Life After Film School - LAFS Student Blog Entries http://www.foxmoviechannel.com/life_after_film_school/ en Copyright 2010 http://www.sixapart.com/movabletype/ http://www.rssboard.org/rss-specification Behind the Voice The Cleveland Show - a spin-off of Family Guy. And wow, did I ever luck out. He's a voice actor among other career titles such as comedian and writer. Now, I have to confess, I didn't know what Mike Henry looked like in person, but on Cleveland (and Family Guy), he voices the character of Cleveland Brown- the warm, not-so-intimidating, friend of Peter Griffin. Yep, he is that fun-loving neighbor who likes to have fun with his buddies, often being completely irresponsible and even inappropriate. But, he is interesting enough, that he has his own show, family, and friends in a new town within Cleveland. And of course, he is black. Now that might not be such a big deal, but then that is where I have to explain that Mike Henry is white. And that's one of the biggest reasons for the love I have for voice-overs and voice acting. An actor can play anyone, and anything, and you will never even know it. My dream is to one day turn myself into a cartoon and voice away!... Or I could become a cat character.

Either way, you'd never know who I really was just by watching. The possibilities are endless: a talking sponge, a mermaid, a flying toaster, the Taco Bell dog, a family of bears (also in Cleveland), or one of my favorites- that radio guy who does the Miller beer commercials. That's the genius of the voice acting world. In fact, within Cleveland, African-American actor Kevin Michael Richards voices the character of the white redneck Lester, while Mike takes on yet another black character, Rallo- basically a 5-yr-old thug-wanna-be. All I have to say is, if the voice is good, I will go with it.

Marie Burke, Mike Henry, Lauren Slusser and Gabe Hohreiter.jpg 

What I loved about the interview with Mike was that he understood his characters, even developing them out of his own life experience. He was not just doing random voices, but performing characters he spent a lot of time building and creating a history around. And true to his comedic nature, even while answering questions, he was able to jump into at least four different character voices quick and clean. And then there was the table read for next year's Halloween episode...

So, picture this: a room full of about ten actors sitting around a table and then about 40 other people sitting around this table. Actress Sanaa Lathan is sharing a text her mom sent about a double moon that should be coming out that night. Reagan Gomez is chilling with her orange juice. Kevin is at the table in his ball cap that he probably puts on most days. There are a bunch of waters on the table as well of course. Basically, no grandiose make-up and perfect wardrobe, lights, cameras, or actors "getting-into-character." Just people sitting around the table with scripts in hand. Then there are the shows' creators, Richard Appel and Mike at the end of the table. Richard starts the read by speaking the script directions as if we are watching the animated show. Everyone starts jumping in on their lines, and just like magic, those incredible voices come out and we are hearing the whole Cleveland Family, their friends, and others come to life- sometimes multiple characters out of one actors' mouth.

And this is where I saw Mike in full action: Richard reads directions in the script between Rallo and Cleveland. Mike is sitting at the table. Richard stops talking. Mike speaks in Cleveland's voice. Richard speaks a direction about Rallo. Mike speaks in Rallo's voice. Mike as Cleveland... Mike as Rallo. Cleveland yells. Rallo now. Somewhere in there, Mike voices Gus (voiced by David Lynch who is gone today). Rallo. Cleveland. Rallo! Cleveland! And then suddenly Donna breaks in. (Thank goodness Mike can't do this woman's voice so convincingly). Did you keep up?

I was amazed by Mike's switches between all these characters. I think one could seriously lose her mind. So you see, it was a privilege to see/hear such a gifted entertainer and understand what is going on behind the art and animation of a show such as Cleveland. An actor has the ability to be something or use their voice in a way they never could with live action, on stage or in front of the camera. Black, white, animal, inanimate object or a mix of them all. What you see is not necessarily what you get, and with this show, and other shows similar to Mike Henry's animated series, it works!

]]> http://www.foxmoviechannel.com/life_after_film_school/2010/09/behind-the-voice.php http://www.foxmoviechannel.com/life_after_film_school/2010/09/behind-the-voice.php Wed, 01 Sep 2010 18:16:44 +0000 The Real Beginning of MY Life After Film School Life After Film School has been amazing!  I'm interning at Nickelodeon Animation Studios in Burbank, working on the preschool show Dora the Explorer.  My dream has been to work in children's entertainment, and this internship is the start of it coming true!  I'm doing your standard unpaid intern work of burning DVDs, making copies, and data entry, but I also get to sit in on a lot of production meetings and see all the writing, art, and research that go into every show.  I've already learned a ton.  Plus, the people are so nice, welcoming, and creative.  I feel like I'm really going into the right industry!

One of the coolest parts of my "Nickternship" is the opportunity to take classes and have meetings with some of Nickelodeon's top executives and artists.  In these situations, I've gotten to use many of the skills I learned on Life After Film School.  It is always intimidating to meet one-on-one with a super-successful person you admire.  You want to go into that meeting totally prepared and composed, with plenty to talk about.  Working on Life After Film School, where I've gotten to interview big-time directors, I got a lot of practice doing background research and composing interesting questions for them.  I also learned how not to freak out and get flustered when you're in the same room as one of your idols!

