job that I could. I was fortunate enough to have some great people who were accommodating to my eagerness to learn. Eventually I worked my way into a production truck doing tape, slo-mo, then graphics, AD and finally into the directors chair. It was mostly live sports and I hated it, too much pressure. I left video all together and went and worked in theatre for a while. I worked my way up the ladder there too and became a lighting director/designer. One year I went to a film festival and had an epiphany. I believed in my heart that I was a film director. Knowing nothing about how to work with actors I changed directions again and went to film school at 30. I started a production company and have been making films ever since.
3. How do you tell someone over you (your boss) that you can’t accomplish an assigned task?
-At this point the only person over me are the films financiers. In this business there is no such thing as "can't". If you are unable to do an assigned task it is a matter of lack of knowledge or lack of resources, sometimes both. If you can't do something you either need to learn something or get some help. Don't be afraid to ask for it. A boss will be more inclined to offer assistance to you than to reassign a task. Learn to gauge your time and resources, they are your two greatest tools. I believe that part of my success in both the union and in stage lighting came from my tenacious curiosity to learn. I would tell my bosses that "I don't know how to do that but I am willing to learn" The magic is in the later part of that statement. I was willing to learn any and everything. One must become accountable for his/her actions. That means if you promise that you will do something you should do it to the best of your ability. If you can't then you have to be honest and live up to it. There were many nights were I worked off the clock to finish projects that I had committed myself to. In the end, in live and in any business, you are only as good as your word.
4. Do you have any advice for a media student who is just starting out?
-Follow your passion. Explore new ideas and new ways of doing things. There are really no rules as far as what you can accomplish. You are always working for yourself even when you are employed by someone else. Learn to be organized and manage your time well. Set career goals for yourself, big ones and small ones but also be open to new opportunities. Never let fear dictate your actions. Some of the best things in life happen when we risk. Be honest, with yourself and to others. Once you find the area that you like become an expert by studying everything you can, know it inside and out backwards and forwards. Most of your work will come by word of mouth and your reputation. If I can give you one word that will forever change your business success rate it would be the word "Tenacious". Never give up, no matter what. It is possible to exhaust your obstacles with determination. Determination comes from within. Always define yourself. Be kind, you will work with and re-work with the same people over and over. Talk to everyone you can, everyone is approachable even if it's not obvious at the moment. Fear is an illusion. The greatest thing you can bring to this business is you. Your ideas, your outlook, your heart. Learn from those before you and then become more. Lead don't follow. Integrity is everything and karma plays a big role in all that we do.
You are very welcome. Thank you for choosing me to help you. If I can be of any assistance in the future please do not hesitate. We all are here to learn and help each other. Best of luck to you in all that you pursue.
Chris Anderson
anderson-chris@hotmail.com
Home (702)-731-1046
5948 Willard St. Las Vegas, NV 89122
1. Can you briefly define your job to me?
-My job right now is assisting those producers or coordinators. I'm only Producing low budget projects. When I do work on a project I make sure that things are in order and that I am working with people who know their jobs and get what needs to be done, finished. I'm talking about permits and leases for places that we would like to shoot.
2. How did you get started in this business?
-I got started to in this business during college. I have a degree and a minor from a University from the midwest. After I graduated I relocated to Hollywood and networked my way into a PA position.
3. How do you tell someone over you (your boss) that you can’t accomplish an assigned task?
-Wow, good question. I ask for help. I also give alternative solutions just in case nobody can deliver on what my higher ups want.
4. Do you have any advice for a media student who is just starting out?
-My advise to someone starting out in this business is NETWORK. What I mean by that is get a notebook and start collecting all the business cards that people give you. Then under the card write a lil note stating when you met that person and how you met them. You never know when you might need someone with there job skill. Don't forget to live your life to best you know how. If someone asks for help and YOU are able to help them then you should try. When your working and someone asks who can work late and pick up an extra day you raise your hand first. I always say that "take all the hours you can get cause they are not always there". The higher ups will notice who the good workers are and who the slackers are. They will want to higher you again because that makes them look good.
Jefferson Richard
jefferson@torchlightent.com
Phone: (702) 732-2827
3960 Howard Hughes Parkway, Suite 500,
Las Vegas, NV, 89169
1. Can you briefly define your job to me?
-I am a film line producer. I supervise the entire production of the film
2. How did you get started in this business?
- I started out as a musician and actor and eventually moved into production as an n assistant director, production manager, and then line producer.
3. How do you tell someone over you (your boss) that you can’t accomplish an assigned task?
-I have an expression to break the news. I say, “Hmm, we’re a little bit screws (or stronger depending on the relationship) here. That lightens the news.
4. Do you have any advice for a media student who is just starting out?
-Don’t give up. If you’re in it for the money go do it somewhere else.
