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Get on a first name basis with anyone and everyone. I did that with the top people, the middle, and the lower tier. I talked my way into an office position. I talked and worked my way out of security and into a studio liaison position where the next thing I knew I was working directly with incoming TV and Film productions, their producers, A list talent, senior studio executives, etc.
I was playing basketball with Adam Sandler, taking ID picks of his dogs, talking with him about my home state of Wisconsin where his late friend Chris Farley grew up, etc. And then a new studio development exec walks into the office for a new ID badge and I see a moment of opportunity, welcoming him to the studio, getting him the best parking space, and casually asking if he needs any readers.
His answer changed my life. I had infiltrated the ranks and I was now reaping the benefits, receiving an education that NO film school could offer. And I did it starting at the lowest end of the totem pole. I'm writing this with multiple studio meetings, a Lionsgate deal, studio assignments, a produced miniseries with a name cast Blackout went to 2 on iTunes, even though it was poorly produced on a shoe string budget , and a dream opportunity to write Rambo V on spec and have it considered by powers that be after they liked my pitch although Stallone is now moving forward with his own script, which bears the same name as mine, Last Blood More success than most screenwriters will ever see yet paling in comparison with where I'd like to be.
So take anything you can get. If you want it that bad, go get it. Get, or build to, that coveted script reading job. It's necessary for most. It'll give you an edge over the thousands of others trying to break through. Updated Oct 8, What kind of films should a new screenwriter write while trying to break into the industry? Is it more difficult to break into the industry nowadays as a feature film screenwriter or a television screenwriter?
Who are the best screenwriters of the Hindi film industry? Who are the most creative screenwriters in the film industry? First off, here's what I know about script reading. Most readers work freelance from home; the scripts are emailed to them and they email their coverage back. So there's not much contact with the producers and studio execs, or even their assistants. And the pay is extremely low and unreliable due to the freelance nature; it really doesn't count as the "day job" that would support you.
The experience of reading the types of scripts that are being shopped around in Hollywood can certainly be valuable, but you don't necessarily have to be a reader to do that. As Ken says, assistant jobs are definitely the gold standard in terms of getting access to the people that can help you make connections and get your scripts read. But not all such jobs are created equal, so be careful. There are plenty of nobodies out there who will post positions on the UTA job list or whatever the equivalent is these days and act like they're bigshots and worth working for.
There are also plenty of jobs that are technically in "the industry" and sound like they might help get you access, but aren't actually all that helpful because they're in non-creative departments that don't interface with the kinds of people you're going to want to be meeting.
Apply for as many jobs as you want, but do your research on the employers so you can figure out whether it's worthwhile to take the job. A lot of entertainment job postings are cagey about who the employer is, so you might have to get to the interview stage to find that out. There's also a big caveat about these jobs as they relate to writing: They will exhaust you and drain you and leave you with practically no time to work on your craft.
Some people, especially young people, can do all this and still somehow find the time and energy to bang out script pages in the precious few hours they have away from the job. There's also a large number of people who become assistants because they want to become agents, producers, or executives, and those people are in a much better position because they don't need to worry about generating great scripts and making connections; they just need to worry about making connections.
My best recommendation, if you're going for an assistant job, is to find one where you can work for someone who understands that you want to be a successful screenwriter and wants to help you achieve that as long as you're a great assistant to him or her. It's worth seeking these people out, but you can't really know who they are until you meet them, so like I said, feel free to apply for lots of jobs so you can meet as many potentials as possible.
Be honest in your interview about what your career goals are; there's no point in pretending that you're something you're not. That being said, don't just come out and say that you want to use the person for their connections. Instead, tell them you want to learn from them and be prepared to give specific examples of stuff they've worked on that has interested you, or that you can convincingly pretend you're interested in. Host a memorable event with us. Simple setup and affordable pricing for your event ticketing, online and onsite.
Start Now at universe. Working as a writers assistant on a TV show on a major network or channel. Related Questions Do I have to work within the film industry in order to be a successful screenwriter? What are the best jobs in the film industry? What's the process like for getting an agent as a screenwriter or TV writer? Whom do you contact? What will they expect from you? Is trading sex for job opportunities really a thing in the film industry? What are the best ways to get a job in the film industry as a lawyer?
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