Fixing the Economy? It's Women's Work

If you only have time to read one thing today, read this article in the Washington Post by Katty Kay and Claire Shipman.

Here's the link:

http://www.washingtonpost.com/wp-dyn/content/article/2009/07/10/AR2009071002358.html

Time for the business world and especially the marketing, advertising and filmmaking sectors to wake up and smell the coffee!

Social Media Works! Here's some great feedback . . .

Palmer,

Thank you for posting some of the links and networking updates you've been doing -- as I'm wrapping up my new films I'm carving out time to educate myself on social networking to put it to work for me -- and I've already learned A LOT from what you're doing. Thanks!!!!!

Todd Goldman

Director & Screenwriter

www.westrimpictures.com

www.10toesforward.com

You're NOT a director, you're a girl.

My friend and colleague, director of photography Jendra Jarnagin posted this open letter from her friend, colleague and director Ela Thier. I have not met Ela (yet) but am inspired by her courage and relentless pursuit of her work. I too share her frustration and experience as a director and a woman in this very difficult industry. I hope you will find her letter inspiring and I hope you'll consider contributing to her work.

Best,

Palmer Enfield

An open letter from a female director, to her friends and allies

June, 2009

Dear friend and ally,

On June 30th this year I'll be turning 38. It was twenty years ago that I used to sneak out of school in

order to write my first screenplay. In lieu of a literary criticism paper, I handed in a 260-page epic

screenplay about the childhood and adolescence of John Lennon. He was my hero at the time

because no matter what people thought about him, he knew he was good. I received an "F" on my

term paper, but my English teacher took me aside during lunch and said: "I had to fail you, but I

know you'll win no matter what we do to you in school."

When people learn that I'm a filmmaker, they often ask me some version of this question: "You want

to be a star? You want to be Stephen Spielberg?" With practice, I got good at answering:

"No, I don't work this hard to be a star. I've put in thousands of hours of unpaid labor because I care

deeply about the artwork that I create. The stories I tell, and how I tell them, really matter to me. I

think my work will make a difference to people."

Twenty years later, I sit to write this letter, facing two shelves filled with over twenty screenplays.

Modesty aside, I would need many pages to recount even a portion of the positive feedback that I've

received over the years; the enthusiastic phone calls, the awards, the requests for meetings. A judge

at the IFP Market1 told me that of the 150 scripts she read that summer, mine ranked among her top

three favorites; another judge resigned in protest after the jury didn't select my script as one of their

five finalists; a manager called to say that he couldn't get my script out of his head; an agent told me

that my script had her laughing out loud for the first time in ages; a producer of hit movies implored

me not to revise my script because she thought it was perfect. When I began to direct short projects,

the response was the same: "Shorts this perfect are so rare, I just want to weep" was a comment I

received from a festival director.

And yet, the past years were marked with tears and heartaches. One enthusiastic response after

another would lead me to hope and end with a bout of weeping on my husband's shoulder. No

matter how familiar and by now, routine, the disappointments would be, the tears would come each

time. And after a good cry, or two, or several, I would get up, wipe my knees, and keep going.

I often tell other filmmakers who lose heart: when it comes to pass letters, you're in great company,

from Van Gogh to the Beatles to Stephen King to J.K. Rowlings.

But the million dollar question remains, as one of my writing students asked after reading two of my

scripts: "Why are these scripts not made? What better scripts could people possibly be reading?"

After years of learning, practicing, and teaching, after years of query letters, phone calls, meetings,

film markets, panels, classes, LA trips, networking, more networking, even more networking, my

scripts – those ones that this market reader liked better than the 150 scripts she read that summer –

those scripts sit on a shelf. After years of trying and falling and getting up and trying, something

finally dawned on me: maybe I'm not the most unlucky bastard that ever lived. Maybe I'm female.

I have an Iranian friend living in NY who recently returned from her trip back home. She told me that

it was easier to be a woman in Iran because there is no pretense there about sexism. It's overt. It's

policy. It's "the way things are". What's hard about being in the US, she said, is that women are

disempowered by the myth that western women are liberated. The glass ceiling hurts every time we

bash our heads against it but it's entirely invisible. Have you ever run smack into a pane of glass?

Little hints of this invisible blockade pop up on occasion: a male student of mine with a fraction of my

experience gets hired to direct a feature film; the manager who couldn't get my script out of his head

tells me that he can't sell the script because the lead is a girl; an executive won't read my road movie

because it's an ensemble with three female leads and, according to this executive, "women on the

road has already been done."2 One producer urged me to pass my script to another director since I

haven't made a feature before; this conversation took place while she was producing a $7M movie

starring Bruce Willis, directed by a male first-time director.

Overall, however, society's message to me as a woman born in 1971 is that sexism is a thing of the

past. But if I'm ever so liberated, why is it that no matter which direction I turn, I walk into a glass

pane and land on my ass? The answer, I'm convinced, is not out there; it's inside myself.

I teach screenwriting and consistently notice the different regard that I feel for my male and female

students. No matter how "enlightened" I think I am, I find myself having higher expectations of the

guys in the class. I just assume that they have more experience, more confidence, more

intelligence…? I've recently noticed that when I receive quality work from a woman, I feel a sense of

surprise. When I see amateur work from a man, I think "hmm… for some reason I had him pegged

as an experienced writer." For some reason.

So if I, a woman filmmaker, the liberated one who's not afraid to use the word "feminism" in a

sentence, if I myself carry misinformation about women that has me question our competence and

intelligence, what thoughts do other people carry? What "feelings", stemming from centuries of fear

and prejudice, and mistaken for intuition, dictate their decisions? What do the well-intended

producers, executives, agents, managers and investors, feel when my script comes across their

desk? With what concern do they thumb through my script, the one with the name "Ela" on it, the

one with a female in the leading role?3

If they're anything like me, enlightened and all, they glance at the script and expect amateur work. If

they get as far as reading a few pages, they're pleasantly surprised that I can write. If they get as far

as reading it entirely, if they get past the fact that the lead is female (unlikely), if they get far enough

to even consider packaging or selling or producing my film as an even remote possibility – and I'm

happy to say many have gotten that far – then they have to muster up the confidence that I, a first

time female director, could complete a meaningful, powerful and – profitable – movie.4 Beware of

glass panes.

