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Home , Assistant director, Boom operator (media), Camera operator, Cinematographer, Film, Gaffer (filmmaking)

From to screen: Careers in production ilms are more than . They inspire, inform, and may even F become part of our . And for many people, also offer jobs and a career path. The glamour of and the cre- ativity of attract droves of people looking to work on the next big blockbuster— and for good reason. According to the Motion Picture Association of America, box office revenues in the United States and Canada reached $10.8 billion in 2012, a 6-percent increase from 2011. And thanks to advances in , it’s never been easier, faster, or more affordable for people to make their own films. But working in this industry is not always as glamorous as it seems. For example, find- ing steady work is difficult and wages are auditioning the , and planning how each generally low. A passion for film helps work- scene will be . ers overcome these and other challenges. “The Occupations involved in preproduction work is hard,” says supervising sound editor include , producers, and direc- Sara Royster Kevin Hill, “so if you love it, you’ll be more tors. and Dennis likely to stick through the tough times.” Vilorio This article describes many of the occupa- Screenwriters tions in film production. The first three sec- Screenwriters write or adapt the film’s story tions describe the typical work duties of and into a script. The story may exist in another training required for key occupations in each form, such as a novel or play, or may be based phase. Other sections offer pros and cons of on actual events. Other times, screenwriters working in the , jobseeking tips write the script from their own ideas. for starting a film career, and resources for For an adaptation, screenwriters must additional information. first obtain the legal rights to use the mate- Sara Royster and A graphic on page 18 follows the lifecycle rial and then rewrite this material to suit their Dennis Vilorio of a film. It shows the work performed during purposes. They may keep much of the source are economists in each phase of the filmmaking process: prepro- material or make big changes and some the Office of Oc- duction, production, and postproduction. of their own ideas. For scripts based on actual cupational Statis- Although the article focuses mainly on events, screenwriters research the events and tics and Employ- production, the information gen- then write the script based on the research. ment Projections, erally applies to other types of produc- For an original story, screenwriters brainstorm BLS. Sara can tions, such as TV shows, music , and ideas before beginning to write. They may other kinds of film. have a colleague edit the script and make sug- be reached at gestions. (202) 691-5645 When the script is done, screenwriters or royster.sara@ Occupations in find a producer willing to fund the project. bls.gov. Dennis They work with the producer and director dur- can be reached at preproduction ing preproduction to discuss, edit, and develop (202) 691-5711 or Preproduction is the initial phase of a film’s the script. vilorio.dennis@ creation and can last months or even years. bls.gov. This work includes developing the script, (Continued on page 19)

www.bls.gov/ooq • Summer 2013 17 Lifecycle of a film Filmmaking typically involves three phases: prepro- minimal involvement in one phase and do most duction, production, and postproduction. In prepro- of their work in another. Filmworkers’ tasks are duction, preparations are made for recording the described in the article but are not included in the film’s . During production, the film is shot on graphic. set with the cast and crew. And in postproduction, the This graphic follows the lifecycle of a film from footage is edited and refined to complete the film. script idea to final approval. Every major step is Different filmworkers have varying degrees of outlined for each of the phases. Although the com- involvement in each phase. Some workers, such as plete lifecycle can last a few months to a few years, producers and directors, are involved throughout the the steps shown in production repeat daily during that lifecycle of the film. Others, such as phase. In addition, some steps happen simultaneously artists who work with completed footage, may have within each phase.

Preproduction Production Postproduction

Script written Set prepared Footage edited

Electrical, lighting, and Financing secured Visual effects added sound set up

Actors’ makeup applied Cast and crew hired Sound effects added and hair styled

Locations scouted angles selected Musical score created and selected

Sets and props built Scenes rehearsed Audio tracks mixed

Wardrobe designed Audio track combined Video and audio recorded and made with footage

