Your Industry Insider

Inside Scoop: Production Controller Jaren Vine

YII — Wed, 01 Sep 2010 05:45:38 +0000

Today’s profile subject did a mid-career switch from outside entertainment into a field that had nothing to do with his previous career or his educational background. But developing the ability to handle a classroom full of small children probably prepared him well for the challenges of film production, where weather, equipment failures, and sometimes even the whims of a temperamental movie star can impact a project’s budget. See below for details on Jaren’s current position, how he got there, and how he keeps his perspective when things get crazy on the job.

Current position: Production Controller, Alcon Entertainment. Projects include The Book of Eli, The Blind Side, Lottery Ticket, and Something Borrowed, which is in post production and will be released in June 2011. (We are also beginning production on Dolphin Tale in Florida with Morgan Freeman, Harry Connick, Jr. and Ashley Judd.)

College & degree: BA in Child Psychology, CSUN

Pre-entertainment career: I was a kindergarten and 1^st grade teacher, and before that, a camp counselor, a therapist for children, an assistant in rehab facility, and the head of after school programs for kids.

How did you get into finance? I knew a production accountant who hired me to work for her on a TV show. That was my first job in entertainment.

First job in the entertainment industry: Accounting Clerk on “Courthouse” on the Sony Lot. I got to meet Robin Givens and Mike Tyson and spent lots of time on set. That made me hooked on this industry.

Big break: Leaving freelance production accounting and being hired as a production and production finance consultant at Saban/Fox Family. This is where I got the full taste of both areas of production and was able to really delve into many facets of what I currently do. It was a very difficult job, but it opened up many doors and allowed me to get to where I am today.

Eureka moment (when you realized you did or did not want to do something or that you should do something differently, etc.): Leaving teaching in 1995 was very hard for me. I loved it dearly and it was very rewarding. But, I knew that I needed to do something else with my life. I just did not know what at the time. And I still feel like I have one more big transition in my life, professionally speaking. Of course, once I find that “moment,” I will know what my future holds for me.

What is your role as Production Controller? I supervise, manage, and facilitate all of the financial aspects of shooting. I oversee prep, shooting and post, as well as tax incentives, budgeting and estimating, cash flow forecasting, and day-to-day physical production. I also do on-site visits and performing audits of production accounting files.

Describe a typical work day in your current position: Imagine standing in front of a target and dodging balls being thrown at you. I love it. Every day is different, which I enjoy. Crunching numbers, reviewing costs, analyzing situations, projecting, putting out fires…

Worst job (or day) in entertainment industry: Oh, there are many, I prefer to keep them to myself. Don’t want to be negative.

Best job (or day) in entertainment industry: Coming to Alcon. Hardest and best decision I ever made, personally and professionally.

Best thing about your current job: The people at my company are just the coolest. At any time, you can break out in throwing a football around or have loud conversations about the most minute things. I just enjoy seeing happy people at work every day.

Worst thing about your current job: Sometimes communication breaks down. It makes it difficult to complete tasks and wasted time occurs.

Brush with greatness (can be a celebrity encounter or just being exposed to someone being brilliant at what they do): Watching my daughter dance in her recitals. She will be my “brush with greatness” every day.

Secret of your success/advice to the newbie: A few things come to mind… Always listen. Be a sponge. No information is worthless. Meet as many people as possible and ask questions. Get to know the person you are speaking with. Be multifaceted; don’t settle for just doing one thing. Be respectful and polite. Treat everyone the same way, because you just might see them on your way down. Have pride in yourself and your job. Work hard. It will pay off… eventually. Love what you do. Never forget where you came from. Remember your roots and your upbringing.

Next move: I try to take one day at a time. Always keep options open, but never be completely content with my current situation. Ultimately, looking to be a head of production or producing children’s programming. I want to feel like I made a mark on this Earth so I will be remembered.

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Guest Bloggers Wanted: YII Needs YOUR Story

YII — Mon, 30 Aug 2010 05:45:52 +0000

You just directed (or produced or DP’d or costume designed) your first short. Or are doing an internship on a movie studio lot.

You’re working in your dream entertainment job (which also happens to be your first entertainment job). Or are in the studio recording a song.

You finally landed a manager and are going on auditions regularly. Or you’re working one of those coveted spots in the mailroom trainee program at a major agency.

Whatever it is you are doing in entertainment, if you feel it tells a good story and are willing to put it on paper, we want to hear from you. Your guest post must be either informative or highly entertaining- preferrably both- and in keeping with the tone of Your Industry Insider.

What’s in it for us: We want to provide more diverse points-of-view on YII and add new voices to the conversation. (And by the way, we want to hear from people pursuing entertainment dreams wherever they are, not just L.A.) (Of course!)

What’s in it for you: Exposure for your work, if you have work to expose (if your short is embeddable, we will include it in your post- or at least part of it). If you don’t have work to display, you will get 15 minutes of one-on-one entertainment career Q & As or brainstorming with our resident career consultant/professional resume writer (that would be Jenny).

If you’ve got a story to submit for consideration (or want to find out if we think your story fits the criteria before you write it), contact us at YII@YourIndustryInsider.com.

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Inside Scoop: Music Manager Jennifer Yeko

YII — Wed, 18 Aug 2010 07:45:09 +0000

Today’s profile subject, music manager Jennifer Yeko, started out doing music management as a side project while making a living in a very unique way. The creativity she demonstrated during that period, before she was able to call herself a full-time music manager, as well as the foresight she had to focus on licensing music to television shows and films before others were doing it, are two indicators that she is well-suited for this entrepreneurial pursuit. Details of her career journey and the day-to-day of her music managment career can be found below…

Current position: President, True Talent Management, a management company representing artists and bands, songwriters, composers, and producers.

College & degree: I have a Bachelor of Science in Marketing from Fairfield University in Fairfield, Connecticut.

Internship: I didn’t have any internships.

