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"Industry Spotlight" is our monthly series where we interview professionals from across the entertainment industry about their current jobs and career trajectories. Our hope is that you will learn more about the positions you're already interested in, discover new roles you may not have considered, and utilize the wisdom of those who've paved the way before you to forge your own path for success.
This month, we sat down with Ashley Griffis, Executive Director, Children's Entertainment at The Jim Henson Company. HOLLYWOOD RESUMES: What is your main job function? ASHLEY: My main job function is to find and develop new properties into shows that are responsible and relevant for kids and audiences today. I work with the creator/showrunner on the creative of the show to make it the best it can be, including packaging the project with talent, art, scripts, co-producers, animation, curriculum advisors, and so on. It is also my job to go pitch the shows to networks in order to sell them to series. HR: What is your day-to-day like? ASHLEY: My day to day is doing whatever I need to do to move each of my projects forward. On paper it looks like emails, meetings, and calls, but in reality it's pitching shows to networks, taking meetings with writers, giving notes on creative, brainstorming, checking in on deals, meeting with new talent, reaching out to agents, researching curriculums, focus group testing with children, taking new pitches, searching for new projects/books, and staying updated on what is relevant and popular with kids, parents, and teachers. HR: What's different about working in children's programming than other parts of the industry? ASHLEY: I believe the main difference between children’s programming and other parts of the industry is when you work on children’s entertainment you are not working on content for yourself (or other adults), but for a demographic that is developmentally and a psychologically different than you. Although many of us remember our favorite shows when we are kids, and we are able to tap into that inner child, it is important to remember how different it is to be a child today and what entertains them. HR: What do you like most about your job? ASHLEY: My favorite thing about my job is working with talented people with different backgrounds, stories, and ways of thinking. I love being genuinely surprised and inspired by an interesting story/character. I also love being creative with other people and working together to come up with a story or solution to a problem. HR: How did you get your current job? ASHLEY: I have always been very vocal about my passion for children’s entertainment and made that clear in college to my professors. So when my professor met a woman who worked at Henson, he recommended me to her. I was then able to get an internship with Henson, and while I was an intern I covered various assistants’ desks. I was then lucky to be asked to stay and work as an assistant. I continued to be vocal about my desire to help with children’s television, and when opportunities arose to help on shows, I was first to volunteer, while remaining a full time assistant. After a few years of being an assistant and helping on productions, I was able to transition out of being an assistant and into the children’s entertainment department. I was then able to work my way up and focus more on development. HR: What are the skills someone would need to succeed in your position? ASHLEY: The skills someone would need to succeed in my position are patience and persistence. It can take years for a show to become a series. One of my shows took over 9 years from inception to production. A lot of people think you can come up with an idea and make a show right away, but it takes a lot of time to incubate an idea and to package it with the right talent. In addition, it also takes a lot of time sell an idea to a network -- it all depends on the executives at those networks and their tastes or what’s already on their slate. You could have the best project in the world, but if it doesn’t fit their strategy or needs, or they have a show that's similar, you won’t be able to sell it. However, if you love a project, don’t give up on it. There are always new networks, executives, and avenues to get your story told -- just be open to the ebb and flow of the industry. HR: If you don't like ____________, you won't like my job. ASHLEY: If you don’t like selling, you won’t like my job very much. A large majority of my job is pitching my shows and the talent that's attached, including myself as a creative executive and my company. Pitching and selling is very difficult. You are trying to convince people who are looking for a reason to say no to love your project as much as you do or at least see the potential in it. You receive way more “nos” than “yeses” but you have to put the same amount of love and heart in each project even if they don’t sell -- and you have to keep on selling. HR: What’s something you do in your job that an outsider wouldn’t expect (and maybe you didn’t expect before you took the job!)? ASHLEY: Something in my job that an outsider wouldn’t expect is how much I have to understand about deals, unions, rates, and credits. It’s important to understand all of these things because I need to be able to manage a budget for each project and also be an advocate for the talent to get them their rates. It’s also important to be a responsible producer and create within the confines of budget so the project will be able to be made. It is also important to manage expectations and work with your own BA to make sure you are advocating for the correct fees for your company and know your own worth and what you will be providing for each project. HR: What’s a mistake you made early on in your career? ASHLEY: I made many mistakes early on in my career. I became an assistant straight out of college and had no real formal training on a desk. The biggest mistake I probably made was sending my boss to a meeting on a the wrong day! I somehow wrote it in the calendar a week early and she drove all the way there to find out it was the following week. I double checked every date after that incident. You can learn something from every mistake. HR: If you could give one piece of advice to someone trying to break in/move up in the industry, what would it be? ASHLEY: The best advice I was ever given is to take as many general meetings as you can, and when you are in those meetings ask if they would feel comfortable introducing you to someone else that would be beneficial for you to talk to. Most people will be happy to put you in contact with others that have similar interests, and this helps you quickly get to know more people in your area of interest and allows you network. HR: Thanks, Ashley!
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"Industry Spotlight" is our monthly series where we interview professionals from across the entertainment industry about their current jobs and career trajectories. Our hope is that you will learn more about the positions you're already interested in, discover new roles you may not have considered, and utilize the wisdom of those who've paved the way before you to forge your own path for success.
