My very first job out of college was one I did not want, to be honest. I was working in advertising but not making commercials - we sold air time, and my job in "production" wasn't one that made me excited to get up every day.
But it taught me a lot.
We used to have quarterly trainings about customer service or time management or creating a commanding presence. One of the best pieces of professional advice I ever got came from one of those meetings: the instructor said "if you're ever in a position where you are nervous, act as though it's your party and everyone is there to see you."
A few months later, I saw a gig posted on our local film office website looking for production assistants. I leapt at the opportunity, even though I had no idea what a production assistant did, I just knew I needed a seat, any seat, at a table where they were making films. I got the gig, and was set up to work as a production assistant with the art department.
I was now going to be a part of a film starring David Morse (12 Monkeys, The Green Mile, Hack) and Corey Monteith (Glee) in one of his final roles. Elated is an understatement.
A week before production was slated to begin, the entire cast and crew were invited to a pre-production party in a fancy part of town. Now the reality of what I was jumping into had set in, and I was petrified.
What if I was horrible, what if they found out I'd never done this before, what does the art department even do...
I sat in my car outside the private residence, my key still in the ignition, thinking about calling it off.
I worked up the courage to get to the front door and knocked. No answer.
I knocked again, no answer.
I thought about leaving, but then I thought about walking in as though it was my party and everyone was there to see me.
I don’t know what came over me, but I turned the door knob and it was open. I entered the foyer and was greeted by a lovely woman who wanted to know why I was there.
I choked out "I'm working on the movie."
A smile overtook her face. She grabbed me by the hand and led me into the kitchen where all the producers, the director and David Morse were cooking up some burgers and drinking wine. She introduced me to all the major players by name and I spent the rest of the evening getting to know all the crew I would be working with over the next 6 weeks, many of whom I still keep in touch with today.
Imagine if I had chickened out and drove home?
Take the risk, take the chance.
It's your party, and every one is there to see you.
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I think scheduling 10 hour workdays is preferable. By the time you have the crew call 1 hour before and deal with set strike/wrap at the end, it's more like 12 hours. In my experience, when you work l...
Expand commentI think scheduling 10 hour workdays is preferable. By the time you have the crew call 1 hour before and deal with set strike/wrap at the end, it's more like 12 hours. In my experience, when you work longer days than this you invite mistakes or fatigue. There are exceptions, of course - a location you only have access to for 1 day, or the last day of a shoot. But it's a good rule of thumb & part of etiquette I believe.
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Ok, thank you, Christopher Maes.
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Thank you, William Joseph Hill , Ashley Renee Smith , Maurice Vaughan , and @Xochi Blymyer!...
Expand commentThank you, William Joseph Hill , Ashley Renee Smith , Maurice Vaughan , and @Xochi Blymyer!
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You're welcome, Yehuda Siegal.
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Hey All, This week's blog is now LIVE with the week 4 July Filmmakers Club challenges! Anyone participating this week will be eligible for one of the 3 DaVinci Resolve Editing Licenses I'll be giving...
Expand commentHey All, This week's blog is now LIVE with the week 4 July Filmmakers Club challenges! Anyone participating this week will be eligible for one of the 3 DaVinci Resolve Editing Licenses I'll be giving away on Friday. Don't miss out! The blog can be found here: https://www.stage32.com/blog/july-filmmakers-club-week-4-the-real-reel-a...