First job in the entertainment industry: I started out living in Connecticut and commuting into Manhattan. I was a Conference Coordinator at Variety Magazine. We lined up all the speakers for trade shows, including Showbiz Expo.

Career Path: After Variety, while I was an executive assistant at an ad agency which designed corporate websites, I had a conversation with a friend of mine where I told her I wanted to get more into entertainment. She said if I wanted to be in entertainment, I had to live in Los Angeles. I found out later that she really only meant it as an off-hand remark, not as a directive, but by that time I’d already moved across the country.

When I arrived in LA, I decided I really wanted to be in film or in online content. My ideal job would’ve been to design websites for studio films. But the first job I was offered through one of the recruiters was working as an assistant in Sales & Marketing at EMI Records. I had no interest in the music business, but the recruiter convinced me to take it.

From there, I went to a promotional marketing company, Simon Marketing, which connected brands and entertainment companies. The internet boom was starting up again around this time, so I worked for an internet/entertainment website next, Checkout.com. It was a high-profile site and people had high hopes for it, but they didn’t pan out. But it was a good experience while it lasted.

So how did this lead to music management? At this point, since the supposedly secure corporate jobs I’d had in Los Angeles had ended in either mergers with big layoffs (myself included) or some other financial meltdown, I decided that I should start my own company. (If my work life is going to be this unstable, why don’t I just work for myself?)

During the final stretch at Checkout.com, I noticed my friends there were all starting to manage actors and bands. I thought, if they can do it, why can’t I? So I started True Talent Management and I learned the ropes from them. The first artist I repped came through Checkout and the relationship kind of organically happened. We were at one of his gigs and he was telling me he was having problems getting paid by the venue. He said if he had a manager, he wouldn’t have to deal with it. So… I became his manager.

In the beginning, I was managing artists and had also started a speed dating company. I’d spend 9:00 – 6:00 doing music and run speed dating events at night. I’d recruit people, run the events, do the matches… It definitely enabled me to pay my bills while I was developing my management career.

Was there a moment when you felt confident for the first time that music management was going to be a good livelihood? No, not one moment, but a culmination. I was showcasing bands and a music attorney remarked at one event that he was impressed I was getting these major label reps to show up. So it was probably getting in with the record labels and also being able to license songs for film and TV.

The majority of my business now is licensing songs for film and television. That’s where I’ve really made a name for myself. It’s become very popular in the last few years to do song placement, but I’ve been doing it for ten years so I was ahead of the curve. I also do some radio promotion and some music press and I started an independent record label and publishing company, but it’s very small so far.

Big break: Getting that first entertainment gig at Variety in New York. I must’ve gone to 30 to 50 recruiters to get my first entertainment job. Once you’ve worked in the entertainment industry in one job, it’s like you’re “in the club.” Getting someone to give you that break really does make a difference.

Eureka moment (when you realized you did or did not want to do something or that you should do something differently, etc.): When I realized I could manage artists and bands that I loved and make a career from it!

Best career advice you’ve ever gotten: Always be thinking about how you can help OTHER people.

Describe a typical work day in your current position: What I love about my job is that there is no typical work day….some days I’m on the phone all day, other days I’m driving around to meetings or meeting with artists in the office or out at shows, etc.

Worst job (or day) in entertainment industry: Getting fired. No one wants to be fired by a client. Managing is hard. It’s not if you’ll get fired, it’s when you’ll get fired. And it’s never fun.

Best job (or day) in entertainment industry: Getting songs on “Sex and the City” and “The Hills” and other huge TV shows.

Best thing about your current job: No day is the same. I get to work with amazing artists and songwriters/producers that I LOVE!

Worst thing about your current job: Having to constantly bring in new business, new clients, paying the bills.

Brush with greatness (can be a celebrity encounter or just being exposed to someone being brilliant at what they do): Finding a songwriter that works harder than I do. I work really hard so if I find any artist that is working harder than me, it’s a good day. It’s like getting a winning lottery ticket.

Secret of your success/your advice to the newbie: Have a positive attitude, no matter what. Work so hard it could kill you. (I don’t mean that literally, of course, but that’s the idea.)

Next move: To sign and manage a band that becomes a household name, that everyone hears about and likes.

You can find out more about Jennifer Yeko at www.truetalentmgmt.com.

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Inside Scoop: TV Writer and Transmedia Producer, Nina Bargiel

YII — Wed, 11 Aug 2010 07:45:22 +0000

Today’s Inside Scoop subject, Nina Bargiel, is truly on the cutting edge of entertainment, embodying fictional characters across platforms, creating the social media trappings of a real life for them. It’s a writing assignment she relishes and we here at YII believe that if you want to know what the future of storytelling holds, following Nina and watching what she does is the way to find out.

Current position (or recently completed projects): Past: Writer on “Lizzie McGuire” and “The Grim Adventures of Billy & Mandy.” Transmedia Producer on “Valemont.” Current: Transmedia Producer on “Savage County.”

College & degree: BS, Film & TV Production, Boston University

Internship: I was an intern at H-Gun Labs, which was a music video production company in Chicago in the early 90s.

First job in the entertainment industry: Working in the mailroom as part of the Agent Trainee Program at UTA.

Big break: I met the woman (who became my friend and mentor and ultimately gave me my first writing job) through her mother, who ran the volunteer program at the animal shelter I volunteered at.

Eureka moment (when you realized you did or did not want to do something or that you should do something differently, etc.): I thought that I wanted to be an agent. Working at an agency and being called a “stupid c*nt” within my first hour on the job disavowed me of that. I wasn’t stupid.

Career path: I started out thinking I would be an agent when I moved to Los Angeles after college, because, well, an agent was a JOB. It was run like a business! You got a paycheck! Once I got into an Agents’ Training program, I realized within days that this wasn’t what I wanted to do. My friend and mentor got me an informational interview with a woman who used to be her agent but had moved into TV Development, and I impressed her enough on my interview that she asked me to be her assistant.

