Unemployment Survival Guide

Unemployment! It's happening to millions of folks around the country, but here in the entertainment industry, where freelance work is a way of life, one can expect to go through unemployment periods at least once or twice a year. Thursday will be the last day of employment for our amazing intern Erin,  thus I dedicate to her: The Unemployment Survival Guide.

Prepare to be Underwhelmed.
Life in the film biz is all go-go-go. I get to work around 8:45am, and if I'm home before 8pm that's considered an "early day" and I'm happy.  The hours a pa/assistant/intern spends at work are filled with runs across town, arrangements with vendors, hundreds of emails, phone messages for your boss, coordination with other assistants, filling out everyone's time card, keeping track of receipts and petty cash, ordering office supplies, going on coffee runs, shopping for craft services, scheduling meetings... and that's all before the lunch order. When your first Monday of unemployment comes around and all of a sudden you have all this free time on your hands, it can be a little freaky. If you have another job lined up you can rest easy. Go to the beach, visit your family, drive up the coast. You know you're safe. But if you are facing the possibility of a month or more of couch surfing and idle down time, be prepared to be overwhelmingly underwhelmed. Later in this article I'll discuss what you can do about that. But first, you might want to...

Get Free Money (that you already earned.)

Did you know that if you've worked for 18 months (in California) you are eligible for unemployment benefits? You fill out a form, they confirm you've been working, and the state sends you a check every two weeks to help you survive. Some of you may say things like, "I don't take charity!" or "What kind of socialist left wing conspiracy is this?!" Well, the great thing is, it's not a handout, and the government isn't paying you, YOU'RE paying you. During those 18 months you spent working in the state, they've been taking money out of your paycheck in anticipation of you being unemployed. You EARNED this money yourself already, they just took it from you and are giving it back. Actually kind of genius, if you ask me. It's super easy to apply online, (click here to go to the EDD website) and if you want more info just click here for the EDD FAQ.

Look for Work, (duh!)

The lovely folks at EDD like to randomly ask filers if they have indeed been looking for work, (a requirement for getting those shiny, money filled checks,) so it might help to actually look for work. (This step is also required for "actually getting work," heavy on the finger quotes.) I've got a couple of tricks here.

A) I like to designate Looking-For-Work hours. Why? Dragging the process out all day long isn't going to help you get a job any faster. Sure, maybe if you spent 8 solid hours a day at a desk searching or interviewing you could, but nobody does that. Err, well, I don't. I found myself accomplishing the same amount of work if I gave myself 2 hours or 10, so why not do it all in the morning and get it over with? That way you can spend the rest of the day guilt free at the beach. 

B) When unemployed I usually spend time from 9-11am doing any or all of the following things:
- Searching the internet to find jobs
- Cold calling places I want to work that are listed in LA411 
- Emailing old contacts to catch them up on my unemployment status
- Updating my resume and/or reel
- Updating my website

All of these things can help you procure work, even if it's not simply leafleting your resume around town. 98% of the jobs I have gotten are from people I know. The Internet is a great resource, but don't forget about your network. 9 jobs out of 10 will be from someone you know.

C) I also like to keep a log of the places I've looked for work. Why?
- It's easy to report to EDD if/when they ask.
- When I'm feeling down and out I can look back on the list and see how hard I've been trying.
- It keeps me organized so I don't apply to the same place twice. (I've done this!!)

Get Out of the House!

Warning: While unemployed you might have urges to watch 12 hour Law & Order marathons on TNT (hey, I only watched the first 8 hours!) or sit through an afternoon of Soaps in anticipation of witnessing Oprah's next great giveaway. Want to know how I realized I was spending too much time at home? I found myself walking up to a random person at the gym one evening, after I finally managed to get up off the couch at 10pm, and I was like, "Did you see that Tyra today? Usually she's so into herself, like on last Tuesday's episode where she tried to overcome her fear of dolphins. She's definitely nicer when she interviews people through video, wouldn't you agree?" No one should know that much about Tyra. No one. The next day I signed up for Habitat for Humanity and built a house. Well, I helped put up a few pieces of sheet rock, but the point is that I got out of the house and did something with myself. I also signed up to walk dogs for a shelter and joined the American Red Cross. You may opt for less do-goody things like hiking, a drive down to San Diego, or a trip to the Getty, but what every you choose, just GET OUT!

Stay Relevant.
Just because you're unemployed doesn't mean you have to disappear off the face of the planet. Stay in touch with old coworkers, people in your network, friends, and even new acquaintances. Take them out to lunch, go to drinks, or send 'em a quick "how ya doin?" email. Even if that one lead you had doesn't pull through, this is LA and you never know who knows who or who knows what. Most likely, if someone is on your radar, you're on theirs.  And if the jobs aren't flowing in, don't worry! Take a chill pill. Jobs don't appear out of nowhere-- whole shows have to begin production. Entire films don't start shooting over night because someone heard you were out of a job. It might take a few weeks or a month for another production to begin, so check the trades, and keep up with the Futon Critic, (my newest great resource!). Something will come along, someone out there has your back, and you will get work again, but you do have to stay relevant to the right people. Do this with tact and grace, and you will survive.

In Summary:
Being unemployed is simply a part of life in the entertainment industry. First you're employed, barely surviving the 70 hour work weeks, next thing you know you're twiddling your thumbs during a Judge Judy marathon, clicking "refresh" on your inbox as you await application replies. Not everyone will call you back, no one is ready to hire you tomorrow, and the world doesn't owe you anything. (Well, it owes ME, but it doesn't owe you squat.) You had to work hard to get noticed, and you have to keep working hard to stay noticed. Keep pushing on, stay focused, and you will find that next job. I don't know anyone who died of unemployment, and I'm not feeding any of my former coworkers down at the food shelf.  You can do it. We've all got each others' backs.



If anyone wants Erin's resume, please speak now. She's one of the hardest working people we know, she's freakishly efficient, and she's going places fast. We're sorry to see her go, but will be happy to see her in a new home. Bye Erin!

Got any more advice for the unemployed? I'm sure they'd love to hear it!

The Woman/Man Behind The Curtain: Production Notices, REVEALED!

You may have read the article I posted back in March on Using The Internet To Find A Job. Back when I wrote it I had only stumbled on Facebook's Production Notices page *that day*, and had no IDEA what a masterful networking and job finding site it was. As a fan, jobs magically appear in my live news feed-- I don't even have to do anything to look for them. It's like if Craigslist actually had Craig come to your house every morning with a list of the jobs in your local area. This is an amazing resource for anyone in the industry, from unpaid interns to producers, composers, painters, actors, editors, sound mixers, and more. I wondered, who on earth has the time and dedication to do all this? 

