Todd Sanderson- Miles Franco Interview Extra Cred

> 1. Can you briefly define your job to me?

I'm an Avid non-linear film/video editor and After Effects compositor.

>
> 2. How did you get started in the business?

I got started in high school working in the TV studio. I then went to college, dual majored in film/video and earned a Bachelors degree. Got work right out of college and never looked back. I've been an Avid editor professionally for 14 years.

>
> 3. How do you tell someone over you that you couldn't accomplish an assigned task?

It almost never happens. I'm the last rung on the ladder as it were. After all the writing, pre-production, shooting, directing is done... it all falls in my lap and never quite as it was intended. As an editor there is little to no margin for error and the time frame is always tight. If I must work late, so be it.

That said, there are two things I'll say to address your question, as it's a good one, and I've seen this issue ruin countless people in this industry.

1-Honesty without hesitation: This industry is filled with very creative and good hearted people. If I screw something up or make a mistake... I say so. I admit my failing, explain how it happened 'without making any excuses' and then fix it as fast as possible. A film/video is a collaboration of many different departments and all make errors along the way. I'm no different and %99.9 of my errors can be fixed, unlike the errors made during shooting.

I've seen people be fired because they deflect and lie to try and not be held accountable for a mistake they made.

2-Know how to see the future: When I'm assigned a task, I immediately gauge what's being asked of me, how much time I think it will take and if I need help. If those 3 things do not match what's being presented to me I say so then... not later when it's too late. If I need more time... I say so. If I need a 3D graphic artist to accomplish a complex animation... I say so. If the workload is too heavy for the time allotted, I ask for a second editor to work with me. Even if all these things are denied me, I've made it clear before we start that I'm being handed an unfair deck. This helps as the project moves along, and often halfway through the project, what I asked for is finally granted when the client sees I was right. The ability to see the future comes with time and experience.

I've seen people be fired because they wither under unreasonable demands, try their best and fail as was easily predictable. Failing at the 11'th hour is not acceptable. Look ahead and don't let it happen.

>
> 4. Do you have any advice for a media student who is just starting out?

Burn no bridges... it's all about who you know in the end. That sleepy lazy student next to you in class... he may be the one hiring you in 4 years to work on his major motion picture.

Good luck,
Todd

Interview with Production Manager

1. I am currently working as an Assistant Production Coordinator (APOC), which I have been doing since early 2008. I was an office PA and production secretary before that, but I'll talk more about that in answer #2. My experience as an APOC has generally involved the following (and I will try to be brief): sitting at a desk in the production office for 10-12 hours a day, answering the phones, sending emails, ordering equipment for various departments such as tape and markers for camera, microphones and transmitters for the sound department, gels and light bulbs for electric, lumber and clips for the grip dept, wigs for hair, make up for make up, etc, making sure the cast and crew have all the information they need - scripts, schedules, contact lists, travel information, shipping, etc. Depending on the show, there is sometimes quite a bit of paperwork to do in order to be compliant with the studio (such as NBC for Friday Night Lights or New Line for Friday the 13th). Then there is the random stuff that comes up that ends up taking up quite a bit of my time as well - finding a coffee truck to come to set at 8pm to serve the cast and crew coffee all night, convincing a bar or restaurant to stay open late for the crew, finding a restaurant in a far off city to deliver a smorgasbord of food to a crew member' who had a death in the family, finding 100 ponchos and rain boots ASAP because it started raining and we are shooting outside and the location just turned into a mud pit. I could go on - but hopefully you get the idea!

