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Film What Can I Do Now 1st Edition Mary Susan Ryan-
Flynn Digital Instant Download
Author(s): Mary Susan Ryan-Flynn
ISBN(s): 9780816080762, 0816080763
Edition: 1
File Details: PDF, 1.35 MB
Year: 2010
Language: english
What Can I Do Now?
Film
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What Can I Do Now?
Film
What Can I Do Now? Film

Copyright  2010 by Infobase Publishing

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Film. — 1st ed.

p. cm. — (What can I do now?)
Includes bibliographical references and index.
ISBN-13: 978-0-8160-8076-2 (hardcover : alk. paper)
ISBN-10: 0-8160-8076-3 (hardcover : alk. paper)
ISBN-13: 978-1-4381-3253-2 (e-book) 1. Motion pictures—Vocational guidance. 2.
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 Contents

Introduction 1
Section 1: What Do I Need to Know
About the Film Industry? 5
Section 2: Careers 21
Actors 22
Animators 32
Film Directors 40
Film Editors 50
Producers 60
Production Designers and Art Directors 70
Screenwriters 83
Sound Workers 91
Special and Visual Effects Technicians 102
Stunt Performers 113
Section 3: Do It Yourself 125
Section 4: What Can I Do Right Now? 133
Get Involved 134
Read a Book 165
Surf the Web 174
Ask for Money 179
Look to the Pros 188
Index 193


a a a Introduction
There are many people just like you who to experience, to try out a work path.
want to pursue a career in film—whether Or several paths if you’re one of those
on a movie set or in a recording or ani- overachieving types. Wouldn’t you really
mation studio, editing room, college rather find out sooner than later that
classroom, or other setting. You may see you’re not cut out to be a screenwriter
a film-related career in your future and after all, and that you’d actually prefer to
wonder how you can get started right be a film editor or a stunt performer?
away, while still in high school. There There are many ways to explore film
are countless areas of the film industry careers. What we’ve tried to do in this
in which you can work and utilize your book is give you an idea of some of your
unique skills and talents. All you need options. The What Do I Need to Know
to begin is a general interest in the field. About the Film Industry? section will
Although many film careers require a give you an overview of the field—a little
combination of formal training, creative history, where it’s at today, and promises
ability, and experience, there is abso- of the future—as well as a breakdown
lutely no reason to wait until you get out of its structure (how it’s organized) and
of high school to “get serious” about a a glimpse of some of its many career
career. That doesn’t mean you have to options.
make a firm, undying commitment right The Careers section includes 10 chap-
now. Indeed, one of the biggest fears ters, each describing in detail a specific
most people face at some point (some- film career path: actor, animator, film
times more than once) is choosing the director, film editor, producer, produc-
right career. Frankly, many people don’t tion designer and art director, screen-
choose at all. They take a job because writer, sound worker, special and visual
they need one, and all of a sudden 10 effects technician, and stunt performer.
years have gone by and they wonder These chapters rely heavily on first-
why they’re stuck doing something they hand accounts from real people on the
hate, like being an animator rather than job. They’ll tell you what skills you need,
being an actor. Don’t be one of those what personal qualities you need to have,
people! You have the opportunity right and what the ups and downs of the jobs
now, while you’re still in high school are. You’ll also find out about educational
and still relatively unencumbered with requirements—including specific high
major adult responsibilities, to explore, school and college classes—advancement


 What Can I Do Now? Film

possibilities, related jobs, salary ranges, “Ask for Money” is a sampling of

and the employment outlook. scholarships for people who are inter-
In keeping with the secondary theme ested in pursuing film careers. You need
of this book (the primary theme, for those to be familiar with these because you’re
of you who still don’t get it, is “You can do going to need money for school. You have
something now”), Section 3, Do It Your- to actively pursue scholarships; no one
self, urges you to take charge and learn is going to come up to you one day and
about film-related careers on your own present you with a check because you’re
and start your own programs and activi- such a wonderful student. Applying for
ties where none exist—school, commu- scholarships is work. It takes effort. And
nity, or the nation. Why not? it must be done right and often as much
The real meat of the book is in Sec- as a year in advance of when you need the
tion 4, What Can I Do Right Now? This money.
is where you get busy and do something. “Look to the Pros” is the final chap-
The chapter “Get Involved” will clue you ter. It lists professional organizations
in on the obvious volunteer and intern you can turn to for more information
positions, the not-so-obvious summer about accredited schools, education
camps and summer college study, and requirements, career descriptions, sal-
other opportunities. ary information, union membership, job
“Read a Book” is an annotated bibliog- listings, scholarships, and more. Once
raphy of books (some new, some old) and you become a college student in a film-
periodicals. If you’re even remotely con- related field, you’ll be able to join many
sidering a film career, reading a few books of these; others, such as the American
and checking out a few magazines or pro- Film Institute, are open to people of any
fessional journals is the easiest thing you age. Time after time, professionals say
can do. Don’t stop with our list. Ask your that membership and active participa-
librarian to direct you to more materials. tion in a professional organization is one
Keep reading! of the best ways to network (make valu-
While we think the best way to explore able contacts) and gain recognition in
film-related careers is to jump right in and your field.
start doing it, there are plenty of other High school can be a lot of fun. There
ways to get into the motion picture mind- are dances and football games; maybe
set. “Surf the Web” offers you a short you’re in band or play a sport. Great!
annotated list of Web sites where you Maybe you hate school and are just biding
can explore everything from job listings your time until you graduate. That’s too
(start getting an idea of what employers bad. Whoever you are, take a minute and
are looking for now), to film festivals, to try to imagine your life five years from
educational requirements, to on-the-job now. Ten years from now. Where will
accounts from those who work behind you be? What will you be doing? Whether
and in front of the camera. you realize it or not, how you choose to
 Introduction 

spend your time now—studying, playing, If you can’t come up with an answer, it’s
watching TV, working at a fast-food res- probably “nowhere.” The choice is yours.
taurant, hanging out, whatever—will have No one is going to take you by the hand
an impact on your future. Take a look at and lead you in the “right” direction. It’s
how you’re spending your time now and up to you. It’s your life. You can do some-
ask yourself, “Where is this getting me?” thing about it right now!
a Section 1
What Do i need to Know
About the Film industry?
 What Can I Do Now? Film

When you hear the word film, you prob- many jobs in the film industry, such as
ably think of famous actors or actresses actors, directors, composers, and screen-
like Denzel Washington, Reese With- writers, are not based so much on formal
erspoon, Russell Crowe, or Nicole Kid- education, but rather on creativity, tal-
man, or famous directors like Steven ent, and years of practice and dedication.
Spielberg, Spike Lee, the Coen Brothers, Others, such as entertainment lawyers
and Peter Jackson. Maybe you think of and production designers, require col-
the stuntworkers who work behind the lege training. In short, there are oppor-
scenes to help create those spectacular tunities for people with every interest,
car crashes, fight scenes, and explosions skill, and educational background. Now
in the action movies you and your friends it’s up to you to decide which career path
love to watch. The reality of a career in is for you. The following sections provide
film today is actually much more diverse more information on the history of the
and complex than these examples. Mil- film industry, its structure, typical career
lions of people work in the international paths, and the employment outlook for
film industry in literally thousands of the field.
different ways. There are opportuni-
ties in almost any work setting you can
imagine, including Hollywood film sets GeNeral INFormatIoN
and on-location at sites throughout the The film industry holds a place in the
world, animation studios, college class- American imagination like no other,
rooms, editing rooms, recording studios, while also maintaining a firm hold on the
offices, and many others. You obviously American pocketbook. The U.S. mov-
know about actors and directors, but did iegoing public spent $9.79 billion at the
you know that production designers are box office in 2008. We rent and purchase
needed to develop the look and feel of our favorite films on DVD and Blu-ray;
a movie and make it seem believable to download them to our iPods, computers,
viewers? That screenwriters are needed and cell phones; subscribe to many cable
to write plots that make you cry during channels devoted to the 24-hour repeat
a chick-flick or almost jump out of your of recent and classic productions; and, of
seat while watching a nail-biting chase course, head to movie theaters to see the
scene? That professors are needed to latest blockbusters (movie theaters aren’t
teach students about acting, animation, dead yet; in fact, there were 1.4 billion
directing, screenwriting, and other film- theatrical admissions in 2008, accord-
making skills? That critics are needed to ing to the Motion Picture Association of
review movies and help you pick a movie America). We read magazines and books
for date night? And these examples really about filmmaking and visit Web sites and
haven’t even scratched the surface of the blogs devoted to our favorite stars and
variety of jobs available to someone inter- movies. And thousands of people flock to
ested in this field. The qualifications for Hollywood every year to invest in a more
 What Do I Need to Know About the Film Industry? 

Lingo to Learn
art department A collection of professionals (production designer, art director, set director,
and others) who work with the visual aspects and designs of a film.
boom mike A microphone attached to the end of a long pole and kept above the heads of
actors out of view of the camera.
box office The office from which theater tickets are sold; also refers to the commercial suc-
cess of a film.
casting Placing actors in roles for a film.
continuity Maintaining the consistency of details (costumes, actor positions, etc.) from scene
to scene.
documentary A nonfiction, journalistic film composed of interviews, historical background,
and other factual reports surrounding a specific subject.
focus group A small group of unbiased viewers who preview a film for a production com-
pany and offer their opinions.
indie A film produced independently, outside of the major studio system.
matte shot A shot incorporating an artist-created backdrop.
post-production Editing, effects, and other work done on a film after primary filming is
completed.
soundstage An area within a studio comprised of large sets.
Steadicam A special camera that allows scenes to be shot smoothly as a Steadicam operator
moves across a set or location.

