Breaking Into Hollywood – How Do I Make Money In Reality Tv?
Breaking Into Hollywood - How Do I Make Money In Reality Tv?
Every week, I probably field about a dozen queries from producers all over the world who ask these general questions:
* How do I own my reality show?
* How do I keep the rights to my show?
* How do I produce my own show?
* How do I syndicate my own show?
Without fail, after we've talked, the real question underneath those original ones is: "How do I make as much money as possible for as little effort as possible in reality TV?"
If you already have read my book (it's been called the "bible" of the biz!), this won't be news, but if not, know this: Reality TV is not a get-rich-quick scheme. It's not even a get-rich-SLOW scheme. The phrase "as little effort as possible" is not in the game plan. As guilds battle over how to organize and represent reality staffers, keep an eye on these telltale complaints: "Seven-day work weeks," "Eighteen-hour days," etc. Reality was the first career I had where the higher I rose the crazier I had to work. From PAs to show runners, reality professionals lead very intense lives.
To better grasp this, I encourage you to settle in and read all of my posts from year one. Until then, let me walk you through the business model briefly.
WHO MAKES THE MONEY
Advertisers, networks, production companies, staff. See how "show creator" is not on the list? That's not part of our model typically. Even development dollars are slim in non-fiction. If you're planning on cashing in by selling an idea to a show for big bucks (which honestly is a lot of people's plan, based on my email), buy a lottery scratcher and up your odds. Not to be harsh! Just to really drive home that it is not the way we work.
HOW THEY MAKE MONEY
Advertisers sell products. Networks make ad income and licensing and DVD income from re-distributing your show. Production companies get a fee for making the show. Staffers make weekly paychecks (they're the only ones pretty much guaranteed to be paid, no matter what).
WHY THEY MAKE MONEY
These institutions make all the money because they take all of the risk and do all of the work. They already have lots of ideas, including a few dozen that are pretty darn similar to yours. Move past having an idea as the money-maker and focus on executing it into a sellable pitch. Come to my seminars (they're usually free) or read the book! There is a way to navigate this, and it's not impossible. It's just a lot of work - and shouldn't it be for all of the reward?
All right, I've laid the groundwork and can answer those questions now:
Q: How do I own my show?
A: Produce, distribute and market it yourself. That's even more work and more money than the network route, but if you've got a ton of reality experience and an existing audience, it's not a bad plan. If you've never made a reality show in your life before, reconsider this option. The time and money you spend trying to start at the top might be better invested in taking seminars and actually earning money working on someone else's show to learn the ropes.
Q: How do I keep the rights to my show?
A: Same as the above. As soon as someone invests the time, money and risk to distribute and market your product, they are going to want the rights so they can make their money back.
Q: How do I produce my own show?
o Usually, you work for a few years on other people's shows, learn the biz, form a production company or partner with a more experienced company and produce a couple of shows to get some traction, rep and connections before launching your own projects independently. If reality is entirely new to you, at the very least you want to invest in an experienced show runner to build the production out and oversee it. Show runners aren't cheap, but they're less expensive than shows that you scrap due to poor production value, blown clearances, lack of story development, etc.
Q: How do I syndicate my own show?
A: That requires some strong tentacles in that world or an excellent showing at a product conference, like NATPE's annual gathering in Vegas.
The big tip I always open with when I talk to reality enthusiasts is: in each of these questions, replace the word "how" with the word "why"? That's when we usually get to the "instant money" plan. Instead, imagine what the most is you will get for the MOST amount of effort you put into this business. That attitude shift alone will open far more doors.
I have twice gotten a note that my advice is "discouraging" to newcomers. That may be true. It is not my intention to discourage anyone from succeeding in this very amazing industry. But if the tough truth about how to get the job done does anything other than motivate you to get the job done right the first time out with someone's generous free advice, believe me, your first day on a reality staff is going to be brutal. So I hope you decide to process the information, apply it, and send me links to your show credits as you advance.
All the best with your projects!
New media and reality TV executive producer DMA shares how to sell a reality show in her book, "The Show Starter Reality TV Made Simple System: Ten Steps to Creating and Pitching a Sellable Reality Show," or create a production budget and schedule with the new "Show Starter Plus" software.
She began her career in Hollywood as a story analyst for a major production company. In 2006, she published her popular technique for how to sell a screenplay in "The 1-3-5 Story Structure Made Simple System: The Nine Essential Elements of a Sellable Screenplay."
More insider tips, tools and resources are at Planet DMA!
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Breaking Into Hollywood – How Do I Pitch A Reality Show
Breaking Into Hollywood - How Do I Pitch A Reality Show
As a long-time professional in reality TV, I routinely am asked "How do I sell my own reality TV show?" - which I'm happy to answer based on both personal experience and industry expertise. These days, though, I prefer to talk more specifically about "how to get a pitch meeting" to "shop" your show. That's because the expression "selling a reality show," honestly, is a bit misleading. It suggests that someone "buys" your reality show, and that, therefore, money changes hands in that process. As I explain more fully below, that is not typically part of our business model, especially one's first time out. So let me first clarify that the two real verbs in our industry are "pitching" (or "shopping") a show in the beginning, and "getting an order" for a show at the end (which may be a pilot order or a series order for multiple episodes - not always 13!).
As you try to shop your first show, please, right now, reframe your language to say "How do I get a pilot or series order for my show?" That will more clearly set up the journey you are about to embark on, and it will keep you focused on your actual goal in the process.
Next, I want you to reframe your initial step in this process, the pitch, from the singular to the plural, as in, "How do I pitch my own reality shows?" You never want to scratch and claw your way into a meeting, at last, and bring only one idea. There is a lot of opportunity sitting across from you at that moment, and if they say, "That pitch is not right for us - what else do you have?"...well, your having nothing else is going to be a shame.
