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.