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hollywood

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What’s the play?

There be two.

Numero uno – wait. Wait till you’ve put the finishing touches on your portfolio, spit-polished pitches to crossfire, getting caught up in the BING BANG BOOM, trying to send tingles a-shuddering down spines. Wait till you can show the Masters of the Universe you’re serious about the craft, not no East Coast blow-in blow hard moonlighting through the Denny’s managerial fast track as of two weeks ago, before scribbling THE END on a senior year creative writing thesis, convinced you’re holding Wonka’s Golden Ticket.

If you’re no blow-in, if you made the move to stand toe-to-toe with everyone else in this endeavor, you’re treated with an iota more seriousness. Except seven minutes into the hustle, and the temptation to wait will strike you harder than a Mike Tyson’s Punch-Out! punch-out. You got the first person POV of the cliché: who you know matters more than how good you are.

Because everyone’s saying – no one’s buying.

Because everyone’s saying – there are no jobs.

Because – no baby writer can get a meeting or make a wave – not without the gravitational pull of a star from afar: the phone call from an uncle or cousin, the referral of a family friend.

That first person POV is filled with slush, garbage and shod from coast to coast, peripheral to peripheral.  Without the referral, don’t matter how brilliant the concept or how wonderfully tight the story, it’s just more sludge clogging up the system. So you wait. Till you’ve built your own following, till your reputation precedes yourself, till you’ve paid your dues and the people who matter know you’re the Real Deal.

Plenty of reasons to wait. All of them good.

Opportunity costs are expensive. Every tick tock wasted on writing queries that won’t get read, or setting up meetings that get pushed, is time spent not making cash monies or time not spent working on the next script. It’s not enough to be a worker – everyone’s a worker, and everyone’s got access to the same 24 hours you do. But who’s working smarter? Who’s investing their 19-hour day in the right basket? Without the referral, is it a waste of time trying to get past the gatekeepers?

Maybe.

But isn’t that their job? That’s why these assistants get paid their $10 per hour plus daily bonuses or ridicule and abuse, yes? And why the interns eek out a living on just the latter? They call ‘em gatekeepers, so give them something to keep. Like Elizabeth Gilbert said:

“I often hear people say, ‘I’m not good enough yet to be published.’ That’s quite possible. Probable, even. All I’m saying is: Let someone else decide that. Magazines, editors, agents – they all employ young people making $22,000 a year whose job it is to read through piles of manuscripts and send you back letters telling you that you aren’t good enough yet: LET THEM DO IT.”

Shell out on the opportunity cost to chase the lucky break. Sinking 20 hours into queries that produce squat, yes, that’s 20 hours you’ll never get back. But it’s not like you’re thumb twirling between those 20 hours, staking out the USPS for the rejection letter. You’re still working, still creating, still hustling – point being: go after the big score, but keep notching the small victories.

So GO. Don’t wait. Hustle. Make your own luck and create your own contacts. This means taking some long shots, doing things people say don’t produce results. Remember, they don’t know; nobody knows what works. No one can predict the next hit. The only way you can guarantee it’s not you is by never getting in the mix.

Have a methodology to GO. Target, individualize, meet people in person if you can; doesn’t matter how good a writer you are, it’s difficult for personality to shine through an e-mail. Do not prematurely burn a contact by asking for a favor – not until you’ve earned the right to do so. Target, target, target; don’t waste anyone’s time by sending over something that’s out in left field for them, or less than your best. Do your homework – which is more than a good log-line and a Google search of whom you’re meeting. As a manager said, “it’s not just knowing the pitches. It’s knowing the stories backwards and forwards, never missing a beat. It’s knowing the subtext beneath the stories, the motives behind the characters. It’s knowing everything and having the polish to communicate it in the simplest, clearest way possible.”

That’s the play after finishing the script.

Go. Do your homework. Take the long shot – and keep hustling amidst it all.

Photo Credit: aidan morgan

There’s this scene in the flick, Social Network. Two score, seven more bodies circled ‘round five computers and a bottle of whiskey. The dry erase board squishes uncomfortably against the wall. Music blares. Students cheer. In the epicenter, five students write code to break into a security system. That’s fifty fingers — count ‘em! — flying through keyboard strokes; ten individual eyeballs absorbing data at a pace that makes Hoffman’s Rainman look like Special Ed; five shots of amber elixir slammed down throats every seven seconds the bell goes BRING BRING BRINGING. These mad geniuses pound away, hacking to see who hacks it amongst Mark Zuckerberg’s band of merry.