So are you with me? You are not trying to "sell a reality show" anymore. You now are trying to "pitch multiple reality shows" to try to "get an order" for at least one of them. Here's how you are going to do this.
There is one main way to pitch any reality show, and that is through someone you know. If you feel resistance or despair or skepticism upon reading that statement, stop for a moment and regroup. That is not a flip answer - it is an industry truth, and embracing it will help you strategize correctly towards your goal. You simply must actively and regularly seek to meet people who will enable you to pitch - without being perceived as a parasite in the process.
How do you start networking effectively? Ideally, you or someone involved with your projects is a reality industry professional, so you should first reach out to the heads of any production companies where you have worked to see if they are a fit for your particular genre of show or will make an introduction to a prod co or network on your behalf. In addition, professional groups like the TV Academy and Producers Guild offer many resources, from meeting network heads to educational and social gatherings where you can network and try to set up meetings, so your team's reality insider(s) must take advantage of those. Finally, a reality professional absolutely can cold call development heads at networks for shows they have worked on to try to get a meeting, but it is a tougher route. Ultimately, it doesn't matter if you reach out to a prod co or a net; it matters that you find someone who will take your call AND that they have a track record making shows like yours that actually air.
If you do not have anyone on the team with a reality track record, it is a harder job to shop a show, understandably (since that represents starting at the very top of a tough industry), and appreciably harder to stay attached to it since you would not be bringing valued experience to the table. It still can be done, with a lot of cold calling and persistence - and a focus on the unique and exceptional talent (like a Cesar Milan) that you have built the show around. Reality show ideas are not hard to come by (please believe that), but great talent is, and that will be your in! Otherwise, you are asking for a favor in getting any meeting, and that can stick you in the "parasite" column quickly, even if it seems unfair. You can pitch to either nets or prod cos; again, that will be determined mainly by whom you can meet and convince to take your pitch. Expect to sign a release, as well.
I always point out that our business model usually does not include a show's creator being paid for getting a green light (be prepared, in fact, to spend money to "sell" your show). In non-fiction, an order often instead triggers a small development fee that goes directly to the production company hired to flesh out the project, which is usually a company the network has a close and trusting relationship with. So as you list the reasons you want to sell the show, remove "making money" from the list and push ahead. Money comes AFTER production begins if you can stay attached (which is easier if you already have reality credits), so be sure to have an experienced non-fiction attorney on your team to fight for you to have a production position if it sells. That's where some of the expenses come from.
What about the agent option? It is very unlikely you will be able to secure a reality agent unless your team's reality insider is an established show runner, or at least at the senior producer level on a show. Non-fiction agents don't typically rep shows or projects; they rep talent. That's because, per the last point, there is no money in selling reality shows, but there is considerable money in taking 10% of a show runner's weekly salary. If you (or your team's reality person) have management level credits on a successful show, it is perfectly all right to cold call agents to try to set up an introductory meeting. Your job there is to convince them you are hirable onto many shows at the management level and that, again, you have multiple pitches ready to shop so they can try to sell a show for your own production company once you have the credits to warrant that (for which they can fight for a bundling fee as you hire all of their other clients to the show's staff).
Are you ready now to pitch your show? That depends on if you have multiple projects prepared to present and have networked your way into effective people to present those projects to. As you delve deeper into this difficult but exciting experience, I recommend you focus on success in reality TV in terms of having a successful career in reality TV because that is where you can both sell a show AND make money in the process.
DMA is a former film story analyst, international runway model and stage performer who is now the executive producer of a new media and reality TV production company in Los Angeles. Learn more about how to sell a reality show from her book, "The Show Starter Reality TV Made Simple System: Ten Steps to Creating and Pitching a Sellable Reality Show." She also offers reality production instruction seminars through her company's Show Starter services.
For DMA's national speaking schedule and more insider resources for breaking into Hollywood, please visit Planet DMA.
Breaking Into Hollywood – Who Should I Pay To Get Paid?
Breaking Into Hollywood - Who Should I Pay To Get Paid?
I'm going to keep this short, but not at all sweet! Who should you pay to make it in show biz? You should expect to pay any professional whose products or services help you break into the industry if that person will NOT otherwise directly financially profit from your income.
YOU NEED START-UP FUNDS. Whatever area of entertainment you're driven to thrive in, do yourself an important favor before you begin - or continue - that pursuit. Stop for at least 1-3 months and work as many jobs as you can to raise real seed money. You're shooting for 00 - unless you're moving to New York or Los Angeles, in which case, you're shooting for ,000 (don't come to L.A. and not have a downpayment for a car). Believe me, it will change your experience when you can pay for what you need rather than wait for people to do you favors. And a favor is what someone is doing for you if you have no experience or contacts to help them out with in return!
Okay, let's start with the models. As you get started, you SHOULD PAY photographers, make-up artists, hair stylists and fashion stylists for your test shoots. You don't have to, of course; there are many rising photogs and set artists who are looking for models for their book. But if you are just starting out, you don't want to work exclusively with other newbies. A paid professional with a solid portfolio and good references gives you not just more experience (and when it comes to lighting, that counts), but more contacts s/he can turn you on to. You SHOULD NOT PAY any agent or talent scouts upfront. The scouts get paid by the agency if you're signed, and the agency takes 20% of what you earn. That's all they get - it's enough!
Next up, actors. Follow everything I wrote for the models (except your agents only get 10% of your earnings). Now add that you SHOULD PAY acting coaches, dialect trainers and other instructors. May I add that that includes casting directors who hold casting seminars? If they are teaching you something you don't know and giving you a front row audition for their critical services, why wouldn't you pay them for that? They aren't going to profit directly from your income! You won't be mad about it if you've saved up the cash to pay for training at the beginning of your career.