glamorous life, with dreams of becoming on a simple principle. If a series of still

an actor, screenwriter, or director. What pictures can capture the movements of
follows are only some of the major devel- someone running, showing the pictures
opments in the history of this evolving, in rapid succession would give the illusion
ever-changing industry. of the movement of running. In 1877 Ead-
The desire to create more than static, weard Muybridge successfully captured a
nonmoving images emerged soon after the horse in motion by using 24 cameras and
development of still photography. If one trip wires that triggered the camera shut-
picture could capture a single moment, ters as the horse ran along.
inventors realized, then it should be pos- In 1894, using film for the first time
sible to devise a similar technique for cap- instead of plates, the famous inventor
turing a series of moments. Flip cards, the Thomas Edison produced a short movie
first version of moving pictures, worked called The Sneeze. Georges Melies intro-
 What Can I Do Now? Film

duced narrative films in 1899 in France, other great filmmakers of the era dedi-
and in 1903 Edwin Porter filmed The cated themselves to making documentary
Great Train Robbery, the first motion films for the government. Many feature
picture that told a story using modern films were patriotic in nature, or served
filming techniques. Porter used editing as portraits of quality American life being
to put together a story that he had filmed protected by the soldiers overseas. A spe-
out of sequence. cial war tax attached to each theater ticket
Motion pictures became increas- allowed moviegoers to make a contribu-
ingly popular in the early 1900s, with tion just by being entertained.
the advent of the movie house and silent After the war, however, this close rela-
film stars such as Charlie Chaplin and tionship between the film industry and
Rudolph Valentino. It was not until 1927, the government soured. The govern-
when The Jazz Singer with Al Jolson was ment demanded that the big studios give
produced, that talking movies began to up their theaters, greatly limiting the
be made. In the 1920s the first animated studios’ control over the features shown
films were released for theater distribu- across the country. The studios were also
tion. The 1920s also saw the rise of the hurt by the anti-Communism sentiment
studio moguls who built the large pro- that swept the nation. The government
duction companies such as Paramount formed the House Un-American Activi-
and Metro-Goldwyn-Mayer (MGM). ties Committee (HUAC) in 1947 to sniff
These companies dominated the indus- out supposed Communist sympathizers
try for years, with tight control of talent, in the film industry. A blacklist of actors,
publicity, and film distribution. screenwriters, and directors believed to
The 1930s is often considered the first be pro-Communist ended the careers of
golden era of filmmaking. It is estimated many filmmakers. Hollywood received a
that 65 percent of the population went to great deal of negative publicity, and a pub-
the movies in 1938, accounting for 80 mil- lic backlash of films evolved, including a
lion tickets sold every week. The studios boycott by the American Legion. Today,
flooded the theaters with films, both good the scandal still has an impact, demon-
and bad, to keep the public entertained. strated by the uproar when Elia Kazan,
Though many silent film stars couldn’t director of such film classics as A Street-
find success in the new talkies, others, like car Named Desire and On the Waterfront,
Charlie Chaplin and Greta Garbo, thrived. who cooperated with the HUAC by nam-
Ernst Lubitsch, Frank Capra, and George ing those in the industry he believed to be
Cukor are only a few of the great directors Communists, was announced as the win-
who worked during this period. ner of a special Academy Award in 1999.
During World War II, films provided The Oscars were picketed and Nick Nolte,
an escape from hardship and tragedy, as Ed Harris, and other nominees refused to
well as an aid to the government to edu- applaud during Kazan’s acceptance.
cate people about the war effort. Frank Also contributing to the demise of the
Capra, George Stevens, John Huston, and big studios was the rush to the suburbs.
 What Do I Need to Know About the Film Industry? 

Americans were leaving the big cities and, film industry gimmick that consisted of
therefore, their proximity to the grand films presented on a large, wraparound
movie houses. They also began to spend screen, lasted a bit longer than 3-D, it too
their recreational dollars on records for sizzled out within 10 years, ending with
their new hi-fi’s and for tickets for travel Stanley Kubrick’s 2001: A Space Odys-
on the new airlines. By the late 1940s the sey in 1968. CinemaScope, another big-
studios had to allow contracts with film- screen novelty, proved more successful
makers and stars to lapse, ending the stu- and inspired other wide-screen processes
dios’ years of complete power over the such as VistaVision and Panavision.
industry. Film producers offered something else
Television changed the film industry TV viewers couldn’t get at home: films
in a variety of ways, and it continues to with controversial subject matter and dia-
do so. With the popularity of TV growing logue. Otto Preminger adapted the play
in the early 1950s, movies had competi- The Moon Is Blue in 1953 and released it
tion like nothing before. In 1946 the film without the Movie Production Code’s seal
industry made more money domestically of approval. The code had been in place
than at any other time in its history—a since the 1930s to essentially censor films
gross of $1.7 billion. The early 1950s saw on the basis of morality. Preminger sprin-
a large drop-off in movie attendance, kled his film with a few frank discussions
and by 1962, domestic gross had been of sex and use of such words as “virgin.”
cut nearly in half to $900 million. In the Although The Moon Is Blue is tame and
1950s the movies began to compete by coy in contrast to later films, its success
offering elements (and gimmicks) view- led other filmmakers to test the bound-
ers couldn’t find elsewhere. Although the aries of the code more aggressively. The
Technicolor process of color film had success of foreign films not subject to the
been perfected in 1933, filmmakers still code also proved the public’s appreciation
shot primarily in black and white (B&W). of more daring films. By the late 1960s the
Not only were B&W films less expensive code had become barely relevant, and it
to produce than color films, but filmmak- was abandoned in 1967 in favor of the rat-
ers had also honed their skills with B&W, ings system still used today.
and were more comfortable with it. But Despite the film industry’s early efforts
B&W TV was growing in popularity and to separate itself entirely from television,
film producers recognized the need to use TV came to have a large impact on the
color more frequently to draw viewers to way films were made. Filmmakers and
movie theaters. The industry also tried actors cut their teeth with TV projects;
a few technological stunts, such as 3-D. films became smaller in scope with lower
House of Wax and other horror films used budgets; and some television screenplays,
3-D primarily, but other genres dabbled in such as Marty and A Catered Affair, were
it as well. The musical Kiss Me, Kate was adapted for the big screen.
presented in 3-D. This process, however, The film industry’s survival in the
was short-lived. And though Cinerama, a face of great competition was evidenced
0 What Can I Do Now? Film

in the 1970s. In addition to enjoy- homes. By the middle of the decade, even
ing greater financial success, films also small towns had video rental stores, and
enjoyed another artistic golden era. The filmmakers seemed to make films with an
late 1960s and early 1970s brought along eye toward the video version. Some films
pioneering films that explored politics, even went directly to video, losing little
violence, society, and sexuality. Film- in the translation. But the 1980s also laid
makers like Robert Altman (Nashville), the groundwork for the two major devel-
Francis Ford Coppola (The Godfather), opments of the 1990s: the big budget,
Arthur Penn (Bonnie and Clyde), Martin special effects spectacle, and the indepen-
Scorsese (Taxi Driver), Roman Polanski dent film. The success of George Lucas
(Chinatown), and Woody Allen (Man- (Star Wars) and Steven Spielberg (E.T.)
hattan), made films that were both criti- ushered in a new standard of big-budget
cally and financially successful. Though filmmaking and experimentation with
many of these filmmakers still make qual- special effects and computer technology.
ity films today, their earlier work stands Lucas and Spielberg helped to establish
out. The film sequel also evolved during the tradition of the summer blockbuster,
this period; film series had long been a as film studios began to compete for
tradition, but Coppola was the first to younger, primarily male, audiences.
label a film Part II when he released his With Independence Day, Men in Black,
sequel to The Godfather. Horror movies Star Wars I–III, Lord of the Rings: Return
such as Halloween and Friday the 13th of the King, and Pirates of the Caribbean:
capitalized on their formulas well into the Dead Man’s Chest, the top moneymakers
1980s and 1990s, and other genres, such of the late 1990s and 2000s, this is a trend
as action films and comedies, followed that is likely to continue. And industry
suit with their own sequels. executives weren’t the only ones tracking
The revolutionary period of the 1970s weekend grosses. The 1990s and 2000s
went unmatched in the 1980s. Whereas also saw the regular publication of the top
the 1970s produced a long list of great 10 films for any given week, and the pub-
directors, the 1980s produced rela- lic became more aware of film successes
tively few breakout filmmakers. David and failures.
Lynch (Blue Velvet), Spike Lee (Do the At the other end of the spectrum, the
Right Thing), Tim Burton (Beetlejuice), inexpensively produced work of indepen-
and Barry Levinson (Diner) established dent filmmakers hearkened back to the
careers in the industry, and some female glory days of the 1970s. The success of the
directors, such as Susan Seidelman (Des- Sundance Film Festival, and the attention
perately Seeking Susan) and Joan Micklin given the films it spotlighted, revealed an
Silver (Crossing Delancey), made films audience for more personal, artful films.
that met with both critical and financial The independently produced Pulp Fic-
success. But the 1980s are mostly marked tion not only made a lot of money, but
by the introduction of VCRs in American also won awards and inspired several
 What Do I Need to Know About the Film Industry? 

imitations. Also, many women, minority,

and gay filmmakers found their voices in
independent cinema. Film Industry
Advances in computer technology Facts, 2006
have created a renaissance in animation
that continues today. Some of the most • Forty-two percent of workers
in the motion picture and video
popular movies of recent years, such as industry had part-time or variable
WALL-E, Ratatouille, Shrek, and Find- schedules.
ing Nemo, have been animated films.
• People in this industry worked an
Another major animation trend is the average of 29 hours a week.
emergence of high-quality animation in
• Nearly 60 percent of workers in
a variety of genres that is geared toward the industry were under the age
adults. Two examples of animated fea- of 45.
tures in this trend include Persepolis and
• Overall employment in the
Waltz with Bashir, which were nomi- motion picture and video indus-
nated for Academy Awards in 2007 and try is expected to grow by 11 per-
2008, respectively. cent through 2016, about as fast
One other major trend in recent years as the average rate of growth for
is the growth of the global film industry all industries.
and the popularity of foreign-produced
films with American audiences. For Source: U.S. Department of Labor
example, Slumdog Millionaire, which
won the Academy Award for Best Pic-
ture in 2008, featured a British director,
cinematographer, and screenwriter and ries, the movie focuses on a nonfiction
a cast of professional and amateur actors subject.
from India. The second most important step after
Today, producers and directors strive developing the story line or subject is to
for a union of all the different aspects of acquire funding. With commercial films,
great filmmaking. They attempt to cre- the company sponsoring the production
ate work that is artful, technologically pays the production costs and approves
enhanced, and financially rewarding. the steps in the process of making the
film.
In the days of the studio contracts, the
StruCture oF the conception, production, and financing
INDuStry of films was all done within one studio.
Most movie productions begin with the For example, 20th Century Fox would
selection of the story to be told. The have producers, staff writers, directors,
movie may be based on a novel, a play, and actors and actresses, from whom
or an original script. With documenta- they would choose for a particular film.
 What Can I Do Now? Film

Today’s system is different. Although attract bigger names to work on the film.
there are people who will sign contracts Studios have developed a “step deal” for
to do several films for one studio for a this and other arrangements. With a step
prearranged salary, most people work on deal, the studio can withdraw funding
a project-by-project basis. Producers now from a project if the producer cannot get
bring a project to a studio with an esti- an adequate script or staff together.
mated cost of production and perhaps the Documentary filmmakers usually have
main actors and actresses already cast, more difficulty securing financing than
and a studio may agree to back the pro- a mass-market motion picture. If the
duction. The studio will pay for the costs funding is sought through endowments,
of producing the film and for the salaries government agencies, or broadcast-
of the crew and cast in exchange for the ing stations, the producer and director
film’s profits when it is released. should anticipate putting together a fairly
If the movie is successful, it will bring lengthy proposal with extensive research
in more money from ticket, DVD, or elec- on the selected topic. For example, the
tronic download sales than it cost to pro- length of the documentary needs to be
duce. Movies have become very expensive planned out and explained. A timetable
projects, with many films costing mil- for the research, filming, and editing has
lions of dollars to produce. These films to be calculated. The potential inves-
require huge sales to make any money for tors also need biographical information
the company sponsoring the film. Small on the more important staff members of
productions need not sell as many tickets, the documentary so they know the back-
DVDs, or downloads, but frequently the ground of the people with whom they are
actors and actresses are not well known, entrusting their money. The producer
and attracting viewers becomes more may have to provide a shortened version
difficult. of the film (a pilot) to show what the full-
With the increased cost of film produc- length project will look like. It can take
tion, the independent producer has to be from six months to 10 years to secure
a good salesperson to be able to persuade financing for a documentary.
a studio of the marketability of a film idea. Once funding has been found for a
If there are popular actors and actresses project, a payment schedule is worked out
involved in the film, or a particular story with the producer of the documentary.
line has done well before, the producer Some funds are usually supplied up front,
is more likely to find financing than if a with various amounts distributed along
new idea or unknown actors are involved. the way and the remaining money deliv-
Some studios are more willing to take the ered after the completion of the project.
risk of a lesser known cast and story if the A film crew on a documentary can be as
cost of production is not too high. small as four people—a producer-direc-
Occasionally, a producer will go to a tor, a camera operator, a sound techni-
studio with just the idea for a film. With cian, and a lighting technician—although
studio backing, he or she may be able to some documentaries require a large staff.
 What Do I Need to Know About the Film Industry? 