At a distance, Zuckerberg and business partner, Eduardo Salverin, observe the spectacle. Neither knows it, but it’s the beginning of the end. Zuckerberg’s assembling the West Coast Crew, his A-Team; he’s surrounding himself with very own Justice League or Teen Titans or Planeteers and he’s not even trying to save the world or take pollution down to zero. He just wants to be your Friend.

So he gathers his squad of geeks and programmers, all who’ll pursue this passion with what some might call fervor, others call obsession. And Salverin, he’s already opted out of this leg of the gravy train. He believes in the product as much as anyone else, but his dedication is back at stage 1-02 while the Z-Boys polish their plungers and comb their mustaches, readying to storm King Koopa’s castle

Zuckerberg knew it. That Salverin didn’t have the “stand-to-lose-everything, win-at-all-costs” drive. The only thing Salverin offered the partnership was “balance” – sound advice, hedged bets and proportionate responses – everything Zuckerberg didn’t want or need. Zuckerberg wanted focus. He wanted to surround himself with like-minded individuals, all with sights on the same goal, all sharing the attitude to get it done.

Not easy. Not easy to have this foresight. Not with the rhetoric of balance bouncing around like a Plinko chip, preached by everyone and their baby’s momma. Balanced diet, balanced portfolio, work-life balance… advice that probably works for 98 percent of the population. But for the two percent who want to change an established order, determined to win against the house when the deck is stacked clear to the cumulus nimbus, dividing eggs is a waste of protein.

Benjamin Graham said it best: “Don’t diversify. Don’t put your eggs in different baskets. Put all your eggs in one basket.

Then watch that basket like a hawk.”

When odds be long and time short, balance beams and juggling acts don’t impress no one. Balance leads to great stories of how someone once took their shot and missed. Focus, immersing yourself in passion and passionate people, leads to others telling your story for you.

Photo Credit: bitstop2003

All the writers coming in have a certain image, Eric said.

Break it down for me.

He broke it down: hippie-indie-scenester. White, early-30’s. Clean cut intellectuals in square frame glasses. Drink orders come in two varietals: water and tea – as if ordering anything else would be faux pas. Nobody orders coffee, despite the likelihood they guzzle it by the gallon on their ownsome.

Armed with this nugget, how do you cash it in? How do you use this information? Is image another tool in a writer’s arsenal, clanging and jangling in different timbres against the hammering rat-tat-tat of alliteration or sliding rule of simile? By its nature, the writer’s contribution is relegated to the cutting room floor. In any media or production, writing happens in the shadow, behind the spotlight. The writer’s image won’t make it to the final product, or be part of its brand.  So will image play a role in a writer’s career?

In a perfect world – no. In a perfect world, any person in any field would be judged solely upon their work. The quality they produce would be the only factor propelling them forward, and lack thereof what holds them back.

But The Perfect World be pop: nil.

Dozens of factors come out to play in determining a person’s long-term success. Personality. Timing. The ability to schmooze and network and play the game. Politics, conscious and unconscious biases of those reigning from the echelons above. In each factor, everyone stands to gain a little and lose a little. Image is no exception.

If in 95 percent of an executive’s career, the writers they encounter all slot neatly into the same round hole, the edge lies with being the square peg. They are the crucial outliers – the people standing out who stand a chance amongst clutter.

There’s no “right” image to achieve, no magic bullet to stand out in a positive way. It should be organic, coming directly from the heart, and as much a part of the person as hair color, bust size, and talent.

It’s peacocking minus the cock. Aiming for contradictory is a good start – contradictions naturally attract attention.  What’s initially seen as an abnormality can be the springboard bumping you to a higher level of success because of the attention the abnormality garners: the white rapper, the black golfer, the Chinese basketball player, the writer moonlighting as a stripper.

Of course, there’s zero substitute for talent. For constantly and consistently producing quality in an environment of talented people. You must have the goods. You gotta have chops. You must work on the other components of the package: personality, likability, charm, before even thinking about how you’re going to out-image the hippie-indie-scenesters. Coupling the package with a distinct image is only a gambit, but one that offers an edge in a competitive field where you must seize every advantage you can.

A writer’s image won’t make it to the final product. But it can determine if the product makes it to the finals.

Photo Credit: John Jackson

You see yourself a mover/shaker? You going to be lining up deals and inking contracts? Then get used to waiting. Your life isn’t a half-hour scripted series – no roll credits, scroll to next episode, cue theme music, and bingo-bango! the deal be done, chico, and you’re skipping to the bank.