Meet Sonia and Micah, the amazing folks behind Production Notices (PN) who have the time and dedication to do all this. (Sonia and Micah are pictured to the right, the other photos are from gigs listed on PN. Check out their site for dozens more!)

CRC: You guys run an amazing Facebook page that alerts people to industry jobs. I don't even have to exert effort to go on Craigslist or Mandy, the PN jobs are just posted right to my Live Feed. While a fantastic resource for people like myself, it can't possibly pay your bills. What else do you guys do?
 
First of all Thank you!
 
Sonia: I'm a freelance Producer myself. I was working out of Miami and between shows when PN was born, but now I am working for an L.A. based production company for a new show currently filming in Phoenix AZ for WEtv. 


FUN FACT: Originally from Miami, Florida, Sonia has been working in non-scripted TV since 2002, starting from an internship at Late Show with David Letterman to years at MTV in both New York and L.A.
 

Micah: Right now since Sonia, (let's call her Eve, the Mother of PN,) is working full time, I am the man behind the scenes for the moment at PN. I like to think of myself as the Wizard of Oz, or PN, pulling the cords and puffing the smoke with a microphone that has grown beyond our expectations. Once PN took off, and Sonia started her job, I focus my full time attention on PN (with a scene study class snuck in here or there). We knew PN would not be what it is now without care around the clock, and the appreciation and love we were getting at first was all we needed to get by. Once I realized that the landlord wouldn't accept PN love as rent, it was time to make a hard decision. So we decided to leave it to the people, the people who post with us and the people who look for jobs through us, we had a Fundraiser. Out of our 30,000 PNer's, 250 found it in them to donate, which got us through the first month. We realize that we can't do a week long fundraiser every month, so we find other ways to make money to keep this running.

CRC: How did you come up with the idea for the Production Notices page? 
 
Sonia: I always see people on my Facebook page posting jobs in production - looking for people within their network, and when I have a job to offer, my Facebook page is the first place I got to for recommendations.  But sometimes it just seems to be limiting - so I thought - someone should make a Facebook page where people in production posts insider jobs - a 6 degrees of separation type of thing - I turned to Micah and told him that - and he said WHY DON'T YOU MAKE ONE? And right at that moment, history was made.

Micah: What she said. But the funny thing was, we thought this would be used a couple times a week by at the most a thousand or so people. Two weeks in we hit 10,000 and had a full fledged business. And it grew organically, first we posted all the jobs on the main page until it was getting too much. So we started breaking it down by major cities and states, and now have over 30 pages. Of these 2 others that we requested by our fans, a separate Unpaid page, and an Internship page as well as 2 Casting Pages, one for Reality and one for Actors. We built this city on rock and roll.

FUN FACT: Micah was born in New York and grew up in South Florida. Always prone to being creative, he played in many local bands, such as TV Kills Kids ("go figure", says Micah,) with Robi Valyi, and he's hosted everything from concerts to Open Mics.

CRC: I counted 34 related PN pages for cities and countries around the world. Do you maintain them all? How much time does it take during the day to run the site?
 
Sonia: It takes all day really - it is a full time job. When I wasn't working, Micah and I would sit all day on our laptops either in our apartment or at a cafe that has wifi and work on PN all day long. But now that I am on a show, Micah runs it - I help out here and there but he really is the mastermind behind it all - for now that is ;)
 
Micah: I've posted jobs at 2AM before.. it doesn't matter the time, when jobs come in, they get posted.. unless I'm sleeping that is!! My apologies to the East coast, sometimes I sleep in!!

FUN FACT: While not PNing, Micah started attending a scene study class in L.A. Look out world!

CRC: Let's say someone who just graduated film school wants to move somewhere they can get a job on a film, but they don't like the idea of moving to a huge metropolis like New York or LA. What other cities get the most PN posts?
 
Sonia: LOUISIANA!
 
Micah: What she said!! 

FUN FACT: Sonia and Micah met on a show she was producing in Miami for WEtv called "I Want to Save Your Life"-- he was one of the participants.

CRC: You have 21,847 people who 'like' you on Facebook, myself included, as of this moment. I bet you get some weird emails. What is the strangest thing people think you can help them with?
 
Sonia: Micah? We get a lot of people who send us their resumes thinking that we are the people hiring but other than that nothing too crazy - oh yea we get hate mail sometimes haha.
 
Micah: Yeah, nothing too bad. Just some people seem to have this misconception that we are the all seeing and all knowing PN. Now, while that goes flawlessly with my whole Wizard of Oz comparison, we do have our limits on what we can do. I think most people get it.

FUN FACT: In 2009 Micah had a run as Vinnie Black in Miami's "Tony and Tina's Wedding", which actually seems like a ton of fun.

God, I love these people. And guess what? They love each other too! HUZZAH!
 
Sonia: We started dating right after ["I Want to Save Your Life"] wrapped, moved in together after 2 months and were engaged after 4 months! We moved to Los Angeles together in March (right when we started PN).  We are planning to get married later this year and live happily ever after together.
 
Micah: I would have never actually done the play if I never met the amazing Sonia. Kinda awesome that I met her on a show called "I Want to Save Your Life" cause she changed mine!!

Production Notices can be found here:

 www.facebook.com/ProductionNotices
www.ProductionNotices.com

Click here to donate to PN

Comments? Suggestions? Compliments?  Praise?

 Feel free to leave a note below!

Real Stories From a Real PA: Part 1

What the heck is it like to be a PA? What's the down and dirty stuff you need to know in order to survive in this cut-throat world of being on the bottom rung? To answer these questions, I've decided to start a new series called "Real Stories from a Real PA," in which I'll post... (wait for it...) real stories from a real PA. And so, let's get started with our first production assistant. She's got tips and tricks on how to be an efficient productivity machine, she's brutally honest about what she really learned in film school, and I've put a lot of effort into placing some cute pictures around the article to illustrate her points. Let's dive in with the first tip:

Tip #1: Streamline your work.  For example, we had a large cut distribution list, and each person had to have their name and their number stamped on their DVD.  To add to this we had an ancient DVD labeler that would jam and have temper tantrums all the time.  I would ask the Assistant editor to get me a cut's TRT [Total Run Time] as soon as possible and while the cut was being output I would begin labeling DVDs and stamping them with each person’s number.  This way when the cut was ready I had at all the DVDs ready to burn and usually already loaded into the DVD tower.

Tip #2: Try to line up your runs so you can do them in a big loop.  This doesn’t always work out, of course, because sometimes there’s an emergency delivery.  But whenever possible I would coordinate with the post coordinator as to what needed to go where that day and then set out after dailies to do everything in one giant loop of LA.  That way I could be back for any afternoon cuts going out.

