Category Archives: $$$

How to Prepare For Jobs of the Future: By Jennifer Kushell

 

I am thrilled to share this piece from JENNIFER KUSHELL, author of the New York Times Bestseller, “Secrets of the Young & Successful.”  Called the “Career Doctor” by Cosmopolitan and a “guru” by US News & World Report, Jennifer has worked with tens of thousands of young people around the globe for more than 15 years.  She is co-founder and president of YSN.com – Your Success Network – a network of emerging adults in 110 counties that arms people with the tools they need to discover their passions, launch their careers, and build powerful online identities that they can be proud to share with the world.

The article:

With the world changing as fast as it is – industries rising, evolving and crashing; technology leading to more efficient, effective ways of doing everything; globalization interconnecting us all; and a whole new generation emerging and entering the workforce – how do we best ensure young people are prepared for the world of work from here forward? Keep in mind that along with the jobs being phased out, countless more jobs don’t even exist yet.

In order to create employment for those who are graduating, it’s important for us to review a system that has become antiquated. Even more critical, however, is to note that our current models of education, career planning and job searching are not just in need of a facelift – we need a major paradigm shift in how we think about training our emerging workforce and the skills they need to have to be relevant, let alone have a chance at being wildly successful.

But we do not need to wait for this shift in order to start teaching the new rules of success every day, in every forum, and every possible platform and channel available to us. It can be done in simple conversations or formalized programs – everyone can play a role in training our young people; they are, after all, our kids, cousins, neighbors, friends, colleagues and employees. The bottom line is that we can all ensure this emerging generation is primed for success, and it’s in our best interest to do so. Our future depends on it.

The following 10 skills are most vital to young people entering the workforce:

Ambition
Ambition changes the opportunity outlooks for a young person dramatically. Employers are increasingly looking to hire for attitude and train for skill, so cultivating ambition and an eagerness to learn and do well are really Step 1 toward a solid future. Young people who are hungry, interested and engaged are infinitely more employable, and when they have a passion for achievement, there are no limits to what they can do. Rather than just hire warm bodies, companies would much rather choose people who show promise and a solid foundation.

Value
Understanding what it means to add value to a company or organization is a fundamental question that should be answered by anyone looking for work, along with appreciating why that’s an important question in the first place. Employment is an earned privilege, not a right – even with a fancy diploma in hand there are no promises or guarantees. People are typically the biggest expense in any organization, and those who add most value have the best job security. Those who don’t usually don’t stay employed for very long. In a corporate world that is looking more than ever before at operating lean, it’s no longer possible to hide and not contribute to a company’s financial well-being.

Articulation
The vast majority of young people struggle with explaining what they want to do, what work-related activities interest them, what transferable skills they have, and which industries or positions might best suit them. As a result, when they set out to market themselves, or interview with potential employers, they offer little useful information, and instead rely on those doing the hiring to find the right fit and figure it out. Recruiters are not career counselors – selling oneself in the job market is the responsibility of the seeker! Relying on our institutions or parents to “place” young people in jobs is a practice fraught with problems, and enabling entitlement or minimizing the importance of self-sufficiency – or the fortitude to secure meaningful work – are only a few of the drawbacks. Teaching people to pitch themselves effectively early in their working lives enables them to find employment on their own over a lifetime.

Skills
The basis of any solid employment marketing campaign (job search) is the actual skill base a worker presents to potential employers. At the most fundamental level, soft skills like interpersonal communication, the ability to speak and write correctly and present ideas clearly, are the areas most often cited when employers discuss the downside of hiring young people. Dressing appropriately (highly subjective these days) is also considered a critical part of communication. So despite the constant “communication” through technology that has dominated young lives, they are at a massive disadvantage because in person those soft skills are not present.

Expertise
Besides being a good person to work with and around, bringing some substantive expertise to the table cannot be urged enough. It doesn’t matter what the topic, as long as it’s valuable in the marketplace (remember the “Adding Value” piece above?). Ideally, expertise is transferable to other applications and industries too – and it’s important to note that attending specialty schools and formal training programs are not the only ways to acquire expertise. It can and should be cultivated constantly, with young people maximizing every opportunity to read, learn, volunteer, train, practice or work.

