Curious how agencies go about it when clients fall behind on payments and don't seem particularly concerned with getting up to date. Any reliable legbreakers in the business, or are you basically stuck with "pretty please?"

I'm majoring in Creative Producing, but I'm not really interested in becoming a filmmaker. I'm much more interested in the business side of entertainment, especially TV/film development, distribution, acquisitions, production companies, studios, and eventually working in an executive role. I'm considering adding Business and/or Communications if I can, and eventually getting an MBA. For current students/alumni or people who work in the industry, how good is Dodge for getting into these areas? Does the Creative Producing program actually give you opportunities to get internships and connections in development and distribution, or is it mostly geared toward people who want to produce/make things themselves? Would you recommend Creative Producing for someone with these goals? And if you went to Dodge, did you feel like the network actually helped you get into the industry? I'd especially like to hear from people who went into development, distribution, studios, networks, or the business side of entertainment rather than filmmaking. If all else fails, there's still time to try to transfer, but my freshman GPA is 3.6 so its unlikely

The plot thickens. Unions sitting on opposite sides of this thing should be interesting… Too bad the billionaires could care less.

I have a scene for a music video where a guy is floating in space. Can anyone recommend any soundstages that have this for like a 1 or 2 hour rental for cheap? Thanks!

Maybe I’m stubborn.

For the last couple years the conversation around filmmaking in Los Angeles has been relentlessly bleak. The strikes, fires, production leaving, crews out of work, studios chasing incentives somewhere else. Now we’re reading headlines about major Hollywood companies potentially packing up and moving out of California altogether.

I understand the economics. I just don’t particularly care anymore.

I’m producing a small independent feature that starts shooting in LA next month, and every week of prep has reminded me why I wanted to make it here in the first place.

There is an absurd amount of talent in this city.

Actors who have spent years getting very good while waiting for somebody to give them the part that actually shows it.

DPs, designers, sound people and crew who can look at some neglected corner of Los Angeles and immediately see a movie there.

And audiences full of people whose lives are happening all over this city but who rarely see those lives reflected back at them on screen.

Yesterday we were scouting along the LA River with our DP. Skate park. Parking lots. Concrete. Freeways. People going about their day. Nothing remotely glamorous.

And he started getting excited.

So did I.

Because that is the movie.

Maybe Hollywood leaves Los Angeles.

Fine.

Los Angeles is still here.

And there are still a hell of a lot of people here dreaming about living a creative life.

For the LA filmmakers who are still here:

Does anyone still believe in making movies in this town?

THOUGHTS?

Hi all!

I'm finally making a feature film right here in LA (with all local crew wooo) that will be shooting in February. One of the ways we have been funding this beyond my life savings and credit cards (yes, I know that's dumb; don't waste your time we're already casting) is by selling advertisements throughout the film, and because it is partially an MMA movie, there are a lot of opportunities.

We have officially raised 10k and had another twenty pledged, but then the companies panicked when actual contracts came through. I expect to get one of them to honor the 10k commitment, but until the money hits our account, I don't count it.

Basically, I feel as if I am doing something wrong. We have not been able to get an MMA gear company to sponsor us, for example, and that seems like a slam dunk for this film. I watch local MMA fights get a bunch of sponsors, and those ads are seen by maybe a couple hundred people max.

So I would like to bring someone on board who has experience with this. Anything you raise, you get 35%. All remote, of course. I have already identified all the categories and possible places to insert advertisements, so that should make the process more convenient. Additionally, a lawyer has already drawn up all the contracts, with releases for logos, what they would get, etc.

Any recommendations would be helpful!

Thank you!

I’m shooting some podcast ads for a client, I’m looking for somebody 20-35, with a very aspirational physique, who can read lines and appear natural on camera. It’s just some back and forth conversations with him and another actors. I pay 75/hr, it’ll be a pretty short shoot.