Tip #3: Check food orders before you leave the restaurant.  This is important and it keeps you from having to run back and forth in traffic. [Note from CRC: Seriously, check your food orders. People WILL make you go back for the extra rice they ordered.]

Tip #4: Check traffic before you leave for anywhere and know some alternate routes in case you run into any jams.  This really is learned from driving around LA but by the end of my PAing I usually knew 2 or 3 ways to get anywhere.  This will help your sanity since there’s nothing worse than feeling stuck and claustrophobic in traffic.  

Tip #5: Own up to your mistakes.  Everyone makes mistakes.  If you let people know early enough they can be fixed.  If you try to pretend they never happened somewhere down the line it may come back to bite you and it'll be much worse than if you had let someone know when you made the mistake.  For example, a tape may not be where it needs to be right before delivery and then everyone has to rush like a crazy person to fix it and that means you’ll probably be put out in traffic in the middle of rush hour.

Tip #6: Really everything I did as a PA, I did to try and keep me out of rush hour traffic.  Because I hate traffic.  I also strongly recommend audio books because then you don't feel so much like you are wasting away in a car all day.

Last notes: Film school taught me the fundamentals of film and media making as well as the basics of the software used, such as the Avid, Final Cut and Photoshop.  Film School, at least the one I went to, didn’t teach us how to be a PA, it taught us we could be a writer, actor, director or DP.  Then, when I got out to LA and realized there are literally hundreds of jobs and different skills that can be used to build a career in the film and television industry and being a PA is a great way to get your foot in the door of whatever department you hope to build your career in.  Also, my school had it’s film and TV departments separate, which doesn’t make too much sense, since they use many of the same techniques and technologies these days.  The main differences really lie in budget and time.  I only point this out because I was a film student and have had great luck and success in TV and don’t really feel a pressing need to break into features.  But anyway I guess I’ve learned to be patient and talk to people.  Being a PA sucks but you meet people and those people were once where you are and they can help you and offer advice as to how you can get to where you want to go.  And then, when opportunities do arise, take them and put in the extra effort to get all you can out of them, this may mean going in on weekends or staying after work to help someone or learn something on your own time while they happen to still be working.  And also I guess just know that there is more to the entertainment industry than just directing, writing and acting, unless those are the things you really want to do.  

Thank you, anonymous friend! Stay tuned for more Real Stories from real PAs!

What Makes an Awesome PA?

Where would 30 Rock be without Kenneth the Page? PA's, Pages, and assistants are the sturdy foundation of any film department or production company. Should you find yourself in an entry level position wondering whom to emulate, the qualities of this tireless, overachieving, entry level individual pictured left should be what you strive for. He is always the first one in and the last one out of the office. Instead of knowing what needs to be done he's already done it. He's freakishly efficient. He never complains. Most importantly, he does all this with a smile. Since Kenneth the Page is a fictional character on a television show, I was unable to sit him down for an interview. Here is something almost as good: I've enlisted the help of some friends who have PA's working underneath them to tell you what makes a great PA. Who better to hear from than someone who might be your future boss? Well, Kenneth the Page would have been great, but these guys have some excellent advice as well. Listen up.

[Note from CRC: The people interviewed in this article work in post production, but you can see how their anecdotes translate to all kinds of PAs, assistants, entry level workers, and even pages like Kenneth!]

GRACE WHITEHOUSE is a Post Production Supervisor on one of my new favorite shows, Sons of Anarchy. Post Production Supervisors are pretty near the top of the ladder, so she knows what it takes to move up. When I asked Grace if I could borrow the SOA box set what makes an awesome PA, here's what she had to say:

Going the extra mile without being asked - I think it's great when a PA offers to do something that you didn't ask, like 'oh I started looking for stock footage, just in case it comes up'.  Taking the initiative goes a long way because it shows that you care about your job and want to actually help the team, it's more than just a paycheck.  It's not only helpful to the rest of the staff, but I would imagine it gives the PA a sense of accomplishment, instead of just running around doing what they're told.

Memory - I should only have to explain how to do something once (or twice, maybe), if you have a bad memory, write down notes as we talk.  A lot of what we do in post repeats for every episode, so the last thing I want to do is explain the process every time it comes up.  For example, you should know what tapes you're picking up for dailies or after an online or for a final delivery and what to do with them.

Learn how to do my job - The way to move up is by doing work above your pay grade.  I'll gladly let go of some of my responsibilities so that a pa can learn how to do it.  Having that extra responsibility is key to moving up.  The next time you go on an interview, you can say, yes, I have scheduled ADR or yes, I have dealt with purchase orders and vendors.  I know it's hard to take on extra responsibilities when you're so busy with runs and what not, but part of it is learning how to juggle all of the work.  Whether you go the editor route or the coordinator/supervisor route, you have to know how to juggle multiple tasks at once and how to prioritize so you might as well get used to it as a PA.

Thanks, Grace. And about that box set...?

As an Assistant Editor, my friend Lisa probably isn't going to be your direct boss in the office, but she is definitely going to be someone you will want to impress if you enter into post production. Assistant Editors have a huge work load and PA's can either make their life a tiny bit easier or a living hell. Here's some suggestions Lisa has on what makes a good impression:

- Being proactive in such tasks as remembering the daily routine such as dailies paperwork and doing it before being asked.

- Knowing how to listen, thereby both learning things for yourself and assuring you do the job right.

- Having a positive attitude and being someone who adds, not subtracts, to the well-being of the group because we are, after all, a team.     

"If I think of the worst PAs I've ever had, they are always the ones who think they are too good to be PAs and know how to do my job better than I do.  They think their college experience has prepared them better than actual work experience, forgetting the fact that the people above them have most likely been to college themselves.  They treat people on the lower rungs of the ladder as unimportant without realizing that those are the exact people who will take them up to the next rung. They don't bother to do their own job correctly because they are too busy trying to move up. I have, on occasion, seen this tactic succeed but more often than not, it fails and people leave the business after a relatively short time because their unrealistic expectations are not met. 

In short, there is no difference between a Hollywood job or any other job.  If people like you and trust you, you will go far."

Ahh, Lisa, you must have read the Check-Your-Ego Checklist! 

As a Post-Production Coordinator on such shows as In Treatment and Flight of the Conchords, GORDON LI-RON is a post PA's direct boss. His equivalent in a production office would be a production coordinator. Post-production has Post-Production Coordinators, production has Production Coordinators. Get it? Good. Now get what he says:

"Be positive.  Thousands of people would kill to be where you are so remember that before complaining about a task you don't want to do.

Take initiative and ownership of your work.  If your being micro managed, you might be doing something wrong or you may be working for a tool."

Well put, Gordon.  Short and sweet, just how we like it here in SpartLa.