What I learned reading pilots is that I was pretty sure I could do that. The only issue was that, I NEEDED TO DO THAT. During the same time my brother was becoming disillusioned with his career in finance in New York. We decided to sell ourselves as a writing team and create specs. Of course, it was slow-going, and there were some personal issues with my boss that made it impossible for me to continue working for her. I quit and ended up at an internet service provider (ISP) in 1997, when the Internet was just getting its sea legs for a lot of people. I became interested in blogging (which I don’t think was even a word) and telling stories on the Internet.

A year or so later, my friend and mentor offered me a job as her assistant, and promised that once she got a show on the air, I’d be writing on it. I left the ISP and went back to entertainment, but I continued telling stories on the internet. Finally, in 2000, my friend/boss was offered the opportunity to run a new show on the Disney Channel called “Lizzie McGuire” and she gave me a staff writer position. I worked as a TV writer until 2005-2006 when things slowed way down, and then the strike hit.

In 2008, an Executive Producer I had worked with asked me if I still told stories on the Internet. He had co-founded a company that was making web series. I ended up taking my years of telling stories online and turned it into a job, a job that is now known as a “Transmedia Producer.” I created the online world for an MTV series called “Valemont” which spanned an ARG (alternate reality game) at ValemontU.com, three blogs, nine Twitter accounts, Facebook and Verizon SMS messaging and ended up winning a Streamy for best online experience. Right now the projects I’m working on only have me creating and running the online experience, which means my job is part writing, part producing, part tech support and part performance art. It can be a 24-hour a day job, as the internet never sleeps.

Describe a typical work day in your current position: Generally I wake up and check my email. (What time this is depends on whether or not anything is launching that day, and what time zone the online experience is in. When I was on “Valemont,” the back story was that it was an East Coast school, so I worked a lot on EST even though I live in PST.) I put out any fires, write new content, check to see audience reaction/interaction and adjust accordingly. (While the online worlds – metaverses, 360-experiences, transmedia – and their storylines are always outlined by me, I always leave enough room for the audience participants to chime in.) Then I check Twitter (which I have open during the day) to play characters (I was nine different people for “Valemont,” and two different people for “Woke Up Dead.” My next project will have me being six or seven characters on Twitter at the same time.) In between all of this, I’m pitching new projects and writing spec scripts. When I’m on a show, I am never more than five feet from my computer.

Nina & Hilary Duff

Best job (or day) in the entertainment industry: Any day I’m being paid to create is a good day. Even on a bad day. Seriously. I get paid to make stuff up, and when I’ve been up for a thousand hours or I’ve gotten another round of notes, I remind myself of that.

Worst job (or day) in the entertainment industry: I’ve had my share of terrible jobs, but that first hour at UTA took the cake. I have tremendous respect for agents, managers and the like.

Best thing about your current job: Can I have more than one? While I’d happily return to TV, transmedia is new and exciting and we have the opportunity to create and connect with an audience in an enormous way. I’m lucky in that I don’t have to go to the office. I can work in my pajamas some days. HOWEVER…

Worst thing about your current job: Being a solo practitioner means that I’m the sole person responsible for the online world. The internet never sleeps, the world never stops existing, which means that some days I don’t sleep, either. During “Valemont,” my father-in-law passed away suddenly, and I was updating character Twitter accounts from my cell phone at the gravesite.

Brush with greatness: I think after working out here for awhile, famous people cease to be interesting. Brent Friedman (Co-Founder at EFE, and my boss for “Valemont”) is a brilliant forward thinker. The Co-Creator of “Valemont,” Christian Taylor, is an amazing writer who creates characters that are fun to play with. People who are out there creating transmedia – Mike Monello, Steve Peters, Brian Clark, Jan Libby, Andrea Phillips – who I just had a chance to hang out with at ARGFest, are creating the future of entertainment. The world is changing, and I think they’re in front of it.

Secret of your success/advice to the newbie: Two things: 1. A.B.C. Not “Always Be Closing,” but “Always Be Creating.” 2. Talk to people. Meet people. Get out and find where people who are doing what you want to do are and meet them there. I used to be incredibly shy, but the internet helped me out of my shell. I can connect to people without using an intermediary by following them on Twitter, friending them on Facebook, or sending them a polite, non-creepy email through their website.

Next move: I want to marry my two jobs (TV writing + Transmedia Producer.) I have a few pitches I’m putting together that are not only a show, but the entire built-out world around the show. There’s a lot of stuff living in my head right now that’s finding its way to paper and then hopefully to a TV AND Computer Screen near you!

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Don’t Say I Didn’t Warn You

admin — Mon, 09 Aug 2010 07:45:53 +0000

Starting Tuesday, August 10th, subscribers to the Mogul Mindset eBlasts will be getting information on the upcoming release of “Launching Outside Los Angeles YII Career Kickstart Kit,” a compilation of 3 eguides designed to get your started (or get you moving faster) on your way to entertainment industry success no matter where you are!

Mogul Mindset eBlast subscribers will be able to get the “LOLA Career Kickstart Kit” a month earlier than everyone else and at a 25% discount. So if you are interested in finding out more about this product and possibly buying it, you would be wise to sign up to get the Mogul Mindset eblasts.

You can sign up for the MM eblasts on the Your Industry Insider homepage. There’s a big box on the righthand side at the top of the page. Put in your name and email address and then confirm your subscription when you get the confirmation. You’re in!

Two Special Announcements AN EVENT NOT TO BE MISSED! On January 26th...

Inside Scoop: TV Writer/Producer Alicia Kirk

YII — Wed, 04 Aug 2010 07:45:51 +0000

Treating your writing career as a small business might be a unique idea, but it has informed profile subject Alicia Kirk’s path in the television world and empowered her in a business where it can seem like, unless you are on top of the heap, you have no power at all. From her entry into television through her ascent up the writing staff ranks, Alicia has always kept one eye on the road, ready for when the unpredictable world of network television throws another curve in her path. Readers are wise to take that lesson with them for thier own entertainment careers.

