E-mail Me, Maybe?

Most of the time it seems like such a hassle having to sign up with your e-mail address for ads and coupons to almost everywhere you go. I know I usually always decline this. However, today after receiving an e-mail from Urban Outfitters (one of the very few places that I do receive notifications from) I realized how important it is for businesses and to move product. It was an e-mail about some new make-up products and collections that they received in, a category which otherwise I wouldn’t find myself browsing on the site because it’s not something I regularly buy. But it caught my interest and I soon found myself picking out a few things I liked, and more importantly, I was checking out what else they had just received on other parts of the online store, and seeing what had recently gone on sale. From there, I decided to see what was going on with other online shopping sites that I buy from regularly.

It dawned on me how vital that e-mail had been; how vital all e-mail updates from a company can be. I would have never been bookmarking things I wanted to buy today had it not been for that e-mail. I would have never known the UO Sparkle Collection Nail Polish that I told myself I just had to have ever existed.

It occurred to me that this happens frequently with Amazon and their products as well. I buy most things off of the mega-shopping site and always get e-mails about products that I may be interested in based off my previous purchases. Sometimes I don’t look, but sometimes I do. And from there I see other related products that may interest me, I may remember something I’ve been wanting to look for on the site, or it will send me into a mini shopping spree were I check all the sites I shop on and pick out things I’ll be ordering either immediately or in the weeks to come.

This is a fantastic way for businesses to immediately let their faithful customers know the new products that they have available for them, and a method which seems to obvious to me that I somehow managed to overlook its significance. It always seemed like a bother, it would be one more e-mail that I would have to delete. However now I can see that it’s a fantastic way to keep updated on new product, new sales, and even receive some exclusive coupons.

During the month of July a site that I use a lot – Always Fits – was having a “Christmas in July” sale where by entering a specific code you got an additional 25% off your purchase. I would have never known about this had it not been for the e-mail update I received from them, which naturally lead me to make some purchases on the site because I didn’t want to let the deal pass me by.

Now in the future I will definitely be accepting more of those e-mail offers and I’ll also be signing up on sites I already use a lot to see all of the exclusive deals that I have been missing. If you were like me before and only bothered for a few select sites, I suggest seeing where you frequently buy, and then take advantage of their mailing list!

Professional Artist Management

There are many parallels between an Artist Manager and Unit Production Manager that I would like to draw upon. When most people, myself included, hear the words Artist Manager, we immediately think of the manager of a musical singer or group. This may cause some confusion in realizing how someone who manages in this aspect (not solely excluded to musicians, every working artist needs a manager) and the UPM of a project in the film and television industry.

Since the UPM is not in charge of any particular person, and working on the whole scope of the film, in order to make things in a bit more clear, all one simply has to do is envision that the film takes on the role of the final product like anything else would for an artist. The goal is the artist’s CD, finished novel, etc. Here, it is the film. In essence, this makes the client, or artist being managed, the director.

During a Wimba session for the Artist Management course I’m currently taking, I saw a list of duties that immediately made me realize I had the same job as an Artist Manager, essentially. These duties included: planning, advising, organizing, strategizing, overseeing, coordinating details, traveling, and being a friend. All of these things, as well as several more components, go in to what makes a UPM successful. A keen sense of scheduling, a scrutinizing eye for detail, and healthy sense of money management are all essentials.

Since UPM’s create and oversee budgets, and helps work on schedules and call sheets, the similarities are not that hard to see if you only look. The main problem is that people are very unfamiliar with a Unit Production Manager or what it is that they do. Once you have a basic knowledge, you can see that all of the overseeing, organizing, planning, advising, and coordination aspects of both jobs line up perfectly.

A thing that may seem to stand out though is “being a friend”. While working on honing my UPM skills in film school, where I took on this role for almost every in-school and out of school project that I found myself doing, one of the things that was mentioned to me by an instructor, or “producer” for the film, was that it was my job to be there to support our director. We have to support the director’s vision and give them the financial guidance to be able to pull off the film as accurately as they have it worked out in their mind. And if for some reason we have to say no, it’s our duty to do it in such a way, and with several backup plans, that nothing about the director’s true vision will be lost or sacrificed.

To get a little bit more sense of the type of role a UPM has and see if you have what it takes, there are a few very brief videos you can check out:

Terry Bamber, Second Unit Production Manager on Quantum of Solace: http://www.youtube.com/watch?v=R73rfXI2I6M

Tom Kane’s Film Production Workshop: http://www.youtube.com/watch?v=j2-Qlv-KP4I

How to Hire a UPM: http://www.youtube.com/watch?v=DNp0bXgp5Jk

An Interview With Frank Capri

In order to get a better grasp on the importance of, and certain approaches to, negotiation, I had the pleasure of getting Frank Capri’s opinion on the matter. Frank is a well-known, fashion photographer who’s had a lucrative career since the early ‘80s and been seen in global publications. In addition to this, he is an accomplished writer, and currently producing his first documentary film - a biographical piece about the Vietnam War and Frank’s struggle as a conscientious objector. He currently resides in New York, and in his free time he enjoys studying theoretical astrophysics, attending movies, and spending time with his wonderful 11-year-old son Neil.

