Your Industry Insider

Inside Scoop: Assistant Director Ian Woolf

YII — Wed, 10 Mar 2010 05:45:53 +0000

Ian & Actress Lisa Edelstein on set of "Special Delivery"

First Assistant Director Ian Woolf knew at an early age what he wanted to do with his career. Knowing an AD and being familiarized with exactly what that job entailed (as opposed to having just a rough idea or worse yet, no clue) certainly helped somewhat guarantee satisfaction, but achieving the success was up to him. Read the below profile carefully to find valuable lessons about seeking out insider information, making a good first impression, and COMMITMENT (yes, all caps) to your job.

Current position: I’m the First Assistant Director on “Criminal Minds.”

College & degree: NYU Film School, BA in Fine Arts

First job in the entertainment industry: I was an office PA at a small production company called Magnum Pictures. From there, I moved to being a set PA on a film called VIGILANTE.

Career path: After that job, I took the test to get into the DGA Training program. (Ed. note: A program run by the Director’s Guild of America to provide participants with the education, training, and paid work experience necessary to become an Assistant Director on a set. Look for a future post with more details on this program and assistant directors in general.) I had taken the test in college and hadn’t made it through.

The test is pretty involved. It includes a multiple choice personality test, an essay and 15 minutes each of math and verbal questions. The year I got in, between 2,500 and 3,000 took the test on the east coast. (Ian was in New York. There is an LA version of the test.) They picked 60 people to go to the group phase. This part involves going in front of a panel of psychiatrists in groups of eight. They would ask real life and hypothetical questions to test our reaction to various situations, such as having a life boat that only holds seven people and there are eight of us who need to be saved.

When I made it to this point, I contacted all of the DGA training program grads I knew and asked them what they did in the group phase. As I was told by the grads, I memorized the names of the others being tested and called them by name when I referred to them, and offered to go first whenever they asked for a volunteer. Out of the 60 people, they chose just 7 or 8 to join the program.

I was a trainee from 1982 to 1984. During this time, I did DUNE, CONAN THE DESTROYER, and CAT’S EYE. I got into the DGA as a 2^nd Assistant Director in September of 1984.

Big break: I got my first key 2^nd AD job the summer of 1985 on BLUE VELVET. I got that job because I had a good relationship with director David Lynch when I was a trainee on DUNE. My other big break was making the jump to 1^st AD on a miniseries produced by Raffaela DeLaurentiis (who also produced CONAN THE DESTROYER, which I was a trainee on) called VANISHING SON.

What made you want to be an AD? My sister was good friends with Ralph Singleton, who was an AD (now a producer). He mentored me through getting into the program and becoming an AD.

What made you think you’d be good at it? I knew you needed to be outgoing, and have leadership qualities.

Eureka moment (when you realized you did or did not want to do something or that you should do something differently, etc.): When I made the move from 2^nd AD to 1^st AD, I knew to never look back.

Describe a typical work day in your current position: Since I’m currently in episodic TV, there are two types of day. The first type is during prep, the eight days before you shoot an episode. On the day I get the script, I read through it twice first thing in the morning. Using a program called Movie Magic Scheduling, I break out each scene: what cast, what setting, what vehicles, props, and wardrobe, etc. From that breakdown, I create a schedule by making strips for each scene and arranging them on a board by day based on location and actor availability. I work closely with the director during prep week. There are location scouts, and mini-meetings with props and other departments. Then we have a big tech scout with department heads. We run through all the locations and have a final production meeting where everyone can get their outstanding questions answered.

On a typical shooting day, the days are 12-14 hours. The crew call is at 7 a.m., unless we have night exteriors, in which case, we do a split call starting at noon. I show up before the crew and have breakfast, usually a burrito. At crew call, I bring the director, key crew, and all of the actors to the set and they read through the lines for the scene. We’re not even blocking yet, just reading the scene. After that, I keep everyone quiet while the director blocks the scene and then the cinematographer lights the first shot and we shoot it. Over & over. Six hours in, we break for lunch. Over the course of the day, there are also problems that need to be solved and suggestions made to the director on how to do things most efficiently and economically. But that’s generally how a shooting day goes.

Ian (at left) on Criminal Minds jet set

Worst job (or day) in entertainment industry: Worst day for an AD is when actors are late for their call. When they don’t show up on time, it has a domino effect for the entire day. Or when we lose a location at the last minute and have to scramble.

Best job (or day) in entertainment industry: Best time I ever had (where I couldn’t believe they were paying me to do this) was on an aerial unit on CONGO in Costa Rico. We flew around shooting all the footage for a river rafting sequence.