I once had a notable producer pick up my work and tell me that mine was the strongest script on

their slate. The higher-up in the company, however, while working to attach "bankable names" (ie.

movie stars) to their other projects, refused to package my script. "If an investor takes interest in it

without us having to package it first, then I'll produce it," they explained. We parted ways.

There is no petition to draft. There is no policy to fight. Yet, of the 250 top-grossing films5 in any

given year, 6% are directed by women; of the 50 top-grossing movies each year, roughly 5 star or

focus on women. In 80 years of Oscar history, with roughly 250 directors receiving a nomination for

best director, 3 nominations went to female directors. No woman director ever received an Oscar.6

It would be so much easier if someone would just flat out say it: "You're not a director. You're a girl."

Unfortunately, there are no bad guys to blame. Men are good and caring people; my own husband is my

greatest ally in the world. Women are intelligent and powerful. But all of us carry the scars of centuries of

misinformation, and we all make decisions, often without awareness, that stem from a sordid history.

So now what? Given the reality in which I exist, what do I need to do to move forward? Statistically, I

have twenty times less of a chance to get a film made than my male colleagues. But this doesn't

mean that my goal is impossible, it just means that I have to work twenty times harder. So I will.

I know my films will get made. I know that I'm a wise investment, that my films will have wide appeal,

and dare I say: wide impact. But how do I get my films to their rightful owners – to their audience?

I decided to follow in the footsteps of writer-director Deborah Kampmeier, who after years of

throwing herself at glass ceilings and windows and walls, decided to quit waiting for a greenlight.

She contacted every person she knew and asked them for money. Dollar by dollar she collected

$35K and made the film "Virgin". The film was nominated for an Independent Spirit Award and she

went on to make her second feature for roughly $4M, starring Dakota Fanning. She is now in

development on her third feature. It took her several years to find backing for her second feature;

this was no easy feat. But the traction that her first feature created, coupled with her persistence,

began the momentum that is now her career.

Thinking I would do the same, I sent out a plea to my email list: if I raise $100 from 1000, I

explained, I can make my film. My email list consists largely of people who attended my workshops,

so I offered a $150 workshop voucher in exchange for the $100 contribution (good deal, no?) I sent

this notice to the 2100+ people on my email list and one week later (drum roll please…!) I received 3

contributions. One of them from my sister. I suppose that $300 is a start…?

I was due for another bout of tears, and when I was done, I got up to wipe my knees and engineer

the next idea. I decided to make it personal.

That's where you come in.

I went on to make a list of every human being I could think of that I ever had meaningful contact with.

You're receiving this letter because we know each other, because we had an impact in each others'

lives. As I compiled my list, I saw your face in my mind and thought about the experiences that I

shared with you. We may have been 6th grade classmates, or we met last weekend at a seminar.

You may be a former teacher, student, employer, a fellow activist, a synagogue-goer, or maybe we

met on a blind internet date before I was married. You may be a producer I met at a film market, an

agent I queried who sent me an encouraging word; you're a lawyer who gave me advice and didn't

charge me, or a festival director who took the time to tell me how you feel about my work. You may

be the English teacher who gave me an "F" and told me I would win. Wherever and however it is that

we crossed paths, I thought about you, specifically, and felt hopeful that you would back me.

If you received this letter through a friend, or a friend of a friend, know that I am thrilled to welcome

you to my circle, and to be part of yours. I will look forward to meeting you down the road.

If each person that receives this letter contributes only $100, I'll be able to direct my first feature.

This is all I ask.

For some of you $100 is a large sum; some of you are raising children, or are struggling artists

yourselves. If you don't contribute, please know that I will assume you want to but aren't able. If

you're in a position to contribute more than $100, you would offset folks who can't contribute.

Either way, what you can do is forward this letter to your list and tell everyone you know that by

contributing only $100, they'll have a hand in making a meaningful and entertaining film, the catalyst

to the many more rich and significant films that will follow. Post this letter in your blog? Embed the

link to this letter in your facebook status? Help me spread it one way or another?

If you're a writer or filmmaker yourself, and you'd like to learn more about the craft, your $100

contribution will earn you a $150 voucher towards any of my workshops, valid for one year. In the

fall, after I complete the production of this film, I'll be offering weekend workshops in screenwriting,

directing, and film producing. For descriptions, check out www.TheIndependentFilmSchool.com

If you're not interested in workshops, what I can offer is to thank you with a film credit. Based on

logistics and scheduling, I may also be able to invite you to visit the movie set as a background actor

or a production assistant, should this interest you. If you have children, I'll be particularly enthusiastic

about having them on set.

Dear friend and ally, I sat down at 8am yesterday morning to write this letter. I was terrified. Even

though I'm a writer, I don't have the words to capture what this really means to me. How do I sum up

my life's work in a letter? It's what I've devoted every waking (and sleeping) hour to in one form or

another from the time I began this journey. I wish I could find a poetic and irresistible way of saying

it, but truth be told, it's simple: even a minimal donation will make waves. It will change my life and

have a ripple effect beyond that. It will be the catalyst to intelligent and inspiring films – ones made

by a woman. Please don't assume that someone else will pick up the slack. Given the small amount

that I'm asking for, it will take every person who receives this letter to respond favorably. This is one

time in our relationship with each other that I ask you not to procrastinate, not to be apathetic, not to

assume that you can't make a difference, not to fall for my façade of "the successful artist" when in

truth, I'm in need of help. I dare you to care. I will think of you and remember you when I see your

name on the list of donors. And if I haven't met you yet, I will want to. It is now 8am the following the

day. It took me all day to draft this letter, to write and re-write it, giving it my all to try and find the

words that might reach you.