Terminology 
Every industry relies on its own lexicon of terminology to operate and communicate. Often these are technical concepts, processes or acronyms that sound foreign to people new to a field. Teaching young people to learn the language of a given workplace, industry or role is directly related to how smart they will sound and how well they will function in an environment, and dramatically improve their chance of securing jobs because companies will first choose someone who needs less time to be brought up to speed.

Curiosity
When young people are supported in pursuing fields that are of true interest, they are more likely to want to learn more and become well-versed in those areas. Intellectual curiosity leads to better educated and more informed workers, who can quickly cultivate themselves into real talent with a little help. The more inspired and motivated they are, and the more space they are given to explore, create and innovate, the more their potential becomes unlimited. This is an important consideration given that school curriculum often focuses on a core set of skills, and other programs such as art, music or other non-academics are eliminated.

Context
The concept of context is a vital one to address with young people, from 4 key perspectives:

1) The working world operates by a different set of rules than most homes and schools. Training young people to acclimate to the adult world of work requires a dramatic shift in routines and expectations from a lifetime of studying and attending classes.

2) Different workplaces have different expectations about dress, attendance, communication, metrics for success and even use of personal technologies. Expectations that aren’t clearly understood are difficult to meet and that sets everyone up for failure.

3) It is a big problem that most young graduates don’t understand how business fundamentally works and is organized. For example, what is the difference between marketing and sales, or operations? What signs would signal that a company or industry is hiring, or worth studying or pursuing jobs in? How does one company fare in a market of other competitors (who happen to be other potential employers too)? What do industries look like?

4) How do we all fit into the bigger context of the world economy as global citizens? With a billion young people entering the workforce, there’s a lot of competition, but also plenty of untapped opportunity.

All of these conversations, if nothing else, break young people from the idea that they’re the center of the universe. Or, conversely, that their world is small, restricted and their options are limited.

Experience
Students, unemployed people and those in jobs they hate are all missing opportunities to improve their circumstances and marketability by building experience, which can be acquired in countless ways. In many cases, they can do so simply by volunteering time to local organizations, businesses, campaigns and community events. The more relevant to the skills or the industries someone wants to use at work, the better. With countless organizations struggling to survive and grow, but desperate for help they cannot afford, volunteering or interning can be the perfect opportunity for people to gain practical experience and connections, and to seed future opportunities. Even if the opportunities are unpaid, by staying active and engaged makes the unemployed infinitely more marketable.

Resourcefulness
Teaching young people to be solution-driven (rather than easily deterred by failure) makes them more valuable, competitive and self-sufficient. When people are resourceful, they will always entertain new ideas, approaches and possibilities. Entrepreneurship education and experience is an excellent way to drive this home and make young people more resourceful, as are hackathons, leadership activities and organizations. Cultivating resourcefulness as a skill prepares young people for jobs that may not yet exist; in fact, the more resourceful they are, the more likely the next generation will be to create their own jobs – and companies that will create jobs for others.

 

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Internship & Job Sites Links

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Below is a starter list of Internships and Job Sites I found to get you going on your hunt.

I can’t do this for you.   Your teachers can’t.  Your loved ones can’t.

Only you can.

As the wise ones say, “Never try, never know.”

I believe in you.   I would hire you.   The world awaits!   GO!

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Warner Brothers: http://www.warnerbroscareers.com/internships/

Tour Guides and Floaters at Warner: http://www.warnerbroscareers.com/search-jobs/?151452BR

Recommended Temp Agency re Warner: https://www.randstadusa.com

Time Warner (HBO, Turner, Warner): http://www.timewarner.com/careers/areas-of-operation/internships

CW Network: http://www.warnerbroscareers.com/the-cw-network/

DC Entertainment: http://www.warnerbroscareers.com/dc-entertainment/

20th Century Fox: https://www.foxcareers.com/Opportunities/Internships

Sony: http://www.sonypictures.com/corp/careers.html

Comcast: http://jobs.comcast.com/job-123677-comcast-center-internship-program-ccip-marketing-communications-internship-in-philadelphia-pa-campusuniversity

NBC Universal: http://www.nbcunicareers.com/our-businesses/universal-pictures

Universal Auditions for Theme Park: http://www.universalstudioshollywood.com/auditions/upcoming-auditions

