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"Industry Spotlight" is our newsletter 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 Eve Weston, the CEO of VR content company Exelauno and author of 10 Kick-Ass Careers for Storytellers: Interviews with Pioneers in Virtual Reality, Artificial Intelligence, Podcasts, Escape Rooms, Video Games, Comics, Interactive Television and More to learn about the many careers you can pursue as a writer, beyond the realm of traditional film and TV. Eve is an award-winning VR writer/director, produced television writer, author, and professor who believes in storytelling as a force for positive change. An alumna of Princeton, USC, and Goldman Sachs, she has created the taxonomy for immersive POV, which serves as the backbone for TheLook.Club searchable database of immersive narrative and The Look Club review show. HOLLYWOOD RESUMES: How would you describe your career in 1-2 sentences? EVE WESTON: A jungle gym! Definitely not a ladder—my career has not been linear, and it has been fun, with plenty of unexpected surprises. I give credit to Sheryl Sandberg and Nell Scovell for the wonderful analogy, which you can read more about in their book, Lean In. HR: How did you get interested in XR and VR? EW: Oh, this is a fun story that I tell in my book. In short, I met a software engineer at my college reunion who explained VR to me and then said, “But I don’t know what the content would be.” I could already see the possibilities and how XR would be an amazing platform for storytelling, so I thought, “Maybe this is an area I should look into…” HR: How is working in immersive narrative different from and similar to working in comedy? EW: Well, immersive narrative is a form, and comedy is a genre that applies across forms, so that’s one big difference. But both of them require paying particular attention to your audience. There’s a reason multi-camera sitcoms are filmed in front of a live studio audience; how you make your audience feel in comedy is crucial. And similarly, when you’re designing immersive narrative, your audience shouldn’t be an afterthought. You should be designing with their experience in mind from the beginning. HR: What was your "plan" when you started your career as a storyteller? Did you expect to be where you are today? EW: That question is deceptively simple—when did I “start” my career as a storyteller? I’ve been a writer since I was a kid—so many poems! But I didn’t even know about screenwriting until I was in high school. It would’ve been impossible for me to predict where I’d be today; I’m working in a field that, not only did I not know it existed, it actually didn’t exist. That being said, in college I was a Classics major—I studied Latin and Ancient Greek and ancient literature and history—and I had this sense that I wanted to bring the old to the new. And even when I was working in sitcoms, I felt like I was learning from the greats to apply that knowledge to “the next thing,” even before I knew what that next thing was. So, in a general sense, it’s sort of remarkable how I’ve followed through on my intentions. But it wasn’t always by conscious choice, and in the moment, I couldn’t always see the connections; I just followed my instincts. HR: What do you like most about your job? EW: I get to earn a living thinking about story, talking about story, and creating stories. It’s what I would want to do anyway, and that’s kind of amazing. HR: What was your first job in Hollywood? EW: I was hired by the incredibly talented Alan Kirschenbaum as a Writer’s Assistant on the CBS sitcom Yes, Dear. I learned so much from him. HR: Tell us about your book, 10 Kick-Ass Careers for Storytellers. What inspired you to write the book? EW: In Spring of 2021, I taught a course at Chapman University—one of the nation’s top film schools—and brought in amazing guests to speak with students (over Zoom). I was captivated by every one of them and the unique, compelling, creative career paths they shared with us. It seemed a shame that more people wouldn’t get to benefit from their stories, so I fixed that by turning a semester’s worth of interviews into a book. HR: What do you hope readers will learn from your book? EW: I hope this book engages readers—and that maybe reading it is a bit of an immersive experience in itself, bringing you into the class. My goal was to make the book an easy, fun read and to make new and even technical topics very approachable; the book’s style is extremely conversational. Whether you’re a writer just starting out or an experienced storyteller looking for a new outlet, this book aims to open your eyes to careers that you never knew existed or, perhaps, that truly never existed before. HR: What are some of the commonalities across the different storytelling career paths? EW: Each of my interviewees actually talk about this exact thing, and each from a unique perspective. In short, character. A character want. An obstacle. A resolution. For a sampling of the kind of amazing insights on this topic that you’ll find in the book, check out the podcast Kick-Ass Careers for Storytellers. In particular, in his episode, Archie Gips—an accomplished storyteller with a large presence in the unscripted space—shares some real gems on the topic. HR: What are some of the skills someone would need to succeed as a storyteller? EW: The ability to devise and develop the four things I mentioned above. In terms of skills, that might translate to patience, creativity, empathy. HR: Where can someone look for