Screenwriter and novelist William Goldman wrote “nobody knows anything” in his bestseller, Adventures in the Screenwriting Trade: A Personal View of Hollywood and Screenwriting. Hollywood jolted, agreed, and repeated those words as rites of passage for any fledgling screenwriter.
Thus, a fledgling screenwriter might ask, “Do I need a degree in Screenwriting to be a screenwriter?”
If you read Goldman’s book, you might be inclined to think not. However, there is no harm in inquiring about UCLA and USC Screenwriting programs. The programs launch careers and attract hopefuls.
Screenwriting, How to Do It
Adventures in the Screenwriting Trade was written in 1982 and is dated. It’s worth the read for anyone considering a career in the film industry, whether as a screenwriter, producer, or director. Goldman is the wise mentor in his book on navigating Hollywood.
Goldman places you in his shoes and walks you on a journey — an adventure where you observe, learn, and realize the hard work it honestly takes to succeed in Hollywood.
Be it on the set of Marathon Man with Lawrence Olivier and Dustin Hoffman or catching an unforgettable and poignant moment between the famous, then divorced, Hollywood couple Robert Wagner and Natalie Wood — their ingenious scene was written as a screenplay.
Is Luck and Timing Learned in a Classroom?
Goldman defines who is who in Hollywood and the instrumental role in getting a film made or not made. Their roles in bringing the movie to life. Something you most likely will not learn in a classroom.
He even mentions legends such as Joseph Mankiewicz, John Huston, Billy Wilder, Sydney Pollack, Robert Redford, Paul Newman, and Norman Jewison.
He discusses the difficulties of writing and rewriting notable movies, including All the President’s Men, a Grand Hotel remake (which never materialized), and The Right Stuff. Losing deals and the sheer timing of getting the jobs back. Which raises the question: “Is luck and timing learned in a classroom?”
“Her heart was like a secret garden, and the walls were very high.”— “Princess Bride” by William Goodman
“Butch Cassidy and the Sundance Kid”
Goldman includes his popular script, Butch Cassidy and the Sundance Kid, along with a five-chapter dissertation on its strengths and weaknesses. Any screenwriter who reads these chapters learns multitudes of screenwriting tips.
Nevertheless, there is more. Three chapters strictly focus on adaptations in which Goldman uses one of his short stories as a model, with critiques from major Hollywood players — all the better for writers.
Goldman resonates with such words as, “And in movies, the screenwriter is the odd man out.
But there is a trade-off. That beginning lap we run, regardless of what happens later — that lap is ours. We have the privilege, if you will, of the initial vision. We’re the ones who first get to make the movie…”
I sensed a bit of cynicism, but who can’t help but detect such skepticism if you had walked in his shoes?
Sundance: I can’t swim!
Butch: Why, are you crazy? The fall’ll probably kill you.— “Butch Cassidy and the Sundance Kid” by William Goldman
Goldman wrote The Princess Bride, a 1973 fantasy romance novel, and it is considered his best work. The story combines elements of romantic love, comedy, adventure, fantasy, and fairy tales. The names of the characters alone bring great delight to my imagination. With names such as Buttercup, Inigo Montoya, Fezzik, and Prince Humperdinck, it’s fanciful. However, Westley is a common name. I am awed by his talent because he not only writes screenplays but also novels. He writes in various genres, not just Westerns or political thrillers, which has made him famous. His work inspires me to write and to write well.
Why try to build a career in film as a professional?
A good reason to have a career in the industry is that it continues to grow. The resources for showing a movie seem endless. We have movie theaters, the Internet, streaming, and Blu-ray/DVD—significant companies distribute films. Many film jobs are available in California and other parts of the country, both in front of and behind the camera.
Periodically, the American Film Marketing Association (AFMA) conducts a study of filmmakers’ economic impact. Its findings are rewarding for those eager to work in the film or entertainment industry, particularly those interested in roles that do not involve the financial and emotional risks associated with fields such as acting and film crew work.
Hey, there is nothing wrong with being an actor or a member of a film crew. AFMA’s study reports that the industry is mature and growing. An industry that needs dedicated professionals in various trades is an opportunity for you.
Internet and Streaming
Filmmakers- independent and major studios- account for over 408,000 jobs nationwide. The report primarily includes those who work as consultants or freelancers. The bulk of the workforce is pretty much contract workers. The film industry’s “total U.S. economic effect” is over $12.5 billion.
Total production costs of network prime-time television, first-run syndication programs, and streaming platform offerings are enormous. Who gets all that money? You guessed it — film and television professionals who worked hard to make it in the business. That’s you.
The AFMA study concludes that there is a growing demand for films and entertainment. With the added benefit of many new formats like streaming and opportunities provided by emerging telecommunications and computer technologies, the industry is growing by leaps and bounds. It is most likely to continue to do so.
Nothing feels better than working in film because it’s such a creative industry.
Seventy-five percent of the people polled: Do you think you could make a successful career in film? Said, “Yes.”
Entertainment Industry
If you read the trades, you learn about the industry and how its growth is increasing and will continue to grow, verifying AFMA’s reports. Among the most validating reports on expansion in the film industry is CBS.com reporting that most Americans are streaming movies. Most of that streaming happens on Netflix, Amazon, Hulu, and Disney. As the list grows, so will the number of job opportunities.
Of course, figures like this rise and fall, and the business of film can have its shifts, even some of the large and most successful companies with hardly any warning.
Because the entertainment industry is creative, you have to be innovative to work in the industry. Reading the trades and studying books about the business will help you get your foot in the door. Once you are in the door, you need to maintain your foothold by acting professionally and learning more about the industry.
Breaking into Film is a book you should read to learn about the business. It is an easy read but dated. The bulk of the career book offers advice, tips, and fundamentals for getting your foot in the door and building a long career in the entertainment field.
The book offers samples of resumes and letters, which are vital to this industry. The book also discusses the dress code. How are you supposed to dress for an interview versus for a set? It dedicates a whole chapter to the importance of networking and establishing relationships.
Film production lasts forever because it’s an ever-evolving industry.
Industry Publications
Reading the trades is a vital part of being in the business and will help build your career. Some other publications to read are Film & Video, Filmmaker, Film Comment, Cinefex, and Cinefantastique. Each publication focuses on an aspect of the industry. Cinefex covers special effects, while Cinefantastique covers fantasy, science fiction, horror movies, and television.
Entertainment insiders tend to read publications that fans read to see how their competition is doing. They primarily read the “Calendar” sections of newspapers, the Los Angeles Times business section, and the Sunday edition of The New York Times.
Guilds, associations, and other unions distribute newsletters to their members. These newsletters are also available for non-members at a price. They specialize in current and upcoming events that interest you for networking purposes.
For the most part, these publications are available online.
United Talent Agency List
The best source for film job openings is the United Talent Agency List. This printout, published once a month or so, lists jobs that are important enough to pursue in the industry.
For over 30 years, the list has been where all the significant players place the job openings. The big hurdle is that the list is practically impossible to obtain unless you are one of the agency’s clients or connected to an industry insider.
