Jim Aleski, Interviewed By Kyle Mimnaugh

Jim Aleski is an Assistant Director based out of South Amboy, New Jersey.

1. Can you briefly define your job to me?

My current job situation is a bit complicated, but generally speaking, I’m a producer/executive producer who makes promos and commercials and other short form media productions for mostly “boutique” style production/post production shops. What does that mean exactly? I work for companies who are all-in-one places – creative development, production, post production, graphic design. As I said, mostly making TV network promos. As an “executive producer,” it is my job to help a director/creative director, work with a network’s creative staff to help flush out an idea about a particular project. I then have to take that idea and turn it into a budget/schedule. Typically speaking, I then have to continue to work with the creative folks to get their ideas to fit within whatever the clients budget/time constraints are. If the job is awarded to whomever I’m working for, I then go into “producer” mode and oversee all aspects of the production and post production process. I don’t necessarily touch any equipment other than a phone and a computer, but I work with everyone that does touch the equipment. Also, I continue to work closely with the director and other creative folks to make sure that we’re maximizing what they want to do creatively with what we can do practically money and time wise.

2. How did you get started in the business?

I was lucky enough to go to a high school in NJ that had a TV studio, so my formal education in the film/tv world started early (sophomore in high school). I worked part-time at my local cable access channel as a senior in high school, then went off to Emerson College where I obviously furthered my education as well as worked on a variety of internships and production assistant jobs.

3. How do you tell someone over you (your boss) that you cannot accomplish an assigned task?

I’d typically ask them for help first. Tell them you can’t figure something out or that you’re struggling with something. Obviously ask other people around you for help first before bothering the boss. Also, you’d be amazed what you can figure out by using google/watching others/calling your peers/etc. But yes, at some point, its ok to say “boss, I/we can’t do this” because sometimes, well, you just can’t and you need to come up with a better way.

4. Do you have any advice for a media student starting out?

Well, my general advice for the big picture would be to write as much as you can, and work on (including your own) as many films as you can. If you want to work in film, then that doesn't mean working in TV studios or stations or stuff like that...you need to be working single-camera type stuff. Work on every type production you can while at school. Volunteer to help everyone who might need it. Also, make your own stuff. A lot of it. Get a cheap video camera and shoot. Master it. Get video editing software and edit. A lot.

Also, where are you thinking of going/doing right out of school? Although not 100% absolutely necessary, it is obviously slightly easier to do things if you are in Los Angeles, as opposed to anywhere else.

Jaymeson Grebenc- Interview with David Stuart, NY

Mr. David Stuart is a Producer and Unit Production Manager for, and founder of, Flatplanet Films. The production company deals with independent feature films, television specials, and works of social media utilizing independent-sized budgets to deliver professional quality material.

1) Defining the job:
-- Because Flatplanet Films deals mostly with independent projects, Mr. Stuart has more responsibility for the project than would be had in a studio setting. Working as a UPM for a major studio, he would only be responsible for hiring cast and crew "below the line," which is typically a majority of the crew, extras, and the like; in the independent realm, he is responsible for hiring almost everybody. As UPM, Mr. Stuart is hired by the Producer to make (and more importantly, finds a way to stick to) the budget, create the schedule, find the equipment for the project, hire cast and crew, and make sure the shoot goes off without a hitch. He must plan years, months, weeks and days in advance because independent projects do not have the available budget to cover mistakes, even small ones.

2) Getting started in the industry:
-- Mr. Stuart was actually a Project Manager for IBM before getting into the film industry. He had always been interested in film, and after taking a class he fell in love with it. He enrolled in the graduate program at the Columbia University film school at the age of 30, volunteering for as many projects and positions as he could in order to build experience. After graduating, Mr. Stuart volunteered at the New York Mayor's Office of Film, Theatre and Broadcasting, became acquainted with some of the people there, and was hired on as a PA. He said that he kept quiet, did good work, and watched those people whose jobs he wanted, learning all that he could. After he had gained some respect, he began to ask questions, studying his superiors in order to understand the details and requirements of those positions.

3) Telling your boss that you cannot accomplish an assigned task:
-- "I don't think I ever say "You can't..."" Almost anything is possible, and as long as the budget is met, it can be done. Getting a project into production is always a matter of compromise, and these compromises are always made when the project is too ambitious for the budget. Rather than simply saying "no," explain why the limitations must be made and offer suggestions that will help rectify the matter. More often than not, these changes come in the way of cutting superfluous scenes or shots and keeping the number of shooting days and locations to a minimum, without taking away from the story.

4) Advice for media students starting out in the field:
-- Mr. Stuart had some excellent suggestions for students entering the field of media. He stressed getting one's professors involved because they have more experience, and also have the ability to give recommendations and make suggestions. He also suggested that students call production companies and agencies, do the research, and volunteer; keep your eyes open, learn names, do what you're told and be prepared to bust your ass. When you volunteer for a project, you will get further work based on what you did, and how you did it; if you worked as an AD on a previous project (and did well,) that is what you will be recognized for, so unless you know exactly what you want to do, play the field until you find what you like and what you're good at. Always remember that professionalism and attitude go a long way, but getting the job done right is just as important. **Students, please refrain from contacting Mr. Stuart unless you are a client.**

Linda Burns

Linda Burns, owner of Plexus Pictures in Atlanta, Ga., produces, line produces and production manages national commercials, corporate industrials, webisodes, still photo shoots, music videos, television shows, pilots as well as promos.

Burns is in development of a “coming of age girls action film kind of like an Indiana Jones, but for girls on the high seas.”

1. Can you briefly define your job to me?

“A producer’s job is to oversee the creative elements of the shoot. A producer on a commercial’s first responsibility is to get the creative that generally comes from the agency or your client (your client being someone like Georgia Pacific or Coca-Cola.) Those kind of big companies hire an agency and that advertising company create the creative ideas and they generally come to a production company or a series of production companies with a couple of different ideas and they ask that production company to bid the job. One of the first things I do, is I’ll get the different ideas and sit with my director and see what idea he gravitates toward. I’ll talk to the agency and either do a bid on all three ideas or the one that the director is most interested in, that the agency agrees would be a good choice for their client. I have to put the bid together, so I need to know what crew is needed, what kind of locations are needed. I kind of have to have a rough idea of what I believe are all the resources that we’re going to need to purchase or rent to make the creative happen. I put together all the numbers, detailed numbers.

