Hey guys. If you're into the more experimental side of the Los Angeles film community (it isn't all Hollywood stuff after all), the latest New Film Underground show is coming in December. Both new and veteran filmmakers are gonna be showing short films that are weird, experimental and stuff like that. It's a super refreshing good time. It's on December 7th in Sherman Oaks. More info here: https://www.takeyourmedicineandsmile.com/

Has anyone in film industry watched and enjoyed the Franchise? It seems like film industry would enjoy it. Everyone I ask about the show has not watched it yet.

Ah low and behold another user who is disgruntled by the industry (shocker) lol but as I'm sure many other people are, I am jobless with no idea what steps to take next.

Here's what I've done so far:

Went to film school (which i'm now deeply regretting) and have fallen out of love with "on set life". The demanding hours, low pay, and inconsistent work got to me as soon as I graduated.

I then quickly attempted to make a shift into the business side of the industry and complete fell in love with it.

I lucked out an received an internship right out of school with a connection ( Indie film Producer) and worked with the company for the last 3 years as an Executive Assistant, was able to line produce two feature projects, and was the operations manager for a start up (now on pause for funding).

I believed, wow I have 3 years of administrative experience under my belt, line produced TWO feature films, and have managed an entire start up, should be no problem to take the next step in my career! WRONG

Today marks 6 months of applying to jobs. I've had 3 interviews (one with amazon, one with a music label, and another with a super small non creative business as an executive assistant) all leading to nothing. They all basically said I didn't have enough experience in the field, which is fair, but these are entry level positions people!

I've sent easily over 200+ applications and still crickets.

Am I taking the wrong approach? I'm applying for executive assistant positions at talent agencies, casting, big and small studio, even vertical video format, and nothing. I even applied for mail room jobs, internships (which only accept college students come to find out) and receptionist positions, ANYTHING.

I've been thinking of posting for advice for months but didn't want to feed into the negative feedback...

Any advice, leads, or anything is helpful.

My dream would be to work in the distribution department, tomorrow I'll be sending cold emails to contacts I've found online as this is the only approach I haven't done yet (i thought it would be a bit unprofessional to ask for a job with no relationship or connection) but at this point I think it's my only hope.

Hopefully I can look at this post in the future and reflect upon a troubling time, but for now this is my life as I'm sure it is for many others...

Good luck and stay strong out there folks :)

As someone who might have an upcoming project to work on, why are people acting (no pun intended) like all of a sudden “it’s over”? So a century of film is all of a sudden over? What about the last time 45 was elected? Not only that but I haven’t seen much of anything groundbreaking to “save” that’s been released in the last 10 years (compared to 20-30 years ago), so how could things get worse? Someone ELI5 why I should be worried. What does your hell look like? It could be my heaven.

Hi! I recently got laid off from my job as an assistant editor, and I’m wondering about the likelihood of being able to find another steady job with a 9-5ish schedule. I know work is tough across the board right now but if the future is only going to be gig work I’d probably look into changing careers because it doesn’t suit my lifestyle. I’m interested in the editorial department and costume/art department but would also be open to suggestions of other departments that might have steadier work! Just trying to gauge whether I should stick with film or look into a career change

I live in San Diego and I've been working retail and Amazon most of my life and I'm sick of it. A couple months ago I applied to a career program called access youth who got me a video production internship. The internship taught me a lot about broadcasting, video production, videography, and editing. I recently finished my internship and been trying to find a job in the field ever since. I'm so desperate for change that I've been using staffing agencies. I've been scammed twice before in the past because I was desperate to get out of amazon. I don't know what to do honestly. Problem is I learned so much about broadcasting and production assisting in my internship but can't apply to any jobs because I don't have a driver's license (I have terrible driving anxiety if you're wondering). With the video editing portion I barely learned anything from my internship, they didn't really teach me that much. I learned DaVinci resolve and audacity. I know how to edit audio and video effectively for podcasts, but that's it. I know some effects on DaVinci. But my video editing skills are severely lacking. So I am at a dead end. I have no idea what to do now and want to throw in the towel.
Really could us some advice or help

Looking into some of the known businesses that offer this as a service. But also would love to just pay a working steadicam op for a few hours of their time this weekend!