Current position: Producer on “Criminal Minds” (CBS)

College & degree: I have a BFA in screenwriting from USC.

Internship: The summer after my junior year in college I interned at a small production company called Persistent Pictures. While working there, I met my first lit manager.

First job in the entertainment industry: My first job was writing BAMBI II for Disney. Animation writing was so much harder and more rewarding than I expected.

What made you want to be a TV writer? I’ve been a TV junkie my entire life and I love the medium, both “great” TV and “bad” TV. I always wanted to be a TV writer, but the opportunities I got right out of college were in features and at that time, I was just trying to get a job– any job.

After a few years writing features that were never produced, I realized I really wanted to see scripts get made. In television, we are always working on ideas that will get produced very soon. Within a few weeks of writing a script, I’m talking to a director about locations, budget, casting, etc. For me, the process of production is as fun as the writing part. When I realized writing for TV would allow me to be part of producing scripts I’d written I became totally focused on getting into TV and staying there as long as possible.

What made you think you’d be good at writing for TV? I really enjoy the collaborative process of filmmaking. I love working with other artists who are the best at what they do and being inspired by other writers, as well as directors, DP’s, casting, costume, set design, producing, etc. In television, there is a lot of collaboration, both in the writers’ room and during the production process, and I thought I’d have a lot to bring to the table both creatively and as a producer.

Big break: I’d been working on a feature script with Heather Graham’s company for two years when her first television show got picked up. She helped me get a meeting with the showrunner. Getting the job on that show was my big break into TV. That first staff writer job is the hardest to get and I had been trying for years to break in to no avail. I’d been working in features and wasn’t inside the TV world. Without those contacts, becoming a TV writer seemed nearly impossible. Getting a staff writer job on Heather’s show was the biggest break of my career to this day.

Eureka moment (when you realized you did or did not want to do something or that you should do something differently, etc.): When I realized that I am my own business. Instead of feeling like my future employment relies on luck or the whim of a powerful player, it was really empowering to understand that I make my own product that I try to sell to clients. My business does not have the same security that working for a giant corporation does, but it does have profit participation and great potential for growth. This realization empowered me greatly at a time when I felt powerless about my future. It motivated me to work my ass off, finish a script, and start another one… and another after that. I still believe this kind of empowered thinking is responsible for whatever success I’ve achieved and will achieve in the future.

Best advice you ever got: There are two pieces of advice that I’ve never forgotten and have helped me through tough times-

1.) Every single person in this town wakes up every morning and wants a great script. Actors, producers, directors, and executives are always looking for great written material. If the pages are great, then not a lot else matters, so stay focused on writing great stuff and don’t get lost or feel defeated by “networking.” Just put your ass in the chair and write.

2.) The only people I know who are not doing what they want to do are the people that quit. This is an entrepreneurial business and sometimes things aren’t going well and you must regroup and change strategy but you have to keep going. Do not give up.

Career path: After I graduated from college I worked as a tutor and a nanny in order to work as few hours as possible (though of course, thus I also made as little money as possible) in order to have time to write scripts. For me, working outside the business was very helpful because I had a flexible schedule and also because, for me, reading scripts was really depressing and often demoralizing. I could never figure out why one script would sell and another one wouldn’t, and my writing would get affected by my insecurity. This isn’t true for everyone, but when I was just starting out, it was important to focus mostly on writing and having a survival job that let me write as many scripts as possible.

I think this paid off immensely and helped me get occasional writing jobs in features until my big break into television, but later on I realized that the most important thing about that time in my career was that it prepared me to write professionally when the time came, I’d worked for five years on nothing else but the craft of writing and re-writing. In television, there is no time to wait for inspiration; ideas need to get pitched & notes listened to & scripts written on a deadline.

Since I was hired in television, I’ve written a new original pilot almost every year in order to keep my work fresh and be ready for staffing season which can come unexpectedly- even while on a big show that seems like it’s got a few more years in it. The week “Without a Trace” was canceled, we were #11 in the ratings. The business can change on a dime but being consistent in keeping up with material helps a lot when riding out unexpected waves.

Describe a typical work day in your current position: I get to work around 9am to futz around on the internet, return emails, chat with co-workers and assistants and then I’m ready to get down to business by 10. We have a full day of the writers’ room Monday, Wednesday, and Friday where we work as a group on the episodes that are getting ready to go to outline. Tuesdays and Thursdays we work on writing our scripts, outlines, and boards for developing episodes.

It’s a very collaborative atmosphere that values each writer’s individual process so we also meet in smaller groups to work on each other’s episodes at all stages of the process- board, outline, and script.

Worst job (or day) in entertainment industry: My worst job was working in an environment run on insecurity and fear. I do very poorly in those environments because it’s hard to get invested when the job is more about politics than about making a great show. I didn’t realize it at the time, but ultimately it was a very important learning experience. If I can, I’ll try to avoid that kind of environment in the future.

Best job (or day) in entertainment industry: The best day ever is any day an episode of mine (on any show I’ve ever worked on) starts pre-production. Concept meetings, location scouts, casting concept meetings… I love it all, especially the first day of prep. Every single, time it reminds me of being a little kid that wanted to get into the movie business and, on the first day of prep, it seems really crazy and incredible that I’m actually doing it.

Best thing about your current job: Great leadership. At any workplace the tone is set from the top down and, in a creative business, this is even truer. A truly great leader is decisive while valuing others’ input. When I feel valued I feel invested, that makes me enjoy the work I’m doing.

Worst thing about your current job: So far really loving it, I honestly can’t think of anything. Yet.

Brush with greatness (can be a celebrity encounter or just being exposed to someone being brilliant at what they do): The first celebrity I ever worked with was Heather Graham and I was pleased that she was incredibly kind, generous, and joyful. Years later I looked back on that experience and became surprised in retrospect, as since then I’ve met many people with her level of success and fame that did not hold on to the love of doing an artistic craft for a living. Every time I think of my experience working with Heather, it reminds me that if I ever stop loving this then it’s time to get out. This business is outrageously fun and fulfilling, and if we’re lucky enough to be part of it then we owe it to ourselves and each other to be kind and most importantly, enjoy it.

