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Go to Film School or Not?

film careers, movies,

Film School or No Film School

Deciding on film school or no film school is a choice that will determine how you plan on developing your film career. If you choose to attend film school, you will need a ton of money. You will need to know how to build working relationships in school. Selecting a film school with dedicated and influential alums would be best. Many blockbuster filmmakers went to film school. Why should you go?

It might make your parents happy, but it puts a big dent in their pocketbook or credit score.

Some say if you’ve got the dough, you might as well go. At least you can cut your teeth by working on films in school and even producing your own as graduation criteria.

Knowledge is power. The more you know about the film business, the better off you will be. But do you need to go to film school to get that knowledge?

Further down the page, there are some questions for you to answer, which will help you decide whether to go to film school or not to go to film school.

Some say it is necessary to go to film school, while others say, “Why not just get a jump-start on your career—learn the ropes as you go?” Many blockbuster filmmakers never went to film school, either. Why should you go?

Cost of Film School

Some say you need to spend tens of thousands of dollars to get a decent education in moviemaking. They are living in the Stone Age. These days, all you need is Internet access to an online film school and the willingness to listen to some good advice. With Fat-Free Film, this type of DIY film school is just a mouse click away.

Independent moviemakers Joel Marshall and Kamala Lopez-Dawson established Fat-Free Film. It is essentially a series of in-depth interviews with members of the moviemaking community. Throughout the episode, interviewees-including Henry Jaglom and Peter Bogdanovich – weigh in on how to make it in the indie film world and provide some choice anecdotes while teaching the fundamentals of filmmaking.

No Film School

You can attend a film school with influential alums to build relationships. There, you can meet students who share your desire to make movies. Writer and director Nicole Holofcener told me in an interview that while in film school in New York, she met her producer for Walking and Talking. The film was her first feature that launched Catherine Keener, Liev Schreiber and Anne Heche’s careers. Holofcener noted that her producer friend was instrumental in getting the film made and into theaters. In the same interview, she told me that film school is an excellent idea if you have the funds.

The cost of film school ranges between $7,000 and $50,000 per semester. It depends on which film school you pick.

You can ignore film school, save money, and work your way up the industry later. I spoke with the owner of Puppet Artist, who works in the film industry. He told me he hires someone who isn’t fresh out of film school. He likes working with people who work hard and are willing to learn the ropes, not act like they know it all because they went to film school.

The list of self-taught directors and producers is endless. Steven Spielberg, James Cameron, and Francis Ford Coppola are just a few to name. Each one has their story of how they worked their way into the film industry and became successful.

Going to film school is expensive.
Going to film school is expensive.

“The beauty of our show is that it reaches places where there are no film schools. Places where our listeners may be the only person in their town or village who has any interest in the art of filmmaking,”— Joe Marshall, Founder of Fat Free Film

Fat-Free Film School

But Fat-Free Film doesn’t focus on the typical interview subjects like actors and directors. The school goes behind the scenes to talk to editors, distributors, costume designers, and many essential members of the film world. Fat-Free Film’s ultimate goal is to create a virtual community for moviemaking.

Marshall notes, “The beauty of our show is that it reaches places where there are no film schools. Places where our listeners may be the only person in their town or village who has any interest in the art of filmmaking,”

Marshall further says, “Trying to break into filmmaking can be a very daunting and isolating experience, and what we are trying to do with Fat-Free Film is reach out to each other, share our stories, help each other and create a network of people with similar interests and goals who can support each other.”

Film school gives you confidence but doesn't mean you'll succeed.
Film school gives you confidence, but it doesn’t mean you’ll succeed.

James Cameron Skipped Film School

Before he entered the film industry, James Cameron was a machinist and truck driver. His first job in the film industry was as a model maker on a film produced by the notorious low-budget film producer Roger Corman’s New World Pictures in 1979.

