Tips & Advice on Conquering The Contest Season- Part II: Selecting Your Contest

March 22, 2017 by Geno Scala

There are as many opinions about the benefit, or lack thereof, of contests as there are contests itself, and there are literally hundreds of screenwriting contests available every year. Only a handful are truly worth your time, energy and money, and deciding which ones are worth entering is purely subjective, but the following is MY process that I’ll share:

(NOTE: Please think twice before entering ANY contest if your screenplay is not absolutely perfect. Contact us at The Script Mentor if you need help getting your project to that point, but if not us, try someone — anyone — that you trust!)

1) Determine what your budget is going to be for the year. When I enter, I average $500 for that particular year’s worth of entries.

2) Sign up for MovieBytes.com. I’m a paid member (WinningScriptsPro) and it is a very helpful and informative site and service. They list most major contests, and offer ways to easily enter and track your entries.

3) Investigate each contest, including user reviews. User reviews are very enlightening, I assure you.

4) Determine what the prizes are and if that is what you are looking for. For me, cash prizes, recognition and exposure were my goals. I’m less concerned about “table reads” or free airfare to someone’s seminar in Cabazon, CA. Some will include “cash and prizes”, and the actual cash will be small, while the “prizes” may be $5,000 worth of their assistance in marketing your screenplay. This is a red flag for a money-grab.

5) Calendar EARLY BIRD DEADLINES. You can save significantly if you enter early.

6) Spend any extra money on an occasional feedback. It might double the entry fee, or more, but in most cases, it is well worth it.

7) Read, accept and learn from the feedbacks, but do not dwell on them. Understand that not everyone is going to like it, and not everyone is going to hate it. Chances are, the reader probably knows a bit more than you, especially in the bigger, more prestigious contests.

8) Read all of the contest rules. Some REQUIRE cover pages with info; some others PROHIBIT them. DO NOT get caught with your contact info anywhere on the script (including title page) or you’ll be disqualified.

9) Get confirmation on your entry, and save it.

10) Document your script entries*. If you don’t use a contest entry program, create an Excel spreadsheet, and document script, contest name, date of submission, cost, fee for feedbacks, date of finals and any other pertinent information.

*Contest entries with feedback are tax deductible as a business expense (refer to your tax professional for details).

Ask The Script Mentor, #15: Ghostwriting and Mentoring Services

March 7, 2017 by Geno Scala

Q. I see you offer ghostwriting services. I started a novel, and really don’t have time to finish it. Is that something you might be able to do- finish a manuscript already started?

A. Hello, sir. Very impressive website you have. You had asked, in response my article on hiring a ghostwriter, if helping you finish your book is something we can do. The answer is “Yes”, although it’s a somewhat unusual and rare request. I have an excellent novelist on staff that would be perfect for this type of work. I’d have to know where you are in the project, how many pages you are hoping to have when finished, and a few smaller details in order to provide you an accurate quote for the project. I’d also need to know what kind of budget you’re working with. I can work within most budgets, but it does affect some of the decisions we’d make going forward.

Thank you for inquiring about helping you with the project, and I look forward to working with you soon!

Q. Hi Geno, I hope you are doing well. I’ve been busy the last couple of weeks, mainly keeping my head down and re-writing my script based off of your excellent notes. I’d like to sign up for your mentoring services, and re-send the ACTUAL “first ten” pages of my script for you to review, if you have time. I also have a logline that is much better than the one that the reader from the contest wrote. I used you logline formula and it was easy after that!

A. Hi K! I’m flattered that you’ve thought enough about our services to inquire about additional assistance. The interactive workshop is not scheduled at the moment, but I hope to schedule some in the near future.

We basically did the “first ten” pages (even though, technically, it wasn’t the first ten). You were given an idea of some of the real issues the script has from a SPEC screenplay perspective, so I don’t see a need to pay for- and receive- more of the same. At this point, all that would be necessary would be The Script Mentor Package or The TSM One-On-One mentoring, which includes the money-back guarantee in writing!