Secret of your success/advice to the newbie: Write. A lot. And read Stephen King’s book, “On Writing.” He says some of the most helpful things I’ve ever heard and a lot of them, I say to myself as a mantra when I’m unsure of the future in this unpredictable business. He has a lot of great advice and says it much more succinctly than I could.

Next move: I’d like to focus on making great episodes of a show I adore for now and then develop my own ideas in a few years. I’d like to get more experience and learn from my current bosses before venturing out with my own pilot. My hope is that if I develop when I’m ready the process will be taken seriously and I’ll have the support I need to do it as well as I can.

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Inside Scoop: Actor Eric Lange

YII — Wed, 28 Jul 2010 07:45:46 +0000

You have probably seen actor Eric Lange as the coach on an episode of “Modern Family” or as Radzinsky on ”Lost” or in any one of many other parts he’s had in the past couple of years. He has been working for a while now, but as he says in his profile, it wasn’t until he settled on his current look that he really started gaining momentum in his career. Read on to find out more about the career of this talented working actor.

Current part: I am currently recurring on “Weeds.” I’ll be in the last three or four episodes of the season. I also recur on “Victorious” on Nickelodeon. I play Mr. Sikowitz, the eccentric acting teacher at the talented and gifted school the kids go to. I’m also on a web series called “Easy To Assemble” (set in IKEA) playing Manager Erik, the Manager of IKEA.

College & degree: I have a BFA in theatre from Miami University of Ohio.

Internships: I did an internship at the La Jolla playhouse in San Diego, CA the summer of my freshman year in college. I was an apprentice on “Tommy” while I was there.

Acting while in school (professional or amateur): In middle school, I was in a show choir. My freshman year, there was no show choir to join. A friend was going to a meeting of the drama club and I went with him. I fell in love with it. So I started acting in high school. I did a number of plays and musicals there, including “The Music Man,” “South Pacific,” “The Desperate Hours,” “Charlie’s Aunt,” and “Our Town.” Then in college, I got to work quite a bit. Seems like I was always in a play or musical. I did “Man of La Mancha,” “Cabaret,” “Burn This,” “Bedroom Farce”… too many to list here, really. I got a ton of experience.

Day job while you were working towards being a working actor: When I first moved to LA (three months after college), I got a job as a Tour Guide at Universal Studios working on the trams. I was there about six months and, during that time, I got a commercial agent and started auditioning. I left Universal for various reasons and started auditioning more. So I got a job at Paramount working as a transcriber for “Hard Copy.” I took the job because it allowed me flexibility to audition. At that point I had booked a couple commercials. Then I went back to Universal and worked as a “Blues Brother” in their stage show there. Singing and dancing five shows a day. It was a fun job, but eventually I got so busy with commercials, I left and started making my living as an actor. I was pretty fortunate that the acting income picked up as quickly as it did. Never was a waiter.

First post-graduate acting job: I was always doing theatre and commercials while trying to get representation for TV/Film. But my first television gig was on “The Bold and the Beautiful.” I had like two lines. Haha!

How did you get repped? I had a commercial agent very early on. I got that agent from submitting a headshot and resume. Later, I either mailed a headshot and resume or got a referral to get my first theatrical (TV/Film) agent. I was with her a year and very little happened. Then I got another theatrical agent (don’t remember how) and was with him a year with very little progress. I eventually sort of gave up and kept doing theatre just hoping someone with the clout to DO something for me would see me.

That happened when I played Mitch in “A Streetcar Named Desire” at the Rubicon theatre. A friend brought her Manager to see me, he liked me, we started working together and, in three months, I had a guest star on “The West Wing.” It’s been seven years and he’s still my manager. It took me eight years to meet him, but he completely turned my career around.

What was your “big break” (or series of breaks that got you working)? After I guest starred on “The West Wing,” it was much easier to get in to audition for other guest stars, so that was one of them. The more I worked, the more people got to know me. So, it’s hard to say what the “break” was, but certainly my role on “LOST” was the most high-profile job I had gotten. It put me on “the map”, as it were.

Do you continue to train (acting classes, coaches, workshops)? I don’t. I used to say, “If I’m not in a play, I’ll be in a class.” But now, I work so regularly I keep pretty busy regularly trying to crack the puzzle of one part after another. I still do theatre when I can because I love it and it flexes muscles you don’t get to use in TV/Film. I love the theatre and the process.

Has ageism been factor into your experience as an actor? If anything, I’ve been cast older most of my career. As a balding man, people took me as older, but I was balding from a pretty early age. So at first my hairline didn’t match my age or face and that created a difficulty finding roles for me. I was young and old at the same time. But, then I hit 30, filled out a bit, got a few wrinkles and the hair (or lack thereof) matched the face. That’s when things really started to roll for me.

Have you used your acting career- or are you planning to use it- as a way of branching into producing or directing? I directed a play in college and liked it, but haven’t done it since. I think it’s a natural progression as, eventually, when the acting thing is sort of taken care of and your career is moving along, you naturally become curious about other things. Producing will allow you greater control over where your career goes, as you can make your own projects instead of waiting for someone to put you in theirs. But, right now, I’m really just focusing on climbing higher and higher in the acting world.

Eureka moment: I had always had very short hair, because it was so thin on top. I thought this would make me “right” for more roles, professional roles, doctors, lawyers, etc. It’s where I felt I fit. But then I did a six episode pilot called “Twentysixmiles” (now on Hulu.com) and I grew my hair out for six months before it. I had to be a Jimmy Buffet, beach bum type and I thought long hair would be great. I did that and it was a fantastic experience.