Production schedule Film approved created

18 Occupational Outlook Quarterly • Summer 2013 (Continued from page 17) Producers’ financial Skills and training. Writing down ideas responsibilities include and transforming them into scripts is one of making sure a film stays the easiest ways to begin . “The on budget. great thing about screenwriting is that it’s easy to get started,” says screenwriting teacher Matt McNevin. “All you need is a pen and paper.” That doesn’t mean screenwriting itself is easy. “Learning to write a is like learning a new ,” says McNevin. Because screenwriting is its own style of writing, taking a screenwriting class is often useful. But a single class is often not enough to learn all the skills necessary to turn ideas into scripts, so many screenwriters have a bach- elor’s degree. A master’s degree in film or a related field also may be beneficial. Producers and directors Producers and directors make the business and creative decisions for a film. Usually, their hiring the director, creating a budget, and responsibilities remain largely separate. But approving changes made to the script, budget, occasionally, their work overlaps—and one or filming schedule. person may do the job tasks of both occupa- Producers may hire other workers to help tions. with some of these tasks. For example, line Producers. Producers are a film’s manag- producers disburse the money and keep the ers, beginning with securing the financing in film on budget. preproduction to approving the completed film Directors. The director develops and in postproduction. “You shepherd the project implements the artistic vision for the film. from script to screen,” says producer-director In preproduction, the director helps Michael Merino. “You are responsible for audition and choose the cast and works with everybody and everything.” production designers to create appropriate Producers’ financial responsibilities sets and wardrobe. He or she also collaborates include finding the money to fund a film, with the producer to write the production making sure the film stays on budget, and schedule. being accountable for the film’s financial suc- When a film is ready to begin production, cess. In preproduction, producers take a script the director oversees the shooting of each that they are interested in making into a film scene. To ensure that each take is captured and meet with potential investors to ask for properly, the director works closely with the their financial support. If someone agrees to . The director also guides invest money in the film, the producer and the the actors to help them better portray their investor sign a contract so that work can begin characters. on the project. After shooting is complete, the postpro- From preproduction through postproduc- duction workers, under the director’s guid- tion, producers are responsible for the overall ance, design the music, sound, and visual supervision of a film. Their duties include effects.

www.bls.gov/ooq • Summer 2013 19 Skills and training. Producers and direc- They prepare the cast, crew, and set for shoot- tors need to be organized and be comfortable ing each day. with multitasking. Creativity, leadership, and Assistant directors are liaisons between skills are also important. And the director and the cast and crew. Before money management skills are useful to help shooting begins each day, assistant direc- keep a film within budget. tors prepare the “call sheets.” Call sheets are Producers and directors usually have a detailed schedules of what scenes are being bachelor’s degree. They can major in nearly filmed each day, which actors and props are in any field, but popular choices include commu- each scene, and what the actors’ makeup and nications, business, and fine . wardrobe needs are. Assistant directors also Producers and directors often have years announce the beginning and end of shooting of work experience in a related , for each take, and they report any problems such as or cinematographer. Because of that arise during filming to the director. the nature of their work, they need knowledge Production assistants perform miscella- of the film production process. “You have to neous tasks for the assistant directors, includ- understand every aspect of film,” says Merino. ing running errands or bringing actors and Other producers and directors have experience props to the set. working in business or management. Skills and training. Assistant directors and production assistants must be organized and should communicate well to keep the film Occupations in production set running smoothly. They also need to be Production is the filmmaking phase that resourceful to do a diverse assortment of tasks includes shooting of the footage. It usually as needed on the set. Leadership skills are lasts about 1 month for smaller films and up useful for assistant directors because they are to a few months for larger films. This work in charge of most of the other workers on set. includes preparing the set and rehearsing and Assistant directors usually have a bach- filming each scene. elor’s degree in film or a related field of study. Occupations involved in production Coursework in directing, set design, and audio include assistant directors and production engineering help assistant directors under- assistants; electric, light, and sound workers; stand the production process. Many assistant makeup, hair, and wardrobe workers; cinema- directors work their way up to the position tographers; and actors. by gaining experience working on film sets in a different occupation, such as directors and production assistants assistant. Assistant directors and production assistants Production assistants do not have require- work as the director’s support staff on the set. ments for formal education or for experience. For this reason, people who aspire to other filmmaking occupations often start out as pro- On the set, assistant duction assistants to gain experience on a set. directors announce the beginning and end of Electrical, lighting, and sound workers shooting for each take. Electrical, lighting, and sound workers set up the lights and electrical equipment during each day of shooting. They also ensure that the wiring is safely placed and is working properly. Gaffers and grips. Gaffers and grips are in charge of establishing the set’s through lighting. Gaffers supervise the