Skip Burrows
Producer
Las Vegas, NV
www.skipburrows.com
1. Can you briefly define your job to me?
-My main focus (or job) if you were to give it a title is - Line Producer. It is my responsibility to read the script, break it down as far as I possibly can, compare my calculations with the rest of the department heads and report those findings back to the Executive Producer and/or the Money Producers/Backers. Once the budget is approved; then I am the watchdog over the entire production to insure that we meet our goals (budget) on money, time and daily work. Time is money and money is time. Both are equally important as the Labor costs, talent and locations are all directly affected. I know this a very brief summary of my job, but if you have any further questions, I will be happy to expand on the above definition of my job.
2. How did you get started in this business?
-Ironically, I got into this business totally by accident. Literally an accident put me in the trade. I had an auto body shop in Las Vegas in the early 1980's and when the T-bird was involved in an unscripted accident on the set of VEGAS. I was called upon to get the car repaired and ready to complete that episode. The Producer on the show, Aaron Spelling and his right hand man, Line Producer, E. Duke Vincent thought that I gave an outstanding effort and offered me a job with the production team, which in turn they forwarded my name on to other crews. I then worked my way into Universal Studios and finally out in the open market as a free lance Special Effects Coordinator, which led to doing other jobs and finally into producing.
3. How do you tell someone over you (your boss) that you can't accomplish an assigned task?
-The words "NO", "CAN'T", "WON'T", "NEVER" or any other definitive negative do not exist in the Media Industry. It is the "Can do's" and "Let's give it try" persons that succeed. So, to say to your "boss" - "that ain't gonna' happen" is grounds for termination. Rather than take a negative stance, seek "options." Rather than say no, say, "can I have a minute to think that over and get back to you. OR Could we possibly seek another solution. OR Let's explore a couple of other options." And I am sure there is always some sort or resolution or at least an alternative to a no. If one street is closed, there has to be another one open, maybe not in the direction that you were originally headed, but at least you are still moving to reach your goal. Seek options rather than a dead end.
4. Do you have any advice for a media student who is just starting out?
-Love what you do and do what you love. If you can't take the time to learn your job, no matter the pay, then you are in the wrong profession. If you are good at your job and strive to achieve without complaining and with a good heart, people will notice you and offer more open doors. What a person lacks in talent they can make up for in enthusiasm and persistence. NEVER BE LATE for any work call. Do what you say you are going to do when you say you are going to do it. Never blame anyone else for your mistakes or shortcomings. Be willing to accept mistakes as a learning tool and do not make that mistake again. Police yourself, speak from a point of reference that can be checked and verified, never assume anything - NEVER! Be willing to accept new people on their willingness to participate and cut those loose in a hurry that do not meet the bare minimum - even relatives. A tattletale never has time to do their own work - police yourself and tolerate with a minimum those who try to dissuade or redirect you into a direction that you know is incorrect. WORK HARD, PLAY HARD, WORK SMART, PLAY SMART, TAKE NO UNCALCULATED CHANCES and DO NOT FAIL TO LOOK AT EVERY OPPORTUNITY WITH AN OPEN MIND.
Enough of the lecture: BE YOURSELF - BE REAL - BE YOURSELF ALL THE TIME, PEOPLE WILL RESPECT YOU FOR YOUR HONESTY.
I hope this helps you get the best grade you can and go forward with a clear understanding of what you really want to achieve with your life. You only get one life.
Michael Billings
Billings Production Services
325 South Maryland Parkway
Las Vegas, NV 89101
(702) 471-7469
ShowWizard@aol.com
1. Can you briefly define your job to me?
-Writer, Director, Producer, Locations, Casting, Fireman, Answerman, Do All, Know All, Be All. While big projects have different departments and heads and assistants and interns and such..... most projects don't have the budget or manpower to provide such liberties.....
Perhaps the greatest gift in this business is that of "creating." Which can be either writing or doing visual creations.... could be with makeup or wardrobe..... but in the beginning there needs to be a vision of what we are doing... and that vision typically comes from the writer.... or creative person/director. So doing that and knowing how to create and being good at it then allows one for greater experiences and opportunities.... such as watching over your creation, either as a director or as a producer or both.
When I'm hired on as a producer, one cannot just leave at home that ability and excitement of constantly creating. So it is a blessing and a curse at the same time. Many people take offense to new ideas or expansions of their own ideas... and yet others enjoy and thrive off that growing experience. From the producers standpoint, it is about time and money. Getting it done and getting it done as well as you can when it is due.
From a directors standpoint, it is like a chef, adding elements to spice up the cake..... from changes with a script or idea... or on/off screen talent.... or music... sound effects... visual effects.... editing..... even packaging... it all sets a tone and moves a project.
2. How did you get started in this business?
-I was forced into slave labor and am still trying to get out. Don't do it. Don't go there.
Music was the force behind my introduction to television, film and stage. Writing music, jingles, and then being asked to put visuals to the music/jingle... and then............. everyone has a different road or avenue.... there is no one set way.
I wrote music, had some ideas for some Levi commercials, and was introduced by execs to some ad agencies that might have an interest, and one thing lead to another...... moving to Los Angeles... that was perhaps the biggest thing was giving up my home and comfort zone and moving down to the Big City.