Then “LOST” happened and a string of other roles after that, so this is my look for now. I think the eureka moment is that if you try to make yourself “fit” in a wide array of roles, then you end up looking like a lot of other people. As a character actor, with long hair, a beard, and glasses, it sets me apart. I’m not right for a lot of things, but those I am right for, I usually do quite well with. And frankly, I like “me” more this way. It suits me.

Most significant roles: I had a big guest star on “Criminal Minds.” The pilot “Twentysixmiles” was my first series regular. “LOST” just because I got to do seven episodes of one of the biggest shows in the history of television and play a very damaged, dynamic villian. Since then I did a pilot for ABC called “True Blue” which did not get picked up, but was one of the best experiences of my career. I’d say those were some milestones.

Favorite part or project? ”LOST” was phenomenal for me, as I was a huge fan of that show and always wanted to be on it. I was only supposed to do two episodes, then I went home for Christmas and they called and said they wanted me to do five more. That was a great feeling, as well. The size of the show, the scope of the show, it’s done so well, and its worldwide appeal all made it one of the best experiences I’ve had.

But Malcolm, my character on “True Blue,” will always hold a special place in my heart. You get a pilot like that, with the cast and crew we had and you think, “Holy crap, if this thing gets picked up, this could be HUGE for me.” It’s very exciting. Until they tell you they didn’t pick it up. (Back to the drawing board.)

Most difficult part or project? Hmmm…. sometimes you don’t like a script as much as others or the part isn’t anything to write home about. Sometimes it is just a job and you have bills to pay, so you do it. It’s not bliss, but it’s certainly not digging ditches either. So I really can’t say I have a “most difficult” one. I always learn something, it’s always good to work.

Describe a typical work day: I just start thinking about the character a lot. Just daydream about it and see what instinctual thoughts come into my head. I read the script quite a bit, I like to have the lines down as much as possible so I don’t have to think about them and can let the scenes “happen.” By “happen,” I mean that the technical part of learning the lines is over, so I’m free to be more spontaneous, be present in the scene, listen, allow the other actors to inform me… all without worrying about the lines. So I go over the lines quite a bit, usually while doing house work. If you can do something that takes your focus away and still do the lines, that’s a good sign. I may watch movies or shows that will fill in more inspiration for whatever the part happens to be. But as much as you want to plan, you have to stay flexible. When you get to the set, you’ve never seen it before and there’s always adjustments that will be made on the fly, so you can’t get too rigid in your preparation. Then I just show up, as relaxed as possible, and let it fly. Other than that, I’m usually auditioning, preparing for an audition, working in some way on my house and checking my email.

Best thing about being a working actor: Getting to do what you love and get paid for it. I mean there are highs and lows, and often there’s no telling where the next check is coming from. Eventually, if you work regularly enough, you’ve built up some stability financially. I’m tremendously lucky to be doing what I’m doing. I pinch myself on a regular basis. It really is a dream come true. The people I meet, the places I get to go, the people I work with… It really is an amazing gift. The hard part is enjoying the moment, enjoying the journey and not looking ahead to “when will I get that big job.” I’m a very lucky guy to be doing this for a living.

Worst thing about being a working actor: Not knowing what next month or next week will look like. Sometimes you get a job and two days later you’re on a plane to somewhere for a month. It makes it difficult to plan things, to find consistency and routine. And I’m finding more and more, I do well with routine. And often you’re not working… and that might last a week or a month or many months, so the down time can be hard. You start to wonder if you’ll ever work again, etc.

Brush with greatness: I’ve gotten to work with many incredible actors, but I’d have to say working on “You Don’t Know Jack” with Al Pacino was an incredible period of time. He’s such a legend and so good at what he does. To be able to sit for days and watch him work and work WITH him was a privilege few people ever get. Add to that the project was directed by Barry Levinson and you have what most people would call a “dream.” It really was a phenomenal time.

Sidelines (clothing line, painting, etc.): I used to write music. I don’t do that much any more, though I do still play the piano fairly regularly. It’s a stress releaser for me. My house has become a creative outlet for me. I like to take on projects, learn how to fix things, decorate, etc. I love my house. I did make my first painting last year that I’m quite proud of, but I haven’t made another since. (I’m a perfectionist so I can be very hard on myself if something isn’t “perfect.”) Right now, I’m full steam ahead on climbing up the acting ladder, spending time with friends and family, and learning more and more about myself.

Secret of your success/advice to the newbie: Work as much as you can. Whether it’s a play, a movie you make with friends, a scene… anything. Just do it as much as possible. It’ll remind you you’re an actor, keep those muscles loose and then when the big audition comes you haven’t been just sitting in your apartment for the last three months getting stiff and doubting yourself.

Know who you are, as much as you can, and what you bring to this industry that’s special. Find balance within your life and get ready for a fight, because it’s not going to be easy. Surround yourself with people who believe in you and support you. Watch as many great performances as you can. Go to movies, plays, etc. and get inspired. You have to just go for it, you can’t just dip your toe in the pool.

And if you move to Los Angeles, find something to listen to in the car. You’ll be in there quite a bit.

Next move: I’ve been guest starring and recurring on shows for years now. The ABC pilot was a great step in the direction of finding a place for me on a one hour drama. I’m getting closer and closer. I like the schedule of television and the format of one hour. But the things that really moved me when I was younger and dreaming of being an actor were movies. I’d like to do more of those, as well. I just did SECRETARIAT, which comes out in October, so that could help move things along. But all in all, I’m just trying to enjoy the journey.

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Inside Scoop: Mike Knobloch, President of Film Music and Publishing

YII — Wed, 21 Jul 2010 07:45:34 +0000

As today’s profile subject points out, there are only six people in his position in the industry. For him, this means a deep appreciation for where he is and what he gets to do on a daily basis. For us, this means a deep appreciation for this glimpse into the career path of someone at the top of the heap. Over the course of his career, Mike Knobloch has worked on the music for well over 100 films, including Romeo + Juliet, Fight Club, and Crazy Heart, in addition to the projects he mentions. His passion for movies, for music, and for his position at the intersection of the two should inspire anyone as they set out on their entertainment journey.