My job also is (to) ensure my director’s vision will come through for that money.

I’m also in charge of putting the casting together or hiring a casting person (director).

I hire all the above the line people, so the key creative positions (such as) the director of photography, an art director or production designer, set up casting sessions…usually hire a productions manager or I’ll hire a locations person unless it’s going to be on stage.

My job is to make sure the creative vision oversight is there and that we can deliver what we need for the client. I’m there to address client needs and my above the line people needs and make sure everybody is taking care of while making sure that the production manager and all the other departments can work within their budget.

On a feature film, there are several types of producers. Sometimes they’re called executive producers, sometimes they’re called associate producers, co-producer and sometimes they’re given a flat-out called producer credit.

Executive producers are generally the people who bring the money or do the fundraising.

The producer is generally the one that finds the idea and puts the whole team together and works with the executive producer to supply the materials so that he can get the funds.

A co-producer is someone who is generally not there the whole time. They may come in and help in various ways or maybe the key producer kinds of overseas everything

It’s hard on bigger projects or bigger movies for one producer to oversee everything because they’re so labor intensive, so there are co-producers.

Associate producers can also be someone who brings additional money or even bring a star.

There are producers that kind of are the main person from development to delivery, and there are producers who only show up for the shoot because that’s their expertise. I do all of those things, which kind of makes me, in some sense, a rarity.

I generally read a lot of scripts and it’s taught me to be able to find talent very quickly.”

2. How did you get started in the business?

“Completely accidentally. I had no interest in making movies. I wanted to be a lawyer, electrical engineer or a computer scientist. I was a completely different track. In college (at the University of Michigan at Ann Arbor), some friends of mine made a short film and I loved it. I loved the process and I thought it was fun, so I started volunteering at a community access station. People would ask me to help them with projects and I did. I started thinking ‘this is fun and I like this,’ so I started taking television and radio classes. I designed my own degree in abnormal psychology, deviant behavior, the psychology of advertising, and television and radio production. I was fascinated about how you can manipulate minds through advertising. I graduated with no intention of going in that field. I had no idea what I wanted to do. I packed a backpack full of seven days worth and clothes and I packed a tent, and moved to Hawaii without a job, without a place to stay. (I) just got off the plane and figured I would figure it out.”

Burns said she lived in a van for two years. She shot some video when the weather was bad. She also shot video of first birthday parties to trade for dog food because she also trained dogs for a while. From there, she moved to Key West, Fla., because she said she wasn’t ready to move back to “real society” yet. Burns lived there for two years doing radio, something she thought was fun and never thought about as a career.

Soon, she wanted to move again and she went to Atlanta. Burns said she went to a tiny radio station in Atlanta to try and cut a demo tape when she met her lifelong friend who had a radio show and was the station manager. Two weeks later, she ran into him again and this time he was with a man, who would eventually became another lifelong friend, who did work in the film industry. Burns said he asked if she ever thought about doing film. He asked for a business card and told her he would give her a call if anything came up. Two weeks later, Burns said, he called her to help him shoot a film in downtown Atlanta.

“He was reproducing kind of a Green Hornet type of (film), but with a black lead (actor) and Latino sidekicks. We shot 24 hours the day before Thanksgiving. A 12-hour shoot turned into 24 hours. Somehow I managed to find everything he sent me out to find with virtually no money and it was the first time that anything I had ever done really clicked.”

From that moment, Burns realized she was good at filmmaking. At the time she was waiting tables, but because she did such a good job on that shoot, her experience led to other jobs where she was eventually able to quick her waitress gig.

“I was suddenly working in the film business full time and having a blast."

3. How do you tell someone over you (your boss) that you can't accomplish an assigned task?

“Recently, I took a job without seeing the budget first. Partially it’s because I hadn’t worked in a long time. I produced a free no-budget art film and before the last day of the shoot this woman called me and I needed the money. I took the job. I didn’t have time, because I was on set, to ask all the appropriate questions, (which is what Burns said she normally does). There was no one available (to help her), so I took the job. Two days later, I saw the budget and there were major errors. They didn’t have craft service (budgeted). There was no one in the budget to shop for that or manage it. They had the sound equipment in for two days, but the sound people in for one day. Within five minutes, I found about $7,000 to $8,000 worth of expenses that would be spent that weren’t in the budget. I knew somehow I was going to have to make it happen. In the end, I was probably about $15, 000 over budget, which was 25 percent of her original budget. No overages were asked for from the client or agency.”

In the end, the client came up with some of the money and the person who hired Burns had to pay the rest out of pocket. The result was that the client was happy with the commercial.

“Neither of us slept for two weeks. It wasn’t pleasant. I pride myself on the fact that I’m very good with working with difficult clients, so I have found ways…I’m very good with numbers, and I know what sacrifices I can make financially that won’t hurt what ends up on screen. So, experience has made it so that I can make the smart decisions to save us money when we don’t have it. "

4. Do you have any advice for a media student starting out?

“Get out there and learn how to tell a story. Watch really good films and watch really (bad) films. Volunteer for projects. Create, create, create, create.”

Interviews with Max Collins and Keri Mullen by Toni Wigant

My first interview was with writer, producer, and director Max Collins, whose most famous work of art is "The Road to Perdition" which he created the original graphic novel. Other films of his include "Mommy" and "Eliot Ness: An Untouchable Life." Because Mr. Collins is considerably busy, he was only able to email me his answers, but I feel they are just as informative.

1. Can you briefly define your job to me?

Toni, I'm a freelance writer, and have worked in various forms of storytelling since I was in college in the early '70s. The major thrust has been fiction, specifically mystery and suspense fiction. About fifteen years ago, I began getting aggressive about movie making, and have sold a number of screenplays, and written and directed a number of independent features and documentaries.

2. How did you get started in the business?

I attended the University of Iowa Writer's Workshop, and my teacher/mentor there -- Richard Yates, author REVOLUTIONARY ROAD -- helped me land a literary agent. I sold two mystery novels during my last year of grad school, and have never looked back. My career is a combination of answering the phone and accepting work, and going out and finding work. One of my specialties has become tie-in writing, which is developing novels out of films and TV shows for the rights holders of those properties (and, of course, interested publishers).

3. How do you tell someone over you (your boss) that you can't accomplish an assigned task?

I don't. If I accept a writing job, I do it. If I think I'm not qualified, I will turn it down -- but I rarely turn down a job, unless I am booked up.