As with other forms of film production, Once the filming is done, the film is reas-
the lower the costs, the easier it is to find sembled in a studio. Special effects, music
funding. tracks, and any conversation that may have
After funding has been arranged, the been muffled by other noises during the
filmmakers prepare to film. Whether filming are added at this point. This type
you’re making a documentary or a fea- of work requires both precision and split-
ture film, you’ll need a script. In the case second timing to assure that the on-screen
of a feature film, screenwriters write and action matches the sound heard.
rewrite the script to develop characters, Once the project is completed, the
tighten the plot, and keep within time people in charge of the production review
limitations. The action must be planned the film. If the final product is accept-
carefully. Timing, continuation of narra- able, the film is released. This means that
tive, camera angles, and the many other the film is distributed to theaters or made
details that go into making a cohesive available to consumers directly via cable or
piece of work need to be worked out as commercial television stations or DVDs. It
thoroughly as possible before the film- can also be made available for download
ing begins. If the producer waits until onto computers, MP3 players, or mobile
the actual production to decide on major communication devices.
aspects of the project, the costs increase Now it is up to the marketing and dis-
dramatically. tributing staff to build an audience for the
Decisions about where the filming is to film. Their job is to encourage the public
be done, whether in a studio or on loca- to watch the production and to make the
tion, go into the cost analysis of the project. public aware of where the film is playing
Casting of the actors, actresses, narrators, or how to purchase or rent it. Without an
and other talent that will be in the project audience, even the best motion picture
affect the budget. How long the filming will have little impact.
will take, the special effects required, and Most work in the motion picture indus-
the overall size of the staff and production try revolves around Hollywood and New
all determine the final budget for a film. York City. Actors, however, can get their
The studio production department needs start in smaller productions in any num-
all this information before final approval of ber of cities around the country.
the contract can be made.
Depending on the size of the project,
live-action filming can take several days CareerS
to several months. The picture is nor- There are many career opportunities in
mally filmed out of sequence. The film the film industry, from becoming an actor
can be shot in a studio on a soundstage, or director to working as an editor, ani-
where everything is re-created to look like mator, or special effects worker. A short
an actual location. The film can also be sampling of the many career opportu-
produced on location, in the actual set- nities in film follows in the paragraphs
ting where the story takes place. below.
4 What Can I Do Now? Film

The Best Film Schools

More than 500 colleges and universities University of California—Los Angeles

offer film studies programs. The following http://www.tft.ucla.edu/ftv_mfa
film schools are considered to be the best Degrees Awarded: Bachelor’s degree in
in the nation: film and television; Master’s degrees
in animation, cinema and media stud-
American Film Institute (Los Angeles, ies, cinematography, moving image
Calif.) archive studies, production, produc-
http://www.afi.com tion/directing, and screenwriting; Doc-
Degrees Awarded: Master’s degrees in torates in cinema and media studies
cinematography, directing, editing,
producing, production design, and University of Southern California (Los
screenwriting Angeles, Calif.)
http://www-cntv.usc.edu/programs
Columbia University (New York) Degrees Awarded: Bachelor’s degrees
http://wwwapp.cc.columbia.edu/art/ in animation and digital art, business
app/arts/film administration-emphasis in cinema-
Degrees Awarded: Bachelor’s degrees in television, cinema television, interac-
creative writing, film studies, and the- tive entertainment, writing for screen
atre; Master’s degrees in acting, cre- and television; Master’s degrees in ani-
ative writing, directing, dramaturgy, mation and digital arts, cinema-televi-
film studies, filmmaking, playwriting, sion, interactive media, and motion
stage management, and theatre man- picture producing; Doctorates in cin-
agement and producing; Doctorate in ema-television and media arts and
theatre practice

Actors and actresses have the job of Boom operators place and operate
interpreting the roles they read in scripts microphones to record dialogue and
and bringing the characters to life. They other sounds during filming.
work closely with directors to achieve the Business managers and executives plan,
best possible performance. They may sing organize, direct, and coordinate the oper-
and dance as well as speak in a produc- ations of film-related businesses. They
tion, or they may work as extras. may oversee an entire company, a geo-
Animators are artists who design the graphical territory of a company’s opera-
cartoons that appear in movies, television tions, or a specific department within a
shows, and commercials. company.
Audio recording engineers oversee the Casting directors audition actors and
technical end of sound recording during actresses for productions. They observe
filming. Recording mixers combine music the person’s physical appearance, voice,
and sound effects with a film’s action. expressiveness, and experience. They
 What Do I Need to Know About the Film Industry? 5

recommend actors to producers and robe supervisors keep them in good con-
directors. Some casting directors may dition by ironing, mending, and cleaning
be involved with arranging contracts for them, and doing any necessary minor
performers. alterations.
Choreographers create or develop Dancers perform dances alone or
dance patterns and teach them to per- with others that will be filmed for use in
formers so that they can be performed in motion pictures.
movies. Directors read scripts, help select cast
Cinematographers, or directors of members, direct rehearsals, and oversee
photography, work with the director to the activities of writers and editors. They
achieve the best possible framing, light- are responsible for getting the best pos-
ing, style, continuity, and exposure in a sible performances from actors. Direc-
film. They must have a refined aesthetic tors also work with cinematographers to
sensibility as well as strong technical determine camera angles, lighting, and the
knowledge. They select and oversee the overall way the picture will look on film.
members of the camera crew. Distribution and marketing staff are
Camera operators use motion picture responsible for finding theaters to show
cameras and equipment to photograph films and arranging all advertising and
subjects or material for movies. Their promotional activities surrounding a
instructions usually come from cinema- film. A film’s success is frequently influ-
tographers or directors of photography. enced by its marketing. Bad projects may
Key grips manage the crew and equipment do somewhat better with good market-
(such as cameras, lights, rigging, etc.) that ing, but good projects can certainly
are used by the director of photography be hurt without strong marketing and
during filming. Best boys (of both gen- distribution.
ders) assist key grips with their duties. Entertainment lawyers handle con-
Composers create much of the music tract negotiations, intellectual-property
heard in films. Arrangers take compos- issues, and a variety of other legal issues
ers’ musical compositions and transcribe for individuals and companies in the film
them for other instruments or voices; industry.
work them into scores for film, theater, Extras, also known as background
or television; or adapt them to styles that performers, have nonspeaking roles in
are different from the one in which the films and TV shows. They work in the
music was written. background of film scenes, following the
Costume designers plan, create, and orders of directors and crew members.
maintain clothing and accessories for They may work in crowd scenes, or may
all characters in a stage, film, television, simply be one of a few people appearing
dance, or opera production. They are with the principal performers.
assisted by key costumers. Once costumes Film commissioners work as advocates
have been made for a film or show, ward- for a particular city, state, or region to
 What Can I Do Now? Film

encourage film companies to film in the an old farm, or an 18th-century mansion).

area. They secure permission to use these loca-
Film distributors ensure that films are tions from police and fire departments,
placed into theatrical release in movie companies, or private citizens.
theaters and other venues. Marketing research analysts collect,
Film editors work with producers and analyze, and interpret data in order to
directors to create an effective and accu- determine potential demand for films.
rate presentation of a script. They use By examining the buying habits, wants,
specialized equipment and computers to needs, and preferences of consumers,
edit the film. research analysts are able to recommend
Film writers express, edit, promote, ways to improve a film, increase sales, and
and interpret ideas and facts about films expand customer bases.
and the motion picture industry in writ- Matte painters are artists who create
ten form for newspapers, magazines, backgrounds for films via actual painting
books, Web sites, and radio and televi- or computer software.
sion broadcasts. Critics review movies for Model makers design and build scale
print publications, Web sites, and tele- duplicates of real or imaginary items
vision and radio stations. Columnists or that are too expensive to purchase or are
commentators analyze news and social unavailable.
issues as they relate to the motion picture Music conductors direct large groups of
industry. They write about events from musicians or singers in the performance
the standpoint of their own experience of a piece of music for a motion picture.
or opinion. Staff writers are employed by Musicians perform, compose, conduct,
magazines and newspapers to write news and arrange music for films.
stories, feature articles, and columns Producers plan and coordinate the
about the film industry. activities of all employees involved in a
Foley artists re-create sound effects for production. Most importantly, they are
a film, matching the sounds with images. responsible for deciding the size of the
Hairstylists and makeup artists use production and its budget. Producers
cosmetics, greasepaint, wigs, plastics, coordinate the work of all employees
latex, and other materials to change the engaged in writing, directing, filming,
appearance of actors’ hair and skin. staging, and editing a movie. They also
Lighting technicians, also known as discuss scripts with a variety of workers,
gaffers, set up and control lighting equip- including writers, directors, and editors.
ment for motion pictures, television In general, producers are responsible
broadcasts, taped television shows, and for overseeing and making the final
video productions. Best boys (of both gen- decisions on most matters related to a
ders) assist gaffers with their duties. production.
Location scouts search for locations that Production assistants help the techni-
will be used in films (such as a gritty bar, cal or editorial crew in all types of work,
 What Do I Need to Know About the Film Industry? 