These same skills have helped me so much in meeting with executives during my internship.  I walk into the room armed with the knowledge of that person's life story, interests, and every television show or film they've worked on.  I can immediately engage them in something they want to talk about.  And, most importantly, I know that it helps to SMILE.  Thank you, Life After Film School! ]]> http://www.foxmoviechannel.com/life_after_film_school/2010/08/the-real-beginning-of-my-life-after-film-school.php http://www.foxmoviechannel.com/life_after_film_school/2010/08/the-real-beginning-of-my-life-after-film-school.php Mon, 16 Aug 2010 20:31:39 +0000 Strategic Creativity     So what is post-college "film school" ie: the real world like?  First, I'll start with the awesomeness.  You can meet tons of talented, enthusiastic, business-savvy people in the industry.  You get to talk about stories you're super passionate about (sometimes you even get to work on them!)  And you get to learn some of the ins and outs from those around you.  But nothing is ever perfect.  No, it's reality.  And reality isn't perfect, as we all know.  There is a sort of understanding that comes with the new, young writer territory: you have to be very selective about what you choose to write.  Unlike college, you can't just tell your professor your idea and then go home that night and start crafting a possible masterpiece.  Now, post-college, you must run your idea or ideas past your representatives and they have to check if there's anything similar already in the pipeline.  You have to think about "marketability."  If your idea is perceived as nearly impossible to get purchased or produced, you may need to think about possible movie stars who could maybe attach themselves to the project - if the project ever gets to them, that is.  It's a whole new world post-college.  You have to be as practical as you are creative.  You have to think before you act.  Don't get me wrong.  There was a lot of thinking in college.  For screenwriters, it's: character dilemma, character arcs, point of attack, midpoint, second act crisis, and the list goes on.  But now, before one can even get to all that "fun" formulaic stuff - that, of course when written - shouldn't feel like formulaic stuff - one must really ponder and check with one's team if it's even a good idea to pursue a particular story idea.  This may seem disheartening for writers and filmmakers who just live to tell the stories they want to tell, but the truth is, it's just part of the game - a game that contains a few unwritten "rules and regulations" as we may say.  In this case, one must be strategically creative.  At least at this stage.  
    But there is a silver lining.  If given the opportunities to meet with people who may want to work with you, you may come across stories that already exist (in source material or scripts others have written), and the stories may be really great (or you see great potential) and you may have an opportunity to pitch ("audition") to work on them and craft them yourself and make them the stories you live to tell.  In other words, there are opportunities for jobs after college - actual writing gigs that producers and studios could offer you.  In college, there - most often - are not.  So let's recap: College is fantastic because you get to follow your creative bliss wherever it takes you without regard to the "cha-ching!" factor or whatever else is out there.  Post-college is fantastic because there are projects out there that need to be written.  And you may fall in love with them during the process and you may eventually get paid to write them.
    It's been awhile since my last interview for Life After Film School, and yet I still think about the insightful conversations that were had, the very small and very big lessons that were learned, the odd and interesting tidbits that were shared by our guests.  And there's one consistency across the board: although this industry is anything but easy, it's totally like nothing else.  I can concur with that.  And it's only the beginning. ]]> http://www.foxmoviechannel.com/life_after_film_school/2010/08/strategic-creativity.php http://www.foxmoviechannel.com/life_after_film_school/2010/08/strategic-creativity.php Thu, 12 Aug 2010 19:52:26 +0000 I love it when a plan comes together The A-Team, Joe Carnahan.

The Shoot
Being on the set was amazing! I had never been on such a large (yes, to me it was large) set before, so it was exciting to see what goes on behind the scenes of LAFS. It helped that prior to this filming, we were able to go to a previous show and see how things were run. But what I appreciated most was just how smooth things ran and how everyone worked together from the set up to the finish.

Some of the first people I met on set were Stacey and Jessica, and it was great to chat about how they got connected with the show and doing Hair and Make-up. Everything felt more personal than I had expected from picking the wardrobe to practicing the questions with Josh, and like Lauren said, that beautiful Craft Services table (chocolate-covered fruit definitely helps a jittery soul).
 
While I may have started out nervous on my way to the shoot, and while watching another interview beforehand, each person I encountered on the set had a plan and made sure that everyone was on the same page. Lights, sound, cameras, production, the guests... among it all, I felt at ease and couldn't wait to interview Joe!

The Director
The point of LAFS is that as students, we get to interview filmmakers about how they got to where they are now in their careers. On this first show interviewing Joe Carnahan, I realized that while the goal behind the camera is to make sure everything is running smoothly, the best part is getting to talk to the talent who are simply normal people living their dreams in big ways.

LAFS Joe Carnahan with students.jpg  



When Joe walked on set, I wasn't sure what to expect, but from watching some of the clips from one of his very first films, Blood, Guts, Bullets, and Octane, I realized he was probably a pretty hilarious guy who loved to have fun in his work. He turned out to be just that, glad to meet a couple of students and answer their questions. I didn't feel intimidated at all. It seems many times, we can develop ideas of what directors, actors, producers, and writers can be when they get to a certain point. But it's encouraging to know that when you take away all that distance of the camera and the screen, you can have a normal conversation learning about the passions, failures, strengths, goals, and hard work that these artists (many who were in film school themselves).

As an actress, what I was most interested in knowing was how the cast worked together on the set of The A-Team. Joe explained how his vision differed a bit from the 70's TV show that the movie is based off of, and how the main actors (Liam Neeson, Bradley Cooper, Sharlto Copley, and Rampage Jackson) worked together and brought their own qualities to their characters. What especially destroyed any image I may have had of "Mr. Joe Director of Big Fox Feature Film Carnahan," was when he shared about how he tried to make the actors feel comfortable on set even serving as a DJ taking people's song requests. Awesome.
I already love action films, but the interview with Joe Carnahan tuned me in even more to the film, and I can't wait to see it when it comes out. To quote Hannibal, the leader of The A-Team, "I love it when a plan comes together," and it definitely did for this first shoot on the set of Life After Film School! ]]> http://www.foxmoviechannel.com/life_after_film_school/2010/06/i-love-it-when-a-plan-comes-together.php http://www.foxmoviechannel.com/life_after_film_school/2010/06/i-love-it-when-a-plan-comes-together.php Mon, 07 Jun 2010 21:01:54 +0000 Make Friends with Failure Life After Film School episodes this month and it's been an amazing experience!  I interviewed Marmaduke director Tom Dey and Ramona and Beezus director Liz Allen , an exciting but intimidating introduction to the show.
   
