Before you move to Los Angeles

Written By Andi Armaganian

Before You Move to Los Angeles

Before you move to Los Angeles get your resume together and save some money. You will need it!! The best way to get your foot in the door is with an internship. Try to have enough cash to survive 6 months to a year before you land a decent paying job. Entry-level PA jobs pay around $800–900 a week (roughly $20–23/hour, often with overtime on longer shoot days). It's enough to get by, but budget carefully.

More things to consider before the big move, or applying for a job:

  • Get an email address you will keep for years — not through your school or local provider.

  • Check your social media accounts. Is there anything there you wouldn't want a prospective employer to see?

  • Look at your resume. Is it clean and concise? You're applying for a job in a creative industry — will it stand out?

Once you are here, don't lose hope! Give yourself at least an hour to get anywhere. Traffic sucks.

What to look for, based on what you want to do:

  • Writer: Ask working writers how they started. Look for jobs as a writers' assistant, Writers PA, assistant to a producer, or reader. Keep writing.

  • Director: Look into the DGA Assistant Director Training Program (LA) or its New York counterpart. Note: this trains Second Assistant Directors, not directors — it's a legitimate, well-paid path into the industry, but it doesn't lead toward directing. If directing is the goal: make a short, keep filming, and look into the directing programs listed below. Keep shooting

  • Editor: Look into the ACE Internship Program — a four-week program (LA, NYC, London) shadowing editors on a feature, a TV show, and an unscripted show. Applications typically open in spring and close June 30; the program runs in October. Also look for Post PA jobs as an entry point.

Basically, do a little research. If you're not sure what you want, get near a working show or set — look into being a page, extra, or PA. Ask nicely and people will generally help. Listen to what they're saying. :)

Get out there!

Go out to bars, coffee shops, and restaurants. Meet people, tell them you are looking for a job. Go to film festivals, art shows... just go. One stipulation — and it's a big one — look for a job you can get. If you want to be a writer, try to be a writer's PA, an assistant to a producer, a reader. Don't tell people you are a director, writer, etc. What can they do for you, really?

Do your own projects!

If you want to be a writer, write. If you want to direct, put a project together and do it. Anything. You will meet people, and get yourself out there.

So you got the interview:

  • Don't be nervous, they want you as much as you want them. The people you are meeting want you to be the one. They are tired of looking at resumes, calling people, and setting appointments, so be yourself.

  • Find out who you will be meeting with and the name of the project. Look them up. Know a little bit about the show, film or company. This will give you some good information so you have pertinent questions to ask.

  • Recheck your online presence. You can be certain they have googled you.

  • Never discount the Assistant. They have a lot of influence — if you treat them badly, you will never make it past them. They are the ones screening your resumes and submissions.

  • Only talk about the skills you have that are relevant to the job for which you are applying. This is a hard thing for students or people just starting out. But in the interview it is great to say you are a go-getter, can handle lots of phone work, are proficient with computers, etc. But if you are applying to be a runner, PLEASE don't offer them your demo reel or headshot. If you are applying to be a PA, don't hand over a script. This is a surefire way of not getting the job. Once you are on the job, you can feel out when it is appropriate to hand over a reel, demo, script, or headshot. If they don't ask, they don't want it.

Wow, you got the job:

  • Get in there and work hard. People will notice.

  • Never screw up lunch. The most time you will spend in front of the executive producer or higher-ups is when you are delivering lunch or coffee. This will be the impression they will have of you and all your work. DON'T SCREW IT UP. Open the bag, is everything inside. Grab some extra sugars, salsa, ketchup, whatever. When you bring in lunch, bring in knives, forks and napkins. Ask if they would like something to drink. If there is a meeting, deliver it quietly. Trust me this seems simple, dumb even meaningless, but the people who do this right get promoted.

  • Know when to have an opinion. This is a hard one. Most of the time if you are quiet you will be able to sit in on any number of meetings. Learn to be a fly on the wall. If someone wants your opinion they will ask for it. If no one asks, sit quietly and learn as much as you can.

  • Be yourself. From writers, to production and post, we all spend a lot of time at work. You will spend more time with these people than your family, so be someone people want to spend time with. Now is a good time to mention you have dreams of directing, acting, editing — if you don't tell anyone, they won't know. Easy. So try to enjoy yourself, this is entertainment.

Most of all, good luck!

Additional Entry Paths

Studio Directing Programs

Full, regularly updated list maintained by the DGA: http://www.dga.org/The-Guild/Diversity/TV-Studio-Directors-Development-Programs

Non-Studio Directing Programs

Studio Writing Programs

Non-Studio Writing Programs

Full current master list (deadlines, eligibility, and submission details for all of the above plus many more — CAPE, Black List/WIF Episodic Lab, Sesame Workshop Writers' Room, Ojalá Ignition Lab, etc.): http://www.wgfoundation.org/fellowship-writing-programs-for-screenwriters-masterlist

Note: Most studio programs above are explicitly framed around increasing opportunities for underrepresented and historically excluded groups — worth checking eligibility requirements on each program's page before applying.

Andi Armaganian
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