Best thing about your current job: The best thing about “Criminal Minds” is that its been steady work for five seasons. I get to be at home and spend time with my family.

Worst thing about your current job: I don’t know if it’s the worst thing, but there are so many personalities and you can’t please everyone. The AD has to crack the whip to keep the crew moving because you’re the one who is responsible for getting the day of work done.

Brush with greatness: Having the opportunity to work with Jack Cardiff (the DP from THE AFRICAN QUEEN), a legend, on a couple of movies.

Secret of your success/advice to the newbie: Perseverance, not letting rejection get me down, and prioritizing my job. I’ve never missed a day of work or been late since 1980. My family has had to pay the price, which I’m not happy about, but it allowed me to provide for them.

Next move: Hopefully, I’ll move up to UPM, the next step on the ladder. In addition to that, I’m trying to get some projects started on my own as a producer. We came close two years ago but the writer’s strike kind of ended it for us.

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Who Am I? #23

admin — Mon, 08 Mar 2010 05:45:31 +0000

I don’t get to pick what movie is made or who stars or what it is called or when it is released, but it is all mine. I care about awareness and likelihood and key demographics and test screening results. I agonize over one sheets and teasers and trailers and TV spots and banner ads and every other element of the campaign to get those seats filled on the theater opening weekend and beyond. Because the Monday after a release is a mightly long and painful day if no one comes to see my movie.

I am the VP, Marketing at a film studio.

Photos by JannieT and http://www.flickr.com/photos/photoniki/ / CC BY-NC-ND 2.0">photoNiki.

Who Am I? #12 I know who you want to see live and...
Who Am I? #5 I am the first person to oversee the marketing...
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YII’s Oscar Picks: A Guest Post

admin — Fri, 05 Mar 2010 05:45:33 +0000

Chicago has a rich history of film criticism: the late Gene Siskel, the Chicago Sun Times’ Richard Roeper and, of course, the brilliant and iconic Roger Ebert. For it’s first-ever Oscar picks post, Your Industry Insider turned to our own favorite Chicago-area critic, Danny King of The King Bulletin. When Danny is not busy in his high school classes, he sees every movie that comes out and his blog is equal parts enthusiasm and appreciation for the art form overall and critical assessment of each individual film. We think his Oscar picks reflect both those sides of him and we hope you enjoy them as much as we did.

Best Cinematography

Will Win: Barry Ackroyd, THE HURT LOCKER

Should Win: Christian Berger, THE WHITE RIBBON

This category is a tough one to predict, and by no means is Barry Ackroyd the clear favorite. Mauro Fiore (for AVATAR) is most-likely his strongest adversary, although I just think more people will prefer the gritty, mockumentary style of Ackroyd’s work. Although I wasn’t the biggest fan of Michael Haneke’s THE WHITE RIBBON, I will be the first to admit that Berger’s use of black and white cinematography is a remarkable achievement and is, in fact, the main reason to see the film. I don’t think any other nominee had as much of an impact of their film’s final product than Berger did, and for that reason, he’s the most deserving in the category, in my opinion.

Best Original Screenplay

Will Win: Quentin Tarantino, INGLOURIOUS BASTERDS

Should Win: Quentin Tarantino, INGLOURIOUS BASTERDS

Many are sure to disagree with me, but I truly believe that this is Quentin Tarantino’s most complete screenplay to date. It has a much better all-around story than PULP FICTION and, although it didn’t quite feature the same amount of his signature run-on dialogue, it still had more than enough to please me. Featuring handfuls of languages and subplots, INGLOURIOUS BASTERDS is a complex, ultimately masterful piece of storytelling. It’s far and away my favorite in the category, and even though Mark Boal has won the lion’s share of this year’s awards for THE HURT LOCKER, I think there’s enough Tarantino love out there to secure him a win.

Best Adapted Screenplay

Will Win: Jason Reitman & Sheldon Turner, UP IN THE AIR

Should Win: Jason Reitman & Sheldon Turner, UP IN THE AIR

Nobody writes dialogue as pure and as smooth as Jason Reitman, and his talent is on full-display with UP IN THE AIR. Along with co-writer Sheldon Turner, Reitman continued his unmatched success in creating engaging, multi-layered characters. This fantastic duo has steamrolled through the awards season without any sign of slowing down. Reitman is far too respected and liked to be upset by any of his fellow nominees. He is simply a guy that a lot of people (including me) want to see on that stage.