The Script Mentor Package, at $399.00 (originally $799) would give you a full review of the concept, screenplay and structure, as well as advice on a proper logline, query letter and synopsis. These three areas (L/S/Q) are instrumental in your marketing approach. After the screenplay is as good as it can be, we would also assist you in a networking and marketing strategy. With this package, you can continue working with The Script Mentor for up to one month.

The TSM One-on-One exclusive service at $1499.00 (originally $7500.00), provides you with the above assistance, and we’d assist you in choosing a minimum of ten competitions we feel is best suited to your screenplay, writing level, and most helpful to your writing career at this point. With this package, you can work with The Script Mentor for up to three months- no matter how many projects you’d like to work on.

Also, with this service, we would provide you with a written money-back guarantee if a certain level of success is not established with this screenplay. No other service in the world offers a money-back guarantee- ever. This is how strongly we feel about our mentoring assistance and program. Now, neither of these programs is inexpensive, so it would be an investment on your behalf, but if you’re investing in a career that you want, it’s a small investment.

Q. Hey Geno! Thank you. My name is B.C. My father was the former Underboss of the Colombo Crime Family in NY. He disappeared on May 26th 1999, and with my help, the government was able to bring the killers to justice. After 8 long years, we found his remains. Geno, so many people are sending me screenplay examples along w/ NDA’S, but I have not read one that feels right. I was hoping that maybe we can collaborate or maybe you can help put me on the right track? I feel lost if that makes sense. Hope to speak with you if you are interested.

Thank YOU in Advance!

B. Jr.

A. Hi B! I read your profile during my due diligence prior to connecting, and I appreciate you reaching out to me- both on this, and just for linking in. I’ve watched all of those mob history shows, so I’ve seen several of the shows highlighting your Dad’s story, and I know it well. I’m from Staten Island, and let’s just say my family and I and our friends have had a “colorful” past with the families as well.

I came across a mention of a book; did that ever get completed and published? If so, usually, you’d be looking at adapting that book into a screenplay. Book adaptations are a very specific type of screenplay writing, and most writers will tell you they’ve done and they’re good at it- but they’re not. Most haven’t a clue. I’ve done nine (9) in the past two years. I know how to do them, and it’s not easy. As for collaborating, the closest we get as far as collaborations are the ghostwriting assignments. We write the screenplay you want- it’s under your name, and you get all of the credit and retain all of the rights. This is what we do for a living, and we do it well.

Many of my clients are in the industry- actors, celebrities- many who can’t read or write well at all, but want credits for screenplays or have a pet project they want to star in, etc. Because I’m a ghost, my identity- and that of my client- is almost ALWAYS secret, but last year, we did four screenplays, a TV reality show outline and a TV bible for a celebrity currently starring in TWO cable shows running concurrently. My other clients include several A-list actors and authors who have never written screenplays before.

Normally, we would discuss the project, decide the actual story line, genre, etc. and as we write it, you would receive ten (10) pages at a time to review and suggest changes in direction, if any. We would do this for up to fifty (50) pages. When the project is completed, you’ll have an opportunity to review the screenplay in total.

You also have one FREE rewrite should you decide you do not like how something turned out, etc. We would work very closely most of the time, as the service is not inexpensive. I don’t charge the WGA rate, but as highly-recognized and multi-awarded writers, we ain’t cheap! We HAVE been able to work within almost any budget, though, and if I can’t, I can usually refer you to someone who can. We get at least 50% down payment to start and the balance prior to receiving the finished project. There will be a signed contract with strict deadlines, and we’ve never missed a deadline yet.

I also stay with the client through the marketing and networking strategy as well, which I also provide to them, and I GUARANTEE a certain level of success in the screenwriting contest world- a great way to gain exposure for the project. I also have hundreds of my own connections that I would help forward the project to, if it fits their interest. If this sounds about what you’d be interested in, hit me back. My email is thescriptmentor@hotmail.com. You can find my website(s) at www.thescriptmentor.com and www.sharkeatingman.com. I look forward to talking in the near future!

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Q. Hi Geno! I was going to contact you regarding adapting my novel into a screenplay. I saw that clicked on the book on Amazon, but didn’t buy it. I was hoping to get your feedback and evaluation of the story BEFORE I contacted you.