2. Short answer: I walked my resume around to production offices in Austin for a few weeks until someone hired me. Long answer: I got started after college. I grew up in Texas, went to college in Colorado and wanted to move back to Texas after graduating with a degree in English (I had no plans to get into film). At the time, my brother was working in the art and construction departments on various Robert Rodriguez films in Austin - Spy Kids, Once Upon a Time in Mexico, Shark Boy & Lava. I thought film work would be a good way for me to find a temporary paying job in Austin while I figured out what I really wanted to do. He introduced me to a few people in the industry, told me where some other film productions offices were located and sent me off to talk someone into hiring me. I walked my resume into 4 or 5 different offices (Austin was hopping with films at that time) until the kind coordinator on a reality show called "Rollergirls" hired me as an office production assistant (PA), mainly because I had a big reliable car at the time. The show failed miserably, but I got a paying job, worked my butt off as a PA on that show for 6 months, made friends and contacts who then recommended me for the next job, and the next job, and the next job etc. 5 years later, I am still in film - 2 years as an office PA, a year as a production secretary and the past 2 years as an APOC.

3. That's never happened, I always accomplish everything. :) Not true, many times I am given crazy, ridiculous tasks that cannot be completed (such as being asked to call that one restaurant and talk them into staying open late for us, even though I know for a fact that the owners will not stay open late for anyone, anytime, for any reason.) I explore all the options, try as many solutions as I can before I go to my boss and say "I can't do this." Usually my boss (or bosses) will ask if I tried A, B. and C before they will accept "I can't" or "I didn't." I try to make sure I have done everything I can think of before I walk into their office so that I can say "hey, I know you wanted me to do this, but I tried A, B, C, D and E I still can't do it. Do you have any other suggestions?" Most times, they do have a suggestion that works as they have many more years of experience. But sometimes there are things that just can't be done when we need them to and usually they know this and will accept it. And sometimes it means sucking it up and taking the blame for not doing something, when it is not my fault that it didn't get done.

4. My advice applies more directly to film, but I think it is applicable to almost any field of work: work hard and get to know people in your industry. As great as it is to have a killer resume, your chances are much higher of getting a job if you know someone in that field of work. In my opinion, you are better off with a decent resume and great recommendations - word of mouth recommendations are a good 70% of the reason I hire people. The other 30% is attitude and availability. If you can't find a paying job, try to get an unpaid internship, work your butt off, meet people and get an inside look at what it is really like in your desired field. Work hard, be flexible, be available and have a good attitude, it will pay off!

Interview with Assistant Director

Can you briefly define your job to me?
I am the assistant director. Basically I maintain the order on the set. I mainly rangle the extras.

How did you get started in the business?
I started off as taking theatre in high school. While in high school I became involved with video production. I decided that it was something I wanted to do and decided to pursue it as a career. After graduating from North Carolina School of the Arts I started doing miscellaneous work. Eventually, I got a gig as an intern for Little Miss Sunshine in 2006. I have been working my way up for the past few years. Currently, I’m the second assistant director for City of Jerks.

How do you tell someone that they are not accomplishing an assigned task?
I would let them know they are not doing the task the way it needed be, and show them the ropes.

Any advice for a media student starting out?
If this is your passion, then do it. If it's something you want it will work out for you.

Interview with Assistant Director

Can you briefly define your job to me?
I am a assisstant director. I'm responsible for running the set and maintaining a constant flow on set. I’m mainly in charge of arranging the cast and crew.

How did you get started in this business?
I attended USC (California) and graduated in 2004. After graduation, I started doing work with Courage. I later went on and interned with different producers. I was given the chance to go to the Tribeca Film Festival to intern. I would later come back to South Carolina and began work as a base camp director for Army Wives. After wrapping up Army Wives, I mainly traveled along the East Coast doing work. Now, I’m based in Georgia. Recently, I wrapped up The Conspirator directed by Robert Redford. The film deals with the assassination of President Lincoln. Other recent work includes working as a PA on Dear John (2009) and Meet the Spartans (2008). I was recently admitted into the Directors Guild of America.

How do you deal with someone who is not carrying an assigned task?
I would pull them aside and try to teach them. I believe in having a stable team when I work. I want my workers to feel comfortable with me, and not view me as a tyrant. I want them to be able to come and talk to me if they feel they need help, because that is how a team works. If the person is an intern, its expected for them to mess up because they are learning.

Do you have any advice for a media student who is just starting out?
Follow your dreams and go for it. If this is something you want, you’ll find others that will be willing to help you. It’s all about building connections.