20 Occupational Outlook Quarterly • Summer 2013 Boom operators use a large to capture dialogue and other sounds during shooting.

electricians on a movie set. They design and obstructions from background noise on the adjust the lighting scheme that is used during set. When shooting for a take begins, techni- the filming of each scene. For example, if a cians use headphones to listen to the sound scene calls for a campfire but a real one can- being recorded. If any unwanted noise can be not be built on set, gaffers use certain lights to heard, technicians ask the to recreate the flickering of a fire. stop shooting. Grips are technicians who carry out the Skills and training. Technical and gaffers’ lighting plan. Grips also may support problem-solving skills are important for the camera if the camera is rigged these workers. Manual dexterity is useful for on a dolly or crane. The key oversees the handling the fragile, expensive equipment. lighting department, including the other grips. Physical endurance is crucial for boom - Assistants to the and , tors because they are often on their feet and known as best boys, manage the day-to- holding the boom above their heads for an day operations of the electrical and lighting entire day of shooting. departments. For example, they buy the lights An associate’s degree or vocational certifi- and other electrical equipment needed for the cate is typically required for electrical, light- set. ing, and sound workers. This formal training and sound technicians. often includes hands-on experience with the The boom operator and sound technicians complicated equipment used on set. capture the dialogue and sounds on set. While the camera is rolling, the boom operator deter- mines the best place to hold the boom, a large Makeup, hair, and wardrobe workers microphone that records the sounds from a Hairstyles, makeup, and wardrobe vary by scene. When a scene is being shot, the boom film. For example, the wardrobe could require operator communicates with the cinematogra- anything from everyday clothing to elaborate pher to ensure that the boom is not visible on costumes. Makeup artists, hair stylists, and camera during shooting. wardrobe designers coordinate their efforts so Sound technicians ensure that the that the characters’ appearances fit the direc- boom records the sound properly, with no tor’s vision for the film.

www.bls.gov/ooq • Summer 2013 21 Makeup artists apply basic cosmetics, and put on their accessories, such as jewelry, such as powder and concealer, to each actor’s shoes, and scarves. face and body. Some specialized makeup Skills and training. Artistry and creativ- artists, often called effects makeup artists, ity are essential for makeup, hair, and ward- apply the intricate cosmetics and prosthetics robe workers. These workers should also be an actor needs to portray a person or creature detail oriented and have good interpersonal whose appearance is very different from his skills. or her own. Makeup, hair, and wardrobe workers may Hair stylists arrange the actors’ hair, be required to have an associate’s degree or based on the characters the actors portray. vocational certification. Cosmetology pro- This can range from simply applying hair- grams offer classes in hair styling and makeup spray to cutting and designing a hairstyle. application. Wardrobe designers or costumers Hair stylists may also dye actors’ hair a dif- often have knowledge of fashion design or tex- tiles. Although formal training is important, ferent color, if needed, or help them apply an experience working on a film set helps these intricate wig or hairpiece. workers learn many of their job skills. Wardrobe designers select the appropriate clothing and accessories for all the characters in the film. They meet with the director to Cinematographers are in charge of shooting discuss the type of clothing the film has and scenes for the film. Also called the director of then measure each actor for size. To create the , the cinematographer uses - film’s wardrobe, these designers buy or tailor eras on set to record all the footage necessary existing clothing or buy fabric and sew the for the film. costumes from scratch. Cinematographers also determine how During shooting, workers known as the camera should move in each scene to wardrobe stylists help the actors get dressed best meet the director’s vision. For example,

Artistry and creativity help makeup artists enhance or transform an actor’s appearance.

