Into the Industry Curriculum

• Create a Big Goal — A big goal helps you attract the right people, build your story, and guides you to what jobs you’ll do on set.
• The Actor’s roadmap—First job → PA job → CD assistant → producer’s assistant → doing a job in a craft while getting acting opportunities the entire time.
• The Director’s roadmap—First job → Camera PA → Producer’s assistant → Director’s assistant → directing 2nd unit and BTS.
• The Writer’s roadmap–First job → Office PA → Writer’s room assistant → Producer or Showrunners’s assistant → get your scripts shot with DPs you meet on set who have a camera and gear.
• The Cinematographer’s roadmap—PA job or grip or electric → Camera PA → 2nd AC → gaffing → camera operator while DPing small projects as you work on big sets in the camera department.
• Any job on set—Niches like National Geographic , costume design for feature films like Frankenstein, hair and make-up artist jobs, and other niches have a sequence of jobs.
• How to know what jobs on set can be a fit for your personality and ambitions.
• Understanding the inner workings of film production. The production calendar for a professional production. The pre-production days, the scout days, what jobs are working from pre-pro to shoot to wrap, so usually 2 weeks at a time, to what jobs only work on the shoot days.
• Rate cards for each job on set based on the union contract.
• The inner workings of film sets so you can look like you’ve been on hundreds of sets even if it’s your first day

  a. Who hires who, the hierarchy of who you work for, and how you move up.
  b. What jobs are a fit for you based on your personality.
  c. What if you’re interested in doing multiple jobs.
  d. What if you’re shy, awkward about networking, and don’t want to be annoying.

• Bridge Jobs — Brand Ambassador, Events, Concerts, Brand activations, Experiential marketing, Product Launches.

  This is how you can leave your 9-5 job and make more money working less days.

  1. Where to find Bridge jobs (higher-paying flexible freelance jobs) in your city and how to apply for them. Easy!
  2. How to take photos for these jobs and your emails and resume.

  3. How to create a simple resume using your past experience and jobs—whether you have film experience or not.

  4. Examples of simple resumes when you have no set experience.

  5. How to negotiate pay and put together a simple invoice.

  6. How to handle overlaps and making it work with your day job.
  7. Getting PA and BA jobs from Event companies. Get in on the best work that isn’t listed.
  8. How to land work at weddings and catering to bring in extra money if you need it. And how to use this work as experience relevant to film sets.
  9. Background work. How to sign up with the agencies and get the work.
  10. How to get featured background work.

• Professional positioning. This makes you stand out.

  Make a signature for your emails with a picture of you smiling your head off and represent yourself as a Production Assistant.

  Make your v-card on your phone with a picture, keywords, and ready to share. (Many professionals on set don’t even have this figured out. They will be impressed!)

• How to avoid scams, wasting money, or being taken advantage of.

  1. How to tell shady “agencies,” bad acting classes, empty promises.

  2. Examples of scams and how they find you, what they say in the email or through DM-ing, and how it all works.

  3. What to do if you suspect it’s a scam. 


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• Self-coaching so you show up confident and don’t worry so much or go into your head.
  1. How to coach yourself so you don’t feel like an imposter (What professionals love to see from new people and how you already have it.)

  2. How to deal with fear thoughts, doubt thoughts, or judging yourself.
  3. Create new thinking that goes with your big goal. How to re-wire your brain to become the sought-after professional you want to be until it is you.
• Magic List — Imagine if you knew everyone in your city, what they’ve done, who they’re connected to, and what their path was. That’s darn impressive!

  The Magic List is your hiring list, your research list, and your “edge” list. You’ll learn how to stay in touch with people to get more jobs, new opportunities that you got because you stayed in touch, and even find future mentors and naturally develop relationships with them.

  This is how I got into National Geographic. It’s the secret to getting consistent work in the freelance film business.