June 30th will mark twenty years from the time I wrote my first screenplay. I hope to celebrate it on

July 1st by walking into my production office and beginning the work that I was born to do.7

With love and appreciation,

Ela Thier

For information about the short film and to watch a movie clip:

http://thierproductions.com/a_summer_rain.html

To read an excerpt from the feature script:

http://thierproductions.com/sitebuildercontent/sitebuilderfiles/two_girls_from_different_distances_excerpt.pdf

To contribute: www.ThierProductions.com/current_production.html

1 Independent Feature Project

2 Men on the road is a genre. There've been hundreds of films with men on the road.

3 It's too late for me to go by E. Thier because I already have some film credits, but this is still common practice

among my female colleagues, no different than what 18th century female writers were doing. The author of Harry

Potter went by J.K. Rowlings to help her get published.

4 A frequent question is whether I would be willing to hand my scripts off to another director. I spent years trying to

sell my scripts without attaching myself as a director. I find that this was even harder to do. Industry response has

increased overall since I began to present myself as a writer-director and, based on the short works that I directed,

I've come to realize that I'm the best director for my own work.

5 Top-grossing doesn't necessarily mean most popular. How much money a film grosses depends on how much

resource a studio funnels into its distribution costs.

6 From www.WomenAndHollywood.com, "statistics"

7 Because our leads are two school-age girls, the film has to be produced over the summer while my actors are on

break. We will not be able to film once the school year begins.

Women Directing - What's Luck Got To Do With It?

Cracking Hollywood's celluloid ceiling - CNN.com

Check this article out on CNN.com about Charlize Theron as a director.

What follows, are my thoughts on the article . . .

Seems if it weren't for bad luck, as a group, we'd have no luck at all according to Theron who says, "Women have to make their own luck . . . there is no point in complaining about the tough time women have getting work behind the scenes in the movies."

Whhaaattt??? Is she kidding?

According to the article, "Last year, women made up just 16 percent of all directors, producers, writers and cinematographers who worked on the 250 top grossing films in the U.S."

16%!!!! Is that luck??? That's pretty pathetic. Wow, aren't we lucky?! - NOT!

Don't get me wrong, as a woman director I am always interested in what other women directors have to say about the business, particularly regarding the issue of the "glass or celluloid ceiling." Unfortunately, I can't help but be discouraged each time a woman director gets an opportunity to discuss the issue publicly and instead of taking it on they back down and under play our lack of parity and opportunity in the workplace.

And, the author has the nerve to say that Theron is a "template for what women can achieve in the industry." -- Boo, hiss, thanks for helping to advance your sisters, Charlize and Mairi. Is there a name for women that play the "Uncle Tom" role?

Women are underrepresented as directors and dp's. We are underrepresented as consumers. We make up 51% of the population and yet we don't even come close in the workplace. Yes, we are gaining ground. But 16% qualifies as a snail's pace. I for one, am tired of this paradigm where we are afraid to say what is for fear we will loose what little we have. I am tired of having the term "feminist" hurled at me because I've stood up for myself and have dared to dream, desire and ask for what should never be an issue--that I have an equal opportunity to realize my dream and work in the field and occupation I love--directing. Let's just take a moment and call it what it is--sexism.

Palmer Enfield

Director

Fan Club

Bonnie Sonder gave me permission to post a link to her awesome comments to me on Facebook about this blog and how useful she's found it. Click on the title "Fan Club" to read her comments.

I love knowing that people are reading and actually getting something of value from the blog. Thanks Bonnie for taking the time give feedback!

I hope more of you will join, follow and comment. 

You, after all, are my inspiration :-)

Twittering at Meetings

I've been talking about this for a while now to people - how to use Twitter effectively. I recently started suggesting it to my clients - especially my pharma clients who around this time of year hold their national sales meetings. Why not set up a private, event-specific Twitter account and have the attendees Twitter through out the meeting about their experiences, reactions, ideas, etc. Project the Twitters on screens in real-time in a common area or in the actual meeting itself. Imagine what you can create by doing this? 

Just to reinforce my point, here's an article I came across today that speaks about this same idea: If You Are Doing An Event, Bring Twitter Into The Room

Learning is FREE! And it's can't be repossessed once you have it!

I guess everyone loves free stuff. I know I love getting a gift bag full of goodies, I love swag and I especially love free workshops. I know we are all watching our money these days and many of us just aren't working as much as we'd like and consequently have a little more free time on our hands. I'm of the opinion that even if you aren't working at a paying job that you need to keep a schedule and engage in work related activities. Whether it be up dating your demo reel & resume and looking for work, networking, or doing what ever you can to keep current on the industry - we all need to be keeping busy.  So I've found some free or nearly free workshops that you should consider.

The first should be obvious to most of you since the majority of us in this industry are Mac owners . . . 

Your local Apple store has free hour long workshops on everything from how to use your new iPhone to iDVD and iMovie. Now I know that most of your think you know how to use this stuff but I also know that most of you don't really use all the features on your iPhone, your Mac, etc - here's an opportunity to make sure you really know how to use the tools of the trade. You've paid a lot of money for this stuff - ask yourself, "how dumb is it that you don't fully know how to use them efficiently?" And how dumb is that when there are free workshops you could take advantage of?

So go onto the Apple site and find your nearest local Apple store and sign up. 

Once you've run through the free one hour workshops, most Apple stores offer advanced workshops for cheap. You can take Final Cut or Photoshop or other workshops for around a $100 bucks. Trust me, that's cheaper than just about any where else that offers them. 

Next, is B&H Photo - yes, I know they are in NYC and you are in Philly or the Philly burbs. You certainly have a lot of excuses, don't you? Get off the sofa and stop watching Court TV - after all, I've already wrapped out how you can take The Bolt Bus or China Town Bus up and back to The Big Apple for cheap. 

B&H Photo is offering free workshops -go to  www.bhphoto.com/eventspace to check out the current offerings. You'll find workshops covering everything from still photography, directing, screenwriting, producing and more. Not only are they FREE (are you listening to me? I said, "FREE!") but you'll be hangin' with other folks and you can network - who knows who you'll meet. Don't forget to RSVP to reserve your space!

If you are hell bent on "keeping it local" there are some great options here in the Philly metro area as well . . . 