Best Supporting Actor

Will Win: Christoph Waltz, INGLOURIOUS BASTERDS

Should Win: Christoph Waltz, INGLOURIOUS BASTERDS

Christoph Waltz is an unknown Austrian actor (or was, before this breakout performance) who is responsible for creating one of Quentin Tarantino’s most memorable characters to date. He could have won this thing for the film’s opening scene alone, but fortunately for us, he appears throughout the entire movie in the same irresistible form. I can’t think of many actors who could create so many believable layers while playing a Nazi soldier. A lot of credit is obviously due to Tarantino’s screenplay, as the words Waltz is assigned to say are magic in their own right, but I’m not sure anyone else could have brought this character to life with the same effectiveness. Woody Harrelson’s career-best performance in THE MESSENGER is a deserving runner-up in my book.

Best Supporting Actress

Will Win: Mo’Nique, PRECIOUS

Should Win: Mo’Nique, PRECIOUS

A category with five impressive nominees is nevertheless the one with the biggest standout. Mo’Nique’s revelatory, pulverizing work as the disturbed mother in PRECIOUS is a work of art. Rarely do we see supporting female characters with such intensity and conviction. Over the course of this tremendous film, she delivers two monologues that could rival some of the decade’s best work. The first one is a screaming, barking rant directed towards her daughter, and the second is an intimate, vulnerable confession directed towards the same woman (as well as Mariah Carey’s social worker). For these two scenes alone, Mo’Nique has put herself on the map as a powerful dramatic performer. The UP IN THE AIR ladies — Anna Kendrick and Vera Farmiga — deserve a mention here, as does Maggie Gyllenhaal for her admirable work alongside Jeff Bridges in CRAZY HEART.

Best Actor

Will Win: Jeff Bridges, CRAZY HEART

Should Win: Colin Firth, A SINGLE MAN

Jeff Bridges’ inevitable Oscar win for his portrayal of “Bad” Blake will be seen as a lifetime achievement award by many, but his work in CRAZY HEART is truly deserving of all of the praise. It may not be his best work ever, but it remains a dazzling, Oscar-worthy performance in every sense of the word. I still think that Colin Firth gave the year’s most impressive all-around performance in A SINGLE MAN, but this is a rare occasion in which I have no problem seeing my personal favorite take a step back. I will be beaming with joy when Bridges finally has that gold statue in his hand.

Best Actress

Will Win: Sandra Bullock, THE BLIND SIDE

Should Win: Gabourey Sidibe, PRECIOUS

Sandra Bullock is a fine actress, perhaps even an Oscar-worthy one, but to label her work in THE BLIND SIDE as the “Best Actress” of 2009 is stretching it quite a bit. Among the five nominees, only Carey Mulligan can come close to matching the raw power of Gabourey Sidibe’s debut performance in PRECIOUS. The actress does a stunning job conveying the character’s physical attitude, such as the slouched posture and grumbling voice, and she also manages to affect the audience on an emotional level that is unmatched by any other nominee. It is, in my opinion, one of the standout female portrayals of the decade, but for some reason, it is just Bullock’s year.

Best Director

Will Win: Kathryn Bigelow, THE HURT LOCKER

Should Win: Kathryn Bigelow, THE HURT LOCKER

I’m not sure I could put it better than fellow nominee Jason Reitman, when he said of Kathryn Bigelow, “The amount of directorial control in THE HURT LOCKER is second to none. She’s going to win, and she deserves to win.” Bigelow created a war film that was unlike any experience I’ve ever had in that genre before. It doesn’t have a single cliché to speak of, and the director’s ability to create suspense is something that few directors can match. Her ex-husband, James Cameron, warrants a mention here (who else really could have made AVATAR?), but Bigelow simply succeeded in creating a more effective and memorable dramatic experience. One must also not forget that Bigelow did in fact with the Directors Guild Award, which is a rock-solid precursor for predicting who will take home Oscar gold.

Best Picture

Will Win: THE HURT LOCKER

Should Win: INGLOURIOUS BASTERDS

Best Picture is one of the trickiest categories of the night because it could go to one of three films. Anyone could make a solid, fact-based case for either AVATAR, THE HURT LOCKER, or INGLOURIOUS BASTERDS. The reason I’m going with THE HURT LOCKER is simply because the historical facts are on its side, while they are against a film like AVATAR. Without a screenplay or acting nomination — and without an SAG ensemble nod — the chances of AVATAR winning drop drastically. THE HURT LOCKER also won the Producers Guild of America Award which, although not a perfect indicator, is still another sign pointing in the direction of Kathryn Bigelow’s film. Personally, I think INGLOURIOUS BASTERDS is the most complete motion picture of 2009, but THE HURT LOCKER was #2 on my Top Ten list, so you’ll see no complaints from me if THE HURT LOCKER does in fact take home a well-deserved Oscar.

