I recently came across this teaser video by a chap named Liam Leahy, and found discovered that it is part of an online fundraising competition of sorts, emphasising creative fundraising ideas and other unique forms of charity donation. The proposal is that upon receiving funding, the filmakers will be able to continue with The 5th Tower, and also, profit and fundraising from the finished film will directly benefit the subjects and their community.

Life in Rome’s Gypsy camp “Tor di Quinto” (The 5th Tower) is a balance of independence from broader society, and survival. A universe of its own, and in the camp only family is the measure of wealth…and heritage is the fabric of identity.

Sisters Maria & Silvana Gorgevic have chosen very different paths. Maria, a mother of 6 (and minding 2 of her brothers daughters) is an amazingly articulate former “cat burglar”, now just off 2 years under house arrest (she was confined to her shack in the first shooting session). Illiterate, and with no formal education, she looks into her future with new found optimism, and a conquering spirit. In February of 2009 she will be free to start fresh, and undergo the quest for “normal” work. Life in the camp is hard, but Maria dreams of making her way into a home with electricity and water someday.

I thought it was a great video, and would love to see a full version, so I hoghly recommend that you go to http://www.givemeaning.com/proposal/romadocumentary and Cote for this project to receive further funding and attain completion!

Lee Jarvis.

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Hey everyone,

We at Media Match are excited to start up a new promotion. If you are an unpaid registered member of Media Match and own a blog or website, you can get one month of paid membership for FREE. Don’t have an account yet? Sign up, and get your profile running for free, here!

How does it work?

If you are a registered Media Match member and you have a personal blog, this will be quite easy for you. Simply write in your blog about Media Match and include a link to our site. A couple of possible blog post ideas include a short or detailed description of the site, how Media Match has helped you in your job hunt, an informative wiki-like profile of our site, or you can write a review about Media Match.

If you don’t have a blog yet, there are plenty of free blog providers that you can join, including Blogger, WordPress, TypePad, LiveJournal, and many more.

Have a website, but no blog? No problem! Just write about us on one of your pages, refer people back to us, and link back to our site.

You can link to the Media Match Homepage, but it may be more useful for your readers if you linked to the jobs board page at http://www.media-match.com/jobsboard.php. But, if you feel we have a page on our site more relevant to your readers, feel free to link back to that page instead (ie, the “About Us page“). (Remember, the link has to be clickable. To do this on most blogging platforms, highlight the text you want to make a link, click the icon that looks like a globe with a chain link in front of it, then press OK or DONE).

Once you have your blog post up, send us the following to blog_promo@media-match.com:

1. Your Media Match username (click here to sign up for free)
2. Your website or blog’s URL with the posting about Media Match

Also, if you know anyone in the TV & Film industry that is not with Media Match currently, why not tell them about this promotion? It’s a great opportunity for non members to try out Media Match at no cost. Just have them sign up for a free account at the freelancer registration page to get started!

If you are an unpaid registered member and a part of the mailing list, you got a head start on this promotion. For everyone else, this promotion will last from today, July 2, 2009 until the end of the month, July 31, 2009. Members who qualify for the free one month’s subscription will be contacted by email.

Thanks, everyone!
Media Match

Conditions and terms: URLs and links to Media Match must be clickable. Links with the “no-follow” tag in the HTML are not considered eligible for the promotion. Please allow up to three days for approval. Link and info must be posted outside of Media Match. Facebook, LinkedIn, Twitter, and other sites that use “no-folow” and framed browsing do not qualify. Only one free month subscription per member. Free month contingent on Media Match link’s presence for a minimum of 1 month on members’ blog/website.

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In “The Late Shift”, an early 1990’s television film, we see the behind-the-scenes story of how Jay Leno came to be selected as Johnny Carson’s replacement on “The Tonight Show”, over David Letterman.  We also see that both men were heavily recruited by other networks, and that thanks to Leno’s ruthless agent, he was passed the keys to the kingdom, leaving Letterman to head to CBS.  Things have remained pretty static since then, and even though we’ve seen the emergence of talent like Jimmy Kimmel, Jon Stewart, and Stephen Colbert, Leno and Letterman have remained as the top two talents in late night television.

Now, however, things are again shifting, as Leno makes ready to leave “The Tonight Show” and instead take over the 10p.m. slot just before it.  Word on the streets (a.k.a. various articles and blogs) is that Leno is unhappy with his imminent departure, as he isn’t quite ready yet to give up his seat.  Conan O’Brien, his future replacement, has popped by the show a couple of times, and while not necessarily frosty, lately his and Jay’s relationship has been merely cordial at best.

