How to Get a Film or Production Internship
If you’re trying to get your foot in the door of the film and entertainment industry quickly, there’s a quick answer: Work for free, or get a production internship. A question several readers have asked is, “How do I get started?” I’ve answered that question here as well as here, but somehow haven’t posted tips focused on internships, even though that’s how I got started. So, if you’re in college (or even high school) and are open to the idea of spending time trading labor for knowledge, here are some ideas. If you’re looking for a summer internship, inquire and apply as soon as you can — most good summer internships are taken by May. There are three main ways to get an internship in production: Through your school (internship fairs or through a professor) Cold calling /e-mailing directly, introducing yourself and inquiring about “upcoming internship opportunities” Networking events in your city — This takes a lot of confidence as you’ll have to introduce yourself to strangers. It can be done, though! Where to Intern in Production Now that you have a rough idea how to get an internship, here are some ideas on the different kinds of companies that can provide valuable experience. Production companies. They’re the ones that produce the commercials, music videos, web series, etc. You’ll get a first-eye glimpse into the amount of work that goes into prepping a shoot, along with fetching the occasional lunch order or coffee. You’ll help the production coordinator, learn how a crew gets pieced together, pick up gear rentals and sometimes go on the hunt for additional props. Being a part of preproduction is a vital learning experience that basic on-set PA work won’t teach you. Look at the production company’s reel to see the types of projects they produce. You can’t be too picky when you don’t have a lot of experience, but there are a lot of tiny production companies out there that produce nothing but lawyer and car dealership ads. Yes, those folks have figured out a way to make a living using a camera, but interning for them won’t really help much if your goal is to work on The Walking Dead or a future Star Wars movie. Pros to interning at a production company: Work on a variety of projects. A great place to begin if you’re not sure where you fit. Cons: None, really — only that it’s overwhelming as you’re exposed to everything. Gear rental houses. If you’re an aspiring camera guy or gal, grip or electrician — a gear rental house is a fantastic place to intern. Of course, you won’t be trusted to clean Epics or C300s on your...
Tips for Succeeding in the Freelance Film Industry
I am NOT writing this post from the lofty position of Executive Producer. I’m still considered a young’un by my far more experienced peers — and I still learn something new each day. But after being freelance for 5+ years without having to file for bankruptcy, move in with mom, get a “real job”, OR live solely off ramen noodles (although I did have a period early on where I lived off of boxed noodles and off-brand Spaghetti-O’s), I’ve made up a list of semi-original tips that have helped me survive the freelance life thus far. It should be noted that these are golden standards that I strive for, and try to adopt with each project. The longer the hours, the more evil the boss, and the lower the pay, the harder it is… Love the project as if its your own. This mentality is key for any position on a film set, from the intern to the wardrobe assistant to the caterer to the director: Passion prevails. Somewhere, somehow, this project — what began as an idea and passion of one person — survived criticisms and traveled through enough channels to warrant the coveted green light, a budget, and the hiring of a crew. Even though it’s not your project, and even though you may find it dumb, respect the process: you’ve been hired to help see this idea to fruition. After all, on that day when it’s your dream project, you’ll want the crew to approach it with the same level of passion and care as you…right? Passion doesn’t notice long days or late nights, and passion hustles. Passion wants to make this commercial, music video, television show, or movie the best possible. Passion always gives 110%. Passion is contagious. It’s important to note: Good leaders have the ability to pull this out of their crew and make them care about the project. Sometimes, the idea will be stupid AND you’ll be working for jerks. Simply surviving the project becomes your chief concern. In these moments, remember your fellow crew members — continue to do a good job to make their lives easier. Remember that your crew are the people you’ll be in the trenches with time and again, not the jerks. Look out for them. Get a tired grip a cup of coffee; tell a transpo driver a silly joke. Take care of them, help them get through it. They’ll do the same for you. Be professional. This may be obvious, but because you’re working for a producer that’s known you for years and a crew that you’ve partied with numerous times — it can be a challenge to remain professional. Don’t...
Can You Have a Life and Work In Film/Television?
Randi is a new production assistant, and wondering if there’s time to recuperate between gigs. As I launch more full time into this career, I want to be prepared for the demand it will put on the rest of my life. I know that, while working, the hours are crazy and there is no time left for anything else, but my question is what do you do between gigs? Do you go straight from production to production to production? Or do you make a conscious effort to take time off (and if so, how long) between gigs? Because I can deal with a month or two of 60-90hr work weeks, but will there be time afterward for family, friends, travel, recovery? What do you recommend? My ideal is that I can eventually work for 3 months, take a month off, work for a month, take a week off, work for 5 months, take 2 months off – that kinda of thing. Is this realistic? The short answer: Yes, but it’s impossible to predict. Wrestling with time has been the biggest challenge I’ve had with this career. One day, you’ll be “unemployed forever”, then the phone rings and you’ll be gainfully employed for 3-6 months with little room to breathe. My Struggle with a Television Career vs. Life and Travel In the few remaining weeks of a project, I’ll put my ear to the ground to see if there are any prospective jobs on the horizon. If there isn’t, once my job wraps, I pack the car and make my rounds visiting my family, boyfriend, etc — or, I buy a plane ticket to Australia or Ukraine. Generally, I have as little as 0-5 days off between gigs– or as much as two weeks to six weeks off. In a perfect world, I’d be able to foresee exactly how much time I’ll have off and when, which would allow me to perfectly plan time to spend with family and travel — but that has rarely been the case. It’s usually been, “Well, I’m off now, let me take my chances and go.” I’ve lost work because of it. But to me, memories from travel are far richer than money — and there isn’t one job I wish I’d taken instead of exploring the world. The amount of time off will probably depend on three things: Where you live The types of projects you work on Your priorities Do you live in Los Angeles or New York? You’ll work 24/7 unless you make a point to turn something down. There are so many projects in Los Angeles, once you get in the groove of working, getting...