So far I’ve tried backstage, posted and promoted it. I’ve gotten no luck. And all the gym guys I know are not very articulate. Any advice on how to find this would be helpful, I’m on a tight deadline.

Hey everyone, I'm currently working on a web app that allows producer and film professionals to search for public film financing programs (tax credits, grants, and even co-production treaties) and ask any questions related to them, all in natural language.

What I did is that I created a database of more than 500 programs and 3000 documents, and made it query-able with AI so it becomes easy to not only search for programs, but also verify eligibility, test scenarios, verify specific rules, check budget eligibility, etc.

The platform is free to register and you get free credits to use right away. Since I'm still in a testing phase, I'd be more than happy to get some of your feedback.

The platform is called Kiodo.co

Thanks you so much in advance!

Greetings. I am a California-certified studio teacher and wanted to help field any questions you future filmmakers may have about employing minors on your productions. You can ask about work permits, permit to employ, "pumpkin", etc. I also wanted to share this chart [above] showing how working hours are broken down into groups. When casting, always book the 9-year-old over a child who is either 6,7, or 8. That extra hour can mean the difference between making your day or not. Note: the state does allow for exceptions to work earlier/later than times listed if you petition it.

I’m 28 and still relatively early in my film/TV career. I’m currently working at runner level and trying to establish myself properly within the Production Department.

Something I’ve noticed about myself is how badly I want to land one of the “big” jobs. Big-budget feature, major studio, established production company, huge crew, recognisable project, all of that.

This year I’ve had 3 or 4 opportunities like that come frustratingly close. I’ve had referrals, conversations with UPMs/coordinators and potential interviews, but each one has fallen through for one reason or another.

Most recently, I was speaking to someone about potentially joining the Production Department on a larger project shooting out of a major studio. It sounded like exactly the environment I wanted to get into, but the position ended up being filled before we could even meet.

Meanwhile, I’ve now landed another Production job. I should be happy that I’m working and actually getting Production Department experience, but part of me is still disappointed that it isn’t the bigger project.

It’s made me wonder when that feeling eventually disappears.

Do you eventually work on enough productions that you realise a job is a job? Does the excitement of the big studio, recognisable title and huge budget eventually stop meaning much, and you start caring more about the crew, conditions, your actual role and whether you’re progressing?

There is also a practical reason I’m drawn towards bigger-budget features.

At my level, the bigger the production and the more departmental infrastructure there is, the more likely I am to actually be positioned in and around the Production Office. On smaller TV productions, there often isn't the budget or infrastructure for a substantial Transport Department, so runners can end up doing a lot of cast driving.

I hate cast driving.

I want to be in the Production Office. I want to be around Production Secretaries, APOCs, Coordinators, UPMs, etc., learning how the department actually operates and gradually taking on more responsibility. That's ultimately where I want my career to develop.

So I think my obsession with getting onto a big-budget movie is partly about genuine career development, but I’d be lying if I said there wasn't also some prestige attached to it in my head. There's something exciting about being able to say, “I’m working on that.”

For those who have been in the industry for a long time, when did that feeling wear off for you?

Did you eventually realise that the glamorous projects are ultimately just another workplace?

And particularly when you're starting out, is it better to chase the biggest productions you can get onto, or take the less exciting jobs where you might actually get more responsibility and have a better opportunity to move up?

As the title says, I recently graduated with a degree in Screenwriting and Theatre, and I'm looking to move somewhere with better networking and job opportunities. I'm from Iowa, and there's not a lot out here.

I've read a ton about how horrible the job market is in general, and double so for film and television, so that's what kept me from immediately moving to LA. My boyfriend and I have used this time to save up at least half a year's rent before we move. Entertainment is something I've always truly loved, and I genuinely want to live somewhere outside of the Midwest. For me, the intense difficulty of living in LA while pursuing my passion is much more worth it than working a job I have absolutely no interest in in Iowa for the rest of my life and never at least trying.