This month, we sat down with Hannah Bergstrom, an Associate Producer on ABC's Fresh Off the Boat. HOLLYWOOD RESUMES: What is your job and how would describe it one sentence? HANNAH: As Associate Producer on Fresh Off the Boat, I am responsible for leading our Post Production department through episode prep, shoot, editing, finishing, and delivery. HR: What is your day-to-day like? HANNAH: Every day is a little different but I could be prepping episodes with our showrunners and production team, overseeing VFX on set, cutting with the editors in post, giving notes to our colorist, working on the sound design at a mix, or watching episodes that are ready to be delivered for air. We work on multiple episodes at a time, so each day has a few episodes that need something. HR: What do you like most about your job? HANNAH: I love that I get to lead a team of artists and create a show that uses comedy to talk about topics like race, immigration, coming out, or simply just being that awkward kid. HR: How did you get your current job? HANNAH: I met my boss through a friend I made at a Women in Post brunch group. I’m so grateful that I said yes to that brunch! HR: What was your first job in Hollywood? HANNAH: I was a runner for Tony and Ridley Scott’s company Scott Free. I was so lucky to be around Tony Scott, Ridley Scott, and their team. I got to know LA very well by doing runs all over the city, and my connections at Scott Free helped me land my first post production job as a Post PA on Community. HR: Describe the kind of person who would do well in your position -- what skills would they need? HANNAH: Someone who is able to juggle being pulled in multiple directions and who has a strong creative and technical background to support their work will do well. A sense of humor also helps make the busy days fly by. HR: If you don't like ____________, you won't like my job. HANNAH: Watching an episode over and over again. HR: What’s something you do in your job that an outsider wouldn’t expect (and maybe you didn’t expect before you took the job!)? HANNAH: I didn’t expect that Fresh Off the Boat would have as many visual effects shots as it does. In our fantasy sequences, we get to have a lot of fun with VFX. Last year I got to produce a whole video game world based off the Sims video game, and the year before that we got to produce an entirely animated comic book style scene. We’re working on prepping for Season 6 now, and I can’t wait to start working on VFX shots for it. HR: What’s a mistake you made early on in your career? HANNAH: I made the mistake of parking in Tony Scott’s parking spot on one of my first days! HR: If you could give one piece of advice to someone trying to break in/move up in the industry, what would it be? HANNAH: I always tell people who are trying to break in or move up in the industry to use their position to their advantage. You are new to the job, so you should be curious about the job and curious about everyone around you. Ask good questions at the right time and people will remember you. Make yourself known as being a person that’s helpful, curious, and kind. That will take you very far. Make sure that you are delivering value on a daily basis, and that will make you invaluable. HR: Thanks, Hannah! This months's "Industry Spotlight," features Andrew Roxby, an assistant to an agent at one of Hollywood's top talent agencies. An agency assistant job is one of the best places to start your career in Hollywood -- so if you're curious what one actually does, read on!
HOLLYWOOD RESUMES: What is your job and how would describe it one sentence? ANDREW: I’m an assistant to a television lit agent at a major Hollywood agency. HR: What is your day-to-day like? ANDREW: In general, it consists of answering calls, sending emails, setting meetings for clients, and setting phone calls for my boss. I also do quite a bit of sending out materials to educate various buyers on our clients. HR: What do you like most about your job? ANDREW: Getting to read our clients' work and getting to learn about the television industry as a whole -- who its various players are, how the process works, and how the deals are structured. HR: How did you get your current job? ANDREW: I interviewed for my current desk after working on a difficult desk in the motion picture lit department. My first job at the agency was in the mailroom, a job I got by meeting as many people as I could through anyone I happened to know who might have a connection to someone who worked at an agency. HR: What was your first job in Hollywood? ANDREW: Production Assistant on The Talking Dead. HR: What are the skills someone would need to succeed in your position? ANDREW: Ability to "read the room" is key and perhaps paramount. Work ethic, resilience, and the infamous "thick skin" -- meaning the will and ambition to work through anything, even when it means dealing with difficult personalities. Adaptability and the drive to learn and adjust on a daily basis are also key. HR: What’s something you do in your job that an outsider wouldn’t expect (and maybe you didn’t expect before you took the job!)? ANDREW: Quite a bit of drinking alcohol after work in professional meetings with other up-and-coming assistants around town. HR: What’s a mistake you made early on in your career? ANDREW: Taking a desk I didn’t want because I was under time pressure. Always insist on time to consider decisions. HR: Where do you see yourself in X years, and what are you learning in your current position to get you there? ANDREW: Running a company. I’m learning exactly how and what deals get made in this industry! HR: If you could give one piece of advice to someone trying to break in/move up in the industry, what would it be? ANDREW: Keep going, be polite, genuine, and hardworking. Authenticity open doors. HR: Thanks, Andrew! It's time for another "Industry Spotlight," our monthly series where we interview professionals from across the entertainment industry about their current jobs and career trajectories. Our hope is that you will learn more about the positions you're already interested in, discover new roles you may not have considered, and utilize the wisdom of those who've paved the way before you to forge your own path for success.