While the offerings aren't as frequent as I'd like to see, the Greater Philadelphia Film Office often has free (or nearly free) workshops and events worth attending - www.film.org

Free, nearly free (or at least relatively cheap) workshops:

Scribe - www.scribe.org - workshops are film and video related and based in Philly.

MiND TV (formerly WYBE channel 35) is offering the following workshops: MiND Bootcamp "How to make a 5-minute TV Program" (FREE), Camera Training (March 24th) and Video Pre-Production (April 7th) and Audio Recording (April 13th) - www.mindtv.org

And for those who want to break out of a rut, get their creative juices going and need a little hand holding on getting the inspiration mojo back there is always, Landmark Education - www.landmarkeducation.com - their introductions are free and there is NO OBLIGATION to sign up for future programs. They have a center in Philly and most other major cities. I've took the basic core curriculum( The Forum, The Advanced Course and The Self-Expression and Leadership) seminars last year and found it to be an effective way re-energize myself, re-focus my energies and re-discover what is possible. 

Know of other free, nearly free or cheap workshops? Let me know. Email me at palmer@redmaiden.tv and I'll add them to the blog.

And as a last suggestion - Mandy.com posts workshops on their "Noticeboard" and ShootingPeople.com also frequently lists free or cheap workshops on their email newsletter. You can sign up to get the basic newsletter for free - you'll get it a day or so later than the paying members or for a couple of bucks you can join and get the daily newsletter. I get it and have found it to be an excellent resource for everything from jobs to workshops, and then some.

Tweet! Tweet! How to Twitter - A Must Read

Everyone is talking about it, doing it and complaining about it - social networking. It used to be all about MySpace and Friendster. Now it's Facebook, Meebo, Bebo, and LinkedIn. Not to mention hi5, Orkut, PerfSpot, Yahoo!, Zorpia, Netlog - the list grows on and on. Just do a search for "social networking" on Wikipedia (you do know what that is, don't you?) and you'll be awestruck by the alphabetical listing of current and defunct online community sites . . . 

And now, to completely blow your mind, just when you though Facebook was the ultimate time suck - not so new on the scene and yet contending to be the ultimate time vampire is . . . Twitter. 

Whaaatt??? 

I know, I know. No more you say. Not another one. 

And yet, hunkered down in front of your computer you and I and a whole host of folks are exploring and experimenting with Twitter. 

It could be just what the doctor ordered for taking your personal branding to the next level. It could make the difference in getting your film the exposure you know it deserves.

Or it could only further lighten your pallor and make you need to double your dose of vitamin D - a problem solved by learning to Twitter on-the-go on your iPhone ;-)

Now I know that sounds a little more appealing doesn't it? But you're still thinking - "I don't get it." Don't worry. I didn't get Twitter at first either. And quite honestly, I'm still working on "getting it." And I'll go further to say that when my directing colleague Adam Tweets endlessly about the script he's writing or the mac n' cheese he ate for lunch after he's suffered through a casting session with chicks in bikinis or when my friend Brian Tweets about jetting off to Sundance, SXSW and Cannes to promote and network for his CD making company -- I often find myself thinking, "Who gives a flying f---???" But truth be know, I'm listening and they've got my attention.

So if you find you're thinking about Twitter and you're wondering "what can this do for me?" and you're asking, "Okay, so now what?"- but you still don't get it, don't understand how or why to use it, know that you you are not alone as even the most savvy social networkers don't really understand HOW to really make Twitter work for themselves.

So to help all of us muddleheads out, here's an article from the WSJ from a woman who does get it. How to Twitter - WSJ.com

And I think once you've read it . . . you'll be a giant step closer to "getting it" and then maybe you'll be ready to go online and read Mashable - www.mashable.com

And when you get up and running, don't forget to add me to your list of Twitters you follow:

palmerx

Palmer needs a new lid!

Director Palmer Enfield is known by her hat as well as her head for creative production. Here's her online video plea for a new lid. Help her keep her head warm and the ideas flowing - join the Facebook group "PALMER NEEDS A NEW LID" and support this frivolous but fun pursuit. After all, what is social networking for?

Cheap Rides Outta Town

Need to expand your networking beyond Philly? Thinking NYC or DC? Now you can go press the flesh with creatives at the Adholes cocktail hour in NYC or to the WIF job fair in DC?

Let's look at the options:

Yes, you can drive your car. Gas is cheaper than it was but it'll take you at least 2+ hours just to get yourself to the tunnel where you'll sit for another 30 minutes just to land in midtown. You'll pay tolls up and back on the NJ Turnpike and another $6 bucks to get through the Lincoln Tunnel into NYC (fortunately it's free to leave-lol) and then there's parking which you'll be lucky if that only sets you back $30 bucks (and you could easily spend much more). Oh, and gas which is currently averaging around $1.75/gal. When all is said and done it's a pricey trip.

You could take Amtrak. Amtrak's a good ride but will cost you an arm and a leg starting at around $45 bucks at the cheapest for a one way ride. More if you take the high speed Acela. And you'll pay $17 bucks to park your car in the garage. It is however, the fastest way to get there and probably the most comfortable. However, no WiFi and if you train back to Philly after 10pm - no cafe car (a sobering experience, let's say).

www.amtrak.com

Then  there is the local train option - for around $20 bucks each way you can take Septa to Trenton, change trains to the NJ Transit and get to NYC that way. You'll ride with the hoi polloi on seats that have seen better days and you guessed it, no cafe car-ever! And if you take it during commuter hours, be prepared to stand the entire way.

And now the good news - you've got some other options these days: The Bolt Bus and the Chinatown Bus. 