And I would never recommend it to anyone. Life is too short to go thru such stress and politics.
3. How do you tell someone over you (your boss) that you can’t accomplish an assigned task?
-This is tough. I think it is better to always have a positive outlook.... and push for getting anything and everything done... however, as you or one gains knowledge and experience... you can't help but look at someone and tell them that can't be done. My job as say an Assistant Director or Producer is to tell them how we can do certain things and work to see about making things happen within the time frame and within the budget..... and for me, every project is like an opening night... the curtain must open at such a time and everything must get done before that curtain opens.
People who supervise you should know their jobs and have some more experience than you, so I think mostly what they are looking for is enthusiasm and persistance... the will to give it all you have up to curtain time, if that makes any sense.
I remember when I first started out, I was so overwhelmed with everything..... but having department heads and working as a team and relying on your team members really can help with all of that stress and pressure. Having schedules to work to.... check points...... and let others review your product or progress....
You only learn more by doing more and being involved with more..... and if it is in your blood, you'll work 24/7 on a project because you need to do it. You'll see how things can become so driving, ideas of adding value to a task or element or project... you'll see it, you'll feel it. It just becomes you. If it doesn't, then this perhaps isn't the best road for you to travel on. If that makes any sense to you.
4. Do you have any advice for a media/film student who is just starting out?
-Don't give up. Don't be afraid to learn. Don't be afraid to grow. Enjoy it all.
Website: http://www.skurowenterprises.com
Phone: 702-478-8118
746 Pomegranate Ct., Henderson, NV 89014
1. Can you briefly define your job to me?
-I am a film director/writer/producer. My company still handles some t.v. and local video projects.
2. How did you get started in this business?
-I started out in the I.A.T.S.E union as a video utility and worked my way up the chain. Learning every job that I could. I was fortunate enough to have some great people who were accommodating to my eagerness to learn. Eventually I worked my way into a production truck doing tape, slo-mo, then graphics, AD and finally into the directors chair. It was mostly live sports and I hated it, too much pressure. I left video all together and went and worked in theatre for a while. I worked my way up the ladder there too and became a lighting director/designer. One year I went to a film festival and had an epiphany. I believed in my heart that I was a film director. Knowing nothing about how to work with actors I changed directions again and went to film school at 30. I started a production company and have been making films ever since.
3. How do you tell someone over you (your boss) that you can’t accomplish an assigned task?
-At this point the only person over me are the films financiers. In this business there is no such thing as "can't". If you are unable to do an assigned task it is a matter of lack of knowledge or lack of resources, sometimes both. If you can't do something you either need to learn something or get some help. Don't be afraid to ask for it. A boss will be more inclined to offer assistance to you than to reassign a task. Learn to gauge your time and resources, they are your two greatest tools. I believe that part of my success in both the union and in stage lighting came from my tenacious curiosity to learn. I would tell my bosses that "I don't know how to do that but I am willing to learn" The magic is in the later part of that statement. I was willing to learn any and everything. One must become accountable for his/her actions. That means if you promise that you will do something you should do it to the best of your ability. If you can't then you have to be honest and live up to it. There were many nights were I worked off the clock to finish projects that I had committed myself to. In the end, in live and in any business, you are only as good as your word.
4. Do you have any advice for a media student who is just starting out?
-Follow your passion. Explore new ideas and new ways of doing things. There are really no rules as far as what you can accomplish. You are always working for yourself even when you are employed by someone else. Learn to be organized and manage your time well. Set career goals for yourself, big ones and small ones but also be open to new opportunities. Never let fear dictate your actions. Some of the best things in life happen when we risk. Be honest, with yourself and to others. Once you find the area that you like become an expert by studying everything you can, know it inside and out backwards and forwards. Most of your work will come by word of mouth and your reputation. If I can give you one word that will forever change your business success rate it would be the word "Tenacious". Never give up, no matter what. It is possible to exhaust your obstacles with determination. Determination comes from within. Always define yourself. Be kind, you will work with and re-work with the same people over and over. Talk to everyone you can, everyone is approachable even if it's not obvious at the moment. Fear is an illusion. The greatest thing you can bring to this business is you. Your ideas, your outlook, your heart. Learn from those before you and then become more. Lead don't follow. Integrity is everything and karma plays a big role in all that we do.
You are very welcome. Thank you for choosing me to help you. If I can be of any assistance in the future please do not hesitate. We all are here to learn and help each other. Best of luck to you in all that you pursue.
Chris Anderson
anderson-chris@hotmail.com
Home (702)-731-1046
5948 Willard St. Las Vegas, NV 89122
1. Can you briefly define your job to me?
-My job right now is assisting those producers or coordinators. I'm only Producing low budget projects. When I do work on a project I make sure that things are in order and that I am working with people who know their jobs and get what needs to be done, finished. I'm talking about permits and leases for places that we would like to shoot.
2. How did you get started in this business?
-I got started to in this business during college. I have a degree and a minor from a University from the midwest. After I graduated I relocated to Hollywood and networked my way into a PA position.