Anonymous Production Assistant is a website that publishes the agency’s list. Reports say people get film jobs from the webmaster’s postings. If I were you, I’d give it a try and see what happens.
First Job in Film
Breaking into the entertainment industry is not easy, but it gets easier once you have your first job. It’s vital that you persevere and don’t give up. Each job leads to the next job offer, which takes time and effort.
Financing a movie requires a producer who understands the different production management tools. | Source
Checks and Balances of Budgeting a Film
As a filmmaker, it is essential to understand how to control money while making a film. Not everyone in the production is concerned about the money, but someone has to ensure the money is used correctly and supports the overall production. Sure, the line producer is watching the costs, but it is not just his responsibility. It is also your responsibility as the producer. Here are some key points to consider when taking control of the production money.
Above-the-Line
This article has touched on this area of budgeting, but a closer look would help gain a better understanding of the cost and should help the filmmaker. Above-the-line covers all costs associated with the writer, director, producers, cast, and stunts. The costs are controlled by competition, including other studios, production companies, and financiers. This aspect of the budget comes into play at the early stages of the project and rarely influences cost-control decisions once the film is in production. However, stunt performers often face unpredictable problems, and if a filmmaker can avoid using them, all the better. When a script calls for a character to be injured on camera, a stunt performer is required. The producer needs to control this production area because significant savings can be achieved by effectively managing stunts.
The casting budget is one of the trickiest costs to predict because so many variables come into play with on-screen talent. The Screen Actors Guild bargains for pay for actors in the industry. Some production companies agree only to hire SAG-AFTRA actors, who are signatory companies. But filmmakers should not be intimidated by working with only SAG actors. The guild is approachable and willing to work with independent producers because they want their actors to work; the production agreement changes based on the shooting location. For example, a scale actor in Los Angeles will earn $859.00 a day, with ten percent going to the agent on top of the day rate. Extra actors or general background performers, represented by SAG-AFTRA, earn $ 152 per day, plus all fringe benefits. These wages can vary.
Fringes
There are additional payments to governments and unions for every dollar spent on casting and stunt work. On average, it is approximately 32% on the fringes, similar to the payroll of any company. Such costs include state, local or federal-mandated requirements. Pension, health, and welfare payments for members of guilds and other fringe groups might also be considered, including employer-funded disability and medical programs. But fringes can’t be overlooked when a filmmaker looks at ways to cut costs.
The producer needs the line producer’s agreement to stick to the shooting schedule. | Source
Shooting Timeline
The film’s shooting period influences the budget. Do the math. The longer it takes to shoot a movie, the more it will cost the filmmaker. An example of the cost of producing a film with a one-day small unit “pick up” shot is about $20,000. It includes the location and rates for above-the-line and below-the-line crew, excluding principal actors and background extras.
The shooting period encompasses everything related to the time spent filming, including the time required to wrap up production, which typically takes about two weeks after shooting is completed. The costs include labor for the entire crew, camera, grip, and electric equipment rentals, construction, wardrobe, transportation, and so forth. As mentioned earlier in this article, some producers refer to this section as part of the below-the-line. Below-the-line includes post-production costs as well.
Post-Production
After they complete the shooting period, the process is called post-production. This area of budgeting encompasses editing, visual effects, sound mixing, music, and other related expenses. If the film is in poor shape when it reaches post-production, the filmmaker, director, and producers do everything in their power to correct it. Everything could go well during the shooting period, but the climate might change once the project reaches post-production. There are endless stories about runaway productions happening in post. In their professional opinion, the studio and financiers want to create the best “look” possible. The film can look even better because technical experts can bring to life any image or idea the studio and financiers desire. If the filmmaker loses control at this point in the film’s budgeting, all the hard work is for nothing. The filmmaker must understand the importance of a tight, coordinated effort with all the key players, including producers, directors, editors, post-production supervisors, and financiers.
Other Costs
As a final point, they often overlook other costs when budgeting the project because they are not glamorous or creative. They include insurance, legal expenses, on-set publicity costs, and other related expenses. The financiers are familiar with this aspect of budgeting and typically know the different costs before agreeing to finance the production. Filmmakers should involve financiers, the studio, a bonding company, and the line producer when discussing additional expenses to protect themselves and gain insights from experienced opinions.
A filmmaker might come across a financier or studio head mentioning that an “overhead” account includes the contingency. Nowadays, it is hardly ever used. The key factor is securing financing, with the bonding company agreeing to provide a bond for the project. As a side note, there is no way to avoid a bonding company when a bank participates in the overall production. Obtaining a completion bond is not a bad idea because it guarantees investors or banks that the film, barring an Act of God, can be produced effectively and within the budgeted amount.
The Weekly Production Report keeps executives and accounts up to date. | Source
Budget Points
All budget points can typically be found on the budget summary sheet. Once the filmmaker has the budget in place and approved, their attention needs to shift from budgeting to reporting expenses as they arise. The line producer and production accountant can help the filmmaker with the comparisons. The comparisons are traditionally referred to as the Weekly Cost Report. It is a progress report on the financial performance of production.
The Weekly Cost Report
The Weekly Cost Report brings a whole new meaning to being creative and is an adventure in discovering the many ways to bring cost reporting to life. The production accountant and line producer can be your allies when gathering expenses. Accounting can utilize a technicality that filmmakers need to know when reporting the Weekly Cost Report. It is all about how the filmmaker controls the money by learning how to direct the reporting process sufficiently and ethically, resulting in a decent yet dependable presentation of the production costs. The filmmaker is presenting the progress report to those backing the film production. Regardless, the report is provided to the studio executives, bonding company, and financiers every week.
Alternative Funding
Not having enough funds to finish a film is common among independent filmmakers and producers. The key is to keep going and find alternative sources of funding to see your production through to the end. Alternative funding campaigns offer a tremendous opportunity to leverage a financing route that involves the whole community from day one. As the producer or filmmaker, you must choose the best funding source for your production. It will take hard work and a dedicated team to pull it off. The hard work is doing your homework and learning how to do it successfully. The Internet is full of resources, and each funding platform offers directions and guidelines to achieve your funding.
Crowdfunding
Crowdfunding is a resource that has an excellent track record.
There are three reputable platforms: GoFundMe, Kickstarter and Indiegogo. As a filmmaker, you must study these platforms to learn how to get the best funds for your efforts. The key is to rally your team, from actors to production designers. Every individual who plays a role in your film should be involved in the crowdfunding project. The more players you have, the better the chance of reaching your funding goal.
Grants Help Funding
Funding a film production through grants is a resource that has been around for quite some time. They fill the Internet with endless resources for filmmakers to use in grant applications. They set most grants up for a particular quality or forte of the film being produced. For example, African Americans, Native Americans, or Women in Film are popular areas for grant applications. But one of the first things grant readers look for is “passion and connection to the project.” The readers view thousands of applications and know that the most essential ingredient in a proposal is the person’s passion for the project. It will still be there three years from now, as it may take too long to finish the film.