I was especially interested in interviewing Tom and Liz because of their work in children's film, which is what I hope to do someday.  I was eager to speak with them about their approach to family-friendly material and how they work with young actors on set.  Most of the short films I've directed at UCLA have starred children, some as young as 8, and I've found that directing kids is a completely different challenge from directing teens and adults.  I've spent a lot of time with children as a babysitter, teacher's assistant, and camp counselor, but on set, where you have to evoke an emotional performance from a young person, the type of interaction is quite different.  I have often felt confused about whether to take on a parental role with child actors, or to treat them like peers.  I asked Liz Allen about how she directed Ramona and Beezus star Joey King, who was 9 during the shoot.  I was happy to hear that they maintained a very playful and affectionate relationship that helped the adult actors feel comfortable playing as well.
   
Tom_Dey_of_MARMADUKE_and_students.jpg






















I also enjoyed learning from Tom Dey how having children of his own has affected his work as a filmmaker.  He can't run scripts by his 3-year-old son just yet, but Tom does try to make movies that his son would like.  I'm sure that a growing family is also an incentive to keep your hours on set reasonable and to try to make more money.
   
Elizabeth_Allen_of_RAMONA_AND_BEEZUS_and_students.jpg






















My favorite lesson that Liz Allen imparted to us during the interview was to make friends with failure.  She advises her students at USC, where she teaches undergrad, to experience at least 10 big failures during the term.  The students share their failures with the class to great applause.  The logic behind this unusual practice is that you should put yourself out there, apply for as many long-shot scholarships and jobs as you can, and though many of those attempts will end in failure, that's how you'll land that one spectacular opportunity.  If you're not getting rejected, you're not aiming high enough.
   
In addition to the chance to meet and talk with these talented directors, I also enjoyed the more mundane aspects of the Life After Film School shoot.  The studio space was really beautiful, and full of shiny, shiny grip equipment that struck awe into a film student like me who's used to rusty, hand-me-down Century-stands.  I was also enamored of the craft service snacks provided on set.  On student sets, you're lucky to get Goldfish crackers and red licorice, but we had yogurt parfaits, freshly baked cheese puffs, chocolate truffles, gum, and even vitamin supplements.  I was in heaven.  Thank you, Life After Film School.  I can't wait until my next show! ]]> http://www.foxmoviechannel.com/life_after_film_school/2010/05/make-friends-with-failure.php http://www.foxmoviechannel.com/life_after_film_school/2010/05/make-friends-with-failure.php Beezus Marmaduke Ramona Fri, 28 May 2010 23:38:13 +0000 SCALING MOUNT EVEREST, or, How To Be An Artist and A Healthy Person Too Life After Film School just how intimidating it can be as the person coming in to be judged by three relative strangers. What I never used to realize is how intimidating it is to be the director who must be totally prepared and in control as he meets ten or forty actors in the course of a few hours, all of whom expect him to be some sort of authority figure (instead of a junior in college using LAcasting.com for the first time). Ironically, I actually have to memorize lines for my own audition: "Nice to meet you," "have a seat," "do it again, but this time, you didn't sleep at all last night and you're really angry about it." I've actually forgotten my lines in my own auditions. I'll watch the actor walk out of the room and then turn to my producer; "did I do alright?" Self-confidence is one of those issues that manage to affect every aspect of your film. All I need is for one of my roommates to listen to my new idea and only react with a nod and a smile instead of an expression of ecstasy, and suddenly I'm staring at the wall above my couch for three hours wondering if I should still be a filmmaker. What starts as a few minutes spent revising a line of dialog turns into a night spent questioning my career choice.
 
    This isn't healthy behavior. It leads down bad roads. I've been a total wreck for absolutely no reason at all. I'll think about all the things I haven't done yet, and then, instead of doing one or two of those things, I'll get into a bad mood and pace around my house. There is no blockade larger or more effective than one's own mind. Of course, when you're doing professional work on a deadline, it doesn't matter if your mind is Mt. Everest. On LAFS, I would sometimes get a call one day and be told I needed questions prepared by the next day for an interview a week later. In situations like that, you learn to cope with creative self-doubt. If only I had that kind of motivation on my couch at 2 in the morning, writing the same paragraph I was writing at midnight. When it's just you and the keyboard and no one else, it becomes that much harder to ward off insecurities.

    It's heartening to remember all the stories about childhood idols and cinematic masters who once experienced the exact same torments. I can't actually remember any of them now (too busy being tormented), but the point is that all those stories end the same way; with a great success after a long time spent failing. I remind myself of this every time I meet another person who knows more about film stocks and aspect ratios than I do (consequently, I do this frequently). Sometimes I consider the old dream of leaving the country and travelling the world for a couple years, putting film on the backburner while I learn what it means to be human or something like that. Somehow, though, that feels like a cop out to me. I will travel the world one day, but indulging now would be the same as pacing around the house instead of sitting down and writing my script - just one more excuse to avoid the rending pain of becoming an artist. I think I need to do that first.
 