It probably wouldn’t break you to spend the three bucks to purchase the Kindle version of my book. If you’re familiar with eBooks, you surely realize there’s an simpler way to distinguish good writing from all the crap that’s self-published every day. All you need to do is click on the book cover, and you can read the first 10% of the book.

Since I saw no sign you’ve done the due diligence that could start an informed discussion about adapting my thriller, I’ve decided AGAINST using your services.

A. Hi, “D”- I’m really not IN the evaluation business, so it’s irrelevant to me HOW a novelist writes. Trust me when I tell you, most of the self-published “novels” and manuscripts/screenplays I’ve received from authors or celebrities who THINK they’re writers are practically unreadable.

Truth be told, I DID go to Amazon and I DID read the reviews, and your bio, and I DID read the Preface and the first couple of chapters. I even thought about buying the eBook, but I have about 70 eBooks on my Kindle that I’ve never read. Why? Because the dang screen is like a 3 x 5 postcard, and I can hardly see any of it. Adding “another” to that stack wouldn’t do me any good.

I am very busy myself, and said as much in my first email. We’ve been very fortunate to have started the year so strongly, and as of last night, we land a couple of more adaptation clients. As a rule, however, I don’t “buy” original source material and spend the time to read it. Time is money. As part of any contract, the original source material is always provided to us- free of charge- and we charge $250 for the reading of that material. This money is then applied towards the contracted total. It’s during this reading time where we actually evaluate and outline a potential screenplay, including characters, locations, main plot, subplots, develop a logline, a general synopsis, etc.

My only concern is CONCEPT; whether or not a particular story would make a good movie. If the author thinks so, that’s a starting point. Going simply by the title, I thought it was an awesome title and the genre sounded like it was right up my ally. In fact, I have a screenplay that, based solely on your title, I see as possibly having some similarities. They may be 180 degree different but, again, I’m basing it only on the title.

Another thought that goes into the process of selecting a project is overall SALES. I have no idea what your sales are, but I can tell you, based on your LinkedIn profile, you don’t make it easy for someone to simply click and get to the book. It shouldn’t take that much to attach a link to the Amazon posting to you profile, or post it as an update. If you notice on several of my client’s work, I am part of their team in promotion as well. I post their book link, their audio link; I tweet out announcements. I probably do more marketing on social media on their books than they do!

I’m hoping, in the future, you might reconsider using our services.

Q. Hello! I’m interested in having the first 10 pages of my in-the-works screenplay reviewed, and would like to also have my one-page synopsis (and logline) evaluated. Would you be willing to do that? If so, what would you charge?

Thanks for your time!

Rob

A. Hi Rob! Thank you for contacting us at The Script Mentor. If you go to our website at www.thescriptmentor.com, you’ll see our services for our first ten-page review. I will include the logline and synopsis review as part of that first ten page review, at no extra charge.

Simply pay for the First Ten-page review ($19.99) and then send the first ten pages (or more) in PDF or Final Draft, if you are using Final Draft software, to thescriptmentor@hotmail dot com. I am also sending you a short questionnaire that you can complete and send back as well. It’ll provide a bit more information about yourself and your writing background, and give us an idea of your baseline writing skills at this point, as well as some additional info on the script that we’ll need to provide a better analysis (such AS the logline).

We know it’s a lot to trust someone to allow them to read your screenplay, and we’re honored to do it. It’s an honor we do not take lightly. Give us 24-48 hours after receiving this information back from you and I hope we can get a solid review in your hands, with notes that will help guide you to the next step in your project.

Q. Thank you Geno for your honesty, and your interest in my project. You won’t get bored with this project. There’s a lot more to come when you consider I spent 28 years putting this project together….

Looking at your credentials I would assume that you have your shit together. Obviously this is probably one of the biggest projects that could ever be developed in the entire United States based on the fact that it’s been a cover-up for 30+ years are you ready for some sort of that kind of entertainment?