Singers and songwriters, you're next. Read everything for the models and the actors (except the casting directors). Now you're going to add that you SHOULD PAY for studio time, an engineer, possibly a producer and a vocalist for you non-singing songwriters to get your demo CD made (with mp3 files if you can't convert tracks at home). In this modern day of Cakewalk and ProTools, you should be able to find a very talented arranger with a home studio to lay your tracks down with you, and many of them need vocalists for their cuts, so do your homework and partner up. But when it's time for a demo, you want a professional environment, and not all composer/arrangers are producers. A real audio booth, a mixer who really gets the boards and knows how to make the vocals shine and a producer who has a trained ear for your genre (and for pitch!)...that's invaluable. Pay for it! That money isn't just buying you experience, it's buying you a guaranteed session (free connections love to flake) and, once again, industry contacts if you show them you're as good as you believe you are. You SHOULD NOT PAY for people to shop your deal; they are going to get a management commission for that, usually 15% of your overall deal.
Writers and producers, you're the lucky ones because you're behind the scenes. You SHOULD PAY for professional memberships and seminars to learn your trade - and because contacts are the only way you'll get a job! You also need some good coffee, lunch and giftie money because you SHOULD PAY to treat professionals who share their expertise with you. Thank people! A Starbucks card does wonders. You SHOULD NOT PAY anyone to shop your projects. They get a piece of your sales pie.
For everybody in the biz, the most important person you SHOULD PAY...is an experienced entertainment attorney. Now we're talking 0-500/hour. But the money s/he will save you by reviewing and negotiating your deals...priceless. Don't you dare sign even the simplest contract without a lawyer looking over it. A real one. Not your ex-boyfriend, the divorce attorney. Or your best friend's mom who went to law school. An attorney who has done many, many, many of the same deals that you are about to sign is the only one you're going to work with, okay? Why wouldn't you protect yourself with the most informed, well-connected professional you can find?
Well, it turns out that wasn't even short, but it's important information! Trust me on this: you won't mind paying people if you're actually approaching your career as a business, not a DREAM. Do you see the difference? If you were opening a bakery, you wouldn't be looking for people to work for you in exchange for exposure to customers, or bartering for ovens, or expecting to get a license from the County for free! And you sure wouldn't sign a 5-year, million lease without a contracts attorney looking it over. It's only in the entertainment industry that people throw their good sense to the wind and let pride and entitlement and panic take over. It's show BUSINESS. Accept it, embrace it, and watch your experience in this game change once you do.
DMA is a former film story analyst, international runway model and stage performer who is now the executive producer of a new media and reality TV production company in Los Angeles. Learn more about how to sell a reality show from her book, "The Show Starter Reality TV Made Simple System: Ten Steps to Creating and Pitching a Sellable Reality Show." She also offers reality production instruction seminars through her company's Show Starter services.
For DMA's national speaking schedule and more insider resources for breaking into Hollywood, please visit Planet DMA.
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Breaking Into Hollywood – How Do I Get Cast On A Reality Show?
Breaking Into Hollywood - How Do I Get Cast On A Reality Show?
There are 3 ways to be cast on a reality show:
Attend a cattle call;
Submit directly for consideration;
Know somebody who works on the show and get walked in.
#3 is terrific, but it’s not necessary (really!). What’s more important is knowing how to NOT get on a reality show. Let’s start with sending naked photos, videos of yourself in the restroom and a truly bizarre mix of other attempts to get cast. Your personality is enough. Maybe.
Now for the Do's.
PICK A SHOW
If you want to be on a reality show but don’t have a specific one in mind, just surf the online casting sites for casting calls and direct submission listings! Lots of shows post casting calls every single day (to stay at the top of announcement lists). Your best bet is to start with Craig’s List in Los Angeles or New York listing. Surprise! Companies post there for national searches because they’re not allowed to do multiple posts across different city lists. Check the “Gigs/Talent” category for the most listings.
Also check the sites of your favorite networks for multiple show listings. Similarly, if you find a production company that produces a show you love, check their site for other shows. A company that produces one HGTV show could easily produce five other ones because they’re trusted by the network – and some of those other shows might be the perfect fit for you!
Your most important consideration in selecting a show to submit to is: How can this show change my life? If it can’t change your life, if you just want to be on TV, you are going to have a hard time getting cast. Your story MATTERS.
APPLY TO THE SHOW
You will have to complete an application for any show you submit to and sign a release granting the production company the right to use anything you submit in any way they wish, which is usually to promote the show itself. In many instances you may also need to send in a personal videotape for consideration.
For your reel, be sure to strictly follow any format guidelines, like duration or VHS vs. DVD format. Your ability to follow directions here is the first indication of how well you’ll manage on a set. As far as content, I always recommend turning on your “First Date” personality. That means great look, great personality, good stories and a little of your playful, naughty side if you have one (no, not NAKED. “Naughty”). Don’t try to shock or impress
or create a character. Just try to intrigue us into going out with you again!
Here are some technical tips for your shoot: Clothes: Don’t wear black, white, busy patterns or anything with a logo on it anywhere.
Sound: make sure you’re in a quiet room or outdoor space (no phones, dogs, kids, traffic, etc.). We want to hear what you have to say.
Light: don’t stand in front of a bright source of light; you’ll be backlit, and we won’t be able to see your face. If the rules allow, just go outside into natural light; otherwise, be sure that your face can be seen.