22 Occupational Outlook Quarterly • Summer 2013 if the director wants the to become Actors rehearse their more emotionally involved in a key scene, the cinematographer might choose to shoot the lines before shooting actors’ faces at close range to capture their begins each day. expressions. Cinematographers usually lead a team of camera operators who set up, operate, and store the camera equipment. On some film projects, there is also a second team of camera operators who shoot supplemental footage, known as a B-roll. The B-roll includes things such as background and transition shots of landscapes. Skills and training. Cinematographers must be creative and imaginative, as they determine what the audience will see on the big screen. They also need good technical skills to operate complex camera equip- ment. And being detail oriented is important, because cinematographers must ensure con- tinuity for each take, with the lighting, props, and actors in precisely the same places. A bachelor’s degree in film or a related field of study is usually necessary to become a cinematographer. Knowledge of camera tech- nology and video software is essen- tial. Cinematographers often gain experience working on a film set in another occupation, such as assistant director. However, they may be needed again during postproduction to re-record any dialogue that Actors was not captured properly or was obstructed Actors portray the characters in the script. by other noise. Actors usually audition for a in the Skills and training. To perform their film. During the audition, they read some of roles well, actors need to be creative, speak the character’s lines, or spoken parts, from the well, and memorize their lines. And actors script in front of the director and producers. must constantly promote themselves, so per- Actors are selected for each of the characters sistence and patience are crucial. in the script, and they report to the film set on Many actors have a bachelor’s degree in the days that their scenes are being shot. acting, but formal education is not typically Each actor is responsible for creating a required. Acting classes and performance persona for his or her character, learning and opportunities are often available for all levels rehearsing the character’s lines, and mov- at local arts centers, acting schools, and com- ing as directed in a scene. To best portray munity colleges. These places offer great ways a character, an actor may change his or her for beginners to improve their acting skills. appearance, mannerisms, or voice. He or she “Start going to auditions or take a class,” says may also need to learn a new skill, such as actor Kris Arnold. “It’s just like anything swordfighting or playing an instrument. else—you get better with practice.” Actors After they have wrapped, or finished their learn a lot of their skills on the job, so experi- , actors can leave the set. ence on a set is also important.

www.bls.gov/ooq • Summer 2013 23 Visual effects artists Occupations in Visual effects artists create the computer- postproduction generated imagery or live-action effects, such as explosions or car chases, that many films During postproduction, which usually lasts a require. few months, the production footage is trans- Visual effects artists produce most of formed into the completed film. Work during these scenes using computer-generated imag- postproduction includes editing the film, add- ery. A visual effects artist draws a concept ing special effects, and incorporating music sketch for the , which is approved by the and other sound effects. director. From this drawing, the artist makes a Occupations involved in postproduction three-dimensional model. Using sophisticated include editors, visual effects artists, sound graphic design software, the artist re-creates editors and designers, and composers. the model on a computer. After the computer-generated imagery is Editors finished, visual effects artists add the effects The editor puts together the film using the to the existing film footage. The are footage recorded during production. He or she added into a plate shot, footage that was shot works closely with the director to determine during production with the intention of adding which take of each scene best reflects what the effects later. To add inanimate objects, such as director wants. Sometimes, a scene may not mountains or buildings, artists insert a single have gone as planned during shooting, and the image of the object into the plate shot. To add editor must adjust the film’s story to go with moving objects, such as animals, the artist the available footage. “In editing, you find out creates many images of the object in different that certain things may not work out the way positions and adds them into the plate shot one you wanted,” says editor Anthony Faust. “You by one; when the footage is played back, the have to adapt, and the story must evolve.” object looks as if it is moving. As the story evolves, the editor cuts, or Skills and training. Visual effects work- edits, the footage so that the scenes fit together ers need to be creative and must understand smoothly. “Editing should be invisible,” Faust color, texture, and light. They also need atten- says. “You shouldn’t feel the cuts.” When all tion to detail so that they can create realistic- the scenes have been edited and combined to looking effects. And these workers often work the director’s satisfaction, the editor creates a in teams, so communication skills and the final cut of the film to which sound and visual ability to work well with others are critical. effects are added. Visual effects workers typically need a Skills and training. Editors must be bachelor’s degree in , , or creative, organized, and detail oriented to a related field. Coursework or work experience craft a cohesive story from the raw footage. in computer programming is useful. They also need computer skills to use com- plex editing software. “You don’t want a lack Sound editors and designers of technical skill to get in the way of creative Sound editors and designers create new decisions,” says Faust. sounds and edit those recorded on the set— Editors typically need at least a bachelor’s and then add them to the film footage. There degree in film, , or a related field. can be hundreds of audio tracks in a film, “A lot of editors have graphic design back- including one for each actor and others for grounds,” says Faust. “We are visual people, sounds that must be captured during shooting, so it’s good to have experience in the visual such as a crackling fire or passing traffic. arts.” Some editors gain experience by first Sound editors listen to the recorded dia- working as an assistant editor or in a related logue to determine whether the actors need occupation. to re-record any lines. They then use audio