4. Do you have any advice for a media student starting out?

Be versatile as far as media is concerned. I have had a long career because I did not peg myself as one thing -- and it would have been easy to be a mystery writer, period. But I have also written non-fiction, both books and articles, and have written everything from trading cards to syndicated comics, from graphic novels to video-game dialogue. It's best to think of yourself as a storyteller and work in as many media as you can manage and have interest in/for.

My second interview was with Keri Mullen, who has had over 15 years experience in film/video, music and live performance; from executive management to all aspects of producing, directing and shooting. She wasn't able to be reached by phone (she was attending a film festival in Colorado,) but she was more than happy to email me her answers.

1. Can you briefly define your job to me? Currently I am a freelance media consultant. What that entails is I freelance for production companies, media companies, marketing, advertising and PR companies assisting them in their industry in a variety of roles. It can be as small as executive management to Directing. It all depends on who they are, what they want, what I can do for them. I have taken on this type of career basically due to the film industry and the economy in places I have lived. Colorado (Denver/Boulder area) is very big and competitive. Iowa has now become this way since the state has a hold on the Film Tax Incentive Program, which I am a huge advocate of and working very hard with other people to see this incentive carry on for the sake of the film industry in Iowa. Currently, I am freelancing with a company who produces a variety of trade shows. These trade shows are all similar and I am making contact to get the word out to B2B and B2C for exhibitors, sponsors, and attendees. Also, assisting in writing press releases, stories, and submitting those to various editors, journalists, media, social networking sites, and internet groups. On a production end, my knowledge of crewing on a location or studio shoot ranges from set design, to lighting, audio, floor director, Technical Director, Assistant Director, Director and Producer.

2. How did you get started in the business? I have always loved the media and it wasn't until I divorced and decided I was tired of working for corporate America. I re-evaluated my career, moved to Boulder, CO from Denver, CO and started to volunteer for a Community Access TV Station that was funded by the City of Boulder. With that I learned to produce, director, shoot, edit, everything you need to know hands on about what a production program from in studio to on location entails. I was asked by the Executive Director of the Community Access TV Station to participate as an Assistant Director for a live sports show he was directing and asked if I would be interested in being his AD. I was, I went, I watched and I learned in 1 evening. The next week when I returned to continue being the AD and Director in waiting, he told me that he was going to a meeting and I was directing the show and that the show was going live and I was going to be responsible. I was so scared that I did it. I directed this 30 min live show and it was best thing I ever did.

3. How do you tell someone over you (your boss) that you can't accomplish an assigned task? It depends on what it is for me. I will take a task and make sure I have all the information I need on it. Everything from the last detail. If I feel I cannot do it, I will discuss parts of the tasks I can do and inform my boss that this is what I can do, but I do not know if I can take on these aspects. It also depends on what else I have on my plate in order to take on additional duties and responsibilities, if it is something that I should be doing. I also learn to prioritize in order to hopefully complete all tasks assigned in the time frames given.

4. Do you have any advice for a media student starting out? I have guided a lot of students from high school to college and out. Some of my interns in the community access tv station worked with my on various shows in order for them to learn and decide if this was a career path for them. My suggestion to you is to find an organization you would like to be a part of. Ask for an informational interview, ask to intern. Your passion in what you really want to do will come through that. Also volunteer in and with organizations that are of your interest. This helps you with getting to know the people you need to know, getting to know how to conduct yourself and how to perform certain tasks and duties that may be asked of you in the future.

INTERVIEW WITH ROBERT ROLSKY

Mr. Robert Rolsky is a production manager in Washington and has worked on a number of shows including "Maneater," "Heist," and "Everybody Hates Chris." Although we spoke for only half an hour, I feel as though I've obtained a lifetime's worth of knowledge of the film industry. Mr. Rolsky proved to be a realist about "the business," unfazed by that Hollywood spell my preacher warned me about. The first piece of advice Mr. Rolsky had for me was to "STAY AWAY," but by the end of the interview I could see what he meant by that. If being told to “stay away” is enough to keep you away (from the industry), you probably aren’t strong enough to survive there.

1) Can you briefly define your job for me?

Mr. Rolsky defined a Production Manager as the "nuts and bolts" of the production. His job is to:

• Find the office space.
• Get it furnished.
• Hire the crew.
• Line up the equipment.
• Supervise the entire production
• Review/ Approve invoices.
• Be the shrink for about 80 people.

Mr. Rolsky also described what it’s like working in the TV and film industry, including the positive and negative aspects. Here are some of the positive things he had to say about working in the business:

"(It) sure beats working in an office."

"It's very casual."

"It's unregimented to some degree."

"(You) aren't encumbered by astringent behavioral dictates."

"Every day is different in a way."

Mr. Rolsky also had a few things to warn me about:

"The very worst part is that for the most part, it's all freelance. When the job's over, you're on your own. There's not a lot of comfort."

"The higher up on the food chain you get, the harder it is to get the work. It has to do with numbers more than anything else. The chance of employment is greater for jobs that there are more positions for. For a production manager, there's only one spot in the production. Once it's filled, it's filled."

"It's a tough road."

"Every single day you have new potential problems."

"It's like the circus. You have to work with chaos."

"Every time it can be a new experience. You hope it isn't."

2) How did you get started in the business?

Mr. Rolsky got started working in the film and TV industry by getting involved in the state and university TV station while attending the University of Maine. He left Maine to attend graduate school in San Francisco in the video program but left shortly after when he realized that film better suited his goals.

"I didn't know what I wanted to do (career-wise) to be honest with you."

"I didn't realize what you saw on TV was film and not video."

"(San Francisco) was too academic for me...not the right road to take."

3) How do you tell someone over you (your boss) that you can't complete an assigned task?

Ifelt as uncomfortable asking Mr. Rolsky this question as he became trying to imagine a situation where he couldn't complete an assignment.

"It's usually not as though you can't complete the task...you have to complete the task."

He did mention some specific examples where things can fall through, leaving the production manager responsible for getting creative to prevent the production from falling behind schedule, costing tens to hundreds of thousands of dollars. For example, if a renting company can't get you the crane you needed, you have to change the schedule or have the director change the shot.

4) Do you have any advice for a media student starting out?

Mr. Rolsky had some very good advice, especially for someone like me who is still unsure about my goals in the film and TV industry. He had two very fundamental questions students should ask themselves before diving headfirst into the business.

