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.
Monday, February 15, 2010
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.
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.
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.
Sunday, February 14, 2010
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.
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?
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?
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?
"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?
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."
Saturday, February 13, 2010
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."
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.
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