    Today my priority is preparing material for my actors' callback auditions. My script is too short for there to be a good page and a half of consistent dialog for the auditioners to perform, so I'm sitting here trying to make something up. To create, which is code for "to spend three hours doing something that should take no more than twenty minutes." I guess the key is just to stifle those bouts of insecurity and remember that I'm twenty-one years old. I'm not even old enough to rent a car; I still have plenty of time to make mistakes and become a better filmmaker. So maybe I'll sit here and start to worry that the actors coming in won't take me seriously because they're three times my age, and that they'll laugh at my material instead of memorize it, but then I'll move on and I'll write something, and I'll test it out on Friday and if it doesn't work, I'll be a little more prepared for the next time. If I do want to become an artist (and my living habits and attention span have confirmed that I do), I have to be okay with the stress and uncertainty that comes along with it. And I do think I'm getting there. At least enough so to be comfortable writing a blog about it. It's actually pretty therapeutic, you should try it some time. ]]> http://www.foxmoviechannel.com/life_after_film_school/2010/02/scaling-mount-everest-or-how-to-be-an-artist-and-a-healthy-person-too.php http://www.foxmoviechannel.com/life_after_film_school/2010/02/scaling-mount-everest-or-how-to-be-an-artist-and-a-healthy-person-too.php Wed, 10 Feb 2010 00:39:04 +0000 The Diplomat
In the scope of a twelve-hour production day, about twenty minutes may be spent actually filming anything.  (Roughly two of those minutes - hopefully - end up in the final product.)  Another forty minutes may be spent doing 'blocking rehearsals,' or rehearsals performed so that the crew knows where the action is taking place in the next scene.  

During these 60 minutes - spread out in patches and spurts throughout the day - the director runs the set.  He (or she) calls 'Action!'  He calls 'Cut!'

The other eleven hours?  They belong to the Assistant Director.

Put simply, the Assistant Director (otherwise known as the 1st AD, or simply 'AD') is responsible for scheduling each production day and 'running' the set to make sure the film is finished on time.  The AD is often one of the first crewmembers to be hired, and rightly so - they are largely responsible for deciding when scenes are shot, and in what order, to make the most of a production's time.  The AD schedules - in cooperation with the director and department heads - shot sequence, crew and actor arrival times, and anything else that may affect the speed of the production.  

It's a crucial job, because on a film set, time equals money.  A good Assistant Director is an invaluable and sought-after resource.  It's also why, when a film is behind schedule - no matter what the actual reasons may be - the Assistant Director is the first to be fired.

A professional AD came and spoke to our class during my first semester at USC.  With confidence and authority, our imposing guest speaker bellowed:

"If an AD is doing his job right, he's the most hated person on set."

The classic Assistant Director stereotype supports this assertion.  The image of the AD as screaming, squinting drill sergeant persists in popular culture, and its what I came to believe as truth in my first couple semesters at USC.  It's also why the position held no appeal to me.  I'm a lover, not a fighter, after all.

But as I spent more time on film sets, my views on Assistant Directing started to change.  Sure - the hollering, high-tension AD does exist, but the effectiveness of such dictatorial behavior comes at a price.  The crew follows orders, but reluctantly.  A twisted, gnarled tree of resentment grows from the poisonous seeds of disrespect.

The saying goes that you attract more flies with honey than vinegar, and no clearer example may be seen than on a film set.  Productions, by their very nature, are high-pressure environments.  On a student film set - and most professional ones, too - there is never enough time, resources, or money to get everything you want.

The main difference between a student film and a professional film?  Payment.   

Most crewmembers on a student film are there not for money, but experience, or the simple love of filmmaking.  Without the carrot of a paycheck, an Assistant Director has fewer opportunities to use the stick.  An excited and energetic crew will work much faster than a belabored and put-upon one.

And now, to return full-circle to that seemingly irrelevant Copenhagen opener:

In my opinion, a great Assistant Director is like a diplomat, at a summit between nations that share a common goal.

This past summer, I Assistant Directed a USC thesis film.  It was a huge production, a period piece.  It was my first time as an AD.  

Ever.  

It was only then that I learned that each department on a film set - camera, costume, makeup, etc. - is a nation unto itself.  Each has its own culture, traditions, and language.

That thesis film production was our international summit.  It was nine days long.  Each nation understood the goal that needed to be reached by summit's end.

But each nation - however benevolent in its intentions - had an agenda.  Each had its own tactics, strategies and methods of achieving that agreed-upon goal.

I was the lone diplomat whose job it was to negotiate between these nations.

And this was my first summit.

To be continued... ]]> http://www.foxmoviechannel.com/life_after_film_school/2010/01/the-diplomat.php http://www.foxmoviechannel.com/life_after_film_school/2010/01/the-diplomat.php Tue, 05 Jan 2010 01:27:57 +0000 Keep Dreaming Glee.  As Codie mentioned, he's also the co-founder of the Young Storytellers Foundation.

The Young Storytellers Foundation (YSF) teams adults - writers, filmmakers, actors, film students - with 4th and 5th graders from targeted schools who (per the YSF website) "have little or no access to the arts."  For one hour each week, for seven weeks, the mentors "guide and encourage the students as they imagine and develop their own short screenplay."

Hey, let's hop into this conveniently placed time machine for a quick, thematically relevant detour!

When I was three-years-old, my dad and I would sit on the carpeted floor of our family's townhouse and write stories.  Rather, I would tell stories to my dad, and he would type them out on his typewriter.