Happy to chat more and provide more context

Hey everyone,

I wanted to share some serious concerns I have with FilmLA and see if anyone else here feels the same way. I’ve been noticing some troubling trends with how FilmLA operates, particularly around permit fees and the barriers they’re putting up for small-budget and independent filmmakers.

Let’s talk numbers first. As of 2024, the permit application fee is now $931—and on top of that, FilmLA enforces a mandatory credit card processing fee because they refuse to accept any other payment methods. For many of us working on limited budgets, this fee alone can eat up a huge portion of our funds, sometimes accounting for one-fifth of an entire project’s budget. I’m sure I’m not alone in thinking this is outrageous for anyone trying to make something creative on a small scale. (Side note on their website being caught up in a forgotten era of outdated UI/UX and confusing navigation that only ever lead to additional fees if you don't submit properly)

The Comparison That Doesn't Add Up
Here’s where it gets even murkier: a Temporary Special Event (TSE) permit costs about one-eighth of the FilmLA permit. So where’s all that extra money going? FilmLA’s financial reports show millions in board-designated reserves, high executive salaries, and net assets that keep growing. I get that every organization needs to sustain itself, but this level of profit doesn’t seem to line up with FilmLA’s nonprofit status or mission to serve the public good.

Adding to the concern, FilmLA’s executives are making jaw-dropping salaries—figures that are far beyond what most would expect for a nonprofit dedicated to the public good. With millions in board-designated reserves and significant net assets, FilmLA appears to be saving money and accumulating wealth rather than investing back into the community. This structure implies that they’re operating more like a for-profit business, prioritizing revenue over support for filmmakers, especially smaller, independent productions.

We need sweeping reforms—a scalable permit system that adjusts to the size and scope of productions, and policies that genuinely support the next generation of filmmakers. If FilmLA is serious about its role in this community, then it’s time to prioritize accessibility and transparency, ensuring LA remains the creative heart of film for all.

Intimidation Tactics?
On top of that, I’ve heard that FilmLA creates an environment where property owners are actually scared to use their spaces in ways that might “offend” FilmLA, out of fear they’ll be blacklisted. If this is true, it’s deeply concerning. Shouldn’t a public-serving organization be facilitating access to locations, not making people fear repercussions?

Solutions Needed for Small Productions
If FilmLA really wants to support the next generation of filmmakers, they need to offer more options that cater to different production scales. Introducing single-location permits or creating a lower-cost option for small productions would make a huge difference. As it stands, the high fees and intimidating atmosphere feel more like a cash grab than support for creatives.

The future of filmmaking in Los Angeles is at stake if we continue down this path. By pricing out the very creatives who bring fresh perspectives and innovation to the industry, FilmLA risks turning LA into an inaccessible city for all but the most well-funded productions. This isn’t just about permit fees; it’s about fostering a supportive, sustainable environment where filmmakers of all scales can thrive. We need sweeping reforms—a scalable permit system that adjusts to the size and scope of productions, and policies that genuinely support the next generation of filmmakers. If FilmLA is serious about its role in this community, then it’s time to prioritize accessibility and transparency, ensuring LA remains the creative heart of film for all.

If you agree please share.

- A Concerned Filmmaker

Hi! I work on a TV Show but I'm looking for inspiration for unique ideas. Not just, for example: "Interstellar" written on a tshirt or a hat, but see photos: These are hats from Thema & Louise and Alien (they are on display at Ridley Scott's winery in France lol) I was inspired and would love to see if you guys have anything cool/similar that you'd be comfortable sharing photos of.

https://preview.redd.it/13on2985tjzd1.png?width=1179&format=png&auto=webp&s=8e7ebb900e1c3923d60f4b2e7e4b3688bab11f86

https://preview.redd.it/mlkix785tjzd1.png?width=1179&format=png&auto=webp&s=6a5615fd0d5e9dcaacc8d9c3f9370f707c2498cd

I know a lot of us are feeling pretty down and hopeless right now. If anyone has any positive news or signs of things picking up—especially in post-production or assistant editing—I'd love to hear it

1 business day? or right away even if it’s on the weekend and you may not see it?

With the Christo-Fascists in charge, all worker-oriented regulatory bodies will be gutted, hamstrung, or just shut down.

Unions (betrayed by their/our own members) will have a bare fraction of the power they have now by the time the next contracts come up.

The hedge fund bros will happily sell the studio and network real estate to build luxury high rises.