A resourceful producer or filmmaker will discover unique ways to fund their movie. | Source
Film Festivals
Film Festivals are another resource for funding a film production. The Sundance Film Festival and its institute are an excellent example of a film festival offering funding for filmmakers, from screenwriting to music. The institute’s website supports a dedicated page for its funding opportunities. Filmmakers can peruse the site and understand what they need to present to the institute to be considered a candidate. Filmmakers attending film festivals is another way to network and find funding.
Foundations Help Fund Film Productions
Foundations are another source of funding for a film production. These foundations offer grants, just like applying for one. Knowing who you are approaching is critical when applying for a grant. Who are the judges? What projects have you won before? Were they first-time filmmakers? Did they have a history of documentary films or feature films to win? Look at the prior winners to give you an idea of who you are applying to. Then you can direct your application to that person.
Whatever profession you decide to be in the film industry, whether in front of the camera or behind the camera, the more you study and learn about the industry, the more likely you will be successful. Study it thoroughly and gain a deeper understanding of your profession.
Understanding your profession helps explain why some directors are one-hit wonders. They direct a hit movie or two and are never heard of again. They couldn’t continue working in the right direction because they hadn’t studied their craft enough to understand why their film was a hit.
As you gain experience, you will become a professional, working as a director or a camera person. You may find yourself in the exact place you have dreamed of your whole life.
If you maintain your integrity, your industry knowledge will keep you stable. And you will work into your golden years.
Whatever you do in the film industry, whether in front of the camera or behind the camera, you need to know about the industry and study it thoroughly.
Dress for Success | Source
Dress Code
People who work behind the scenes in the film industry do not dress formally, but they can’t look careless or ineffective. So, wearing down is the style for film crews. Lawyers, lobbyists, stockbrokers, and executives dress for success. But Hollywood is a little more extreme in images.
To determine your dress code, observe what the top professionals in your chosen field wear. There are different looks for different jobs. Studio producers and agents don’t look like cinematographers or gaffers.
The jobs in Hollywood are creative. The aim is to look expensive while wearing play clothes. It is both costly and casual, yet hip. Fashion is being in step with the times.
Hollywood is almost inconceivably conscious of looks. It is not surprising, given how the industry produces visual imagery.
What to Wear to Your Job Interview
What about traditional wear? When a suit and tie walks onto the set, there are murmurs of “Heads up. There are suits on the set.” It is not a complimentary term. However, typically, many creative executives and most business executives, as well as agents, lawyers, and accountants, are considered “suits.”
You must pay attention to the fashionable attire of the top individuals in your chosen field. But it is also beneficial to develop a look that is all your own. Then, people remember you because you stand out from the crowd. Personal image consultants in the film industry or costume designers can help you find a look that suits you because you certainly would not want your “new” look to backfire.
Hollywood is almost inconceivably conscious of looks. It is not surprising to consider how the industry produces visual imagery. When you attend the interview, you will be judged by what you wear, so it’s best to present yourself carefully and in the way you wish to look. If you apply for a production assistant position, you are not required to wear a suit or tie. Decent shoes, clean jeans, a clean t-shirt, and a flannel are appropriate.
People who work behind the scenes in the film industry do not dress formally, but they can’t look careless or ineffective either. So, wearing down is the style for film crews, but wear down with style.
Learning on the Job | Source
Working at Movie Lab
Growing up, Brian was never really into movies. He was more into soccer and the Boy Scouts. After high school, Brian got a job in the shipping department at Technicolor. He handled packing and shipping. Then, he got another job in the shipping department at Movie Lab.
After working at Movie Lab for a while, Brian heard about an opening for an optical timer assistant. They needed someone to take notes on the timer. He would go to the screening and write down what people said and what happened in the film. He worked with the timers for about three years.
Optical Effect Timing
From there, Brian got a job as a timer. He ensured that the dailies matched the rest of the film. Now, he is timing the optical effects for movies.
There are no optical effect timing classes in schools. According to Brian, you can’t learn how to do it by reading a book. Like most jobs in the movies, you know on the job. However, if you are determined, you can enter this field.
Brian started with an entry-level position. While he worked, he observed what was happening around him and asked questions. This tactic worked for him. It could work for you.
She told the first casting directors she met while on a film that she was available day and night. She didn’t care about the hours.
Working as an Extra | Source
Things to Know
So, you want to know what it is like to work as an extra in a film. Well, there aren’t too many Film-Extra Gurus in this world because it’s not all that glamorous or lucrative. I have worked on a few movies, but it doesn’t make me an expert. However, I can tell you there are some things you should know.
When you attend the casting call, make sure to list your experience, even if it’s not specified. For example, if you have worked on films, include the film title, the number of hours you worked, your training, credits, and so forth.
If you get the callback, make sure you get to know the casting directors/agents. One woman I know, who worked as an extra, made sure to meet with the casting director. She told the first casting directors she met while on a film that she was available day and night. She didn’t care about the hours. They considered that because she had filmed for three straight nights, from 5 p.m. until 7 a.m. She went back and shot eight times after that.
Always be prompt for the casting call. I know for a fact that this matters. One extra told me he learned on his third day filming that if they say 7:30 a.m., they mean 7:30 a.m. He arrived at approximately 8:40, and they had already begun filming. He didn’t get to work on the film until they finished shooting, which can sometimes take all day.
Have the right attitude about it. I never look tired or bored. Make sure you don’t complain. Especially if you were in the shot, but they moved you, so now you aren’t. Always follow directions. If they say “QUIET ON THE SET,” they mean quiet. You get pulled off the set if you don’t follow these rules.
Finally, have fun and smile. It’s supposed to be a fun experience. Plus, you get to meet the stars.
Casting Director
The casting director is another preproduction job that requires a strong understanding of the script and a keen eye for talent. Directors set guidelines for the “types” they are looking for, and the casting director selects actors and brings them to audition for the director, who makes the final selection. The casting director must be familiar with the actors’ abilities and effectively communicate them to the director. In turn, the director must provide feedback to the casting director, so the casting director knows whether they are on the right track.
Casting directors need to be actors’ best friends. If an actor hits it off well with a casting director, it could determine whether they will get a part in a feature film.
The casting director is another preproduction job that requires a strong understanding of the script and a keen eye for talent.
Supervising Extras on Set
Casting directors must have excellent people skills, as they often work with large crowds on a one-time basis. Sometimes, casting directors are looking for temporary workers, such as when they have a big production coming to town and need someone in the office to sit at the desk and make a thousand calls to recruit five hundred extras for a significant scene in a couple of days.
Additionally, casting directors must supervise extras on set, ensuring that background actors remain in their designated holding area and behave appropriately throughout the shoot. When an actor plays an extra, there is a lot of waiting around, and sometimes that waiting can lead to trouble. The casting director must ensure that all extras understand what it takes to be an extra in a film and behave appropriately.
Clean Hands
If you want to build a career in the film industry, it’s essential to understand the business. Study, listen, network, and build bridges. You will get there as long as you follow the rules and keep your hands clean.
Even animal actors walk the red carpet at premieres. | Source
What are Animal Actors?
Animal actors are animals who act in movies, on television and on stage. Animal actors have been around since the inception of the entertainment business.