Current position: I am President, Film Music and Publishing at Universal Pictures. Before that, I was EVP, Film Music at Fox Music/20th Century Fox.

College & degree: Northwestern, BS, Communications.

Internship: I had a very short internship at “The David Letterman Show,” but my main internship came out of the best happy accident ever. While I was in college, my close friend, Kim Williams, went on a cattle call audition for a role in FATHER OF THE BRIDE and ended up getting cast as the bride opposite Steve Martin. I visited her on the set and, through a bizarre twist of conversation, ended up talking to (writer/producer) Nancy Meyers and (writer/director) Charles Shyer and having them ask me what I was doing for the summer. I jokingly said, “Why don’t I work for you on this movie?” They ended up hiring me for an internship which ultimately turned into a PA job.

When the movie was over, Nancy & Charles held an assistant spot for me while I finished school in the spring. I came back and worked for them for the next two years, until they got into serious prep for I LOVE TROUBLE. It had been a great job in terms of the boot camp perspective on how the business worked, seeing the process of filmmaking from beginning to end with FATHER OF THE BRIDE. I got to see all the different jobs at the studio and the production company, as well as freelance positions and craftspeople. But for me, the coolest thing was seeing the music being made for the film, seeing the scoring and the editing and the songs being added. I wanted to be at the intersection of music and film. That was the area that spoke to me most.

I’d met Steve Tyrell through Nancy and Charles. He’s now known more as a performer, but back then he was primarily a songwriter and music producer. I left Meyers/Shyer to go work for him on projects at his recording studio. That got me a step closer to where I wanted to be.

Where did you go from there? The next opportunity that came my way was working on a TV show, Channel One News, which was a daily news program broadcast into junior high schools and high schools across the US. It was an impressive organization. Anderson Cooper and Lisa Ling were some of the on-air talent. I started as a staff/segment producer and ultimately worked as the line producer.

After about two years, as I was starting to think about my next move, I was in one of the offices and, completely out of the blue, I spotted a special “film & TV music” issue of The Hollywood Reporter on the coffee table. It contained a directory of who’s who (studio and production company music heads, top music supervisors, etc.) with contact information.

I ended up writing a form letter to every single person in the directory. And I got one call. Robert Kraft, the head of film music at Fox, called. We had multiple meetings. At one point he told me how much he liked my stationery (which my wife, a graphic designer, had made for me) so I have a feeling he didn’t even really read the letter I’d sent. But somehow, I parlayed the work with Steve Tyrell on TV projects, as well as on FATHER OF THE BRIDE and at Channel One, into the job as Director of Film Music Production at Fox. And I applied what little I knew to become what was then the technical production guy. I worked my way up over the years to the position of Executive Vice President of the department.

Big break: My big break was actually a series of four breaks: getting hired on FATHER OF THE BRIDE, meeting Steve Tyrell, the opportunity to work for Channel One, and then the phone call from Robert Kraft that led to getting my dream job. This is good news and bad news for anyone who wants to follow in my path. You can create your own opportunities by being industrious and smart, but these steps couldn’t be replicated. There’s no way to do what I did. But everyone who is a working professional becomes the beneficiary of a series of happy accidents.

Eureka moment: Two things come to mind: The first was on FATHER OF THE BRIDE: the first time I set foot on a scoring stage. I grew up in NY and was a fan of music already. But I didn’t really know anything about the behind the scenes of filmmaking. This was a huge room with more than 100 different people doing what seemed to be the most magical part of the movie making process. A more minor eureka moment was at Channel One news when I stumbled upon that issue of The Hollywood Reporter.

How do you describe your current position when someone asks, “What do you do?” I tell them I oversee all aspects of music for the films at Universal. I am quick to point out that I have a department of people who contribute to the process, being that I’m a big fan of collaboration.

What is a typical work day in your current position? My typical day involves going to work at 9:00 thinking I know what 27 things I need to get done that day and then, at 9:01, getting a phone call involving something that wasn’t on the list, but takes priority. I play a variety of roles in my position. Sometimes I am a fireman putting out fires, other times I am a conductor, keeping the trains running on time. I am a big fan of being proactive, but a big part of what I do is reactive. A typical day is an adventure unlike any other day. The stakes are high. I am managing a collective of a variety of personalities and politics on a lot of different projects.

What was your most challenging job or day or project in the entertainment industry? I’ve worked on some pretty complex music movies, including MOULIN ROUGE, WALK THE LINE, and DRUMLINE. On DRUMLINE, we had to record live marching bands and make them sound good. There’s no handbook for that. You have to assemble the right team and figure it out.

What was your best job or project or day in entertainment industry? Getting the job to be the head of film music at Universal. Getting that phone call and having them say that they believed I was the right guy for the job. There are only six major studios. That’s six heads of music total and the position doesn’t turn over often- maybe one opening a decade. To reach the point where I’ve been selected… that was big.

What is the best thing about your current job? I get to work with these amazing cool and talented people in my department and at Universal as a whole, not to mention the community of artists, producers, composers, editors, and supervisors I get to meet with and often work with as well. These people are the cream of the crop, so talented it’s like they’re from another planet. I do not take for granted how lucky I am.

What is the most challenging thing about your current job? That it’s new. I just left one company where I worked for fourteen years. The work itself is remarkably the same, but the culture and people are very different. I’m building relationships from scratch with people at the company who don’t know me yet.

Brush with greatness: My tenure at Fox was bookended by TITANIC and AVATAR, with James Cameron and James Horner collaborating on two of the most historic movies of all time. But I hesitate to isolate one “brush with greatness” because, whether they are world famous or unknowns, all of the artists I have worked with are great. To me, they are household names.