storytelling jobs? EW: Anywhere there are stories, there are storytelling jobs. Obviously in TV, movies, commercials, etc. And also, behind website copy, Instagram captions, a CEO giving a speech, a company needing to explain to their customer base what they do and why they have value, an entrepreneur pitching a venture firm, a tech company creating interactions for an artificially intelligent robot—this last one is specifically covered in the book, along with ideas for where to look for opportunities in the field. Some storytelling jobs are posted on career sites, or blasted out in e-newsletters, but also, you’d be surprised what opportunities you can get by owning your abilities as a storyteller and making them known to the people around you. I’ve been amazed by the number of people I know who aren’t in entertainment who have been in need of—and gained much value from—my storytelling skills. HR: If you could give one piece of advice to someone trying to break in/move up in the industry, what would it be? EW: Keep writing. And don’t be afraid to try different forms and formats. Maybe you’ll find a new one you love, and even if you don’t, you’ll likely learn something—about your story or yourself—just by stretching your writing muscles in a new direction. HR: Thanks, Eve!
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"Industry Spotlight" is our newsletter 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 a reality TV producer who spent time as a COVID Compliance Officer. We've granted her request for anonymity so that she could be candid. While CCO may not be a long-term position in the industry, production safety touches everyone who works in the industry, and we appreciate the opportunity to learn about how we can all contribute to a safe environment. HOLLYWOOD RESUMES: In one sentence, how would you define what a CCO or COVID Testing Manager does? CCO: The CCO establishes a plan to communicate COVID-19 safety guidelines from the CDC to the cast & crew, notifies production of any significant changes in safety recommendations and protocols, schedules and manages COVID testing, conducts contact tracing, and serves as the first level contact and response for COVID-19 safety and compliance concerns. HR: What is your day-to-day like? CCO: The CCO is the first person on set. The CCO makes sure all cast and crew fill in their medical questionnaire, get the COVID test, and have their temperatures taken. They make sure PPE is handed out to all, cleaning stations are fully stocked, and schedule cleaning routines with production on the agreed-upon schedule. They also take the appropriate action if someone tests positive on set. HR: You come from a background as a reality TV producer. How did you prepare to take on a new role in the industry? CCO: I prepared by taking the COVID-19 Compliance Certificate Program for LA County, the John Hopkins COVID Certificate Program, and OSHA. Knowing how production and filming works is a must. HR: What are the skills someone would need to succeed in this position? CCO: Management, understanding how production works, logistics, planning, extensive training in COVID-19 protocols, communication, time management, robust rules implementation, medical knowledge of COVID-19, collaboration, and managing crew. I can’t stress enough the importance of appropriate COVID training. This role is for a PM or project manager who understands the risks associated with COVID-19. This is not an entry-level position, since we are dealing with people's lives. HR: How has COVID safety changed the way productions run from a logistical and creative perspective? CCO: COVID safety has added a lot more stress to an already very stressful environment. It has also limited the creative locations we can use. Since health and risk factors can be very high on any given day, it has added a terrifying element to filming. Before the vaccine, you put your life at risk just being part of a show. If the COVID-19 protocols are not followed correctly, the show could shut down due to COVID infection and spread. HR: What are the biggest challenges or surprises you faced in the role? CCO: The amount of pushback from grown adults who should know better is unbelievable. I did not expect the lack of cooperation or pushback—the networks and EPs turning a blind eye to unqualified COVID-19 CCOs, and flawed COVID plans and testing just to do a show. It has been heartbreaking to see the lengths some people will go in this industry to film a show unsafely with no regard for the crew. HR: What's something you wish people understood better about COVID compliance on set? CCO: Hiring unqualified PAs with no training as CCO or having a nurse do both CCO work and testing is cutting corners. Not enough PPE, cleaning stations, or paying the CCO a PA rate is unacceptable. The CCO needs to be a trained professional with a high understanding of logistics and COVID training. Taking a set COVID certification [minimal certification] is not enough. It's most frustrating when you have networks and EPs on the show that do not adhere to COVID -19 protocols -- it seriously endangers the crew, just to get a show done! Executives who never stepped on set during the pandemic do not have an understanding of how it should work, which can then trickle down to the crew and cast, creating a toxic, unsafe environment. Because everyone is eager to work, some risk their health and life by working on sets that are not following the CDC guidelines. It must stop. We need to unite and demand a safe working