Jesters, storytellers, troubadours, and acrobats used animals for entertainment as far back as the Egyptians, Greeks, and Romans. Animals performed tricks at court, parties, taverns, and carnivals. Animal acts consisted of dancing bears, acrobatic dogs, and agile monkeys.
“There is that thing about not working with animals and children – I don’t think that’s true. Although you should never work with donkeys.”— Emma Thompson, Academy Award-Winning Actress
Paws for Effect
I helped one of my readers break into the movie business. She started as a production assistant and continued working on several movies. Then she began working as an animal trainer on her days off.
Became a Full-Time Job
She trains animals to be actors in movies. Working with animal actors is not easy because you are dealing with animals all day, and you have to like animals to do the job. I mean animals that are actors, too.
Although she didn’t disclose the earnings of animal actors, she did indicate that they earn a good income without the trainers receiving equity or residuals.
She worked at a place like Paws for Effect, a ranch for animals used in acting. They have offices in Los Angeles, Florida, and Vancouver. Film career folks in Florida and Vancouver can jump at the opportunity.
You can find your way into the film business working for them if you live in these cities. Apply at these offices to gain work experience and build a strong resume before relocating to Los Angeles and settling in Hollywood as an animal trainer for film.
“A black cat crossing your path signifies that the animal is going somewhere.”— Groucho Marx
Animal Actors Agency
These agencies even house reptiles, including snakes, frogs, lizards, and Gila monsters. If you want to see the type of animal actors, go to Paws for Effect and check out the creatures’ headshots.
They represent all species of cats, including felines. I wonder if they got lucky and were discovered like Lana Turner—Hollywood’s famous Top Hat. I can’t forget the movie Cats & Dogs. One of those cats in the movie got discovered while mewing in an alley. A representative from Paws for Effect spotted the beautiful cat in an alley near a local soda fountain. And well, you know the rest of the story.
Acting with an animal takes patience and respect for the animal trainers. | Source
All Types of Animals
Paws for Effect represents a wide range of animals, including lions, tigers, and bears. Oh, my!
Let’s not forget livestock for movies made for episodic shows like Outlander, The Crown, Downton Abby, and Victoria.
The Paws for Effect credits are pretty impressive. Read their credits from well-known movies or television shows and catch their names.
Some notable movies are Ocean’s 11, The Princess Diaries, and Charlie’s Angels. On Television are former and current series like The West Wing, Judging Amy, and C.S.I.
“I love working with horses. People say you shouldn’t work with animals and children; that’s wrong. You must only work with children because you only work eight hours a day and I love working with animals. Animals have an honesty that human beings reach to find in their lives at the best of times.”— Colin Farrell, Actor
Animal Actor Agencies Hiring
Paws for Effect is not the only animal actor agency. There are others you can reach out to and get a job.
Animal Actors International Animal Talent Agency
Hollywood Paws
All Animals Actors International
Top Dog Talent Agency
Animal Talent Time
Le Paws
Urban Paws UK
Arizona Animal Actors
Animals can upstage an actor, but that’s part of working in the industry. | Source
Retired Animal Actors
There are issues with animals that can earn a bad reputation. They don’t work well with the director. The breed is no longer in demand. They are too old to work and can no longer work. My friend, who works at Paws for Effect, says these out-of-work but appreciated animals are free to a home that is willing to care for them.
They are all without fleas, neutered, healthy, and make great pets. You must promise to provide them with a home. The animal is yours, and you have a celebrity living in your home.
“All animals are equal but some animals are more equal than others.”— George Orwell
Survey: Would you like to work with animal actors?
Some animal lovers were asked if they’d like to work with animal actors, and 80% of them said, “Yes. I love animals.” Twenty percent said, “If that is the only way I can break into the business, yes.”
Working With Animals on the Film Set
Andrew Simpson worked on John Wick: Chapters 3 and 4. His interview offers some insight into what it’s like to work with a dog in action, particularly in high-adrenaline films like the John Wick franchise.
Helping Animals
I reached out to Paws for Effect and told them I was writing this article. I was wondering if anyone has any ideas on how a fledgling film worker could apply for a job working with animals.
They didn’t reply after several weeks, so I suspect that they were busy milking the cows and sorting the eggs. But this doesn’t mean you can’t give it a try. If you go to their website, you can email them or call their toll-free number to network or pitch yourself. Good luck, and if you get a job, please let me know how it all turns out, so I can help animals get their big break in the movie business.
“The cat will mew, and dog will have his day.”— William Shakespeare
Sinatra is with Grace Kelley in “High Society.” | Source
Frank Sinatra Albums
What Better way to say “I Love You” Than With a Frank Sinatra Song?
You will agree with me when I say Frank Sinatra is synonymous with love songs. A true fan holds their favorite Sinatra love song to heart.
Though some of his love songs are about love lost, they instill the value of making sure you hang on to the one you love.
“Look to Your Heart” is the third collection album of Frank Sinatra singles and B-sides with long-time collaborator Nelson Riddle. The Frank Sinatra album is an example of those favorite torch songs sung by Sinatra.
A combination of vocal jazz and classic pop, the album was released through Capitol in 1959. However, it was recorded between 1953 and 1955 when Sinatra’s film and television career hit one of its highest points. He won an Academy Award for From Here to Eternity in 1955.
Interestingly, a couple of long-lost songs from the 1955 live television musical version of Our Town, in which Sinatra played the Stage Manager alongside Paul Newman, are included on the album. “I Could Have Told You,” a favorite torch song, eventually became a standard. “Same Old Saturday Night’ reflects his newfound swing and wackiness with “I’m Gonna Live Till I Die,” suggesting his inclination towards living a rather pleasure-seeking, hell-bent lifestyle complete with beatnik bongos.
Sinatra’s album covers have some of his best photo opportunities.
Interestingly, two long-lost songs from the 1955 live television musical version of “Our Town,” in which Sinatra played the Stage Manager alongside Paul Newman, are included on the album.
“I went with a friend to see Frank Sinatra in Las Vegas, in the last year that he was performing. He wasn’t necessarily on top form, but the way he could connect with an audience and the way he communicated through the lyrics was something I hadn’t ever really seen before.”— Ron Howard – Movie Director, Producer, and Actor.
“From Here to Eternity”
Montgomery Clift (Robert E. Lee Prewitt) and Frank Sinatra (Angelo Maggio)
“The big lesson in life, baby, is never be scared of anyone or anything.”— Frank Sinatra
I have to admit that Sinatra’s “My Favorite Valentine” song is very appropriate for today. A perfect way to say “I love you”—a gift for any Sinatra fan.
Best of Frank Sinatra Songs
After listening to the album a couple of times, I noticed the diverse arrangement of songs. None fit together, but each song is a sensual pleasure in itself. One can’t help but appreciate Sinatra’s versatility as a singer, with songs ranging from the uplifting and rhythmic “Same Old Saturday Night” to the whimsical and delicate “Fairy Tale.” The fact that the collection reached the Top Ten means the album became available as a reissued compact disc, alongside the Capitol Years disc box set. All tracks are included in the box set The Complete Capitol Singles Collection.
With that said, I have to admit the “My Favorite Valentine” song by Sinatra is appropriate for today. A perfect way to say “I love you” — a gift for any Sinatra fan.
