Well, this is pretty late. I did the interview a while ago, but forgot to post it. Anyway, here it goes:
I interviewed Damien Payne. Damien works freelance as a 1st Assistant Director. Damien spends most of his time in Washington State, but also works in Los Angeles, Portland, and London. He has worked on everything from music videos, to commercials, and feature length films.
1. Can you briefly describe your job?
Damien sums up his job as the foreman of a production. His job is to marry the needs of production to the vision of the director. In preproduction, Damien is in charge of mapping out the job. He will make the production schedule. He will often have to tell the producer that there isn’t enough days for them to do what they want, which either means they need more days or to cut down on the vision. Either way, he has to find a way to make it work. Damien says a good producer will listen to the Assistant Director.
Towards the end of preproduction they will do a tech scout and collect the crew. They will then figure out how to shoot each scene. Finally they map out a full shooting schedule and create a call sheet, so they can find out how to contact anyone if they don’t show up on shoot.
When it comes to the shoot Damien makes sure everyone hit’s the ground running. He makes sure mics are set up, and stuff like that. Damien then makes sure the actors are getting their make-up, although he blocks the scene first on a movie. Damien then makes sure the stand-in’s are ready and know what to do.
Damien says that the sooner you start shooting the more you will accomplish in a day. Damien also has the responsibility of calling roll and action, calling cues for vehicles, and makes a record of out times.
2. How did Damien get started?
Damien started his career in media as a runner (production assistant) in London. He started at a commercial production company. At the time they still used film. After that, Damien started doing freelance work in London and eventually moved to Seattle, Washington. From there Damien worked on commercials, music videos, and even some feature films, like Dancer in the Dark, starring Icelandic musician Bjork.
3. How do you tell your boss you can’t do something.?
Damien says he will typically bring it up jokingly. He says you have to be honest. If something can’t be done, it can’t be done. He says how the producer takes it typically depends on their competence level. An experienced producer won’t fall into fear. Regardless though, the job will always get done, even if it has to be done differently.
4: Damien’s advice for someone starting in media.
Start as a production assistant. It’ll help you get a foot in the door and figure out which direction to go. However, don’t do PA for more than two years. Use that time to find out what you want to do. He says directors come best from an editing background, but also writing and acting. If you can edit well, you know how to concisely tell a story, which helps have a better vision when directing. Television shows are good training grounds for up and coming directors. Damien’s final advice is to get a good pair of tennis shoes, because there is a lot of standing in this business.
Monday, March 15, 2010
Monday, February 22, 2010
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.
Sunday, February 21, 2010
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.**
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.**
Tuesday, February 16, 2010
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 o
My second interview was with Keri Mullen, who has had o
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
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
"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."
"(
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
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 (
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 .
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 .
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