NBC Page Program: http://pageprogram.nbcunicareers.com

Read this story re the Page Program: http://leanin.org/stories/shari-raymond/

Dreamworks: http://www.dreamworksanimation.com/careers/

Viacom: http://www.viacomcareers.com/internships.html

Paramount: http://www.paramount.com/inside-studio/studio/internships

Nickelodeon: https://nickanimationstudio.com/nickelodeon-internship-program

Disney: http://profinterns.disneycareers.com/en/default/

Disney ABC: http://datg.disneycareers.com/en/career-areas/students-recent-grads/internships-co-ops/

Pixar: http://www.pixar.com/careers/Intern-Life

CBS: http://cbscorporation.jobs/internships/new-jobs/

Showtime: http://www.onedayonejob.com/jobs/showtime/

Lionsgate: https://www.lionsgate.com/corporate/careers/

Netflix: https://jobs.netflix.com

Hulu: http://www.hulu.com/jobs/positions

Amazon Studios: https://www.amazon.jobs/en/teams/amazon-studios.63

Facebook: https://www.facebook.com/careers/university/

Starz: https://www.starz.com/internships/index.html

AMC Networks: http://www.amcnetworks.com/career

VICE: http://www.vice.com/jobs

WGN: http://wgntv.com/2012/12/02/entertainment-internship/

WGN America: https://www.entertainmentcareers.net/c-WGN-America-jobs/

MGM: http://www.mgm.com/#/about/careers

Marvel: http://marvel.com/corporate/interns

Comedy Central: http://www.vault.com/internship_program/television/comedy-central/overview

CAA: https://caacareers.silkroad.com/caacareers/Internships-Opportunities.html

ICM: http://www.vault.com/internship_program/film/international-creative-management/overview

UTA: http://www.vault.com/internship_program/media-and-entertainment/united-talent-agency/overview

William Morris Endeavor: http://www.wmeentertainment.com

Gersh Agency: http://www.gershagency.com

APA: http://www.apa-agency.com

Variety: http://variety.com/2004/biz/news/internships-1117902602/

 

Internship  Sample Letters – read, think, adapt!

https://www.mindsumo.com/cover_letters/CBS-Interactive-/Internship/58

http://www.cbsnews.com/news/5-steps-to-a-killer-cover-letter/

PLEASE ADD LINKS HERE YOU FIND TO SHARE WITH FELLOW ALUMS!

Can LinkedIn + You = A Career?

All of you who met with me should have heard my story of how my friend who is the head of HR at Warner Brothers stressed the importance of having a strong LinkedIn presence and the story shared here from today’s WSJ makes this point better than I ever could.
Read, implement, try and succeed!

Ignoring LinkedIn Is Hurting Your Career

With its refreshed app and some tricks, it’s time to make the uncoolest professional network part of your social-media routine

At Social Media High, Facebook is the all-star quarterback, Twitter is the school paper’s editor in chief and Snapchat is the mysterious, Harley-riding transfer student. That makes LinkedIn the nerd who skips prom for the mathlympics.

Yet, like in every great John Hughes movie, the underdog actually belongs in the in-crowd.

Admit it. Your most frequent interaction with the world’s uncoolest network is deleting those “Join my network” emails. You’re not alone: 61% of LinkedIn users visit the site no more than every few weeks, according to Pew Research Center.

I was the same, avoiding LinkedIn’s baffling design and incessant nagging. But a few weeks ago, when I decided to give it a real varsity tryout, I realized LinkedIn deserves a place on my phone’s home screen. I now check it a couple of times a week to find out what’s happening in my industry. Use it right and you’ll get ideas on how to improve your business, find new leads—and maybe land a job you didn’t even know you wanted.

What’s changed? LinkedIn has drastically improved its iOS and Android apps over the past few months, with even more iPhone app changes arriving just this week. With some tricks and assistance from LinkedIn pros, I’ve been able to zero in on the most important features within the overwhelming service. Don’t get me wrong: Parts of it are still inexcusably terrible. But what other social network allows you to connect with people in a professional way?  Continue reading Can LinkedIn + You = A Career?