On the whole, however, everything seems to be fine between Leno and O’Brien, most likely because any rift that’s developed these few months has less to do about them, and more about Leno versus NBC.  Jay is, after all, heading to that 10p.m. show, which gives Conan a great gift in the form of a lead-in to his own time slot.  Besides, Conan was selected to take Jay’s place, so if Jay wants to blame anyone, it should be the executives at NBC, not Conan.  Leno has known for some time that his run on “The Tonight Show” would come to an end regardless of ratings – that he would go out on a high note.  But apparently it’s easier to talk about pulling the plug than it is to actually do it.

Conan actually emerges from all of this the clear winner.  With Leno staying in house, as it were, O’Brien avoids generating the perception that he ran Leno off; Leno fans, in turn, will be more likely to forgive O’Brien for hosting “The Tonight Show”, and may even tune in to watch him.  Also, by staying at NBC, Jay eliminates the possibility of popping up on another network as a time-slot rival (a move that some networks hoped would happen, considering Jay was said to be upset with NBC).

In the end, the new late night shift isn’t affecting “The Tonight Show” so much as it is the late-night shows on other networks.  Comedy Central, ABC, and CBS are toying with various ideas in order to take advantage of the upheaval that will come when Conan replaces Jay (ABC is even considering killing off “Nightline”, and moving Kimmel up earlier).  It will be interesting to see how this current round plays out, and who’s left standing once the bell rings.

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In its continuing effort to promote original filmmaking by individuals from around the world, The Global Film Initiative is pleased to announce the Summer 2009 cycle of its feature–film Production Grants program. Applications will be accepted from April 30, 2009 to July 15, 2009, and decisions will be announced in September 2009.

Global Film Initiative production grants are awarded twice a year, in winter and summer, to filmmakers whose work exhibits artistic excellence, authentic self-representation and accomplished storytelling. The granting program furthers the Initiative’s mission of contributing to the development of local film industries while offering audiences a variety of cultural perspectives on daily life around the world. Monies received through the Initiative’s granting program are used to support completion of film production, and to subsidize post-production costs, such as laboratory and sound mixing fees and access to modern editing systems.

Applications will be accepted starting April 30, 2009. Application deadline: July 15, 2009.

More info at http://www.globalfilm.org/granting.htm

Please share with your global network, best of luck to all that apply.

The Media Match Team.

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I sometimes wonder how many people in Hollywood (or anywhere, for that matter) have actually heard the term “Dustbuster” before. I certainly hadn’t, at least not until I started working as a post-production assistant. Unless you really studied these things in college, it’s only once you start to work for (or with) a production company do you truly understand just how many different types of film and television production jobs there really are.

“Dustbuster” was the loose name given to the job of digital colorist assist-assist, though the job title was not exactly accurate (in fact, it always seemed an afterthought, something to give us some sort of hierarchy within the company). I mean, we were working a film post-production job, in an assistant capacity, beneath the Colorist Assists, so I suppose you could give us that particularly cumbersome label. However, to save time and spare confusion, I and my fellow workers were called dustbusters, as we were literally responsible for removing dust (as well as scratches, and blotches) from every single frame of every single film the company took on. The colorists needed an impeccably pristine “canvas” with which to do their work, and that’s where we came in.

The process for cleaning film is simple enough to describe on the surface: they would scan the film digitally, and would then send the files to the main computers in our workspace. The film was then broken up into sections, with each section typically assigned to one of the nine or so workstations. Each workstation was loaded with the company’s proprietary software program, which would run the film frame by frame, shot by shot, and scene by scene. The dustbusters would then literally clean the film, by digitally removing every scratch or hair or discoloration. We did this by surrounding the offending mark with a box, which would then scan the next frame for a similar image to render. If there was little movement, the job was simple; if there was a lot of movement, we then had to tweak the box to get it as close as possible to blemish-free.

If this sounds mundane, it’s because it was. An eight hour shift, locked in a small, dark, windowless room, working at a cubicle, and staring at the same couple of thousand frames of film all day isn’t exactly how I would describe the fun side of Hollywood. But more than that, it served to illustrate just how many production jobs there truly are, and how varied they can be. Now, whenever I look at a film’s budget, I can’t help but be impressed by the number of people working behind the scenes, on the smallest details, people whose names will never appear in the credits; I think of the countless production companies, each specializing in an aspect of the filmmaking process. And I marvel at just how big and yet small this town can feel.

