If there was one message coming through loud and clear, it's that getting work and getting ahead is all about personal connections. Referrals, word of mouth and networking are tantamount, especially in today's fragile and volatile job market.
Moderator and 1st AD Lee Blain kicked off the recent AD/UPM/TC Mentor Committee–sponsored event, "Meet the Commercial Producers" program, by asking the panel how they viewed the AD/producer relationship.
Dan Lindau, managing partner of the Crossroads Company, which represents an array of significant directors including fellow panel member Mark Pellington, feels the AD's primary objective should be anticipating and providing for the vendor. Kris Mathur, executive producer for Backyard Productions, views the AD as part of a core team comprised of the director, producer and cinematographer with the executive producer overseeing them all.
Pellington said, "An AD is a vital cog whom I look to to steer me, but who can also step back when I want to improvise. One who knows that each job is different."
Blain wasted no time in getting to the question on the forefront of everyone's mind — what do you look for when hiring someone and what part do résumés and experience play versus personality and personal recommendations?
For Mathur it's really all about personal recommendations. While Pellington does look at résumés, he also relies more on word of mouth and the counsel of his producer.
In response to Blain's comment that ADs feel their job is to help the director get the shot, Mathur responded, "The AD is the lubrication for the set, and he has to make all the departments flow smoothly." Blain pointed out the tenuous situation of the AD being seen as difficult for having a view different from the director's. Mathur was very reasonable with his response stating, "there's only so much that will fit into the allocated shot day."
Unfortunately, many clients/agencies/studios don't feel the same. Pellington added that the DP has a lot to do with how fast a shoot can go. "Most commercials are really self-contained little units and I've found, more often than not, features much more cut to the head than commercials. It's all about the ambition of the agency, and here's the money they're giving you. If you're a sucker and low-ball it, you may get the gig but you've put yourself in a bad position — and that's where the AD is at risk."
Blaine asked the panel its thoughts on what ADs should be looking for in terms of the agency — should they steer clear of them or be in discussions with them? Lindau was direct and succinct. "It's my theory that the producer should run interference for the sole reason that it's better having one funnel than two. That way it's easier to have a single voice and a single purpose."
Pellington said that he gets frustrated when the agency sits on his shoulder, and as such, "I make a point of figuring out the client's fear level so I can dispel the fear and make it fun. Talent is talent, and the more you know, the better off you are."
Pellington looks for an AD who has skills different from his and prefers one who is hyper-organized yet mellow. He also advised that the more mediums you work in, i.e. commercials, feature and episodic, the more you will work.
"It's invaluable to understand a variety of different techniques, forms and methodologies so you can work not only with the young twenty-something music-video director fresh out of film school, but also with the veteran fifty-something who has a completely different style," he said.
So, how do you cross over from features to commercials and vice versa? And more relevant — how do you get the interview, then, hopefully, get the job? Lindau suggested, "Be relentless in finding someone at the company you're trying to get work from, someone who will talk to you. Then keep open the channel of communication. It's a relationship driven business."
Mathur said, "Find the soft spot in the company, whether it's the executive producer or the in-house production manager; whoever is the facilitator and the person who can be your advocate."
"Don't pass up any opportunity to meet people," Pellington added. "When you hear of a job, utilize your six degrees of separation to get a meeting. Ultimately, it's all about what you have to show. So just do your work, be cool and be yourself."
He also cautioned that you should know your politics, or in other words, knowing when to keep your mouth shut is a good thing too.
"That doesn't mean you shouldn't ever speak your mind but be judicious and aware of how to do it," said Lindau. The cardinal sin for Lindau is when an AD makes it about themselves. "The AD is part of a support system. Don't take stands that are clearly politically based, and clearly not serving the job but rather a self-aggrandizing political motive."
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