3. How do you tell someone over you (your boss) that you can’t accomplish an assigned task?
-Wow, good question. I ask for help. I also give alternative solutions just in case nobody can deliver on what my higher ups want.
4. Do you have any advice for a media student who is just starting out?
-My advise to someone starting out in this business is NETWORK. What I mean by that is get a notebook and start collecting all the business cards that people give you. Then under the card write a lil note stating when you met that person and how you met them. You never know when you might need someone with there job skill. Don't forget to live your life to best you know how. If someone asks for help and YOU are able to help them then you should try. When your working and someone asks who can work late and pick up an extra day you raise your hand first. I always say that "take all the hours you can get cause they are not always there". The higher ups will notice who the good workers are and who the slackers are. They will want to higher you again because that makes them look good.
Jefferson Richard
jefferson@torchlightent.com
Phone: (702) 732-2827
3960 Howard Hughes Parkway, Suite 500,
Las Vegas, NV, 89169
1. Can you briefly define your job to me?
-I am a film line producer. I supervise the entire production of the film
2. How did you get started in this business?
- I started out as a musician and actor and eventually moved into production as an n assistant director, production manager, and then line producer.
3. How do you tell someone over you (your boss) that you can’t accomplish an assigned task?
-I have an expression to break the news. I say, “Hmm, we’re a little bit screws (or stronger depending on the relationship) here. That lightens the news.
4. Do you have any advice for a media student who is just starting out?
-Don’t give up. If you’re in it for the money go do it somewhere else.
Skip Burrows
Producer
Las Vegas, NV
www.skipburrows.com
1. Can you briefly define your job to me?
-My main focus (or job) if you were to give it a title is - Line Producer. It is my responsibility to read the script, break it down as far as I possibly can, compare my calculations with the rest of the department heads and report those findings back to the Executive Producer and/or the Money Producers/Backers. Once the budget is approved; then I am the watchdog over the entire production to insure that we meet our goals (budget) on money, time and daily work. Time is money and money is time. Both are equally important as the Labor costs, talent and locations are all directly affected. I know this a very brief summary of my job, but if you have any further questions, I will be happy to expand on the above definition of my job.
2. How did you get started in this business?
-Ironically, I got into this business totally by accident. Literally an accident put me in the trade. I had an auto body shop in Las Vegas in the early 1980's and when the T-bird was involved in an unscripted accident on the set of VEGAS. I was called upon to get the car repaired and ready to complete that episode. The Producer on the show, Aaron Spelling and his right hand man, Line Producer, E. Duke Vincent thought that I gave an outstanding effort and offered me a job with the production team, which in turn they forwarded my name on to other crews. I then worked my way into Universal Studios and finally out in the open market as a free lance Special Effects Coordinator, which led to doing other jobs and finally into producing.
3. How do you tell someone over you (your boss) that you can't accomplish an assigned task?
-The words "NO", "CAN'T", "WON'T", "NEVER" or any other definitive negative do not exist in the Media Industry. It is the "Can do's" and "Let's give it try" persons that succeed. So, to say to your "boss" - "that ain't gonna' happen" is grounds for termination. Rather than take a negative stance, seek "options." Rather than say no, say, "can I have a minute to think that over and get back to you. OR Could we possibly seek another solution. OR Let's explore a couple of other options." And I am sure there is always some sort or resolution or at least an alternative to a no. If one street is closed, there has to be another one open, maybe not in the direction that you were originally headed, but at least you are still moving to reach your goal. Seek options rather than a dead end.
4. Do you have any advice for a media student who is just starting out?
-Love what you do and do what you love. If you can't take the time to learn your job, no matter the pay, then you are in the wrong profession. If you are good at your job and strive to achieve without complaining and with a good heart, people will notice you and offer more open doors. What a person lacks in talent they can make up for in enthusiasm and persistence. NEVER BE LATE for any work call. Do what you say you are going to do when you say you are going to do it. Never blame anyone else for your mistakes or shortcomings. Be willing to accept mistakes as a learning tool and do not make that mistake again. Police yourself, speak from a point of reference that can be checked and verified, never assume anything - NEVER! Be willing to accept new people on their willingness to participate and cut those loose in a hurry that do not meet the bare minimum - even relatives. A tattletale never has time to do their own work - police yourself and tolerate with a minimum those who try to dissuade or redirect you into a direction that you know is incorrect. WORK HARD, PLAY HARD, WORK SMART, PLAY SMART, TAKE NO UNCALCULATED CHANCES and DO NOT FAIL TO LOOK AT EVERY OPPORTUNITY WITH AN OPEN MIND.
Enough of the lecture: BE YOURSELF - BE REAL - BE YOURSELF ALL THE TIME, PEOPLE WILL RESPECT YOU FOR YOUR HONESTY.
I hope this helps you get the best grade you can and go forward with a clear understanding of what you really want to achieve with your life. You only get one life.