Summer Wind
“Frank Sinatra – My Way”
“Strangers in the Night” was released by Frank Sinatra on Reprise Records in 1966, continuing his celebration of his comeback to the #1 spot on the pop album charts, which began in the middle of the 1960s.
It is the last album he will produce with long-serving arranger and conductor Nelson Riddle.
Jonathan Schwartz of WNEW wrote this about Nelsen Riddle (I edited his quote for clarity):
“Billie Holiday, Frank Sinatra, Louis Armstrong, and Nelson Riddle stand, in my judgment, at the spine of American popular music. Nelson’s voice, like the others, changed our thinking, pushed us forward, and addressed us with startling originality. The scope of his talent dwarfs all other arrangers. He obviously took great pleasure in delegating authority to the oboe, flute, bass trombone, muted trumpet, organ, bassoon, and vibraphone while remaining in full control of his administration. He is overseeing without overstating the strings. His own private melodies whisper respectfully under the Gershwin, Kern, or Rodgers on the table. He sings out and out with the passion that informs every bar of every arrangement. All these things are actively combined in the immense body of work that stands as one of the great achievements in American arts. To find that Nelson, personally, is a droll, tender, reclusive, and richly intelligent fellow adds a special kind of luster to my fondness for him, devotion to him. The book you are holding is about music. There is no more qualified author available…Anywhere.”
“Strangers in the Night” knocked the Beatles off the charts. The rendition made it to #1 on the pop singles charts, and “Summer Wind” gradually developed into a timeless classic, achieving a more permanent commercial success than its forerunner.
“Frank Sinatra Greatest Hits”
“Strangers in the Night” blends popular Sinatra favorites like “Downtown” and “Call Me.”
Then show tunes like “On a Clear Day (You Can See Forever)” and with standards, too, like “My Baby Just Cares for Me” and “The Most Beautiful Girl in the World.”
“Strangers in the Night” knocked the Beatles off the charts. The rendition reached #1 on the pop singles charts, and “Summer Wind” gradually evolved into a timeless classic, achieving a more enduring commercial success than its forerunner. The song was heard on television commercials and played while the credits rolled for the movie The Pope of Greenwich Village.
The album received two Grammys for Sinatra, including Best Male Vocal and Best Record of the Year. The album became certified platinum with 1 million copies sold in the U.S. alone.
Riddle used horns, strings, and an organ, making a swinging rhythm while Sinatra sings in a relaxed mood, feeling confident and jazzy, delivering a sensational gust of breathtaking vocals. The album appealed to Sinatra’s faithful fans and attracted pop radio.
Sinatra’s trademark trilby is a narrow-brimmed hat resembling a fedora.
Frank Sinatra – “Come Fly With Me”
Sonny Burke produced the 1966 album and released it through Reprise Records with Frank Sinatra, working once again with Nelson Riddle as the arranger and conductor.
Burke was best known as the musical director of Reprise Records and as the producer of many Frank Sinatra albums. He graduated from Duke University in 1937. While at Duke University, Burke formed a big jazz band called the Duke Ambassadors. He led the group until he graduated.
Burke became a bandleader in New York’s big bands in the 1930s and 1940s. During the 1940s and 1950s, he worked as an arranger for bands like Charlie Spivak and Jimmy Dorsey.
Burke teamed up with Peggy Lee and wrote the songs for Disney’s Lady and the Tramp. He even wrote songs with John Elliot for Disney’s Toot, Whistle, Plunk, and Boom, which won the 1953 Oscar for Best Short Animated Feature.
Reaching for the Moon
“Moonlight Sinatra” was thought of as a minor recording, yet many fans enjoyed listening to the Sinatra and Riddle collaboration. Half of his recorded songs connect with Bing Crosby, whom Sinatra idolized, thus turning the album into a casual tribute.
Frank Sinatra Album
The album’s title refers to “Moonlight Sonata” by Ludwig Van Beethoven.
In Moonlight Sinatra, each song’s prevailing theme is the Moon, a perfect album to make love with Frank Sinatra. The album’s title refers to “Moonlight Sonata” by Ludwig van Beethoven. Riddle drives the music with lush, effervescent arrangements, creating a romantic tone and elegant theme, with every song having the word “mo”n” in its title.
Although the concept is not strong enough to qualify as a concept album, the title is apt. Riddle creates a succession of charts that offer a warm and pleasant evening, including various moods and tones. He forms soft Latin ballads, playing rhythms, while Sinatra gently sings a perfect blend, stretching each lyric with light touches.
Moonlight Sinatra is considered a minor recording, yet many fans delight in the collaboration between Sinatra and Riddon. Half of the recorded songs are associated with Bing Crosby, whom Sinatra idolized, making the album a casual tribute.
Sinatra and Riddle chose some unfamiliar songs, such as “Reaching for the Moon” by Irving Berlin, accompanied by a string bass. Burke includes “The Moon Got in My Eye”,” Oh, You Crazy Moo”, and the endless “Moonlight Becomes You”. A unique rendition of Tchaikovsky’s “Moon Lo” uses Sinatra’s soft touch. Yet, the instrumentals are strong with refreshing strings. Moonlight Sinatra is worth owning for any Sinatra fan and is accessible through Complete Reprise Studio Recordings.
Making Love with Frank Sinatra
Making love as you and your partner listen to Sinatra croon in the background inflames your passion. These Frank Sinatra albums are on your playlist, with the lights turned down. Relax with someone, and you will see what I mean.
The making of The Help has a backstory about two friends who helped each other break into two competitive fields: publishing and filmmaking.
Director and screenwriter Tate Taylor and author Kathryn Stockett were childhood friends in the 1970s. They grew up together in Mississippi. Their friendship lasted into adulthood when they collaborated on a book and movie about social standing in the 1960s South – The Help.
Friend Helping a Friend
Stockett took five years to write the novel and over 60 rejections from literary agents. Then, she approached Taylor with her dilemma of not getting published. Being a close friend, Taylor was sympathetic and decided to read her manuscript. He was “blown away” and emotionally moved by the story’s truth because he grew up in the same southern culture as Stockett.
Taylor supported Stockett, saying that her manuscript was fantastic and that she shouldn’t give up. He promised he’d make it into a movie if it didn’t get published.
Black Versus White America
The story concerns unlikely women coming together to make a change in Mississippi in 1963. One woman is a writer researching Black women raising children in White households. The black woman and the writer become friends as they try to change the terrible conditions of black women working for white families in Mississippi.
Taylor and Stockett were both raised by single mothers who worked full-time. Like the women in the story, they needed help raising their children. Taylor and Stockett called these women who helped them grow into adulthood “co-mothers.”
Great Interview
“I didn’t think so, honey. Every day you’re not dead in the ground, when you wake up in the morning, you’re gonna have to make some decisions. Got to ask yourself this question: ‘Am I gonna believe all them bad things them fools say about me today?’ You hear me? ‘Am I gonna believe all them bad things them fools say about me today?’ You hear me today? All right? As for your mama, she didn’t pick her life. It picked her. But you, you’re gonna do something big with yours. You wait and see.”— Constantine Jefferson in the movie.