If you have any short and sweet questions or suggestions about what it takes to do an entry level job well, please feel free to continue the discussion below in the comments section!

Interview With Karen Graci

Pictured left is Karen Graci. She is awesome. There are many other ways to describe her, but that word just keeps popping into my head. The thing that stands out most to me about Karen is that she does it all. She has a career she is quickly moving up in, she has a passion she actively pursues that you will read more about here, and she has a family. While many people have just one or two, she's got all three. How on earth does she do it??? I thought the world might like to know, so I asked her for an interview.

CRC: Let's start a little ways back. 10 years ago, where did you see yourself today?
KG: Ten years ago I had just left Washington, DC, and I moved to Chicago to study improvisational comedy at The Second City, ImprovOlympic (iO), and the Annoyance Theatre. My major in college had been International Relations, and I originally thought I would go to law school and then work in the field of international white collar crime (prosecuting, not perpetrating). I was sure I'd be a lawyer. I took the LSATs and everything. But I had done short form improv in college and loved it, and after a national tour of Much Ado About Nothing I knew I wanted to move to Chicago, the home of long form improv, and give it a shot. I toured with the Second City National Touring Company for two years after that and made my living performing for several years following in Chicago, Las Vegas and LA.

CRC: And where are you now?
KG: I live in LA with my husband and daughter, and I am a performer, writer and producer. I don't regret forgoing law school.

CRC: Are you originally from LA?
KG: No, I'm a proud native of Buffalo, NY.

CRC: When did you decide you wanted to come to LA? How did you get here? 
KG: After writing and performing in Chicago, I knew I wanted more -- more opportunities to learn, perform, write, etc. I performed for the Second City at the Flamingo Hotel in Las Vegas for about a year, doing sketch and improv comedy shows 10 times a week. And then the next step seemed to be LA -- more opportunities there. I'd be a much, much smaller fish in a much bigger pond, but why not. I could always go back to Chicago and work, but LA had many more possibilities.

CRC: When I first met you several years ago I never EVER would have guessed you moonlighted as a comedian. You were quiet, calm, and unassuming, (unlike most comedians). Then I saw your show and you were like this completely different person! You're hilarious!! You've even been on a USO tour. How did you manage to be successful in both worlds? 
KG: You're so sweet. Thanks! I love being a performer and writing material too. My favorite is improvisation -- and trusting myself and those around me enough to know we will create memorable, truthful, funny moments. But I've always been a good student, and that part of me loves the work ethic needed for the producing side -- to see how things click, how logistically everything comes together. I like doing both.

CRC: You're in the big leagues now, a producer. What sparked that transition? How did you find yourself there?
KG: Haha, the "big leagues". I like that. I've been fortunate enough to work as Rodrigo Garcia's assistant for over three years, and during that time learned a great deal from him, on set and off. Producing seemed like the next logical step -- I was/am still pursuing writing projects on my own, but producing was something I wanted to learn from the ground up, too. I was lucky enough to work as the associate producer on Rodrigo's next feature, MOTHER AND CHILD, and produce a short film Rodrigo wrote and directed called TIRED OF BEING FUNNY, starring John Mahoney and Lili Taylor. They were both fantastic challenges. I learned a great deal and had a lot of fun, too.

CRC: Do you have a mentor? Someone who guides you and gives you advice?
KG: I ask Rodrigo for his opinion often. I truly respect him as an artist and a person. He's such a wonderful guy. I also always ask my parents -- even though they're not in the industry, they know me so well and always have a sharp, smart and loving point of view. My husband is a writer/performer/producer, too, and so of course he's also my go-to guy. I am very blessed to have so many great people in my corner.

CRC: Ever been given completely rubbish guidance?
KG: Hahaha usually I can take what people think and then make my own decisions -- sometimes they differ but mostly these people know me as well as I do.

[Check out the video to the right. See if you can spot Karen!]

CRC: What's the coolest thing you have gotten to do as part of the industry? Did you have any particular day where you just HAD to call your mom and say "OMG Mom! Today I got to ___________"? 
KG: The coolest thing, I think, is to watch people -- people at the top of their game -- do what they do and make it look so easy. I watch Rodrigo direct, and sometimes the smallest adjustment or idea he gives an actor makes a world of difference in their performance. Or the way he chooses to frame a shot -- what's in the frame is just as important as what he excludes. That goes true in the editing room, as well. Also, Rodrigo's producing partner, Julie Lynn, makes producing look so easy -- but it's because of all of her hard work, tact, genuine relationships with people and the care she puts into her work. I love watching the actors, too -- Annette Bening, in MOTHER AND CHILD, made so many exceptional choices with her dialogue and character, that I was really amazed by her each day on set. I learn so much from all these people -- and the entire crew -- I really feel like a sponge on set, soaking everything up.

CRC: As you work for a producer/director/writer, I bet you get a lot of resumes and reels to look at. What helps one stand out more than another? Ever gotten one that was just plain crazy or extra bad? 
KG: Most of the people Rodrigo meets and surrounds himself with are people who are working in the industry already, so I haven't had the occasion to see anything really crazy. People who take the initiative to write their own work or make their own films always stand out, for the better.

CRC: Well, thanks for the interview! Now, say something super wise and knowledge-y to all the folks out there reading this, who want to come to LA and do what you do. 
KG: Well, a lot of people in the industry in LA come from entertainment families or "know someone" who gave them an "in" in the business. I didn't. But based on my experience, it doesn't matter if you've been in LA for years (I've been here for 5) or if you have those connections; it matters that you truly want to be here, that you work hard, be kind to people, and know that it will be up and down for YEARS. Friends of mine who moved to LA in the hopes of making a splash in only a year left disappointed. Friends of mine who are working stayed here at least five years and know what they want to do -- they write, perform, produce, direct -- and don't wait for someone to hand them a job. They are constantly creating their own material. That's the only way to stay inspired, I think. Do your own thing, stay true to what you want, and be prepared to pay your dues. Good things will follow.

You hear that people? Pay your dues and good things will follow!  Listen to Karen.

The Delecate Art of the Kick Ass Resume

By Guest Poster: Elizabeth Thompson

First off, I’d like to thank Crystal for letting me be a guest writer on her fantastic and witty blog as I talk about the fine art of creating a resume.  If you’re anything like I am you understand the need for a well written and thought out resume, but the task to create and or update said document makes you feel like you want to bury yourself in a mountain of popcorn and a stack of movies.  However, regardless of how undignified the job search process is I’m sure we can all agree with Fredrick Wilcox who said that, “Progress always involves risk; you can’t steal second base and keep your foot on first.”  So with that in mind, I offer you a few tips on creating a kick ass resume.

So far it seems like there are two main styles of writing a resume, we’ll call them Traditional and Functional.  Both have their values, and it’s really up to you to decide which you prefer depending on where you are in your career and what type of job you’re looking for. 

