Postings for Writers’ Assistants

Kathleen writes:

I am about to graduate in this lovely economic recession with hopes of landing a job in an already competitive industry. I have literally done everything. I even tried finding old UTA joblists and emailing actually people on it trying to sell myself.

The one type of job that is virtually impossible to find on the internet is a writers assistant position. I am aware how difficult they are to attain but I was wondering if there were ANY places that I could look that a WA position might pop up? If you have any other advice I would great appreciate it.

The only place I have ever seen a posting for a writers’ assistant was on the Coordinators 411, and I think that was only once.

Every writers’ assistant or PA that I’ve ever met either A) knew one of the writers already, or B) was promoted from within the show (which is really just a specific version of A).

Networking is the key to getting one of these jobs. At least, that’s what I’m told. I’ve never actually gotten one.

Of course, you could always try starting an anonymous blog, and maybe someone will enjoy your wit an insight enough to offer you a job (hint, hint).

Who Hires Someone With No Experience?

Megan, who wrote in last week, has an interesting follow-up:

You were right, I don’t have much experience. So far just one 3-day shoot for a low budget independent film and a few other things I did on my own while in school. Are there specific types of projects that are more likely to hire someone with limited experience, or is it all just an ‘apply and see what happens’ kind of deal?

If you have no experience (and, by the way, your short films don’t count as experience), a network show or a big budget feature is unlikely to hire you. There are too many experienced production assistants out there. Hell, the way things are going now, I know 2nd ADs who are taking PA jobs just to make money.

On the other hand, it never hurts to try. Send your resume and cover letter to anyone and everyone you can. Who knows? You might get lucky.

But like you might assume, the lower the budget, the more likely they are to hire someone with no experience. And as I’ve said before, low and no budget production are the best way to meet people.

Of course, you still have to be careful:

Females earn $300-$500(BJ) (LA)

Looking for Deepthroat Queens for P.O.V. Blowjob scene.

Earn $300-$500
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Send pics and info to:
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Jeremy

Good ol’ Jeremy.

- – -

On a completely unrelated note, I commented on Larry Miller’s blog yesterday, and he responded in today’s post!  It’s an interesting piece about exclamation points.  No, really.

I’m particularly excited, since I couldn’t bring myself to talk to Miller when I had a chance to meet him in person.

Welcome to Los Angeles

Jeremiah writes:

I’m moving to LA in 2 weeks to do the PA thing and possibly do some extras work with Central Casting (while I pursue writing and directing). I know, it is ill-advised to move out there right now but I’m doing it anyway. I was wondering if you could tell me your thoughts on a few issues.

1) I read the PA Handbook that you posted on your site recently. It mentions that wearing a fanny pack full of useful things is a good idea. What do you think? Would I be the laughing stock of the crew to arrive on set wearing a fanny pack? I’ll already be the new guy and don’t want to be “the fanny pack guy.” How about a messenger bag? How do you keep track of all the stuff you use? I’m sure holding sides as well as everything else you might need to keep track of can be tough without a bag?

2) I have the opportunity to stay in West LA near where the 405 and the 10 intersect. Or I can stay in Studio City about a mile from Universal. Where would you advise staying if given the choice? Rent is exactly the same in both places. I’m not one for the night life so that really doesn’t factor in. I just want to be in the right area for work.

Now is really not the worst time, Jeremiah. While the economy is bad, it’s bad everywhere. If you’re not going to have a job, you might as well not have a job here.

Besides, production is picking up, at least compared to a few months ago. Nobody shoots in December. Pilots are getting picked up to series, so they’ll be hiring soon, and there are movies here and there. You just have to know where to look.

Regarding your first question, well, the PA Handbook is a little old. It also recommends you carry a roll of quarters and call the production office every half hour. It’s like they didn’t have cell phones in 1999! (I plan on writing an annotated version, soon, to bring it into the 21st century.)

Your instincts are right– a fanny pack is a ridiculous idea. In fact, I don’t carry any kind of bag at all (other than my computer bag, if I’m in the office). Like most PAs, I wear carpenter jeans or cargo shorts, which have more than enough pockets for a production assistant’s needs.

