From PA to…Music Video Director: Meet Justine
Being a PA isn’t easy work, and it takes a certain amount of determination to stick around and push through the ridiculous hours and mundane tasks until you reach your dream job. When I look around at my co-workers, the majority of people I PA’ed alongside years ago are doing what they set out to do — they’re directors, DGA ADs, directors of photography, sound mixers, 1st ACs, etc. It took hard work and several crazy hours, but they made it. So, today, I’m introducing “From PA to…”, where I’ll feature the story of one of my amazing and successful cohorts. To start it off, please meet the talented Justine! I first met Justine on a music video set as an intern when she was just starting out. Whenever she could, she chatted with crew members about her upcoming music video project. “I’m renting a RED, and I want to do it right,” she was saying. While most of her classmates were completing projects with other students, Justine was going after experienced crew in town. She’d already recruited the assistance of a few, and several more crew signed on to help her. She wasn’t arrogant, nor was she begging for help — she was passionate and driven. She wasn’t going to wait for someone to give her the title of Director, she claimed it for herself. Now, Justine is a successful music video director, and has some great advice for others. Did I mention she’s directed a music video for Dolly freaking Parton?! At what age did you decide you were going to pursue a career in film/tv? When I was 13, I saw The Lord of the Rings trilogy and knew I wanted to make films. I spent most of high school filming and editing my own little films. There weren’t any filmmaking opportunities in Kentucky, so when I turned 20, I left for film school in Nashville. How did you get your foot in the door? My junior year of film school, I interned with a local production company. I was able to work as a production assistant on a handful of music videos, commercials, and reality tv. I soaked up as much information as I could and took every opportunity to network. I began applying the skills I learned to my own projects and recruiting local crew to come out for my senior project. As I began my senior year, I was already booking paid gigs. How long did it take to go from Intern to Director? How did you do it? I began interning in 2011 and slowly began working as a production assistant until I graduated in 2012. I worked...
Production Assistant Resume Format
Just as working in production is quite different from the average 9-5, the resume format is also unique. The production resume — including the production assistant resume — is basic and utilitarian, which is good news for those of us that aren’t innate graphic designers. The credits speaks for themselves. Here’s a minimalistic example: Basic Rules for Your Production Assistant Resume Most importantly: Keep the resume to 1 page! Also, this is JUST a basic template — alter it to suit your needs and speak to your own abilities. Change the spacing, draw more lines, shrink the education section, add another column to fit more credits. The point of a production resume is that your experience is presented in an organized, coherent manner. I kept the “PROFILE” section concise for generality’s sake. Beef it up with jobs you’ve specifically done in the office or on set. For example: helping with casting, scouting locations, watching first team, managing walkies, etc. Under “EXPERIENCE”, this resume’s order is: Job Title, Format, Title, Network, Production Company, Year Released. This is the relevant information every resume should have. The order can be varied, and you can group your credits with job title headings. For “REFERENCES”, 2-3 references is the norm. Professors are fine to use to get that first internship, but try to stick to industry folks after graduating. Once you’ve worked on an array of projects, it’s important to tailor your resume to fit the job you’re applying for. I have an equal amount of field producing experience as I do in post production, but if I’m applying for a job in the field, I’ll make sure the resume reflects mostly similar jobs with a little bit of post mixed in. (You also don’t need to have a reel, but if your goal is to become a DP or director then you should put one together as soon as possible.) Student Film Credits on Professional Production Resumes Credits on student films can really make the difference in filling out a page, especially in the beginning of your career. In my opinion, it’s acceptable to include those on your professional resume at first — it shows you have interest and are pursuing the craft. However, list those credits at the bottom of your experience, beneath the paid gigs. Why? No one is impressed by a “Director” credit on a short film or a student film. And if your resume is comprised of all “Director” credits, why are you pursuing a production assistant job? LinkedIn / IMDB I’ve never gotten a job based on my profile on LinkedIn, but interviewers have checked it out beforehand to see what colleagues...
Film Industry Beginnings: My First Mentor
“You like the Saints?” was the first thing he said to me. He pointed to the baseball cap I was sporting — a white cap with a light gold Fleur de Lis. “Yeah. I love New Orleans. It’s a great city,” I responded. “I think we’re gonna have a good year,” he said. “Our offense is really lookin’ good.” We were in an old dive bar, one that reeks of decades of cigarette smoke and spilt booze — or, in other words, the perfect and most original location for every country music video that’s ever been filmed. I think I worked on three music videos in that bar that summer. A crusty pool table was in the center of the bar, and on it were call sheets and random pieces of grip and electric equipment. I was a new, eager, and completely broke production assistant. 2008 couldn’t have been a worse time to launch a freelance career in any line of work. After months of living off a diet of offbrand spaghetti-o’s and stress, the threat of trying to find a “real job” was descending on me like a dark cloud. Miraculously, I received a call to work as a PA for two days in the boiling summer heat — and I was determined to make a lasting impression. That’s how I found myself in that dive bar, hustling like crazy, and doing my best to anticipate and be in the right place when someone needed assistance. My fellow Saints fan took notice — someone finally noticed I had potential — and he kept getting me on gigs throughout that summer with several production companies. New producers and assistant directors started learning my name. That fall, he helped me land my first set PA position on an independent movie. “We’re shooting to FILM!” he said to me with complete excitement one early morning, before I’d had time to digest the caffeine in my coffee. “Laryssa, do you know how obsolete that’s going to be in a few years? It’s going to be an amazing thing for you to tell your kids that ‘yes, I worked on movies that were shot on film’!” He loved everything about movies, and the process of making a movie. He was constantly on the move with purpose, usually talking into his walkie. If he wasn’t getting stuff done, he was studying the schedule or the day’s sides (“sides” are the pages of the script filmed in a day). He had a rugged arrogance, but a blazing passion: he knew how to do the job. And he sought out likeminded, less experienced kids to take under his wing....