The Traditional type of resume, [click on the image for a larger version,] usually has the following information:  name and contact information, an objective statement, skills, experience and or employment history (from most recent or relevant to older positions), followed by educational background.  Relevant awards, activities and affiliations, technological skills, etc. may also be included if appropriate.  It seems like everyone formats differently and I say that you should do what makes you feel most comfortable and confident.   However with that in mind please try to keep your resume visually and verbally tidy (don’t use 3 or 4 words when one will do nicely), use an easy to read font, and no matter how much you are rushing proofread, proofread, proofread! 

A Functional resume contains much of the same information as a Traditional resume, but is targeted towards a specific position or type of job.  So if you know you’re looking to go into a specific field and and/or job, this could be the style for you.  A Functional resume contains the following information:  name and contact information, a summary of qualifications, lists professional experience, work history, education, and any other pieces of information you deem necessary.   The main pieces that this style of resume focuses on are the Summary of Qualifications, which is a few sentences about your strong work characteristics and or accomplishments, and the Professional Experience, which highlights traits specific to the type of job you are applying for. 

In the Professional Experience section you go into further detail by describing how different parts of your previous career experience have supported the trait listed.  For example if one of your trait headlines is Communications and Public Relations, underneath that you may list something like the following:  

• Represented high profile socially responsible business to as many as 2,000 customers daily promoting the organization’s product and mission.
• As the “Face of the Company,” developed and delivered tours educating customers about the organization’s history and its operations and answered visitors’ questions.
• Created a positive, fun, and informative experience for visitors.  Expediently solved unexpected mechanical, technical and customer related crises as they arose.
• Brainstormed and implemented new and creative ways to greet and manage the high volume of visitors coming through the facility on a daily basis.
• Delivered orientations and training to new tour guides in a heavily visited tourist attraction to ensure a top quality, highly informative experience for visitors. Provided hands on speech and activity training to new tour hosts.

The Functional style of resume really pinpoints the traits that are needed for the job you’re applying for and then gives you the space to tell your employer the ways you are experienced in those traits. 

Once you have your basic information and style down, try to have a little fun.  But, be aware of your audience.  Many times you can tell within the job description what is appropriate.  Most times a classic business style, tone, and approach are best.  But sometimes you find companies who want your resume to playfully engage them.   For example, in a legendary move the company of Ben & Jerry’s Homemade Ice Cream Inc. went looking for a new CEO by holding a Yo, I’m Your CEO Contest.  Anyone was allowed to apply in 100 words or less and creativity was encouraged.  Ben & Jerry’s received many resumes in all sorts of formats like poems, cakes, etc.  This may not be the kind of company you’re applying for, but no matter where you’re going remember that people really do want to know about you.   So tailor your resume style to the position you’re applying for and allow your resume style to introduce your personality and the creativity you’ll bring to the job.  

Interview With Rodrigo Garcia

I first met Rodrigo Garcia while working on Season 1 of HBO's In Treatment. He was the guy at the top of the chain, the Show Runner, and I was that lowly little peon at the bottom, the post production assistant. Despite having earned his position at the top, Rodrigo has a way of making everyone like they're right up there with him. Amongst other titles, he's directed "Big Love", "Carnivale", and "The Sopranos" for television, and his film resume includes "Things You Can Tell Just By Looking At Her", "Passengers", and "Nine Lives". Don't tell him I said this but he's one of my favorite people in Hollywood, a true role model, and I was honored he accepted my badgering invitation for an interview. So without further ado...

CRC: You have worked as a director, writer, producer, and cinematographer. What was your very first job before all that?
GARCIA: My two first jobs were around the same time. One was translating American game shows for Columbian TV because they were looking for a format to adapt to Columbia. And another one was taking pictures of summer school camp children and then selling them to the parents.

CRC: In the film industry, am I correct in saying you started out in the camera department?
GARCIA: Yes, I started out as an intern.

CRC: How did you get that first job?
GARCIA: I knew some people that had a commercial production company in Mexico City. They were producing a movie that a friend of my parents was directing, so that's how I met them. But it wasn't really a job, I was working for free. I was a camera department intern... an unpaid PA.

CRC: Sometimes it can be difficult for people to imagine someone like yourself, a successful writer and director, as having overcome major obstacles on their journey. We just kind of think that you guys/gals were always awesome and you were always successful. Have you ever been through difficult times where you thought about giving up or becoming a doctor because it would be easier?

GARCIA: First let me say a few things. I did have the obstacle of a long and winding road. Mine was not a nightmare, as I was always working in some capacity in the camera department so I was never broke. I never had that kind of pressure. I can not compete with people who want to be in movies that need to work at night, that have a day job, that's very exhausting. I never had that kind of pressure. But you know, I had other obstacles. I came to the US, I didn't have a working visa, [etc.]. When I started writing a script I was already a working camera man, established at some point, I had to overcome some of my own insecurities about writing to actually write. Everyone has difficulties. You always want to hear the success story, the young director who made a splash with her first film like Quentin Tarantino or Reitman, the guy from Juno, but those are the exceptions. Most people find their way or do what ever they can. The bottom line is everyone has those limitation and the obstacles, either exterior or self imposed, and you're going to be the person who keeps going and trying or you're not. Now luck plays a big role. Luck does play a role, preparation plays a role, contacts play a role. Obviously if you're single it's easier to pursue it than if you have to maintain a family. For most people there's been sweat involved. Sweat and luck.

CRC: Your father, Gabriel Garcia Marquez, is a Nobel prize winner in Literature. I read an interview where you stated that you did not want to live in your father's shadow by becoming a mediocre writer. What impact did your family ultimately have on you becoming a writer? Has it always been simply your destiny you couldn't escape?
GARCIA: Not really. My brother and I grew up in a world where everyone my parents knew were artists, writers, painters, directors, so stories and story telling was part of how we grew up so I don't think particularly I was predestined to be a writer in any particular way, but I did grow up in a world where telling a story was highly regarded. So ultimately I didn't become a writer, I'm not a novelist, I'm not someone who writes scripts for hire, I hardly ever work for other directors, so for me I'm not a writer. I write the stuff I want to direct, the things that interest me. So no, I don't think I was predestined to become a writer in any way, but I did grow up in an environment where I was infected with the story telling virus. I suppose at some point it flared up.

CRC: I recently read that in 2007, there were 10 Mexican Oscar-nominees. (They were Guillermo del Toro,  Alejandro González Iñárritu, Guillermo Arriaga, Adriana Barraza, Alfonso Cuarón, Guillermo Navarro, Emmanuel Lubezki, Eugenio Caballero, Pilar Revuelta and Fernando Cámara.) How is the culture of story telling different in Latin American and the US? 