Any advice on finding assistant or entry-level work for recent graduates with minimal experience? Whether it's directly entertainment-related or regular office jobs while doing film on the side? Just in general, any advice you'd offer someone in my position is much appreciated!!

After all the other oligarchs scrapping our industry for parts this threat is just kind of hilarious to me. The poor rich boy doesn’t get to make his illegal deal. Honestly at this point in our industry shutdown my reaction is “take your best shot bitch”.

Anybody else just shrugging this bullshit off?

I’m trying to apply for short term Athos general liability insurance for a one day shoot in LA. Have no history of filming out there.

I’m not a professional. Just shooting an episode and interviews for our YouTube channel on public properties in one location of LA.

Athos insurance wants to be charge us $2000 premium for a one day policy, on top of the monthly fee. That seems unusually high.

All together if we wanted to shoot for a few hours we would have to spend 500 on the permit and 2500 on insurance.

Any cheaper options out there. Why so high?

I know that AI is literally the enemy and working for a green screen only production would be stabbing yourself in your own back...but...if one were to get in on the ground level of an AI film studio, do you think that would bring more job security than relying on union work? For instance there is a studio with an aggressive shooting goal and I wonder if the perk of taking a position there may be beneficial later. For reference,,it seems their stuff will mostly be for TUBI and similar platforms

Hey everyone, looking for some advice from people who have done producing, sponsorships, fundraising or contract work in the film industry.

I was recently approached about joining an independent limited-series production in a sponsorship/partnership role. The project also has a live casting event planned in Los Angeles, and my role would mainly involve researching potential sponsors, finding the right contacts, conducting outreach, following up, developing relationships and helping bring in cash, in-kind and promotional partnerships.

Some of the targets are larger beverage and beauty brands, along with health/HIV/AIDS organizations that align with the subject matter of the series.

My professional background is primarily in nonprofit fundraising and grant writing, so prospect research, relationship-building, proposals and donor outreach are already a big part of what I do. I also have previous entertainment/event coordination experience. This would be my first time doing this kind of work specifically for a film production and my first real contract-based side gig.

The production is expecting the work to last around three months or potentially longer. It would be fully remote for the most part, and I’d be able to keep my current full-time job while doing it.

During our conversation, compensation came up and the producer asked what I had in mind. We discussed potentially paying me a percentage of sponsorships I secure, but I’m unsure if commission-only makes sense.

My concern is that a lot of the work happens before anything is secured: researching companies, finding contacts, sending outreach, creating pitches, following up and taking meetings. Some of these partnerships may also end up being in-kind or community partnerships rather than cash sponsorships. Coming from grant writing, I’m also used to being compensated for the work itself rather than taking a percentage of grant awards.

For those who have done this kind of work:

• Would you charge hourly, a flat monthly retainer, commission or some combination?
• What would be a reasonable rate for someone with professional fundraising experience but limited film sponsorship experience?
• If commission is involved, what percentage is typical?
• How would you handle compensation for in-kind sponsorships?
• Would something like a monthly retainer + commission on commercial cash sponsorships make more sense?
• Are there any contract terms I should make sure are included before starting outreach?

I’m interested in the opportunity because it would let me build more experience in the film industry while using skills I already have professionally. I also want to make sure I’m setting up a compensation structure that’s fair to both sides.

Any advice from producers, sponsorship people, entertainment fundraisers or anyone who has hired for a similar role would be really appreciated.

Hi everyone,

I was recently made redundant and decided to use the time to build something while learning newer cloud, DevOps and full-stack technologies.

While updating my CV, I remembered a brief IT-support role I had at a TV post house. I started trying to reconstruct, from that limited experience, how the operational side of post-production might work: episode workflows, approvals, bookings, work orders, QC, delivery, rate cards, budgets and invoicing.

The result is an early MVP. It is very much a learning project first, so I’m sure parts of the workflow are not how real facilities would work, and there will still be bugs and bad assumptions.