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My first production assistant job was misleading, to say the least. It was back in the year 2000; I’d recently graduated from USC, having PA’d on various student films before. But I’d never worked a true production, and as such had little idea what to expect. So when the offer came to work a music video with a friend of mine, I figured it would give me a good chance to learn what a production assistant job entails in a short amount of time (I was assured the production wouldn’t go over two days, unlike a film, which could stretch out over a longer period).

I showed up at a studio in Hollywood dressed in comfortable clothes: sneakers, jeans and a tee-shirt, as I’d been instructed. I was met by my friend, who handed a walkie-talkie and showed me how to key the various channels. So far so good. He then took me around and introduced me to his boss, along with some of the other production assistants I’d be working with. More importantly, he taught me some of the valuable lexicon I would need while working on set: “what’s your 20?” (where are you?)… and “ten one hundred” (I’m in the bathroom). Personally, I didn’t think I’d ever feel comfortable letting thirty or so people know I was in the can, so I figured I’d just skip over that part. But I got a kick out of saying “what’s your 20?”, and used it often that first day. I think I even started throwing in things like “ETA five minutes”.

Anyway, only once I was on set was I told what they’d be shooting: turns out Bob Dylan was filming a video of his original song from Curtis Hanson’s film “Wonder Boys”. Everyone was instructed in no uncertain terms that, once Mr. Dylan was on set, we were all to maintain our distance, avoid prolonged eye contact, and lastly, under no circumstances, were we to talk to him. Ever. I nodded, figuring it was cool enough that I’d get to see Bob Dylan in person. And sure enough, when he walked on set, it was a bit of a thrill that he was standing only five feet away.

I didn’t expect what came next, however: in between shots, to help pass the time, Dylan decided to practice. He started strumming his guitar, and singing songs like “Hurricane” under his breath. I looked at the other production assistants around me, and could see the same barely-suppressed excitement on their faces: we were basically being treated to a private concert by the man himself. I didn’t think the day could get better from there, but it did.

Because of my limited experience, I was plucked from the set and sent to work the monitors in the video village, the area where the director (Hanson), the producers, and the talent all gathered to watch the various takes; in this case, the talent included Dylan, as well as Michael Douglas, who was there to reprise his role in the film for some scenes with Dylan. My job was simple: press play and rewind. I took drink orders, handed out coffee and pastries, and then settled in a chair next to Michael Douglas for the next couple of hours. The highlight came when everyone wandered away except for myself and Bob Dylan; figuring it would be rude not to talk to him, I struck up a conversation and we chatted for about five minutes. At that point, I couldn’t believe they were actually paying me to be there! When the day finally ended, I walked away whistling, having had one of my best days in this city. This is showbiz, I thought to myself; I now have a PRODUCTION ASSISTANT job, and I love it!

Two weeks later, I PA’d a music video in downtown Long Beach, for some crappy boy band that no one had ever heard of. It rained… I was stuck outside, hauling cables and lights, from 10p.m. to 9a.m…. I made $75… I got yelled at twice by the psychotic 2^nd Assistant Director… and I broke my walkie-talkie (and nearly my hand) when some idiot slammed a metal pipe into it. As the rain poured down, I marveled at just how much I had been misled.

This is showbiz, I thought to myself the next morning as I trudged home; and I now have a production assistant job. Yay.

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Ever thought about landing a gig in Tinseltown? Well, here are 5 ways you can break into Hollywood by being a production assistant (in no particular order):

1. Get a Production Assistant Job
Working as a production assistant, or a PA, on a film or TV show is a beneficial way to learn about the production process and to get familiar with the folks making the decisions. The day-to-day duties can vary greatly depending on the production and budget, but the elbow-rubbing time can not be underestimated. Some will tell you assistants exist to feed the egos of their self-important bosses, but others know it’s a rite of passage to the Hollywood fraternity (or sorority). While much of the job consists of pouring coffee and answering phones, occasionally there can be some free time to read scripts and write coverage too. Also, production companies fill most new positions from within. When there’s a new position to fill, most managers would rather promote a qualified production assistant to the position, rather than hiring a stranger, even if some outside applicant had better work on his reel. In many studios, you find top people who initially started as PA’s. The key is getting in the gate in the first place.

Check out Media-Match to search for production assistant jobs and apply for as many as seem appropriate. For a small fee Media-Match will post your resume and try to match you with a job opening in the television and film industries. Also, it has a forum and a social network that allows you to interact with other people working as production assistants and job seekers looking for production assistant jobs.