Look: let your appearance to emphasize who you are and why it’s right for the show; it’s the easiest message to send. That could be a business suit and glasses, a gown with big hair and tiara or no make-up, a tank and shorts. Don’t wear a costume; wear your personality.
All the best with your submission, and maybe I’ll see you on set in L.A!
DMA is a former film story analyst, international runway model and stage performer who is now the executive producer of a new media and reality TV production company in Los Angeles. Learn more about how to sell a reality show from her book, "The Show Starter Reality TV Made Simple System: Ten Steps to Creating and Pitching a Sellable Reality Show." She also offers reality production instruction seminars through her company's Show Starter services.
For DMA's national speaking schedule and more insider resources for breaking into Hollywood, please visit Planet DMA.
Breaking Into Hollywood – When Should I Just Shoot A Project Myself?
Breaking Into Hollywood - When Should I Just Shoot A Project Myself?
If you're excited about your latest TV or film project and are hitting a pitching wall, you may be tempted to grab a camera, call in some favors and shoot the whole thing yourself! Is there ever a right time to do that? Well, yes. And there also are right times to not even consider it. Let's talk about the truth and consequences behind shooting your own reels.
Presentation Reels
For filmmakers, you'll often want to shoot a presentation reel to convince funders to come aboard. That actually is a terrific idea. But not always a necessary one. Start with a solid screenplay first. Shopping a screenplay is far easier and certainly wholly acceptable as a means to get financiers, key team members and even vendors on board. If you're not getting any action from the script, put your next budget dollars towards a professional script analysis. Make sure your script is truly shootable and worth shooting. It costs only a few hundred dollars for detailed development notes from The 1-3-5 System, for example (for info on this system, visit my website listed below). It will cost you a few thousand, at the least, to shoot a reel and hope you can do with pictures what you haven't yet done with words.
EXCEPTIONS: The big exception here is when you have a challenging, non-CGI visual, setting or performance that repeatedly is questioned by script readers. If you keep hearing "Can that be done?," it might be time for a presentation reel.
RULE: Once you commit to doing a reel, hire a professional staff and crew. A shoddy-looking reel may cost you credibility, while excellent production value can really boost it.
Sizzle Reels
For reality producers, your show's demo tape is called a "sizzle reel." And your battle cry is all too often, "I'll just produce the show myself!" Slow down. I had an interesting discussion last weekend with two major reality production and network execs, both of whom were happy to get sizzle reels since they feel reels help them sell an idea to others on their team. But I have often heard exactly the opposite from execs: "Sizzle reels can kill a deal." One concern is that reels often don't match the vision your pitch was building in an exec's mind. Bye-bye sale. Another concern is that a good producer conforms a pitch to work with the brand of each partner s/he meets with. So a sizzle reel you shoot that satisfies one prod co's brand may completely violate the mission of another company, etc. How many reels do you plan to shoot?
For more detailed dissection of when to sizzle or not, read my book, The Show Starter Reality TV Made Simple System, Vol. 1: How to Create and Pitch a Sellable Reality Show (for info, visit my website listed below).
FYI, the general consensus at the end of last weekend's debate was, if at all possible, be sure to ask the exec you plan to pitch how they feel about sizzle reels.
EXCEPTIONS: If something in your show is visually electrifying or conceptually challenging in words, a demo reel of just that portion of your show is a big help.
RULE: Don't cheap out on the shoot! Make it look great; it's also your calling card to show what you can do if they keep you attached to the show.
Performer Reels
No disagreement here. Any time you are presenting unknown talent to an executive, a reel that showcases their ability and brand is a winner. For fiction, that's a casting tape; for non-fiction, that's a talent reel. For a casting tape, invest in real audio, and choose sides that sell your talent in his or her strongest part of the script. For a talent reel, you can include a brief personal introduction (interview set-up is fine), the talent in action in their natural environment and even testimonials. Whatever project you're doing, light this reel beautifully and edit it professionally - this is the face of your project!
Professional Reel
If you are a director, producer, DP, editor or other B-T-S professional, you often will be asked for a demo reel of your work. Note that there is a huge difference between a professional reel...and a professional anthology. You don't/shouldn't/can't put absolutely everything you've ever done onto a tape. Take the following advice - even though it challenges everything you believe in. Make a branding statement with your demo reel. Choose shows and selects that all accent your point-of-view as a content creator. Or that highlight your particular visual style. Or that showcase your big league clientele. Decide what impression you want your reel to leave, what makes you special as a project hire, then play the rough cut for people and ask them to share their gut reaction. If their feedback doesn't match the kind of projects you most want to get - get back in there and re-cut that reel.
All Reels
You have 5 minutes at the most for a reel, but know that an exec really will only look at the first 2-3 minutes. Don't get carried away! If studios can get you to pay .00 for a film by showing only a 30-second trailer...well, you get the picture. Now go get that deal!
DMA is a former film story analyst, international runway model and stage performer who is now the executive producer of a new media and reality TV production company in Los Angeles. Learn more about how to sell a reality show from her book, "The Show Starter Reality TV Made Simple System: Ten Steps to Creating and Pitching a Sellable Reality Show." She also offers reality production instruction seminars through her company's Show Starter services.
For DMA's national speaking schedule and more insider resources for breaking into Hollywood, please visit Planet DMA.
Breaking Into Hollywood – How Do I Get A Job As A Story Analyst / Script Reader?
Breaking Into Hollywood - How Do I Get A Job As A Story Analyst / Script Reader?
One of my first jobs in Los Angeles was as a story analyst at a major production company. If you'd love to spend long nights and weekends reading and analyzing the future hits (and not-so-much-a-hits) of Hollywood, here's how you go after this fascinating, funny and frankly high burn-out entry-level gig.