Interview with Louisiana AD

Interview with Ann C. Salzer
Assistant Director on Ray, Freelancer


-Can you briefly define your job to me?
"1st AD is the director's right hand, they will take a script and break it down and develop it per department and then break it down further to schedule for filming. On a day-to-day basis they are to handle filming and making sure every shot has been shot and every prop is ready, etc."


-How did you get started in the business?
"In photography after college, even though she studied computer science. Her cousin called her up for a job and she started as an office PA. She walked onto set she was sold. After that she kept going from project to project. She went to LA for a time and then came back to New Orleans and has been in the business for 22 Years. "


-How do you tell someone over you (your boss) that you can't accomplish an assigned task?
"Be honest and straight up tell them. Never lie and always have a solution to the problem. By scheduling prepare a fallback in case."


-Do you have any advice for a media student starting out
"Find somebody who's going to give you that break. Doesn't matter where you start just so long as you get your foot in the door. Doesn't even matter if you know where you want to go just so long as you're able to start. Also, be very political, know how to give someone an idea to go along with you on your own vision."

Interview with Massachusetts "Big Wig"

1. Ms. B is a Production Manager who’s responsibilities include creating the budget, hiring the crew and obtaining equipment. For her a typical job lasts 7 to 8 months and breaks down as follows: 8-10 weeks for prep, 12-16 for shoot, and 4 weeks for wrap.

2. She went to school to study Broadcast Journalism and worked for a short period in Europe doing news. Upon returning to the States, she got a job on a production working as a “Go-For”. She worked her way up in the business form there.

3. Finesse it! You never tell them no! Through diligence and research you always find another solution.

4. Run Away! Seriously, you learn by doing and you’ll learn so much more in one day on set then in years of schooling. To be successful in the industry, you must be humble and passionate. It’s important to have a thick skin and be prepared to work long hours. Starting off, you have to be willing to do anything, without compromising your values and have stamina. You will meet some of the nicest people and some of the nastiest people in the business, regardless; you have to believe in yourself.

Interviewee from M.A. didn't have much to say!

1. Mr. D’s role in the industry varies covering both television and film and doing everything from finding material to seeing the project through postproduction.

2. Mr. D went to a college that didn’t have a film program, so he and a few friends got together created a film and subsequently designed the college program.

3. Be truthful.

4. Find something else! There are honestly too many media students and very few actually find jobs in film. The key is to find your voice and your passion, then go with it!

Interview with Massachusetts "Jack of all trades"

1. Mr. S has done everything in the industry: producing, directing, acting and stunt work. Now a days, he usually works as an Assistant Director, breaking down scripts into schedules, scouting locations…

2. He began as a P.A. or “Go-for” working in commercials. He described his first job as an opportunity to watch and observe. He then began working as a Location Manager, which opened up the door for him to begin working on “Big Films”. His first job as an Assistant Director got him into the Director’s Guild. Mr. S has worked in both N.Y. and C.A.

3. You always figure it out! If there is no solution, then there must not be a problem to begin with. Basically, there is always a way around something or an alternative solution…sometimes, you end up coming up with something better!

4. Find another job! But if it is your passion, stick to it. The job is never easy and you have to make sacrifices. You must be flexible and open; be relentless and dedicated.

Interview with Massachusetts PM

1. Ms. V is a Production Coordinator or Production Manager depending on the job. Usually, her job includes booking the crew and equipment and overseeing people. Ms. V and her colleagues are usually referred to as the “Hub of Production”; they handle paperwork, orders, payroll, contacts, venders, cast lists… She works freelance on motion pictures but just recently began doing commercials as well.

2. Ms. V went to college and graduated with a degree in Communications. She began working in television and moved in to features shortly afterwards after beginning work for a production company.

3. The best thing to do is be honest and up front about it. Otherwise, it makes you look bad. Most of the time people are cool and understand that, sometimes, you just get overwhelmed.