GARCIA: Good storytelling is good storytelling, and I think that as far as certain quality movies and books and writing goes, good storytelling travels. I think where the distinction has to be made is what the studio considers good storytelling. The Studios are in the business of mass entertainment. It can be commercially successful, it's easier for them to target younger audiences. To make their audiences broader the movies have to be lighter, less complicated, less contradictory, the end has to have a happy [ending]. There is a series of parameters that can define what you call a studio formula movie, and that... that's the Hollywood way of thinking. Good European movies find an audience here, non commercial American movies, non studio movies by [people like] Gus Van Sant find audiences around the world. I think good stories will find their way. The truth is look, if you've ever been to Europe movies are made that are crappy, you just never see them over here. But yeah, there is a Hollywood conventional wisdom about what it is stories should be and what journey the characters travel and how much learning and hope and faith and growth and goodness there needs to be at the end. That's what creates the formula. That's why most movies suck.

CRC: [Laughs]. As I was preparing for this interview, I realized I've only ever heard people say nice things about you. 
GARCIA: Oh, f*ck them!

CRC: Yes, it gets obnoxious I'm sure. But you are a man of the people! Do you have any networking tips as a man of the people?
GARCIA: [Laughs] Obviously I don't think of myself as a man of the people as far as networking. Look, I enjoy people, I enjoy people of all [walks of life], people of all success and prominence. I can have a great relationship with anyone on a crew whether they are the producer or whether they are a security person or an intern with script. It doesn't matter, as long as I can connect with them. Networking, yes, it's useful. But you have to get out there and try and do your own work. When I was growing up it was very expensive to make a movie. You needed a camera, you needed film, you needed a lab, you needed a Moviola. Right now you can make a movie with a high definition video camera that costs hundreds of dollars, and cut it on your computer. Sometimes I go to film schools and people say "how can I get a manager?" And I'm like "don't ask me about getting a manager when you haven't even finished the f*cking first draft of your screen play." So time and time again I say to young film makers, networking helps, connections help, you have to get lucky, everyone should get help and should need help. I try to help as many up and coming people as I can, but do your own pushing. Help your own cause. Don't they say that God helps those who help themselves? Don't be lazy.


CRC: Let's say there's a young kid, he/she has just graduated college and decided to come out to Los Angeles to become a famous writer/director just like their childhood hero Rodrigo Garcia. What are some of the first steps they need to take? I hear you saying push yourself...
GARCIA: Develop material. You're not just going to find a good script laying around. It's very unlikely someone is going to give you something to direct right off the bat. It really should cost no more than hundreds, or at the most a thousand dollars to write and direct a short movie in a town full of actors who want to work for free because they're young. I think it is very possible with very little money to make a movie or to write a script. I think it's very rare to find someone who wrote an exceptional script that doesn't have work, that doesn't have representation. Things find their way but you have to do it. You're not here fishing, you're here working.

CRC: That's all for my questions, do you have anything else you would like to add?
GARCIA: Not a word! Not another word!


Garcia's latest film, Mother and Child, is due for release in select cities May 7th. Check out the trailer below!

C8H10N4O2

I was sitting here wondering about what brilliant subject I could write on next, what deep words of wisdom do I have to share, what's the one piece of advice I can give that someone starting out in the biz can ingest, process, and take with them for the rest of their lives. What is the most important, exciting and profound thing I do during my day? And then I got asked to go on a coffee run.

My thoughts followed me to Coffee Bean where I ordered two small Lattes with an extra shot and a Grande Vanilla Soy Chai Tea Latte. On my way back to the office, three coffees and a pile of sugar packets held delicately in one hand, it occurred to me-- not just anyone can do this as well as I can. This is an art.

Taking Orders

If you run into problems later in your coffee run, 99% of the time they can be traced back to the initial order placement. (Translation: Your fault.) The orders can be extremely complex, and if the person you are ordering for is extremely successful, their beverage's nomenclature probably contains a word you don't know. This brings us to my first tip: When in doubt, write down the order exactly as they give it. That way you can relay it to the barista word for word and if the order comes back wrong it was their words, not yours. If you're interested in saving a tree and/or looking like the coolest PA/assistant ever, try the "Coffee Order" app, (pictured to the left). You have to know a couple things about coffee to use it efficiently-- for example, that a Latte is in the Espresso category-- but if you weren't born under a rock circa the nineteenth century you should be able to grasp those general concepts fairly quickly.

What's Your Angle?

Nobody wants a coffee with foam and brown stuff all over the lid but it's almost inevitable, especially if you are transporting the beverages in a vehicle. How you carry the coffee is an often overlooked art form that, fortunately for you, I have mastered*.  Back when I was a novice, I solved the brown-foam-flooding-the-lid problem by pouring out about an inch from everyone's cup. However, this is a dangerous practice as it can lead to over-the-line coworkers being under-caffeinated. As we all know, a caffeinated producer is a happy producer! Err... well, sometimes. Anyway, to solve the lid spillage problem there are two easy things to remember; Align the openings and angle the tray. If you turn the cups so that all of the holes are facing the same direction, then angle the tray so that those holes are at the highest point, you are rewarded with a clean, dry lid upon delivery. No need to waste time and risk temperature decreases by getting napkins to wipe off the top. That leaves a stain and/or napkin residue every time, which is a dead giveaway to your lack of commitment and passion for the cause.
*Author's Note: Oddly enough, dozens of people passed by my delicately balanced beverage bundle without a second glance, or even a slight gasp of awe!
 

The Splash Stick: A tool for the un-gifted

Starbucks has invented this awesome thing called a "splash stick". I don't like to waste stuff I don't need, and having mastered the skill of not splashing things around while walking renders the splash stick unnecessary. However, if you are particularly uncoordinated or are transporting beverages in a moving vehicle then the splash stick is your new BFF. Ask for it, use it, love it. And if they don't have any, as they frequently run out due to unprecedented popularity, at least you have a backup method.

Extra Extra

I'm an honest gal. I don't lie, I don't cheat, and I even hate being late. I do, however, steal. I steal tons and tons of free sugar. I'm like the Bonnie and Clyde of the Starbucks amenities counter.  Aside from the fact that many brands of sugar are so darn expensive these days, I simply find it difficult to keep track of the amount of coffee accessories we have in our office because I myself am not a coffee drinker. (The snack shelf-- now that's another story.) Let's say you run off to Starbucks to get someone a 4 Shot Espresso Con Panna, only to realize upon your return that the sugar you thought you had back at the office was consumed by someone who had made themselves their own pot of coffee. Well, if you hadn't been so appalled at my idea of stealing free sugars in the first place you wouldn't be in this predicament, and could simply access one of your secret sucrose stashes in your desk drawers. How many sugars do you think were actually requested for the full coffee order pictured to the right? The answer is one sugar and one Splenda. How many sugars and Splendas did I actually get? I don't know, I didn't stop to count as I quickly grabbed two fist fulls. The next time I go to get coffee and forget to grab sugar I won't have to worry because I have a giant bowl full of them sitting right next to our French Press, (and in my purse, in my backpack, under my phone... I find these things everywhere!). Even if the person who likes to make their coffee taste like cotton candy used the last 20 packets, I have a stock pile ready to go in a drawer in case of an emergency. Problem solved.