I don't have many memories from that period, and if you asked me what color my dad's shirt was on the day we wrote my sequel to Superman, I couldn't tell you.  But I recall with crisp clarity the way I felt when he read my stories aloud.  Hearing my words spoken in someone else's voice somehow validated their existence.  I had created something real.

I joined YSF with that memory in mind.

YSF starts each hour-long session with a series of activities that teach the fundamentals of storytelling in engaging ways.  Take, for example, "Three Things."  Everybody is randomly paired up with someone else, and each person studies the appearance of his or her partner, from hairstyle to shoe color.  Everyone turns around and changes three things about their appearance, then flips back around and must identify the three differences in their partner's appearance.

It was a huge hit, and if the kids had their way we would have played Three Things for the rest of the hour.  But amidst the tugging of socks, twisting of hats and flipping of collars, the children learned how even the smallest details - a crooked shoelace, an un-tucked shirt - matter to a story.

I was mentor to a 10-year-old girl named Michaelle.  She was extremely shy at the start of the program, slow to offer her opinion and quick to defer to mine.  My job as a mentor wasn't to help her think of ideas; what little I could initially get out of Michaelle burst with creativity.  No, most of my job was simply repeating a variation of the phrase, "That is a wonderful idea."

We fleshed out her story over a five-week period, and the change that took place in Michaelle was palpable.  By the fifth week my encouragement was no longer required, and at times I couldn't type her words on my laptop as quickly as she came up with them.

The young storytellers completed their screenplays by the end of Week 7, and Week 8 - the final week - brought with it 'The Big Show.'  Per the YSF website: "In the eighth week, professional Hollywood actors perform the students' scripts for a live audience. We call these performances the "Big Show" because for the students watching their creation come to life, it is a very big moment."

Mentors and mentees arrived early to the elementary school's auditorium this past Tuesday to prepare.  Posters were drawn, colored, and put up.  Much pizza was consumed.  The talented actors arrived, auditioned for the children, and were cast.

The auditorium filled to capacity with students, and the performances began.  Soon it was time for Michaelle's story, 'Keep Dreaming,' about a 10-year-old girl's dream to travel to the moon.  I stole glances her way as the actors ran about the stage, morphing into astronauts, principals, and even, on occasion, spaceships.  

An earthquake couldn't have shaken Michaelle's gaze from the stage.  She laughed at the jokes she had written, and tensed up at the moments she intended to be suspenseful.  It was a story she had spent five weeks preparing, but you'd have thought she was experiencing it for the first time.  

It's easy to become jaded in film school, when writing can sometimes feel like a never-ending turnstile of feedback and revision.  Seeing Michaelle's reaction as her script was brought to life reminded me of the raw, awe-inspiring power of storytelling.  Corny as it sounds, I have gotten more out of YSF than I have put in.

Perhaps it's too poetically convenient to say that the look on Michaelle's face was similar to the one I wore when my dad read my first story back to me.  Maybe, in a subconscious desire to have my YSF experience play out a certain way, I saw only what I wanted to see.  All the same, as the auditorium emptied and the scattered pizza boxes were thrown away, Michaelle asked a final question before she ran off to class.

"Can I do this again?" ]]> http://www.foxmoviechannel.com/life_after_film_school/2009/11/keep-dreaming.php http://www.foxmoviechannel.com/life_after_film_school/2009/11/keep-dreaming.php Sun, 22 Nov 2009 12:11:10 +0000 Post Film School Survival Handbook? Post Film School Survival Handbook when you graduate.  You have to wing it.  But wouldn't it be nice?  Not just for financial and job search issues, but for the emotional dilemmas too.  This is an entirely new and odd phase.  Expect a few existential ponderings.  Seriously.

I have to remember that I did not just graduate from film school.  I graduated from my academic existence.  Twenty-two years of school in the fall and work or play in the summer.  Well, it's fall again.  And it's still a bit strange for me that I am not sitting in a classroom, fervently writing notes or dreading the upcoming cram session for an impending midterm.  There are no more midterms!  (Which I can deal with).  

But that also means that there are no more professors -- professors who are incredible, unique people with different backgrounds and experiences in the industry.  In film school, professors are your organizational and motivational gurus.  They give you deadlines - forcing that creative chaos to become something comprehensible - within a time frame.  They are at the head of the table full of film geeks who, at each second, feel even more compelled to cross into "No Man's Land" A.K.A Hollywood - to get their voice out there and be heard.  

As a screenwriting student at USC, all the writing courses were pretty similar in terms of the way they were run.  Every week, we wrote pages for an original screenplay or television pilot or whatever it was that we were writing, and every week, our peers and professors provided us with comments and criticisms and sometimes amusing or brilliant ideas.  The stability and consistency of this writing routine are responsible for most of my sanity throughout college.    

When I first graduated, a part of me felt like I was leaving that stability behind.  How would I make it without film school, professors, and my peers' comments?  And then it hit me.  Ah, it's so simple.  At film school, they teach us the skills we need to write once we are out of school, on our own, forging a career path rather than an academic one.  Okay, so USC has provided me with the skills, but what about the deadlines?  Now this is where the work comes in.  Everyone knows that writing is most fun when you've first conceived of an idea.  You're elated, running purely on the fuel provided by your psyche.  When you're developing an idea, it's like time and sleep have no bearing on your life.  Time truly flies and you don't need sleep because you've got a great idea!  But then reality slowly rears its ugly, but necessary head.  You haven't quite got the ending worked out.  Was the first-choice setting the right one?  Is this kick-ass element really integral to the story and theme or just a fun visual?  Well, now the idea seems less thrilling and maybe your own thoughts and criticisms about your work take you down a peg.  With a few creative hiccups, your energy has somehow disappeared. There's this temptation to stop writing.  DON'T.  I recommend joining a writer's group.  With a writer's group, you can continue the "classroom experience" without the classroom.