24 Occupational Outlook Quarterly • Summer 2013 Using audio software, sound editors remove unwanted noise from recorded audio tracks.

software to equalize volume and clean up the these workers also have an associate’s degree dialogue tracks by removing unwanted noise. or vocational certificate. This formal training Sound designers and sound effects editors helps prospective sound designers and editors add in background noises, such as car horns to understand different types of audio equip- or barking dogs. These are usually taken from ment and software. a sound and can be real or produced Training alone is generally not enough for digitally. If an appropriate sound does not working in film, though. “Some education is exist in the library, the sound effects editors useful to learn the fundamentals,” says Hill, must create or record it themselves. Workers “but experience is more important.” To gain known as artists add in physical sounds experience, some sound editors and designers that they produce themselves, such as foot- study at recording studios. And many steps or thunder. postproduction sound workers start out in the Throughout the process of adding the . sound, sound editors meet with the director to tweak the audio tracks. The approved audio Composers tracks are combined into one “master” track Composers create the musical score for a and synchronized with the film footage. film. Directors work with composers to Skills and training. Technical skills and choose music that creates or complements the creativity are important for sound editors and film’s mood. The score can be composed and designers. “You have to understand the direc- recorded specifically for the film, or it can be tor’s vision and express it artfully and cre- adapted from existing music. atively,” says supervising sound editor Kevin For a score original to the film, the com- Hill. poser writes the . Then, he or she For sound editors and designers, a high uses a computer program to create the music school diploma or equivalent is usually suf- or hires musicians to perform it for recording. ficient for entry-level positions, but many of If the film uses existing music, the composer

www.bls.gov/ooq • Summer 2013 25 Composers write music that creates or complements a film’s mood.

digitally edits it to complement the film foot- Rewards age. Traveling around the country or the world to The composer meets regularly with the research or shoot on location is just one of the director to determine where music best sup- perks many filmmakers experience. Some of ports the story in each scene. The composer the other rewards of filmwork include oppor- tweaks the music based on the director’s tunities to be creative, to entertain, and to feedback. For example, if the director wants have fun. a scene to be more dramatic, the composer might speed up the music in that scene. Outlet for creativity. Filmworkers enjoy After finalizing the music, the composer creating something tangible and often become turns over the recordings to the sound editors personally invested in a project. “The realiza- with a cue sheet. The cue sheet shows pre- tion of my vision is the biggest payoff for me,” cisely where the music should be mixed into editor Faust says. “I make the pictures in my the film’s master track. head real.” Skills and training. Knowledge of music For many filmmakers, working with and music software is critical for com- creative coworkers is another plus. Film posers. These workers also must have good production attracts people from all types of interpersonal skills to work with directors and backgrounds to collaborate on a single project. sound editors. “You get to work with people you respect in Composers usually need a bachelor’s a fun and fulfilling way,” says screenwriting degree in music theory, composition, or con- teacher McNevin. Some filmworkers, such as ducting. Some composers get experience in a screenwriters and directors, even choose who related occupation, sometimes starting out as they work with. a musician. Entertaining others. Filmworkers also enjoy the effect their films have on . For example, a film can make people laugh or Is a career in film for you? cry. But most of all, filmworkers aim to enter- Working in film production is often stimulat- tain. “Seeing people you don’t know genuinely ing, but the work is not as glamorous as many enjoying something you created is an extraor- people believe. As with any job, filmmak- dinary feeling,” says McNevin. ing has its rewards and challenges. People It’s fun. For some, filmmaking almost interested in starting a career in film should feels more like play than work. “You get to be consider both the positive and aspects a kid,” producer-director Merino says. Actor of filmmaking to determine whether the work Arnold agrees, adding that the work is freeing is right for them. and fun.