What little almost-entirely-non-union shooting that does remain in town will be turned into a gig-economy model where everybody is low bidding against everyone else.

And, believe it or not, this is me being optimistic about the future.

EDIT: Wow. There are some clueless fucks and obvious troll-bots in this thread.

On the (increasingly) small chance that someone here is legitimately in disagreement with me: You woke up this morning and the sun was shining and you thought, "Hey, the world's still here. Maybe things'll work out."

But I'm not talking about today. I'm talking about a year or two from today. After the Christo-fascist cooks have turned up the heat on the pot. You'll all be getting cooked, but probably still telling yourself, "It's not that bad."

Me. I'm gettin' the fuck out of the kitchen. I've been in LA since 2003 and this place is barely a shadow of what it was back that. I don't want to be here when the shadow becomes a memory.

Question for Fellow Producers and/or Development Executives

Hi everyone,

Back in the day on an early Mac I used FileMaker Pro or a simple spreadsheet to build call sheets, project, cast, director, writer, production co or studio executive lists. My bosses would think out loud that they were going to be the most informed humans at Sundance or wherever. Behind the scenes it was an insane smoke and mirrors palooza.

Well, all these years later I'm the one desperate to be way more organized even with the well stocked landscape of platforms and potential solutions I'm afraid to admit that I'm simply under informed and way beyond my depth. I've begun and eventually messed up or grown exhausted knowing I'm not using any of the following properly: Zoho, Trello, Asana, Excel... and recently in the process of over-complicating Clickup.

I'm extremely fortunate to have a show on the air and I need several more to pay for private school so I'm praying for as close to a plug and play , templates or "it just works" would be mana from heaven. So here goes my kind plea for any help/advise/guidance, etc. Massive thanks in advance.

As a creative producer in film and television development, I’m looking for recommendations on robust project management software or apps to help track my projects and the humans involved in them, from idea inception through to production readiness. My workflow ideally involves intense tracking of projects and their incremental changes every day, and I’m aiming to improve efficiency in several key areas:

1.	**Project & Change Tracking**: I need a highly customizable system that can track the intake and creation of both TV and film projects, following them through every stage of development with constant changes to consider.

2.	**Stakeholder & Collaboration Management**: I often work with various stakeholders and collaborators across each project’s lifecycle, so I’d like something that allows me to manage these connections, build an asset library (drafts, versions, etc.), and ideally automate certain workflows to enhance productivity.

3.	**Flexible Collaboration Tools**: While I work independently, effective communication and collaboration is extremely important. My projects often originate from varied sources—screenplays, ideas, articles, books, historical events, etc.—and move through different stages before production. Each stage requires collaboration, typically with external partners.

4.	**Comprehensive Communication & Task Tracking**: An ideal platform would allow me to keep track of all communications (phone, email, etc.), tasks, and project notes to keep everything organized and accessible. Oh - if I could avoid having the same information duplicated in several places - that would be better than chocolate cake.

So - in short - I’d love to know: What tools do you all find most effective for managing this type of highly collaborative, creative, and stage-based workflow in TV and film development? Which systems have helped (or hindered) you stay organized, improve collaboration, and stay on top of tasks, drafts and communication? Any insights on the pros and cons of different options would be invaluable and mucho appreciated.

Again, massive thanks in advance for your input!

Sincerely,

S

Lurking all the way from Europe because I’ve found this sub to be a pretty good way to get a pulse on the vibe out there. I’m curious about how Hollywood feels about a new Trump presidency on the industry level. I think I read something on here a while ago about the studio heads and execs kind of holding their breaths until the election and secretly hoping for a Trump win because they believe that might be better for the industry and the economy. Am I completely wrong? Is it possible that his win might change the “survive till 25” mentality, one way or another (although my exec friends here are talking about 2026, but that might be an across the pond kind of difference)?

Hi everyone,

We are looking for crew for our short film This will be a great opportunity to gain on set experience on an MFA film set. No experience required.

The filming dates are as follows:

Saturday, November 9 Sunday November 10 Wednesday November 13 Saturday November 16

We are looking for the following crew members:

AC AD PA Boom operator

You are welcome to join us for just a select number of the days or even a few hours per day!

Message me or email me @ khawari@usc.edu

Thank you!

Recently, I got a 63% off black friday coupon sent to me from Backstage. On the internet (a lot of which Reddit), many folks say that Backstage is worth the subscription and others say it's trash.