If there were a Post Film School Survival Handbook, the Writer's Group section would probably go something like this: Assemble together a small group of trusted and diligent writers (no less than three and no more than ten).  Decide when and where you would like to meet (weekly, bi-weekly, tri-weekly).  Establish a deadline.  Write.  Write.  Write.  Email your pages to other members.  Read everyone's work that was sent.  Show up prepared to offer your thoughts and comments.  Discuss.  Go home.  Repeat.  Even big name writers like Diablo Cody (the screenwriter of Juno and Jennifer's Body) participate in writers' groups.  When she appeared on Life After Film School to give us student hosts great advice sprinkled with her own brand of wit, she discussed how important it is to have a creative support group.

LAFS Diablo Cody.jpg  

As I think about film school and how the writing courses provided me with structure and stability, I have a new perspective.  Yes, the consistent classes provided valuable training and enriched my craft and my ability to discuss and critique others' work.  But it wasn't just the stability that kept me sane during the craziness of college.  It was the writing that kept me sane.  Just the act of writing--creating characters, developing stories, and following through until the stories became the scripts I was content with and proud of--was what got me through.  So sanity doesn't just lie in structure and consistency.  It lies in the act of writing itself.  So if you love to write, just write.  And repeat.  

]]> http://www.foxmoviechannel.com/life_after_film_school/2009/11/post-film-school-survival-handbook.php http://www.foxmoviechannel.com/life_after_film_school/2009/11/post-film-school-survival-handbook.php Thu, 19 Nov 2009 23:07:14 +0000 I'm Starting Over Life After Film School and though it feels like an end, it also seems like the perfect place to begin. I mean, the show is called "Life After Film School" and we've spent the last year asking our guests what we should learn before we graduate and what to expect from "life" after.

For all five of you who have actually read my previous post and are eagerly awaiting the second half of my "to be continued..." first entry, I hate to disappoint, but you'll live. The truth is everyone who makes it in Hollywood has a story, everyone has a path, and everyone's path is different. I guarantee they are all equally interesting. I will say, I've had some pretty amazing experiences in the six years I've lived and worked in Hollywood, but I'll save those for another post.

Right now, all I want to think about is today and how you couldn't have asked for a better last day. It was great because we only had one episode to shoot (normally we have two or three) which makes for a much more relaxed production. Then, the fact that our guest, Jon Landau (co-producer of AVATAR) was equally, if not more mellow, made for a fun and natural interview. Because there was no rush, we got to ask all the questions we wanted and he even heckled our producer, Josh, anytime he gave us a hard time. We also got to meet the new cast of student hosts for season three of Life After Film School. They came in specifically to meet us, ask questions and spend the day watching to see how the show is made. Though their presence brought great energy and excitement to the set, it was also confirmation that our time at LAFS was up.

So now, as I re-start this blog, I give my very best to the new cast; especially my AFI replacements. I'm pledging now to not worry so much about my past, but focus on my present and future. There are so many different ideas and possibilities swirling in my head, sometimes it's hard to keep anything straight. The only thing I know for sure is that tomorrow really is the first day of the rest of my Life After Film School.