My personal favorite is the Bolt which leaves from both down town Philly and from the Cherry Hill Mall. The mall departure point is especially good for us southern NJ suburbanites and unlike China Town, there is loads of free parking. The Bolt bus is brand new, comfortable, has free WiFi so you can work or surf or Facebook while you ride and you can order tickets and guarantee your seat online. Seats are guaranteed as long as you show up 15 minutes prior to departure. Fail to do that and your seat could be sold to another passenger.

www.boltbus.com

The China Town bus has been an option for a while. You may have heard a few hipsters and PA's mention it. I've never taken it yet myself and understand that while it's the cheapest option it can also be reminiscent of Toad's wild ride (that's a reference from the children's book "Wind in the Willows" for those of you who didn't get it.). The drivers drive fast and there have been accidents. Would you expect anything else? After all, "it's Chinatown." 

www.chinatown-bus.com

In any case, all options will get you outta Dodge and given that Philly is only a market made even more stale in this rancid economy, why stay a second longer where you aren't wanted or needed? Strike out and bring back some work. You'll be a hero and your inert friends and colleagues will love you for your adventurous spirit. 

Networking Opportunity Alert

Film, Stage & Showbiz Expo is coming up on Sunday, March 29th and they have been e-mailing out registration incentives. This year the first 5,000 registrants attend for FREE with a basic badge. After that it's only $8 if you register in advance and $10 at the door. Plus, your experience can be customized as the additional networking events and party can all be added a la carte -- all at reasonable costs. So check out the website, register, if you are in Philly you can take the China Town bus or the Bolt Bus www.boltbus.com up and back to NYC pretty darn cheaply. Or do the Septa train from 30th St. & transfer in Trenton onto NJ Transit Train.  

In any case, it's a hell of a lot cheaper then attending the Philly Addy awards. 

Is it better networking? Well, that you'll have to get back to me on but I'm of the opinion that money in the bank is the best return on your investment.

And if anyone has ideas on other good, low cost, and ideally new ways to network lay 'em on me . . . I'm all ears (I know--you've never seen my ears. Why do you think I have such long hair that I always wear down???)

Dental Plans

How many people who freelance in the film/tv/web content production business carry dental insurance?

Yeah, I know - you don't have "benefits" because you don't work for a corporation. Or you have your own plan but it's basically just major medical and it costs you an arm and leg each quarter. That's what I have through Horizon BC BS NJ and believe me, it ain't cheap. In this economy I know that I'm not alone in wondering how I can get better bang for my buck and make my money stretch farther. 

So let me introduce you to something I recently discovered: Dental Plans (www.dentalplans.com)

I'm talking about nationwide, consumer-driven, discount, dental plans and healthcare savings programs many of which have additional programs as an alternative to dental insurance. 

For an additional $150.00 per year for an individual or $200.00 for a family you can enjoy discounts of 30%-60% on dental services. There are no health restrictions, no annual limits on program usage, no paperwork hassles, no referrals required to see a specialist and orthodontia is included (for those of you with teens or a mid-life crisis). Additionally, many plans have additional features and discounts such as: 24 hour nurse hotline, emergency travel assistance, senior care advocacy, and discounts for prescriptions, vision care, behavioral counseling, hearing, alternative medicine, chiropractic service, physical therapy, diabetes supplies, and  health club memberships.

These aren't insurance plans, rather memberships in a discount program that helps reduce the expense of obtaining care and treatment helping you save on everything from: routine cleanings and filings, crowns & root canals, orthodontics, bridges, and emergency and specialized dental needs.

My sister recently needed emergency root canal which included a temporary crown and then the final porcelain crown. For those of you who know, that's a pretty pricey set of dental visits, often costing upwards of $2000. Using her dental plan she was able to save well over $600 on the total cost. 

How does this work? By aggregating the purchasing power of hundreds of thousands of consumers nationwide so that members take advantage of deeply discounted fees usually reserved only for insurance companies and health care plans.

No. It's not an insurance plan. It's a membership based, discount, dental program that will help you reduce your costs of obtaining care and treatment. 

And yes, if you choose a plan that has additional programs like discounts on prescriptions and eye care you can use your discount plan along with your current insurance for even greater savings. 

So check out www.dentalplans.com online. You can look up your general dentist and see what plans they accept. Mine accepts 3 different plans. I choose Alliance HealthCard Gold Card which was the most comprehensive of the 3 plans and cost me $150.00 per year. Given that I never miss a check-up or cleaning, I'll save that much easily in a year. I also wear contacts and glasses and require several on going prescription medications. My plan will also get me discounts at LensCrafters for my eye exams, contacts and glasses and on my prescriptions at Target - both places I currently shop. And if I should require anything additional, well, then that will be just money in the bank. 

Lastly, let me be clear on one point - this is not an insurance policy and is not regulated by state departments of insurance and does not give you comprehensive health coverage. It is not a substitute for health insurance coverage. Just simply a "discount plan" that provides the member with savings on medical, dental, vision, hearing, prescription, counseling, and other related services.

However, if you are one of those people who cannot get health insurance because of a pre-existing condition, health discount plans are sometimes a good solution as most do not exclude you from joining.

All that said, I hope this will help you save money during this challenging economy.

2008 Rates for NYC Producers, Etc.

Hi folks,
Everyone always wants to know what the other guy or gal is making. Some of us are more willing to share our day rate information than others. I'm a big believer that sharing this information keeps all of us from undercutting each other and weakening the system. So on that note, here is some information that was recently posted on WIFNY. Happy holidays.

Producer for Commercials:

$1000/day - non union producer with a union crew.

Producing with non union crews sometimes pay less then $1000/day.

For very long term jobs I have gone as low as $500/day but won't go below that.

Post Producing for Commercials:

$600/day though I believe the going rate for freelance commercial post-producers is in the $700-800 range.

advertising agency in-house post-producing job for $450/day seems the going rate.

++++

AP:
Inexperienced/Low rate: $800/week.
Experienced & basically a producer with an AP title: $1400/week
Average: $1000

Producer:
Inexperienced/Low rate: $13-1400/week (although I have heard of people taking lower to get the credit)

Experienced: $2500/week (this is the highest I have seen - it was for a couple of the producers on the Carrier project, which involved a big sacrifice: living on an aircraft carrier for 6 months).

Good solid average rate: $1600 (maybe $1800 for field?)