Cameron recalled the job to Paula Parisi of the Hollywood Reporter in 1995. He talked about the miniature work going well, and the live-action set work, too. Director Jimmy Murakami was having trouble figuring out how to combine the two elements. Cameron convinced him to apply the little-used front projection technique as the solution, and he was the man for the job. The Cameron knighted supervisor of process projection, and four weeks later, they fired the art director and asked Cameron to take the position.

Before he was ever on a film set, Cameron studied that technique in the USC film school library. He taught himself how to make movies, and he could see an opportunity knock while on the set.

Cameron’s next project was as co-supervisor of visual effects for John Carpenter’s 1981 film Escape From New York. Cameron’s work on the film mainly consisted of supervising model making and process photography. Once that project finished, Cameron moved right on to his next project, Galaxy of Terror, also released in ’81. On that production, he designed the sets, miniatures, costumes, and second-unit direction.

Talented newcomers worked for Corman and succeeded as filmmakers.
Talented newcomers worked for Corman and went on to succeed as filmmakers.

Best Film School is Experience

Cameron’s first shot at the director’s helm was for another independent producer. The association developed out of his tenure at New World, which made Joe Dante’s Piranha in 1978. Corman sold the sequel rights to two Italian producers, who needed a director for this tale of killer fish that take to the air to terrorize a beach of bikini-clad beauties.

Cameron’s luck would have it. In their search, they happened to visit the set of Galaxy of Terror while Cameron was directing a second-unit scene.

As he recounted the event in his career some years later, Cameron recalled that a scene he was directing was of a dismembered arm lying on the ground: “It’s supposed to be covered with maggots … and they’ve got it covered with this tub of mealworms. You can buy them in pet stores; they’re fish food, fairly innocuous little creatures. They’re pretty law-abiding; they don’t do very much…They’re supposed to be writhing around, but they just sat there.”

He formulated a solution to run hidden electrical wires to the slugs and deliver a few “inspirational” jolts. Just then, the two future Piranha II producers strolled onto the set to watch.

Cameron called “Action!” The cue for the technician, who was hidden out of eye range, to throw the juice. “The worms start moving like crazy. I say: ‘OK, that’s good. Cut.’ He pulls the plug, and the worms stop. I turn around, and these two producers are just gaping. I guess they figured out that if I could get a performance out of maggots, I should be OK with actors, so they offered me the film.”

The film industry looks for people who want to work hard and do a dedicated job.
The film industry seeks people who are willing to work hard and do a dedicated job.

Should I Go to Film School?

“Should I go to film school?” is a great question and requires weighing the pros and cons of going. The most significant advantage is networking with other people who want to work in film. The biggest drawback is the cost, with no guarantees of success. You still have to work hard and build your credits.

If you go to film school, give it all you’ve got and don’t waste the expense. If you decide not to go to film school, be prepared to build your film career by working hard and building your film credits.

In all honesty, getting a job in the film industry is not as hard as long as you are willing to work hard and be available to work anytime and anywhere. Once your film career is established, you can pick and choose your projects or create your own projects.

Film Career Success Story

Closing this article is a success story I received from someone who I helped get into the business by reading my book.

“About a year ago, I spoke with you a few times via email. I want to thank you for your invaluable advice.

Thanks to your emails and your book (which I read nearly once a month), I now have a full-time job as a video editor (it’s a great start), was offered a PA position on a feature film, was accepted (1 of 10 students) to the New York Film Academy, and have an extensive list of contacts in the industry.

The best part is that I am only 18 years old. I seriously doubt I could have come this far without your help. Thank you so much.”

Film Career Building: Steps to Success

film careers,

Know the Film Industry

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
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
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
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.

  1. 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.
  2. 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.
  3. 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.
  4. 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.
  5. Finally, have fun and smile. It’s supposed to be a fun experience. Plus, you get to meet the stars.
Casting Directors

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.

Don’t forget to have fun!

Film Jobs: Become a Movie Animal Trainer

animals, film careers, ,
Even animal actors walk the red carpet premieres.
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.
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.
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

How to Become a Location Scout

film careers, , , ,
Production designers, artist directors and directors need competent location scouts. Source: Rafal Maciejski

Have you ever thought of being a location scout or manager?