from getting coffee to hauling production seem real. They may specialize in a vari-
equipment. ety of areas, including computer anima-
Production designers and art directors tion, sound effects, pyrotechnics, and
are involved with the selection, develop- makeup. Special effects technicians work
ment, and design of props, scenery, cos- with a variety of materials and techniques
tumes, makeup, and other artistic details. to produce the fantastic visions and star-
Property masters oversee the acquisi- tlingly realistic illusions that add dimen-
tion, usage, and disposal of props used sion to a film.
during a film. Storyboard artists draw illustrations
Public relations specialists, sometimes and sketches depicting the details of a
known as publicists, develop and main- script. This artwork helps film profes-
tain programs that present a favorable sionals (including directors, producers,
public image for actors/actresses or a film editors, and production designers) get a
studio. feel for the film.
Screenwriters write scripts for enter- Stunt performers are actors who per-
tainment, education, training, sales, form dangerous scenes in motion pic-
television, and films. They may choose tures. They may fall off tall buildings, get
themes themselves, or they may write on knocked from horses and motorcycles,
a theme assigned by a producer or direc- imitate fistfights, and drive in high-speed
tor, sometimes adapting plays or novels car chases. They must know how to set
into screenplays. up stunts that are both safe to perform
Script readers are responsible for read- and believable to audiences. In these dan-
ing screenplays that are submitted to gerous scenes, stunt performers are often
production companies, film studios, or asked to double, or take the place of, a
agents. They provide a brief summary of star actor. Stunt coordinators supervise
the screenplay and a recommendation on stunt workers and the development of
whether or not it should be considered stunts that will be used in a movie.
for development. Talent agents represent actors and their
Set decorators perform work that is business interests. They help secure jobs
similar to interior designers on movie for the actors they represent and work out
sets. the terms of the actors’ contracts to get
Set designers create the blueprints that the best deal possible for their clients (and
are used to build film sets. for themselves, since most agents work on
Sound designers oversee every aspect commission). Without an agent, it can be
of the soundtrack of a movie—from very difficult for an actor to find work.
music and dialogue to sound effects such Teachers instruct undergraduate and
as thunderstorms and punches during a graduate students about film-related
fight scene. subjects such as acting, screenwriting,
Special effects workers make the illu- directing, and animation at colleges and
sion of movies, theater, and television universities.
 What Can I Do Now? Film

industries include Michigan, Arizona,

Connecticut, New Mexico, and Utah.
The Greatest Movies The six major producers and distribu-
of All Time tors of motion pictures in the United
States are Paramount Pictures Corpora-
In 2008 the American Film Institute
tion, Sony Pictures Entertainment Inc.,
convened a blue-ribbon panel of
“leaders from across the film com- 20th Century Fox Film Corporation,
munity” to pick the best movies of all Universal City Studios LLLP, Walt Dis-
time. Here were its selections: ney Studios Motion Pictures, and War-
1. Casablanca (1942) ner Bros. Entertainment Inc. In addition
2. Citizen Kane (1941) to these large media companies, there
3. Gone with the Wind (1939) are hundreds of smaller companies with
4. Lawrence of Arabia (1962) staffs ranging from one or two people to
5. On the Waterfront (1954) thousands of workers.
6. Schindler’s List (1993)
7. Singin’ in the Rain (1952)
8. The Godfather (1972)
9. The Graduate (1967)
INDuStry outlook
10. The Wizard of Oz (1939) Employment in the motion picture and
video industry will grow about as fast
as the average for all industries through
2016, according to the U.S. Department
of Labor. Despite the economic down-
employmeNt turn in recent years, the movie indus-
opportuNItIeS try continues to grow, with revenue of
Approximately 2.5 million people in the $9.79 billion in 2008—an increase of
United States were affiliated in some nearly 2 percent from 2007, according to
manner with the motion picture and the MPAA. Worldwide box office sales
television industries in 2007, according reached an all-time high of $28.1 billion
to the Motion Picture Association of in 2008—an increase of 5.2 percent from
America (MPAA). More than 115,000 the previous year.
companies in all 50 states contributed The film industry is greatly ruled by
to the film and television industries in trends. Though filmmakers and indus-
some way in 2008. California and New try executives attempt to carefully ana-
York are the leading centers of film pro- lyze the success and failure of films, it is
duction in the United States. The MPAA nearly impossible to predict which films
reports that the top 10 production states will capture the public’s imagination and
outside of California and New York are attention. So many different elements
Illinois, Texas, Florida, Georgia, Penn- play parts in a film’s success. How a film is
sylvania, New Jersey, North Carolina, promoted and distributed, the other films
Louisiana, Tennessee, and Massachu- out at the time, and societal attitudes
setts. States with up-and-coming film toward the subject matter are just a few
 What Do I Need to Know About the Film Industry? 

of the factors that determine success. Stu- States alone that allow users to view, rent,
dios are constantly on the lookout for the or download feature films. These new
next big picture, but they are also anxious delivery methods have translated into
to play it safe and follow the formulas of increased demand for movies—which is
reliable film product. good news to people in the industry. In
Big-budget films will likely continue fact, 610 feature films were released in
to rule the industry. Production compa- 2008, according to the MPAA, an increase
nies will hire the most popular big-name of 23 percent from 1999.
actors and directors to draw huge profits. The film industry faces a few major
Special effects and animation will con- challenges over the next decade. Tax
tinue to create new jobs for those talented breaks from other English-speaking coun-
with computers. tries (especially Canada) are causing more
Special effects and popular stars don’t American productions to move abroad.
guarantee success, however, so film execu- When production leaves the United States,
tives will continue to look to independent thousands of jobs and the economic ben-
filmmakers and festivals for original tal- efits that film production brought to a
ent. Also, the unexpected success of such particular area are lost. To fight this eco-
small-budget movies as The Blair Witch nomic loss, several cities and states have
Project, You Can Count on Me, Garden begun offering the film industry incen-
State, Requiem for a Dream, and Juno has tives and tax breaks to encourage filming
proven that movies without stars, special in the United States. The motion picture
effects, and big budgets can sometimes industry is also losing billions of dollars as
make more money than many high-pro- a result of piracy, which occurs when an
file projects. individual obtains a movie without paying
Another major trend in the film for it or purchases a movie from a com-
industry is that movies are no longer just pany or person who has copied it without
watched in movie theatres and rented permission. The industry is combating
in video stores. They are now available piracy by initiating lawsuits against those
for delivery by mail; for download onto who violate copyright laws, implementing
computers, MP3 players, and mobile improved security in movie theaters (to
devices; and for streaming on the Inter- reduce the illegal taping of movies), and
net. In fact, the MPAA reports that there lobbying Congress to develop legislation
are more than 50 Web sites in the United that will reduce piracy.
a
Section 2
Careers
 a a a Actors

sum mary
Definition Educational Requirements High School Subjects
Actors play parts or roles in High school diploma Speech
motion pictures, on stage, Theater
or on television or radio. Certification or Licensing
Alternative Job Titles Required Personal Interests
Entertaining/performing
Performers
Thespians
Employment Outlook Film and television
About as fast as the average Theater
Salary Range
$7,500 to $75,000 to
$1 million+

Film and television actor Greg Serano and within two months of auditioning
caught the acting bug while in college. “I had booked my first role.”
was hanging out with a friend,” he recalls,
“who was acting in a production and while
backstage one day, there was an actor in What DoeS aN aCtor
his play that kind of resembled me, and Do?
I thought he was terrible. So I started Acting seems like a glamorous and fairly
repeating his lines how I thought they easy job. In reality, it is demanding, tiring
should be said. The next play, I auditioned work that requires a special talent. The
against him and got the part. I worked on hours can be long, there can be significant
four theater productions over two years. gaps between employment, and an actor’s
After working on stage, what made me popularity can be strongly influenced by
want to work in film and TV was seeing his or her choice of acting jobs, as well as
a special on the E! cable network titled the whims of the viewing public.
“How to Make It in Hollywood.” My best Before they can even begin acting,
friend and I drove to Los Angeles in 1996. actors must find a part in an upcoming
I then worked on getting an agent, and production. This may be in a comedy,
within four months started auditioning, drama, musical, or opera. Established


 Actors 

actors often have an agent who helps specially trained stunt performers. Others
them locate parts, but inexperienced work as stand-ins or body doubles. These
actors without a proven track record often actors are chosen for specific features and
must find roles on their own. Then, hav- appear on film in place of the lead actor;
ing read and studied the part, the actor this is often the case in films requiring
must audition before the director, casting nude or seminude scenes.
director, and other people who have con- Actors in films may spend several weeks
trol of the production. This requirement involved in a production, which often takes
is often waived for established artists. place on location; that is, in different parts
In film and television, actors must also of the world. Actors in the theater may
complete screen tests, which are scenes perform the same part many times a week
recorded on film, at times performed for weeks, months, and sometimes years.
with other actors, which are later viewed This allows them to develop the role, but it
by the director and producer of the film. can also become tedious. Television actors
If selected for the part, the actor then involved in a series, such as a soap opera
spends hundreds of hours in rehearsal or a situation comedy, also may play the
and must memorize many lines and cues. same role for years, generally in 13-week
This is especially true in live theater; in cycles. For these actors, however, their
film and television, actors may spend less lines change from week to week and even
time in rehearsal and sometimes impro- from day to day, and much time is spent
vise their lines before the camera, often rehearsing their new lines.
performing several attempts, or “takes,” While studying and perfecting their
before the director is satisfied. Televi- craft, many actors work as extras, the
sion actors often take advantage of tele- nonspeaking characters who appear
prompters, which scroll their lines on a in the background on screen or stage.
screen in front of them while performing. Many actors also continue their training.
Radio actors generally read from a script, A great deal of an actor’s time is spent
and therefore rehearsal times are usually attending auditions.
shorter. Actors work under a wide variety of
In addition to such mechanical duties, conditions. For example, those employed
the actor must determine the essence of in motion pictures may work in air-con-
the character being portrayed and the ditioned studios one week and be on
relation of that character to the overall location in a hot desert or on a snow-cov-
scheme of the work. For some film roles, ered mountain the next. Once they are
actors must also sing and dance and done filming, some actors—especially
spend additional time rehearsing songs top stars—are required to promote their
and perfecting the choreography. Some movies or shows by appearing as guests
roles require actors to perform various on television and radio shows or partici-
stunts, which can be quite dangerous. pating in interviews for magazines and
Most often, these stunts are performed by newspapers.
4 What Can I Do Now? Film

has had the opportunity to work on more

than 40 films, pilots, TV shows, miniseries
To Be a Successful and movies of the week including Legally
Actor, You S hould… Blonde, C.S.I., E.R., In the Valley of Elah,
Beer for My Horses, Terminator 4, and as
• be committed to developing your a series regular for four seasons on ABC
acting skills
Family’s Wildfire. Greg says that the best
• have a strong speaking voice part of being an actor is the good pay and
• be an excellent communicator the fact that the work can be a lot of fun.
• have confidence He cites “having to wait long periods of
• be able to accept constant rejec-
time between work/auditions” as the major
tion as you break into the field drawback to a career in the field.
Greg says there are really no typi-
• be willing to work long hours
cal days for actors. “It all depends,” he
• be able to memorize a large num- explains, “on how many scenes you’re in.
ber of lines
How many lines? Are there stunts? Elabo-
rate sets/lighting? The only typical part of
my work would be the hours—generally 12
hours ‘on set’ is the average. Prepping for
The world of acting is very uncertain. scenes normally includes sitting in front
Aspirants never know whether they will of the mirror in my trailer repeating lines
be able to get into the profession, and, over and over and over and over until I’ve
once in, there are uncertainties about memorized them. It also involves finding
whether their work will be well received the other actors in the scene and ‘run-
and, if not, whether they can survive a bad ning it’ till we’re up. When not in a scene,
production. I like to watch the director work with the
actors and watch the monitors. Some days,
there is lots of ‘downtime,’ so to fill time
What IS It lIke to Be aN there are books, PlayStation, movies, talk-
aCtor? ing with other actors and the crew, and
Greg Serano is a film and television actor eating!”
with 11 years as a Screen Actors Guild Robert Parnell has been an actor for five
(SAG) actor who is now based in New decades. Some of his film and TV credits
Mexico after living in Los Angeles dur- include The Magic Boat, Palooka, Made
ing his early acting career. He also teaches in America, Heart and Souls, Presque
acting to children, teens, and adults at Isle, Two Mothers, Midnight Caller, Dr.
the STUDIO: an actor’s space in Albu- Quinn Medicine Woman, Nash Bridges,
querque, New Mexico. (Visit http://www. America’s Most Wanted, and Back to
imdb.com/name/nm0784833 to learn the Streets of San Francisco. He has won
more about his career.) Since 1996, Greg several awards for his work, includ-
 Actors 5

ing the San Francisco Bay Area Critics’

