Freelance production Jason Wodlinger
Industry Centre > Blogs > Freelance production | Jason Wodlinger
Posted by Jason Wodlinger
on Thursday, November 13, 2008.
Categories: Careers
I'm going to discuss innovative strategies to develop a career in freelance film and TV production.
Whether you're an aspiring AD, makeup artist, scenic designer or still trying to find the right position for yourself, my hope is that you’ll find some effective strategies in this posting.
Ten years ago, I embarked on a career in production. I could compose, cast talent, do administration and, if need be, carry heavy objects.
So I pounded the pavement and sought out every single production company and job opportunity that could possibly exist.
One serendipitous day, I was literally going through the phone book contacting companies when I happened upon a woman who was working at Triptych Media. Although Triptych wasn’t currently in production, this producer was looking for someone to help her cast her own low budget film - as luck would have it, she happened to walk by and pick up the phone while the receptionist was out. Had the receptionist answered, I would have missed this opportunity. These split second strokes of luck throughout my career are rare but when they strike they’ve fundamentally changed the direction of my career.
For two weeks I volunteered for the producer after which they offered me a paid position in their production office during filming. It was a fantastic experience which subsequently introduced me to the Canadian Film Centre (the executive producer of her film). Two months later I was working full time in the feature film production office at the Canadian Film Centre – another fantastic opportunity.
The salient points of my anecdote? Research; resume building; tenacity; and serendipity.
Research
One of the most important fundamentals of developing a career in production is building experience. While accreditations for lawyers, doctors and professors can open doors, experience is one of the most important assets used to sustain your production career. So how do you build the resume - especially if you are at the beginning of your career?
Two common methods include formal education and practical experience. While the two strategies are not mutually exclusive, for some it’s either one or the other.
I have always believed strongly in formal education. My BFA and MBA have served me very well so far in my career. Irrespective of the knowledge and contacts institutions can offer, the way in which your brain is challenged is an invaluable experience. However, this path is not always financially feasible or effective for everyone. So the practical approach is a strong alternative.
Getting experience requires the obvious task of finding opportunities. Jobs can normally be found via two sources: the advertised and the hidden job market.
So where are the jobs?
One’s search begins with researching the companies and individuals who are looking for help. Advertised jobs are posted in many high profile locations where the production community congregates.
Here is a list of organizations to search for in your area of Canada. You don’t need to enroll or become a member in any of these institutions to help out on productions - you can just meet up with its students or members. I won’t list every single organization out there, but I will note examples which may help to explain the categories. (I encourage you to post other suggestions in the comments area of this blog.)
The hidden job market can offer a substantial number of opportunities. The key to uncovering these hidden jobs is to find the companies and individuals involved in current productions who are not advertising for help.
Many organizations list companies currently filming in their jurisdictions as well as contact information.
The genesis of a project starts with someone’s idea. Whether a company is behind the project or not, if you find the person, you’ll find a production. So how do you find these people?
I’ve listed some suggestions below. There’s no guarantee that anyone you contact will currently have a project in production; however, there’s always a good chance they’ll know someone who does.
Once you find the people, how do you contact them? Chances are if you Google their name you’ll find them attached to a past project. Google the project name and you’re likely to find a website with contact information. Of course you can always go the Facebook and LinkedIn route, but the debate regarding the appropriateness of using these sites for cold-calls is outside the scope of this post.
Here are some suggestions for researching opportunities via individuals
- Find Canadian producers/directors involved with current film/TV projects. Look at recipients of funding grants: Telefilm, Canadian Television Fund, Harold Greenberg Fund
- Open up a TV guide and start noting Canadian TV series. Research them and find the creators involved
- Search film festivals for the latest Canadian films and their associated producers/directors
- List recent nominees for Canadian production awards: Genies, Geminis
- Research in-house production departments at companies (Google “production” with words like “Bell Globemedia,” Canwest, Astral, Corus)
Resume building
From what I’ve experienced, the more work you can get on your resume, the more doors open up for you. The seniority of positions for which you can apply is correlated to your current level of experience. Obviously, a small amount of experience would qualify one for more entry level positions. Volunteering may not sound palatable to some, but it can potentially offer a more senior level opportunity. Smaller productions might be willing to offer a more complex role to those less experienced.
It’s a tough situation to be in: 16 hour days with no pay today and rent due tomorrow. However, I strongly encourage freelancers to seek out innovative ways to solve this problem. Convince your parents to invest your RESPs into your living expenses while you volunteer on productions; apply for development grants (WIFT, CFTPA, NFB), sell financial shares to family members for “You Inc.”
The point I’m making is that experience is the sustenance of a living and breathing career. Anything you can do to stick it out and build the resume will be worth the wait for that solid pay cheque down the road. The very fact that you are willing to compromise all other areas of your life for this one goal certainly demonstrates your passion to prospective employers.
Tenacity
The previous paragraph segues well into my concluding note.
Competition for jobs, the catch-22 of a thin resume that doesn’t attract opportunities to build it up, the overwhelming rejections you may face. I know it sounds cliché, but the quotes are true.
“He that would have fruit must climb the tree.” (Thomas Fuller), “Time stays long enough for anyone who will use it.” Leonardo Da Vinci.
Knock on every door. Call anyone and everyone. No matter how small your experience may seem relative to that of the person you are contacting, there is no law that prohibits anyone for asking for help and advice.
Common sense might dictate how you communicate with people, but with respect and intuitive communication skills an opportunity is just one enquiry away.
Successful people with impressive careers excelled to their current positions because someone helped them at the beginning of their career. People don’t forget this when they receive a phone call or email enquiring about opportunities.
Serendipity
Moments in life collide on a second by second basis and within those collisions, opportunities are born. Recognizing an opportunity, believing that opportunities exist – these philosophies build a foundation of optimism which is the incubator for serendipity.
I can pinpoint the exact moments in my career when pure blind luck was the only thing that pushed me over a career hurdle. In the absence of luck we rely on determination, intelligent research, chutzpah, and an unwavering hunger to achieve our goals.
I encourage you to submit your own ideas or personal anecdotes about how you succeeded in developing your freelance production career. jason@wodlinger.com
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Views expressed here are the views of the author and do not necessarily reflect the views of the National Screen Institute - Canada (NSI).
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The views expressed here are the views of the author and do not necessarily reflect the views of the National Screen Institute - Canada (NSI).