I had the pleasure of working with Frank as his assistant, film office manager, and part-time babysitter to Neil, from January to April of this year. He is a man who truly knows himself, what he wants, and the boundaries that he is comfortable with in achieving his goals. The biggest thing I noticed about working with Frank was that he was very stern in his beliefs and the things he knew to be true, but was very open minded with his negotiations, wanting things to be comfortable for both parties. I knew having a more in-depth look into his ideals on appropriate negotiation skills would be invaluable.

If you would like to know more about Frank and his body of work please visit http://frankcapri.com/

Amanda: When you are trying to negotiate a deal, do you find that using objective criteria (factual numbers, prices, statistics, etc.) is a useful tool that helps sway potential clients or partners, since they are faced with more than just your opinion?

Frank: Yes, I feel factual numbers, such as specific prices are both useful and fair to potential clients.  When I use objective criteria, I don't do it so much to sway them, I do it for ethical reasons, which turn out to be practical. For example, by giving out factual numbers and prices ahead of time, the potential client gains more confidence in taking the risk of the investment, and they show more trust in me, which is invaluable for our collaboration.

Amanda: Do you find that working from the angle of positional bargaining or mutual benefit has yielded better results for you when trying to negotiate? Does it simply depend on the other person and what you feel is best for the situation, or do you always try to make the negotiation yield mutual benefit?

Frank: I like the approach of keeping an open mind.  I tell my interns, as well as my son, Neil, that there is "no no" - only "yes" or "maybe."  The goal is not domination; it's reconciliation (a "win-win" situation).  Whether it’s in business or in a personal relationship, my goal is to make the situation mutually beneficial.  I come into a business collaboration with a plan, but then I plan to be surprised.  I adapt.  I'm always seeking the middle, between planning too much and not planning enough.  Having no position or plan, to me, is like being in a rowboat without oars.  And the danger of over planning is that you try to force a square peg into a round hole.  Again, I favor the balanced approach - plan, but plan to be surprised.

Amanda: A BATNA, or better alternative to a negotiated agreement, has been called one of the most important concepts in negotiation theory. When you are talking to potential investors or clients, do you believe your BATNA is simply moving on and finding the next person? – While working for you, I know our plan of action was marking people off the list and moving on until we found the appropriate investor who saw the potential in the film.

Frank: I trust my instincts, and if my instincts tell me that I'm dealing with more negativity than I'm comfortable with, I end the negotiation with that individual in a considerate manner.  If the negativity is very strong in the early stages of negotiation, I've found that in the vast majority of times, things go from bad to worse, that it doesn't pay to invest more and more time and energy into a draining situation. Therefore, I cut things off, and never go to war with negative individuals.  I like keeping the peace (inner peace and peace with others) and moving on.  All my actions stem from positive energy.  I realize that many force themselves to negotiate with extremely negative people and accept extremely negative situations in order to gain a stronger foothold in business.  That is clearly not my path. I would rather cut my profits than cut my sense of well being.

Amanda: Do you ever feel like changing your main goal would be an acceptable solution to a negotiation or deal being turned down?

Frank: It depends on how important my main goal is to me during that particular negotiation.  One of my main goals as a photographer was to get published in prominent magazines, but when the means to that violated my ethics, I dropped my main goal.  For example, two of the most lucrative commercial clients I had the opportunity to work with were cigarette and fur companies.  However, I felt so strongly against promoting smoking and/or the killing of animals for fashion, that I declined the high-paying work and the chance to have consistent national ads run in high-profile magazines with my photo credit alongside the images.  When there is not an ethical conflict, however, I will talk out the possibility of dropping or modifying my main goal.

Amanda: How important would you say self-confidence is in being able to appropriately communicate to, and negotiate with, clients and potential business partners?

Frank: Self-confidence, in my opinion, is a vital part of success and negotiating skill.  One of my photo subjects was Donald Trump and I remember hearing him say that he very rarely met a successful person who lacked self-confidence.  Some of the key elements that build self-confidence are following one's passion; mastering one's craft; staying positive and persistent; and developing the habit of turning adversities (which we ALL experience) into advantages. Once you develop self-confidence, you increase your power of negotiation, and you tend to enjoy life more.  Self-confidence affects the way you view yourself, the way you treat others, and the way you view life.  It's a form of positive energy that attracts success, career success as well as inner success. 