P.S. I just want to say thank you Chuck, Josh, Adam, Maureen, , C.J., Tom, Oren, Jesse and especially the crew behind lighting, sound, makeup and crafty. Thanks to this blog, getting rid of me won't be as easy as expected!
]]> http://www.foxmoviechannel.com/life_after_film_school/2009/11/im-starting-over.php http://www.foxmoviechannel.com/life_after_film_school/2009/11/im-starting-over.php Tue, 17 Nov 2009 17:11:34 +0000 I'm Ready to Be a Film Student Jurassic Park, and from here on I will tell every teacher, family member, friend, and friend's parent that, when I grow up, I will become either an actor or a paleontologist.
                I'm kneeling on linoleum in a brightly lit hallway. Across from me is my roommate, Josh. He looks up at me and asks, "How long have you been here?" After a moment's consideration I reply that it's been exactly twenty years and eleven months. I want to pursue this strand of thought but my attention is intercepted by the director's voice as the crew goes for another take. I am not acting in this film, nor am I excavating dinosaur bones. I am the producer, and the past two weeks have been two of the more stressful of my life. This is the last day of shooting, meaning most (but not all of) the largest opportunities for me to ruin my friend's 3,000 dollar investment have passed. Now I just need to make sure my crew doesn't destroy our location which I acquired permission to film at only a week earlier, and that the film is developed and transferred. I need to make sure the thousands of dollars of equipment which we are renting for a fraction of that cost is all returned to the four or five rental houses we visited in the greater Los Angeles area. It has to be returned before a certain hour on Monday (different for each rental house) after which we will be charged twice as much for our weekend rental. I need to make sure the art team, sound team, wardrobe team, and any other various persons or teams all give me the receipts for various purchases they made for the film so that the director can reimburse them. Of course, I need to make sure the director remembers to reimburse them, and will probably have to sit with him as he writes the checks to make sure they're written to the right people and for the right amounts. I have to give the camera operator his slate back which we borrowed from him for the shoot. I think he lent us ratchet-straps too; I'll have to double-check on that with the director of photography. I have six voice mails waiting; at least one of them will probably inform me that we returned the wrong equipment to the wrong rental house. I also have a presentation on Film Noir due Monday.
                I'm a filmmaker. Half of my friends are filmmakers; all of my roommates are filmmakers. We study our art/craft/future source of income at Chapman University, but most of our time set aside for studying is usurped by time spent making films. Films for Chapman, films for ourselves, films for each other. Last weekend I was supposed to be producing one film, but instead I was setting up lights for another film as a favor to a friend.  Last month I was trying to write my own film while acting as concept artist for my roommate's, and I might be starring in another film next semester. It won't be a glamorous kind of "starring in" - it will be a late-nights-spent-in-dorm-rooms-and-parking-lots-during-mid-terms kind of "starring in." But I'm okay with that, because we're filmmakers, and that's what we do. I say filmmakers, not film students, because the latter is redundant once you've said the former. We will always be film students. There is a life after film school, I'm sure, but I don't think anyone graduates from the study of film. It is a school I forever submit to because it excites me and I don't ever want that excitement to end. I do all the things I do - the missions across campus trying to convince deans and department chairs to let me film in their buildings, the emergency late-night battery runs to CVS - not because I gave up on my 5-year-old dreams of ancient worlds and fantasies I could live in, but because I am a strong believer in the power of those dreams, and because I want to be one of the sleep-deprived, beard-and-baseball-cap-wearing guys who give those dreams to kids on bland gray carpets in tract homes.
                I'm not quite there yet, so in the meantime I produce and I run electricity and I explain to my parents why my bank account is emptier than it was yesterday, because I don't think I'll ever be a director unless I spend as much time being a filmmaker as I can, even if that means running to Quizno's fifteen minutes before lunch is called for a 35 man cast and crew or driving two hours to Burbank three times a week. I auditioned for Life After Film School for exactly the same reason; I saw it as another chance to better myself as a filmmaker, which meant another step closer to my dream of actually getting paid to make dreams for other people. Getting the opportunity to sit with established filmmakers and soak up their knowledge, on a sound stage surrounded by veterans of the business who chat with each other at lunch about the Seinfeld wrap party, and then to have that experience televised for I don't even know how many total strangers who will maybe remember me one day when I'm fetching them coffee - that is the kind of chance that few people ever get, and for me it was a milestone that marked the beginning of the realization of a dream more than fifteen years in the making. Until that dream actually comes true and I get to make the kind of film that inspired me when I was very young, I will continue to work and stress; I will print out business cards at Kinkos and go to industry mixers, and I will write until my fingers bleed. I am ready for life after film school. And until the day I die or stop making movies, I'm ready to be a film student.  ]]> http://www.foxmoviechannel.com/life_after_film_school/2009/11/im-ready-to-be-a-film-student.php http://www.foxmoviechannel.com/life_after_film_school/2009/11/im-ready-to-be-a-film-student.php Fri, 13 Nov 2009 18:26:29 +0000 My first LIFE AFTER FILM SCHOOL blog Life After Film School blog entry.  But it's about to transform into something else entirely.  It's going to become a DeLorean: that famous, fabled, Back to the Future-ing car of yesteryear.

The year was 2005.  I was just out of undergrad, wet behind the ears, and freshly transplanted to Los Angeles with nothing but a few bucks and a knapsack full of old IKEA furniture.  I had only one goal: admittance into USC's Graduate Film School.

Sure - I could've stayed back in my hometown while I applied, but moving to LA added some sorely-needed stakes.  Throwing in the towel and moving home would mean explaining myself to my friends and family (who at that point were sick of hearing about my USC dreams).

I had scraped together just enough scratch to move into an apartment (with a roommate - living alone in LA is largely impractical unless you have a bulging wallet or a taste for danger) and live frugally for about a month.

I had zero experience in the film industry.  Zilch.  So I tried my hand at temp work.  I figured I'd gain maximum exposure in minimum time.  I worked reception at one studio, data entry at another.  I was a producer's assistant one month and a talent manager's the next. I validated celebrities' parking stubs and restocked fridges with gourmet bottled water. Drove my trusty Mazda Protege from Santa Monica to the San Fernando Valley delivering commercial footage.  Filled up Ferraris at Beverly Hills gas stations.

I watched someone get fired - 10 feet from my desk - in the loudest, most celebrated, no-holds-barred, cliche Hollywood manner you could possibly imagine.  It was completely ridiculous.  And totally awesome.

But my experiences in Hollywood offices - whilst providing me with the moola to make rent - only reaffirmed my commitment to go to film school at USC.  So a few months after moving to LA, I applied.

...and then I applied again.

And was accepted.  I've been at USC for over 2 years now, and I'll say this about the school:

It is equal parts warm embrace and cold shower.

The USC Cinematic community is impressive in both its ability to create and its capacity to nourish.  The students - many of whom I consider very good friends - are fiercely loyal, and willing to help each other at - sometimes quite literally - a moment's notice.  And the professors?  Talented, and incredibly gracious with their time - God knows they were patient with this largely incompetent film student his first year.

Beyond the fledgling skills I've acquired here so far, USC has taught me that, in filmmaking, my peer does not have to fail in order for me to succeed.  The school shows its students - and makes a concerted effort to remind them - that making movies is foremost a collaborative process.  I have seen firsthand how a script can transcend its origins and become something better, in the hands of filmmakers working together in service of a common goal: to simply tell a really great story.

And that cold shower part?

Everyone here is really, really good.  They keep you awake at night drenched in the sweat of your own self-doubt kind of good.  They're wonderful people, all.  And I'd be lying if I said their talent didn't make me second-guess my own.

But for the opportunity to collaborate with - and learn from - my ridiculously talented classmates?  A sweat-drenched night or two is a modest price to pay.