Working as a Local in Los Angeles When You’re Not a Local
Last year, I was offered a production job on the West Coast. The only way I was eligible was if I agreed to fly myself to Los Angeles and work as a local — and I had less than 24 hours to decide if I would take the job. If you’re trying to make a career in a film/tv in a mid-level market, sooner or later you’ll be given the opportunity to work out of a major city — perhaps Los Angeles. Should you take it? Why I Took the Gig World-renown production company = Resume boost. There’s only a handful of production companies in mid-market cities, and few operate on a nationwide scale, and even less break into the realm of blockbuster movies. The series was to be produced by one of the top companies in the world that have extensive accolades in both television and film. I looked forward to writing their name on my resume. The show would air on a large, well-known network that had nothing to do with country music. Nashville production isn’t all about country music, but for one reason or another, it was all that had ever paid my bills. My resume cried out for diversification under the “Network” column. Working in Los Angeles = massive street cred. Perhaps one of the biggest misnomers in the film industry doled out by folks from Los Angeles is that people who haven’t worked in Los Angeles are ignorant. Maybe it’s a superiority complex that can be blamed on consuming large amounts of kale and smog, but it’s simply not the case. Regardless, people who claim they’ve “spent time working in LA” do seem to shoot up the ladder quicker. There was zero television production work on the horizon. I wasn’t going to be making any money in the immediate future back home, unless I took a big step backward and worked as an office grunt for a low-budget movie (full disclosure — it ended up being Robin Williams’ last… definitely would have excused the otherwise non-advisable career move). I have an insatiable thirst for adventure. I’ve always wondered if, given a last-minute opportunity to disappear for a few months, would I actually take it? Working as a Local in Los Angeles: The Challenges Despite coming up with fairly savvy plan in a short amount of time, there were several curveballs that I couldn’t anticipate. Production Schedules are Rarely Firm. The plan was to have 3-4 weeks based out of Los Angeles and two months on the road. I ran the numbers quickly: I was slated to make $200/week more than my normal rate, and when you’re on the road, you earn...
It’s your first day on set? I couldn’t tell.
Being new to film or television — or “being green”, as it’s known — is hard to disguise. Film sets are a bizarre, fast-paced world with their own lingo and rules, and simply knowing where to be and where not to be are only learned with time and experience. In an attempt to help the PAs and interns of tomorrow, I asked my coworkers to complete this sentence: You can tell it’s someone’s first day on set when… “When they don’t silence their phone.” -Kimberly, coordinator. Rule #1. There are so many legitimate ways that a take can be ruined, and having someone’s cell phone go off is just plain stupid and avoidable. Put that sucker on vibrate before you even get out of your car. And if you have to run an errand and go off set, turn the ringer back on! (And, of course, put it back on vibrate when you get on set.) “They ask what time they’re going to be done.” -Neumann, 2nd AD. Want to act like there are a million places you’d rather be than working on a film set? Ask your boss what time wrap will be. Go ahead. I dare you! When you’re on a film set, work is your life until you’re sent home. Plans, the outside world…they don’t exist. Save yourself frustration and heartache in the beginning and don’t make plans on days you’re working. We’ve all had to miss dinners, nights out, concerts, and birthday parties — it’s an unfortunate sacrifice that comes with a cool yet demanding and unpredictable job. “When they wear all white. INSIDE!!” -Darryl, key grip. Evidence of crew members happens on camera more often than you’d think — especially in tight spaces with shiny surfaces, windows, mirrors, etc. White stands out and clearly identifies a person, whereas black looks like a shadow or an unidentifiable void. When in doubt, wear black. “They stand in a doorway.” -Brittany, producer. Mankind must be taught from birth that standing in a doorway is a safe place to be if you want to observe the action without getting in the way — because we all do this on the first day on set. It may work in real-civilian-life, but on a film set, it’s an absolute Hail! no. Dozens of people need to get through that doorway to move gear, props, extras, etc — get out of the way! “They don’t wear comfortable shoes.” – Sandy, makeup artist. Entire blogs could be written about film set fashion and the constant struggle of looking presentable vs. comfort. Most of the wiser ones err in favor of “practicality”: Converse may be cute, but you’re going to need arch support after a couple...
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...
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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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