Getting onto a Hollywood set?

[fkick]

Hi all,

For the past few years (as I finished college and then for a year afterwards) I've been producing/directing independent television episodes and short films in the midwest. I recently moved out to LA looking to break into the industry out here, but I'm having trouble getting a position.

Now, I know I'll probably have to start at the bottom and I have no problem making coffee runs etc as an assistant (I'll treat it like everything else, a learning experience), but I was wondering if anyone had any suggestions for actually getting on a crew or becoming a director/producer assistant or PA out here. Or if I should simply just try to find an agent? I've been using websites like mandy.com and entertainmentcareers, but so far no luck.

Thanks in advance.
Derek
http://www.imdb.com/name/nm2991153/

 

[Kim Welch]

are you a member of our network

are you a member of our network

come to our workshops and network. sign up for the networking section. many of our workshop attendeez make conections at the workshops or online. join our network and network. http://networking.studentfilmmakersforums.com

 

[jodymichelle]

come join our network and workshop events

come join our network and workshop events

This is true. Here's an example. We had a workshop a few years ago, and one of the attendees used the workshop as a continuing education component and resource, but also used it as a major networking opportunity. After serious networking at the workshop, this aspiring cinematographer was able to get a mentorship which led to experience learning on a real set, which led to getting real jobs and meaningful work in the industry, which led to... this person won an Emmy-award shortly after. It was the serious networking that got the person's foot in the door, which opened better opportunities- and then the person followed through by working really hard and doing what they do best and "delivering".

Having the talents and skills, continuously adding to your skillset and expertise, practicing your craft and your art, and getting better at delivering and executing - that's just part of the challenge in any career path in any industry - and a big challenge. The other part is (but not limited to) knowing how to make your networking opportunities work for you and then doing the work, or trying different things and doing the work, and follow up, follow up, follow up... Possibly an even bigger challenge for some?

And so, we try to make it easier for you to network- by having our networking site free for you to use, and by having workshops where people can both learn and network.

Dudes, I apologize if this sounds like a shameless plug. Just speaking from the heart, but anyway, I really have no shame for talking about what I strongly believe in. And I believe it's an awesome networking tool for you. (And it's free!)

Here ya go, sign up here:
http://networking.studentfilmmakersforums.com/

 

[temerson]

Or you could just Speilberg it. He showed up at the studio and tried to get in (literally, tried to get on the lot). Security threw him out.

He watched all the guys that the security guard at the gate let through. They were all clean-cut and wearing charcoal grey Brooks Bros. suits.

Speilberg got a haircut. He bought a Brooks Bros. suit. Security didn't look at him twice when he went in.

He walked around the lot. Found an empty office. Set up shop. Began going from set to set and networking on the set. People thought he was a Young Turk, the newest hot young producer, the "go to" guy. Nobody knew.

Fast forward six months. Speilberg's office is laden with memorabilia, autographed posters, scripts on the desk, and project and budget assessments on shelves. The head of studio finance comes into his office, embarrassed because she knows that this is "the guy."

Apparently, the studio has no record of the past several months for him getting paid. How, she does not understand, because he is obviously a big wig at the studio.

Speilberg fesses up.

Studio head asks to see him.

Studio head tells Speilberg that the kid has "chutzpah." Hires him. Tells him to go make "Jaws."

The rest is cinematic history.

(Wow! That's not a bad beat sheet when I look at it!)