• How to make a magic list. What to put on it. How to research companies and people in your market. Examples of other’s magic lists. Download the template. You will use your Magic List for your entire career. It’s the reason I work so much! I have a list I nurture!
• Film Festival Strategy

  – How to get in with the people running film festivals
  – How to get leadership roles at the festivals so you get referred film jobs
  – How to choose the job you do at the festival for in-depth conversations
  – How to open conversations with what to say
  – How to follow up after the festival to contribute/promote their next film.

• Making friends in film naturally, through working together. We do not pass cards around. Our actions signal we are someone people want to know.

  We connect through truly wanting what’s best for others and forming real friendships.

  How to connect with newer people to shoot or act in films, to use as proof/credibility with the veterans so you can build mentors.

Also, most importantly, you nurture the relationships appropriately so they think of you for opportunities and you never come across as desperate.

• Learn the best tone in the texts and emails, the timing of when to reach out, who are the right people to email or text, what to say, how often to follow up.

How to plant seeds that you’re an actor, how to keep them informed on your progress, how to develop mentors this way who are directors, CDs, and other working actors. Soft sell.

• Show you working on sets on IG, tagging your new film friends, and promoting them too.
• What to do if you get too busy and can’t take all the work offered to you! What to say so people have a good impression instead of thinking you’re not reliable.

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• The 20 Shoots System — Start meeting people, working in various departments on set, show the experience your resume, get IMDb credits, and show it on Instagram. d
• The “Want to Work” Email— Use this email to get on shoots. It’s short, full of “get it factor”, tells them what you can do for them, and shows that you come prepared for set work. Examples of WTW emails. Download TEMPLATE.
• Janet’s rule: Work only 3 days MAX on an unpaid shoot. How to let them know what days you can do, how to juggle paid shoots or paid jobs between the unpaid ones, and when it’s worth it to do more days.
• How to deal with schedule conflicts with your day job. Last minute changes. How to handle it, what to say, and get called for the next one, or get invited for part of the day.
• How to make a combo resume of BA and PA work.
• Superstar backpack — Everything you need to have with you, what goes in your backpack—what they might need on set in a pinch (like a sharpie or superglue, sunscreen, extra phone charger, leatherman, headlamp, headset)
  – Keeping a clean car
  – What to wear on set to look experienced and ready (closed shoes, layers, hats, not sexy, ready to work.)

• Rockstar PA knowledge:
  – Set etiquette for PAs
  – Commonly used terms on set
  – Walkie basics
  – Headsets to have already
  – How to wrap cables properly
  – If you have to drive a big truck like art, PA truck, or camera truck
  – Renting props and gear- what to know
• Start getting paid after 10 shoots.
• Stuff that can burn you! Like having to search for gas the morning of trying to get to a location. Not having batteries, a charged cell phone, or asking the right questions before coming on set!
• On set mistakes—also compiled from my mistakes and my students. Like not knowing the lay of the land so when people ask you questions you don’t have any answers. Seriously, mistakes happen and how you handle them is super important, so you build a relationship instead of losing one.

The Result: You’ll go from “I’m trying to break in” to “I’m already in and getting called back.”

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Here’s What You’ll Be Doing:

• Vectoring— How they unconsciously look for clues of whether you’re good, whether people like working with you, if you’re ready for a big job, or a craft, whether they should hire you over other people, etc.

  Vectoring is how I got working so fast. “Well if so and so trusts you, I guess I will too.” Bridge jobs and the 20 Shoots System will build this naturally.

  Vectoring building a story about how you’re part of the film tribe. Not making shit up, but by weaving your experiences together to tell a story of people working with you and film experiences that show you want to learn.

  You don’t say you’re in-demand, you have built a lot of work yourself, so it’s true. You can’t convince people, but you can show them that you’re working and they will draw a positive conclusion.

• How to follow up to turn 1 shoot into 10. Your entire career is you sticking in people’s minds. You’ll do this with many people, not only those who hired you, with CDs, with agents, ADs, with other PAs.
• Build Your Resume — How to get the experience that producers and production managers will love you have on your resume. (Like wiping down the bathroom. YES! You put that on your resume and they know how you roll. Someone brought you up right!) Good stuff like that. Little secrets.