Two ways to attack the waiting period. The first is with your ego on a pedestal: how dare they make me wait? Don’t they know who I am? Well, I’m nobody, but it’s still rude.

Or –

How could they make me wait this long? Didn’t they see my qualifications? Didn’t they whiff the desperation I be reeking?

Or –

Replay the entire interview like a TiVo’ed Lifetime movie you can’t delete: did I say the right things? Did they misinterpret my words? Did I offend someone?

Method deuce: go in with no ego.

See it isn’t about you – a difficult concept for those who wear their interviewing ability like a merit badge, tallying their flawless interview-to-job-offer stats like notches on a bedpost. A sign clear like crystal that their reach never exceeded their grasp.

Not nobody interviews you to advance your career. The interview is about advancing the best interests of the company. Whether you’re that person or not isn’t a reflection on you.

Wait – backtrack, flip that: if their decision makes you feel more or less whole, then you’re already missing a piece no job or salary can fill.

Not to say you should be delighted to get passed on. “Show me a happy loser, I’ll show you someone with a short-lived Hollywood career.

But get the job, don’t get the job – says nada about a person’s character.

The only thing that says anything is this: how do you spend that time waiting? The world doesn’t pause while waiting on this one, this miniscule deal, this microcosm of a negotiation in the big picture of things. You got to be stirring other pots, simmering sauces and catching whiffs. Because with several pots cooking, why sweat the buns in the oven? – they’ll rise in their own time. In the long-run game, that’s how you earn maximum bonus.

Then if you get an offer, super-duper. Put pots on the back burner.

If you don’t, battling ego is a 24-7. There be no ceasefires, friend.  So easy, to take it personally. Sulk into the office with a chip on your shoulder that’d have Atlas asking you for tips. Stop giving your best, stop anticipating the needs of others. Hey, they passed on you, right? So screw them. Start looking for another opportunity elsewhere, because you know this isn’t the source.

Or…

You let it go. Harder than it looks. But you do it anyway – keep doing what got you noticed in the first place. No, scratch that – do it better. Every time your goddamn contagiously cheerful mug waltzes by, every time their new hire messes up, make them ask themselves: “Did we make a mistake?”

In the meantime, keep them pots a-stirring.

Photo Credit: 30miller

Jeff sat. He was new blood. A transplant. Like a minted quarter, shiny and uncirculated and fresh to death.

Seated around him, three individuals who arrived a month previous. All whom sang the song and danced the dance required to get established in this town.  He had every opportunity to pop questions, to mine for nuggets that’d make his transition easier. Finding even one morsel would make the effort worthwhile. Competition’s fierce, and that one byte of data might separate him from permanent resident status or a return ticket in three months with nothing but a story.

And he squandered the op. Instead, he talked. He shared his glorious triumphs, scheduling appointments from a league away, blowing in with the wind and blowing the hair back on his interviewers for his unpaid internship. He glowered about the bigger fish to come.

If you’ve heard “Los Angeles is a lonely city,” that’s why. Many people talk. Few listen.

The interaction, where one person opens their mouth, sound comes out, then the other person gets their chance, often isn’t dialogue around here. They’re two separate conversations, tangentially related. No interplay; just moments of waiting for the person to breathe or pass out, so the other person knows it’s their turn.

Does the entertainment business attract people like this? Or does it bring out this quality in them? Everyone’s looking to make it, on their own dime, sweat, tears – smart, brave souls, most – and that pursuit engages most of their energies. Their hustle consumes every morsel of attention. Any conversation not about them or their feats or their struggle is of no interest.  Their attention wanes in the time a youtube video buffers. Eyes glaze in the 20 seconds post posing an obligatory question.

In the trenches of this environment, a battle rages. It’s a war of soul, an internal conflict when you wake up every morning. The battle is reminding yourself to be sympathetic and kind. To be human. To remember when it’s all over, all anyone has is what they gave back to the world.

Most days, it’s a losing battle. Platitudes and sage words don’t advance careers. They don’t pay rent.  They don’t take away the loneliness.

How long can you look out for others who aren’t looking out for you?

How do you work hard and honest when most would take any edge you give them?

Offer up your soul and they’ll dump on it. Eventually, you get tired of cleaning shit up.

Seen one way, it’s a travesty to acknowledge you’ll walk away from this town jaded.

Seen another way, it’s an opportunity. An opportunity to stand out by being the person who listens, the person who looks out for others as much as he looks out for himself.

First thought that comes to mind is “it can’t be done.” This is a business built on relationships, but it’s also built on smoke and mirrors, on nepotism, and big deals brokered and broken in old boy’s clubs. And trying to rise against that with, what – kindness? heart? – is an act of madness.