1. Do I want this badly enough to move?

Mr. Rolsky explained how important it is for someone with silver-screen sized ambitions to relocate (if necessary) to one of the hubs of industry. There's always local work to be found all over the country, but someone must live around a place like Los Angeles or New York to land consistent, big projects.

2. Do I want to make this commitment?

...especially after hearing about how tough of an industry it is.

Mr. Rolsky had some other things to say that I found helpful:

"Network like crazy."

"It's luck."

"One of the most important things is to get in the door. Don't be afraid to take an office job or be a PA job or be an extra. It's a lot easier to work from the inside than from the outside. At least you get on the set."

"Have a sense of what you want to do."

Mr. Rolsky also made some helpful suggestions for students such as interning for a production company or going to a school such as UCLA or USC (Southern California) where the university is already plugged into the industry.

Mr. Rolsky also talked a little bit about unions in the film industry. He explained how they are a catch-22:

"You have to be in one to get work but you have to have gotten some work to be in one."

To gain a better understanding of unions and how to use them properly, Mr. Rolsky suggested calling the union of whatever profession I would be interested in and telling them that I’m a student interested in finding out how to proceed in the industry, making my career legitimate. He also suggested going to the Director's Guild Association website to read descriptions about the different jobs in the film and TV industry to be aware of all the possibilities out there.

Interview with Carlos Arakelian of Austin Texas

Carlos Arakelian
Freelancer

1. Can you briefly define your job to me?

I have done a variety of jobs in the many years in TV Production. I now work as a line producer and assistant director on a freelance basis. I organize the whole shoot. I mainly do TV commercials. I work for production companies hired by advertising agencies that come to us with a storyboard. We take it form paper to film and eventually to video and the TV final product. I work very closely with the Director. We have many meetings to determine what will be the needs of the project and form that we create a budget that is eventually approved by our client, the agency. Once the project is approved. I put together a crew and start supervising all the work that each crew member is responsible for. This takes usually a couple weeks of prep and many meetings. I organize, location scouts, casting directors, wardrobe, props, sets and other crew members that will provide many items and services.
We gather all of their prep materials and build what is called a pre-production book, that we present to our client in a pre-production meeting to go over all of the details of what we plan to do and how their idea will be executed. We also hire storyboard artists and special effects supervisors if needed.
For the shoot I usually put together a crew of about 20-40 people that will work during the shooting days. We also need to figure out transportation needs, location needs as well as organize catering and feeding needs of the crew, cast extras and clients. If we travel to a location we also organize all travel needs. We also (we being the production team usually a production coordinator and line producer supervised by director and company owner) are in charge of making sure that our director of photography, Gaffer, and other key grip get all of the equipment, usually rented for the days of shoot.
Once all of this comes together and our clients approves our execution plan, then we go and shoot a TV commercial. It could take 1 day of a week of shooting. Depending on the project. Usually 1 day per TV commercial.
At the level that I work, high end TV commercial production, all of this can cost from 80,000 to 200,000 dollars depending on the project. I have worked on campaigns that cost more than a million dollars for a week of shooting and several spots. During the shoot as a producer I am there to make sure everything runs smooth. If I am the AD, then I am responsible for everything that happens on the set. Making sure we are running on time. I create a shooting schedule before the shoot and during the shoot I try to make sure that we stay on schedule. I also give departments support in which ever way possible.
The director depends on me to make sure he and the DP have everything they need at the time that they need it, from actors on the set to the the set or location being ready at specific times. Once the shoot is over as a line producer I have to close the job financially and turn it into the executive producer. Consolidate all the expenses. With the help of the production coordinator it is usually a 2-3 day job. We hand the company a book with all the PO's and bill and tell them what has been paid, what is pending, and when it is all due. We also give them all the talent contracts and releases for their use.
Finally we celebrate and hopefully get paid for it.

2. How did you get started in the business?

I studied TV and Film production in LA and once out of college I got a job at an advertising agency as an assistant agency producer. Then I became an agency producer and later head of production for an ad agency. That was the first & years of my Career. By then I had produced and supervised as agency producer more than 1000 TV commercial.
After that I opened a production company based in LA and produced TV commercials for ad agencies. There I worked as an Executive Producer and Line Producer. I did that for 6 years.
I then went to Mexico after a company there asked me to help them at the same time as Line Producer and AD. I did that from about 1998 to about the year 2000.
I then left that part of the industry and opened another company in Houston, that did live events. We produced 27 live professional wrestling events a pilot for TV and a pay per view.
After that in 2004 I stopped that project and went back to Line Producing and being an AD. I have done that on a freelance basis since then. I started in 1987 and I am still at it today. Lots of hard work and lots of long days.

3. How do you tell someone over you (your boss) that you can't accomplish an assigned task?

There is no such thing. In this industry everyone is expected to get it done and in a timely manner. That is why we hire the best people and people that have been at it for years. Yes there are times that it gets tight, but we try to give everyone enough time to make it possible to get their job done. The best I advice I can give and try to follow is to be honest and if you don't know something or have a doubt, ask for help. This is much better than saying I didn't get it done.
The main part of my job is trouble shooting, fixing problems and coming up with solutions. That is why people hire me. I have been around long enough and seen lots of situations.
In our job, we avoid not accomplishing a task by making sure in pre-production that all will be there the day of the shoot. We only get x-amount of hours of days to get it on film and time is very expensive the day of the shoot, so it all has to move forward smoothly.

4. Do you have any advice for a media student starting out?

Yes, get your hands wet and dirty. Go out and try to get as much work as possible. In any position, from being a PA to being a runner. Work hard, help as much as you can and people will want you around. The more you work, the more you will learn. If you don't know or understand what they want or are asking you to do, ask. It is very important to ask, don't assume or guess. That is how people get fired, you will be surprised how much people are will to teach you .

Interview with Robyn Beck of Austin Texas

Robyn Beck
Freelance Producer


1. Can you briefly define your job to me?

I am currently a Freelance producer (among other things: Art Director and Wardrobe Supervisor). I work mostly with productions companies that do web videos for corporations in Austin, Texas. Training videos, marketing videos, sales videos, product videos, commercials and PSA's. When I receive a project, I act as the "project's mother" and I carry it from pre-production, production, post production and final delivery. I coordinate everyone involved with the project such as writers, crew, talent, editors, graphic artists, musicians, animators, etc., based on the projects creative discretion. I coordinate all of their time and build production calendars that everyone MUST stick to. I also develop the budgets for the projects and am the main contact and face to the client. Also, put out any fires that may occur and manage all media and information that needs to be considered for the video. It's extremely multi-faceted and you may never know what's around the corner. You not only need to know how to do your job well, but you have to learn and be an expert about other people's professions and subjects. We're are here to tell other people's stories. Which is what's most fascinating about the occupation.