4. Get a good internship, try everything and figure out what you like doing. People in the industry are usually very friendly and are willing to teach you, so do as much as you can. It’s a tough business but if you love it, go for it! It’s long hours and kind of a nomadic lifestyle. If you work freelance, it can be very uncertain at times but very rewarding and you meet lots of different people.

Interview with Niki Welge

Production Coordinator with

The Governor’s Office of Film & Entertainment in Florida

Q: Can you briefly describe your job to me?

A: I am the state production coordinator. I work at The Governor’s Office of Film & Entertainment. We are an executive branch under economic development. We are charged with bringing economics to the state of Florida. There are 59 local film commissions that work through our office. We work in conjunction to attract the industry to the state of Florida. I deal with production related inquiries like location, incentives, assistance…pretty much anything production related. I also deal with sales and the financial incentive program. I’m the only one that touches that program. I am the liaison with all the local film offices, and deal with stuff like shutting down bridges, national parks, etc. I do a lot with the permitting process and everything state related. I also assist with the tax credit program in the front end communication with people. I handle a lot of stuff here!

Q: How did you get started in this business?

A: I actually don’t have any film background! I come from a government background. I had a job working in D.C. working for the Department of Health. I began working in the Senate right out of college, and had almost no professional experience. I’ve been working in this office for seven years and I’m only 30. I started off as a film commissioners assistant, and since have been promoted four times and had pretty much every job in the office. I know this place backwards and forwards! I really know a lot about the government office and this office, but I don’t have a lot of film experience. But, working here I’ve gained the experience and knowledge needed to do my job.

Q: How do you tell someone over you that you couldn’t accomplish an assigned talk?

A: Well, we have a very small office. There’s only 7 of us in this office. I have a great relationship with the State Film Commissioner, and there are not many tasks I haven’t been able to accomplish. We have a great line of communication, and if I felt something was too big to accomplish then I feel very comfortable asking for help. There are always people willing to assist us, and we have an amazing support staff. They support me and our Incentives Administrator. They do nothing but support us! With the addition of the support staff, it’s been an amazing transition. It’s really all about asking for help up front and not saving it until the very end. You’ve got to know your limits and your strengths.

Q: Do you have any advice for a media student who is just starting out?

A: Intern!!! It all depends on your interests. If you are interested in working in a film office you need to know two things. Number one, it is NOT a glamorous job. Number two, you need to get into an office and do the dirty work. It’s not all helping clients, visiting sets, meeting celebrities. It’s solving problems, working with unions, and cutting red tape. You must start from the beginning! Its not just knowing the film industry, it’s knowing how to get things accomplished, who does what, and you need to live it. You MUST get your foot in the door some way. You have to learn how to solve real-life problems once you leave college. You have to start from somewhere. In college I had a business focus, and once I got out of school I couldn’t find a job. I got into government work, and then became somebody’s assistant at this office. Without the assistant this office couldn’t run, and because I had that experience I know everything I need to know.

Interview

Interview on 9/16/10 with writer, producer, director Bo Buckley of

Wilmington, NC

When working for himself, Bo’s jobs as a writer and producer include:

Business and creative direction, deciding which projects to work on, finding everyone to be involved, making sure that, creatively, everyone involved works toward a common goal, handling distribution, responsible for finding money for shows, responsible to investors if anything doesn’t go right, reports to investors, finding the director for the project

When working for other, his job is generally assistant director and/or production manager.

As production manager – oversees the nuts and bolts of production, budget, crew , equipment management, insurance, paperwork, business, working with department heads, handling workers compensation when necessary

As an assistant director - works on set, letting everyone know whats going on with schedule, maintaining set, work outline

*at times needs to be assertive and at times needs to be sensitive in any of these rolls, takes it personally when people don’t do their job

Getting started: When he was a kid, he played with VHS camcorders making movies and commercials. For college, he went to USC (SoCal) for film and bounced around Wright State in Dayton, OH and finally at the Art Institute of Pittsburgh studying special effects, to learn a skill. He decided that wasn’t his path and moved toward people that were talented and stayed working with those friends, made teams with people that he wanted to work with to put together the elements of a project. His creative outlet is writing.