Michael Billings
Billings Production Services
325 South Maryland Parkway
Las Vegas, NV 89101
(702) 471-7469
ShowWizard@aol.com
1. Can you briefly define your job to me?
-Writer, Director, Producer, Locations, Casting, Fireman, Answerman, Do All, Know All, Be All. While big projects have different departments and heads and assistants and interns and such..... most projects don't have the budget or manpower to provide such liberties.....
Perhaps the greatest gift in this business is that of "creating." Which can be either writing or doing visual creations.... could be with makeup or wardrobe..... but in the beginning there needs to be a vision of what we are doing... and that vision typically comes from the writer.... or creative person/director. So doing that and knowing how to create and being good at it then allows one for greater experiences and opportunities.... such as watching over your creation, either as a director or as a producer or both.
When I'm hired on as a producer, one cannot just leave at home that ability and excitement of constantly creating. So it is a blessing and a curse at the same time. Many people take offense to new ideas or expansions of their own ideas... and yet others enjoy and thrive off that growing experience. From the producers standpoint, it is about time and money. Getting it done and getting it done as well as you can when it is due.
From a directors standpoint, it is like a chef, adding elements to spice up the cake..... from changes with a script or idea... or on/off screen talent.... or music... sound effects... visual effects.... editing..... even packaging... it all sets a tone and moves a project.
2. How did you get started in this business?
-I was forced into slave labor and am still trying to get out. Don't do it. Don't go there.
Music was the force behind my introduction to television, film and stage. Writing music, jingles, and then being asked to put visuals to the music/jingle... and then............. everyone has a different road or avenue.... there is no one set way.
I wrote music, had some ideas for some Levi commercials, and was introduced by execs to some ad agencies that might have an interest, and one thing lead to another...... moving to Los Angeles... that was perhaps the biggest thing was giving up my home and comfort zone and moving down to the Big City.
And I would never recommend it to anyone. Life is too short to go thru such stress and politics.
3. How do you tell someone over you (your boss) that you can’t accomplish an assigned task?
-This is tough. I think it is better to always have a positive outlook.... and push for getting anything and everything done... however, as you or one gains knowledge and experience... you can't help but look at someone and tell them that can't be done. My job as say an Assistant Director or Producer is to tell them how we can do certain things and work to see about making things happen within the time frame and within the budget..... and for me, every project is like an opening night... the curtain must open at such a time and everything must get done before that curtain opens.
People who supervise you should know their jobs and have some more experience than you, so I think mostly what they are looking for is enthusiasm and persistance... the will to give it all you have up to curtain time, if that makes any sense.
I remember when I first started out, I was so overwhelmed with everything..... but having department heads and working as a team and relying on your team members really can help with all of that stress and pressure. Having schedules to work to.... check points...... and let others review your product or progress....
You only learn more by doing more and being involved with more..... and if it is in your blood, you'll work 24/7 on a project because you need to do it. You'll see how things can become so driving, ideas of adding value to a task or element or project... you'll see it, you'll feel it. It just becomes you. If it doesn't, then this perhaps isn't the best road for you to travel on. If that makes any sense to you.
4. Do you have any advice for a media/film student who is just starting out?
-Don't give up. Don't be afraid to learn. Don't be afraid to grow. Enjoy it all.
Friday, January 23, 2009
Assignment 1 Ellingwood
Bob Basha
Telephone: (843) 708-1127
bashapro@gmail.com
Production Manager
1. Can you briefly define your job to me?
Being a production manager entails hiring, setting wages, and being in charge of budget. It takes you to the office, to the set, and is usually the last person to leave. A production manager makes salary, however he makes a certain percentage with that salary.
2. How did you get started in this business?
I was 21 years old and had just graduated from Duke University. My friend came up to me and told me about a job in the entertainment business. Being young with no job, I took the job. My major was Art History and with that I was able to help out with photography and film. With getting a job it’s all in how you present yourself.
3. How do you tell someone over you (your boss) that you can’t accomplish an assigned task?
Be honest. If the task is not feasible then you should honestly say it couldn’t be done, which is of course what they don’t want to hear. Know how to say no. If they ask you to block a road as a location manager, and the road can’t be blocked say it can’t be done.
4. Do you have any advice for a media student who is just starting out?
Look for upcoming productions that are going on, look for internships and go apply at TV stations always be looking and most of all be pleasant.
Telephone: (843) 708-1127
bashapro@gmail.com
Production Manager
1. Can you briefly define your job to me?
Being a production manager entails hiring, setting wages, and being in charge of budget. It takes you to the office, to the set, and is usually the last person to leave. A production manager makes salary, however he makes a certain percentage with that salary.
2. How did you get started in this business?
I was 21 years old and had just graduated from Duke University. My friend came up to me and told me about a job in the entertainment business. Being young with no job, I took the job. My major was Art History and with that I was able to help out with photography and film. With getting a job it’s all in how you present yourself.
3. How do you tell someone over you (your boss) that you can’t accomplish an assigned task?
Be honest. If the task is not feasible then you should honestly say it couldn’t be done, which is of course what they don’t want to hear. Know how to say no. If they ask you to block a road as a location manager, and the road can’t be blocked say it can’t be done.