THE JOB
As a story analyst, it is your job to read and summarize scripts then analyze them for structural soundness, story, dialogue, character development, creativity and more. That is called "generating coverage," and you will do that for your creative executives (CEs) on fairly tight deadlines.
THE PROCESS
When you apply for a job as a reader, you will be handed a sample script and asked to analyze it, using the company’s coverage template, in a set period of time, FOR FREE. The company's development team will review your work to see if it meets their needs and may then hire you. Once you are hired, you usually work as a freelancer, being sent or picking up your “weekend pile” of scripts when they contact you. There often are scripts to cover during the week, as well. You might read only a handful of scripts a week; at big companies, you might have to analyze twenty or more a week.
THE PAY
Oh, pay is sooooooo looooooow for readers! You almost always are paid on a per-script basis, anywhere from - a script, usually. Given the hours you invest, it’s not much money, but it’s great experience for both writers and aspiring development types.
HONING YOUR SKILLS
Before you go after a reading job, be sure you have a strong grasp of story structure! Take multiple classes, read multiple books, know industry terminology and expectations. That’s not just to help yourself get a job; it’s also to be fair to the writers whose scripts you are about to be responsible for vetting. As a story analyst, you are a gatekeeper for your production company, the first point of entry for screenwriters trying to get their work produced. That is a big responsibility . It is also great trench training for screenwriters who are interested in learning the buyer's point of view of this business, as I discuss in detail in my book and seminars.
GETTING THE GIG
Next it’s time for the job hunt. Craig’s List often has postings in the “Gigs” section of the Los Angeles region. Just do a general search for “reader” and for “story analyst.” Also, let your friends know you are looking for a story analyst gig, and put a cool gift into the mix for people who get you into the consideration pool!
Of course, reading jobs are notorious “insider” gigs, handed off from one analyst to the next, so the best way to get one of these jobs is through a contact. If you know someone who does coverage right now, ask if they can submit you for consideration as a reader for their company. If they get you in to do sample coverage, terrific – be sure to get them a gift, whether you’re hired or not.
BTW, for gifts, I love to do coffeehouse gift cards. I’ve caffeinated half of Hollywood in the past dozen years.
DMA is a former film story analyst, international runway model and stage performer who is now the executive producer of a new media and reality TV production company in Los Angeles. Learn more about how to sell a reality show from her book, "The Show Starter Reality TV Made Simple System: Ten Steps to Creating and Pitching a Sellable Reality Show." She also offers reality production instruction seminars through her company's Show Starter services.
For DMA's national speaking schedule and more insider resources for breaking into Hollywood, please visit Planet DMA.
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Breaking a leg still “Good Luck” in Hollywood?
Breaking a leg still "Good Luck" in Hollywood?
The Short Film "Paging David Cronenberg" stars Veronica Grey and Paul Bubbo. It is 7:23 minutes long, in honor of one of their Hero's birthday - Martin Gore of Depeche Mode, who is born on July 23 or 7/23.
The project was born from several ideas, linked to Martin Scorsese's "Departed" and Peter Jackson's "Lord of the Rings."
Veronica, who has been paying her dues as an actress in Hollywood since her teens in 1996, was in 2006 mentored by a couple named Marc and Elaine Zicree.
In September 2006, The Zicrees suggested that Veronica follow the example set by Elijah Wood, star of megablockbuster trilogy "The Lord of the Rings."
The Zicrees told Veronica that when Elijah heard that Peter Jackson was going to shoot "Lord of the Rings," Elijah (who was relatively unknown at the time) got his friend Sean Astin (supposedly washed-up child actor) and they shot a short film of one of the scenes from the book by J.R.R. Tolkien.
They got the short film to Mr. Jackson.
Long story short, Mr. Jackson, who had intended to originally cast only UK based actors, was so impressed with their efforts that he flew to Los Angeles to meet Elijah and Sean, and the rest is film history.
This story is legendary among actor wannabes in Hollywood, as acting teachers tell this inspiring story in their classes to encourage their students.
Apparently Vera Farmiga did the same thing as Elijah Wood and that is how she got her part in "The Departed" by Martin Scorsese.
Doesn't anyone ever wonder how a relative unknown gets to do love scenes opposite both Leonardo DiCaprio AND Matt Damon?
So the Zicrees encouraged Veronica to pick her favorite director, and get SOMETHING to him, rather than continue "throwing a bunch of work out there randomly hoping something sticks."
Well that was a no-brainer.
Easy.
David Cronenberg. He was born on 3/15, and Veronica on 3/14.
Plus some of her top favorite movies of all time were directed by him:
"eXistenZ," "Scanners," and "Naked Lunch," to name a Few.
And she had had the opportunity to meet him twice in person already.
The first time was in September 2005, at the Getty Center, when Cronenberg hosted a screening of Fellini's "La Dolce Vita" at the Skirball Center in Los Angeles.
Veronica found the film "too long" and left to go wander around in the middle of Skirball.
Who should she bump into in the hallway, where they would be left alone to have a meaningful exchange?
You got it. Mr. Cronenberg. His first words to her were "scolding" her for walking out of the film.
She met him again in January 2006, just a few months later, in Palm Springs, when Mr. Cronenberg was presented with the Visionary Award at the Palm Springs International Film Festival.
So Veronica felt positive that if she created a piece of film, she could get at Least "get it" to him. She kept an eye on Mr. Cronenberg's IMDB page to see what his upcoming projects would be.
"London Fields" by Martin Amis was set to go into production by Muse Productions. Turns out Veronica actually has acquaintances at Muse, since they released "Spun" which was written by her friend Will De Los Santos and scored by her associate Billy Corgan of Smashing Pumpkins.
