Your Industry Insider » Criminal Minds

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: 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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Inside Scoop: Actress Kirsten Vangsness

YII — Wed, 18 Nov 2009 05:45:43 +0000

Kirsten Vangsness is an example of someone who would’ve- and did- act for free if no one paid her to do it. And that has paid off well for her. In addition to her regular role on the hit primetime TV drama, “Criminal Minds,” she is highly sought-after for high profile projects on stage and on the big screen.

Current part: I play Garcia on CBS’s “Criminal Minds.” I also just finished doing a play called “Kill Me, Deadly” at Theater of NOTE in LA. And I have a small part in an independent film about the Chicago 8 which is so-far called THE CHICAGO 8.

College & degree: I went to Cypress Community College for two years and then graduated from Cal State Fullerton as a theater major.

Internships: None.

Acting while in school (professional or amateur): I acted within the school’s program and also had done community theater in Orange County since I was 14, usually appearing in two or three plays a year. However, I was terrified to do theater in Los Angeles at this point. I was a couple of years out of college before I ventured into the LA theater world.

Day job while you were working towards being a working actor: Oh, there were so many… I worked at fabric store, a book store, a group home. I was a substitute teacher, a (terrible) waitress at a murder mystery dinner theater. I wrote grants. I was a bubble scientist, a hostess, an assistant to an actress…

First post-graduate acting job (un-paid): I did an Ionesco play at the Curtis Theater in Brea. As I mentioned, I did a lot of plays. It was not uncommon for me to be doing more than one at a time on different nights.

First paid acting job: A Diet Dr. Pepper commercial. That’s how I got my SAG card. (I was Taft-Hartlied). It was my third professional audition and I landed the part. So I was optimistic about future opportunities, but it was about five years before I got another paid job. Then I got a string of three or four commercials, often as a conservative business woman, which I found odd.

How did you get repped? Someone came and saw one of my plays at Hudson Theater and approached me. (I am awful at the marketing side of the business- this agent was not at the show to see me.)

What was your “big break” (or series of breaks that got you working)? I did a part on the show, “LAX,” and then went back to doing only plays for close to a year (getting plenty of call backs, but not getting the part). And because film and TV casting people never knew what to do with me (I didn’t look like an ingenue, but wasn’t old enough to be considered a character actress), I figured it’d be until I was fifty before I’d get paid, if at all. And I was at peace with it.

But then (right after testing for, but not getting, a part on a sitcom), a casting assistant friend of mine called and told me, “I want you to come in and read for this drama series. You won’t get the part. It’s written for a man. They’re changing it to be a woman, but the character’s named Garcia and, well, you won’t get it, but come in anyway.” Great.

So I went in and just had fun with it. And ended up going to Canada and shooting the pilot. It was a co-star, the smallest part on the show. And I totally didn’t understand the technical lingo. When I left, though the producer was reassuring, I was convinced I was awful and they’d recast the part. But, of course, they didn’t.

Do you continue to train (acting classes, coaches, workshops)? I have private coaching, but more than anything, the theater is my training. Theater is like a class.

Has ageism been a factor in your experience as an actor? No, but I’m a character actor so people aren’t going to make the same assumptions about me (guessing my age, etc.). I am also still in the young range.

Have you used your acting career- or are you planning to use it- as a way of branching into producing or directing? I am a writer, so I am pursuing that and I assume the producing will come out writing. I have a lot of projects that I’m working on with a writing partner.

Eureka moment: When I realized I could (that I should) show up exactly as I was instead of waiting to wake up and be this “perfect” actor going about their “perfect” day. It helped me not care when I went in the room whether I did it “perfectly” or not. Because I knew everyone acts like they want to see perfect, but no one wants to see perfect. And from then on, instead of judging my success on whether I got a job, I thought, “Does it bring me pleasure? Am I getting better?” And when I stopped caring about being perfect and just let myself be myself, people paid attention.

Most significant role: I loved doing “Fat Pig” at the Geffen. I’d always felt being as thin as possible would be the key to getting a good part, but for that role, they were telling me to gain weight. But it was also the most difficult part I’ve done. It was hard on my ego and on my body, having the extra weight and not being able to do anything to get rid of it, not knowing if I would be able to get rid of it when the run was done.

Favorite part or project: I loved shooting “Criminal Minds” and doing “Kill Me, Deadly” at Theater of NOTE at the same time. During the day, I’d be Garcia and at night, I’d be a siren, singing torch songs. In general, “Criminal Minds” is my favorite. This is like school to me. I’d never been on a job for more than a day before this.

Describe a typical work day: In general, I like to keep things pretty unglamorous. I’m a plumber, a teacher, doing my job. When I’m not shooting, I spend a lot of time sitting around on-set. I write in my journal, listen to music, run lines.

I’ll describe what turned out to be my last day on “Criminal Minds” for the season. Despite a five o’clock call, I’d stayed up late learning lines for the whole episode in spite of only being scheduled to shoot one scene the next day. I drove to work, put on my costume (with lots of Spanx first), and then someone brought me breakfast (which is really cush, I gotta say). I was in hair and makeup for an hour and a half. We rehearsed, then I went over my lines more, then we shot the scene. Then, because of some schedule changes, they decided to shoot all of my scenes for the episode, but I was ready because I’d learned them the night before.