4. Do you have any advice for a media student who is just starting out?
Look for upcoming productions that are going on, look for internships and go apply at TV stations always be looking and most of all be pleasant.
Sunday, January 11, 2009
Assignment 2: Script Breakdown
Assignment Goals:
Begin reading scripts like a producer.
Assignment Due:
1/26/09, hand in at the beginning of class
Assignment Details:
This assignment is worth 5 possible points.
Choose a script you have, or go to Drew's Script O Rama to find a script that interests you.
Print out two scenes of the script. Now, mark them according to the guidelines and write up script breakdown sheets for each scene.
There are breakdown templates on line, like this one: www.scribd.com/doc/3259710/Script-Breakdown-Sheet.
Staple the breakdown sheet to the front of each marked scene.
Put your last name on the top left corner of each sheet.
Begin reading scripts like a producer.
Assignment Due:
1/26/09, hand in at the beginning of class
Assignment Details:
This assignment is worth 5 possible points.
Choose a script you have, or go to Drew's Script O Rama to find a script that interests you.
Print out two scenes of the script. Now, mark them according to the guidelines and write up script breakdown sheets for each scene.
There are breakdown templates on line, like this one: www.scribd.com/doc/3259710/Script-Breakdown-Sheet.
Staple the breakdown sheet to the front of each marked scene.
Put your last name on the top left corner of each sheet.
Assignment 1: Finding Information A
Assignment Goals:
I want you to learn to FIND information
and
I want the class, and myself, to benefit from the information you find.
Assignment Due:
Post on blog by Sunday, February 1st, 11;59pm.
Assignment Details:
This assignment is worth a possible 10 points. Total possible points for the semester are 100, not including extra credit.
Talk to at least one production professional in a ranking position (PM, POC, AD).
1. On line: find sources for the film professionals in your state
check major cities film offices, film commissions - those sites will lead you to crew lists.
2. Write and/or call 5 or 6 production people – ask if you can interview them.
State up front that you are a student looking for short information.
Tell them you will only take 15 minutes of their time.
3. Interview first to respond – if you haven’t heard back in 2 days, try 5 more. You have VERY LITTLE TIME and you must complete the assignment.
Do not conduct interview via email unless they ask, use the phone.
Ask the following:
1. Can you briefly define your job to me?
2. How did you get started in this business?
3. How do you tell someone over you (your boss) that you can’t accomplish an assigned task?
4. Do you have any advice for a media student who is just starting out?
After 15 minutes is up:
“our time is up, is it okay if I call you again sometime, perhaps this semester, to run a few more questions by you?”
Write up your interview while it is still fresh. You can record the interview as well, just make sure you tell the person you are doing so. Let them know your class has a blog (Producing302@blogspot.com) and you will be posting their interview highlights on the blog. Ask if it is okay to leave their name on it, or if they would rather keep their contact info private. However, you must send me their contact info and name in case I need to verify the interview took place.
Post the interview on our blog. The title is "Assignment 1" followed by your last name.
If you have a lack luster interview, do another one. Write about both to me personally so I know you are working.
Hint: READ ALL THE POSTED INTERVIEWS BEFORE THE MIDTERM EXAM.
The interview was conducted over the phone, and was well written up. It covered all the questions and served as a great learning tool for the class. Of course, the student also sent a thank you note to the interviewee!
Example:
AWS - Production Manager
AMP
Q. Can you briefly define your job for me?
A. I'm responsible for keeping all of the elements and different resources of the production together, keeping the people in the lighting area and the sound and camera crew in line and keeping the communications going and dealing with the producer and other people like the d.p. and such. Basically the production manager - when it really comes down to it - they're the ones that really have to keep the people in line. A lot of people think it's the director - I do directing myself, so I know that that's true to an extent - but really when it comes down to it the PM is who's going to get blamed. Not only that, but the pm is also responsible for budgeting type issues. They're even involved at the script level, when they look at the script they're supposed to be able to get a rudimentary estimate of how much something's going to cost to film when you have a scene and take the factors into consideration and make an estimate of how it can be done in the most cost-effective way.
Q. How did you get started in this business?
A. I started with small productions, my reputation got better, other directors started bringing me into the set. Like a lot of people in film, you're going to see that they do a lot of things. People might start out in props and then the next production they might be brought in as an electrical assistant. And then as lighting or even special effects, and different people will keep bringing them back and after 50 years or so a lot people who started out this way are directing. Start out on small projects, doing different things like lighting and maybe even boom operator, just start working your way up eventually to better things like director, production manager, d.p. Someone with photography skills could end up as d.p., and other people, like production managers, could easily slide into director position because they can manage all of the people and processes that are involved in film production.
Q. If a producer or someone in a similar position asked you to do something that just didn't seem feasible for whatever reason, how would you handle the situation?