So, you can be the new Coen Brothers…

The other day I had the pleasure of meeting Andric L. Queen-Booker, Class of 2012 – a wonderfully talented and smart young man – and he mentioned that he enjoyed the HBO series, Togetherness, and was a big fan of the Duplass brothers.  As am I.  And my wife.  This is a win-win as it means she enjoys watching a show I enjoying watching, and when you’re in your 4th decade together, and TV wasteland time is limited, that’s a HUGE deal.

When I asked Andric why he liked the brothers, and Togetherness, he said: “It’s real. Truthful.”

So it is.  HBO worth paying for.

Imagine my surprise when the LA Weekly (a paper like the New Times for all my AZ friends) published today – did a wonderful story on the Duplass brothers that is perfectly timed to share with you.

Read this.

I did, twice.  And their story has ME pumped to do more, my way, now.

Go out there and be the STORYTELLER (actor, producer, director, writer, executive, agent, human being) that you want to be!

How the Duplass Brothers Changed Hollywood by Refusing to Change at All

MONDAY, MARCH 21, 2016 AT 6:30 A.M.

by Gwynedd Stuart

It’s an irresistibly warm weekday in late January, and Jay and Mark Duplass are in their office at Sunset Gower Studios in Hollywood preparing to write the third season of their HBO series, Togetherness. I note the timing because it happens to be Sundance week, and they’re here rather than there (I note the weather because, goddamn, we’re lucky) — and it’s the rare year they don’t have a pony to show. Last year, Sean S. Baker’s iPhone-filmed, Hollywood-set dramedy Tangerine, which the Duplasses executive produced, was one of the festival’s most talked-about films. They also executive produced Melissa Rauch’s The Bronze, another 2015 Sundance selection.

And all of 11 years ago, their first full-length feature, the low-budget relationship drama–slash–road-trip comedy The Puffy Chair, was among the festival’s breakout hits, winning the Audience Choice Award and making their mutual inclusion in conversations about young filmmakers-to-watch almost instantaneous. They were among a handful of auteurs whose work was being lumped together to constitute what was called the “mumblecore” movement. Major record labels were fixating on all things indie rock, and major film studios were fixating on quiet, quirky dramas being made for $15,000 rather than $15 million.

After the 2005 fest, Mark and his now-wife, director-actress Katie Aselton, packed up and moved from New York to L.A.; Jay headed West that December. With the benefit of hindsight, it’s safe to say these were good decisions. Continue reading So, you can be the new Coen Brothers…

Adventures in VR Part 3

2020 Vision: Experts Predict the Future of Virtual Reality

jesse-schell-vision-3

The inaugural Unity Vision VR/AR Summit just wrapped up, where 1,400 Unity developers converged on Hollywood to learn from some of the legends of virtual reality. During the event, six of these VR veterans took the stage to share their predictions for the state of virtual reality in the year 2020.

1. VR will be the new internet.

This from Mike Capps, former President of Epic Games and current advisor for the Vision Summit. He earned a PHD in virtual reality before Keanu Reeves’ performance as Johnny Mnemonic ruined VR’s early chances of survival, creating unmanageable expectations, and breaking his tender heart.

Johnny Mnemonic VR

But now he’s back, arguing that VR is going away once again. But not the tech. Not the content. He argues that ‘virtual reality’ isn’t even the phrase we’ll use to describe the medium in 2020 because it will be so much bigger than that.

2. You will spend your flights in virtual reality.

Instead of passing out cheap ear buds, Capps believes that by 2020, airlines will provide virtual in-flight entertainment systems for all passengers.

Continue reading Adventures in VR Part 3

Adventures in VR Part 2

From the WSJ:

Virtual-Reality Movies: Get Ready for the VR Revolution

VR headsets, like the Oculus Rift, can immerse you in the action as never before. Here’s how the technology is changing Hollywood—and 7 must-see virtual-reality experiences to try now…

By

ERICH SCHWARTZEL

WHETHER YOU’RE AN avid cinephile or you haven’t been to a movie theater since enduring “Attack of the Clones,” one thing is certain: Over the next few years, virtual reality will completely reboot your relationship to the moving image. That’s because the once-geeks-only technology, known as VR for short, is becoming shockingly good at making you feel as though you’re in the midst of the action—cycling through the air with E.T. or spinning atop an alp with an excitable Fraulein Maria—rather than observing from afar.