2. How did you get started in this business?

I attended school at the University of Texas and majored in Design. It was a very broad major focusing on every aspect of design. Eg. Graphic design, web design, urban design, product design, you name it. I was required to find a internship my senior year and drove by a company called Elephant Productions every day on my way to school. I interviewed with them and was hired. During my time there, I found myself loving production and coordinating and soon became an associate producer, and then a producer. I was also very lucky because Elephant also allowed me to use my graphic skills in video, DVD menus, print brochures, and websites. I worked for Elephant Productions for 7 years and am now a freelancer (which means I work for all kinds of companies on an "as needed basis" or from project to project).

3. How do you tell someone over you (your boss) that you can't accomplish an assigned task?


Honesty is the best policy. Be up front with your employer while also being accommodating. For example, I have lots of companies ask me to edit things as well. I'm not an editor, however, I know edit software and can piece things together. What I say to them is, I am not a true editor and may not be able to do some things for you , however, I can string along a time line and if you provide someone for me to ask questions if I get stuck , I can definitely help you out. Or sometimes I say, you know, I'm not that great of an editor and my not feel comfortable taking on such a task. However, I know a great editor that will charge a reasonable rate. Would you like me to contact them? Always have a back-up solution if you don't feel capable of something.

4. Do you have any advice for a media student?
Yes, get as much real world experience now while you are a student. I cannot stress this enough! The industry is competitive and the more you know and the more versatile you the better. They don't teach you in school about how the business works and you will really only achieve this by diving right into the real world. Get as many internships that you can at media and production companies. Learn as much as you can, as much software as you can. I wear many hats and it definitely pays off. It also looks fantastic on your resume coming out of school. Not many people will hire you with just school experience, trust me I've been the one hiring before.

Ian Flegas interview with Connie Dolphin-producer

First off I will say that the interview I had with Ms. Dolphin was short, at about 5 minutes. She sounded rushed and said it was because she's working on a movie right now called Flicka 2. She told me she was sorry that she couldnt have helped me and wished me luck with school and my future projects.

Question 1.
Can you briefly define your job for me?
I deal with the money. It can be a hard and stressful job but I enjoy my work even though I am very busy most of the time.

Question 2.
I got started working as a post production coordinator on a tv series called The New Adventures of the Black Stallion. That was back in 1990, wow. Since then ive worked my way up into being a producer.

Question 3.
How do you tell someone over you (your boss) that you can’t accomplish an assigned task?
You never tell your boss that. If you want to make it in this business you need to give your all and not let anyone down. People will not work with you if you have a bad reputation.

Question 4.
Do you have any advice for a media student starting out?
Stick with it. Once you are in, you are in. Network constantly. You are in a good age with facebook and other sites. Use that to your advantage. Now Im sorry I really need to go, Ive got meetings to attend. Good luck!

Aaron Glenn - Interview with Cathy Roszell (AD, Producer)

1. Can you briefly define your job to me?
A producer is a woman or man who gives birth to a creative concept, someone who takes a production all the way from conception to birth. This process can take as many as16-18 months. Important questions to ask when crafting your project are what’s the statement you intend to make and what’s your market. It’s almost as though the producer is “crafting” the project.

2. How did you get started in the business?
Its all I ever wanted to do, and I had a minor in journalism. I moved to Nashville and began working for Tom Ferrell Thom II Productions. I then starting working towards becoming part of the Director’s Guild.

3. How do you tell someone over you (your boss) that you can't accomplish an assigned task?
You should ask for advice if you do not feel that you know how to complete a task. Find an approachable person that works with how you function – someone you can you communicate with. Otherwise you should use your intellect and your gut to solve problems that arise to the best of your ability.

4. Do you have any advice for a media student starting out?
Move to a major market: Boston, NY, Atlanta, Chicago, LA. Don’t be afraid to take small jobs; keep putting yourself out there and understand that it is hard to find a job. Don’t ask to stand by the camera – you won’t be re-hired if you insist on getting attention. Do what you have to, even if that means waiting tables. If you get hired for a position in the office, then you’ll have a great opportunity to make contacts and handle many of the important documents at all stages of production. Just like an artisan, getting into the film business involves apprenticeship experience. Take care of yourself; maintain contact with friends and family even if you are working across the country.

Remember:

-You’re only as good as your last gig.

-Read Syd Field’s Screenplay: The Foundations of Screenwriting - we all use it.

-Two websites to know: www.imdb.com, www.mediabistro.com

- have an EPK (electronic press kit) ready at all times, a transferable electronic file containing:
1.no longer than 3 minutes of your work
2. your personal information and goals
3. your references

Interview with Carol Appleby, Freelancer/Production Manager

1. Can you briefly describe your job for me?

As a freelance production manager I wear many hats. Most of the time with smaller clients and productions I act as the producer, director, production manager, writer or even location scout. My primary responsibility as a production manager is to organize materials and the overall production.

2. How did you get started in the business?

I started in two ways. First I started in front of the camera. I was interested in theatre and performing. I was an actress for 8 years. I became interested in production from working in the field. I went back to school to get my masters and got an internship and worked my way up in the field. My duties and responsibilities evolved from a production assistant, to working with audio to an array of other jobs. I learned a lot from working. And now I freelance, and do a little of everything.

3. How do you tell someone over you (your boss) that you can’t accomplish an assigned task?

Since I work independently, I does not typically have a boss. But I do have to tell clients I cannot accomplish a task. Client relations are difficult. I generally explain what’s doable and what’s not and why this is the case. In a lot of situations I’ll explain that I cannot complete something because of scheduling issues, budget issues, legal reasons and even my own ethical reasons. I give them a concrete reason that they can understand. I find that I need to educate a client because most of the time they do not understand why something cannot be done.