Thanks, Danny. Readers, how do you feel about Danny’s picks? Did he miss the boat on something? Let us know in the comments.

No related posts.

Inside Scoop: Film Producer Sarah Siegel-Magness

YII — Wed, 03 Mar 2010 05:45:29 +0000

Anyone who has read the novel Push knows how challenging it must have been to get that story to the screen with its spirit intact. Sarah Siegel-Magness’s profile, with its lessons about passion, heart, and the entreprenurial mindset, will surely inspire readers to create or find material that moves them and have the courage to go the distance with it. Special thanks to Sarah for taking the time during what must be a whirlwind period as a producer of an Academy Award nominee to answer our questions.

College and degree: I have a business degree from the University of Colorado, Boulder.

Internships during college: I worked as a College Rep for EMI Records, promoting music in college. While I was in school, I opened up a Celestial Seasonings kiosk on my college campus and sold a successful amount of tea and merchandise with my brother and a friend. This was my first stint in the entrepreneurial world and it helped get me ready to run my own company.

First job: I started working at the age of 14 and my first job was working at Career-Track, a business Seminar and self-help company. I got to work in all of the key departments and learned how the business operated by spending time in each area.

Pre-entertainment career, if any: After college, I moved to New York City where I got an internship at EMI World Records. I loved working in music, but my true passion was fashion and when I was 27, I founded the women’s clothing line, So Low. The idea for So Low came to me when I couldn’t find underwear that would comfortably fit under my low-rise jeans. I decided to make a pair and brought it to the California Merchandise Mart. I had no idea that getting picked up by a sales firm with one style is unheard of, but my ignorance paid off because it gave me a sense of confidence and I found a buyer. I immediately developed three additional styles including boxers, tank tops and g-strings and eventually, with the help of my best friend from high-school, we expanded the brand into a contemporary women’s clothing line that sells everything from dresses to t-shirts to sweatshirts.

First entertainment job: My first job in entertainment was producing TENNESSEE with my husband, Gary Magness and Lee Daniels.

Why did you want to be a producer? What made you think you’d be good at it? I fell in love with the filmmaking process during the first week on the set of TENNESSEE. Lee Daniels made an effort to show us the magic of filmmaking and my husband and I were hooked. We knew that being on set, creating films with messages, and working with the talented crew that make stories come alive was what we wanted to do. I didn’t know for certain that we would be good at it, but we decided we wanted to give it our all.

First project you produced: The first project I produced was TENNESSE. We were first introduced to director Lee Daniels through a producer, Tom Heller, who cold-contacted me after reading about my entrepreneurial spirit and clothing line. We set a meeting to talk to Lee about his projects, but the meeting was eventually cancelled. A little while later, I received another call from Tom. He told us about Lee’s film, TENNESSEE, and we flew to where they were filming. We were immediately captivated by what Lee was doing. After seeing his talent, dedication and passion, we knew we wanted to be in business with him. The next day we agreed to finance a majority of TENNESSEE and became Executive Producers on the film.

Eureka moment: My eureka moment didn’t happen in one moment but instead happened during the overall production of TENNESSEE. I was really enjoying the filmmaking process and realized how wonderful it would be to be able to make films with positive messages. My husband and I knew that we wanted to work with Lee Daniels again, and that is when we decided to form our production company, Smokewood Entertainment, and commit to making additional films.

Lee had secured the rights to the novel, Push, by Sapphire and was interested in making it into a film. After reading the book, I fell in love with the story and knew we had to make it. Everyone told us we were crazy to make a film about a 300 lb black girl who was abused, but the story tugged at my heart and I couldn’t let it go. We struggled to cast the role of Precious because we didn’t want the actress’ real story to be what Precious went through.

Billy Hopkins, our casting director, made the amazing discovery of Gabourey Sidibe after she skipped class one day and came to an open casting call. She had never acted before and Lee, Gary, and I knew within days that she was the right one for the role. Filming was intense, but everyone on the set knew that we were making something special. After finishing the film, we submitted it to the Sundance Film Festival and were not only accepted, but ended up winning three awards, including the Audience Award for best film.

After Sundance, we started receiving interest from Hollywood studios. Both The Weinstein Company and Lionsgate were interested in acquiring the film, and ultimately Lionsgate ended up securing the rights. We then screened at the Toronto Film Festival and won the People’s Choice Award. No other film has ever won both the People’s Choice Award at Toronto and the Audience Award at Sundance before.

After the festival route, Lionsgate released the film in a limited number of theaters and eventually expanded nationwide. The film performed really well, earned record breaking revenue and defied all expectations. We started hearing buzz about possible award nominations and eventually received multiple nominations, including Best Picture nominations for the Golden Globe and the Academy Award!