Guerilla Tactics

There are many different paths to take in the entertainment industry that can lead you to success, and no one can really say which is the best. Different tactics work for different people, and sometimes, it’s just about being in the right place at the right time. That was one of the biggest things that was stressed to me in my final months of film school, as I was trying to prepare myself to break out into the scary realm of job hunting. As unfair as it seems, my classmates and I were taught that sometimes it doesn’t have anything to do with how well your resume looks, sometimes it’s simply about being around when someone needs help. And sometimes it’s just about sticking out to a person; having a certain trait that makes them remember you.  We were told that nine times out of ten they most likely would not sift through a giant pile of resumes on a blockbuster film searching for production assistants. They might take a stack of them and choose the five best looking resumes or most memorable people, but not all would be meticulously scoured as they sought out those with the best credentials. And even then, they may not be looked at at all and two people who happened to be near set that day may be chosen for the job because they were there when the opportunity arose. Sometimes in the world of film, there’s just no time for searching, so you choose someone in the here and now that can assist you.

In order to help with this, you can employ some less traditional though no less successful tactics. Namely, just show up. While not every production will be as welcoming to those wandering by, or eagerly jumping on them to help out, the more productions you put yourself around the higher your chances are of someone needing a helping hand. Don’t purposely get in the way, but ask around to see if there is anyone you can help. Bring your resume just in case. You don’t have to carry it around and flash it in everyone’s face, but make sure you have it handy to prove you know what you are talking about (sometimes no one cares if you do, but it’s better to be safe than sorry.)  This is a lot easier to do than you think, especially if you live in high traffic production areas such as Los Angeles or New York.

My second night living in Brooklyn, I was wandering around my soon-to-be familiar neighborhood with my sister when we noticed a lot of bright yellow signs posted on the lamp posts around us. Upon looking at them we realized they were shooting notices for Pan Am saying that the streets would be closed off to traffic. Had neither of us had to already work, it would have been very easy for us to walk down to the set and see if they needed some extra hands. The mindset that you need to have is that the worst thing they could have done is say no. And if they do, then you tell them thank you for their time, see if you can leave a resume for the future, and move on. There will be other opportunities for you. But if they say yes, then you have yourself a small gig, a connection, and possibly even some pay.

Just last week an old co-worker of mine happened to be shooting some photos down in DUMBO when she literally wandered onto the set of White Collar. While she had no interest in asking to help with the set for the day, they did welcome her with open arms, all shared a laugh, and she was able to meet and get some pictures of the cast. No one was cruel to her about it, and had her intentions been for set work, there is a highly likely chance they would have said she could stick around, even if it were just to watch for experience.

Another example I was told of this tactic working was when a professor told my class of a former film school student of his who was in downtown LA one day scoping out a particular set he wanted to be on. And in a very bold move (I’m not sure if I recommend being this bold) he climbed the fence to the set and just started working. When they noticed that he wasn’t part of the crew, he handed his resume to the director and ended up becoming his personal production assistant, which is the job he was really seeking. By already proving himself as a worker and impressing the crew over how much he genuinely wanted to be there, they accepted him as part of the team and quickly put him to work. He was able to jump-start a successful film career just by putting himself exactly where he wanted to be.

I can’t guarantee that this will work, but I firmly believe when you are dealing with film, there are no wrong paths. You can never be too shy to try one, if someone says no to you that is okay. However there are sites out there if you think this is a tactic you want to utilize for yourself. The first mainly keeps track of Los Angeles, Louisiana, and New York, but I find it to be almost invaluable if you live in these areas and want to be able to check out a set here and there. Just go to Before the Trailer’s daily filming page. Another resource is On Location Vacations which cover a much more broad range of locations and sightings. And I’m sure there are magazines and periodicals that you can subscribe to or pick up at local newsstands, which may help inform you of larger film projects and when they are coming to your area.

The Billionaires Club

Epic super hero film “The Avengers” has officially been inducted into the world’s list of the highest grossing films of all time, ranking in at number three. Not only is it breaking this U.S. record just a month after opening, but it’s also taking this spot on a global list as well.

What does it take to be a top grossing film in today’s market? It’s a list that has always fluctuated, having to take several things into consideration including the price of tickets has increased, there is a substantially larger number of theaters on a global scale, the value of not only the dollar, but most world-wide currency has changed, and the world’s population is also markedly larger than when the film industry first started to bloom.

For twenty-five years, “Gone with the Wind” held the title for top movie, but in today’s film market, you can’t even find it within the top fifty grossing films. When you adjust this list for inflation, or the increases of prices over time in the economic world, this film once again finds itself in the number one spot. In fact, the inflated list, which is largely discredited because of the large time gaps between top films, has a much different look than the most recently and currently accepted list. In fact, only two movies remain on both – both belonging to James Cameron – “Titanic” and “Avatar”. These are two of the only non-disputed movies where critics and box office analysts can agree they belong on each.