+++

AP for Public TV non fiction:
$225-$275/day (without benefits) maybe more for someone truly wonderful or verging on full producer

Producer for non-fiction:
usually $300 - $350/day depending on skill, extra-special or producer/manager might get more, up to $400/day

Producer for NY local news-based video or talk freelance:
$300/day. Good Morning America about the same.

Producer for Reality shows:
producers may get $450-$500/day.

Information provided by WIPNY (Women in Production New York)
To sign up for the WIPNY newletter, send and email request to: avidyvette@yahoo.com

Going West! LA Bound.

I'm about to head out to Los Angles to establish myself as bi-coastal. I love working on the east coast. NYC is great and Philadelphia continues to be a well-kept secret . . . though the secret is getting out thanks to the great works of the GPFO (Greater Philadelphia Film Office) . . . while I'll maintain my east coast roots, this awesome, woman director needs a bigger pond to swim in!

For years I've been told I should "Go West!"

So I'm taking off on what given the current rising gas prices maybe the last great cross country road trip of a lifetime and heading to LA to establish a west coast base on July 19th and I'll be there by July 30th.

As a fellow filmmaker friend said,

"L.A. is where the work is! If you fancy yourself a salmon fisherman, you go where the salmon are."

NYC and Philly friends, colleagues and clients--don't worry . . . I'm not leaving, I'm just going to L.A. I'll still be maintaining my east coast base and going back and forth between the coasts as needed. As always, I'll be reachable via my cell phone and email.

L.A. friends, colleagues and prospective clients--I could use some help and advice on establishing myself in L.A. I'd love to get some referrals to production companies looking to add an awesome, emerging, woman director to their roster. If anyone needs a house sitter or knows of an expensive housing option in the west side/Santa Monica/Venice/Marina Del Rey areas, please let me know. I'll need networking opportunities, party invites, work, friends, and so on. So please keep me in mind.

Things We Never Want to Hear You Say -- REALLY!

“Nobody told me...”
Be proactive, ask, don’t wait to be told.

“They’re here to pick up the thing...”
Who’s here? What thing? Be specific.

“He just left in the passenger van with the keys to the truck in his pocket...”

“I didn’t hear my cell phone/pager go off because...
a) It wasn’t on.”
b) The radio was on too loud in the truck.”
c) The battery is dead (or low).”
d) I set it on vibrate, but then I left it in my bag.”

“I didn’t call because...
a) I didn’t recognize the number on my cell phone/pager.”
b) I didn’t have the number.”
c) I didn’t have enough change for the phone.”

“I didn’t know it was going to ... rain...snow...hail...”

“I can’t do my petty cash because I left all my receipts at home.”

“Don’t worry, they know me.”

“I don’t have to write it down, I’ll remember...”

“We did this shot in film school...”

“My roommate never gave me the message.”

“I never oversleep.”

“I assumed...”

Each of these thing may or may not get you fired or never hired back. It will depend on who hired you, the rest of your performance, what else happened on the shoot, if they like you, if your dad plays golf with the agency producer, and so on. But given how competitive this industry is and how many other people would love to have your job why take chances. And trust me, people have been fired or never hired back for saying these things and making these mistakes.

Craft Services

What is Craft Service and why would I want to do it?

Craft service is different from catering in that it is not a designated meal. Craft service is snacks, finger food and drinks that are easily grabbed by the crew as they work. If there is no breakfast caterer, it is to provide a continental breakfast as well.

On big budget feature films, craft services is usually a union position. But on independent feature films, shorts, television commercials and corporate videos craft services is more often than not a non-union position. Many markets have seasoned craft service professionals. These folks make craft services their business and often have extensive kits and gear and may even have a special truck to work out of.

Often, a person new to this business is hired for the position known as craft service. This is not a form of "hazing" but is a trainee position. Like the experience of being hired as a production assistant, working craft service is an entry level position where you are paid to perform a needed service and to learn how production works.

As a craft services person, you'll get yourself on set where you'll get to watch and learn how a production functions, you'll learn the basics to budgeting and money management and how to feed and take care of the food needs of a crew. These seemly basic skills will serve you well as you advance in your career and are especially relevant to those seeking to become production coordinators, production managers and producers.

Too often “new” PA’s will answer a request to do craft services with “I don’t do that” or “I went to film school, why should I do craft services?” If that is your answer, don’t ever expect to get a call from that production company, producer or coordinator again. As a PA just starting out (“green”) you should be willing to do any and all PA duties, Craft Service included. If a PA is not willing to give Craft Service his/her all, why should we believe they’d do more for something else? Craft service is not an easy job. This could be your chance to strut your stuff.

A Craft Service Time Table:

The day before:
• Pick up petty cash from the production coordinator.
• Check on the ammenities of the specific location where the shoot is. i.e. Do they have running water? Will you be in one location all day?
• Get the Agency Food/Brand Preferences List from Production. This list contains other products made by the same client and products made by other clients of the same advertising agency.
• Ask about any Director/Producer preferences.
• Do the shopping. It is a good idea to get a membership to a warehouse store (SAM’s Club, BJ’s, etc.). This will save money and make shopping easier.
• Cut fruits & veggies, when necessary. It is often easier to buy things like mini-carrots, celery sticks, etc. This will cut your prep time.
• Bake! This is not for everyone. Some craft service PA’s like to bake and will make homemade cookies, rice crispy treats, etc. It is not a must, but is a nice touch.
• Arrange for your morning bagel or fresh donut/pastry pickup. Know where your local bagel/bakery store is, and what time they open. If you have an early call, they might not be open when its time for you to head out. They may be willing to open early for you or you may need to go to a store closer to the location. Buy fresh, the morning of, whenever possible.