26 Occupational Outlook Quarterly • Summer 2013 And workers with technical duties often Other workers may travel far away to shoot on have access to cutting-edge technology that location, sometimes for weeks at a time. they wouldn’t otherwise get to use. Waiting times, such as between takes on a set or while computers process footage, Challenges contribute to the long days—especially for Even when it’s fun, however, filmmaking is novices. “The hours are crazy,” Hill says. still work. “The work is tasking, tedious, and “When I was starting out, I was working often frustrating,” says sound editor Hill. around the clock, often until the wee hours of Some of the challenges of filmmaking include the morning.” difficulty earning money, long hours, stress, Stress. Stress is common for filmwork- and competitiveness. ers, in large part because they typically face Difficult to earn a living. Finding work inflexible deadlines. Production delays cost and staying employed are often difficult in the money, and there is usually little room in the film industry. Some workers are unemployed budget to accommodate days of work. for a long time between projects. “A job in film is never guaranteed,” says Faust. But deadlines must be met—even when But filmmakers say that wages shouldn’t the unexpected complicates the schedule. be the motivation for working in these occu- Workers must deal with bad weather, illness, pations. “Don’t do it for the money or the or changes to the script or budget, among accolades,” Merino says. “Do it because you other setbacks. “You have to be prepared for love it.” Few filmworkers earn annual salaries; everything,” says Merino. most work hourly or by contract. Wages, many And, because a film’s investors expect of which are set by unions, are also low for a return on their money, there is a lot pres- many workers, except for a few at the very sure to make a financially successful product. top. (See table.) For example, producers find it stressful to Long days, erratic hours. Although some first secure financing for a film and then to filmworkers have flexibility over their sched- keep it on schedule and within budget. “As a ules, most work long days with unpredictable producer, you are always the bad guy,” says hours. For example, the cast and crew may Merino. “When things go wrong, it’s your shoot a scene on any day and at any time. fault.”

Employment and wages for selected occupations in , entertainment, and recreation industry, May 2012

Occupation Employment Median hourly wage Actors 16,640 $15.88 Audio and video equipment technicians 12,840 20.37 Producers and directors 10,540 29.12 and authors 3,770 28.50 Music directors and composers 2,840 26.07 Set and exhibit designers 2,760 18.69 artists and 1,390 28.80 Hairdressers, hairstylists, and cosmetologists 670 11.90 Film and video editors 540 30.33 Makeup artists, theatrical and performance 310 23.30

Source: U.S. Bureau of Labor Statistics, Occupational Employment Statistics program.