Best thing about being a producer: The best thing about being a producer is being able to tell stories that I believe in and that hopefully make a difference. My husband and I founded the production company, Smokewood Entertainment, and it is important to us to make films with positive messages for diverse audiences.

Worst thing about being a producer: I would say the most difficult thing about being a producer is when fiscal responsibility is trumped by great creative vision. The producer has a financial and creative responsibility to the film and sometimes the two responsibilities do not go hand in hand.

Most surprising thing about being a producer: How long it takes some of the best movies in Hollywood to get made. I recently participated on a panel with a producer whose film took 20 years to make.

Describe a typical work day in your current position: There is no typical work day when you are a producer. Depending on where you are in the development process, a day can include being on the set of your film and working with the director to get the film made, meeting with potential directors, actors, etc. about your next project, doing interviews to promote a project, or reading scripts to find your next project.

Worst day in entertainment industry: I don’t believe one can have a worst day, because I believe we grow from difficult experiences. I find the most difficult projects in life are usually the most rewarding.

Best day in entertainment industry: The best day is when a producer can celebrate the fruits of their effort. It’s a wonderful moment for any producer when a project is finally put on the screen for an audience to enjoy.

Brush with greatness: Some people are born to do certain things. I would say I was exposed to brilliance the first day Gabourey Sidibe started working on set. You could feel her greatness and the beginning of something beautiful. I was completely amazed that someone who had never been trained as an actress could perform so perfectly. This is when I realized that some people are born with raw talent.

Secret of your success/advice to the newbie: My advice to anyone new in this business is to go with your gut. Work on projects that move you. Always be humble and always be ready to learn.

Next move (or next five moves): Our next projects include a feature film based on the children’s book series, Judy Moody, and a documentary on an indigenous tribe in Brazil called AMOUNGST BROTHERS.

Know anyone who could use an entertainment industry insider? If so, please encourage them to subscribe to YourIndustryInsider.com and sign up to receive YII’s Mogul Mindset eBlasts today! Also, please visit Your Industry Insider Store to check out recommended books and DVDs. Content will be added regularly as suggestions come in from industry insiders!

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On Becoming An Agent: A Sample Mogul Mindset eBlast

YII — Mon, 01 Mar 2010 05:45:33 +0000

I get asked periodically what the difference is between the content on the Your Industry Insider website and what one gets when one subscribes to the Mogul Mindset eBlasts.

Often, these twice-weekly emails contain snippets about certain aspects of working in entertainment along with a corresponding action item anyone can use wherever they are to advance their budding (or not-so-budding) entertainment career.

Other times, the MM eBlast contains a feature called “Don’t Be That Person” which illustrates something you want to avoid doing in your entertainment career (usually applicable to any career) and then gives the reasoning behind it and a corresponding “do.” Still other times, we clarify the definition of certain lingo used in the biz (tracking board, tracking shot, temp track) or detail a specific process, such as our recent eBlast about feature film development, or give advance information on upcoming events, programs, and products brought to you by YII.

Below is a Mogul Mindset eBlast from last week which answers a question that was recently asked by someone outside the LA hub.

If you aren’t a Mogul Mindset eBlast subscriber and want to be, please sign u pon the righthand side of the YII homepage and, of course, tell anyone else you know who wants to be in the entertaiment.

On Becoming An Agent

Hello, I live in Asheville, North Carolina and we have more per capita of genius artists and talent than anywhere in the world I’ve seen, other than the entire state of California. I am curious in how to become a talent agent for this city. Bryan

Dear Bryan,

I’m not sure how your state works (you should research this online), but in California, in order to become a talent agent, you need to be licensed. The best/most direct way of becoming an agent is to work for an established agency. Do an internet search for talent agencies in your area. See if you can get (at least) an informational interview with them to discuss your access to talent and what niche you might occupy with the agency. You may propose an area, such as music, that they don’t have yet and they might be willing to train you and help you become a full-fledged agent.

An alternative to the above is becoming a manager (or you can follow this path to becoming an agent, if licensing is not an issue in your state). Managers are unlicensed, but in order to make any money doing it, you have to be good at it. If you know of a band, an artist, or some other kind of talented individual or group you really believe in, see if they need management. Most creative types are happy to have somone else selling for them. Typically in entertainment, managers get 15% of what the client makes. So if you go out and get a band you represent $1000 booking for a gig, you get $150.

