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I don't often deal with agents but I've worked with a lot of directors and producers who have that reputation.

When someone gets mad and yells, it's for one of two reasons--

1. You really did fuck up and they want to make sure everyone else learns the same lesson so that they don't make the same mistake. I saw this happen once where a director asked the on-set editor to cut together the day's scene after wrap. The editor realized there were 5 alts on a line so he didn't edit anything and went home. In the morning, the director wanted to see how the previous scene played before shooting the new stuff. He yelled at the editor for 10min nonstop to make sure everyone knew that you have to do your homework, even if you have to do 5 versions of it. The editor was experienced and should have known better. Another time, I was told to stand next to the director in a loud set and repeat what he said word-for-word into the walkie. I did as I was told because I was new and he yelled at me because it was annoying. He's right, it was.
   
2. They don't know what they want and they're mad about it or covering it up. This is pretty common and usually happens when their complaint is non-specific. The key is to learn when to ask for clarification or when to just fuck off for a little while and disappear. A director might complain about a setup and insist that it be re-done to buy himself time to figure out how to shoot it. A producer might make up vague little lies nitpicking something because they aren't yet able to pay you for it. If it's done and they're happy, then they owe you money. If they're not, they can delay.
   
   Mostly, don't worry about it. Try to find ways to be helpful and do tasks that your superiors don't want to do. They'll wind up giving you more and more and you'll learn and grow. If you do get stuck under someone who's truly irrational or terribly organized, stick it out for a while. Everyone else knows that they're a nightmare and once you've learned stuff and have gotten truly useful, they'll happily pick you up and quietly commiserate. Whatever you do, don't badmouth anybody. You never know who's friends with whom.
   
   Story time: A buddy of mine is an illustrator and really into comics. His last summer of college, he got an internship with a reknown comic artist. All summer he did little menial jobs with a great attitude. At the end, the illustrator invited him out to a lunch with a bunch of his friends. They got to talking about comics and costume design. My friend chimed in about how terrible Nightwing's costume is and how that whole character is a pox on the Batman franchise-- he really went off. No one said a word, no one stopped him, they just let him go. When he was done, the conversation continued politely. A year later, he graduated and emailed the illustrator but didn't get any response. He couldn't get a call back from any of his contacts. It was two years before he realized that the creator and designer of Nightwing was sitting at that table. He called-- years later-- to apologize. The illustrator was really nice and gracious about it but just wrapped up the conversation and hung up.
   
   By far the best book on the business side of film is Writing Movies for Fun and Profit, written by the guys who did Reno 911. Their central thesis is that when you're brought onto a project, your job is to help the producer keep their job. They're going to hire whoever they think is going to help them keep their job and if you're able to do that consistently, you'll always get re-hired. Writing scripts that are actually good is just a bonus. The book's really funny and super short. Well worth it.
   
   Buena suerte!

EDIT: THIS POST IS MORE FOR JOB SEARCH, NOT WHICH CAREER PATH TO CHOOSE, BUT READ IF YOU LIKE!

first off, buy the book "Mailroom' - https://www.amazon.com/Mailroom-Hollywood-History-Bottom-Up/dp/0345442350/ref=sr_1_1?ie=UTF8&qid=1525292563&sr=8-1&keywords=mailroom

Since you're a student, the golden word is INTERNSHIPS - (theyll be unpaid - but def how you get a foot in the door) check out this website for listings: http://www.anonymousproductionassistant.com/uta-joblist/ (and look at the right side bar of this page for more job websites,etc)

And look at the "UTA Joblist" - there's a new one every week - has both jobs and internships. Apply to ALL that you are interested in.

Do you have a part-time job already? What's your living/rent situation?

Also, you're at UCLA!! Imagine the alumni in this town!! Go to your alumni website and/or current professors/school alumni career advisor and see if you can get connected to an alumni who works here in LA.

And you already LIVE in LA - that is a HUGE advantage over everyone else who wants to do what you want - but they live in Nebraska (I was one of these people) - so use that to your advantage.

Do you have any social media friends who work in the industry? If so, ask to buy them coffee and listen to any advice they have for you - and let them know you're searching for a job - you should be networking like this ALL THE TIME.

Hmmm, what else - OH! Become a temp!! Temping is a great way to immediately start working on a film studio - and all the studios use them - and the bar is set so low that if you aren't a moron, theyll think youre the best temp ever. And it's not uncommon for a temp to perhaps get hired, or at least get reffered to HR, etc.

Here are some temp places - CALL AND EMAIL THEM to set up an interview. HEre are some links to them:

https://hollywoodstaffing.net/

http://comaragency.com/

https://www.friedmanpersonnel.com/

http://www.cooptemps.com/

and here's a Yelp listing of more: https://www.yelp.com/search?find_desc=entertainment+temp+agencies&find_loc=Los+Angeles,+CA&start=0&cflt=employmentagencies

NOW GO CRUSH IT!!!

Producers tend to come from development. But the real difference between a producer and a non produce is that one produces, and the other doesn't.

I am lucky to have worked for the same producer my entire professional career, but he comes from a kibbutz and teaches old school producing. I did creative producing, in addition to financing and what not. Five years into the work and my MBA film production classes were simple.