I always carry at least two pens (because the director will want to borrow one, and he’ll never give it back), a sharpie, a small notepad (for my poor memory), and my cell phone (on vibrate, of course). Depending on the type of gig, I’ll also bring a flashlight and a pair of gloves. Work gloves from OSH or Home Depot will do. Don’t bother spending money on Set Wear; it’s not like you’ll be carrying hot lights.

As for your living location, either of those places are fine. The thing is, you never know where you’re going to be shooting. Even if you are working on an NBC show, that doesn’t mean they’re filming on the NBC/Universal lot. You could be shooting at Hollywood Center Studios, like Heroes.

I’m surprised that you say they’re the same price. West LA is usually quite expensive. Have you looked at the apartments? I’d be willing to bet the Studio City place is nicer.

Good luck, and welcome to Los Angeles!

Lucas, Spielberg, & Kasdan… Racists!

A few weeks ago, Mystery Man wrote about a transcript that’s been floating around the internet.  It’s a story conference involving George Lucas, Steven Spielberg, and Lawrence Kasdan discussing Raiders of the Lost Ark.

Should be fascinating to an aspiring screenwriter like me, right?  Meh.

Reading normal people talk the way normal be talk makes my teeth hurt.  They repeat sentences, they stutter, they lose their train of thought and ramble aimlessly.  I figured MM covered the most interesting parts (he’s good like that), so I never bothered to read the whole thing.

Then, I saw this article in Cracked.  Quick sample:

It’s just sort of interesting to me to see what exactly Steven Spielberg thinks is important in a brainstorming session. In five days, they never decide a name for Marion Ravenwood, they don’t quite settle on too many geographic locations and they still don’t know exactly what Indiana’s last name should be, but if there’s one thing Steven Spielberg can concretely say, it’s that Indiana Jones should knock a llama over. “Guys, I don’t give a shit about what else happens in this movie, but if the credits roll and there’s so much as one fucking llama standing I swear to God I am going to lose it.”

Now I have to read this transcript.

Is PA Bootcamp Worth It?

A few days ago, Sophya asked if I’d heard of PA Bootcamp. I hadn’t, so she directed me to PABootcamp.com.

I looked around their website and, to be perfectly honest, I’m not sure I see the point. It costs $285, but I tell you about most of the information in their course guide for free!  (To which my wife responds, “Now who’s the smart one?”)

Being a PA is fairly simple. It’s more than just getting coffee, as the site says, but not by much.  You can pick up 90% of the job in about an hour.

There’s also something called the PA Handbook, written by Caleb John Clark.  It covers a lot of the same ground as the PA Bootcamp, and it doesn’t take up your whole weekend. I highly recommend reading it.

The one topic that I’m not sure most newbies will have heard of is “sides.”  Maybe I’ll write a post on that next week…

Think Positive

 

The End Is Not For A While

 

(Short post today, as I am busy in a casting session for a short film.)

One particularly blustery day, the wind kept knocking over a reflector board, sitting atop a combo stand, sitting atop a high hill.  The key grip sent a PA up to the top of said hill to hold the reflector in place, aimed firmly at the scene.

Being sunny as well as windy, I brought him a bottle of water.  Since we had that kind of relationship male PAs tend to have, I mocked him: “How does it feel being a glorified C-stand?”

“Oh, no,” he replied proudly, “I’m directing the light!”

Taking a Risk

Danny writes in:

I have been interning for a distribution company for the past 2 years.  Now that I am graduating, I am stuck between making the moves to become full time where I am, or moving on.

My goal is to join the DGA ultimately, so I know that taking on as many PA jobs would be the correct path.  However, with the status of the economy and student loans on my back, I don’t know if i should take the safe route or take a risk.

I most likely have a PA job on Columbia production in New York, but I am waiting for email/text with confirmation.  Would quiting my job and making myself available to be a full time PA be a financially reasonable move to make?

First, I’d like to dispel a common misconception among those just starting out.  Being in the DGA does not automatically make one a director.  The directors’ guild also includes UPMs and ADs.  And being an assistant director is not usually the path to being a director.

Okay, got that out of the way.

I usually recommend taking the riskier path, as it tends to lead to greater rewards, as well.  Power of positive thinking and all that.

That being said, I certainly wouldn’t quit my full time job before I’ve been offered the PA position.  If you haven’t heard back from the Colombia production, do not quit.  No job is certain until you walk on the set, and even then, it can all go away in an instant.