A. Whether I have my shit together or not, is not for me to say; I’m successful in my chosen third career and businesses and putting two (months away from three) children through college doing what I’m good at; writing screenplays and teaching screenwriting through my mentorship. I do question anyone’s claim that says “biggest project ever developed”, and that alone raises concerns of being realistic or having realistic goals for the project. I think you’d understand where I’m coming from if you knew how many scripts I’ve received as a producer from people claiming their script was the next “Star Wars” or “will win 10 Academy Awards when completed”, blah, blah, blah. I’ll reserve judgment until I read and watch all of your videos, but you’ve piqued my interest thus far. Again, I know nothing about THIS project, but looking forward to learn more. You’ve written books, and had a documentary done; what’s next?

Q. (CONT’D) Thanks for sharing your thoughts. My goal is to clear my name. Next I’m going to prove how easy it was to use fabricated evidence to try and send me to prison for 67 years. Then we’re going to prove why this was done to me. I have one book published and 2 done and ready for ink. I’ll be chatting with our investigation team about your experience and offers. We’re going to make history with this investigation 28 years in the making. You will be part of our project; three (3) books and three (3) movies.

A. Adapting one of the three books (eventually, all three) into feature film screenplays DOUBLES your potential revenue stream. While you’re marketing the novel, the screenplay competitions and network/marketing strategy for the script makes inroads in that industry. The marketing of the screenplay, and any success it will achieve, helps the book sales, and the book sales help advertise the script.

To form the novel(s) into a marketable script is where the real talent comes from; THAT’S what you’re paying for, mostly. I’ll also need to know what kind of (realistic) budget you have to work with for these projects. You mentioned several different projects, so we could put together a package deal. This doesn’t include the research (I have a research assistant on staff), reading the original source material, outlines, loglines, query letters, synopsis, AND my 30-year Rolodex of contacts that would take ANY project I’m involved in and read it- no questions asked.

Now, if you’re looking for a writer for $1,000 or $1500, you will end up with a nice pile of paper for your bookcase. No one charging that amount knows how to write, and doesn’t have one fraction of the network I have. Most likely, they don’t know how to correctly adapt a novel INTO a screenplay, but they’ll tell you they do. Writing adaptations is a learned craft; I wrote four in 2016; nine in total. All of the authors saw a spike in the book sales as a result of the marketing strategy and publicity the scripts brought. The contests these scripts were entered into should start choosing winners soon.

One client really wanted his project in George Lucas’ hands to read. We knew someone who used to work for him, and were able to get it to him. That guy read it, and thought the script adaptation was great! We only hope YOU have the same reaction to YOUR screenplay adaptation once we write it!

Not So Small Screen: TV Stands On Its Own

April 5, 2016 by Geno Scala

Television was once the newest medium on the block. Decades after other forms of entertainment like radio and film, TV gained its prominence in the mid 20th Century, as alternative and oft-times complement to radio. Soon after, as sets became more affordable and more technologically advanced, one could find a television, and people in front of it, in nearly every home in America. Responding to such demand and popularity, studios and networks began producing programming to match the promise of entertainment for these talking boxes, expanding the platform from its original few hours of content to hundreds of channels and endless media, in our present time.

Since then, television as the sort of new and personal form of entertainment, became a respected institution in its own right, but one noticeably separate from the glamour of film. In fact, television was seen as the stepping stone for film, a sort of audition in which actors would prove their worth and transition to film as a result of their merit and/or popularity. Similarly, those who had achieved success on the silver screen and then transitioned to television were perceived as struggling and/or unsuccessful. Movie stars simply did not do television–the media were separate and exclusive, with the former considered better than the the latter. That is not so much the case anymore.

Today, television is holding its own, carving a space that will be remembered with awe and excitement. With more daring, creative scripts, large budgets, diverse talents, highly skilled directors and new ways of presenting (such as Netflix and Amazon Prime) television is in vogue, with some arguing that its relevance has eclipsed that of the traditional movies we pay top dollar to see in theaters. While I think the theory is too far of a reach, I think those who postulate such mean that television is in no way inferior to film–the small screen isn’t so small anymore, particularly in our flatter, increasingly global world, where anything and everything can easily be accessed online.