A. A lot of technical knowledge helps out in that respect, a production manager has to analyze the situation and then come up with a good reason why it actually won't work. For example if they're talking about some major deal that's involving resources they don't have, then basically the p.m. is going to have to point to budgetary concerns and say, "We don't have the budget for this." Or if it's a stunt issue, if they want to see these stunts that insurance just isn't going to cover, the p.m. is going to have to point to that and say it's not going to work. Sometimes a visual concern can be passed along to another person, if it's a matter of certain camera effects, it can be passed along to cinematographer. And then it's their responsibility to come up with a way make it look like how director wants it, but to still keep it within budget.
I stress technical knowledge of a production manager. They have to have knowledge of different areas. They're not sitting in one seat where all they have to do is know how to move a dolly, or how to get the smoothest pan, they have to work with all these different areas, including budgetary areas, to make the film work. The production manager has to be a very knowledgeable person.
Q. So knowledge of other peoples' duties is important for a production manager to have. What other skills or attributes would you say are important for a production manager to have?
A. Dealing with people, diplomacy, knowing how to talk to people, being able to follow orders, if the producer comes to the production manager with something they want done - sometimes the pm is a liaison between the producer and the director. If they're misunderstanding each other or even at odds, the p.m. will come to them and say, "Look, we have to do it this way, we jut have to get it done."
Q. It doesn't seem like someone could enter the position of production manager without any practical experience.
A. I've seen a very few people with a lot of intelligence and a good background, if they sit in on some film sets and see what the production manager does, they can make it work probably starting out on smaller productions and working on to bigger productions. If someone stepped directly into Hollywood and tried to fill that position right off the bat, they'd get fired within, probably about thirty seconds.
Q. What advise do you have for a media student who is just starting out?
A. Someone starting in this business should try to keep their ears open, try to look at all of the areas of the film, don't box yourself in just thinking about exactly what you like about film, try to think about all the areas and be able to understand other peoples' concerns and needs. The director will have his own needs going on inside his head, the producer will be concerned with answering to the executive producer and other people on the business end. Other people on the set will try to make the film as good as it can be. The key grip and the gaffer and the cinematographer are all going to be people that will be be more concerned with the art form. Being able to understand the concerns of all these people is vital. And a lot of it's about pleasing these other people. Ultimately the best film is where everyone is satisfied at the end of the film. To keep the relationships going on the film set can be a difficult thing. At the production I'm working on now, the sound guy walked off the set after the first week because of the poor communications of the director. He was an extremely talented sound guy, everything was great except he unfortunately didn't appreciate the approach of the director. I tried to tell him that we're here to just do the most professional job we can do, but the conflict was too great there. And even though he's off the set, the best you can do is try. If you can't mend the relationships between people, that's all you can do - not burn the bridges and tell them "that's the last time you're going to be working with them" or something like that." Not only that, but the p.m. has to sit down and think really hard about exactly why they're in the business, and why they want to be in the business. For me, I've been in a lot of situations where I've been like, "these people are basically slapping me in the face." You deal with a lot of people with attitudes - why am I in it? Not because I care about every little negative thing that happens on the set, but what comes out of it - the end product - really pushes me. Someone who takes insults really personally is going to have problems, but if you know why you're in it and that's what's driving you then it's the career for you, without question.
I want you to learn to FIND information
and
I want the class, and myself, to benefit from the information you find.
Assignment Due:
Post on blog by Sunday, February 1st, 11;59pm.
Assignment Details:
This assignment is worth a possible 10 points. Total possible points for the semester are 100, not including extra credit.
Talk to at least one production professional in a ranking position (PM, POC, AD).
1. On line: find sources for the film professionals in your state
check major cities film offices, film commissions - those sites will lead you to crew lists.
2. Write and/or call 5 or 6 production people – ask if you can interview them.
State up front that you are a student looking for short information.
Tell them you will only take 15 minutes of their time.
3. Interview first to respond – if you haven’t heard back in 2 days, try 5 more. You have VERY LITTLE TIME and you must complete the assignment.
Do not conduct interview via email unless they ask, use the phone.
Ask the following:
1. Can you briefly define your job to me?
2. How did you get started in this business?
3. How do you tell someone over you (your boss) that you can’t accomplish an assigned task?
4. Do you have any advice for a media student who is just starting out?
After 15 minutes is up:
“our time is up, is it okay if I call you again sometime, perhaps this semester, to run a few more questions by you?”
Write up your interview while it is still fresh. You can record the interview as well, just make sure you tell the person you are doing so. Let them know your class has a blog (Producing302@blogspot.com) and you will be posting their interview highlights on the blog. Ask if it is okay to leave their name on it, or if they would rather keep their contact info private. However, you must send me their contact info and name in case I need to verify the interview took place.
Post the interview on our blog. The title is "Assignment 1" followed by your last name.
Send a thank you note. Blind copy me on thank you note, or photocopy it if you are going to mail it. Your thank you note is worth 3 of the possible 10 points.
If you have a lack luster interview, do another one. Write about both to me personally so I know you are working.