Best thing about being a working actor: It feels like the punchline to the longest joke you’ve ever heard. Money doesn’t make things better, though it simplifies things. But it’s just so satisfying. I’m surprised I can go wherever I want, that it’s my world. I still feel a little like I snuck in.

Worst thing about being a working actor: You have a lot of eyes on you. There’s something weird about it- you use a lot of emotional and spiritual energy acting and I find being on television, people make judgments about you and have ideas about you, either approving or disapproving. It’s easy to get caught up in becoming externally motivated, accepting this attention that’s unrealistic for real life. I have to remember, that’s not me, that’s a character. They’re not excited about me, they are excited about what watching you brings up about them. I’m happy to be a conduit for people’s imaginations, but I’m not responsible for their happiness.

Brush with greatness: After a performance of “Fat Pig” one night, I was concerned about a moment in the performance and was looking for the director when this woman said, “May I talk to you?” She had led me into the dressing room and the door was closed before I realized it was Helen Mirren and she was paying me a serious complement.

Sidelines: My mom is a 6^th grade teacher, so I go in and teach improv and help them write plays. I also write. And cook soup.

Secret of your success/advice to the newbie: Be brave enough to figure out exactly what you want- as close as you can- and figure out what that would feel like and try to recreate that feeling in your life. But don’t worry about your dreams changing or evolving- that happens- just go with it.

Also, never never never never think that you are “less than.” Have respect for yourself, you are an artist, you are on the cutting edge. Art is where everything begins. There is such value in being an artist and people shouldn’t forget that.

Next move: I am going to finish writing this thing that I am writing for myself and I’m making a short film with my theater friends. (Staying in touch with my theater friends is where the gold is.) I’m also going to make sure that my character on “Criminal Minds” has the most amazingly satisfying story lines for the length of the show and then just keep making magical, empowering, wonderful things. Do the movie with Wes Anderson, the one with Christopher Guest. Do my performance artist piece that will go to Broadway and London. AND be an executive producer and the lead in the feature film version of the “Wrinkle In Time” series.

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Inside Scoop: Television Executive and Executive Producer Deb Spera

YII — Thu, 23 Jul 2009 15:39:48 +0000

Today’s Inside Scoop subject has a well-earned reputation for being a passionate and straight-shooting executive & executive producer dedicated to protecting the creative process in order to get the best end-product out of it. We were thrilled when Deb agreed to give us a little insight into how she got to where she is and how she stays sane with such a busy life. (Hint: It isn’t easy!)

Current positions: President of The Mark Gordon Television Company; Executive Producer of: “Criminal Minds,” “Army Wives,” and “Reaper.”

College degree: BA from Western Kentucky University, major in Theatre, minor in journalism.

Internship: Apprentice at The Actors Theatre Of Louisville.

First job in entertainment industry: Assistant to Steve Reuther and Arnon Milchan at New Regency Productions.

Big break: Landing an executive position at Showtime Networks.

Eureka moment: I was working on a couple of movies in my early years at Showtime and I talked too much. I needed to listen more, pick my battles more carefully, and better articulate the pros and cons of projects.

Career path: I started as an actor, trained with Bill Esper, worked Regional Theatre and Off Broadway. I was developing a craft, but hated the lifestyle. I was an avid reader, always have been, so story has always fascinated me. After producing my first few pieces of theatre, I realized that it was something I was good at. I understood craft, story, and people, how to choose and motivate a team. I finally found something where I could use both my heart and my head. So I dove in. Got an assistant job within two weeks. I was 29 years old. I took a writing workshop at UCLA and produced a short film, then associate produced a feature, then wrote a (very, very bad) feature script. I parked my butt in an editing room, I looked at budgets and how much stuff cost. I wanted to learn it all. I am still learning. Showtime provided the first real opportunity for me to learn, and the magnitude of the slate coupled with the faith of the leadership allowed me to work on 30 movies and minis before I left there and to develop far more than that. Being with writers that much and sculpting and crafting the work was instrumental in my development as a producer.

Worst day in the business: The day I got fired from Showtime.

Best day in the business: The day I got fired from Showtime.

Best thing about your current job: Getting to constantly hone your skills as a film maker. In the same way Regional Theatre provides an opportunity to the actor to grow with the number of plays and roles he or she can experience in a season, so series television does for the producer. You are always developing, shooting, editing. It is a gold mine of an education. Additionally, I work with people who are passionate about the work. When one is passionate about the work, there are fewer politics to deal with and it’s fun. I want to live my life with people who care and are excited by the work, excited to tell authentic stories. Everyone has a story, its what I love about this business….telling those stories.

Worst thing about your current job: Is there never feels like there is any real downtime. There is always more to do, more to accomplish. The worst thing about my current job is my frequent inability to balance my work and home life, and still find the time to take care of myself. There was a time where I did yoga four times a week and did not imagine my life without it. Now I cannot imagine having the time to do yoga that often. Really it is just a never ending cycle and that is the best and worst part of my job.

Brush with greatness: Was giving birth. Sorry, that’s the greatest moment ever. No celebrity, no magic hour shot, no super hot director or writer can begin to compare.

Secret of your success/advice to the newbie: Simple, hard work, and continually educating myself on different effective ways to tell a story is the only way I know how to do my job. Also, recognizing when you are running on fumes and having the good sense to take a break and take care of yourself. Otherwise you are just chasing the next fad. Listen to your voice, listen to what moves you, and go from there.

Next move: Is as of yet unplanned. I have to get kids raised and off to college. There are three of them so it will be a while!

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