If you can scrape up a bit of time, money, and support, then produce something watchable, you'll start to gather proof of ability. Then more people will start to trust you with their property (and their money).

Once you get good at this, you find a script or book, and option the property for no money in exchange for something (unless they are your friend). I'm assuming you aren't rich, otherwise you could just option a property from a literary agent somewhere. Anyway, you take whatever script and just fucking make it.

Once you get good at this, then you can start to work with studios regularly in distribution and financing arrangements. Once you get really good, then you'll get first look deals and beyond. This is where the big money is for producers (unless you own a distribution company).

I guess if you're rich, then you could go back to school. UCLA has extension certs in production, if that's what you're into (I guess I am assuming you live in LA, but it's reasonable). The classes are probably nifty, but that's not what you benefit from in the long run. The people you meet there are going to be you're biggest help.

It'll be terrible at first, but you'll get better. If you are in LA, there are always people looking to shoot their pilots and sketches. It doesn't matter where you get started so much as that you take the initiative. A producer is an entrepreneur, and so he or she should feel that there is a need for what their creating.

Some books:
http://www.amazon.com/The-Producers-Business-Handbook-Balanced/dp/0240814630

http://www.amazon.com/gp/aw/d/0240813189/ref=mp_s_a_1_1?qid=1452666658&sr=8-1&pi=AC_SX118_SY170_QL70&keywords=Lawyer+film

> I really hope I don't fuck up as we are trying to shop this pilot around after post production.

You won't fuck up, and in any case pilots don't stand or fall on the strength of the continuity - they'll be judged on the script, the cast, the lighting and the direction so don't worry about anything.

> Both comments mentioned a ruler. What will I need a ruler for?

One of your tasks as script supervisor is to mark up a script for the editor which indicates where each slate starts and ends. Usually this is in the form of a vertical line - at the top you write the slate number, then a short description of the shot (e.g. MCU 2S CAL & SAM - Medium close up two shot of the characters Cal and Sam). The line goes from the starting point until the point at which the shot ends. If there are lines that are not on camera during that shot then you draw a wiggly line until the actors are back in shot.

It's a bit difficult to explain verbally, but if you get one or both of these books they will give you examples:

http://www.amazon.com/Continuity-Supervisor-Fourth-Edition-Manuals/dp/0240516133/ref=sr_1_1?ie=UTF8&qid=1347128347&sr=8-1&keywords=avril+rowlands

http://www.amazon.com/Script-Supervision-Television-Communication-Books/dp/0803863667/ref=sr_1_4?s=books&ie=UTF8&qid=1347128437&sr=1-4&keywords=continuity+script+supervisor

The editor's lined script is one thing that hasn't changed much since the advent of digital.

If you search youtube for [script supervisor] or [continuity supervisor] you'll find a few explanatory videos. Sorry I have not been able to check which are the best because the internet is too slow here on a Saturday night.

I'm really thinking that it would benefit your production if the producers can persuade a working script supervisor to come in and supervise you for a day and show you the ropes. I would do it myself but I'm in England.

But anyway best of luck for the shoot. Do feel free to PM me if there's anything I can do to help.

'So You Want to be a Producer?' (by Lawrence Turman) is good for the art of producing. Fantastically (and candidly) written, and very enjoyable. Filled with great advice and enlightening stories.


I've heard good things about this: http://www.amazon.com/Independent-Film-Producers-Survival-Guide/dp/0825637236/ref=pd_sim_b_1 for the technical side of producing.

Try reading "Writing Movies for Fun and Profit" by the guys from Reno 911. It claims to be about writing screenplays but it has some of the best insight I've seen into how you should approach meeting and climbing the ladder. http://www.amazon.com/Writing-Movies-Fun-Profit-Billion/dp/1439186758

Nutshell: Everyone is just trying to keep their job. Be the best option for them to keep their job and they'll hire you.

Some of that is definitely not normal but its par for the course. Ask anyone who has been in the industry for a while and you'll hear many much worse and far crazier stories. You may be better suited for a career in accounting than production; not that there is anything wrong with that. Some of my best friends are accountants.

The reality is, some people love the unpredictable nature of the biz and really thrive in that environment. That's not to say you cannot find a more stable company to work for, but being able to roll with the punches is a requirement of this business.

I will suggest you read So You Want to be a Producer by Lawrence Turman before you make any decisions.

Right on, landscape is a real art form. What kind of camera are you shooting with? Depending on the mount you can find a set of bellows pretty cheap on ebay or amazon and turn any of the lenses you already own into a macro lens. I have THIS set of bellows and they work wonderfully, even on my studio camera package.

I really like the book "Hollywood 101." It is a simple book that talks about just about every position and job you could have on set. Great to give someone the general sense of what everyone does on a show.

http://www.amazon.com/gp/aw/d/1580631231?pc_redir=1412269349&robot_redir=1

This is the standard book: http://www.amazon.com/Location-Scouting-Management-Handbook-Photography/dp/0240801520

Honestly, seems like the only real way to learn is more experience working as a location manager or assistant.

Yeah! I got these off of Amazon to replace the little round pieces that come with headsets.
https://www.amazon.com/dp/B01N27TTDD/ref=cm_sw_r_cp_apa_EvpWBb82HH899

And another

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