Promise Pays Off
So, Stockett’s career took off with her bestseller, and Taylor wrote the adaptation for the silver screen and directed it with a great cast.
The Help was published and became an ultimate bestseller. But Taylor remembered the story because of its authenticity. It continued to resonate with him from the moment he opened the book. He thought the story reflected his childhood friendship with Stockett, even though their lives differed from those of the characters.
Their story offers a solution for those who want to break into writing or filmmaking, reminding them of their childhood friends as sources of inspiration or help. Either way, collaborating on a project with a childhood friend is a rewarding way to keep the friendship growing and lasting forever.
Having friends who help you is meaningful and gives value to life. The story of Stockett and Taylor assisting each other and working their way to success in their chosen careers tells us who they are as individuals.
Tate Taylor and author Kathryn Stockett were childhood friends.
Strange Friendships
Tate Taylor continues writing and directing. He directed the movie MA, which starred Juliette Lewis, Octavia Spencer, and Luke Evans. Taylor and Blumhouse produced the film. It is a psychological horror-thriller about a lonely woman who becomes friends with a group of teenagers and allows them to party at her house.
The teenagers think they’ve got it made, partying like adults. The woman begins acting strangely in a horrific way, and it turns out she is not as friendly as they thought. Octavia and Tate were roommates before their careers flourished.
Roommates
In a couple of interviews with MA producers, they reveal that Taylor is one of the kindest directors and makes friends with everyone. Taylor and Spencer were roommates for seven years. It turns out they are the best of friends. Because they were roommates and friends, he knew Spencer would want to play Ma’s role because she loves true crime stories.
Again, friendship in the film business helps build careers. Keep that in mind as you develop your film career—create relationships.
Tax incentives are one of the best ways to fund your film. | Source
Incentives are a big deal in the film industry, and every so often, you can fund your movie based on incentives. The media hypes it by reporting a government incentive for film production in a country or state.
With all this valid hype, a filmmaker needs to know everything and anything about incentives. If he doesn’t have the time or skill to learn about the subject, the filmmaker needs to find someone who can learn about it or has taken the time to understand incentive programs. Let’s examine the incentives and see what makes these offers so appealing.
Film Industry Tax Incentives
First, an incentive is a payment, reduction, or discount that stimulates greater production or investment. Types of incentives relating to the film industry include, but are not limited to, state and international governments, bankers, incentive specialists, CPAs, attorneys, film commissions, consultants, payroll companies, studio and network producers, and executives. Each role discusses incentives with questions like: “How much will the bank loan me on the expected rebate or tax credit?” “How much money can I save by shooting in that city or state?”
Incentives range from 5% to 30%. | Source
Trade publications devote endless coverage to which states and countries offer incentives, and a filmmaker will read something like: “Incentive: 20%, plus 10% for below-the-line local labor. Minimally spend $200,000, “Incentive: 20% (25% for indie films), plus 5% for itemized expenditures. Spend: $1 million,” and “Incentive: 25% (30% for local cast and crew), plus 5% for United States veterans. Spend $50,000.” What does this all mean?
The above specialists are sharp and know how to analyze complex legislation regarding incentives in the film industry. It takes a CPA’s education to understand complex tax issues.
The lobbyist works with legislators to negotiate with state officials and draft legislation for the film industry. They develop financial circumstances that are important to studios, networks, and producers for filming in a specific location. All these experts are invaluable in determining, calculating, and presenting the breadth of incentive programs, enabling filmmakers to decide where to shoot their projects.
Filmmakers consider a multitude of factors when choosing the perfect location for filming, making it a crucial decision. Sometimes the filmmaker wants to stay close to home. Perhaps he is looking for a specific style, location, or city. It is often about the basic physical and organizational structures and facilities needed for production to go smoothly. The availability of many incentive programs in the U.S. and internationally is a significant factor in determining a location.
Incentive Programs and Runaway Productions
When film incentives were new to the industry, the formulation of runaway productions started in the 1990s. Productions left, particularly those in Los Angeles, and headed to other countries, mainly Canada, so producers intelligently secured favorable exchange rates, reducing production costs by as much as 25%. As a result, the U.S. lost a significant number of film jobs and suffered economic harm.
Finally, the regulators created a solution known as the American Jobs Creation Act of 2004, specifically Sections 181 and 199 of the Internal Revenue Code. Immediate 100% write-off for specific entertainment works.
Investors or production companies can claim a loss of $15 to $20 million when spending funds, regardless of the budget or distribution deal. There are some qualifications to the 2004 Act, but the incentives are very generous, with guidelines and tax forms to be filled out. Section 199 permits investors to subtract 9% of their taxable income from their taxes. That means an investor profits $1,000 and must only pay taxes based on $910.
Research and develop tangible financing incentives for your film. | Source
Do Your Homework
Although this sounds like a great incentive, some are not so quick to agree. Each filmmaker, investor, or executive producer should consult with experts or conduct thorough research. Together, they determine if earning these enticements is worth all the time and paperwork. There have been many changes in the U.S. since 2004, with the September 9th attacks, stronger LGBT and minority rights. Producers and studios are increasingly inclined to shoot their projects in the U.S., with the added benefit that roughly 40 states now offer worthwhile incentive packages. A filmmaker has no reason to leave the U.S. Add to that the intention to increase film production, stimulate local economies, create jobs, and promote tourism, and these incentive programs are promising.
What is a Runaway Production?
Now, the term “runaway productions” has a whole new meaning. It is not just about keeping film production in the U.S., but also about keeping it in one’s city, county, or state. For example, the Afghanistan-set war movie Lone Survivor saved $4.5 million on its approximately $40 million budget by shooting in New Mexico. The state offers tax credits of 25 to 30 percent, surpassing California’s complex incentive programs.
Georgia and Louisiana offer tax breaks for local film production, attracting major Hollywood productions from California. The Hunger Games: Catching Fire, Django Unchained, and Flight capitalized on the incentives. The examples of incentives are endless, and the only way a filmmaker can take advantage of these incentives is to hire a consultant or do their homework.
Example of a Tax Incentive Program
As mentioned, incentive programs vary in size, quality, and atmosphere. They include, but are not limited to, tax credits, upfront and back-end production funding, and cash rebates. Exemptions and waivers are incentives that include hotel occupancy taxes (based on a limited time), Goods & Services Tax, Value-Added Tax, and Use Tax. It becomes overwhelming when the location fee is waived for filming on state lands. There is even on-the-job training or filming in low-income areas or non-tourist times of the year, like winter. A filmmaker might even find basic physical and organizational structures and facilities credits, allowing the state to bring jobs to their area.
Gain a complete understanding of how tax incentives will save production costs. | Source
Regardless of how a filmmaker views these incentives, they vary from country to country, state to state, and local level to local level. They are very unclear, with intricate details. If a filmmaker works through a major studio, there will be an individual who understands the details of the various incentive programs. Film industry payroll companies may not ease the need to understand incentive programs and the associated legislation.