Kyle Buchanan writing for Vulture had this to a couple years ago about the topic: “Why would you worry about a film career when TV can now offer greater acclaim and bigger audiences?” It certainly seems that way for some of the industry’s best talents. Consider Orange Is The New Black’s Uzo Aduba, who plays the character Suzanne “Crazy Eyes” Warren in the award-winning Netflix series. I doubt anyone would argue that she has not become a massive star, alongside the likes of some of the biggest names one can recall from the big screen, despite having never acted in a film.

Similarly, a gamut of stars have turned to television from movies to find their stars shine even brighter, rather being dimmed. Take Oscar winner Matthew McConaughey for example, whom Kyle also mentions in the article, who transitioned to a role of even greater acclaim in the HBO series, True Detective, which he also produced. Or Oscar nominated star, Viola Davis, whom I mentioned last month but at the height of her career, following a nomination for The Help, made a break into television and began seeing more success than anytime in her career.

Of course, these two stars can and have returned to film at any time, just like Uzo Aduba will be making her debut this coming year, but it’s not a necessity, it’s an option. Movies are no longer the culmination of an acting career but another texture, rather another shade of the same color, for many of today’s stars. And that’s a good thing.

Why Hollywood’s Embrace of Older Women in Film Makes Sense

February 15, 2016 by Geno Scala

The history of Hollywood is the creation of the fantasy world. A world in which people overcome all obstacles, and always fall in love, with happy endings that include living happily ever after–but never growing old. Such is perpetuated by the America’s infatuation with youth, and the centering of such in a way that makes the idea of getting old something to fear. Especially among women in the industry. For years, even, women were encouraged to be slim and attractive, and to remain youthful at any cost (even if that means plastic surgery) if they’d hoped to maintain any long-term success in the industry. Men have rarely had that problem: 10 of the 15 oldest nominees for an Academy Award are men. However, we’re currently seeing a shift from that idea.

In the 21st Century, Hollywood is still driven by fantasy–after all, many watch movies and television as a means of escape and entertainment. Why not create worlds that can’t exist elsewhere, if given the opportunity to do so? Yet, while fantasy continues to be a cornerstone of what great movies are made of, there is a facet of film that is equally exhilarating, and which resonates with the audience in a different way: reality. Indeed, as much as people love the worlds of make believe that movies provide, they love to see themselves on the screen, they’re attracted to believable characters and narratives that build on history and also reflect the times in which we currently live.

Those times in which we live are determined by a number of factors, more specifically, by the demographics of our populace. America is getting older, with the Baby Boomer generation, those born between 1946 and 1964, accounting for over 20 percent of the American Population. Boomers are the second largest group of citizens in the country (slightly smaller than millennials), and nearly all of them are retiring or near retirement. This generation, which was the first to grow up with with multiplex theaters and colored TVs in the home, are key part of what drives entertainment and culture. Thus, creating stories that reach them are necessary as a part of business strategy, with regard to adaptation and natural evolution.

In doing so, Hollywood has created new spaces in which aging women can continue to be a part of the industry; not just in supporting roles, which use them to a lesser extent in telling a story. Now, these ladies are the story–the centerpiece of the films and television shows in which they star. Take this year’s film’s like, Grandma, The Lady in the Van, or the the British drama 45 years, for example. The latter has resulted in an Academy Award nomination for 70-year old Charlotte Rampling, and the other two, featuring Lily Tomlin and Maggie Smith, respectively, are among the highest rated this year, with critics. On Television, as well, there’s been an increase in the range of roles for older women, with Jessica Lange receiving a spate of accolades for her roles in American Horror Story, and Viola Davis making history at the Emmys with her sultry character, Annalise Keating, on ABC’s How To Get Away With Murder.

Each of these career defining roles for these women, later in the lives and careers, are a welcome sign of progress for legends like Oscar Winner Meryl Streep, whose efforts to get movies greenlit for women writers over 40 years old, are becoming more of a reality. She spoke recently at the Berlin Film Festival about the “positive direction” she, herself, is witnessing in Hollywood. That is not to say that youth is not still prized over maturity. Rather, it seems, the industry is making an effort to adjust the fantasy in a way that projects the good life, in some way, for everyone.