environment, no matter if it is a union, scripted, or non-union show. HR: Let's end on a hopeful note -- if you could give any piece of advice to someone trying to break into the industry, what would it be? CCO: Work hard, be kind, and give back once you move up. Do it with class, integrity, and honesty. HR: Thanks, CCO! "Industry Spotlight" is our newsletter 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 screenwriter Jamie Nash, whose credits include V/H/S/2, EXISTS, and SANTA HUNTERS. Jamie also wrote the brand new installment of the Save the Cat! series, Save The Cat! Writes for TV -- a must-read for aspiring TV writers and development executives. HOLLYWOOD RESUMES: Tell us about your job as a screenwriter. What types of projects have you worked on/do you like to work on? What's your day-to-day like? JAMIE: I’m weird. I tend to write a whole range of genres and formats. Over the last few months I’ve worked on a biopic, a sports movie, a kids movie, two horror movies, a true crime podcast, and an animated TV show. I even throw in a novel and a non-fiction screenwriting book and other stuff once in a while. Weird. I’m always doing ten things at once — sometimes preparing a pitch, other times drafting a new script or revising a script based on producer notes, or coming up with new ideas to present to industry connections. I tend to focus on one project at a time just so I can scratch it off my to-do list. But there are days where I might be doing one thing in the AM and another in the PM with meetings mixed in during the day. HR: What do you like most about your job? JAMIE: I don’t need any permission to write. Anytime I want, whenever I want, whatever I want, I can just open my laptop and go to work. It may never sell or see the light of day, but I can do it, and what I’m doing here is not fundamentally different than what Shonda Rhimes or JJ Abrams or Diablo Cody can do. They just get big paychecks in the mail. But even that might come from something I do right now. It’s probably the only thing in the industry where you don’t have to wait for someone to kick off a project in order to do what you love. And that’s the coolest thing about writing. HR: What are some of the biggest hurdles to getting a screenwriting job? JAMIE: Early on, the biggest hurdle is apathy. Everyone is a screenwriter. Everyone has a script or pilot or pitch. Development execs and literary representatives are so overworked with their own projects, it's hard to get even the smallest amount of attention. Most of them aren’t looking for the next great discovery. It’s really frustrating at first, and it takes a long time for opportunity to meet timing where you can leverage relationships to even get a shot to pitch or submit scripts, and then its all about having what they need when they need it and, of course, quality. Later on, the tricky part is that it ebbs and flows. You’re either working on too many projects or not enough. You’re either overbooked or starting to think you may never work again. HR: If you don't like ______________, you won't like my job. JAMIE: Taking notes. You’ll get notes from agents, managers, directors, studios, actors, show runners, co-writers, craft service people, your mom, etc., etc. Unlike other forms of writing, you’re often hired to implement other people’s visions -- and even when your original script sells, it becomes "their vision" of your script. It’s a skill you have to learn. Be open to it and always remind yourself everyone wants the movie to be the best possible. HR: What's something you do in your job that an outsider wouldn't expect -- and maybe you didn't before you started! JAMIE: The job can be very meeting heavy. When I’m really busy, 30% or more of my week might be phone/zoom/in-person meetings. HR: Tell us about Save the Cat! Writes for TV. How did you come to write it and who should read it? JAMIE: Save the Cat! Writes for TV is part of the wildly popular Save the Cat series. I wrote a script with Blake Snyder, author of the original Save the Cat!, and was an early adopter to its methods. I also teach screenwriting at the college level. In recent years, many of my students would want to write pilots, and they were fans of Save The Cat, so it caused me to think deep about how I use the Save the Cat process in my own TV writing work. The book was born out of both of those things. I also analyzed several recent TV pilots before writing and came up with a few new tricks. The book is for writers who want to create original shows or write TV pilots. If you want to sell or pitch a show, or just create an original pilot script as a sample to get staffed, the book will guide you through the process. HR: What was your first job in Hollywood? How did you get it? JAMIE: It’s weird for a writer. I optioned a script and got hired to do rewrites. That one was eventually sold/made. The bigger lesson…it was my 12th script probably about 4 years into screenwriting. I technically optioned one right before that. And sold a couple right after. I sort of hit my stride around script #12. HR: What's a mistake you made early in your career? JAMIE: I spent too much time on some of my first scripts. On one hand, I think most writers need to learn some hard lessons early on….but the truth is, those first couple of scripts are often unsalvageable. You’re better off writing 3-5 different scripts than writing 50 drafts of 1. If you’re on draft 5 or 6 on your first script…it might be time to start up a new one. HR: If you could give one piece of advice to