4. Do you have any advice for a media student starting out?

Get all the production experience you can. Don’t be afraid to start off at a lower level and work your way up by various routes; through editing, shooting, assisting. Look for any internships or other opportunities like student productions or low budget/no budget productions. By working on those to get the experience you need. Also, it’s important to know that producing for features, television, corporate and advertisements requires the same basic skill set, but the career path and responsibilities are different in each industry.

Interview of Mr. Scott G. Sanders by Kara Roache

Mr. Scott G. Sanders

Freelancer

Associate Producer – best way to capture it

1. Can you briefly define your job to me?

- Called in mostly for logistical expertise

-works closely with production management or lighting, no matter what the title is he is usually the guy that hires the crew or deals with the vendors. He can work with the locations department or work with setting locations by himself.

2. How did you get started in the business?

- Luck more than anything else. Found himself falling into the work not purposefully. Started in North Carolina and was called to shoot a series of commercials on 35mm. His very first taste of production started in the music business. His buddy called him to produce a documentary on music, and he really enjoyed producing it. Worked on Dawson’s Creek for a few episodes. He was “bit by the bug” at that point. First big gig was working on Friday Night Lights. Moved to L.A. to work on film exclusively.

3. How do you tell someone over you (your boss) that you can't accomplish an assigned task?

- 1^st production manager job – for UFO Hunters. The EP hired him to be a production manager without a line manager or coordinator. Five days of shooting, four in studio one on location. It was his first time, and he had a lot of duties. The more he got into it the more he realized the EP was not helping, and he didn’t have much help. Finally got to hire someone under him to help with some things. There was still a gap between him and the EP. He called a friend who had been there before (20 years of experience) who said, you cant take on the responsibility for the success or failure of the show. You are just a grunt, and just because you see all of the things that can go wrong, you just have to make recommendations to the boss. Then you can make predictions about what will happen if they go with you or not. If things work, then you will gain credibility. Basically – managing up is more than half the job. Your credibility comes with your ability to predict the future. You have to do it with humility and know that you are going with option A all the way, but if it goes wrong then it goes wrong. “well sir I can do that for you but it will interrupt what we are doing right now” If you don’t get things right at first, say the boss makes the wrong decision, then you get set back, but you can’t save the day and throw it in their face later because you will win the battle but lose the war.

4. Do you have any advice for a media student starting out?

- Starting out, try to find the object, the creative goal that you’re going for. The thing he wishes he had more of is a screenplay or something he could believe in to help him move forward. Take classes in writing, which is a good way to make your way into the business. If you don’t have knack for writing find something creative that you are really into. The buzz you get from working on a film doesn’t last, that is a drug. It probably won’t last you for a career long. The creativity is the food. Learn every role that you can. Follow each road until you can’t stand it anymore. It is mysterious how the groups will come together, know their work well. It comes together beautifully when it’s happening. The AD’s are the nerve center of thing; it makes the whole thing go. The copy and credit films never seem to go anywhere, so watch out for them. Everyone seems to irritate everyone else, so it never seems to go well. Instead of spending effort on a barely better than student film, don’t burn your energy out on that. Become a student of attracting finance. Look at the film Pie. That is a great example of a small film that came together with little money and a lot of donors. Wait for that right one, and in the meanwhile try to finance it.

5. What has had the most impact on you – thing that you have done?

- When there is a really good script that you can really get behind and feel good about. Even if you are not a part of the creative team. Even if you are the in the trenches grip, they are in production because there is a part of them that wants that creative buzz. It’s building something; It’s making something. If it’s a good story, it’s tight, it’s putting something real out there, I think those are the shows that make you share it and put yourself out there. That buys you a ton of goodwill. Chief example is an indy movie that went straight to DVD, which is a shame, well you just feel good about it. That is on my resume and I feel good that it’s there. The second kind of show that has impact is when the Executives have good resources with good company and professional development. I worked for one company that really had this. They actually had health benefits for their employees, which is really unheard of. Finding something like this is really important. Features used to be this way, but I don’t think this is the case anymore. If you find someone that is like the mentor type, hang on, don’t let go. If you can keep the creative aspect you can make a career that you can believe in.

L.A is a tough place. Cultural opportunities overwhelm you, but it takes energy to keep up with it. It is the best place to go if you want to get into producing. Austin and Wilmington would be your second options, but there isn’t a wealth of opportunity. Commercial work has the best pay at the entry level. If he could do a blend of documentary and commercials, he would.

Interview with Project Manager Peter Koziell of Award Productions

I interviewed Project Manager Peter Koziell of Award Productions located in Boston, Massachusetts.

Can you briefly define your job to me?
-I am the Senior Project Manager for a small video production company called Award Productions. I am a shooter, editor and project manager in which I help with project estimates and costs.

How did you get started?
-I graduated from college and worked for a public access station. After six months, I realized it wasn't for me and took a shooting job at WPDE-TV (an ABC affiliate) in Myrtle Beach and also worked for WYFF-TV (NBC affiliate) in the Grreenville/Spartanburg area for 2 years. I have been at Award Productions for 11 years.

How do you tell your boss that you cant accomplish an assigned task?
-First figure out "why?." Is it your busy and you dont have time? What are the legitimate reasons you can't accomplish what is asked of you. Then, sit down with your boss, prioritize and find a solution. Always be honest with your boss.

Do you have any advice for a media student starting out?
-Try to do internships even if they're short opportunities to shadow. At first, you may be a food runner or asked to take out the trash, but stay focused. If you get into those positions, there are always opportunities for movement and to work your way up.

Assignment 1 - Matthew Rhodes

Mr. Matthew Rhodes is an independent and feature film producer who has been working in the Film Industry for slightly under 20 years after graduating from Ohio University's school of Telecommunications in Film and Television production. He majored in directing and producing, with a corollary in Theater and grew up in Shaker Heights, Ohio. His most recent project into post-production is “Nailed ” (a large-budget feature film directed by David O. Russell and written by both O. Russell and Kristen Gore, daughter of former Vice President Al Gore) with others currently in development and pre-production. As a producer, Mr. Rhodes deals with, manages, and influences both the financial aspects and the creative processes of filmmaking. From what I already knew about him, I had a feeling he was the perfect candidate for this interview, since he lives the professional life I wish to one day lead.

What is your job title, and what does your position entail?
“There is no official title, your title changes according the project you are working on. I have been a Producer which deals with both the creative and business aspects, and an Executive Producer, which can either be as a hefty financer or an active producer. A producer’s responsibilities are continually changing and are sometimes initially defined sometimes not—it’s an organic process.