How Netflix Is Changing The World of Entertainment

November 11, 2015 by Geno Scala

Just a little more than a decade ago, most people were familiar with Netflix as the company from which you could rent DVD’s (pre-BlueRay) and possibly never return them. At the time of its IPO, the company only boasted some 600,000 members stateside. Then, with the rise of technology and a virtual shift in the ways which people consume media, the company almost went bankrupt. Today, however, the company’s valued at nearly $27 billion, and has, for all intents, changed everything about the way we entertain ourselves. Here’s how.

One of the first things the company did was switch the focus of the product to streaming movies versus renting them. This proved to be lucrative for the company, considering that most people interested in a particular movie probably want to watch it within the next hour opposed to within the next week. The understanding of this concept, particularly in the face of often illegal movie streaming sites, was a huge boost not only for the company but for Hollywood as well, which could no longer depend on VHS sales or even box office, since more individuals had devices from which they could see a movie in the comfort of their home. This transition exemplified the prescience and inventive nature of this young company, but it was only a foreshadowing of what was to come.

Presently, Netflix is known for its original works as a studio, with popular, award-winning shows like Orange is The New Black and House of Cards, among others. These new ventures have completely changed the television landscape. It’s not uncommon for people to spend hours or days consuming a full season of a particular show–the company uploads entire seasons to its platform for its customers to watch at their discretion–or what some call binge-watching. Subsequently, its direct competitors Hulu and, now, Amazon have ramped up their content in an effort to win over subscribers no longer satisfied with status-quo TV, such as that offered by network and cable programming. But that is changing as well.

In a recent article, the Business Insider details changes that companies like Fox, Viacom and Time Warner are making to effectively win back primarily younger customers. Those changes have included showing less commercials, which would seem taboo in the world of advertising, and in direct opposition to the companies’ objectives: to make profit. However, there is a consensus that consumers have different expectations for television, and in order to please, one would have to accommodate.

That isn’t all, however. Netflix and sites like it aren’t just showing less commercial ads, they’re actively and arguably producing better content. In a recent talks with Bloomberg, producer Kathleen Grace talks about “The Netflix Effect,” and how the company’s focus on better content has resulted in the entire industry seeking the best of the best, in terms of writing, stories and production, to compete for the limited time most consumers are now willing to give a program.

Netflix has already changed the world of TV and shows no signs of stopping. In fact, its recent venture into the movie world will prove just how powerful the company is and ultimately drive a similar level of competition as we’ve seen with networks. Perhaps the company is moving to a place where it will show only original content. Far fetched as it may seem, Netflix has already shown that impossible is nothing; we’ll just have to wait and see.

Three Survival Tips For Entering The Entertainment Industry

October 4, 2015 by Geno Scala

The business and politics of film industry can be a murky, intimidating world to enter, even for the most passionate and committed artists and potential filmmakers. As in most professional realms, mentorship is absolutely crucial in regards to finding your footing and making the most of every opportunity you are lucky enough to enjoy. The Script Mentor exists to provide support to aspiring and rising screenwriters for just this reason. However, some broader knowledge is widely available online that applies to more than just writers, but to people interesting in filling just about every role in the entertainment industry. Barbara Freedman Doyle, who – in addition to establishing herself as a successful coordinator and production supervisor in television and film – has served in leadership roles of various film departments at the University level, curated a list of things you need to know to make it in the film industry. Although Geno Scala and his presence in the world of arts and entertainment have been most heavily centered around scriptwriting, these general insights serve him (and everyone) well as gentle reminders about the reality of breaking into the film industry and finding success therein.

Reputation Is Everything

In every business where people are wheeling and dealing with any level of frequency, your reputation will make or break you. This is especially true in a relatively close-knit, small, and exclusive industry like film and television. It is an intimate enough industry that many (if not most) negotiating happens verbally. Any established presence can contact just about any other party with just a phone call. Everyone, especially the kinds of people who make the most important sorts of decisions behind the camera, talk all of the time. What all this constant communications means is that there are no secrets. It is one thing for information like your typical job title and pay rate to be public knowledge. In the entertainment business, however, people can and will discuss so much more. This can include how hard you work, if you are honest, and how you treat people.