The Morning
• Make or pick-up the coffee. Always arrive on set with coffee ready to go. It is okay to fill up carafes of coffee at a local coffee joint or convenience store. Keep your budget in mind as this can get expensive.
• Pick up bagels and/or bakery items.
• Pick up ice, and lots of it.
• Set up your table. The table you use will either be on a production van/cube or on the grip truck. Find out from the prod. coordinator or AD where they want you to set up.
• Be ready to serve when the crew gets there. Craft service and production usually have an earlier call than the crew. Even so, the crew usually arrives early so they can grab a bite and a cup of coffee. This may mean some initial improvisation on your part. If your table is not yet on set, make sure that the early morning grabs (bagels, donuts, etc.) and coffee are accessible.
• Make sure to fasten a large garbage bag to the end of the craft service table.
• Start brewing the coffee. Find out where you can plug in. Ask someone in the electric department if its ok to plug in to that outlet. They made need to provide you with power off the genny.
• Fill coolers and ice them.
• Mid-morning is good for cheese & crackers, more fruit or trail mix. Its ok to let the food get light as lunch time approaches.
• If it looks like lunch may get delayed, put out a little more.

After Lunch
• Make fresh coffee at the beginning of lunch
• Put out sweets after lunch.
• Make sure all breakfast items are gone. Having items from breakfast lying around gives the impression of neglect.
• An hour or two after lunch is when to pull out the dips, chips, veggies, etc.
• If you have deli stuff, and it looks to be a long day, its good to put it out around five hours after lunch.
• If it looks like a really long day, you may be asked to order a second meal. Know what restaurants are in the area. Ask the prod. coordinator if you aren’t sure what to order.

Craft Service Tips
• Keep the craft service area clean and the food fresh at all times
• Make sure there is hot coffee at all times
• Presentation is important. Arrange fruits or veggies, cheese & crackers nicely on platters. Baskets, white platters, a tablecloth and flowers always make food look more appetizing.
• Replenish the food as it starts to disappear. One bagel sitting in a basket becomes tired looking and left over.
• Gum and mints on the table at all times, including breakfast
• Always remove six-pack holders or other wrapping
• Buy locally bottled water whenever possible. Think about the fossil fuels that were used to move the water from where it started to where it is now...
• Make brewed decaf coffee whenever possible. If not possible, use coffee singles. Never use instant coffee.
• NEVER buy Styrofoam.
• Prepare food to be consumed easily & quickly, e.g. cut food into slices
• Recycle plastic, glass and aluminum
• When the set is not very accessible to camera, put a small cooler with mostly water and seltzer near (but not too near) the camera.* Move this cooler, as needed, to ensure the safety of the camera equipment
• Be aware of the crew. Don’t assume that just because you have a table set up they will be able to get to it. Often times those closest to camera can’t get to you. Go to them. Ask the crew if they need or want anything. Or just walk around with bottles of water to offer them.
• Make yourself useful. For many PA’s this is just a starting point in your career. It is ok to help out with production or other departments as long as you don’t neglect craft service.
• Know your surroundings. Keep a lookout for grocery stores, bakeries, hardware stores, convenience stores, gas stations, copy shop, etc. You will be making runs and not only for craft service.

What you need: Building the Craft Service Kit

Cutting board
Sharp knifes
Tablecloth
30-cup coffee maker
Coolers
Baskets
Serving bowls
Electric teapot
Rubbermaid bins
Serving trays
Can opener
Dish towels


Paper Goods & Staples

napkins
paper towels
kleenex
large garbage bags
paper coffee cups
paper bowls
paper plates
plastic cold cups
plasticware
ziplock bags
stirrers
sugar
coffee/decaf
tea/decaf
sugar substitute
skim milk
half & half
gum
aspirin, tyleonl, advil
lifesavers & mints
sodas
ice
bottled water
aluminum foil
babywipes

Morning Chow

bagels
cream cheese
butter
danish
ricecakes
peanut butter
donuts
muffins
fruit
cereal
raisins
juice
yogurt

Afternoon Chow

pretzels
chips & dip
chips & salsa
cheese & crackers
pita & humus
candy
trail mix
fruit tray
nuts
veggies
cookies
brownies

Drinks

Bottled Water
Cola (reg & decaf)
Diet (reg & decaf)
sprite/7-up
mountain dew
iced tea
juice
coffee/decaf
tea

Safety & Security

Lock-up (Sound and Crowd Control)
You are the front line against passerby (including crew members, agency personnel, etc.) walking into the shot or talking (or making other noises) during filming. After the shot has been set, the First or Second AD will give you instructions about where to stop people from crossing. You want to stop them confidently and politely, usually by raising your hands in front of you, with your back to the shooting area and your face to the oncoming crowd. Remember that you are the representative of the production company, the client and the film business in general - never lose your cool, curse or touch anybody. If someone is determined to have their way, they will regardless of how effectively you ask them to stop.

Never, ever walk away from your crowd control assignment without first confirming that you are no longer needed in that spot. Don’t assume, always double-check.

Crowd Control
• Most crowd control assignments can be suspended between set ups (so you can help on set), but if you’re not sure, check with an AD. In some cases, your current assignment may be more important than returning to set, if you’re not sure check with Production or with an AD.

• But if strangers are being nosy (as often happens when you’re doing crowd control), just tell them the absolute minimum: “It’s just a TV commercial, no stars.” It is OK to tell them the name of the product unless otherwise instructed by Production. Sometimes the unions send reps to the set. You do not want to engage these people in any kind of conversation, refer to them politely and immediately to Production.

Equipment
Here’s another area where we’re counting on you to do your very best. All film equipment, not just camera equipment, is incredibly expensive and hard to replace on short notice. The crew members have the primary responsibility for safety and for missing or damaged equipment when it is in their hands. But when it is on the truck that you drive, at meal times and during wrap, all the equipment is your responsibility. Keep a vigilant eye on everything at all times and beware of people who are not part of the shoot.

When driving with equipment, remember this is not your mother’s old Chevy. You’ll need more time for braking and accelerating and you’ll want to take the curves a lot slower. Tie off everything in the truck and beware what you stack against what. Dolly track that arrives on set dented from banging up against a bed frame is no good to us at all. Also, use caution when loading and unloading equipment.

Idiot Check
After almost everything has been wrapped backed to the trucks, start doing a systematic search of every area of the location. You are not looking for anything in particular, you are scanning everything to see if something might have been overlooked. If you find something but you don’t know what to do with it, bring it to Production.

