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.

Interview With Conor O'Neill, Editor

Not many people can say they went from being a post production assistant to editing a film that went to Sundance in one year. Conor O'Neill can. His repertoire includes Word Wars, Murderball, Air Guitar Nation and Capitalism: A Love Story. He is currently editing Love Don't Let Me Down, which stars Gwyneth Paltrow and is due for release in 2010.

Conor and I sat down for lunch the other day, and between bites he told me his story.

CRC: How long have you known you wanted to be in the film industry?

CO'N: I've always loved movies, but I didn't really grow up thinking I was going work in the movie business. Even though I grew up in LA and this is the "movie town," my parents didn't work in the industry or anything and I didn't have a lot of friends who were in it. It wasn't until after college and I was playing music which didn't really work out, I had to figure out something else to do.

CRC: What was the very first step you took, after you made the decision that you wanted to be involved in film?

CO'N: It wasn't so much film or movies, it was editing. About 10 years ago it was my dad's 60th birthday and I made a video with my step mom for his party. I interviewed a bunch of his friends and got a bunch of old footage and made this video for him. While I was editing it, (just on my Macintosh computer back then, or what ever it was... iMovie I guess,) I realized that it was a very creative thing, and time would fly by and I'd be sort of in this creative zone where I wouldn't notice time going by. I sort of had a "eureka" moment where I was like, "oh, this is a cool thing and people actually get paid to do this." And that was the thing that got me into editing.

CRC: It sounds like you were out of college by the time this all happened.

CO'N: Yeah, I was 30.

CRC: So it's not like you needed your parents' support or anything to make a lifestyle change, you just went for it. What next?

CO'N: Then what I did was I went to LA Film School, where they offer a 3 day Avid class. You just basically learn how to use the Avid. I was an Art major in school, painting, etc.. The things I was interested in were all things you need another job in order to do. Like artsy shit, you know, where very few people earn a living painting or writing songs. I realized that maybe editing was something a little more creative you can actually do and it's not unrealistic to think you can earn a living doing it. So I was at a crossroads: Do I want to go to school and pay a ton of money to learn how to do this? Or would I rather try to use some connections that I had living in Los Angeles to get a job somewhere; an entry level job, where I could get paid to learn how to do it. To me the math was pretty simple. Rather than going to AFI or one of these places, I took a 3 day Avid class, it cost $2,000, and I put it on a credit card. We learned the basics of Avid, and it was very concentrated on learning the assisting elements of being on the Avid, which I knew was going to be the sort of job I was looking for. I did that, and then I got a job as an editorial PA on a film, an MGM comedy called "A Guy Thing."

CRC: Have you ever had any second thoughts about not going to film school? Would you recommend your decision to others?

CO'N: I would recommend my decision to other people; it's just economics. For me, I was 30 years old, I was already in some debt, I didn't see the wisdom in spending another 80 grand or what ever it costs to go to film school to learn something when I could learn it and earn a living at it. I knew a guy who was an editor who just started out of college in a vault at a commercial place, and now he had his own company editing commercials and making a really good living.

When I was working on that job at MGM as a PA, I met a guy who had a trailer for a documentary he was making about Scrabble players and competitive Scrabble. I knew I wanted to be an editor and I needed stuff to cut so I told him, "hey, if you ever need someone to cut some stuff together for you I'd love to do it for free, just to be practicing." So he gave me a drive of some stuff and I cut some sequences together and he liked them. One thing led to another and I ended up editing the film, and it was a documentary called "Word Wars." It went to Sundance, came out in theaters, and all of a sudden I was a documentary editor. So it didn't take that long, the key was being willing to do stuff for free and put yourself out there.

CRC: Another blog entry I have is on how to pick the projects you work on for free, because I think that's very important.

CO'N: Very important.

CRC: Yes, you don't just want to work on "Joe Schmoe's Waste Of Time" for free, but yet I had a 2nd full time job that I worked for free for two months because of what the project was and who it was for.

CO'N: I'd just say go with what interests you. I was lucky a guy came to me with something that I thought it was interesting, where someone else might not have.

CRC: Is there any advice that you would give people who are just coming to Hollywood for the first time, with no contacts, no job lined up or anything? Maybe someone just says one day, "I want to be a famous director and I'm leaving for Hollywood today! Now what?"

CO'N: Well they should have a camera in their car as they're driving across the country, and just start filming stuff. Hopefully they will be fortunate enough to run across something interesting and then edit it together.

CRC: So what you're saying is just do your craft.

CO'N: Yes, definitely. Just start doing it. It seems as though most of the directors that I like, that's what they say. It's like what they say with actors: If anyone says they want to be an actor, I say the only reason to be an actor is if you absolutely, positively, no way in hell could ever see yourself doing anything other than act.

CRC: Is there any advice anyone has ever given that has seemed to help you?

CO'N: The best advice is the Bette Davis advice. You know that story?

CRC: No, I don't.

CO'N: Bette Davis was at some cocktail party when she was a big star and some young actress came up to her who had just moved to town. She went up to her and said, "Oh, Ms. Davis, I'm such a huge fan of yours, I'm just wondering if there's anything, any advice you can give me, anything at all you could tell me that could help me as I start off my career here in Hollywood." And Bette Davis looked at her, took a big drag on her cigarette and said, "Yes dear..... take Fountain."

CRC: Ha! So... is there any street that you prefer over the others? Olympic? Venice perhaps?

CO'N: Gotta take the freeway.

Conor O'Neill lives in Malibu with his dog Chopper, and for all of you newcomers to Hollywood-- he takes the PCH to work.