Therefore, if you nurture a reputation for yourself as reliable, capable, and an overall positive workplace presence, more and more doors will swing open. Again, this may hold true in most industries, but in entertainment this reality is magnified and multiplied many times over. On the other hand, if someone has a negative experience working with you, then your reputation as difficult, high-strung, irrational, or just plain unpleasant will intensify your troubles finding work to an extreme extent relative to what you might experience working in a different field. It is important to realize that this is your employment and nobody is interesting in cutting you slack because you had a long day or were simply in a bad mood for whatever reason. Without a proven track record, your talent simply does not count for much. You have to deliver, and be prepared to follow through and execute every single time. It just takes one slip-up or one bad experience with one person to potentially sink your entire reputation (and career). Rationalizations for why you came up short once or twice just do not count and extenuating circumstances do not matter. Recognize that every decision you make and action you take is feeding into your reputation and take ownership of how people will describe you when, eventually, your name comes up on future projects.

History Trumps Friendship Every Time

An incredibly dangerous combination is for a word to be both overused and misused, which is exactly the case when it comes to the term, “relationship.” That is especially true in film and television. One of the most common anecdotes you will hear is that some person in a position of authority gave a lesser known individual a shot because they had “a relationship.” Another frequent scenario people in the entertainment business often quote is two people who always work together because they “have a relationship.” Sometimes producers won’t interfere or otherwise decline to argue with a director’s first choice for talent (behind or in front of the camera) because, although the producer might have a different preference, the director and the person in question “have a relationship.”

When it comes to the working world, relationships have little to absolutely nothing to do with friendship. If you are serious about breaking into film or television in any capacity, you need to be able to sever and separate your understanding of relationships in your personal sphere and what they are in the professional one. Working relationships are all about history. In the entertainment industry, turnover is incredibly high. Everyone is ambitious and has a dream, yet people who are here today will undoubtedly be gone tomorrow. This extreme degree of volatility is very deeply rooted into the very soul of the industry. As such, history – having worked or even just studied together in the past – can be a protection against the certainty that every production or project will be battling uncertainty at some point in the future. Shared goals, loyalty, and the all-around comfort of a “known quantity,” so to speak, can be an enormous source of strength in what is a very challenging and demanding line of work. Successful working relationships can sometimes involved a genuine friendship, but they are built and exist for so much more. Frankly, people will almost always choose working with someone who was unpleasant in a partnership that has previously produced success over someone who they sincerely like but with whom they have no working history at all.

The Decision Makers Play The Odds

Think about the view from the top of the proverbial food chain. The individuals who call the shots in film and television very much interact with projects that come across their desks as educated gamblers would. There is certainly a large amount of anxiety involved, given the amount of financial resource which can be on the line. Major decisions are nearly never spontaneous. In truth, even the smallest of details is often a carefully considered choice. This extends from the inception (which script they choose and who they choose to re-work any aspect of it) through production (every single tiny aspect of the filming and editing process) to its conclusion (marketing can be the difference between a box office bomb and blockbuster hit). As someone looking to break into the industry, this means everything you do needs to be crafted towards the purpose of minimizing risk. When considering who to hire, you want the person making the call to look at you and see that not only are you more talented, positive, and passionate – the most important thing you can be as a candidate is the safest choice. If these movers and shakers in the entertainment business are looking to stack the deck in their favor so that the project at hand is most likely to be a success, be sure you are doing everything in your party to make yourself an obvious asset. This harkens back to history as the basis of every working relationship. Thriving as an intern can be a struggle, especially since starting at the lowest possible rung on the latter is not necessarily going to be compensated immediately with the most inspiring financial incentives. However, your motivation should be the knowledge that one great reference can have the power to get someone to roll the dice and choose you. Once you have a foot in the door, the opportunities to work your way up are much more immediate and real. You need to do more than just tell people you have potential – if they are going to bet on you via the hiring process, you need to be sure your experience shows them that potential beyond any shadow of a doubt.