And that's the story for many filmmaking resources: You'll hear that StaffMeUp is wonderful and also useless, Production Weekly is worth the money but don't you dare spend a dime on it. PA Bootcamp is a scam don't pay money to learn PA work but also it's the best you should really consider it. The Streetlights program is great for people who need it but you're an idiot if you do PA work for free. "I got my first job with no experience just walking onto a random set asking for a job, that's all you have to do surely."

sigh

As you know, a lot of these resources have some sort of cost (usually money and/or time) associated with them. Being unemployed, I have to be selective of what I purchase, if anything is even worth the money. So I ask you, dear reader, ✨ what are some resources (paid or not) that you wholeheartedly stand behind? ✨ Any category; whether it's finding work, training resources, networking, specific youtube channels, anything you think is absolutely worth having in your toolbox.

For instance, I haven't heard a bad thing (yet) about The Anonymous Production Assistant, which felt rare. Same for "Awesome Assistants" on Facebook, but I guess it's private? Wondering if there are more undeniable resources like them.

I'm asking generally so any other beginners can find value in the replies. That said, I'm personally in Los Angeles looking to get more on set experience (I have office production exp but waves of layoffs are making finding work difficult) and looking for PA work as someone who is very green. I hear facebook is a great place to look for work but the groups feel like hundreds of desperate folks descending on every opportunity that's posted, and every opportunity asks for people already with on-set experience. There are a bunch of in-person training and job placement resources out there but a lot of them feel scammy. I often seen the advice to just look at YouTube videos to learn the basics, but a lot of it feels like tips and tricks and not "training" if that makes sense, but admittedly I haven't searched for long.

There are sooo many years worth of stuff out there, useful and not, and sifting through all of it is exhausting and I'm hoping to see folks shine lights on the best of the best!

Is there anyone in the subreddit that has successfully transitioned from the film industry (specifically art department) into another career?

I've been trying to find a path for nearly two years now and it feels like my 12 years in film was a complete waste of time.

I could really use words of encouragement from someone who's done this or currently is.
Starting to give up hope that there's any career out there that understands wtf a propmaster is and that I'm a capable human and not a carny worker.

I've heard different things from different people-including an insider. Was just curious if anyone else had any other insight.

Wondering if anyone working can chime in on if the studio lots are busy? I drove past Warner a couple days ago and it looked dead, but was told it's actually quite busy. Another friend is working on the Sony lot and said it was pretty busy too.

I remember back in the day there would be a narrator helping the trailer with the plot layout for a movie. I don’t even remember the last time it was used.

I thought this helped gain interest in watching a film. Nowadays studios just throw a trailer out and let the audience figure things out.

Currently looking to apply for jobs. I work primarily as a model maker for miniatures, however my skill sets allow for venturing into working on sets and props as well. I’ve applied to around 10 or so studios already but I know it’s a numbers game. Any studio names would be helpful!

After multiple referrals, lots of follow up emails, and waiting a several months. A recruiter finally contacted me to set up an “intake call” to talk about roles, my interests, and the agency itself. I know the basics tell them you want to be agent your excited to work there blah blah. I am more wondering how this process works. I know there’s high turnover especially after the new year so if it goes well do I go right into the interview process for the entry level roles like mailroom/floater? Or do I get put on another wait list for 6 months as the hire the candidates who did intake calls earlier in the year? Just wondering if anybody has experience with the process in the past since this isn’t a formal interview. Thanks!

Hi everyone — I’m a writer working with a director who is working to try and get support for my YouTube series. They have connections to funds to get it made and are a very talented director, but have been very condescending through the process in how they talk to me. We haven’t even made the pilot episode and knowing how difficult shooting anything is/stressors — I don’t feel comfortable losing them in the process, especially after they’ve already spent so much time to try and develop it for me. But I also don’t care/life is too short to be stressed and talked down to.

Do I just bite the bullet and deal with it, or risk losing a relationship because I don’t like handling tension and negativity. Again, this director has access to funding and can probably get the money I’m struggling to find.

Hello everyone!

I’m looking for some help with updating my resume. If any Associate Producers could share theirs as a reference, I’d really appreciate it! I want to make sure I'm on the right track and would love any tips or advice for creating a strong resume for an AP role.

Thanks so much!