So - I hope to chronicle my experiences at Life After Film School, as well as my life IN film school.  My time at USC has informed the questions I ask our guests, and the lessons I've learned from them follow me back to campus.

And so each enriches the other.  I wouldn't have it any other way.

]]> http://www.foxmoviechannel.com/life_after_film_school/2009/08/my-first-life-after-film-school-blog-entry.php http://www.foxmoviechannel.com/life_after_film_school/2009/08/my-first-life-after-film-school-blog-entry.php Sat, 15 Aug 2009 20:00:38 +0000 Life Before Film School
Unfortunately, the parties, the meetings, the coffees and brunches led to a whole lot of squat. But I was optimistic. I had set up these connections so down the line, when I knew what I was doing and what to ask for, I could call these folks and they'd remember me and they'd be impressed. Hopefully. So I dove in head first. I got my hands on the UTA joblist, made Craig and his list my new best friend and began my path to becoming a successful writer. I started out temping at New Line, where I filled in for Kent Alterman's assistant during the filming of Son of the Mask in Australia. Then a friend of mine at E! got me a production assistant job working on a show that never got picked up. Then, around March of 2004, I got an internship with Scott Rudin. I knew nothing about Rudin at the time, which was probably a good thing. All I knew was he was BIG and it was on the Paramount lot. I was so excited.

Around the same time I got an internship working at Laurence Mark Productions on the Sony lot. Larry Mark is one of the few exceptions as he was one of the execs who let me come in and pick his brain and he did give me the opportunity to work at his office. I believe he is one of the nicest guys in the business. So anyway, six months into my stint in Hollywood and I was working for two major producers on actual movie lots! Pretty good, huh?

One year later...

I went back to Texas for Christmas and one thing about a small town is that everyone knows your business. People began to point out with great frequency that I had been in LA a year and I hadn't sold a script, wasn't writing for a TV show and shouldn't I move home soon. A couple days after Christmas I had the Plan B discussion. If I didn't find something to support myself and find it pronto, I was gonna be cut off. I had until summer.

To be continued...

]]> http://www.foxmoviechannel.com/life_after_film_school/2009/08/life-before-film-school.php http://www.foxmoviechannel.com/life_after_film_school/2009/08/life-before-film-school.php Fri, 14 Aug 2009 20:15:47 +0000 Young Storyteller's Foundation
During the 1-year period that I have been a part of Life After Film School, one of the experiences that stays with me was the very embarrassing moment that I almost cried on set. I don't even think our producers know this, but when we were interviewing Brad Falchuk, the co-creator and executive producer of the Fox series Glee, I got a bit emotional. He was definitely an awesome, intelligent, and laid back guy, but the moment the interview turned for me was when we started discussing the Young Storytellers Foundation. 

Y.S.F. is an organization he founded with a friend which takes mentors in the entertainment business to 4th graders and teaches them about story - helping the students to write short stories of their own and then bringing in actors to perform those stories.  First of all, what an AWESOME idea! It's so empowering for anyone, but especially for kids, to see their ideas come to life. Then, to bring in experienced mentors and actors makes it so exciting for them as well. I was, honestly, overwhelmed with the gravity of Brad's effort to build the confidence of these kids. I know how much that can impact students at that age and I was simply overwhelmed with emotion realizing how important his program is. I was literally, holding back my emotion on set.  I fully intend to become a part of this awesome organization.

See the website for more information on the Young Storyteller's Foundation.
]]> http://www.foxmoviechannel.com/life_after_film_school/2009/08/lorem-ipsum-at-film-school.php http://www.foxmoviechannel.com/life_after_film_school/2009/08/lorem-ipsum-at-film-school.php Tue, 11 Aug 2009 21:59:02 +0000 The most important thing someone should know before graduating from film school IS?
Making movies is hard work. Somehow these people have endured and sacrificed to get to where they are and are still pleasant human beings. Unlike the rep these industry professionals receive sometimes, everyone of our guests have been genuinely nice people. How do they do it? That is what we aim to dig up at Life After Film School. Come hell or high water at the end of the hour I will walk away with nuggets of information to apply to my aspirations.

Interestingly enough the biggest lesson I've learned in my career at LAFS is that the majority of successful film makers did not attend film school. Do you hear that? That is the sound of my student loans crying. Okay that is not the biggest lesson, but it was certainly a big impression which stuck with me and has been the cause of many sleepless nights. Should I quit school and start shlepping for the industry? Would that be a head start?

I have been fortunate enough to work as a camera assistant/camera utility for the last year or so. All the great people I've met on many sets (many people who did attend film school) have also attested to the sentiment that I should quit film school. Couple months ago I found myself on the set of Martin Scorsese's new film for several days doing camera utility. This was not first unit so Mr.Scorsese was not there, but he was instead hooked up to a live feed from New York on a monitor. I stood there and watched him eat lunch as he waited for us to set up the shot. He ate pizza on his couch. This is a man. Merely a man. Flesh and blood like you and I. Yet somehow when this man eats pizza he is able to create a gratifying life moment for a young little film student like myself. Everything he has accomplished during and after film school has made him into an entity, an icon. How does he do it? Raw unbridled talent, yes. But he also went to film school. Martin's life after film school seems to be going pretty well and I'd like him to finish the sentence the most important thing someone should know before graduating from film school IS?]]> http://www.foxmoviechannel.com/life_after_film_school/2009/08/my-life-in-film-school.php http://www.foxmoviechannel.com/life_after_film_school/2009/08/my-life-in-film-school.php Mon, 10 Aug 2009 18:18:55 +0000