We hear your objections: “There’s absolutely no way I’m going to wear one of those dorky-looking headsets. I won’t even be caught dead in 3-D glasses.” Even if you acknowledge that the motion-tracking technology VR systems employ is pretty cool, allowing users to look freely around a 360-degree environment, you’re perfectly content with real reality, thank you very much.

Behind the scenes, however, VR is rewriting the script for Hollywood. VR works are already popping up at prominent film festivals like Sundance and next month’s Tribeca Film Festival (where screenings take place in small rooms rather than large theaters). A-list directors such as Ridley Scott and Steven Spielberg are working on top-secret VR projects. Even “Airplane!” director Jerry Zucker, not usually associated with the cutting edge, is developing an immersive comedy.

Viewing VR is starkly different than watching a traditional film: With conventional movies, the director dictates your focus of attention. An aerial view cuts to a medium shot cuts to a close up—giving you no say in what you see. But virtual reality puts you in charge. The headset allows you to observe any aspect of a setting and, in some cases, even affect the way the story unfolds depending on where you look.  Continue reading Adventures in VR Part 2

Adventures in VR Part 1

I have been waiting to find a good combination of stories on VR and the opportunities this new tech offers storytellers, and here are the best of the best online now.  Well worth your time to read and learn…

Goldman Sachs Has Four Charts Showing the Huge Potential in Virtual and Augmented Reality

Virtual reality started making fresh headlines in 2014, when Facebook made a $2 billion acquisition of Oculus VR. Now Google Inc. has ramped up its “VR” game by focusing Clay Bavor, vice president of product management, solely on virtual reality.

As Wall Street tries to calculate the possible impact on a number of industries, Goldman Sachs Group has put forth some charts laying out its assumptions for what it believes will be an $80 billion market by 2025.

Here’s what caught our eye.

1. Slower adoption, big potential

The first chart looks at how the virtual reality and augmented reality business will fare when compared to the adoption process undergone with smartphones and tablets. Goldman believes it will take a while longer to see such adoption, but “as the technology advances, price points decline, and an entire new marketplace of applications (both business and consumer) hit the market, we believe VR/AR has the potential to spawn a multibillion-dollar industry, and possibly be as game changing as the advent of the PC,” the analysts noted.

Continue reading Adventures in VR Part 1

SO BAD IT’S GOOD – TV’s Money Game

“Breaking Bad” is a series I suspect we all watched.  As such I found this article to be an excellent one offering a good hard look at the numbers, the hows, the whys and the wherefores of a TV Series, and how a “HIT” can change the lives of everyone, especially the network and studio, “lucky” enough to “own” it.

If you only read one thing I post on TV, this would be a top choice.

HB

The Economics of a Hit TV Show

Photo Credit:  Lewis Jacobs / AMC

Ten million Americans can recall where they were the night of September 29th, 2013. They were watching the series finale of Breaking Bad. And they were watching it on AMC, a cable channel that once cut its teeth airing reruns of black-and-white movies.

The suits at the network were prepared. Like Walter White, the show’s ruthlessly efficient meth dealer, they knew they had a quality product on their hands. And they charged their customers accordingly. AMC extended the runtime of the last two episodes from 44 to 54 minutes – 75 minutes apiece with commercials – and raised its advertising rates to as much as $400,000 per 30-second spot. The 21 minutes of commercial airtime in “Felina,” the show’s final episode, may have earned the network $7-8 million in advertising revenue.

But keeping Breaking Bad on the air was a big investment. Shooting the show cost about $3 million per episode in 2010, and $3.5 million per episode in its final season. The show’s last 16 episodes cost approximately $56 million to produce.

And finding a hit like Breaking Bad – or even finding a viable show to put on the air in the first place – often costs networks hundreds of millions of dollars each year in development costs and pricey, failed pilot projects.

Things could get even more expensive. Breaking Bad uberfan Jeffrey Katzenberg, co-founder of Dreamworks, reportedly offered to pay $25 million per episode to produce three more episodes. That’s a total of $75 million, at an average of $568,000 per minuteof final air length. Continue reading SO BAD IT’S GOOD – TV’s Money Game

“No Money No Honey”

The above quote was first said to me by a Sushi Chef who had practically become a member of my family (after all, I was supporting him, his wife and kids with all the Omakase dinners I devoured), and it gets right to the heart of a point we talked about – that you have to make a living  in order to survive, and the more money the better the life you and your future loved ones will count on and enjoy.