Veronica was extra excited because Muse Productions is located literally steps from her own townhouse in Venice, California.
And so a short film was born on October 2006, only one month after the Zicrees suggested it. They took some pages from "London Fields" and added a few homages that only Mr. Cronenberg, or his fans, would "get."
It was never shot with ANY commercial purpose. Simply a labor of love to get to Mr. Cronenberg while allowing divine will to take its course.
Co-stars in the film include Paul Bubbo and Chris DeWolf. It was edited by Roberto Jimenez and Produced by Michael L. Lynch.
On the day of shooting which began at 5am, it was so dark, that Veronica could not see the bottom step and twisted her ankle badly.
She considered it a great omen for "breaking a leg."
So if you watch the film, notice her limping along if you look closely.
Music by Brian Hyland, Billy Corgan, and Madonna are in the short film.
Meanwhile, according to IMDB, "London Fields" is no longer on Mr. Cronenberg's plate, as is the nature of the industry; however, "Paging David Cronenberg" indeed premiered at the Cannes Film Festival 2008 and has brought interesting attention to Veronica Grey.
In the 2007 #1 Album "Zeitgeist" by Smashing Pumpkins, Billy Corgan references this short film in the song "Neverlost" when he sings, "I've seen the film. I know the place." Venice, California happens to be the Place. Not quite Hollywood, but still a good location to break a leg!
40 seconds of "Paging David Cronenberg" may be viewed on http://www.myspace.com/3Fifteen.
Breaking Into Hollywood – What Materials Do I Need To Market Myself In Entertainment?
Breaking Into Hollywood - What Materials Do I Need To Market Myself In Entertainment?
A short while ago, I was invited to speak at a casting event. I replied with an enthusiastic yes (I love a good workshop, panel, parking lot...anywhere I can talk passionately about the biz)! I immediately sent the organizer my current bio, with links to more information and pictures online. The organizer was very surprised by my speed/efficiency and sent a nice thank you.
That SAME DAY, I was helping a friend of mine put together materials for an upcoming production. We requested a bio from one of the participants three times, and it finally arrived a few days later, with typos. At that moment I thought, "Sometimes Hollywood hopefuls are so focused on what they hope employers are going to give them, they aren't prepared with what they're supposed to give US." So here are the five marketing materials, at minimum, you need to always have on hand to advance as a professional in show business.
AN UPDATED RESUME
Nothing is more important than a résumé that accurately reflects, at least:
*Your job titles;
*The project name;
*Your employer;
*Any production partners (e.g., choreographer, production company, director, etc.);
*Your dates of employment.
For example (all fake!):
- Principal Dancer | THE NUTCRACKER | Lompoc Ballet | Chor: Justin | 12/2006
- Background Dancer | LOVE MY BABY (Baby Tee) | Paramount Music | Chor: Jayn J | 10/2006
This really is just a credit list, so employers can instantly see not just what you have done, but FOR WHOM. Those names are the ones that will get you hired more often than your titles! If I know someone on that list, and I call them, and they rave about you, my job hunt is over.
Also include degrees, professional affiliations and awards.
Let's talk about the format for your credit list:
*It must be ONE PAGE ONLY;
*It must include, at least, your legal name, professional name (if different), mailing address (not home! City, ST only if you don't have a separate address), contact number, e-mail address and Web site (if any);
*All names must, must, must be spelled correctly (check online - these could be established shows or friends of your potential employer);
*Create your list in a table (in Word, that's Table/Create Table) with columns (skip tabs and spaces!) so you can easily line up columns, update and move things around;
*Stick to one format for each credit and make it uniform throughout the rez (e.g., if project names are in caps once, they should be in caps always);
*Include your name, professional title and year in the title of the document. That way, when you e-mail it to a potential employer, they can save the file and always know what and whose it is. So you might call it: "Rez_LeeBryant_Producer_2007.doc"
Organize one credit list by job title and another by date (most current down).
You might end up needing a more extensive rez that includes job descriptions for some submissions. But your current credit list is an absolute must for all job submissions - update it on the last day of every job.
A CURRENT BIO
A bio is not a two- or three-page brag sheet. It is a one- to five-paragraph summary of what you have done and why it makes you stand out from your peers (check out my bio for an example. Don't re-list every job from your rez here. Summarize and sell. So your five directing credits might be presented as: "Over the past five years, Corrinne has directed several acclaimed regional and off-Broadway productions, including the Lucent Award-winning production of MacBeth at New York's Ventana Theatre." (Yes, I made all of those names up.)
If you are kind of weak in the spelling and grammar area, please send your bio to someone who is excellent at it. No typos. No grammatical errors. No syntax errors. Let it put your best foot forward for you!
Celebrate each new professional milestone by immediately updating your bio. That should be the final thing you do to signal the end of a gig. A call could come the next day, and you'll be ready with current info.
A CURRENT PHOTO
Even if you are not a performer, on many occasions, you will be asked to submit a photo with your written marketing materials for promotion, including Web sites, brochures, event programs, etc. You should have a current, accurate photo in both 8x10 print format and a small, digital file (say, 100px x 150px, 72 dpi, JPEG).
A CURRENT E-MAIL ADDRESS
Hey, we work in entertainment; we're expected to move around the world! Addresses and phone numbers change, but make sure you have an e-mail at a free service you know will be around for a while (Yahoo!, G-Mail, etc.), and use that as your permanent address (don't rely on your current DSL or cable address; buyouts happen too often). If someone tries to reach you three years down the road off of a submission, know that they can at least find you there. If you don't have a computer, go to the library and get online for an e-mail account. It is not an option to NOT have one.