2. Educate Yourself
Do you know what the terms “call sheet,” “sides,” “honey wagon,” and “call time” mean? If you don’t, you need to learn the terminology, “the lingo” that’s used in the industry. Or else, you can’t do your job properly as a production assistant.

Do you know the difference between a Director of Photography and an Assistant Director? Do you know what the Production Designer does? Learn more about the various production job roles found on television and film sets.

Next, familiarize yourself with the “trades.” These are magazines and newspapers geared towards entertainment industry professionals. The main ones are “The Hollywood Reporter,” “Variety,” “Film & Video,” and “Backstage West/East”. “Film & Video” is specifically for those who work behind the camera. Get “The Hollywood Reporter” on Tuesdays and “Variety” on Fridays. Those are the two days when the Production Charts are listed.

Learn as much as you can about the workings of film and TV production before you arrive on set for your first day of work.

3. Network, Network, Network
In Hollywood it’s not so much what you know as who you know in the entertainment industry. As many Tinseltown residents will tell you, this city is built on connections.
Take advantage and leverage your connections as a production assistant. Network, network, network. Talk to the people you work with and get to know them. The film or television industry is all about who you know and the people you are working with are a great place to start. Make those connections. You can meet people this way and begin to build up a network and beef up your Rolodex.

4. Be Persistent
Being a production assistant is not glamorous, but it is an important role. While you are on a set, be a sponge and soak up everything you can. When one show ends, be on the lookout for another one. Don’t ever stop working or looking for work because the next <a href=”http://www.media-match.com/jobsboard.php” title=”Production Assistant Job”>production assistant job</a> you take could be the one that takes you to the next level in your career.

5. Figure Out Your Ultimate Goal
Think about what your eventual career goal is. When you’re working as a production assistant, knowing what you want to do and knowing what you must accomplish before you get there is an effective way to move up. You have to put yourself on the proper path to where you want to be in the film or television industry.

If you’re currently a production assistant or are pursuing to be one, we’d like to hear your tips and suggestions.

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I’ve been hearing tidbits for months now, from various friends and family in the northeast, about a film studio or two popping up in that area.  The talk centers around the number and variety of film and television production jobs that will be available, in complexes that are set to rival those found anywhere in the country (even Los Angeles).  As time went on, the chatter grew, and so I decided to look into the claims; and soon, two words stood out above the others, both in terms of scope and ambition: Hollywood East.

That’s right, film and television production is coming to Massachusetts in a way never-before seen on the east coast.  As of now, there are two distinct groups emerging as favorites to build studios within the state.  The first, Plymouth Rock Studios, is a film and television digital complex set to open in Plymouth, MA; the second is Los Angeles-based International Studio Group, which intends to build eleven sound stages and related office space in SouthField, MA.  Both of these groups intend to work together, not in competition, to ensure that the larger goal of creating a viable studio system in the state is reached.

These are no fly-by-night endeavors, the kind of operations that build themselves up on promises but fail to deliver for whatever reason (anything from a lack of funding, to a lack of approval by the local legislature).  No, these are legitimate collections of Hollywood producers and executives, including a former producer who once ran Paramount, Walt Disney and Touchstone studios.  And yet despite coming from outside the state, these men and women are showing a keen understanding of how to work with local governments and business leaders, to not only gain approval for the land they need, but also to clearly and concisely lay out their plan for what will be an ambitious business model (one that could conceivably bring 7,000 jobs to their respective regions).  There’s also a youth-oriented feeling among many of the proposals for the studio development, with the goal of retaining a creative and young workforce who would otherwise be lured to California or New York in their pursuit of filmmaking opportunities.

And yet this kind of ambition should come as no surprise to anyone who’s followed the film tax credit battles that have been waged these past few years between states like New York, New Jersey, Massachusetts, North Carolina, and Michigan.  Each one is looking to make the claim of being THE BEST home for filmmaking outside of Hollywood, and are competing to be just that.  Such grand-scale plans are exactly what Massachusetts has been searching for ever since the 25% film tax credit that was created in 2006 (and subsequently expanded in July 2007).  There have even been public hearings on proposed legislation to give an equally-high tax credit on studio construction costs as well.  Already the state has seen a dramatic increase in production in the Commonwealth, and if the first step of their intent was to attract the filmmakers, then the next logical step seems to be keeping them there.  Hence the idea behind Hollywood East.

Next up, now that we know who the players are, we’ll take a look at what they’re offering, everything from specific jobs in film and television, to increases in tourism…

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