Something to consider when taking on an incentive package is that financial institutions, such as banks, may loan a percentage of the money the filmmaker plans to receive from the package. Tax credits or rebates can offset the loan. For independent filmmakers, the bank offers loans against incentive packages if the project is bonded.
Now, you are sold on checking out your options for closing an incentive package.
Here are some ideal contacts or resources to consider:
First and foremost, contact the Film Commission. The federal and state film commission offices are resourceful. Each website has incentive programs, application qualifications, and available resources. Just looking through a couple of quality websites will help filmmakers better understand the effort required to apply for incentives. Call the office and speak with a representative, as they want your production company to visit their area and will take the time to answer all your questions. Contact the local visitor or tourism bureau if you are looking for support at a more local level, such as the city or county, and there is no film commission office. Usually, each bureau has a representative for film production or can direct you in the right direction.
Access tax incentive information from the film commission websites. | Source
To stay informed about the latest statutes, guidelines, and regulations, contact your local legislative representative. Each representative has staff at the regional offices to handle any inquiries from their constituents. They are there to help you.
Contact the Film Commission office to determine who to contact at the State’s Department of Revenue or Department of Economic Development regarding film production incentive programs.
You can even network within your community of filmmakers who have filmed there by asking them for contacts or information regarding incentive packages.
However, realize that this field of expertise has its own system and terminology. You must do your homework even if you are passionate about your movie. If you are uninformed, they will easily recognize you as a novice and might not be willing to help.
So, doing your homework means you know what you are asking and can have coherent conversations with these professionals. That way, they know you are serious and a professional.
Questions to Ask the Film Commission Office
Would my production company need a central office in a specific jurisdiction?
Do I need to register the production company in a particular jurisdiction to conduct business?
What local taxes would affect the production, cast, or crew?
What are the costs for filing fees and audits?
Does the state have a gross receipts tax?
Which expenditures meet the requirements for tax credits or rebates? Prompt the question with expenses such as rentals, general purchases, shipping, airfare, fringe benefits, and box rentals, among others.
Does the production company have to purchase from local or state vendors? If they are not available, what is the alternative? Can I approach third parties to act as brokers and bill for equipment or materials furnished by out-of-town vendors, provided the local area or state uses the equipment and materials?
Do the extras and crew have to be paid by a local payroll company to qualify for a tax credit or rebate?
What are the tax credits and labor rebates for local and nonresident labor? What about our talent who work through their loan-out corporations? Are there guidelines for loan-outs? Will their corporations be required to pay withholding taxes to the state? Should they register with the state?
Does a certain percentage of filming need to be done in the jurisdiction?
What are the responsibilities of our payroll company?
How long was the incentive program voted in for, and when will it be up for legislative review? Proper terminology is “When is its sunset date?” In other words, when are the benefits no longer available? Would my project meet the eligibility criteria before the incentive program expires?
What percentage of filming has to be done in the jurisdiction?
Would I have to hire a CPA from that state to perform an audit?
Does the state have unlimited funds for tax credits and rebates, or is there a finite fund from which the state draws when releasing incentives?
What is the maximum limit on how much my production can claim on the project, any one employee, in any year?
How long will it take for me to get my tax credit or rebate?
Does your state offer a transferable tax credit that I might sell? What is the going rate for tax credits in your state? Are the companies willing to buy or broker my tax credits?
Once my production company receives a transferable tax credit, can we sell it immediately, or is there a grace period?
Does the state work on a calendar year? The idea behind this question is that you need to know: Would the incentives still be valid if your production ran over into the next year?
If your production company had reshoots after you already filed, would your company still be eligible for the incentives when we return to the state?
What is the requirement for the number of local crew members we must hire?
Is there a cultural test to pass? This is common in other countries, such as the British Film Certification.
Would my production be required to provide this county or state with a screen credit or display their logo in our end crawl?
Go through the questions and tax incentives to help fund your movie. | Source
For more information and details on different incentive programs, read The Essential Guide to U.S. & International Production Incentives, a helpful book edited by Joseph Chianese and Barbara Rosenfeld. The book explains the following incentives.
1. Film Production Rebate
A cash rebate is the funds paid to the production company based on the number of allowable expenditures or jobs created by the project in the state or country. The production company does not need to file a tax return for rebates and is not subject to the management of local tax authorities. The local film office, which falls under the Department of Trade and Industry, Commerce, or Economic Development, governs them. The government agency that oversees the incentives sets aside the rebates. When production completes shooting in a state and files all qualifying documentation that specifies eligibility for a refund, the tax authorities should process the rebate within 30 to 60 days (some states may process it faster). The production bond allows the use of the rebates as collateral for a loan.
2. Film Refundable Tax Credits
Tax credits differ from rebates in that the local tax authority administers them. There are refundable and nonrefundable tax credits. A refundable tax credit works like a rebate. Yet, the production company must file a tax return, usually by the sanction of the Department of Revenue, to claim it and receive a credit for taxes owed when the production files its income tax return. It is recommended that the filmmaker request a letter from the state’s Department of Revenue certifying that the funds will be available upon the production’s completion. Tax credits can serve as collateral to secure a loan, enabling the production company to obtain an advance from its bank.
3. Film Transferable Tax Credits
These tax credits are nonrefundable, but a production company can sell (transfer) them or assign them to a local taxpayer. Some states present transferable tax credits, which permit production companies to sell or receive a refund for tax credits they cannot use. Often, brokers manage these transactions and charge a commission. In the bargain, the production will need to offer a discount for the face value of the credit. The usual rates are 85-90 cents on the dollar. Each state or country varies in how it standardizes transfers. Some allow one credit to be divided and sold to multiple buyers. Some allow various transfers so the buyer can sell all or part of the credit.
4. Film Nonrefundable, Non-Transferable Tax Credits
Use this tax credit to offset a production company’s existing tax liability, which is primarily carried forward for a set period. If the production company has no existing tax liability, you can use it to lower taxes in the ensuing years. Still, the production company cannot transfer the tax credit to third parties.
5. Film Up-Front or Back-End Funding
Local investors or taxpayers provide the funds for tax advantages from local tax authorities, and are only granted to eligible productions. The filmmaker, investors, and taxpayers should consult with their CPA or attorney to determine if they qualify for the advantages.
The Bottom Line
Remember that incentive packages or programs are not just complicated but endlessly changing. For that reason, a filmmaker needs to be diligent and ask for advice from someone who thoroughly understands these programs. Georgia, Kentucky, and Massachusetts have the best incentives. Louisiana, Pennsylvania, and Puerto Rico also offer excellent incentives.
State websites provide filmmakers with details about incentive programs and contact information. Procuring incentives is hard work, but it will be worth the effort to be a successful filmmaker.
We all know that actors perform on stage and in front of the cameras rather than behind the scenes. However, some professional actors have transitioned into writers, producers, directors, and other roles.
It has become increasingly common for actors to take on multiple roles in the film industry. They are behind and in front of the camera. Some notable examples include Tom Cruise, Tom Hanks, Leonardo DiCaprio, Brad Pitt, Angelina Jolie, Charlize Theron, Tina Fey, and Jodie Foster.