Except this is a town where game changers also emerge from the mist. Not in the same abundance as the people who don’t listen, but they’re present. People who were told “you can’t do that,” or “nobody does that,” and do it anyway, because they believed in something more than their own personal advancement. Because they saw an opportunity the rest of the cogs were too busy churning to notice.

Of course, it’s hard to be one of these people. A game changer.

Why else would so few do it?

Photo Credit: thesohnzone

“You can’t be an assistant and a writer,” Teddy said.

Why?

“None of the assistants at the agency want to be actors or writers,” Teddy said. “They wouldn’t have time to do both. It’s just not done.”

He forgot. That every day in Los Angeles was another day someone back home said wouldn’t be done. He forgot how many friends wished us good luck (zippo,) how many thought this was a pipe dream we’d never execute (∞.)

Leaving home, leaving behind the foundation of a career, family and friends to live in a city with no home, no job, and no contacts, that’s “not done,” either. But we did it.  What we’re doing here – trying to make it in Hollywood – is something most people consider can’t be done. It’s something, for the great majority of people, won’t ever happen.

Yet those people still arrive in droves every year.

Us included. Here we are.

He lost sight of this.

Intern for any company or agency. You see the number of scripts in this game. You realize why it’s so difficult for any good script – any great script – to get noticed. As Eric says, “All the bad scripts are clogging up the system.” The WGA registers tens of thousands of scripts a year – and around 500 films are released a year in the states.

It’s completely improbable for anyone to write one of those 500 movies. That doesn’t stop them from getting up every morning and chugging out word counts, editing, and studying scripts. Relative to this long shot (they’re all long shots) juggling an assistant position and writing doesn’t seem too difficult.

Why can’t it be done? Why can’t you be an assistant and make it as a writer? Not enough time? Means you wouldn’t have enough time. You wouldn’t make the necessary sacrifices.

If it costs a studio $50 million to produce a picture, they’d say it’s impossible to do it for any less. Yet someone like Avi Lerner comes around and makes the same film for $20 film.

Saying something is impossible means they themselves can’t do it. Can and can’t are relative terms.

Teddy said isn’t how it’s done — making it as a creative artist by first being an assistant. That it doesn’t fit the model – what model? There is no model, no guaranteed path, that’s what makes this particular hustle, making it in Hollywood, so hard and so beautiful and so demanding. There are no guarantees, no right or wrong ways.

There are only the people doing it. And the people telling them why they can’t.

Photo Credit: pankie18

Line ‘em up. Knock ‘em down.

It’s one method in the madness. Probably not a good one: sawed-off shotgun, Super-C Spread Gun, see-what-sticks spaghetti-style method. Like Terry Rossio wrote in the essay, Breaking the Ice, however: “Breaking into the film business is not a problem that resolves itself through a single answer or path. It’s a problem that succumbs only to a process, a series of efforts taken over time. And the bitch of it is, you never know which is the right strategy until it pays off.
So you do everything. Whether the odds are with you are not. You do everything.”

Get started by subscribing to the UTA Job List. Copy each listing that sparkles, no matter how remote the twinkle. Create an e-mail template that you’ll tweak after spending a few minutes researching individual companies. Then start blasting off those cover letters and attached resumes, knocking them out like Rocky Balboa and his never-ending string of sequels.

Take educated guesses at the names of the people who will read the cover letter (based on the company website, or the e-mail address.) There’s nothing to lose, so take your poke. Maybe you’ll be wrong. Maybe you won’t be. But even the poorest guess won’t sound more awkward than “To whom it may concern,” or “Dear Sir or Madam.”

Attach your resume, but include it in the e-mail copy, too. Don’t give nobody the chance to give you the lick because of outdated antivirus software. More about the resume: screw chronological order. No one looks at dates, not even a peek. They spend ten seconds glazing over your resume to find something that catches their eye, so help them find it quick.

No need for it to be the most immediate job experience, or one where you learned the most. If it’ll seize their attention, raise you out of the pile of resumes on their desk, put it up top. A position related to what you’re applying for. A company of similar function, size, or reputation. Hell, any recognizable company, with brand name stats.

At this stage, they’re looking for credibility. They want talking points. They want you to take the opportunity to prove you’re no crazy. Make it easy.

Pop off the e-mails. Don’t spend too much time on any one company. It’s a numbers game. Send them then forget them.

While you’re waiting for the next batch of openings from the UTA Job List, use your connections to meet with people. Or try foot leather – waltzing through the company doors, seeing if they’re looking for interns or unpaid help.