Doesn’t seem like much when you consider the work you put in, but if you have multiple clients and they start getting some traction, you could start seeing some healthy returns. Just make sure you get your agreement in writing. You don’t want to be left out of the windfall if all your work turns them into the next Kings of Leon.

Hope this helps!

Jenny

a.k.a. Your (Entertainment) Industry Insider

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Three Ways to Get Your Screenplay Read

admin — Fri, 26 Feb 2010 05:45:56 +0000

It’s the standard lament of the aspiring screenwriter: How do I get an agent if I can’t even get anyone in the industry to read my work? That’s a tough one. People inside the business – and not just agents and development executives- are innundated with requests to read other people’s work and a lot of it is not worth the time spent reading it.* So here’s a little advice on how to get read in Hollywood:

1) Win Something. Three screenwriting contests that are sure to garner attention for you as a writer even if you are just a finalist (but are also very popular and VERY competitive) are The Nicholl Fellowships in Screenwriting, Chesterfield Film Company Writers Fellowship, and the Disney Fellowship. (Note: Running a screenplay contest can be very lucrative for those who do it, so do not be tempted to pay an entrance fee to every contest you find out about until you research whether winning it will mean anything to anyone but you and other “outsiders.”)

2) Know Someone. I mean, really know someone, not get a stranger on the phone and have a ten minute conversation with them and then ask them to help you get representation and/or financing for your film. (It happened to me a couple of weeks ago. I politely declined. And even if I did know them better- or even considered them a friend, I might’ve had to decline because I am so busy.)

I know, it may seem callous when you hear a “no” from someone (or get a “no” letter or email back) (or get a “no” in the form of no response to your request), but it’s a time consuming favor to ask and, even if they do like your script, unless they are an agent or a development executive, they still have to do more work to get your script into the hands of someone who can do something with it (rep it, help get it made, etc.). And if they don’t like your script, there’s the tricky dance of conveying that without ruining their relationship with you. It can be a lose-lose for the reader.

So, yes, develop relationships with people in the film biz (or TV, if writing for TV is what you aspire to) and at a certain point where you feel it’s appropriate, ask them to read your script, but don’t take it personally if they say “no” or “not right now.” You’re asking a lot. But do ask (again, at the right time).

[Note: Don't ask this guy.]

3) Write a Killer Letter. Yes, it happens. Query letters sent to the right people get read and if the letter is really compelling (has a great opening, enticingly conveys the gist of your unique and well-written screenplay, and “sells” you well as a writer), the screenplay will get requested and then considered.

Management companies are a good target for a great query letter, as long as you do your homework and send it to companies that rep and/or make similar projects. (In other words, if you have a Will Ferrell-type broad comedy script, find out what management or production company make those types of movies and send it to them. Sending your letter to a company that reps and/or makes dark dramas will waste your time and get you nowhere.) Also a promising target is an agent’s assistant at a mid-sized talent agency. Discovering new talent/material and passing it along to their bosses is the way a lot of assistants get promoted to junior agent. Having you as a potential client is also good for them, as a way of showing the ability to break new talent and (therefore) make money for the agency.

Another possible way to get read: I get asked about InkTip.com periodically. It’s a site that purports to connect established producers and reps with unrepped writers and material. Though I can say it certainly looks legitimate and a lot of the companies who have supposedly found and allied with talent from the site are recognizable, and I have never heard anything bad about Ink Tip, I cannot give it a full endorsement because I don’t know anyone personally who has either found talent/material on the site or gained representation or had work optioned from the site. I will continue to research Ink Tip and let you know when I can confirm my endorsement or if my opinion changes the other way.

*The assumption I make as I write this advice is that your script is really good. It has a great concept, fully developed characters, and spot-on dialogue, and has been rewritten and polished to a sheen. (In other words, we are not talking about a partially developed or even unfinished script or – gasp! – first draft. Getting those into the world will do exactly nothing for your career, except sully your reputation right out of the gate.)

Anyone have any other ideas? Questions about the above? Please comment if you do.

Photo by Katy Tafoya

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Inside Scoop: TV Producer/Screenwriter Doug Jung

YII — Wed, 24 Feb 2010 05:45:18 +0000

Doug Jung’s Hollywood path is a fairly well-worn one: Working an admin job in the field you want to be in as a writer, spec-ing shows on the side, making connections, getting repped, and getting paid. But lest we give you the impression that it’s an easy path, or one that everyone can succeed on, we are quick to point out his years of hard work developing skills and trying to get read, his obvious talent, and the dash of kismet that got his unread script out from under his agent’s desk. Read on for details…

Current project(s): I am the Executive Producer/Co-Creator of “Dark Blue” on TNT. We are filming our second season, tentatively set to premiere in early June. I am also in the middle of adapting a book called “The Last Duel,” which is based on true events in 14^th century France, as a film project for Paramount.