What is a typical day at work like for you?
“If I am working in the office, I: Get up at 7:30am; am at work by 9am; Check, read, and answer e-mails; typically have a lunch meeting every day; have a drinks or cocktails meeting 2-3 times a week; have 1-2 meetings typically at agencies or studios almost daily, and answer rolling calls whenever I’m not answering e-mails or at meetings.
Regardless, I spend little time in the physical office.
If I’m working outside the office, I am on set the whole time, taking things as they come or are scheduled to happen (even though perfect scheduling rarely happens!)
Also, about once a year I will be an on-set producer, acting as a Lead Producer.”

How well does the company treat you?
“Since I own my own production company, I make the decisions. After over a decade of working my way to the top, I can now follow my own rules.

Who have you worked for and has been a significant influence to your career?
“I have worked for many people, but two that stand out are Warner Bros’ Producer Marvin Worth as his assistant and Scott Ruden, one of the biggest names in Hollywood, as his assistant. At that time in my life, I was doing slave work—or so it seemed. I was making about $650 a week. I also worked at an Agency, which helped me set up a significant part of my networking connections. Something that helped me a lot was that as a student I did production work with directors and producers in my free time and during breaks.”

What opportunities exist for advancement?
“(Laughs) Hollywood is cruel. But what you always have to remember is: Everything’s on you and self-motivation and determination what will keep you going.”

Are employees of your company expected to relocate?
“Only a few key players are expected to relocate for projects. Usually, we hire locals for smalltime work like Grip, Electricians, Construction, etc.”

What factors are important to you as an employer, when reviewing a potential employee and addition to your company?
“We tend to focus on resumes, references, contacts, etc. Also, I look for: Dedication, hard work, intelligence, creativity, and passion (though alone it [passion] not enough), and a well-rounded personality.”

Would a graduate or master’s degree speed advancement?
“No…not in my personal opinion. You need to get in the workforce as soon as possible, and two years spent in grad school may have been two years spent networking and learning how to work the industry. I would only recommend a graduate degree as helpful for filmmakers and directors; experience is far more important.”

Are there many opportunities for travel?
“Yes, absolutely!”

How much can I expect to earn right out of college? How much can I earn in 10 years?
“I would say $25,000-$30,000 right out of college. But in 10 years there is no saying how much you can make, the sky’s your limit.”

Conclusion
After a very successful 45-minute conversation, my interview Mr. Matthew Rhodes further confirmed my career goals and aspirations to become a successful Producer of narrative films. Even after the interview concluded, we proceeded to discuss the effects of career on personal life and how to not only work around the difficulties but how to make passion for film work for me, and I came to the conclusion that Film Production is the field for me. In our conversation, and in a previous meeting some weeks ago, Mr. Rhodes offered to help me not only with summer internships, but also with employment opportunities following my graduation. Now that I have finally begun my Media Arts courses (for my minor), he is interested in reviewing my projects, so I am very excited (and nervous) to get his professional feedback. I definitely believe this interview strengthened my professional relationship with Mr. Rhodes, and will help me continue my networking efforts in the Film Industry.

Anthony Rossi Interview

I interviewed Anthony Rossi who's a production supervisor in in New Orleans. Currently he is working on a Feature Film named "The Hungry Rabbit Jumps."

Question 1: Can you briefly define your job to me?

Rossi: I am currently working on a feature film named The Hungry Rabbit Jumps. I am the production supervisor and some of my duties include overseeing everyone above-the-line. I am responsible for hiring, negotiating deals with fenders, and overseeing various employees.

Question 2: How did yo get started in the business?

Rossi: Well to begin, I graduated from the University of New Orleans with a degree in film. I started out by booking commercials in 1999 and this was possible because there were a lot of tax credit breaks. I also was a production assistant for a lot of different firms to get my foot in the door.

question 3: How do you tell someone over you or your boss that you can't accomplish an assigned task?

Rossi: You don't. You have to make it work. Never say no to a job or that you cannot complete it. In the film industry it's all about who you know. You have to build strong networks and if you do not know how to do something you ask for help. You gain experience and knowledge through experimentation, so take every job and task as a learning experience and opportunity to advance your knowledge.

question 4: Do you have any advice for a media student starting out?

Rossi:
Yes. Intern as much as you can, even if it is for free. You have to look at every opportunity as a opportunity for your future. Try to get hands on experience by Interning and learn from as much people as you can working in the field. Also, always build strong networks and keep in touch with your contacts, this may open a door for future job opportunities.

MART 302 Interview

By Spencer Miller: Jon Chambers – Producer/ Director in Florida
He has worked in some Fox movies and many different commercials.
Can you briefly describe your job to me?
-See the project all the way through.
-Make sure all parts of the project are flowing together
-For commercials, make sure that the project reflects what the client wants.
How did you get started in the business?
-Started making as many contacts as possible and took as many opportunities as possible in little independent projects.
How do you tell someone over you (your boss) that you can't accomplish an assigned task?
-The best way to tell a boss you cannot accomplish a certain task is to be completely honest from the start.
-Also, make sure you tell whoever you are working for your abilities and limitations before you start working for them so hopefully that will not happen.
Do you have any advice for a media student starting out?
-Work on as many projects as possible no matter how big or small to get some experience under your belt, footage you your reel. This will also give you a lot of contacts in the business.

Karis' interview with Andrew Johnson

I interviewed Andrew Johnson who is still a film student as well as a co-starter of a new production company and a movie website host.

Staff, Lamb Pictures (www.lamb-pictures.com)
Host, MovieChatter (www.randomchatter.com)

1) Can you describe your job for me?

"For Lamb Pictures I am heavily involved in starting this small production company with my friend-turned-business-partner, Will Lamb. We do freelance video production work. Right now we've only done a few short music videos and behind-the-scenes shoots, but our client list is growing and we anticipate having a continuous and sustainable stream of work very soon.
And for MovieChatter I currently host this film-related podcast as a hobby, though our audience is rapidly growing and our goal is to soon attract sponsors and advertisers. Our primary focus is film reviews and analysis/discussion, though we also occasionally get to interview indie and documentary filmmakers from around the world about the process of shooting their films. This spring, we'll be covering several film festivals around the country, giving advanced reviews on several upcoming films, and interviewing many big-name directors."

2) How did you get started?