  All sorts of stuff happens on set that is frustrating to producers, PMs (production managers), and ADs. When you show them you are already watching for these things, you warm their hearts!

  How you word things is important. Not trying to convince. Don’t exaggerate what you’ve done or try to make your experience more impressive than it is. They can see right through it!

  How to word your past experience, what you did on those jobs that similar to set work, and then listing your shoots and who you’ve worked with is important.

• IG and FB — As you are doing your 20 shoots, take pics every day of you working, at craft service, setting up a c-stand, holding a flag, and show it on Instagram. Promote other’s films. Cheer them on. Their circles will see it and see you. More work will start to find you online and that is the best work when they find you.
• Prep for 1st day on professional set— Transportation expectations, crew parking, following signs, arriving early, accommodation expectations if you’re working as a local vs. being paid to travel with the crew). Examples of when you’d experience both./li>
• The Night Before A Big Shoot Checklist
  – What to have with you in your house, so you walk out the door prepared, and don’t forget anything.
  – How to set it all up so you can be cool and calm on the day. –
  – How to self-coach if you have the night before jitters. (this is normal but you’ve got to get your sleep!)
  – No alcohol! No staying up late. No ambien. Talk to yourself and imagine things going well, which they will because you’ve already done your 20 shoots! You know what to expect.
• Arrive Like You’ve Done This Before
  – What you should do from the moment you arrive
  – The lay of the land (first shot, schedule, catering, crafty)
  – Checking in with the PM, to getting your walkie
  – How to introduce yourself
  – Who should you introduce yourself to, and who is someone you introduce when the time is right.
  – Tight situations – What if you haven’t done the thing they ask you to do. Creating the situation where they help you and are happy you told them.
  – What if you haven’t done it before. How to handle it so they aren’t disappointed that you don’t know more, but are teaching you because you’re newer.
• Examples of FIFers making a good impression who were new.
• Examples of how people unknowingly create a poor impression.
• How you respond on set to various situations. The words you use and taking responsibility are so important.

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• The Background to PA Method — Once you’re gotten on your first 20 shoots, this is an easy way to get more PA jobs on major productions by doing background work to meet 2nd ADs. This method is very effective! Examples of many of FIFers getting onto major sets from this method. Easy.
• What to do on the big sets. Check in with 2nd2nd, Key PA, wear a name tag, repeat names, have extra walkie batteries, so you can do your job. But also WATCH the people you want to be like, observe what they are doing to fix and adjust on sets, and ask questions to get a chance to help them, and develop mentors.
• The art of impressions on the big sets— Handshake or fist bump. Making eye contact. Smiling. Learning people’s names but don’t repeat it too much. Letting people know you appreciate them. The little things.

  Who to thank, what to say, how to exchange business cards, or contact information to you are in their phones. This is what I do.

• Production office savvy. Like when to text versus when it’s better to email. Production will not tell you these things. But can get upset if you aren’t aware of how production works.
• Impress the professionals: Make a v-card with keywords so you’re easily found in their phones. How to set it up so people say, “I love this! I should do this too!”
• Mental Get It Factor throughout the day on set:

  — How to start relationships with people in the departments. Do and don’ts. Omar’s example.
  – How to come across as eager to learn, but not begging or beneath anyone.
  – Coming from abundance mindset versus a “wanting” mindset.

• More Get it Factor
  – Tips to make the production manager love you.
  – Don’t make them do extra work that’s not necessary.
  – Don’t break these unwritten rules.
  – Don’t use your own money.
  – How fast you need to get back to people. for work, on runs, quick responses.
  – How to respond to different situations.
  – Alex’s bad day. Don’t do this.