College & degree: I have a BA in Fine Arts from NYU’s Tisch School.

Internship: I had a very good internship at “Saturday Night Live.” I was a Production Assistant in their film unit, which does all of the out-of-studio content for the show, which at the time was “Toonces the Driving Cat,” in addition to the fake commercials.

First job in the entertainment industry: I worked for a director on a Savoy Pictures Studios movie, then became a Production Assistant at Amblin (when it was in the process of turning into DreamWorks.) From there, I worked as an executive assistant for Darryl Frank, a TV executive at DreamWorks Television (now President of DreamWorks Television).

Big break: When my feature film spec script, CONFIDENCE, was optioned by LionsGate and then ultimately was produced.

Eureka moment: I’d been working for years steadily and I took a job on a movie rewrite that I didn’t believe in, didn’t really like. I woke up every morning thinking about how NOT worth it it was. I realized at that point the long-term benefit of only doing things that you are passionate about, which is beyond monetary rewards.

Career path: While I was working for Darryl, I was writing TV specs. (Note: TV specs are samples scripts of current TV shows similar to the ones you want to work on in order to demonstrate your abilities.) I got an agent off of a TV spec and, from there, I started getting work in TV. I got some freelance episodes, and I worked very briefly on a miniseries called “Taken,” then on a drama originally for TNT (which aired elsewhere), ”Breaking News.” While doing that, I created the spec for CONFIDENCE. I sent it to my TV agent who promptly (literally) put it under his desk.

I had a general meeting with a producer who asked if I had any movie scripts. I sent him CONFIDENCE. After reading it, he contacted Brad Mendelsohn, then a film agent at the agency where I was repped for TV, to find out who repped me for movies. Brad stopped by my TV agent’s office and asked if I was his client and then asked him if I had a film script. My TV agent bent down and brought the script out from under the desk and handed it to Brad. Brad became my agent and then, when he left the agency, my manager. The man who read my script became one of the producers of CONFIDENCE.

Describe a typical work day in your current position: When I get to the office, which is on the Warner Bros. lot, I check in with the other writers to find out if anyone needs help with anything. Depending on what’s going on overall, either we gather in the writer’s room to work on story ideas, or I work on an outline or a script. After lunch, I tend to whatever is happening with other aspects of the show- casting issues, production issues, network or producer questions. It’s all about trying to keep everything above water.

Worst job (or day) in entertainment industry: I had written a pilot that I really, really loved and put a lot into and it was moving along with a lot of enthusiasm and then, at the one yard line, it wasn’t picked up. I remember being really crushed because I was so invested in it.

Best job (or day) in entertainment industry: Any day when I’m alone and I’m writing something and it’s working and there’s no hint of doubt about what I’m doing and at the end of the day, I know where I’m going tomorrow- then it’s just the greatest job in the world.

Best thing about your current job: Working with other creative people and also, in this world of TV, you see the whole process from idea to script to pre-production to shooting to editing. You don’t feel worry about whether it will see the light of day- it’s going to happen, it’s going to go from an idea you get to the finished episode being on TV.

Worst thing about your current job: It’s the most like a day job I’ve had since I had a day job. In other words, I have to be somewhere at a certain time. And it’s unrelenting. You have to constantly feed the machine.

Brush with greatness (can be a celebrity encounter or just being exposed to someone being brilliant at what they do): Working with Dustin Hoffman. That was good.

Secret of your success/advice to the newbie: I’ve never heard of any two people doing it the same way. You have to play to your strengths and be true to yourself. If you know what you’re good at and determine your own self worth, people will see that. But if you pretend to be something just because it’s in vogue or something otherwise you are not, people will see that, too. I couldn’t pretend to be a romantic comedy writer, for instance.

Next move: I’m in a fortunate position where I can wait and make things happen that are meaningful to me, as opposed to going for a “job.” This goes back to my earlier comment about if you’re doing something that you like and feel passionate about, people can sense that and the work is more fulfilling.

Become a Your Industry Insider Facebook fan for updates on when you can see Doug’s work on the small screen and on the big screen.

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Who Am I? #22

YII — Mon, 22 Feb 2010 05:45:41 +0000

I make sure our company handles the biggest and best in the business. Sign em and get em the big film deal of their dreams… and then another… and then another. Everyone gets paid and they never ever stray from us. Until they do. (Yes, poaching clients is the name of the game. How do you think we got em?)

I am the head of motion picture talent at an agency.

Photos by: JannieT and Michael_McDonough.