However, we must never forget that actors are also professional liars. They bring the unimaginable to the front and make it real.
However, we must never forget that actors are also professional liars. They bring the unimaginable to the front and make it real.
Prime examples of these “Renaissance people” include Johnny Depp, John Travolta, Mila Kunis, Natalie Portman, Emma Stone, Jennifer Lawrence, George Clooney, and Ryan Gosling.
Actors entertain and communicate with the audience through their interpretation of dramatic roles.
“The actor creates his own universe, then peoples it — a giant puppet master. The trick is to make the audience feel that they are observing reality, and this isn’t easy, because to convey the work that has been placed in your mouth to a great number of people you have to exaggerate subtly, ever so slightly highlight. Lead the audience the nose to the thought.”— Laurence Olivier,
Movie Extras to Movie Stars
Only a small number of actors achieve tremendous recognition in motion pictures. Some actors start as “extras” (people in the background of the film) with no lines, while others are cast in supporting roles or as walk-ons. A “feature extra” may be used for the same movie over and over, with no lines but plenty of camera time.
Stunt people take on the more dangerous work, performing such stunts as driving cars in chase scenes, falling from buildings and other high places, or “fighting” instead of the principal actors.
A stunt actor is a professional stunt person hired to play the role of an actor in a scene that requires a full camera shot. They receive higher compensation and are listed in the film credits as a character in the movie.
How Much Money They Make
Agents for Actors
It would be helpful if you built your resume before a decent agent sees it and considers representing you. That is the problem of breaking into the film business. But keep working on your craft, because the upside is that an agent will see you.
Most acting jobs come through an agent. Beginners and lesser-known actors and actresses who are not union members can register with several casting directors for a small fee. These directors invite them to auditions, which can lead to acting roles.
Later in the article, I will tell you how to build your resume and land jobs based on your talent and previous work.
Acting in Feature Films
Although a few actors and actresses find parts in feature films straight out of drama school, most spend many years supporting themselves by working at jobs inside or outside the industry.
To learn the ropes, some actors and actresses have gotten jobs at talent agencies or casting companies. Here, they understand the process of setting up auditions and casting for commercials, film, and television.
Collider
Acting Classes
Taking any old acting class is not the way to do it. It would help if you did your homework, asked around for opinions you could trust, and checked the teacher’s working student ratio. How many of their students get paid work? The class is complete, but two out of ten students are making a living as actors. Five out of ten students working is a better ratio.
Ensure you feel comfortable with the teacher and are confident that they will support your career. Make sure you attend classes and do your homework so the teacher knows you are serious about becoming a successful actor and will work with you earnestly.
Be a Competent Actor
Success, for the most part, does not happen overnight. “Being discovered” is a fantasy that happened for a few movie stars over the centuries of theater and film. Still, they proved themselves, took classes and maintained professionalism.
Being a professional is where you start. There is a valuable booklet titled “The Way to Happiness.” The booklet contains 21 precepts that help people lead a happy life by following them. One principle that applies to professionalism is “Be Competent.” The common-sense guide explains how to succeed in what you do. I tell my students and friends to follow this guide.
They read it, follow the advice, and achieve their desired goals. That is my final advice to you: be competent as an actor, and you will succeed.
No matter what your age. You could be seven, 11, or 15 years old. Opportunities are available for you to start acting in a film. The film, television, cable, DVD, and Internet industries are experiencing dramatic growth. The increase in options for acting jobs is the result of this.
Every year, numerous movies feature child actors in both minor and significant roles. Oscar-nominated Little Miss Sunshine is one example. As a child of Charlotte’s Web, Dakota Fanning starred in at least one movie a year. She even worked with such notable stars as Tom Cruise (War of the Worlds) and Denzel Washington (Man on Fire).
Fanning has now grown up and is working in the industry as an adult. She stars in Quentin Tarantino’s Once Upon a Time…in Hollywood.
Rewards of Being a Child Actor
The rewards you experience from pursuing an acting career are many. You get to spend quality time with your parents. You will learn something new every day on the set. You will build your self-confidence and have a better understanding of others.
Working in film is a highly effective way to finance your college education. If your parents act as your manager, they can earn 20% of your income.
Becoming an Actor in Film
Wanting to be in the movies is not enough to become an actor in the film industry. It takes passion and one of your parents’ willingness to help you. You and your parents work as a team, both committed to the success of your business.
Building a career in the movie business is a full-time job. Each of you will take time out of your schedule to attend auditions and film sets — the days are long and, for the most part, tedious. If you take the right actions mentioned in this article, there is a good chance you will be successful.
Arnold Talks About Breaking into Acting
Guardian with Child Actor
If parents cannot be with you as you pursue your acting career, a guardian can take their place. The guardian can be a grandparent, an older sibling, a babysitter, or another trusted adult. It needs to be a safe and responsible person.
A guardian does what a parent would do:
Go with your son or daughter to auditions.
They stay with them on the film sets.
They need a guardian because it is a legal requirement. Underage actors are not allowed to attend auditions and film sets alone. A responsible adult needs to be with them at all times.
Shirley Temple is the icon of child actors.
Shirley Temple in “The Little Princess,” circa 1939. | Source
Cities Supporting Film Production
Convincing your parents to move to Hollywood is not necessary to break into the business. Many cities have a film production community.
At times, major film companies come to cities across the United States to film on location. Popular film locations:
Atlanta
San Francisco
Chicago
New York
Vancouver. Canada
Austin
Orlando
Seattle
If you live near or in one of these cities, you can start right away.
First Steps to Building Your Acting Career
Here are suggestions to get your film acting career started:
Get involved with the drama department at your school
Enroll in a local acting class for children
Sit in on a class or two before deciding to enroll
Get valid feedback on the acting class and make sure it is a suitable class and teacher for you
You want to feel comfortable. Have your parent talk to the other parents who have children in the class
Research and find a legitimate agent
Agents registered with the union are the ones you should see. Union agents follow the rules because they are union-regulated by their members. It encourages them to adhere to the business’s laws.
Source
How to Get an Agent
Agencies require actors unless they have a reputation and are known to be talented to audition for them before signing them up and representing them. Getting an audition with an agency is a step forward in the right direction for building your acting career.
Once you book an audition with an agency, you need to do the following:
Bring a headshot and resume to the meeting. It doesn’t have to be a professional headshot. The resume includes on-camera experience, parts in theatrical productions, and acting teachers.
Work with your acting teacher on putting together a monologue for your audition.
Practice with your parents on being interviewed by an agent. You might meet with the agent alone or with your parents.
Practice until you are comfortable talking about yourself. Being comfortable in the interview with an agent makes a solid first impression.
When you meet with an agent, find out what they need for headshots and resumes. Agents typically provide standard handouts to their clients, accompanied by specific instructions.
Please review these instructions with your parents and ensure you understand them. If you have any questions, please ask the agent immediately.
Always be on the positive side. Never give up.
Remember to have fun!
Sample of a Headshot
Source
Child Support
Having your parents support you as you break into the film business is commendable. The rewards are plenty. Continue researching and staying current with the industry. The more you know, the better. It can only make your job of finding work a lot easier. Good Luck!