Mardi Gras Tips for First Timers
Mardi Gras is my favorite time of year. I adore the week-long celebration– full of costumes, delicious King Cake, endless drinks…and with varying levels of debauchery, depending on your style and inhibitions. If you’re celebrating Fat Tuesday in New Orleans this year, here are a few tips! Get to the party early: Mardi Gras isn’t just one day of revelry. The Mardi Gras season begins on Twelfth Night, and it only builds from there: in the weeks preceding Fat Tuesday, there’s more and more parades and events that ultimately crescendos the weekend before. Some of the best Krewes roll the Thursday and Friday nights preceding Mardi Gras. Muses is a favorite among locals, and my personal favorite is Krewe d’Etat, which is a parade full of political satire — on a local and national level. krewe |kroo| noun. A private social club that sponsors balls, parades, etc., as part of the Mardi Gras festivities. Then there’s the Super Krewes: Endymion, Bacchaus, and Orpheus. These three are known for their high-tech floats, intricate design, and elaborate costumes — as a result, they draw enormous crowds. Get there early! Fun fact: Mardi Gras is privately funded by the members of the Krewes. The dues to join a Krewe are hefty, but it covers security, barricades, street sweepers, street closures, permits — and of course, all the “throws”. throws |THros| noun. Items one can catch at a Mardi Gras parade, including but not limited to: plastic beads, speciality beads, doubloons, cups, toys, light-up trinkets at night parades, plus Krewe-specific items (Coconuts from Zulu, Muses throws specialty shoes, toilet plungers at Tucks). Track the parades with WDSU’s Parade Tracker. I LOVE THIS APP. It provides you with all the information you need: Schedules, maps of parade routes, and even the chance of rain. Best of all, once the Krewe rolls, it tracks where on the route the parade is and keeps you updated if the parade is stalled somewhere on the route. The app really comes in handy when you’ve been waiting for thirty minutes after Proteus, wondering where the heck Orpheus is. WWL has a parade tracker app as well — but I prefer WDSU’s interface. BYOTP. Public toilets on parade routes are scarce, and toilet paper is even scarcer. Closer to downtown and the Quarter, hotels require their guests to wear bracelets in order to gain access to their lobby (and bathroom facilities). In Uptown, public restrooms are nearly impossible to find. The city created a new ordinance this year banning private port-a-johns on public property — making toilets even more of a scavenger hunt. There are port-a-johns on most major intersections, although their cleanliness leave a lot to be desired. Always have a few extra tissues (and hand sanitizer!) in your pocket. Get...
PAs that Act Like EPs: Can a Good Work Ethic Be Learned?
I watched him get out of his car, leather messenger bag slung over his shoulder. Hipster glasses, slicked back hair, tight jeans, and leather shoes. This must be a new executive producer, I thought to myself with surprise. They’re rarely the first ones to arrive at a film set — they usually shuffle in a few minutes before cameras roll. I watched as he hovered while the crew set up cameras and lights and took a seat while everyone around him hustled by with their hands full. Maybe he’s a supervising producer? I thought as I grabbed a stack of posters to art decorate a wall and he didn’t even lift his gaze from his iPhone. “Can I ask this guy to help?” I kept asking myself as I shlepped around tables and chairs for half an hour. My fear of offending an EP won me over, and so I continued to work alone. Later on that day, I learned that this hipster EP guy was, in fact, a brand-new intern/production assistant. I was floored. Not to sound like one of those “back in my day” types–but back in my day– I remember my first day on a film set. I was waiting tables at the time for cash, and I was so in awe that all the people around me got paid to be on a film set. They didn’t hate it, they loved it — AND it paid their bills. I was so eager to get into that club. I so badly wanted to get experience, prove my worth, leave an impression, and make a career. Sitting down was a cardinal sin, except at lunch — and half of the time, I only had half my butt on the chair so I could spring into action in a split second. When I see a new production assistant sitting around, clueless on their iPhone while the world around them is busting ass, I have a hard time holding my tongue. Is it possible to teach someone how to anticipate? Can a good work ethic be learned? In my experience, the answer is usually No — this line of work isn’t for everyone, and it’s best to let them down early. Day Two The following day, I was in charge of taking all shot media back to the post production house to begin the digitizing process. There were several boxes full of tapes and hard drives. On past shoots, I’d hauled and handled all the media by myself, but when my boss insisted I borrow a PA to help, I didn’t object. My assigned PA ended up being the hipster EP, much...
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I'm Laryssa, and when I'm not working in film or television, I'm attempting to travel -- or I'm here, providing resources for working in film or travel. Read more Elsewhere on the internets
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