Therefore, how much do these numbers really matter? And will they still matter in fifty years when the top contenders today will be considered too old to still be featured on the list, and will only be remembered for their financial feats when once again, adjusted for inflation. I feel that the numbers today are still not as significant as they once were, as less people are making their way out to the theaters with piracy more prevalent than ever, and they are simply a reflection of the rising cost of entertainment in today’s world.

Mystery Box

The video that I watched has always been one of my favorite TED speeches, J.J. Abrams’ “Mystery Box” which he made in 2007. Not only do I find Abrams to be a great inspiration in the film industry, but his speech is universal, about everyone finding what their own mystery boxes are and how prevalent they are in everyone’s life. To Abrams, a mystery box is defined as anything that fuels your inspiration and strives to keep you finding the answers. Some of the mystery boxes that Abrams lists for himself are a blank piece of paper, his laptop computer, the progressing plot in a movie, and his actual mystery box that he bought with his grandfather when he was a small boy. It’s no bigger than a shoebox, cream in color, with a large question mark on it; this can be seen in the featured screen capture from his speech.

He starts out with an anecdote about his popular television show LOST, explaining how many people always come up to him and ask, “‘what the hell is that island?’ Followed by… ‘No seriously what the hell is that island?’” He proceeds by showing a clip from the show, explaining how fascinated he is by the amount of technology he has at his disposal these days in order to make the show possible.

The bulk of the twenty-minute speech that follows is Abrams telling the audience about how much his grandfather touched his life and spurred his love for mystery boxes. He always deconstructed things like radios and phones in front of a young Abrams. This experience has stuck with him and began a lifelong fascination with taking things apart. He produces a deconstructed tissue box to demonstrate this.

The story was an excellent tool to help you feel close to both him and his now-deceased grandfather, drawing you in to want to learn more about his explanation of these mystery boxes. In order to explain something that is so close to his heart he very passionately talks about a man who was so important to him and helped introduce him to all the driving forces in his life. Sharing personal stories is a common way to be able to not only bring people closer to you, but also help explain deeply personal things, such as mystery boxes, which are not common occurrences.

“In whatever it is that I do, I find myself drawn to infinite possibility, that sense of potential.” (J.J. Abrams)

Reference: http://www.ted.com/talks/lang/en/j_j_abrams_mystery_box.html

Rating Hollywood

Since its formation in 1922, the Motion Picture Association of America, or MPAA, has gotten a lot of scrutiny from filmmakers and patrons alike. It has always been judged for acting as a monopoly for the largest and most successful studios in Hollywood.  This is partially why it was created, to help further the business ventures and interests of the original three studios who formed the organization. One of the policies the MPAA quickly adopted was the Motion Picture Production Code, or “Hays Code” nicknamed this for head of the MPAA at the time, Will H. Hays. This system helped determine what was acceptable or unacceptable to show in films. If a film was deemed as unacceptable, the material in question either had to be edited out, or it would not be properly distributed.

The Code was amended in 1968 and replaced with the modern day rating system. Not only did this new system deem what was proper material for films, but also, it determined the age range best suited to attend the film. This was helpful because it gave filmmakers the option to make a conscious decision to make adult, or R-rated films, and not have the looming fear of rejection by the MPAA because it did not suit everyone’s needs. Though this was also trying because the MPAA became very cautious and stern about what levels of sexual and violent content were acceptable for each rating.

The MPAA has always been notorious for allowing harsher levels of violence to be seen as opposed to highly sexual content or extremely harsh language. Many of the films that have managed to wiggle around the rating board have had to fight for years in order not to edit their content. There is an excellent documentary about this flaw in the rating system aptly named This Film is Not Yet Rated. Many have always felt that films should be judged more harshly based on the level of violence as opposed to sexual content, as this is a normal function of life, while violence seems to have a more negative affect on impressionable individuals.

The MPAA’s other large campaign has been its anti-piracy work that began in the early 1980’s. This is to help stop copyright infringement, and more recently file sharing. This helps protect the rights of the filmmakers and artists, and helps try to funnel money back into the industry. While piracy may be a cost-free and effective way to get movies in very little time, it robs theaters and the entire movie industry of valuable revenue needed to keep the entertainment industry functioning. While this campaign has been successful overall, it has caused uproar with the young, modern generation, as more file sharing sites are being taken off the internet and closed for good.

While the MPAA has been doing its share to help keep piracy down and inform the general public about what content may or may not be suitable for them and their children to watch, many argue it is not necessary. There are those out there who believe that the MPAA is just a monopoly of production companies trying to keep as much money as they can within themselves, and that parents should be informed and do research on their own to be able to judge what movies their family can see. While it has been highly controversial since it’s founding, it is unlikely that the MPAA or its rating system will be shut down any time soon.