Telling people that he answers to that something can’t get done: It’s a difficult thing to tell someone that something hasn’t gone as planned and a fine line between a good delivery and a bad delivery of such information. It’s important to spin things as best you can to emphasize that you can make something positive out of something negative. Always focus on the fact that, out of bad things, good can come. “We couldn’t do this but we can do this.” Always maintain honesty, don’t throw someone under the bus, be responsible for what you do.

To anyone interested: whatever your dream, make sure you have a plan. Don’t just meander and say you want to do something without understanding what that career entails. Know what your role is before you commit to it and know what is involved and work towards that goal. The business is difficult and a large percentage of people that work in this industry are unemployed, have a backup plan or a different skill set. Network and don’t burn bridges, make friends and maintain contact with them because they may be able to offer you opportunities in the future. Watch others do their jobs and learn from them.

His websites: fearmakers.com, strangestuff.com

1. Job Description:

David Gottlieb is a freelance senior producer based out of North Carolina. Most of his work is done up north in New York but when legitimate work in the Charlotte or Wilmington areas comes up he works in North Carolina.

2. How Did He Get Started?

David found that he had a knack for film production in college and went to film school in Boston. He noticed that his grades in all other subjects were low while his grades in such things as producing and audio were A’s, so he’d found his “nitch.” He kept telling me to find my nitch and stick with it. He said the only way to make it is if you are really good at one aspect of production to start off with and you master that craft while learning others in the process.

3. How Do You Tell Someone Over You That You Couldn't Accomplish An Assigned Task?

David said to initially say yes to everything in your mind but be realistic in your job choice. It is either “sink or swim, feast or famine” so stick with stuff that you really know. Besides all that he said you have to get it done, in whatever you are pursuing.

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

Finding a nitch is key and like he said before, it is “feast or famine” in the production world. He said that it is hard to get into the business as a producer or director unless you are rich or know someone. I told him I wanted to do audio and he said that wasn’t a bad career path. From then on he told me to get my own gear to be even more prepared for opportunities. Along with that he said take a look at the post production side of things as it might be a good choice for getting that foot in the door.

Interview with Hilarey Kirsner

1. Brief description of job:

Hilarey is a freelance producer, production manager and post producer based out of Washington D.C. She handles an array of duties including: directing, writing scripts, budgeting, casting and managing corporate videos.

She has worked on projects for: Discovery Channel, TLC, Food Network, MTV, HGTV, AOL, Habitat for Humanity, Dept. of Defense, and more.

2. How she started:

After graduating, Hilarey began as an assistant to a producer, who was a friend of the family. He produced videos for events and he mentored her for the two years that she worked for him.

After Sept. 11^th she got laid off. Afterwards, with the support of maintained connections, she began freelancing.

She highly stresses maintaining all connections as you gain work, and meet potential customers.

3. Advice on telling someone that you can not accomplish an assigned task:

Hilarey says never tell someone that you cannot accomplish an assigned task, unless there is absolutely no way to get it accomplished. She then gave an example of how once she was assigned accounting duties. Even though she was not confident with her accounting capabilities she still managed to accomplish the task.

4. Advice for media students looking to start out:

Get an internship while you are still in school. It will be the first step in gaining exposure and connections. Hilarey interned at the non-profit organization, Women in Film and Video (http://www.wifv.org/). She says that she still benefits from connections made from this internship.

Lastly, she says if you ever have interest working abroad, then look into the media departments for the Peace Corp., State Dept., etc. All have production departments and would make traveling abroad a possibility.

Interview with Production Manager

I had the opportunity to interview Michael Shortt, a production manager based out of Savannah, Georgia. Shortt has worked on films such as Forrest Gump.

1. Can you briefly define your job to me?
I people things they need. Main thing is to make sure that things facilitate properly.

2. How did you get started in the business?
I started off as a child actor. Next, I transitioned into theatre work and became a stage hand. Next I opened up my own talent agency. Then, I started working behind the scenes on film. I realized they made more behind the scenes and started there. I worked my way up, and eventually became a production manager.