someone trying to break in/move up in the industry, what would it be? JAMIE: Try a bit of everything….within reason. Write a movie. Write a pilot. Try directing. Write an audio drama. Make your own stuff (it’s good for the soul). Enter a couple of contests. Visit some film fests. Jump on Twitter. Read books. Take classes. Try not to spend too much money on anything. Writing is something you should be able to do for free. There are some money-sucks out there, and very few of them are worth it. HR: Thanks, Jamie! "Industry Spotlight" is our newsletter 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 Tiffanie Young Lofton, founder of college exit program Young in the Arts and SVP of Production at nonscripted production company Rock Shrimp Productions. HOLLYWOOD RESUMES: In one sentence, how would you define what a production executive does? TIFFANIE: I keep the production moving by negotiating, solving problems, and making smart decisions. HR: What is your day-to-day like? TIFFANIE: It's a lot of strategizing, be it budgets, logistics, schedules, legal, etc. Every day I'm planning, executing, and multitasking. Usually, I'm in production meetings while also emailing, budgeting, approving payroll, making deals, and more. HR: What was your first job in Hollywood? TIFFANIE: Budget coordinator for Lifetime Television. HR: What are some of the skills someone would need to succeed in your position? TIFFANIE: You must be detail-oriented, a quick thinker, a strong negotiator, and you absolutely have to listen. Listen to what's being spoken, but more importantly, listen to what's not being said. HR: If you don't like ______________, you won't like my job. TIFFANIE: Compromising. In production, you can't say no even when the real answer is no. It's a constant negotiation, which equals compromise. You will not always get your way and you have to accept that. HR: What's something you do in your job that an outsider wouldn't expect -- and maybe you didn't before you started! TIFFANIE: Memory. It amazes me how much my company and my team relies on my memory. I have entire budgets and cost trackers in my head (multiple at that) and I have to be ready to make money decisions on the fly. I also have to remember names, rates, hirings, firings, negotiations, contracts, vendors, schedules, etc. for current and past shows. Sure, I can say "I don't know" if I don't remember something and I've had to do that more with age, but production moves faster when I remember details. It's an asset I didn't know I needed, but I'm very glad I have. HR: What's a mistake you made early on in your career? TIFFANIE: I got emotional on my first TV job and let people's words get to me. When I reacted, they used it against me. But what doesn't kill you only makes you stronger. I quickly learned to leave my emotions at the door and keep it all about business at work. I'm human, though -- so do my emotions still creep in sometimes? Yes, but I know how to manage it and use it to produce an effective outcome. HR: If you could give one piece of advice for someone trying to break in/move up in the industry, what would it be? TIFFANIE: Know how you're going to exit the business before you even enter it. Why? Two reasons: 1. How do you attain your dream if you don't know what it is? Know what you want and strategize how to get it. And note that your dream isn't the first step. Your dream is the end game. Dream big! 2. The entertainment business is competitive. You will face rejection and you will want to quit. But if you decide now what your exit is and commit to it, you won't quit until you get there. HR: Tell us about Young in the Arts. Who is the program for and what do you hope to achieve with it? TIFFANIE: Young In The Arts grew out of my passion for mentoring. It is an exit program for college juniors and seniors seeking to enter the tv/film industry. We meet virtually twice a month for a total of 8 sessions where I guide the students in Career Planning, Financial Planning, Resume Building/Networking, and Entry Level Training. My tagline is "Guiding the Next Generation of Creative Minds." I've seen too many young people start in this industry and then quit because they felt lost. My goal is to give them real-life tips and tricks to keep going and succeed. HR: What are some of the challenges you see facing recent grads trying to break in to the industry? TIFFANIE: COVID definitely made it harder to break in. Why would someone hire a new person with no experience when so many experienced people were unemployed? During COVID, people who were rarely ever free were suddenly available for booking. But, thankfully, things are better now. Hollywood has figured out how to shoot during COVID so experienced people are back to being booked and opportunities are becoming available again for newbies. Now more than ever, it's important to make those connections and make sure someone in the business knows your name. HR: You're an expert on budgets from your production management work. Do you have any budgeting tips for job seekers or freelancers trying to make ends meet during hiatus? TIFFANIE: Flexibility. You must have an adjustable budget, one you spend when things are great and one you spend when things are hard. And, go easy on yourself. In Hollywood, our success depends on creativity and creativity is stifled by stress. If you can't be creative, you can't make money, so adjust your budget, relax, and let the creative juices flow. HR: Thanks, Tiffanie! |
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