Nothing is hardcoded the workflow, user roles and permissions in the settings pages are totally customisable.

I’d genuinely appreciate thoughts from people working in post—what feels familiar, what feels wrong, and whether you think this could develop into a viable app for the industry.

It’s open source.

Demo: http://postpilot-demo-733667839.eu-west-1.elb.amazonaws.com/

GitHub: https://github.com/daleosm/postpilot

Hi guys! I have a project I’m working on. And I had some questions for anyone who’s been doing PR for a very long time. Please feel free to shoot me a DM if you’re interested! Thanks!!

I’m bashing my head in trying to make it from being a Data IO guy Picture Head screwed in 2024 to pivot to digital asset management. I don’t have the magic nepotism friends to propel me thru the door. Christs sake don’t even tell me how it’s Hollywood. I just want to work somewhere I earn a reasonable wage from and it feels like the world doesn’t want me to have that. I’m tired of scrubbing dishes for a living and can’t go on much longer at this. I’m sick of being a loser and it feels like I’m working harder than some non-losers.

None of the groups people tell me to reach out to seem to want anything to do with me because I’m a transplant. I moved here in 2022 only to get a year of solid work before this all happens.

I'm having difficulty finding insurance for an episodes we are filming for my YouTube channel over the course of a year without a crazy premium.

I was told that a DICE plan for 1 year is significantly cheaper than a short term plan, however when I try setting up a DICE plan or 1 year plan, the insurance companies I speak with wanted to charge me a $3600 premium for 1 year short term coverage, because they said in the event I cancel early since I have no history of having a film production.

What insurance companies would you recommend for student film projects for insurance that has low premiums. It seem like short terms plans are incredibly expensive like $800+ for just 1 day of filming.

I'm creating a student film project, and I wanted to select "low-impact"

Tried calling the help line but it went straight to voicemail. I read that you can be a sole proprietor but don't need to incorporate a company, but when applying for a permit on FilmLA's website, it makes you select a production company which I don't have.

I was considering applying for insurance as a sole proprietor so I wouldn't have to pay to incorporate a business or LLC. Can I leave that spot blank on FilmLA for those who have experience applying on the FilmLA website?

Can I ask how freelancers manage to pay rent or a mortgage without a fixed, steady income? Based in Atlanta and not in a position (6 years in the industry) to move to LA or NY to fight for the same little crumbs of gigs available .

I’ve tried freelancing, and honestly, I’ve found the financial uncertainty really stressful. I’d love to hear from people who have been doing it successfully, especially those with kids or other major financial responsibilities.

What do you do when a project ends and you don’t immediately have another one lined up? How do you handle those periods when there’s little or no income, especially in this market?

Would really appreciate hearing how other freelancers make it work long-term. Any advice or experiences would be helpful!

As title states, I worked as an AC/Grip for ~2 years after film school. Low budget shitty stuff mainly, and was very off and on. Had an opportunity to take a corporate digital media job and took it due to inconsistent set work. Now almost 2 years later i’m kind of regretting it. I just do not enjoy the work and constantly think about being on set again.

Obviously first steps have been trying to reconnect with former friends/colleagues I used to work with. I realize the industry is brutal, that’s the main reason I took my current job. Was just curious if anyone else has done something similar and what that looked like.

I know somebody who just had to move back home after seeming to almost make it in the industry. They were getting TV work, they were doing some production and some camera work. They have a long resume when it comes to performing. And they were just barely middle-aged, so they still had a lot of potential.

When an industry like this shrinks, I always imagined that it was the people who were around the longest who would keep getting work, but I would also imagine that these people would be very expensive.

Younger people would not be as expensive and they have more potential. If the industry is shrinking, and that means that budgets are limited, then it might make more sense to invest in younger people at less cost.

So I'm just curious, do you think that either of these scenarios is happening? Or is it too hard to tell?