Walkie-Talkies

They are such a necessity but can cause so many screw-ups that it’s important to know what you are dealing with.
When walkies are your responsibility:
• Make sure the walkies and any spare batteries have been charged.
• Check your gear. Make sure that if it says 12 walkies & 12 spares on the outside of the case, that’s what is inside the case.
• Use a walkie signout sheet. You should know who has walkies with what accessories.
•
Using the walkie
• Always test your walkie when you first turn it on, and any time you put on a new battery. Hold down either the walkie bar, or the bar on the handset(when using one) and say “radio check”. Release the bar and listen for the response “good check”.
• Make appropriate volume adjustment to your surroundings. Be aware of sleeping neighborhoods at the crack of dawn, know when a shot is recording sound (so your walkie won’t interfere) and turn down the volume if you are near the director.
• Use a headset or a handset. Attach the handset to your shirt close to your ear. A walkie doesn’t do you any good if you can’t hear it.
• Speak clearly, don’t ramble and remember everyone can hear you.
• The walkie-talkie that you are assigned in the morning is your responsibility. Sometimes, there are not enough walkies for everybody, so your walkie may be reassigned to someone else during the day. Make sure you get the name and position of the person you give your walkie to and have them sign their name on the walkie sign out sheet. That way, if the walkie is missing at the end of the day, it’s on them, not you.

Walkie Etiquette
• Channel one is the main production channel and needs to be kept clear for the AD to communicate with the crew. If you need to talk with someone about production logistics, or anything not directly related to the set and the AD, there is a “go to” channel assigned by the AD department (usually channel two). Make sure you “go to” that channel and keep the main production channel clear from excess talking.



WALKIE TALK & SET LINGO

Rolling Camera is on, filming starts.
Action Filming and performance begins.
Cut Filming and performance stops.
What’s your 20? Where are you?
Do you copy? Do you hear me?
Copy that I understand.
Hold traffic Don’t let cars or people pass.
Release traffic Let cars and people pass.
Go to # . Switch walkie to channel # .
Back to 1 Switch walkie back to channel 1 (when on another channel)
Back to original positions. (when said by director or AD)
Watch your back Get out of the way.
10-100 In response to What’s your 20… it means you’re in the bathroom.
New Set-up
New Deal Everyone prepares for a new shot.
Going on to a new set-up.
Hot set a set that must remain exactly the wat it is for further shooting
Checking the gate This particular scene is wrapped and the interior of the camera is checked to make sure there are no hairs or other debris inside the camera that would damage the film. If the gate is good, then we move on to the next scene or wrap for the day.
Room tone Ambient sound being recorded. Be still and quiet.
Flash Say before taking a Polaroid or flash picture. This is so the elctricians will know it isn’t one of their lights that has blown. Never take a flash picture while the camera is rolling.
Crossing Say before walking in front of the camera while a shot is being set up.
We’re on the move Company moving to a new location.
Martini shot Last shot for the day
That’s a wrap The shooting day is done.

SHOOT DAY CHECKLIST

Immediately upon arrival:
• Sign out walkies, turned on and on the correct channel
• Help set up Craft Service
• Use cones, caution tape and barricades as needed to secure the location.
• Unload trucks:
• Set up Camera area as directed by AC
• Prepare wardrobe area. Make sure this a table in this area. Set up any equipment (i.e. racks, steamer, etc.) Get the electricians to put a work light and an electrical line in this area. Be prepared to help the wardrobe stylist load-in all the wardrobe.
• Unload props as needed.
• Prepare hair & make-up area. Make sure there is a table for the make-up kit and chairs for the actors. Get the electricians to put a work light and an electrical line in this area.
• Production into production office and plug in computers, battery chargers, etc.
• Set up for the Home Economists or any specialty department the specific job requires.
• Deliver anything else you picked up to the appropriate department
• Organize all expendables in one place (make sure crew members use expendables owned by the production company first)
• Set up Shooting Boards on a C-stand on set
• Put director’s chairs on set for the director and the script supervisor
• Put director’s chairs on set for “video village”
• Put out Butt Cans: 1000 empty film cans with sand or cat litter in them
• Put toilet paper, liquid soap, paper towels, and garbage bags into all usable bathrooms (including motorhomes)
• Distribute garbage bags to other areas
• Set up staging areas for extras
• Make sure all vehicles (including crew cars) display either parking permits or “crew vehicle” signs in their windows (see: Vehicles section)
• Double-check on Craft Service
• After everything is done, then it is OK to eat breakfast

All Day:
• At least one PA on set (that is, one plus the person doing slates...)
• Move pop-up tents as the sun moves
• Pick up litter and trash as you find it
• Double-check on Craft Service
• Check in with Production to see if we need anything

Camera Position Change:
• All PA’s should report to the First AD
• Immediately shift video village to its new position
• Move shooting boards and tall directors chairs
• Move camera cooler as needed

Before Lunch:
• Set up tables and chairs for lunch
• Put tablecloths on tables (tape down, if needed)
• Move coolers to lunch area
• Put out garbage bags in lunch area
• Check with Production to see if there is a plan for all the garbage
• Assign someone to watch the camera and any other high-security areas during lunch
• Change all walkie batteries at lunch time

After Lunch:
• Put away tables and chairs, clean up area (hold off if there might be an evening meal)
• Fill gas tanks of vehicles as needed
• Double-check on Craft Service
• Fill out your time cards and get your petty cash up-to-date

Before Camera Wrap:
• Get a jump on wrapping the truck. As you load returns, make sure all things going back to the same place are on the same truck.... LOAD FIRST IN, LAST OUT; LOAD NEATLY AND SAFELY.

After Camera Wrap:
• Keep walkies on through the entire wrap and the retrieve them and count them
• If required for next shoot day, designate one PA to charge camera batteries and walkie batteries - either left plugged in on set or taken home, charged and brought back
• Load Wardrobe, Props, Camera, Expendables, etc., onto trucks
• Load Production (but do not pester us, we’re going as fast as we can....)
• Police location for litter and get rid of garbage
• Do an idiot check