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• Become a Linchpin. Hook other professional peers up for jobs. This will turn your career on fire.
• Follow-Up — Organize a follow up schedule so you spend 5 minutes a day planting seeds for the next month. Know how to follow up like you’re in-demand.
• How to stand out by calling people on your Magic List. Advice from an Executive Producer that will confirm your actions. What to say. The great outcomes from using the phone when everyone else avoids the phone.
• Getting Paid — Invoice vs. payroll, mileage, parking meters and even parking tickets. What to do if you go over the agreed upon time. What if you have additional expenses and forgot to bring it up with production on the shoot day. What jobs are 1099 or w2.
• Emailing and texting people on your Magic List.
  – Examples from Omar on emailing that resulted in paid work.
  – TEMPLATE for advanced Magic List
• Negotiation tips. Why you should not be afraid to ask for a high rate!
• Passive voice versus active voice on set and in emails.
• Tricks in remembering people’s names.
• Best practices in handling releases and other things you’ll be asked to do on set.

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• Popping into Production Method. This is a very effective method you’ll do once you have your 20 shoots and Bridge jobs.

  – The package you’ll give production showing your 20 shoots, business card, and note to producer.
  – How you’ll meet the working producers, production supervisors, and coordinators prepping for an upcoming shoot in the office.
  – What to say to them
  – Examples of students doing this method and finding new clients.

• Which crafts have the fastest entry points (art, sound, costumes, etc.). and how to know if you want to do these jobs.
• The lifestyle from doing a craft in each sector. Example: Actor on a commercial is a different life than doing TV. A DP doing documentaries is a different life, different rates, different focus than a commercial DP. But a DP doing docs can use it to get into commercials if you pursue certain kinds of jobs and the production companies doing that kind of work.
• Understand the Hiring Structure
  — Who actually hires for each craft. The producer only hires the department heads.
  – Each department head brings their own people. This is important so you don’t ask the producer for a job when they don’t make that decision.
• Call Sheets — Learn how to read a TV call sheet versus commercial. When it’s appropriate to contact people from the call sheet. There are different situations. We cover best practices.
• Walk on Set method. How to put together your package to hand production supervisors. What to say. Examples of students who did this method and got a string of shoots from it.
• Targeting production companies in the Emerging Market.
  – How to find these companies through word-of-mouth
  – What crafts they need newer people to work in
  – What rates are typical and how to negotiate if it’s low
  – How these are easier to get into in a craft.
  – Ways to make relationships. Like learn a few words in Chinese when working with Chinese director.
• Get on sets every week — Get in many department head’s phones to do jobs in multiple crafts like art or sound.
• How to be thought of for acting, camera, art, production jobs. What to say at the beginning of a shoot day to work as an assistant in a craft.
• Surfing for Postings— Posting have their purpose. They are not a “way in” but they can be a way to get on sets in remote areas especially. You can get on a production supervisor’s radar by responding to a post and then being referred to that same job by your film friends.

  Staff Me Up, Backstage, and Spotlight.

  Ways to use these services to get on jobs that aren’t even posted. You contact them with your 20 shoots experience, people you know, and get hired.

• The sticky situations that come up on set.
  – How to handle situations like a tense set.
  – When you have 2 people asking you for different things on set.
  – How to transfer responsibility to another person and keep everyone happy.
• The important of expressing genuine passion for your craft.
• How to talk about past work you’ve done to get a “level jump”.

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• Vector into a craft, like acting, directing, art, sound, lighting, producing. Examples from students of effectively showing you what level you are at from who you are working with.
• When you should think about getting an agent.
• How to get an agent from film friend’s referrals.
• How Janet got started in a craft.
• Top 10 moves I’ve seen people do that makes a good impression!

  Like an AD who comes with a voice of god (wireless microphone and speaker). An AD gives each department head the lay of the land so they know what to expect.

• Production assistant jobs on TV shows (Staff PA, background PA, 1st team PA, Key PA, paperwork PA, Camera PA, AD PA)
  – How to use those jobs to get acting and other opportunities)
  – Which jobs give you more flexibility to get acting roles (it’s not background PA!)
• How to handle the harder bits

  – How to handle chaos on set
  – Communicating with difficult people on set
  – Taking jobs to get other jobs
  – Dealing with stress and constructive criticism
  – Working with less than good people

• How to get in the Writer’s Room through working in the production office.
• What gear you might need for office work. Like a computer versus an ipad. And it must be an apple.
• How to ask if you can come to a casting, who to ask and what to suggest that you do to help them.
• How to find production manager who do TV and help them prep their next job so you can be around the writers.