This month, we sat down with Heather Blanda, Director, Programming Planning at Crackle. HOLLYWOOD RESUMES: What is your main job function? HEATHER: I lead the strategic planning, network scheduling, and curation of all content, including premium TV series and features (both licensed and original) across the OTT digital streaming service, Crackle. Planning includes annual, monthly, and daily schedules as well as themed playlists to achieve the network KPI [Key Performance Indicator] goals and increase viewership. I am also responsible for determining the content merchandised on Sony Crackle’s primary promotional levers (Multiplex Channels, Homepage Slideshow, and Featured Sections), based on data analytics, insights, and network priorities. HR: What is your day-to-day like? HEATHER: In my current role at Crackle, every day is a snowflake -- you never know what's going to pop up. The industry is evolving at such a fast pace that it is necessary to be nimble and pivot at a moment's notice. The first thing I do when I get in the office is check the network and make sure it looks good and that everything is working properly -- always. Daily, I am in a lot of cross-functional meetings to align strategy and business solutions, and I answer emails and field questions from my team that pertain to the daily and monthly schedules. I also manage a three person scheduling team to create and implement data-driven, curated network schedules across OTT and VOD platforms including desktop, mobile, connected TV (e.g., Roku, Amazon FireTV), and gaming consoles (Xbox, PlayStation). HR: What do you like most about your job? HEATHER: I love that programming is the information hub for the network. We are the center of the wheel, and all work starts with our planning. I had always wanted to work in entertainment, but I wasn't always sure in what capacity. Programming sort of found me, and it is the perfect blend of creative and business -- working within a corporate structure affords me job stability and business experience. What I like about Crackle is that it has opened up all sorts of opportunities. While running the network, I have also produced a short form series, acquired a wealth of tech knowledge, and gained a lot of exposure to acquisitions, development, and marketing that wouldn't typically happen at a larger, more established entity. It has given me a 360 degree perspective on the business. I also really like working on a studio lot, but that is a unique characteristic of Crackle. Typically, programming teams work out of headquarters. HR: How did you get your current job? HEATHER: I was referred by two separate colleagues for this position. My skill set from my linear programming days really lent itself to this role, as they were looking for someone with that background. HR: What was your first job in Hollywood? HEATHER: My first job in the industry was an unpaid internship at a small production company called AXIAL Entertainment. I was an office PA, and we produced one of AMC's first unscripted original series called INTO CHARACTER. I loved it, but I wiped out my savings while paying my dues! That's the business though...at least it was when I started. My first paying job in LA was with Nickelodeon -- they relocated me across the country to run the programming division on the West Coast and provide a communication bridge from network to studio. I worked closely with the executives in charge on both the animation and live action teams. It was probably one of my favorite roles I've had in my career. HR: What are the skills someone would need to succeed in your position? HEATHER: Programmers are the most detail-oriented people. We are the information center for the network, and it is our job to ensure communication is flawless. One mistake could risk violating a contract and cost a lot of money. Programmers are the network police, and customer experience is our number one priority. A great colleague of mine used to say, "Programmers cancel shows," but what she meant was that if our audience doesn't want it, we won't keep it. If they love it, we will. Her words may have been little callous, but also true -- we make business decisions based on data. To be a great programmer, you need to be a strong communicator, hard-working, strategic, analytical, and above all -- you must love content. Programmers can be a little nerdy -- we geek out on TV and movies...it's our passion. It's the core of our business, and it's what we live and breathe. HR: If you don't like _____________, you won't like my job. HEATHER: Offices, Excel, meetings, or politics. HR: What’s something you do in your job that an outsider wouldn’t expect (and maybe you didn’t expect before you took the job!)? HEATHER: There is always a misconception when I say I'm a programmer. I'm not writing computer code or script. Additionally, programmers are on the receiving end of the production/acquisitions timeline -- we receive final projects and put them on the air. It's broadcasting, business, data, budget management, crisis management...and a lot of team management. My mom always asks me why she can't see my name in the credits -- it's because I didn't produce the show. I also am heavily involved in app development and have gained significant knowledge on back-end product management. I never thought I'd be working with tech in this way, but it's a big part of this job. Engineers and programmers need to collaborate in the streaming universe a lot. HR: What’s a mistake you made early on in your career? HEATHER: I let others determine my value. It took me a long time to give myself the credit I deserved and take my career into my own hands. If I had to do it again, I probably would have left my last job sooner to develop my career a little faster. But I worked through two major recessions -- I was lucky to have a job, and security was important to me. I don't have regrets -- it was circumstantial. HR: If you could give one piece of advice to someone trying to break in/move up in the industry, what would it be? HEATHER: There isn't one track, and there is no "right way." Hard work pays off, and networking is critical. But just because you are somewhere for two years doesn't mean you will be promoted -- that said, everyone's path is different. Be patient with yourself and the process. Sometimes you have to sidestep before you move up. From my experience, you have to do the job before you get the promotion or the position. But -- it's a passion industry, and we do it because we friggin' LOVE it! :) HR: Thanks, Heather! |
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