So, yes, it’s a risk.  But there’s also a risk that if you stay in your desk job now, you’ll be sucked into the whirling vortex known as a steady paycheck, and you’ll never get out.

 

The blue thing is you, Danny.

I worked for a year as an agent’s assistant, and another year as a producer’s assistant.  Those were two of the least well-spent years of my life.

I don’t wish the same for you.

What Time of Year Do Shows Hire?

Linda asks:

If a television production is nearly done shooting for the season, would this be considered a poor time to contact the production office to inquire about open positions for a production assistant?

If so, when is the appropriate time to contact a television production office?

Most shows are nearly done by now, if not done already. Now is just about the worst time, for a PA, to look for a TV job. You might get lucky and find a pilot, but in my experience, those coordinators and ADs hire from a pool of PAs they already know.

In the next few months, though, the networks will begin announcing pick ups and renewals, leading up to the release of the fall schedule. Pay attention to the trades, and you’ll see which pilots are going to series, and which series are coming back for a new season.

As soon as you see one such announcement, start making calls. If you know someone who worked on the show, great! Use that connection. If not, check out this old post about contacting production offices. (The comments section has some handy suggestions, as well.)

In the meanwhile, enjoy those unemployment checks!

A PA in Oregon

Megan asks:

I’m living up in Oregon at the moment, trying to work out how get down to LA and really dive into the job hunt for a paying PA gig. Recently, however, it was announced that a cable TV show is relocating to Oregon and, from what I’ve heard, production is supposed to start in April.

I sent my resume to the email address that was listed on the official Oregon Film site about two weeks ago, as well as a follow up email about a week after that. Still haven’t heard back.

I know they’re probably getting inundated with emails, especially since all of the local news programs are really pushing the fact that this is bringing a lot of jobs to the area, and that it’s unrealistic to expect them to contact me right away.

How long should I wait before accepting that they’re just never going to call or email me back? And should I keep emailing once a week to check in, or is that too excessive? Thanks.

A number of questions come to mind. Do you know who it is you’re emailing? Is it the production coordinator? The APOC? Some dummy address that no one ever checks?

Does the Oregon film commission list a phone number, as well? Calling the production office can be a better way to make an impression on the coordinator or AD. Emails are easily ignored.

When does the show start filming? Once production starts, turn over is pretty low, unless things are going horribly, horribly wrong (in which case, you probably wouldn’t want to work on that show, anyway). There’s no sense in continually emailing if they’re already shooting.

To be honest, though, we’re talking about the only show in town, here. Between the office and the set, they’ll probably hire a half dozen PAs. It doesn’t sound like you have a lot of production experience, either.  Your odds of being hired strike me as fantastically small.

A better choice, in both the long and the short term, might be to just move to Los Angeles immediately. Pilots are starting up already, and picks ups will be announced soon thereafter. That’s a lot of shows, and a lot better chances of getting yourself a job.

How to Contact a Production Company

Reader Don writes (boy, I’ve gotten a lot of e-mails this week):

How would I go about finding contact info for movies in pre-production, specifically Marvel’s “Captain America”? I’d love to work on the film in some capacity…

There are a number of ways you could go about finding the company.  Variety and the Hollywood Reporter have production listings weekly. HR puts them out on Thursdays, but I can’t remember when Variety does, which is okay, because Variety’s tend to be less complete, anyway.

There’s also a rumor sheet called The Production Weekly, which gathers all kinds of unreliable info and releases it, as you might imagine, weekly. Be careful, though, because they release information months before it’s actually useful to people like us.  On more than one occasion, I’ve called companies from that list and got shouted at in reply: “No, we’re not in production yet!”

In the case of Captain America, I happen to know that the production company is Marvel Entertainment. You can find their number just be grabbing a Hollywood Creative Directory. The Los Angeles library has fairly recent ones. You might even be able to just call the reference desk at the central library and ask them to look it up. You can also find the HCD online, but it costs money.

Another important thing is to find out who’s actually in charge of that particular production. The best way to do this is to go to Variety.com (HR’s website costs money) and just search for a film. Read any articles that come up, and look for a comment along the lines of “Mr. X is overseeing the film” or “Ms. Y is shepherding the project.”  That person (or, rather, that person’s assistant) can put you on the right track for talking to the production office.

Hope this helps!