 I Said Burrr, [clap clap], It's Cold In Here!

Nobody likes to hold scalding hot beverages and, similarly, nobody wants to get frostbite from an Ice Blended Mocha. It's always a nice thought to put one of those cardboard cozies on all your drinks, not just the hot ones. You may say it's a waste, but I say it's better to throw away the cozie than your career when an executive starts going on and on about how hot her drink is and how she can't hold it. Okay, well, they probably won't fire you or even say that out loud, but it's best to keep everyone comfortable and stay one step ahead of the game, right? And if you really don't want to waste all that paper feel free to retrieve them from the recycling bin and make a paper chain for your Christmas tree. (Or just store them next to your sugar for the next time.)

Look Ma, One Hand! (And my point)

Going on a coffee run might not seem like rocket science to you, and you are probably wondering how on earth learning the intricacies of my obsessive compulsiveness is going to help you get a job. Remember how I started out this article trying to think of wonderful glamorous things I can teach you about the complex world of the film industry? Well it all starts here, at the bottom. 99% of your face time with producers, directors and people you aspire to be is going to be when you do menial things like hand them their coffee or take their lunch order. If you mess that up it might not seem like a big deal to you, but think about it-- that's the ONLY time they see you and they are just going to assume that you handle everything the same way you handle their lunch. You may know that you spent four years working your butt off at an expensive college and you are poised to become the next Tarantino, but as far as they're concerned, you're the the kid who spilled their Venti Half Caf Tripple Mocha Latte Macchiato all over the lid and now they can't even touch it for the next 15 minutes because you didn't use an insulation sleeve.

I'm urging you to really think about everything you do and take pride in it even if you think it's beneath you, because it's really not. The director you are handing coffee to once handed coffee to someone else, and when that person was beginning their career they delivered food and ordered office supplies, just like you're doing now. You weren't the first person who was totally overqualified to take a coffee order, and you won't be the last. Try and keep that in mind, and when somebody hands you a coffee one day remember it wasn't so long ago you were in their shoes. Sugar with that?


Hey... just what does the title of this article mean anyway?

Interview With Brennan Parks

Brennan Parks: Short Film Director. Post Production Coordinator. Friend I roped into an interview.

I was really excited to interview Brennan because he just recently made the transition from being a Post Production Assistant on season 1 of HBO's "Hung", to being their Post Production Coordinator on season 2. For those of you who aren't sure what the difference is, a Post PA drives around town delivering important things on runs (i.e. sits in traffic dictating their next screenplay into their smart-phone), copies and distributes the dailies, and perhaps most importantly-- keeps everyone in the office fed and caffeinated. The Post Production Coordinator gets to tell the PA(s) what to do. Well, they also coordinate the logistics of the editorial office, such as scheduling ADR sessions, and spearhead the creation and distribution of deliverables, but I like to focus on the part where you get to boss people around. "How do you get to do that?" I wondered. Let's hear it from a man who knows.

CRC: Congratulations on your new job!

BP: Thank you very much!

CRC: Let's go back to the beginning. You came here from Chicago... You were working there?

BP: I was, I was in theater in Chicago.

CRC: What made you decide to move to Los Angeles and end up on the path that you're on?

BP: I wanted to direct film and TV, and there's not a lot of that in Chicago. I had lived in LA before and I sort of knew the lay of the land. I wanted to apply the skills I had been using and learning for theater in film and television.

CRC: Do you think that background has indeed helped you?


BP: I think so, I think I learned a lot of skills; certain types of leadership skills and work ethic for everything. Also, I'm older now so I've gained more perspective on things.

CRC: You recently made a short film. I'm going to go out on a limb here and assume you had limited resources. Can you tell me what some of your obstacles were and how you managed to overcome them?

BP: Limited money is always an obstacle-- I just had to keep pushing and keep asking for people and things.  The more people you know in more specialty fields, the better off you are.  I knew people in post-production, but as far as production/camera- we had to go out and meet and interview people - which was a bit scary diving in.
CRC: Getting promoted from a PA to a Post Coordinator is a big step and I'd like to hear your story about how you got there.

BP: About a year and a half ago I started temping at HBO and I happened upon the desk of the VP of post production for a few months because her usual assistant was on maternity leave. While I was at her desk I found out that I really like post production and so when that came to an end I had met various people who had worked on shows-- post producers. I met them for coffee, let them know I was available for work, and eventually I got a job half way through the season of In Treatment Season 2. A couple of the people I had met with had paid off because then when they were looking for a PA they gave me a call. And so from there when I was finishing [work on In Treatment], another person I had met with was looking for a PA mid-season on Hung Season 1. So I went over there and got that job, and then I continued with that producer. He gave my resume to the producer on Big Love and I did a full season of PA work on Big Love Season 4. When that came to an end, the associate producer I had worked with on Hung and Big Love was going on to be producer for Hung Season 2, and he asked me if I wanted to step up and be a Post Coordinator, and I said yes.

CRC: Full circle... I'm liking it. So the same people kept bringing you from one show to another to another.

BP: Yes, things just fell into place.

CRC: As someone who was just starting out in the industry, what do you think your best attribute was as far as work ethic?


BP: I was just willing to do what ever was asked of me on a moment's whim and not complain about it and not put up a fight. It's not like you should be willing to do absolutely anything that's degrading necessarily, but what ever it takes to get the job done, for the show to run as best as possible, you should try and fill in that gap.

CRC: Has anybody ever given you any advice in particular that you've taken and run with? Any tips a wiser, older person has bestowed upon you?

BP: Probably, but it's hard to say. It's an accumulation of things people have said and things I've worked out for myself I suppose. You don't know where you're going to get your breaks, so when you're presented with them sometimes you should go with them and see where they take you and don't rule out-- don't think you're not going to get somewhere you want to go just because this first step that's offered to you isn't exactly what you think it's going to be or exactly turn into the ultimate position you want. You never know how things will lead and if you just navigate yourself toward your goal no matter what you do you're going to get there. You can use what ever you get along the way to help you get there.

CRC: Anything you want to tell future generations of Steven Spielbergs and Kathryn Bigelows? Words of warning perhaps?