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• How to transition to your new job in the Production Directory.
• Interviews with producers, production supervisors, casting directors, and ADs
  — Learn directly from producers, production supervisors, and writers about what their jobs are
  – How they got into those jobs
  – What they look for in hiring new people
  – How they can tell if someone is good before they hire them
  – What process or due diligence they do to check resumes.
  – How to have their back.
• Actor Roadmap — The progression from background → principal roles → featured roles → lead roles. You’ll see the specific milestones, the timeline, and the moves that accelerate your journey.
• Camera Department Roadmap — From Camera PA → 2nd AC → 1st AC → Camera Operator → DP. You’ll understand each role, what skills you
  need, and how to position yourself for the next step.
• Director Roadmap — From PA → 1st AD → Line Producer → Director. You’ll see how directors actually break in, what experience matters most, and how to build the resume that gets you directing opportunities.
• Producer Roadmap — From PA → UPM → Line Producer → Producer. You’ll understand the business side, the relationships that matter, and how to move up in producing.
• Grip Department: Grip → Key Grip → Dolly Grip → Crane Operator
• Electric Department: Electrician → Best Boy → Gaffer
• Camera Department: Camera PA → 2nd AC → 1st AC → Camera Operator → DP
• Sound: Sound PA → Boom Operator → Sound Mixer
• Production Design: PA → Set Decorator → Production Designer
• How long it takes to get into each craft. What to do to accelerate it, and what can slow it down.
• Show it on IG to attract more opportunities, tag film friends, show your work to plant seeds for more and higher level work.
• How to find mentors who teach you, give you their phone numbers, send you jobs, get you into companies that are aligned with your direction.
  – Examples of how mentors changed the level people were at, once they see you were ready.
• When a job might be over your head.
  – How to get the right people involved to help so you don’t screw up someone’s project.
  – Doing people favors
  – Sending work to others who have more gear, and how work will come back to you.
• Using Gear to get to $1,000/Day jobs — How having a camera or lighting gear can get you $1,000/day jobs shooting promos, BTS, commercials, and corporate content.
• Building relationships with people doing the same job as you. Don’t look at them as competition. They are alliances that allow you to be better. Good karma always.
• Build relationships with people who make you better so you can take on bigger jobs.

  Example: DP knows an effects specialist, editors, sound mixers, executive producers, and production designers.

  As different scenes come up, they have specialists to call to get info on a scene before the day. Get your team together and know who should be on your team.

• Rates.
  – What to charge for non-union shoots like Vertical TV.
  – What to charge for commercials or music videos.
  – What to do if the rate is too low.
  – What to say if they ask for an 8 hour day. Or a flat rate.
  – What to charge for expendables.
  – How to negotiate rate over email or text.
• Union vs. Non-Union Strategy – Should you be union or not? Becoming union may not be the best choice these days, depending on the work happening in your city.

  – How to qualify for joining the union.
  – How to get in the union if a production flips.
  – What about if you’re moving cities? Do union days transfer?

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• Boomerang Method—Strategically working on non-union and union sets to get into your dream job faster. Your progress doesn’t need to be linear. There are no rules. The people who are everywhere get the jobs and get connected to the top people.

  – How to do the Boomerang Method.
  – How to use non-union sets to gain hands on experience in a craft versus union sets where you’re finding mentors.
  – Examples of students doing the Boomerang method and how it got them $1,000 per day jobs.
  – Example: Jake working with Beyonce and getting union connections.
  – How to keep in touch with your union connections to get more non-union work. (the union people don’t usually want it so they send it to you.)

• Professional Projects Strategy – Projects professionals do to accelerate their careers.