Location Scouts and Location Managers

Do any of these jobs interest you in having a career in film? Read on and let me know your thoughts on being an art director, location scout, or location manager. All three jobs place you right in the film industry—right on the set, working with the producer and director.

Location Scouting: A True Art Form

Location scouts get hired early in the pre-production phase of making a movie. Location scouts or location managers work with the art director and director to find the ideal location for a particular shot in a film scene.

Nathan works all over the world as a location scout. “You are trying to interpret the script while finding the right location that can make all the difference in the movie.”

He makes the director’s job easy because he finds the environment suitable for the story. A location scout finds the house for the perfect location to shoot the scene. It makes all the difference in the world to be sharp and intuitive as a location scout.

Norman Reedus of “The Walking Dead” gives homage to the location scout.

The Ingenuity of the Location Scout

While it’s true that the art director and director get all the credit, it all starts with the ingenuity of the location scout.

The location scout will find the location for the director and then get the director’s approval. Usually, when the film goes into production, the location scout will switch hats and become the location manager.

Location Scout Salaries

A location scout is a glamorous job, but the pay is not outstanding. On average, an independent contractor location scout makes around $81,000 to $111,000 a year.

Location scouts who work for a production company will make about half of what an independent contractor does, but working for a production company guarantees a steady paycheck.

Do Location Scouts Travel?

Some reports on the internet state that location scouts travel around the world. If they work for a production company, of course, that could be true. But most location scouts work in their local area.

If they are independent contractors, they work in their local region.

One particular scout works in the Northern California area and rarely travels. He would only if a former client asked him to scout for production outside of his jurisdiction, but that was very rare.

Financially, it is easier for a production company to hire a local scout because they are familiar with the area.

There are times when a production company cannot hire a local scout because no local scout is available in the area. Then it would make sense to hire one the company has worked with before since they have an established rapport and work ethic.

Being a location scout for a film can be a rewarding experience.

Scout to Manager

Some location scouts stay with the production after scouting and become the location manager. The reason for this is that a location scout often helps with permits and other city regulations for the production even before filming begins.

Since the location scout is familiar with the locations and working permits, it makes sense that the production company keeps them on the payroll.

The location manager handles all the logistics of using the location, such as permits and approval from local governments. Whenever problems arise on-site, it’s the location manager’s responsibility to handle them.

Such things that could arise are noise control or crowd control. Even when the electricity goes out, the location manager quickly remedies the problem.

They are responsible for ensuring that filming can continue at that location—because time is money in film production.

Being a location manager is a bit tense at times. Nathan is an independent contractor, and he has a lot of freedom. “I am pretty much my own boss.”

Location Scouts Work With The Artistic Director

Art directors work closely with the production designer. Together with the location scout, they design the physical environment of the film set. Their job is to create the mood that the script dictates to the director.

Art directors supervise many different people in the production, such as illustrators, scenic designers, model makers, carpenters, painters, electricians, laborers, set decorators, costume designers, animal makers, and makeup and hairstyling artists.

Art directors are architects or come up through the ranks of theater designers or set designers. It is not uncommon to hear how an art director favored carpentry or stagecraft in school.

After finding the location and working with the location manger, the artistic director molds any area and turn it into what gives life to the characters and energy to the story. They take an exterior location of a building and match the interior of the same building on a soundstage.

They stay on top of the latest techniques for creating any visual look the producer, director, or production designer needs to ensure the movie’s success.

Getting a Job in Hollywood

Any one of these positions provides an entry to the motion picture industry, whether in a major city or on location. You can move up to being an art director, production designer, or even a director from these positions.

Many begin these jobs in theater productions, move to film and television, and then move back and forth between the stage, film, and TV.

For these people, happiness is working in the entertainment field and making a living at what they like to do best—creating an environment that helps tell a story and make it real for the audience.