BP: Just keep at it.  Allow for periods of feeling like you're doing nothing-- but keep your eye on your goals.  Think of everything as steps toward your plan/goals.

Using the Internet to Find a Job

You've packed your car, said a tearful good bye to your dog, casually waved to your parents, got in your car and drove 3,000 miles with your bff to get here. Congratulations! You've made it to Los Angeles.

Fast forward three months-- your mom just called and says she's not sending you any more money to loaf around and visit the Getty. Sight seeing is over with son, it's time to find a job! Panic sets in. What do you do? Where do you start? Lucky for you there's this awesome new thing called the Internet. In fact, you might have done a quick google search for "how to start out in the film industry" just to get to this page. If so, you've completed the first step. Good job! Now dust the cobwebs off your resume and start leafleting them around town, (digitally, of course.) Here are some good places to start:

Craigslist:
I might as well put this category first, because we all know that's the first place you're going to look anyway. I have known people who have landed excellent jobs from the "tv/film/video" section, myself included, but a word of warning: A lot of jobs listed on there are people trying to get you to work on their personal projects for free, (see blog posting "Should I Work For Free?"). Feel free to correspond with these folks and even take a meeting or interview in a public place, but if your gut feeling tells you it's a waste of time, it probably is.
Link to Craigslist

Mandy.com:
Mandy is great because it tells your right up front who the hiring company is, the exact job position you are applying for, when it starts, how long it lasts, and if they're going to pay you or not. It's like Craigslist's professional and detail-oriented aunt. Aunt Mandy.
Link to Mandy

EntertainmentCareers.net:
Entertainment Careers is like Aunt Mandy on a low carb diet. Sure there are a few good jobs listed, but you don't get the information up front that Mandy gives you, such as when the position starts, and how long it's for. Tip: When you get to the job listings, make sure you click on "state" or "city" to organize the list by location. Otherwise you might end up applying for the perfect job... in Duluth.
Link to Entertainment Careers

Studio Websites:
I love working on studio lots. Small boutique production companies with offices above Tiffany & Co. in Beverly Hills are cool, but nothing beats a lot. You're surrounded by producers, actors, grips, electricians, editors, interns, PA's, executives, actors, set construction workers, animal trainers, and so many other people with really cool jobs. It's easy to make friends with the folks on a lot, since you're on the lot too they know you're also cool and awesome. I have a friend who works as a Page on the Paramount lot and she gets to meet the coolest people every single day while giving tours and preforms a wide variety of tasks from day to day. An entry level studio job is a great way to get your foot in the door and meet a lot of people. I would especially recommend it if you still aren't quite sure what you want to be when you grow up, because there are so many opportunities available there. Trouble is, everyone knows this, so print your resume on extra crisp paper and wear good shoes to your interview! 10,000 other people are standing in line behind you for the job, and they are just as qualified.
Paramount Sony Warner Brothers Disney Sunset/Gower NBC Universal

The Facebook Group called "Production Notices":
This is very new to me, but seems cool, hip and helpful. If you're a member of facebook, that is. I've never applied for a job on here myself, but I have referred several friends to their page. They seem to have legitimate paying jobs, and as you can see from their photo albums they have some fun too. I'd call this a great place to observe, network, and apply.
Link to Production Notices

The Facebook Group called "Post Production Networking":
Love anything touched by Walter Murch? Well if you know who he is, this group is for you. I'll let them speak for themselves; it's "...a networking tool for all of us who work in or want to get back into post production for film and television." List yourself as available on a discussion thread or snag a job posted on the wall. Many of my friends are in this group and it comes highly recommended.
Link to Post Production Networking

SummerInternships.com:
Are you a trust fund baby? Perhaps you are the heir to a multinational condiments company. If daddy doesn't want to give you a job or you just want to see what doing your own laundry is like, how about a paid internship program? No, they don't pay you, you pay THEM! The New York Times did an article on The University of Dreams, and writes, "The program advertises a guaranteed internship placement, eight weeks of summer housing, five meals a week, seminars and tours around New York City for $7,999. It has a full-time staff of 45, and says it placed 1,600 student interns in 13 cities around the world this year, charging up to $9,450 for a program in London and as little as $5,499 in Costa Rica." Not sure which major organ you'd have to donate to get a job in LA, but they also forgot to mention there's a $10 application fee just to apply. If you are living the high life or happen to to have won the lottery recently, this actually might be a great move for you. They place you in hard to obtain internships or assistant level positions, you have room and board, and you'll be strategically placed to make some great connections. Honestly, if I had $8,000 laying around when I was 19 I'd probably look into it. Make sure you visit their eligibility page before freeing up your summer schedule.
Link to The University of Dreams
Link to the full NYTimes Article

UTA Job List:
The UTA, otherwise known as the United Talent Agency, weekly distributes a lengthy list of jobs and internships. I used to think you had to be part of a secret society with a code word and a retinal scan in order to get a hold of this list. However, I just googled it and found an excellent, up to date link to this awesome resource. While some jobs listed are detailed and others are vague, you can rest assured knowing they are all legitimate.
Link to UTA Job List

UTA Internship Program:
This is a 10 week program for college students; the poor ones who just want to work for free without having to pay to do so. Applications can be sent in Jan. 1st - March 15th each year, so you better hurry!
Link to the UTA Internship Program

LA411 & The Creative Handbook:
These sites provide lists of thousands and thousands of companies in Los Angeles. You can search broadly by categories such as "post production" and "camera and sound equipment", or you can get more specific with categories like "animals & trainers" and "tape storage". Basically it's a big list of names, address and phone numbers to people who already do what you dream of. Call a company up! Ask to speak to the HR department or for information on where you can send your resume. Use these sites to research a company. Say you want to be a world-renowned trailer editor but you don't know anyone who can help you do that. Go to the "Ad Agencies & Production Co's" link on LA411, scroll down to "Trailer Production Companies", and start calling. Don't get frustrated after a few unhelpful folks, they're a dime a dozen. If asking to send in your resume leads from dead end to dead end, try changing up your strategy. Ask if you can come in and look around for five minutes, or get a tour. Look up their website first, many are linked right from their info page, and get a lay of the land before you call in. If all else fails, use LA411 and Creative Handbook to get yourself educated on the industry.
Links to LA411 & Creative Handbook

Variety & Hollywood Reporter:
Ah, the infamous Trades. People tell you that you should read them, and you should. (Why? Stay tuned for future posting: "The Trades.") Both sites have links to job listings, and both are excellent resources for figuring out what the heck you're doing here.
Link to Variety
Link to Hollywood Reporter


This is a growing list I'll certainly be adding to as I hear of more resources. Do you have any favorites? Let me know! I'll post them for others to check out.