  1. Who to talk to on set from call sheet to find professional projects on weekends

  2. What to say to offer your help. How to find out the extent of the project to make sure you can do the job.

  3. How to get production supervisors to refer you for these projects.

  4. How to prepare for the professional project – storyboards and script and talking to the 1st AD.
5. Updating producers, DPs, and your peers what you’re doing now so they know the level you’re at

5. How to show Professional projects on your resume and on your IG.

• 80/20 Strategy
  Learn the strategy that is fire for your career that uses passion projects to advance. 80% professional work for connections and 20% passion projects for experience
.

  – How do the 80/20 Strategy step-by-step.
  – How to structure your resume with 80/20 work

  – Examples from Luka and Omar with major results

  – Stories of success and mistakes from Luka and Omar

• Complimentary crafts to get more opportunities. Like acting and casting. Art dept and effects.
• How to build your team of the people on professional sets. Future producers, writers, people with gear, editors, agents, CDs, and assistant CDs.

Advanced Methods: Revisit this for life!

Career Strategy


1. When you should actually think about unions, agents, and moving to a new city like LA — and when you shouldn’t yet.

2. How to start right where you are (Texas, small town, etc.) and still build a real career.

3. Real examples of people who did this with full-time jobs, kids, or starting later — and the specific strategies they used.

Triangles of Trust

1. How to make triangle of trust (connections who know each other) successfully

2. Through text, emails, on set

Developing mentors who guide you and give you work to get “level jumps”.

1. How often to touch base

2. Examples of text messages

3. Stories of how Janet developed mentors

How to reach out when it’s slower to get work coming in

1. Examples from Janet and Omar

2. Best examples of reach outs text messages Janet has gotten from others

What to do if need to take time off. Vacation, wedding, get sick.

1. What to say before you leave

2. How to get on their next job when you get back

Test your knowledge, take the Into the Industry Certification test.

Congratulations you have made it into A-list levels (first call) in a craft in 1 year instead of it taking 10 years.

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• How to get put in the scene — Learn how to let people know you’re an actor, and get considered for roles. Real examples of how this works.
• How to ask producers & PMs if you can audition — The exact words to use, the timing, and how to ask in a way that feels natural and professional, not desperate.
• Finding VO opportunities on Professional Projects — how to get those gigs that build your reel.
• How to find work as a CD Assistant
  — Casting directors need help.
  – Learn how to get referred by producers to work as a CD assistant, which puts you directly in the casting room and builds relationships with the people who hire actors.
• How to tell people you’re an actor
  — What to have with you (headshots, reel on your phone)
  – How to tell them your experience level
  – Jow to do it in a way that feels authentic, not pushy.
• How to find out what Professional Projects are happening — Work on them in any capacity and get ready to get the opportunity to act.
• Self-producing your own projects — How to create your own content, act in it, and use it to build your reel and get noticed by the right people.
• The High-Paying Craft Strategy — Learn how to get into a high-paying craft (like producing or line producing) to build relationships, and get referred to principal roles that way.

The Result: You’ll have multiple channels to get acting opportunities. You won’t be waiting for auditions—you’ll be creating them.

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• How to Use Your Acting Reel on Set — Real examples of how to show your reel to camera operators, directors, producers, and other key people on set in a way that feels natural and leads to referrals for principal roles.
• Example: $850 Principal Role from Showing Your Reel — See exactly how one FIFer showed her reel on her phone to a camera operator, and that led directly to a principal role paying $850. You’ll see the exact sequence of how this happened.
• How to Build Your Reel Strategically — Learn what makes a good reel, what clips to include, and how to edit it so it showcases your range and gets you noticed.
• Finding the Best Acting Classes — Learn how to find acting classes the working actors recommend on set.

The Result: You’ll have a professional reel that gets you noticed. You’ll know how to use it strategically on set. And you’ll have a system for continuously adding clips and improving it.

With good acting materials, and knowing many people on sets, you’ll have a steady pool of opportunities from film sets. And that is what will attract a good agent.

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