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Inside Scoop: Screenwriter and Story/Script Consultant Ellen Gurney

YII — Fri, 19 Feb 2010 05:45:54 +0000

Ellen Gurney’s career has been all about story. From her time as a studio executive to her transition to freelance consulting and screenwriting, she has been steeped in the beats that make a script come to life. Her own story will inspire readers and hopefully convey that often a key ingredient in the creative life is imposing some order and routine on what is often considered an amorphous process.

Current position: I am a development teacher and story and script consultant. I am also a represented screenwriter with a project in development at Infinitum Nihil (Johnny Depp’s production company).

College & degree: I attended Western Washington University and then the Fashion Institute of Design & Merchandising, where I got an AA in Merchandise Marketing.

Internship: I started as a six-month intern at Walt Disney TV Animation and was there for 13 years. When I left, I was Senior Vice President of Creative Affairs at DisneyToon Studios.

Big break: Really, it was that internship. I walked away from managing retail stores to get back to my creative roots, giving up a comfortable salary to start over at an entry level job.

Eureka moment: As I rose up the corporate ladder, I realized that I was moving away from the ability to fulfill my creative desires. I loved being an executive, but I also wanted to exercise my creative muscles. I had to work hard to keep that balance.

Career path: I was lucky to have a straight trajectory with Disney, which culminated when the company bought Pixar. It was at this point that I knew we were exec-heavy. That’s not how Pixar works. So I saw an opportunity to reinvent myself as a writer and consultant.

Describe a typical work day in your current position: The freelance world is very different, but I hang on to some of my executive techniques. I give myself a weekly schedule with specific times (just like meetings) during which I do my own writing, read scripts, and do notes for the consulting business, develop new projects with colleagues and prepare and teach my classes at Emerson.

Worst job (or day) in entertainment industry: I actually drove in to work on 9/11 because there was a big presentation scheduled. Of course, it was cancelled. I turned around and went right back home. Devastating.

Best job (or day) in entertainment industry: Any time I got promoted, it was always a surprise. Nothing feels better than acknowlegement and appreciation. Also, we had a retreat that featured speakers like Malcom Gladwell, Cokey Roberts — real big name people. Alan Mencken played the piano and talked about his creative process. It was awesome, brought tears to my eyes.

Best thing about your current job: The flexibility.

Worst thing about your current job: The uncertainty.

Brush with greatness: I was at a recording with Tom Hulce (ANIMAL HOUSE, AMADEUS). I’d just had a scary experience with the brakes in my car going out. I was shaking, trying to pull it together. Tom gave me the kindest, warmest hug.

Secret of your success/advice to the newbie: Stay connected to your passion, and keep the well of creativity full. Hang around people who inspire you.

Next move: I’m lucky to have a fantastic agent and a manager who believe in my voice as a writer. Next move is to prove them right by creating and selling some awesome original material this year. Also, I’d love to expand the scope of my teaching at some other colleges. I love the energy of being around folks just starting out.

To find out more about Ellen’s story/script consulting services, visit The Story Society.

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What We Can Learn From “Survivor: Allstars”

YII — Wed, 17 Feb 2010 05:45:26 +0000

As the regular readers of YII (and subscribers to the Mogul Mindset eBlasts) know, YII is a HUGE fan of “Survivor” and other reality shows. Reality shows are chock full of life lessons one can apply to all aspects of life, especially one’s career.

After all, what is your office but an isolated oasis where you are forced to coexist with other humans for long periods of time, doing the “civilized life” version of building shelters and starting fires and participating in immunity challenges? What is getting fired but being “voted out,” having your torch snuffed and being forced to make that long walk out with all of your belongings, often without so much as a parting word to those watching you go? You get the idea.

Maybe you work with ”Coach,” a ponytailed whackjob with a penchant for referring to himself as a “dragonslayer” and telling stories you’d have to be crazy to believe. Or a pint-sized schemer “Russell” who allies with everyone and is loyal to none. If you are lucky (in my opinion), you work with a “Boston Rob,” who plays hard, but almost always shows you the smartest move, if not the most ethical.

But in “Survivor: Allstars,” there is a gentler lesson to be learned. Some people do change. Even a self-proclaimed office “dragonslayer” can be reduced to a gaffawing teenager when faced with a romance or even a bromance with another player. A morally-challenged strategist like Boston Rob can become a provider, insisting on building fire for the tribe when no one else thought that there was a chance of success. And Russell… well, not everyone changes.

So as you travel your career path, allow for the possibility that a former villian can become heroic, but also the chance that whoever you made the alliance with had their fingers crossed behind their back. It’s the smart way to go.

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