"For Lamb Pictures: My friend Will Lamb told me he wanted to start his own production company and was looking for talented filmmakers and editors to help him out. One day, while I was outside shooting a 16mm film project for a class, a man pulled up in his car and asked if I would be interested in shooting some music videos for a local rapper. We traded contact info, and his business partner and rapper "Jigz" became our first client. We've shot 2 music videos and a behind-the-scenes documentary for him so far, and he has introduced us to several new clients."

"For MovieChatter: I came across a guy online based out of Washington, D.C. who was looking for someone to help host a few of his film and entertainment-related podcasts on his network. I expressed my interest and experience, and proceeded to help him co-host two or three programs. Four years later, I am now the show anchor and have creative control over MovieChatter."

3) How do you tell your boss you can't do an assigned task?

"I'm essentially my own boss, so I don't have this problem. My co-workers are all friends, so whenever a conflict arises it's pretty easy to work out."

4) Do you have any advice for a media student starting out?

"PRACTICE. Robert Rodriguez once said (paraphrasing): 'Everyone has a certain amount of bad movies in them. The more movies you make, starting out, the quicker you'll get them out of the way and start making good movies.' If you have an idea for a short film, go out and make it. If someone you know is working on a film, be part of the crew. The more active and visible you are, the more experience you'll get, and the more likely you are to run into people who would like to hire you in the future. The more experience you can get early on, the better. Take initiative and don't be afraid to actively approach someone and ask them for a job, or to go out and shoot your own low-budget film. Don't worry about sucking when you start out... you can't avoid that. Just accept it and learn from your mistakes."

Interview with Kellee Cragin

Kellee Cragin is a Metro Detroit-based production supervisor and line producer whose credits include commercials for Ford, Chevy, and Alltell, the Lifetime television movie Prayers for Bobby, starring Sigourney Weaver, and the teen TV show The Wannabes. I found Ms. Cragin’s information through the Michigan Film Office website and reached her on a busy late Thursday afternoon. She was incredibly gracious and friendly, despite the inconvenient timing and wavering phone reception. The following is an abridged transcription (summarized/paraphrased where necessary).

Can you briefly describe your job to me?
I am a line producer and production manager. I do prep, so I work with budget and make sure that everything’s there that needs to be there and accounted for. I work with creatives and rein them in. Once the budget’s in place, I find crew, starting with the casting director. I do all the contract work with actors: negotiating, booking people...you coordinate with everybody. Then you work on locations: if you’re filming on location, you hire a location scout and work with them to find out the most efficient way to shoot. You want to consolidate locations. If I’m on a set, I’m working with production designers and art directors.
As a producer, I’m responsible for every single department. Once you get locations and casting, you get big-ticket items like finding the DP, and the DP picks his crew (such as the gaffer). I also work with the unions. The film business is very much a unionized show; everyone has a union, makeup people have their own union (lists off various crew and actors who have their own unions). You have to know what the rules are so that it doesn’t get too expensive. They (creative and logistical crew) make the schedule, and then we have to make it work.

*I ask her to explain what she means by “they”; she explains: “We take creative and logistics information and come up with a shooting schedule”.*

How did you get started in the business?
My father had a commercial production company, so I learned a lot from the ground up.

How do you tell someone over you (your boss) that you can’t accomplish an assigned task?
It’s just a collaboration---we are a team, so usually we can all see trouble coming. If I notice something coming, I’m going to tell them, “I’m working on Plans B, C, and D, but I won’t be able to get this [part of the project] in on time.”

Do you have any advice for a media student starting out?
Get yourself around production as much as you can. Intern in more than one department---that’s the best advice my father ever gave me. My father was a cameraman, but he had me working in all departments...You understand their [the other crewmembers’] pain and frustrations. I’m not going to go climb up a 50-foot ladder to hang a light, but I need to understand how others do it. Everyone is important on a film set. You’re only as strong as your weakest link.

On working in the booming Michigan film industry: "Everyone knows everyone else. It's a small world, and that's how we like it."

Assignment 1, David "Aaron" Johnson: Interview with Wendy Cox, Production Manager

Wendy Cox

Philadelphia, PA

Credits include: The Invention of Lying, The Box, Death Sentence, Blade II, American History X, Seven, Dumb and Dumber

Jobs include: Production Manager, Production Supervisor, Production Coordinator, Line Producer

1. Can you briefly define your job to me?

A Line Producer/Production Manager/Production Supervisor is the chief
facilitator of the production. They (should) enable everyone to function in
their jobs in an efficient manner by the timely dissemination of pertinent
information and the allocation of funds. When I want to give non-industry
people a quick answer to this question I say "When a problem arises, I am
the first call". So primarily we are problem solvers and facilitators, We
enable the Director to get what he wants and needs within the confines of
the budget.
Technically we:
1.) Hire the crew
2) Order and arrange for the necessary equipment at the appropriate times.
3) Negotiate terms for locations in concert with the Location Manager.
4) Negotiate terms with the unions.
5) Work with the First Assistant Director in the scheduling of the film
6) Hire the Extras Casting people
7) Negotiate terms for some cast (supporting actors) and sometimes for key
cast.
8) Create the initial Budget and Board (schedule) for the project
9) Hire the Editor and set up an Editorial office.
10) Carefully monitor the budget throughout Prep/Shoot/ Wrap and hold weekly
cost report meetings with the Production Accountant.
11) Insure the production stays on budget and on schedule.
There are many other things we do but this gives you the general idea.

2. How did you get started in the business?
I went to school for Theater and worked as a Stage Manager for 10 years
before I started in film. I'm a innate facilitator.
And I made more money in film.

3. How do you tell someone over you (your boss) that you can't accomplish an
assigned task?

I don't. I bring them alternatives and options to the assigned task and
give them the choice to modify the assignment.

4. Do you have any advice for a media student starting out?

Try as many film jobs as possible, Shoot, Edit, build the sets, work in the
costume dept., be an Assistant Director, try everything. Learn the newest
technical information on camera systems (HD/Digital) and Visual Effects.
This will not only give you a better understanding of the process as a
whole, it will give you a better idea of what goes into a successful
outcome. Make as many (short) films as you can afford. You should learn
something new on every project.
Love what you do. We work really hard and if you don't really love it, it's
not worth it.
Talk to people currently working in the business, engage and ask questions.
You must be able to talk to people and be outgoing and engaging. This is a
collaborative business and the connections you make along the way are of
great value. Don't burn bridges if you can help it.