Secret of your success/your advice to the newbie: Secret of my success? I have no idea. I try to make the best decisions I can on a moment-to-moment basis. My advice is to be intuitive and put yourself out there. Identify the path you want to be on and learn as much as you can. Read magazines, get online, ask questions. There is really no excuse not to be ahead of the group in terms of knowledge. When you call someone like me and are able use levels of specificity to reveal that you have done your homework, it makes me want to call a music publisher or executive or producer and put in a good word for you. Because not only am I doing you a favor, it ends up making me look good to be able to provide one of my contacts with a potential intern or assistant who would be of value to them.

What is your next move? To have a long successful, healthy, and prosperous career at Universal Pictures.

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Recommended: Media-Match.com

YII — Mon, 19 Jul 2010 07:45:00 +0000

Media-Match.com is a site which helps entertainment professionals and those looking to hire them find each other. Job-seekers (both freelance and permanent) can create profiles and can also search the jobs posted to the site, which come directly from the companies doing the search or from other job sites across the internet. Companies can post jobs directly, as indicated above, or search for profiles of people who do what they are looking for someone to do.

This site is not location-specific. As I am writing this, I see jobs posted for Los Angeles, Chicago, DC, San Francisco, Houston, Franklin, TN and many, many others. Positions range from Casting Recruiter (Nebraska) to Production Manager (San Francisco) to Graphics Coordinator (Los Angeles) to Camera Assistant (Paramus, NJ). There is even a posting for a News Anchor (Buffalo, NY).

The bottom line is that if you are a budding (or not-so-budding) crew member, subscribing to Media-Match.com is well worth the ten bucks a month it will cost you. And if you are looking for entertainment professionals, it is also a great place to get the word out and find people who can do the job. (That set doesn’t light itself, does it?)

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Inside Scoop: Production Company Executive Vice President Rachel Shane

YII — Wed, 14 Jul 2010 05:45:24 +0000

Having grown up in Winnepeg, Canada and launched her entertainment career in Mexico, Rachel Shane now works at arguably the epicenter of the industry, a studio-based production company which makes movies with some of the top talent working today. Her story is one of opportunities wisely taken, a keen sense of when she was on the right path (and when she wasn’t), and a very brief stint as a Mexican television star. (Very brief.) Read on to get the whole story…

Current position/projects: I oversee development and production for Douglas Wick and Lucy Fisher’s Sony-based Red Wagon Entertainment. Current projects include THE WETTEST COUNTY, a gangster movie set against prohibition, starring Shia LeBeouf with John Hillcoat directing a script by Nick Cave. Another very fun project is a remake of BYE BYE BIRDIE written by Lorene Scafaria at Sony with Adam Shankman.

Hometown, college & degree: I grew up in Winnipeg, Canada. I received an honors degree in political science from the University of Manitoba with a minor in theater and dropped out of law school after one year at the University of British Columbia in Vancouver.

Internship: My very first internship was painting sets on Guy Maddin’s (the experimental, Winnipeg based filmmaker) TWILIGHT OF THE ICE NYMPHS.

First job in the entertainment industry: My first job was in Mexico City through a NAFTA exchange program between the Canadian and Mexican governments. It was at Televisa, which I believe is the largest TV production company in Mexico. I was a jack of all trades. I worked for a producer, Juan Williams, doing research for a news show he produced. I was a PA on a soap opera starring George Hamilton (no joke). I did set dressing. I even acted in a comedy show at one point—I was the “gringa.”

What made you want to work in development/production? After Televisa, I was hired as the production secretary on THE MASK OF ZORRO, which shot in Mexico. I loved it. It was challenging and really fun. After the shoot, one of the producers asked me to come to LA and work for him while his assistant was on her honeymoon, which I did. I had taken a year off of law school, but around this time, I officially dropped out. I then decided to see if I’d be interested in entertainment law and luckily began working as the assistant to the head of legal and business affairs at Morgan Creek. A very eye opening experience, but six months in I knew for sure I wasn’t interested in the legal end of the business. But I had discovered the development world.

I started to investigate that area of the business and my first development job was as an assistant at Imagine on the film side. I left Imagine with my boss when she went to work with Betty Thomas and Jenno Topping at their company Tall Trees. Ten years ago, I started as a CE at Red Wagon and I’ve been at the company ever since.

What made you think you’d be good at development/production? Well, the production side of it is just really common sense and that came easily for me. As far as the development side, I’ve always loved to read, loved film, loved theater, loved reading plays, always had crushes on writers, so it just seemed like a very natural area to be working in.

Big break: I think my big break was working on THE MASK OF ZORRO. I offered to work for free. I did well and, at some point, they hired me officially. Being on that film opened up a whole new world and led me to what I’m doing now.

Eureka moment: Probably the first time I discovered the development side of the business.

Describe a typical work day in your current position: My job is to shepherd and oversee movies and TV shows from infancy to their release in theaters or on TV. Every day is very different. It can involve having a four-hour story meeting with a writer on a project or going to a make-up house and investigating proposals for effects or driving around to different studios to pitch movie ideas to their executives. Or even flying off to another city to oversee a production.

Worst job (or day) in entertainment industry: I’d say the worst day was when, on a movie that I was very emotionally invested in, the financier pulled the plug and decided not to shoot the most important scene in the (still unfinished) movie.

Best job (or day) in entertainment industry: The best experience was being on location for my first big budget movie, STUART LITTLE. My so-called office was in the middle of Central Park!

Best thing about your current job: The people with whom I’m able to meet and work.

Worst thing about your current job: Adjusting to the new reality of the studio system. With the economic downturn and piracy, fewer types of movies are getting made at the studios, which leaves producers to find other sources of independent financing, which is also currently scarce.

Brush with greatness: Will Smith giving me a kiss on the cheek. That was nice.

Secret of your success/advice to the newbie: Diligence and hard work make all the difference. There’s no easy ride. I think also being able to understand human nature, and connecting and relating to people is really important.

Next move: My hope is that I keep producing. I want to be making meaningful movies that people will actually go see and will hopefully impact their lives.

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