This article is geared toward the business side of the industry, and provides a “tasty” snapshot of what you can make starting out in your first, post, non-struggling-assistant position on a desk at an agency or network or studio, and details income figures offering you plenty to incentives to work hard and harder if this career appeals to you as the rewards are ample and exciting.

Once again, this is from Producer Gavin Palone, and you are going to want to read past the big shot salaries and pay special attention to the “entry level” salaries of Rookie Development Executives and Baby Agents:

Polone: So How Much Do Hollywood Players Make?

By 

There are two topics in which we are all endlessly interested: sex and money. Specifically, how much of both other people are getting and from whom. While we get to hear quite a lot about these topics when it comes to celebrities, I’m far more interested in hearing about how much the more regular people with whom I regularly interact are getting — well, not so much the sex part, but certainly how much money they’re making. I don’t feel competitive with Adam Sandler, but there is certainly a part of me that wants to gauge myself against my peers, and while it is easy to gain some estimate of what Mr. Sandler makes in a year by doing a quick Google search, there isn’t much said about the earnings of the executives, attorneys, and agents whom I talk to all day long. So, to satisfy my curiosity, I did an unscientific survey of about ten top lawyers, agents, and executives who would have direct knowledge of compensation at their own firms, as well as many others. From these interviews, I was able to estimate compensation ranges for each job category. (I gave more weight to information that came from those who had more experience with specific deals: agents talking about what people are paid at their agency; lawyers explaining deals they’ve negotiated on behalf of studio executives, etc.) Here is my guide to Hollywood’s one percent: Except where noted, the following are “all-in” numbers, including salary, bonus, and stock awards. Continue reading “No Money No Honey”

Working in Development…

I am posting this piece that describes the JOB of working in Development for the FILM SPARK Students I spoke to in “Welcome to Hollywood,” that fantastic course taught by Professor Collis as part of “ASU in Hollywood,” as well as for all the amazing young film, television, and all-media artists and future agents and executives (you know who you are) I just had the honor of meeting at ASU Tempe.

It’s a pretty straightforward and will be followed by more pieces in this area.  

Enjoy!

THE DEVELOPMENT EXECUTIVE

by Rona Edwards and Monica Skerbelis

What exactly is a Development Executive anyway?

They are hard-working individuals who look for stories, screenplays, and material for their production companies, studios and/or networks. They oversee the writer(s) and give notes on the material in order to elevate the screenplay to production.

Development executives are hired for their opinions and their tastes. They are articulate individuals with a passion for movies, can look at material and see what works and what doesn’t work, and are able to work with both writers and producers to improve the stories and screenplays.

Development executives read and read and read. They form an opinion on the material, discuss it with their colleagues and/or bosses, deciding on whether the material is right for their company or studio. Everyone has an opinion about what they read or see at the movies – from assistants who want to get ahead to the Chairman of the Motion Picture Group. The development executive must have more than an opinion – they must be able to convey whether the material is marketable, castable, fills a niche for their company, and, above all, tells a good story.

Development executives at both production companies and studios have broad tastes in movies and contribute to a wide range of development projects to create a slate of films for their company to produce. They need to be open to a variety of material not just the blockbuster tent-pole movies (i.e., summer event movies) or mainstream commercial fare. They also must pay attention to the domestic market as well as the international marketplace in order to decipher what kinds of movies sell to that market.

In addition to developing material, development executives network with agents, managers, and producers. They attend breakfast, lunch, drinks and dinner meetings. They are aware of material (spec scripts and/or manuscripts) going out to the town via the agencies. They display a keen knowledge of actors, directors, and writers, and are aware of new directing, writing, and acting talent. They watch directors’ reels and read writing samples. They attend movie screenings, oversee dailies of their movies when they go into production, and take pitch meetings from writers and producers.

Oftentimes, being a development executive is a jumping off point to becoming a producer. After spending time developing projects, networking with industry professionals, establishing relationships with talent, and seeing their projects through to production, affords the development exec the experience necessary to produce their own films.

 

Continue reading Working in Development…