by Craig Mizrahi
As the head of production for Innovative Artists Entertainment, I’ve spent a good amount of time thinking about how below-the-line artisans can stay busy and connected at a time of contraction and consolidation in our industry.
First, find your inner self-promoter. Over the years, we’ve grown comfortable having projects come to us. We have never really had to scratch and claw for work until now. While runaway production was in the works for decades, runaway post-production hit us like a ton of bricks.
As recently as 2022, there was an ocean of work available and no matter how many people tried to dive in there was room for all. The ocean is shrinking fast and there are more and more people vying for their place in the environment. It’s a simple supply and demand issue, and we, as the creatives, are on the wrong end of the equation. So what can we do to stay competitive, relevant and working? First, that personality trait so many artists possess, relying on letting our work speak for us, works no more. It’s squeaky-wheel time. Everyone needs to start speaking up and promoting themselves. We need to be open, sociable and outgoing. That means getting to the events, panels, screenings, festivals and award ceremonies whenever possible. Shake hands, make friends, be in the chat. One of my clients started a random conversation with a stranger in line at a museum. It turned out to be an A-list filmmaker, and the next step, the next thing she knew, she was cutting the biggest action film of the year. You simply never know.
Utilize social media to its fullest capability. Unlike years ago, when finding a filmmaker or producer’s direct contact was near impossible, everyone is now accessible through Instagram or LinkedIn, or both. Sending a direct message to someone you aspire to work with on IG or Linkedin should be a weekly occurrence. Before you say, “I’m not the type to bother strangers,” imagine an assistant you don’t know reached out with a lovely note complimenting you and asking to grab coffee sometime: Would you be mad or would you respect the ambition? It doesn’t need to be a blatant “please hire me” message either; it can be a question about something they did on a project that wowed you. It’s an inquisitive conversation starter. Don’t ever be afraid to strike up a conversation, and a social media platform is an easy place where a long-lasting connection can start.
Connect the dots. Go deep into your Rolodex, find someone you haven’t spoken to in five or 10 years and reach out, see how they’re doing and strike up a chat about working together again. If you’re again thinking it’s not your style to bug people, see above. The industry is a smaller maze of people than you know, so many intertwining relationships and because of the state we’re in, it’s almost an absolute must that you have at least a secondary or tertiary connection out there to land that meeting.
Spruce up your resumé. If you have more than 20 project titles on your resume, lose the most outdated credits. Less is more in this business. Share the highlights and the kind of work you aspire to do more of, not every single thing you’ve ever worked on. In terms of IMDb, it’s surely a tough nut to crack, but make sure you have the Pro account so you can keep it updated.
Build a website. Historically, unlike other creative department heads like DP and Designers, editors didn’t use sites because it was thought that in order to judge the work you’d have to watch the duration of a film or episode. The truth is you can do plenty of good for your career by showing several scenes of various kinds of diverse work, while also sharing a bit about who you are and what makes you tick as an artist. As work is more global now, there are producers in other counties who are less familiar with your credits, a website can assist in them seeing your work more easily.
Be a freelancer. Let me guess, you’re not the heir to a Greek shipping conglomerate? Understood, so live like a freelancer, not a Rockefeller. We are in lean times which call for lean measures. Every person has their own unique financial situation, but part of being a successful freelancer is being picky about what projects you take vs. which you pass on. You will only have the opportunity to pass if you aren’t forced to work due to a financial need. Put yourself in a position to place the work first and money second. Remember that there are really only two variables in deciding to take a project or not, material and people, in equal order. That’s it. If both those boxes are checked, sign up cause it’ll likely be a rewarding experience, regardless of the paycheck.
Getting an agent can be a helpful way to connect with new potential buyers. Its also great to have someone handle the business aspects of your career and have a helping hand as you navigate through the muddy waters, both in looking for work and helping with politics you may face while on the job. Make sure you have full trust, good communication and hopefully they are as passionate about your career as you are!
And finally, a word on the mysterious and thus terrifying letters: A and I. We collectively need to stop complaining that AI is ruining Hollywood. AI, while very meaningful, isn’t the thing bringing us to this crossroads. I believe AI will eventually have legislative guardrails like the music business does. Everyone should cool it with the robot steadi-cam operators on IG. What we need to do is stop running from the future and start embracing it. Learn the new tools that utilize its power and it’ll inherently strengthen your skills while mitigating your limitations. That said, there are a slew of AI filmmakers starting to create projects on their own and circumventing traditional norms as they go. Don’t kid yourself, the studios are taking note. But again, don’t run. Become educated and involved in the new tools and if so inclined, allow yourself to even connect with these filmmakers. One of the only areas that remain necessary within AI filmmaking is the delicate dance of editing. This new generation of filmmakers will surely need creative partners to help them craft their stories.
In short: stay in the game, because we’re going to find ourselves on the other side of this mountain eventually, and I promise we’ll be stronger for it.
Craig Mizrahi is a partner and head of the production division at Innovative Artists Entertainment, representing award-winning creative artists within the feature film, television and advertising arenas, domestically and abroad.