Hint: READ ALL THE POSTED INTERVIEWS BEFORE THE MIDTERM EXAM.
Here is an interview that was given all ten possible points:
The interview was conducted over the phone, and was well written up. It covered all the questions and served as a great learning tool for the class. Of course, the student also sent a thank you note to the interviewee!
Example:
AWS - Production Manager
AMP
Q. Can you briefly define your job for me?
A. I'm responsible for keeping all of the elements and different resources of the production together, keeping the people in the lighting area and the sound and camera crew in line and keeping the communications going and dealing with the producer and other people like the d.p. and such. Basically the production manager - when it really comes down to it - they're the ones that really have to keep the people in line. A lot of people think it's the director - I do directing myself, so I know that that's true to an extent - but really when it comes down to it the PM is who's going to get blamed. Not only that, but the pm is also responsible for budgeting type issues. They're even involved at the script level, when they look at the script they're supposed to be able to get a rudimentary estimate of how much something's going to cost to film when you have a scene and take the factors into consideration and make an estimate of how it can be done in the most cost-effective way.
Q. How did you get started in this business?
A. I started with small productions, my reputation got better, other directors started bringing me into the set. Like a lot of people in film, you're going to see that they do a lot of things. People might start out in props and then the next production they might be brought in as an electrical assistant. And then as lighting or even special effects, and different people will keep bringing them back and after 50 years or so a lot people who started out this way are directing. Start out on small projects, doing different things like lighting and maybe even boom operator, just start working your way up eventually to better things like director, production manager, d.p. Someone with photography skills could end up as d.p., and other people, like production managers, could easily slide into director position because they can manage all of the people and processes that are involved in film production.
Q. If a producer or someone in a similar position asked you to do something that just didn't seem feasible for whatever reason, how would you handle the situation?
A. A lot of technical knowledge helps out in that respect, a production manager has to analyze the situation and then come up with a good reason why it actually won't work. For example if they're talking about some major deal that's involving resources they don't have, then basically the p.m. is going to have to point to budgetary concerns and say, "We don't have the budget for this." Or if it's a stunt issue, if they want to see these stunts that insurance just isn't going to cover, the p.m. is going to have to point to that and say it's not going to work. Sometimes a visual concern can be passed along to another person, if it's a matter of certain camera effects, it can be passed along to cinematographer. And then it's their responsibility to come up with a way make it look like how director wants it, but to still keep it within budget.
I stress technical knowledge of a production manager. They have to have knowledge of different areas. They're not sitting in one seat where all they have to do is know how to move a dolly, or how to get the smoothest pan, they have to work with all these different areas, including budgetary areas, to make the film work. The production manager has to be a very knowledgeable person.
Q. So knowledge of other peoples' duties is important for a production manager to have. What other skills or attributes would you say are important for a production manager to have?
A. Dealing with people, diplomacy, knowing how to talk to people, being able to follow orders, if the producer comes to the production manager with something they want done - sometimes the pm is a liaison between the producer and the director. If they're misunderstanding each other or even at odds, the p.m. will come to them and say, "Look, we have to do it this way, we jut have to get it done."
Q. It doesn't seem like someone could enter the position of production manager without any practical experience.
A. I've seen a very few people with a lot of intelligence and a good background, if they sit in on some film sets and see what the production manager does, they can make it work probably starting out on smaller productions and working on to bigger productions. If someone stepped directly into Hollywood and tried to fill that position right off the bat, they'd get fired within, probably about thirty seconds.
Q. What advise do you have for a media student who is just starting out?
A. Someone starting in this business should try to keep their ears open, try to look at all of the areas of the film, don't box yourself in just thinking about exactly what you like about film, try to think about all the areas and be able to understand other peoples' concerns and needs. The director will have his own needs going on inside his head, the producer will be concerned with answering to the executive producer and other people on the business end. Other people on the set will try to make the film as good as it can be. The key grip and the gaffer and the cinematographer are all going to be people that will be be more concerned with the art form. Being able to understand the concerns of all these people is vital. And a lot of it's about pleasing these other people. Ultimately the best film is where everyone is satisfied at the end of the film. To keep the relationships going on the film set can be a difficult thing. At the production I'm working on now, the sound guy walked off the set after the first week because of the poor communications of the director. He was an extremely talented sound guy, everything was great except he unfortunately didn't appreciate the approach of the director. I tried to tell him that we're here to just do the most professional job we can do, but the conflict was too great there. And even though he's off the set, the best you can do is try. If you can't mend the relationships between people, that's all you can do - not burn the bridges and tell them "that's the last time you're going to be working with them" or something like that." Not only that, but the p.m. has to sit down and think really hard about exactly why they're in the business, and why they want to be in the business. For me, I've been in a lot of situations where I've been like, "these people are basically slapping me in the face." You deal with a lot of people with attitudes - why am I in it? Not because I care about every little negative thing that happens on the set, but what comes out of it - the end product - really pushes me. Someone who takes insults really personally is going to have problems, but if you know why you're in it and that's what's driving you then it's the career for you, without question.
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