Strategies for Networking in the Film Industry

Networking when everything is remote is very challenging - especially for the post-production crew where everyone is sitting in their various homes all day at a computer. Need I say how important it is? People just starting out in their careers are at a huge disadvantage working remotely since they miss out on all those encounters in the halls that can lead to new opportunities, building ties with all the other freelancers on whatever job they are currently on. I love working remotely, but it definitely impacts the kind of day-to-day networking that we all need to strengthen connections, make new ones, and find the next great gig. Besides the "go to industry events and talk to people" basic advice, think about how the gig you might have right now can lead to future gigs. Here are some ideas about networking-while-remote for assistant editors (and everyone else). What would you add? ✂️ Reach out! Honestly, most editors I know are on the introverted side. That's partly why they are editors. So if you are their remote assistant, reach out to them. Ask questions. Ask to look at cuts and works in progress and then make observations and ask thoughtful questions. Email them and kick-start a correspondence about editing theory (personally, I would love this from an assistant). ✂️ You may be overwhelmed with tasks, but make a commitment to take a few moments every day to make contact with someone on your team about something not immediately connected to this moment in the project. ✂️ Email a cameraperson or a producer and comment on a great shot or well-covered scene. Ask a good question and start a conversation. ✂️ Ask a producer if you can have a few minutes to chat about their process, or how they got to where they are. Research what other things they have done so you have some stuff to talk about. ✂️ Don't wait for someone to mentor you - ask for it. ✂️ Call up the production manager when you are several weeks in, and thank them for hiring you - what a great time you are having, how interesting the project is, what you've learned. (Or email them.) ✂️ Use the production slack message board, or whatever, to start interesting conversations. Maybe bring up a recent documentary you saw, or other general industry topic. Look for ways for more people on the team to know your name. ✂️ When the project is over, write to every person on the team and make some comment or observation about what a great job they did (keep a list for this as you work). Be sincere. Ask them them to keep you in mind, and send them your CV. Basically, don't just hunker down and do a great job, dependably. Get your name in everyone's minds. These are the people that will be recommending you for your next gig and don't miss the opportunity to get them to remember you. Full disclosure - I wish I'd taken more of this advice myself. I tend to be more of a hunker-down-and-do-a-great-job type! What other ways can you think of to network on the job?

I graduated film school and moved to Los Angeles in 2015. Knowing what I know now, if I was graduating this year, this is what I would do: 1. Find any industry job that I can. 2. Network intentionally, going to weekend coffees instead of weeknight drinks. 3. Reach out to people I know, tell them my goals, and ask specifically if they know anyone that I should meet. 4. Build healthy physical and mental daily habits so that I can show up to my job feeling up to the tasks of handling belittling, monotonous work for low pay without feeling like I am suffering. 5. Create a system for keeping track of and regularly (every 6-12 months) following up with my contacts. 6. Invest any spare time and money into education. Whether it's continuing online classes, studying books, analyzing scripts, or joining an improv team, don't fall for the lie that graduating college means you have learned all that there is to learn. 7. Carve out DAILY time to work on my own personal writing sample. 8. Besides the big writing samples (feature screenplays, pilot scripts), build a smaller body of work. There is value in iterating and in variety. Try writing short stories, writing short films, or writing and shooting sketches with friends. 9. Build and maintain a support network outside entertainment. 10. Build and maintain a hobby outside entertainment in which I can see linear, tangible results (like lifting weights, running, learning a language, or dance). I would remind myself that when you're trying to break into entertainment, the first years (hell, the first decade) are going to suck. Instead of allowing yourself to be pulled down into hopelessness, keep your eye on the prize with relentless practice. Maintain a health sense of self respect and self worth. And build a support system rooted in a productive or generative hobby (not drinking). There are ways to make the most of your post-grad years. The best results will come to those who are willing to sacrifice what they want *now* for what they want *most.* And to those who realize how much they still have to learn. *** When you're just starting out, your opportunities will most likely happen through the personal connections you're making. But there's no reason you can't also cold query agents and managers once you're ready for representation. If you're ready to start reaching out to reps in the new year, make sure you're doing so properly! Download my FREE PDF Guidebook to Querying: https://lnkd.in/gjif7fhU

🎥 Want your first job in Film & TV in the U.S. or Canada? Let’s skip the fantasy: you won’t find it on LinkedIn. Most screen industry jobs are still found through word of mouth, referrals, and networking. Repeat hires matter. So does hustle. If you don’t have connections yet, you’re not out of luck—just start where you are. I built my network (and resume) from the ground up by being a fly on the wall—even below the PA. I started by cleaning floors, literally learning “the floor.” Every broom sweep taught me something about set dynamics, hustle, and humility. Here’s where I’d start if I were breaking in today 👇 🇺🇸 U.S. 🎬 EntertainmentCareers. net – great for entry-level and internships 🎬 Staff Me Up – THE place for production gigs (especially reality, doc, & indie) 🎬 ProductionHUB – freelance and crew calls nationwide 🎬 Film & TV Facebook groups like “IA Production Assistants” 🎬 Made in NY PA Training Program – a solid launchpad if you're in NYC 🎬 Sundance Collab – workshops, community, and networking for indie creators 🎬 Film Independent – especially helpful if you're L.A-based 🎬 Ghetto Film School – early access to creative career paths 🎬 Roadmap Writers – for aspiring screenwriters 🎬 Writers Guild Foundation – Script Coordinator and Writers' Assistant labs (essential for breaking into the writers’ room!) 🎬 The Black TV & Film Collective – mentorship and access 🎬 Women in Film – advocacy + job boards 🎬 NALIP (Latinx creators), CAPE USA (AAPI creatives), and Brown Girls Doc Mafia – community-based entry points 🎬 UTA, WME, CAA career pages – assistant jobs are brutal but they open doors 🎬 Your local film commission website – often post crew calls for shoots in your state 🇨🇦 Canada 🎬 Media Job Search Canada – jobs in production, radio, digital, and post 🎬 CBC Careers – production assistant, researcher, and editorial roles 🎬 CMPA Job Board – hiring on indie film and TV projects 🎬 National Screen Institute – killer programs for writers, producers, and directors 🎬 Creative BC – film funding, crew training, job listings 🎬 Ontario Creates – industry news, skills dev, and grants 🎬 BIPOC TV & Film – community, mentorships, and job calls 🎬 ACTRA & DGC – their trainee programs are worth watching 💡 Pro tip: PA gigs, assistant/reader jobs, and internships may not be sexy, but they’re gold for getting in the room. Say yes, learn fast, and be easy to work with. 💼🌍