Award, the Florida Critics’ Award, and Good Advice
the Dramalogue Outstanding Perfor-
mance Award. Robert is a member of Actor Robert Parnell offers the following
SAG, Actors’ Equity Association, and the advice to aspiring actors:
American Federation of Television and • Be a voracious reader. Educate your-
Radio Artists. self—not just about acting, but about
“A typical day on the set depends on everything. Study people. A good
actor is a good listener on and off the
the shoot schedule for that particular stage.
day,” Robert says. “Generally, start times
• Act, act, act. Before even thinking
are early in the morning. If the location
about turning professional, get into
of the shoot is some miles distant, you community theater productions or
need to get up early because if you are student films.
in a metropolitan area you will hit rush- • Take classes in improvisation, voice,
hour traffic. They don’t like you to be late and dance.
for your call time. It takes a lot of coordi-
• Be positive. Rejection happens.
nation to set up a shot and reorganizing
could effect the entire day of shooting. • Think about the other important mat-
ters in life: marriage, children, financial
Usually you will find that you will still needs. The percentage of actors mak-
wait around to begin, but they will hustle ing big incomes is very low. Don’t do
you into wardrobe and makeup anyway. it for fame and fortune; do it because
Craft-services will provide meals. A large you love and need it. My greatest
trailer will have individual rooms where reward has been the applause of an
appreciative audience.
you can hang out. During this time, you
should study your lines. Rehearsal time on
the set is very brief and they expect you
to be ready with your lines. Depending on
the schedule you may have just one scene Do I have What It takeS
or several in a day. When you are between to Be aN aCtor?
scenes or setups, you shouldn’t wander To be a successful actor, you need to not
too far. The producers may decide they only have a great talent for acting, but
suddenly need you. Always keep in mind also a great determination to succeed.
that moviemaking is a costly business for You must be able to memorize hundreds
the producers, and they expect profes- of lines and should have a good speaking
sionalism. Between scenes I find that I voice. The ability to sing and dance will
am constantly going over my lines for the help you stand out during casting calls and
next scene. Usually it is an eight-hour day auditions. Almost all actors, except the
for actors, but you will never know for biggest stars, are required to audition for
sure until you are informed by a produc- a part before they receive the role. In film
tion assistant that you are released.” and television, you will generally complete
 What Can I Do Now? Film

screen tests to see how you will appear on from TV/movies or stage plays). Find a
film. In all fields of acting, a love for acting reputable acting coach and get to work!”
is a must. It might take many years for an
actor to achieve any success. Postsecondary training
While union membership may not It is a good idea to earn at least a bache-
always be required, many actors find it lor’s degree in a program in theater or the
advantageous to belong to a union that dramatic arts to prepare for this career.
covers their particular field of perform- In addition, graduate degrees in the fine
ing arts. These organizations include the arts or in drama are nearly always required
Actors’ Equity Association (stage), Screen should you decide to teach dramatic arts.
Actors Guild (motion pictures and tele- College can also provide you with act-
vision films), or American Federation ing experience. More than 500 colleges
of Television and Radio Artists (TV, and universities throughout the country
recording, and radio). In addition, some offer dramatic arts programs and pres-
actors may benefit from membership in ent theatrical performances. Actors and
the American Guild of Variety Artists directors recommend that those inter-
(nightclubs, and so on), American Guild ested in acting gain as much experience
of Musical Artists (opera and ballet), or as possible through acting in plays in high
organizations such as the Guild of Ital- school and college or in those offered by
ian American Actors for productions in a community groups. Training beyond col-
specific language. lege is recommended, especially for actors
interested in entering the theater. Join-
ing acting workshops, such as The Actors
hoW Do I BeCome aN Studio (http://www.theactorsstudio.org),
can often be highly rewarding.
aCtor?
education Certification or licensing
High School There is no certification available, but
There are no minimum educational actors working in film and television must
requirements to become an actor. How- belong to SAG. Many actors also belong
ever, a minimum of a high school diploma to the American Federation of Television
is recommended. and Radio Artists and the Actors’ Equity
Greg Serano offers the following advice Association. As a member of a union,
to high school students who are interested you’ll receive special benefits, such as bet-
in becoming actors: “First, ask questions ter pay and compensation for overtime
of working actors before you do anything. and holidays.
Watch out for scams—there are a lot out
there! Second, train, train, train. Like any- Internships and volunteerships
thing else, you’ve got to work at it and The best way to explore this career is to
do it in the space/realm that you’ll be in participate in school or local theater pro-
(a real acting workshop with real scenes ductions. Even working on the props or
 Actors 

lighting crew will provide insight into the makers to get more experience. Work-
field. You can also volunteer with local ing as an extra is another good way to get
film commissions or independent film- exposure to the field.

Breaking Into the Business:

A Story from Actor Robert Parnell

I suppose I was lightly bit by the acting succession. Theater was put on hold while
bug when I attended Pasadena City Col- I struggled to make a living driving cabs in
lege in California. I ran into a classmate Los Angeles, reading gas meters, etc.
who was standing in a hallway and mum- Finally, in 1966 I heard about an audi-
bling things to himself. He explained that tion at the professional theater, The Ivar,
he was going to audition for a play. He in Hollywood. This was the West Coast
suggested that I do the same, since they premier of Who’s Afraid of Virginia Woolf?
were looking for someone older to play I got the part and the producer paid my
the father. [Robert had served in the Navy initiation fee to join the Actors’ Equity
for four years and was older than many Association, an essential union to appear
of the students.] With the exception of in professional theater. Finally, I was being
doing a school play in the seventh grade, paid to do what I loved. However, when
I had not acted. When my friend went in the show eventually closed, I still had
for his audition, I slipped into a seat in the mouths to feed and found a job as a pri-
back and watched him and others doing a vate investigator with a large company in
scene from the play. At the end, the direc- Los Angeles. I soon became a supervisor
tor asked if there was anyone else who and in 1977 was transferred to the home
wanted to audition. I rose apprehensively office in San Francisco as a vice president.
and read some “father” lines. I felt that I Money was good, but I found the Bay Area
did okay, and I got the part. The director had a vibrant theatrical community and
was the school’s drama teacher and hap- working all day and acting at night was
pened to be the best teacher I had ever more than I wanted to handle. I decided
had. to quit the firm and started my own. Thus
I did a number of plays there, but after I could control my hours.
two years I felt I was ready for the big time While doing a play in 1985, I was seen
and stuck out my thumb to hitchhike to by a film and television agent who offered
New York. I studied a bit and saw many Off to represent me. I had never really consid-
Broadway shows. To augment my small GI ered this, thinking that I was an artist and
Bill, I worked two different jobs, at a shoe needn’t pursue the commercial aspect.
store during the day and a bakery at night. How wrong I was. I soon found that acting
After only nine months, my mother’s ill- in front of a camera required a disciplined
ness required me to return to California. I skill and was exciting in its own way and,
then enrolled at Los Angeles State College incidentally, did occasionally pay quite
and majored in drama, again appearing in well. At this stage of my life, early 70s, I
most of the school’s plays. Two years later still do theater, film, and TV and hope to
I married and had two children in rapid continue as long as there are roles.
 What Can I Do Now? Film

Who WIll hIre me?

And the Approximately 70,000 actors are
Oscar Goes to . . . employed in the United States. Motion
pictures, television, and the stage are the
The following actors have won the Oscar largest fields of employment for actors,
for best performance in a leading role in with television commercials representing
recent years:
as much as 60 percent of all acting jobs.
2008: Sean Penn (Milk) Most of the opportunities for employ-
2007: Daniel Day-Lewis (There Will Be ment in these fields are either in Los
Blood) Angeles or in New York.
2006: Forest Whitaker (The Last King of As cable television networks continue
Scotland) to produce more and more of their own
2005: Philip Seymour Hoffman (Capote) programs and films, they will become a
2004: Jamie Foxx (Ray)
major provider of employment for actors.
Home entertainment options (DVDs,
2003: Sean Penn (Mystic River)
video, Internet, cell phones, etc.) will also
2002: Adrien Brody (The Pianist) continue to create new acting jobs, as will
2001: Denzel Washington (Training the music-video business.
Day) The lowest numbers of actors are
2000: Russell Crowe (Gladiator) employed for stage work. In addition to
Broadway shows and regional theater,
The following actresses have won the there are employment opportunities for
Oscar for best performance in a leading stage actors in summer stock, at resorts,
role in recent years: and on cruise ships.
2008: Kate Winslet (The Reader) The best way to enter acting is to start
with high school, local, or college produc-
2007: Marion Cotillard (La Vie en Rose)
tions and to gain as much experience as
2006: Helen Mirren (The Queen) possible on that level. Very rarely is an
2005: Reese Witherspoon (Walk the Line) inexperienced actor given an opportunity
2004: Hilary Swank (Million Dollar Baby) to perform on stage or in film in New York
2003: Charlize Theron (Monster)
or Hollywood. The field is extremely dif-
ficult to enter; the more experience and
2002: Nicole Kidman (The Hours)
ability beginners have, the greater the
2001: Halle Berry (Monster’s Ball) possibilities for entrance.
2000: Julia Roberts (Erin Brockovich) Those venturing to New York or Holly-
wood are encouraged first to have enough
For more information on Academy Award- money to support themselves during the
winning actors, visit http://www.oscars.
long waiting and searching period nor-
org/awardsdatabase.
mally required before a job is found. Most
will list themselves with a casting agency
 Actors 

that will help them find a part as an extra

or a bit player, either in theater or film.
These agencies keep names on file along Screen Actors
with photographs and descriptions of the Guild Membership
actors’ features and experience, and if a by Category, June 2008
part comes along that may be suitable,
they contact the appropriate person. Very Television actors: 49,889
often, however, names are added to their Theatrical/motion picture actors:
lists only when the number of people 48,835
in a particular physical category is low. Voice-over actors: 25,796
For instance, the agency may not have Commercial actors: 24,259
enough athletic young women on their
Background actors: 22,990
roster, and if the applicant happens to fit
this description, her name is added. Dancers: 12,556
To learn more about breaking into Singers: 10,306
this career, you might also consider visit- Stunt professionals: 7,745
ing the SAG Web site (http://www.sag.
Young performers (minors): 5,362
org/content/getting-started-actor-faq)
to read the online publication Getting Puppeteers: 1,047
Started as an Actor.
Source: Screen Actors Guild