www.bls.gov/ooq • Summer 2013 27 Competitive. The potential for very high important in every industry,” McNevin says, earnings and the allure of Hollywood attract a “but none as much as the film industry.” lot of people to the film industry. As a result, Formal training. Although expensive many vie for few jobs. “It’s difficult to make and rarely required, classes teach any inroads because there are so many people the fundamentals of filmmaking and provide trying to work in the industry,” says McN- hands-on experience. Film school projects are evin. “Thanks to technology, it has never been usually unpaid but offer another networking easier to get your creative work out there—but opportunity. “Many of the people who gave it has also never been harder to get someone me jobs are the same people I went to school to pay you for it.” with,” McNevin says. For many filmworkers, however, the end As discussed previously, workers in some result makes up for whatever challenges they filmmaking occupations, such as screenwrit- encounter along the way. “Completing a film ers, typically need a degree. But even in occu- is unbelievably rewarding,” Hill says, “and pations that have no degree requirement, such keeps us coming back for more.” as sound designers, prospective filmworkers benefit from formal training. Low-budget films. To help develop their Finding work in film network and gain experience, filmworkers Getting a job in filmmaking is not easy. Most often start out in films that are made by small producers usually seek experienced workers production companies for a niche audience. who have been involved in many films. But These positions are often unpaid, but they filmworkers can come from any background. offer an opportunity to work with people who Among the best ways for people to find jobs have made films before. “Be willing to vol- in filmmaking are through networking and unteer and find someone to mentor you,” says marketing themselves. Merino. “Filmmaking is a craft that should be handed down.” Networking Filmmaking is largely based on reputation Marketing yourself and referrals, so who you know is just as Most filmmakers must be proactive in market- important as what you know. “Networking is ing themselves. “Go to seminars, conventions,

Networking is important in the film production industry, where many workers are self-employed.

28 Occupational Outlook Quarterly • Summer 2013 and pitchfests to get your work in front of more about foley artists, see “You’re a what? people,” McNevin says. Foley artist” in the spring 2011 issue at www. Location, location, location. An impor- bls.gov/ooq/2011/spring/yawhat.htm. tant factor when looking for filmwork is loca- Information about occupations in the film tion. Film jobs are concentrated in a handful industry is available from professional asso- of major metropolitan areas, such as Los ciations. Angeles, New York, and Seattle. Prospective For information about screenwriters, workers have the best odds of finding work including a variety of writing resources and by moving to cities that have well-established tools, contact: filmmaking communities. Writers Guild of America, West Make a film. Some filmworkers gain 7000 W. Third St. experience by making their own films. This Los Angeles, CA 90048 allows aspiring filmmakers to try out many (323) 951-4000 different jobs while working through the www.wga.org entire filmmaking process. “Think about what you want to say, and make the film yourself— For information about directors, contact: even if it’s a minute long,” says Faust. Arnold Directors Guild of America adds, “Don’t worry about the results but about 7920 Sunset Blvd. the experience.” Los Angeles, CA 90046 Persistence. Regardless of where you go Toll-free: 1 (800) 421-4173 or what you work on, however, little changes www.dga.org when it comes to getting a job in film. “You’re constantly interviewing for work,” says For information about Arnold. “The amount of time you spend work- workers, including camera operators and still ing is miniscule compared to the time you photographers, contact: spend networking and marketing yourself.” International Cinematographers Guild Perseverance is necessary for nearly 7755 Sunset Blvd. everyone who wants to work in the film indus- try. “You’ll fail a lot,” says McNevin, “but it Hollywood, CA 90046 only takes one yes to start a career.” (323) 876-0160 www.cameraguild.com

For more information For information about actors, contact: SAG-AFTRA Film production is a lengthy process that involves many different workers. This article 5757 Wilshire Blvd., 7th Floor describes the major occupations in filmmak- Los Angeles, CA 90036 ing. The Occupational Outlook Handbook Toll-free: 1 (855) SAG-AFTRA (OOH) has detailed profiles on many of these (724-2387) occupations. These profiles have information www.sagaftra.org about each occupation’s job duties, wages, employment outlook, education and training, For information about many postproduc- and more. The OOH is available online at tion workers, such as editors and foley artists, www.bls.gov/ooh. contact: The Occupational Outlook Quarterly has Motion Picture Editors Guild published articles about other film occupa- 7715 Sunset Blvd., Suite 200 tions. To learn more about composers in film- Hollywood, CA 90046 making, see “My Career: Composer” in the Toll-free: 1 (800) 705-8700 spring 2013 issue, available at www.bls.gov/ [email protected] ooq/2013/spring/mycareer.pdf. And to learn www.editorsguild.com

www.bls.gov/ooq • Summer 2013 29