A WEB SITE
In 2007, Web presence is REQUIRED! Having a Web site markets you 24/7. They don't cost a fortune, and they are worth every dime you spend, especially if you are selling your services. At the very least, MySpace and other social networking sites* are free, or you can create a blog on sites like mine at Google's Blogger for FREE. You want to expand your visibility in the industry? Get yourself onto the Internet.
*If you currently use MySpace as a social network, please create a second page that's a professional site ONLY, with your pictures, video, music, credits, what-have-you. You are using this site as a selling tool; keep it clean and simple to navigate.
A CELL PHONE NUMBER
I know you have one. Please remember to turn it on, carry it with you, check it regularly, and keep the message box clear so you can get messages about jobs, interviews, casting, go-sees, auditions, rehearsals and bookings. Also, take the pop songs off of your message, please, and let people get straight to hiring you! "Hi, you've reached Darwin Smith, please leave a message. Thank you." Done.
Okay, that's the minimum list. Add to that a current reel, a portfolio, spec scripts, references and more to show people who can advance your career that you are ready, able and worth every possibility they can present.
DMA is a former film story analyst, international runway model and stage performer who is now the executive producer of a new media and reality TV production company in Los Angeles. Learn more about how to sell a reality show from her book, "The Show Starter Reality TV Made Simple System: Ten Steps to Creating and Pitching a Sellable Reality Show." She also offers reality production instruction seminars through her company's Show Starter services.
For DMA's national speaking schedule and more insider resources for breaking into Hollywood, please visit Planet DMA.
Breaking Into Hollywood – Do I Need To Read The Trades?
Breaking Into Hollywood - Do I Need To Read The Trades?
I very regularly hear the question: "Why should I read the trades?" Here's the quick answer: you have to read the trades to know what's going on in the industry you're trying to earn work, income and respect in. I think the better question is: "HOW should I read the trades?" That's because once you zero in on the key information on the pages, you'll be less overwhelmed by all of the additional stories that make reading the trades feel like such a task.
Which trades should I read? Everyone in film and television can benefit from Variety, Hollywood Reporter or TV Week. But yes, they cost quite a lot, so you might want to subscribe to the weekly edition rather than the daily one or read them at the library. Even better, go online and subscribe to the e-trades - many of those are free and arrive daily in your inbox! I'm a fan of Cynthia Turner's Cynopsis. There is also a great mix of e-mail newsletters available through Media Week. And TV Week has a free e-newsletter, as well.
Almost all entertainment fields have excellent trades targeting their members' needs and offering employment info. For actors, you should at least regularly read Backstage. In the music industry, Billboard and Vibe are king, but regional trades may be more important for local information. For example, Music Connection, an L.A.-based mag, has great articles, artist spotlights and free classified, with national news, too. Fashionistas need Women's Wear Daily, of course, but I've never come across a legit trade paper for modeling.
What should I read in the trades? There's so much information packed into trade papers that it can seem like too much to tackle. So rather than read nothing, here are the three things I suggest you scan for:
1) Who's working where in your industry's "gatekeeper" positions? This means heads of A&R in the music industry, development executives in TV and film, casting directors in acting, fashion directors for stylists and designers. Start tracking the names you need to know, where they're being hired/fired/reassigned, and get familiar with their points of view!
2) What are the current trends in your industry? TV & film producers, find out what types of shows and films are being produced (remember when cutthroat reality shows gave way to feel-good TV? That was foreshadowed in the trades!). Singers/writers/composers/producers, read what type of artists are being signed (is this really a good time to form a new hair band? Maybe...). Fashion folks, do I need to tell you to research what colors, textures and styles are current on the runway and the streets of Tokyo? And everyone, learn how new products are being pushed. For instance, musicians, if you'd been reading the trades, you would have known last year that building a solid MySpace fanbase gave you a better shot at a record deal. Those stories were breaking back in 2005!
3) What technological changes are taking place? Right now, everyone needs to be learning as much as they can about streaming media, mobile content, RSS feeds, mpeg4 and future video formats, and more. Not just to expand your reach to your audience - but to understand the scope of the contracts that are coming your way! Are those terms all total news and a mystery to you? That's why you need to read the trades.
DMA is a former film story analyst, international runway model and stage performer who is now the executive producer of Tidal Wave TV, a new media and reality TV production company in Los Angeles. Learn more about how to sell a screenplay or sell a reality show from DMA's industry guides: "The 1-3-5 Story Structure Made Simple System: The Nine Essential Elements of a Sellable Screenplay" and "The Show Starter Reality TV Made Simple System: Ten Steps to Creating and Pitching a Sellable Reality Show."
For DMA's national speaking schedule and more insider resources for breaking into Hollywood, please visit Planet DMA. It is our goal to mentor you through your career in the entertainment industry!
Breaking Into Hollywood – How Do I Make New Media Work For Me?
Breaking Into Hollywood - How Do I Make New Media Work For Me?
At this point, you've all heard the term "new media." So you've also probably all asked the question: "What exactly IS new media?" But don't think it's okay not to know the answer! It's been 50 years since there was this radical a shift in the entertainment business model - AND since the barriers to entry and success were this low. That isn't going to last, so if you don't know what's happening with ITV, IPTV, Mobisodes and more, time's up.
Now let me take the question even further and answer this question instead: "How can I make new media work for me?"
Let's start with a quick explanation of what "new media" is. It's a very broad term that covers a lot of changes in the entertainment industry, including, at the most basic (and not at all comprehensively):
Where do I watch new media? Anywhere! You enjoy new media programming on the Internet and cell phones, not just TV and radio. *New media buzzwords you already know: broadband content, mobile TV and podcasts.
Is it always scheduled? No! New media lets you watch what you want when you want to, not when the provider schedules it. *New media buzzwords you already know: on-demand (video-on-demand, mobile-on-demand, gaming-on-demand) and streaming media.