Where CaN I Go From

here?
Many film and television actors get their Some actors eventually go into related
start in commercials or by appearing in occupations and become drama coaches,
government and commercially sponsored drama teachers, producers, stage direc-
public service announcements, films, and tors, motion picture directors, television
programs. Other actors join the afternoon directors, radio directors, stage managers,
soap operas and continue on to evening casting directors, or artist and repertoire
programs. managers. Others may combine one or
New actors normally start in bit parts more of these functions while continuing
and have only a few lines to speak, if any. their career as an actor.
Actors advance by being cast in larger
supporting roles and then, perhaps, a star-
ring role in an independent movie, with What are the Salary
advancement to the ranks of leading actor raNGeS?
or actress an option for some profession- The wage scale for actors is largely con-
als. Only a very small number of actors trolled through bargaining agreements
ever reach that pinnacle, however. reached by various unions in negotiations
0 What Can I Do Now? Film

with producers. These agreements nor- times higher. Actors in television series
mally control the minimum salaries, hours may earn tens of thousands of dollars per
of work permitted per week, and other week, while a few may earn as much as
conditions of employment. In addition, $1 million or more per week. Salaries for
each artist enters into a separate contract these actors vary considerably and are
that may provide for higher salaries. negotiated individually. In film, top stars
In 2008 the minimum daily salary of may earn as much as $20 million per film,
any member of SAG in a speaking role was and, after receiving a percentage of the
$759 (or $2,634 for a five-day workweek). gross earned by the film, these stars can
Motion picture actors may also receive earn far, far more.
additional payments known as residuals Until recent years, female film stars
as part of their guaranteed salary. Many tended to earn lower salaries than their
motion picture actors receive residuals male counterparts; the emergence of
whenever films, TV shows, and TV com- stars such as Julia Roberts, Jodie Foster,
mercials in which they appear are rerun, Nicole Kidman, Angelina Jolie, Reese
sold for TV exhibition, or put on DVD. Witherspoon, and others has started to
Residuals often exceed the actors’ original reverse that trend. The average annual
salary and account for about one-third of earnings for all motion picture actors,
all actors’ income. however, are usually low for all but the
According to the U.S. Department of best-known performers because of the
Labor, actors employed in the motion periods of unemployment.
picture and video industries had mean
hourly earnings of $29.05 in 2008. The
department also reported the lowest paid What IS the JoB
10 percent earned less than $7.99 an hour, outlook?
while the highest paid 10 percent made Employment for actors is expected to
more than $80.00. grow about as fast as the average for all
The annual earnings of film and tele- careers through 2016, according to the
vision actors are affected by frequent U.S. Department of Labor. There are a
periods of unemployment. According to number of reasons for this. The growth
SAG, most of its members earn less than of satellite and cable television in the
$7,500 a year from acting jobs. Unions past decade has created a demand for
offer health, welfare, and pension funds more actors, especially as cable networks
for members working over a set number produce more and more of their own
of weeks per year. Some actors are eligible programs and films. The rise of home
for paid vacation and sick time, depend- entertainment options (such as direct-
ing on the work contract. for-Web movies, mobile content pro-
In all fields, well-known actors have duced for cell phones or other portable
salary rates above the minimums, and electronic devices, and DVD and online
the salaries of the few top stars are many rentals) has also created new acting jobs,
 Actors 

as more and more films are made strictly It should be recognized that of the
for the home market. 70,000 or so actors in the United States
Despite the growth in opportunities, today, an average of only about 10,500 are
there are many more actors than there employed at any one time. Of these, few
are roles, and this is likely to remain true are able to support themselves on their
for years to come. This is the case in all earnings from acting, and fewer still will
areas of the arts, and even those who are ever achieve stardom. Most actors work
employed are normally employed during for many years before becoming known,
only a small portion of the year. Many and most of these do not rise above sup-
actors must supplement their income by porting roles. The vast majority of actors,
working other jobs as secretaries, waiters, meanwhile, are still looking for the right
or taxi drivers, for example. Almost all break. There are many more applicants in
performers are members of more than one all areas than there are positions. As with
union in order to take advantage of various most careers in the arts, people enter this
opportunities as they become available. career out of a love and desire for acting.
 a a a Animators

sum mary
Definition Educational Requirements High School Subjects
Animators are artists High school diploma; some Art
who design the cartoons postsecondary training Computer science
that appear in movies, highly recommended
television shows, and Personal Interests
commercials. Certification or Licensing Computers
None available Drawing
Alternative Job Titles Entertaining/performing
Motion cartoonists, multi- Employment Outlook Film and television
media artists Much faster than the
Salary Range average
$31,570 to $56,330 to
$100,390+

Sometimes it takes an extraordinary effort and was accepted. After my second year
to break into the animation industry, espe- there, I got my first industry job at a stu-
cially with top employers. But the extra dio in Ottawa called Atkinson Film Arts. I
effort can pay off. And if you don’t believe was an animator on a TV special called For
it, just listen to animator Michel Gagné’s Better or for Worse: The Bestest Present.
story of how he broke into the business. “Following that project, I returned to
“I was interested in animation at an early Sheridan College for a third year and made a
age,” he recalls. “I started doing my own short film called A Touch of Deceit. As soon
animated experiments at the age of 14 or as the film was completed, I flew to Califor-
so, using a Super-8 camera. As I finished nia and showed up at the doorstep of Don
high school, I saw The Secret of Nimh and Bluth Studios. When I asked to meet Don
made my mind up that I was going to work in person, I was told ‘No’ and asked to leave
for Don Bluth, the director of the film” the premise. I begged the secretary to take
[and a pioneer in the animation industry]. the videocassette of my film and show it to
“I applied to the classical animation Don. After several minutes of begging, she
program at Sheridan College in Canada took the video and told me that she’d see

 Animators 

what she could do but to not expect any-

thing. Disappointed, but not beaten, I flew
back to Toronto where I immediately got To Be a Successful
a job at a small commercial studio called Animator, You S hould…
Light Box. Two weeks later, I received a
• be extremely creative
phone call from John Pomeroy, the anima-
tion director at Bluth Studios. He asked me • be skilled at using animation
software
if I could start the following Monday.”
• have a good sense of humor
• be observant
What DoeS • be able to work well with others
aN aNImator Do? • have excellent communication
Animators design the cartoons that appear skills
in films and television shows. They also • have flexibility in order to accom-
create the digital effects for many films and modate your employers’ vision
commercials. Making a big-budget ani- • have a thick skin in order to accept
mated film, such as WALL-E, Ratatouille, occasional criticism
A Bug’s Life, or Shrek, requires a team of
• be willing to continue to learn
many creative people. Each animator on throughout your career
the team works on one small part of the
• be able to market your skills to
film. On a small production, animators potential employers
may be involved in many different aspects
of the project’s development.
An animated film begins with a script.
Screenwriters plan the story line, or plot, and begin to prepare the finished artwork
and write it with dialogue and narration. frame by frame, or cell by cell. Some ani-
Designers read the script and decide how mators create the “key” drawings. These
the film should look—should it be realistic, are the drawings that capture the char-
futuristic, or humorous? They then draw acters’ main expressions and gestures at
some of the characters and backgrounds. important parts in the plot. Other ani-
These designs are then passed on to a sto- mators called inbetweeners create the “in
ryboard artist who illustrates the whole between” drawings—the drawings that
film in a series of frames, similar to a very fill in the spaces between one key draw-
long comic strip. Based on this storyboard, ing and the next. The thousands of final
an artist can then create a detailed layout. black-and-white cells are then scanned
The most common form of animation into a computer. Some animators forego
is cell animation, but this method has creating on paper altogether and instead
changed greatly as a result of the emer- use computer software to draw directly
gence of computers. Animators examine into a computer system. In computer or
the script, the storyboard, and the layout, digital animation, the animator creates all
34 What Can I Do Now? Film

solves. Animators are relying increasingly

All About on computers in various areas of produc-
Queen’s Counsel tion. Computers are used to color anima-
tion art, whereas formerly every frame
In addition to working as an animator, was painted by hand. Computers also help
Alex Williams also draws Queen’s Counsel, animators create special effects and even
a cartoon strip in The (London) Times. He entire films. (One program, Macromedia’s
details the genesis of the strip below.
Flash, has given rise to an entire Internet
Queen’s Counsel began life as a cartoon cartoon subculture.)
strip about politicians (for a short while In stop-motion animation, an object,
I had a job working for a �ember of �ar�
liament at Westminster �where the �ar�
such as a clay creature or doll, is photo-
liament of the United Kingdom of Great graphed, moved slightly, and photographed
Britain and Northern Ireland meets]).. But again. The process is repeated hundreds
I couldn’t sell the strip. I think it was too of thousands of times. Movies, such as
similar to some TV material out there, Chicken Run, were animated this way.
and I didn’t really understand my target Other people who work in animation
audience well enough. When I became
a law student I put wigs on the charac�
are prop designers, who create objects
ters and turned them into lawyers. And used in animated films, and layout art-
because I was a student lawyer myself, ists, who visualize and create the world
this was obviously an area where I could that cartoon characters inhabit.
write material that felt truthful—even Most animators work in large cities
autobiographical. In the early 1990s there where movie and television studios are
was a fashion for lawyer jokes—mostly
hate jokes really—and I found that I had
located. They generally work in well-lit,
tapped into a kind of a zeitgeist. In 1993 comfortable environments. Staff anima-
I sent the strip to three publications, and tors work a standard 40-hour workweek
I got two offers. Since I was broke at the but may occasionally be expected to work
time, I picked the publication that paid the evenings and weekends to meet dead-
most—The Times. They publish a section lines. Freelance animators have erratic
about law every week, so it seemed like a
good long�term fit. I’ve been there ever schedules, and the number of hours they
since, and I still love doing it. I also have a work may depend on how much money
new collection of law cartoons that came they want to earn or how much work they
out recently. It’s titled 101 Ways to Leave can find. They often work evenings and
the Law, and is published by JR Books. weekends but are not required to be at
Visit http://www.alex�williams.com
www.alex�williams.com work during regular office hours.
and http://www.qccartoon.com to learn Animators can be frustrated by employ-
more about Alex Williams and Queen’s ers who curtail their creativity, asking them
Counsel. to follow instructions that are contrary to
what they would most like to do. Many
freelance animators spend a lot of time
the images directly on the computer screen. working alone at home, but animators
Computer programs can create effects like have more opportunities to interact with
shadows, reflections, distortions, and dis- other people than most working artists.
 Animators 5

What IS It lIke to Be aN came up with an idea for the opening titles.