Long shots for sure. But everything seems like a long shot, and “you never know which is the right strategy until it pays off.”

Scorecard

Companies applied to: 20

Companies applied on UTA Job List: 18

Interviews through personal contacts: 1

Physical resumes dropped: 3

Days spent looking: 25

Internship position offered: 1

Return to Internships: Part Two – First Interview

Photo Credit: Marc Dennert

He glanced at the resume. Read it aloud, a clear as Ever indication this was time primero he laid eyeball to C.V. ink.

“Shogun Sushi,” mumble mumble, “Rutgers University,” mumble mumble, then stopped. Where they always stopped. Asked what they always asked. “What’d you do for Maxim Magazine?”

Eric offered one takeaway, other than his narrative on the crapshoot that is procuring an internship: “Be clear about what you want to do. The last guy they passed on because he said he didn’t know what he wanted.”

So when he posed his question – what do you want to do in this industry? – he got the straight.

Be a screenwriter. No if’s, and’s, or um’s.

At which point Matt concluded the interview, and offered two-penny thoughts on the best path to becoming a screenwriter, none which involved his internship program.

“I see this internship as a stepping stone for people,” he said. “I don’t want someone who’s going to do this, then take a position for $38,000 a year at Chase Bank or something.” He followed this back-handed back hand with suggestions how a Chase bank teller should go about it.

“Spend a year just focused on your writing, and reading great scripts. You don’t have to be a part of this program to do that.”

Or –

“Take a class on screenwriting at UCLA extension. Learn about the structure – that’s the best way for you to become a screenwriter.”

Or –

“Spend a year working desk at an agency. Learn from the movers and shakers. You’ll spend 80 hours a week there your first year. Probably won’t write much. But you’ll come out with contacts, and with luck, get somebody to represent you.” At which point he realized how contradictory his advice was, and tried fobbing it off with – “you’re well-spoken, you dress well, and you’re a sharp guy. You look like an agency kid to me.”

Mad-Libs are more specific.

Twenty minutes of this. Followed with some standing, a warm smile, and hand shaking hand. All formalities – the interview finished 18 minutes ago. But not nobody wastes your time unless you let him; if the crash ‘n burn looks top gun, best aim for great balls of fire.

Matt, I respect your opinion. I respect everything you just said. But I want to leave no doubt in your mind that I want to be in contention for this internship.

Finally. A genuine smile to replace the smirk. “Then you are.”

Never heard from him again.

Continue to Internships – Part Three: Scorecard

Return to Internships – Part One: Getting an Interview

Photo Credit: Enri Endrian

“It’s rolling the dice,” Eric said, “trying to get an interview for one of these internships.”

On the second day of his internship, his boss presented him a stack of resumes. “He told me, ‘go through these, find five candidates to interview for the last internship spot.’”

“When you’re given 50 resumes and cover letters, and told to get it down to five, you look for any reason to discount someone. That’s how I eliminated the first half: I looked for any reason to not consider them. Typo – gone. Poor formatting – gone.

“One guy, trying to be funny in his cover letter, wrote he was looking for ‘slave labor employment.’ It was cute – he was eliminated. Another girl put a suggestive picture of herself as the background to her resume – gone.

“That got me down to 25 resumes, at which point it’s even more of a crap shoot, not less.” All of the obvious rejects were already sitting in the trash, he explained. With those that remained, how many were likely to jump out as the “right” person for the position?

Very few.

“It came down to my mood, or the little details I noticed in the resumes. ‘Oh, you went to a Big 10 School? Okay, you’re in.’ Or, ‘You went to Texas State? I like your football team, you’ll get interviewed.’ Any insignificant detail can make the candidate stand out, and it’s completely subjective to the person going through the resumes.” Eric shook his head. “Not to mention any subconscious biases or prejudices.

“I chose three resumes and realized they were all girls. And I’m not going to hand my boss five female candidates, so I eliminated the remaining girls from the stack of resumes. Which isn’t fair to them; anyone of them could have been more qualified than the three already picked, but that’s just the way it goes.

“It just makes me realize more that if you want to get somewhere in this industry, you have to know people. Submitting your resume to a database of resumes – like I did before – is fruitless. The people in charge want recommended people; they’re aware what a shot in the dark the hiring process is. If they pick a random, they could wind up with a psycho nobody likes. If they hire based on your recommendation, at least they’re removing the ‘random’ element. Everyone benefits when you hire based on a recommendation.”

Continue to Internships – Part Two: First Interview

Photo Credit: MindField Group