3.How would deal with someone who is not completing the task given?
I would someone else to replace the person who is making mistakes. I cannot hold your hand. It’s a waste of time and money.

4. Do you have any advice for a media student who is just starting out?
You are not going to be a producer until you’re 40. You need to know how everything works. You can’t give out orders or try to run a set unless you know how everything works. You can’t tell people what do if you don’t know.

As previously mentioned Shortt worked on Forrest Gump. He worked with the casting department on the film. He said of his experience, "Great. Great people."

Interview with Steve Marvin

Interview with Steve Marvin

Question#1-Can you briefly define your job to me?

Answer- I would say that the job description would be to makes sure that the director has all the tools that he or she needs to do the shots anticipated. There needs to be backup and tertiary systems for things that don’t go right. There needs to be shooting order that can be varied from as smoothly as possible. And to assemble a team that can work together, hopefully has worked together, and if they haven’t I need to know what is expected of everyone. Since I have done the ordering of props, wardrobe, equipments etc. that the props work, the special effects work that sort of thing. Just to run a smooth set.

Question#2-How did you get started in the business?

I started in the 60’s as a messenger for a film company in New York. Then I was sort of drafted by the Production manager of that company into his office and was given a title as assistant production manager. In those days they gave you titles rather than money. That Company grossed $16million a year exclusively producing commercials. It had a building housing 9 sound stages. So you could have as many as (in theory and occasionally a horrifying practice) 11 or 12 shooting days happening on any one day. You could have as many as 9 stages and two to three locations out shooting. So at that point it was so massive that New York could hardly handle it. So you weren’t calling people saying I need a key grip. You would be saying I need 4 key grips heres where they need to be I don’t care who they are I need warm bodies. That was when the unions decided they needed to reopen their doors because their membership simply could not handle the flood of business. This is really in the explosion of television advertising in the 60’s. So I got into the directors guild and you get in by taking a once annual test given simultaneously in NY and LA. That is a whole story in itself. But being in the production office, understanding booking the equipment that was necessary when the electricians would come in and say heres my list. After a while you made the connections stage boxes need this cable, etc. I would talk to electricians and grips and ask how does this work? during breaks. For example I found myself sometimes 4:30 in the morning 30 miles from LA for a sunrise shot and the cameraman doesn’t show up but I could do the job instead.

Question#3-How do you tell someone over you cant accomplish an assigned task?

Well I think you tell them as directly as you can, the reasons why, and as quickly as you can. As quickly as you know the shoot date is approaching and you know we’re not going to be able to shoot everyone needs to know that straight away. Whether that means doing an alternate shot or shooting on another day. Obviously there’s a reason that it can’t happen and if you’re competent at you’re job and you tried every way to get it done and it still can’t it’s either because it is unrealistic or it cant happen in the time frame. As I used to tell production assistants this is yours I don’t want to find out you dropped the ball I want to know when the ball starts to get slippery. Don’t show up on the day and say I couldn’t get it done. I need to know quickly, progress reports, hows it going, when will we have the answer, when can we see it, when do you speak with them etc. As longa as we all know where the problem is so that we can concentrate attention toward it to get it done.

Question#4-Do you have any advice for a media student just starting out?

Yes, It all depends if your on your interest. Lets say you want to direct which is easier now due to video cameras light weight equipment etc. In the past there was a tremendous dropdown to 16 and people couldn’t afford it anyway. Unless one can subsidize to instantly producing your own work I would advise you to take any job even if that means the most important words you hear are “With cream and sugar”. Everyone is promoted from within. With runners on the stage and prod officers are off the job the next people step up. Just being on set and watching is good. My production assistants were told you’re back is to the action, you should watch for trucks people walking on set etc. But even in that case you will absorb professionalism and understanding of the process. So I would recommend rather than taking any graduate courses that you get on a set and begin working even for free. This will cause the producvers directors etc when they have a beer with each other at the end of the day to say “Hey that new kid is pretty good. I like him/her anyone get their no.” essentially producers will eventually need bodies to fill the slots. So… go to work.