I pitched the idea to the directors and pro-
aNImator? ducer but was told that, most likely, the
Michel Gagné is a four-time Annie-nomi-
Farrelly brothers (who were directing the
nated (Osmosis Jones, The Iron Giant, Quest
live-action sequences in the movie) would
for Camelot, and Prelude to Eden) anima-
have their own team handling that part
tor who is based in Bellingham, Wash-
of the movie. Undeterred, I decided to go
ington. “I studied animation at Sheridan
ahead and produce the sequence on my
College School of Visual Arts in Ontario,
own time and without permission. When
Canada, and began my professional ani-
the executives at Warner Bros. saw what I
mation career in 1985. Through the years
had done, they applauded and quickly inte-
I’ve worked for Don Bluth Studios, Warner
grated my sequence in the final movie.”
Bros., Disney, Pixar, Cartoon Network, and
“I grew up with animation,” says Alex
Nickelodeon on more than 20 feature films, Williams, an animator and cartoonist
including The Iron Giant, Osmosis Jones, based in London and Los Angeles. “The
and Ratatouille. I continue to be involved main influence on my career has always
in the animation industry in various capac- been my father, animator Richard Wil-
ities, including character design, special liams [a legendary animator who has won
effects animation, production design, and two Oscars]. Dad is something of a worka-
conceptual art. I also have an active inde- holic and many of my earliest memories
pendent career creating short films, books, were of him drawing scenes from his film
comics, and various other projects. The Thief and the Cobbler. I continue to be
“As an animator,” he continues, “I love inspired by his work. But for him, I doubt I
the fact that I can utilize my creativity and would even be in this business. As well as
talent on a daily basis. I love seeing my cre- animation I also do a cartoon strip (Queen’s
ations materialize on the screen. I love the Counsel) in The (London) Times, which is
friendships I’ve made and continue to make pretty heavily influenced by cartoonists
on all the various projects I’m involved like Garry Trudeau and Jules Feiffer. I also
with. Working in a community of amazing hugely admire Posy Simmonds’s work; her
artists is challenging and inspiring at the graphic novels are wonderful. Other than
same time. Making a living at something that, I did briefly become a lawyer in my
you love is a true blessing.” Michel says mid 20s, but it didn’t stick, and I soon went
that there are a few drawbacks to working back to animation.
as an animator. “It’s hard to keep making a “The best thing about the business,” he
steady paycheck as the work is usually on a elaborates, ”is forging relationships with
per project basis,” he explains. “Deadlines really creative and interesting people. I
can often mean long hours of intense work. loved working for Brad Bird [a winner of
I should also mention that it’s easy to get two Oscars for animation] on The Iron
out of shape working at a desk all day.” Giant. He is such a talented director and
One of Michel’s most memorable made me look at the medium in a whole
moments as an animator came when he new way. He has a huge enthusiasm for
worked on the movie Osmosis Jones. “I animation and forces you to look very
36 What Can I Do Now? Film

carefully at your work and the kind of

choices you make. There are also a couple Take a Visit to
of story artists I love to work with—people the Insanely Twisted
I can call up and spitball ideas. Actually, I Shadow Planet
have a whole network of people I bounce
ideas off. It’s a great medium with so many In addition to working as an animator,
smart people working in it.” �ichel Gagné also creates computer
Alex says that another exciting aspect of games. He is currently working on one
his work is getting the opportunity to work called Insanely Twisted Shadow Planet
on great projects. “I am very proud to have (ITSP). Below, he tells readers a little more
about the game.
worked on The Lion King, Who Framed
Roger Rabbit?, The Iron Giant, and Harry ITSP is an epic side�scroller I’m produc�
Potter. On the down side, I travel more ing with my partners at Fuelcell studios.
than I would like to. I have worked in the The initial inspiration for ITSP was a series
United States, Canada, London, Germany, of interstitials called Insanely Twisted
Shadow Puppets I created back in 2005.
Denmark, and Japan. There is also a level of That was the starting point, but the game
insecurity in the business that never really has evolved way beyond that. Some of
goes away, since so much of it is project the best games of all time strike an excel�
based. You can feel it at the award ceremo- lent balance between action and prob�
nies. Whenever anyone picks up an award lem solving, and ITSP aims to bring those
elements together with very unique art
and makes a speech, what they really want
style combined with feature�film quality
to say is ‘thank God I’ll be working for the animation.
next five years.’”
Visit http://www.gagneint.com and
http://www.insanelytwisted.com to learn
Do I Have WHat It takes more about �ichel Gagné and ITSP.
to Be aN aNImator?
You must be very creative to be success-
ful as an animator. In addition to having a decent living. You must be able to take
artistic talent, you must be able to gener- suggestions and rejections gracefully.
ate ideas, although it is not unusual for You should also have extensive knowl-
animators to collaborate with writers edge of animation software and be willing
for ideas. You must have a good sense of to continue to learn throughout your career
humor (or a good dramatic sense) and since animation and computer technology
an observant eye to detect people’s dis- change almost constantly. “Employment
tinguishing characteristics and society’s in animation can be difficult if your skills
interesting attributes or incongruities. are not up to par,” says Michel Gagné. “It’s
You also need to be flexible. Because important to be versatile and familiar with
your art is commercial, you must be willing a variety of computer software. The field is
to accommodate your employers’ desires if quite competitive, and you have to be very
you are to build a broad clientele and earn good in order to make a living at it.”
 Animators 37

HoW Do I BeCome aN Internships and volunteerships

aNImator? Larger employers, such as Pixar, offer
education apprenticeships or internships. To enter
these programs, applicants must be
High School attending a college animation program.
In high school, take art, of course, as well Interns at Pixar must have completed
as computer classes. Math classes, such as their junior year of college, be a current
algebra and geometry, will also be helpful. graduate student, or have graduated dur-
If your school offers animation and graphic ing the year the internship begins. Pro-
design classes, be sure to take those. gram participants might work as camera
and staging-artist interns, who “create
Postsecondary Training sequences of shots that convey the story
You do not need a college degree to become through the application of traditional
an animator, but there are a number of filmmaking principles in a 3-D computer
animation programs offered at universi- graphics environment.” Other internship
ties and art institutes across the country. options at Pixar are available in technical
You may choose to pursue an associate’s, direction, production management, story,
bachelor’s, a master’s of fine art, or a Ph.D. marketing, engineering, and editorial.
in computer animation, digital art, graphic Volunteering with a local animation
design, or art. Some of today’s top com- or film production company is the next
puter animators are self-taught or have best thing to landing an internship. This
learned their skills on the job. experience will give you a great intro-
“Obviously a good general training in duction to the field and help you make
art and design is essential,” says Alex Wil- valuable contacts in the field.
liams. “I would also advise any student to
learn as many different software packages
as possible. The business is almost wholly WHo WILL HIre me?
digital now, and it’s not likely to go back. “My first paid work was as an inbetweener
You need to know Maya and PhotoShop at on the 1988 feature film Who Framed
a minimum. Final Cut, Premiere, and After Roger Rabbit?,” recalls Alex Williams. “I
Effects are all very useful. The more differ- did inbetweens for a few months until
ent software packages you can handle, the I got promoted to assistant animator.
more useful you are to any company, espe- It was a wonderful project because we
cially if you can get under the hood and could all see what a huge breakthrough
fix technical problems. Couple that with a it was going to be, a genuinely innovative
great artistic training and you will never be film. [My] dad was directing the anima-
out of work.” tion so I had an inside track. One of the
best ways to break into the business is to
Certification or Licensing try to find a large project that is rapidly
No certification or licensing is available crewing up. Studios get less fussy about
for this profession. portfolios when they have to hire 150
38 What Can I Do Now? Film

One new way up-and-coming anima-

tors have made themselves known to the
And the animating community is by attracting
Oscar Goes to . . . an audience on the World Wide Web. A
portfolio of well-executed Web cartoons
The following animated feature films
have won Oscars in recent years:
can help an animator build his reputa-
tion and acquire jobs. Some animators,
2008: WALL-E (Andrew Stanton) such as the Brothers Chaps (creators of
2007: Ratatouille (Brad Bird) http://homestarrunner.com), have even
2006: Happy Feet (George �iller) been able to turn their creations into a
2005: Wallace & Gromit in The Curse of
profitable business.
the Were-Rabbit (Nick �ark and
Steve Box)
WHere CaN I Go From
2004: The Incredibles (Brad Bird)
Here?
2003: Finding Nemo (Andrew Stanton) Animators’ success, like that of other
2002: Spirited Away (Hayao �iyazaki) artists, depends on how much the public
2001: Shrek (Aron Warner) likes their work. Very successful anima-
tors work for well-known film compa-
For more information on animated fea� nies and other employers at the best
ture films that have been wages; some become well known to the
nominated for or won Academy public.
Awards, visit http://www.oscars.org/
awardsdatabase.
WHat are tHe saLary
raNGes?
Multimedia artists and animators who
people in a couple of months. Nowadays were employed in the motion picture
there is almost always a big project crew- and video industry earned annual mean
ing up somewhere around the world.” salaries of $56,330 in 2008, according to
Approximately 87,000 animators and the U.S. Department of Labor. Salaries
multimedia artists are employed in the for all multimedia artists and animators
United States. Employers of animators ranged from less than $31,570 to more
include producers, movie studios, and than $100,390.
television networks. In addition, a number Self-employed artists do not receive
of these artists are self-employed, work- fringe benefits such as paid vacations,
ing on a freelance basis. Some do anima- sick leave, health insurance, or pension
tion on the Web as a part-time business benefits. Those who are salaried employ-
or a hobby. Others work for computer ees of companies do typically receive such
game companies. benefits.
Another Random Scribd Document
with Unrelated Content
purskuttelivat sitä ainoata halua. Kaikki epäilyt haihtuivat niiden
voimien edestä pölynä.

*****

Jo leimusivat Vipusen henkisten aarteiden roviot. Suomensuku

lämmitteli niiden ympärillä, sulatti mielen rautaista kamaraa.
Tuhannet puhujat loihtivat maatuneen tietäjän hengen kalman
kolosta, kertomaan hänen lausumiansa syntysanoja.

Korpelan Kisakankaalla, järven rannalla, pimeässä petäjikössä juhli

Korpelan väki. Koko petäjikkö kömpi täynnä kivikkomäkien
känsäkouraisia karhuja. Puheita pidettiin, nuoret, reippaat tytöt ja
pojat lauloivat jäisen maansa ylistystä. Kaikki tunsivat olevansa
isänmaansa jäisessä kamarassa kiini, kuin tervaskannot. Tyyninä ja
jöröinä katselivat he suomensuvun tulevaisuuteen. Se väki oli
Suomen kansan "pohjaa". Se oli lujaa, kuin harmaa vuori. Hallayöt
olivat tuhansia kertoja kulkeneet sen yli, tekemättä naarmua sen
tarmoon. Tämän joukon seassa seisoo Harhama taas, kuin kalliolla.
Hän oli tämän kansan korottanut sielussaan miehuuden esikuvaksi,
kansan aateliksi.