How do I get it? Lots of ways! New media comes to you via the Internet, gaming boxes, Internet streaming set-top boxes and more, not just airwaves and satellite. New media buzzwords you already know: set-top box and IPTV (Internet Protocol Television).
What's the format? Digital! But image quality can range from exquisite (digital television standards like HD are part of the new media movement) to excruciating (the grainy videos you see on popular Web sites are mega-compressed to save space). Audio alone takes less space, so it usually is good to fantastic.
How do I experience it? Interactively! You aren't expected to passively watch and listen. New media lets you submit instant feedback, share a show with others and even affect its content, via virtual worlds, social networks, forums, blogs, wikis and other participatory features that the Internet savvy call "Web 2.0." New media buzzwords you already know: mash-ups and viral video.
I bet now you know you're more familiar with new media than you realized! So how do you make the most of it professionally? Here are five "starter kit" essentials to help you become a new media mogul:
1) Join the User-Generation: Get your message and material in front of thousands more eyeballs. If you've ever uploaded a video clip to YouTube, BlipTV, or other "user-gen" sites, you're already new media-mazed! If not, here's all you have to do:
Research the various sites and READ THEIR POLICIES for content rights.
Open a free account with your professional or company screen name. Use the same name at every site you register at so fans can find you.
Shoot a quick intro reel (or edit your current reel down to about 2 minutes). Home video is fine if it's all you can shoot, but a digital camera will survive compression better.
If you don't have a professional video capture and editing program, just use iMovie (Mac) or Windows Movie Maker (PC) to transfer the tape contents to your computer and make simple edits and title cards.
Upload the final product to your site account. Remember, you must own all of the rights to everything in the video before you can upload!
Email a link to your contacts to let them know you're streaming online (usually do-via that site).
Career uses: stream your movie trailer, talent reel, show promo or more.
2) Go 2.0: help your audience find and give feedback on your projects by making sure you have an active presence in all the new interactive Internet sites, and stream your media there, too:
Launch your own blogs: a Web log, or "blog," is an online journal where you can publish regular entries, or "posts," that readers can enjoy and instantly respond to. You're reading one of my blog posts right now. Now go get your own - there are free sites everywhere, including Google's Blogger. Register with your same screen name, decide if content will be viewable to the general public or to members-only, and remember, with some design, you can stream audio and video here, too (even linked to your user-gen account). Always read the rights very carefully before you publish or upload anything. Career uses: share behind-the-scenes production stories, teach what you know in your field, create an online voice for a character and more.
Join social networks: from MySpace to FaceBook to Friendster and LinkedIn, there are endless online "communities" that let you post a page about yourself, invite people to connect with you and give you access to those people's other contacts (and gives all of them access to yours). Social network presence makes your message and project instantly international! Keywords you create let people who share your interest find you. You can even start interest groups of your own at social sites like MeetUp and Gather. Of course, you can stream media sometimes, too, including video and audio (MySpace music sites have been legendary for launching bands). Just be sure to read all rights and permissions very carefully before you publish or upload anything. Career uses: there's no better way to widen your worldwide network of contacts than to share other people's connections.
3) Broaden your distribution options: Feel stuck in the old model of old media, waiting for some impossible-to-reach wizard to wave a magic wand and buy your show or finance your film so it can reach an audience? Investigate the many "third party content aggregators" who sell directly online, like CustomFlix and IndieFlix and, of course, Amazon.com. Also take another look at the sites that feature original streaming content for free, for advertising participation or for other revenue-generating options (like Revver's viewer-based model). Or build your own site and commit time and funds to marketing directly to your audience. (If you don't know who your audience is, that at least helps explain why it's so hard to get funds for the project!) Want to know how to build your own product-based Web site? Sounds like a future post...check back in or sign up for our blog feed so you'll always get the updates!
4) Broaden your career options: Feel even more stuck in the oldest model of old media, waiting for some impossible-to-reach wizard's assistant to schedule a meeting for you to work on the wizard's own dream project? Consider all of the new job opportunities in new media, from content creation to marketing to game writing and design and more! I'm actually teaching a class at Columbia College Hollywood this quarter on New Media Professional Paths and Possibilities. Check your local schools and weekend workshops to see who's talking about new media careers.
5) Broaden your knowledge: There's so much more to learn about new media to use it more effectively professionally. Be sure you're reading the trades (I love Cynopsis Digital) and regularly looking up new terms online when you hear or read them (assignment #1: what's "ITV"?)
And know this: you want to start riding the transition train right now...because it's not going to be "new" media much longer.
NEW MEDIA STARTER KIT CHECKLIST:
__ I have defined the audience(s) for my project(s).
__ I have created audio or video content that promotes my project(s).
__ I have uploaded my content to at least one user-generation site that my audience frequents.
__ I have created a blog that features my content and invites reader feedback.
__ I have joined a social network and/or started a group of my own and am actively courting contacts.
__ I have researched marketing opportunities for reaching my audience directly.
__ I have attended at least one seminar, panel, workshop or course that tells me more about professional careers in new media.
Need more help with your project packaging strategies? Contact Show Starter to schedule a private intensive seminar on selling your show!
DMA is a former film story analyst, international runway model and stage performer who is now the executive producer of a new media and reality TV production company in Los Angeles. Learn more about how to sell a reality show from her book, "The Show Starter Reality TV Made Simple System: Ten Steps to Creating and Pitching a Sellable Reality Show." She also offers reality production instruction seminars through her company's Show Starter services.
For DMA's national speaking schedule and more insider resources for breaking into Hollywood, please visit Planet DMA.
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