Juhla oli jo loppupuolella, kun Harhama puhui. Myrsky suhisi

petäjissä, ulvahti joskus ja ikäänkuin kiskoi puhujaa mukaansa.
Kuulijoiden jäykkä miehuus lämmitti häntä ja hän itse tunsi
tarvitsevansa hillitä innostustansa, ettei se puhkeaisi kilpailemaan
jäisen tuulen voiman kanssa. Hän näki nyt edessänsä sankan joukon
niitä, joita hän piti sorrettuina, apua tarvitsevina,
maailmankurjuuden vertauskuvina. Hän ei kysynyt tarvitsivatko ne
hänen apuansa, tai huolivatko ne siitä. Hän oli siitä varma, hän näki
heidät, kuvitteli köyhiksi, uskotteli seisovansa maailmankurjuuden
edessä ja… Hän astui sen luulottelemansa maailmanköyhyyden
eteen korskeana ja…

Niin: Hän kumarsi sitä jumaloimaansa, nöyränä, polvistui sen

edessä.
Hän ylisti sitä… Hän puhui:

— "Kansalaiset!

"Vipusen valkeiden ympärillä on lupa puhua ainoastaan sitä, mikä

koskee kansan elämän ydinkysymystä. 'Eheä, yhtenäinen kansa!' se
oli Vipusen huuto suomensuvulle. Mutta kansamme ei tule eheäksi
ainoastaan sillä, että kukistamme vierasrotuisen ja vieraskielisen
virkamiesluokkamme vallan ja panemme omat poikamme sijalle. Sitä
eheyttä ei myös saavuteta sillä, että kokoamme rajojen takaiset
kansanliepeet itseemme. Kansassamme on vielä yksi juopa ja se on
pahimpia:

"Kansamme on jakautunut rikkaisiin ja köyhiin. Edellisten pöydät

notkuvat herkkujen painosta ja niiden kodeissa helskyy soitto ja
laulu. Jälkimäiset ovat sysätyt Hornan luoliin. Heidän kodeissansa
vallitsee puutos ja kuuluu valitus. Tämä juopa on poistettava."

Tuuli ulisi petäjien latvoissa. Väki, joka täytti petäjikön, katsoi

puhujaa ihastuneena. Harhama huomasi sen. Hän katseli
kuulijoittensa ryppyisiä kasvoja ja kumaraisia hartioita ja
yksinkertaisia pukuja, Maailmankurjuus näytti seisovan hänen
edessänsä, täyttäen koko petäjikön järvenrantaa myöten. Niiden
silmäykset näyttivät kiitollisuuden tulilta. Hän tunsi seisovansa
jumalansa edessä ja ylisti sitä entistä hartaampana, puhui niin, kuin
luuli kuulijoita miellyttävän. Hän jatkoi:
 — "Maassamme on virkamiehiä, jotka yksituntisista työpäivistä
saavat palkkaa jopa yli sadan markan päivässä. Mutta meillä on
toisella puolella suuri kivenvääntäjien joukko, joka raataa
viisitoistatuntisia työpäiviä markasta. Yksi saa toisella puolen sen
mitä samassa ajassa ansaitsemaan tarvitaan tuhannen toisella
puolen."

Hu-hui! — vihelsi tuuli. Petäjikkö suhisi. Kuulijat tuijottavat

puhujaa yhtenä silmänä.

— "Ne ovat meidän ajatuksiamme", — voi lukea kaikkialta.

Hän innostui. Hän näki kaikkialla kiitollisuutta ja rakkautta. Se oli

maailmankurjuuden kiitollisuutta. Se nosti päätänsä, kuin kiehtova
punainen hämäräkäärme ja sanoi: Katso!… Katso!…

Harhama jatkoi:

— "Te olette tässä maassa ainoat, jotka kannatte kuormaa

hartioillanne. Te olette ainoat oikeat herrat. Te kannatte
painavimman kuorman ja siksi täytyy myös sen palkan kuulua
teille…"

Miehekkäät kuulijat katsoivat häntä ihastuneina, kuten olivat

tottuneet häntä ihailemaan. Harhama näki jo maailmankurjuuden
tarjoavan hänelle seppelettä. Hän ylisti sitä yhä hartaammin. Hän
nosti sen maan ensimäiseksi… ainoaksi… kaiken luojaksi. Hän
kumarsi sitä.

Tuuli ulvoi rajuna, aallot kuohuivat järvellä. Harhama puhui taas

kahtiajaosta omassa hengessänsä ja kehotti:
 — "Hävittäkää tämä juopa! Silloin vasta on kansa eheä. Jollette
itse voi nousta niiden tasalle, jotka istuvat kansan raha-aitan
kynnyksellä, käskekää niiden astua alas. Ja jos ne eivät tottele
käskyä, repikää ne silloin alas!"

Voimmeko me sen tehdä? — näkyi kysymys lämminneiden

kuulijoiden kasvoilla. Harhaman silmissä kiemaili se loistava käärme
entistä sulavampana. Se kuiskasi: "Kaikki muu haihtuu, kuin tuulen
ulina, köyhien rakkaus yksin pysyy." Ja hänen henkensä alkoi
tavotella sitä rakkautta sormin. Hän polvistui kuulijoittensa eteen
ottamaan niiden kiitollisuutta vastaan. Ihmisten halveksijana,
ihmisvihaajana, ylisti hän nyt ihmisten voimaa ja miehuutta, puhuen:

— "Te, jotka uskallatte tarttua hallasoiden niskaan, uskallatte repiä

alas väärintekijät. Te, joissa on tarmoa ja kuntoa pitämään
niskottelevat peltonne kurissa, että ne kasvavat joka vuosi
täyteläisen sadon. Te kykenette myös kerran pitämään ahneet
virkamiehenne ja kauppiaanne kurissa."

Yhä rajummin ulvoi tuuli. Petäjikkö suhisi synkkänä, uhkaavana.

Korpelan miesten jäykillä kasvoilla kuvastui jäykkä miehenmieli
puhujan sanoja kuullessa. He katselivat Harhamaa soaistuina,
uskoivat oikeaksi kaiken mitä hän puhui. Puhujan edessä pukeutui
hämäräkäärme yhä loistavampiin väreihin. Hän jatkoi sen seppeleitä
vaistomaisesti tavotellen:

— "Kun suomensuvun pohja nostaa itsensä pinnan tasalle, silloin

vasta on kansa eheä. Silloin se on myös voimakas. Sieltä pohjalta
nousee teidän joukostanne, kun köyhyys ei enää ole esteenä,
karaistuneita Vipusia, jotka kerran laulavat uuden laulun ja vetävät
Suomen kanteleen täyteen vireeseen."
 Kylmä tuuli huuteli, kuin irti päässyt piru. Petäjikkö humisi
suuttuneena. "Oikein… oikein!" — kuului ääniä ja näkyi ilme
kuulijoiden kasvoilla. Se näky rohkaisi jo Harhamaa ja tempasi hänen
povestansa innostuksen tulisoihdun. Hän ylisti maailmankurjuutta
yhä rohkeammin, kumarsi sitä yhä hartaammin. Ihmisten
sairaloisena halveksijana, hän aivan lyyhistyi ihmisten eteen. Hän
tavotteli jo seppelettä. Hän vakuutti kuulijoillensa, että he, yksin he
ovat ensimäiset, ovat Suomen a ja o. Hän jatkoi, kilpaillen tuulen
ulinan kanssa:

— "Juuri täällä Pohjan perillä vedetään kerran se juopa umpeen,

pohja nostetaan pintaan."

Aivan niin! — voi lukea vastauksen kuulijoiden kasvoista.

Aivan niin! — viuhasi kylmä ahava. Harhama oli kuin sitä

näkymätöntä kiinni ottamaisillansa. Hän jatkoi:

— "Täällä vedetään täysi vire suomensuvun heimokanteleeseen,

täällä, missä kivet nousevat maasta, karhut metsistä ja miehet
kodeista. Pohjan jäisillä perillä loimahtavat kerran suomalaisen
heimohengen revontulet, jotka ihanuudellaan hämmästyttävät
maailmaa ja kertovat suomensuvun hengen karhunvoimaa ja
tarmoa."

Kuulijoiden silmistä hehkuivat ihastuksen, innostuksen ja

kiitollisuuden tulisoihdut. Harhamasta näytti taas, että
maailmankurjuus seisoi hänen edessänsä seppelettä hänelle
ojentamassa.

Ja äkkiä leimahti hänessä taas hurja ajatus, johtuen seppeleestä:

Hän kuvitteli teoksensa leimahtavan maailman suurimpana.
Ennustukset salamoivat kirkkaina. Hänen mielessänsä iski huikea
salama: Suomi Hellaana ja Korpela sen Akropoliksena, josta hänen
teoksensa nousisi revontulena. Hän jatkoi, sitä tarkottaen:

— "Suomalaisuuden revontulet ne kerran vielä valaisevat Pohjolan

ja lumoavat ihmishengen loistavana valo-ilmiönä halki asutun
maailman, ja täältä Korpelan mailta leimahtavat kerran suomalaisen
kansallishengen kirkkaimmat salamavalot."

Hän lopetti, ylpeänä kuin kuningas, ja astui alas kuin rampa

kerjäläinen…

Myrsky ulvahti petäjien latvoissa, petäjät viskasivat sen vihaisina

luotaan ja Korpelan karhujoukko mörähti puhujalle lyhyen
voimakkaan hyvä-huudon, joka täytti koko petäjikön.

Lumihiutaleet karkeloivat kylmän viiman keralla. Kulo painautui

maata vasten harmaana, elottomana kuoleman kuvana, ja
kitukatajapensaat hiipivät maata pitkin pelokkaina. Eräs joukosta tuli
kiittämään Harhamaa, puristi kiitollisena hänen kättänsä ja lausui:

— "Kyllä se oli oikein sanottu. Kyllä siinä on epäkohta semmoinen,

että…"

— "No, hyvä toki!… Suuri epäkohta onkin. Ei tahdo jaksaa enää

elää", — keskeytti toinen.

Syntyi äänettömyys. Ensimäinen puhuja lausui lopuksi verkkaan

vakavana:

— "Se on tämä ihmisen elämä kovaa koettelemusta. Elämä on

kovaa kivimäkeä… varsinkin näin köyhälle… Ei siitä tahdo saada
millään urakkaa, vaan vääntää se hartiat kumaraan."
 Ja tuuli vingahti ja petäjikkö suhahti, todistaen puhujan sanat
tosiksi…

Miehet vaikenivat. Voi nähdä, että he muistelivat elämän kovuutta

ja masentuivat sitä muistellessaan. Ryppyisillä kasvoilla näkyivät
elämän kivimäen kovien kourien jälet. Koko elämä seisoi taas heidän
ja Harhaman edessä kivikovana mäkenä, täynnä tutkimattoman
pimeitä, salaperäisiä koloja, joista rotat ja sisiliskot pilkistelivät, ja
kylmä ja onnettomuus huokui. Harhama katseli heitä, kuin
opetuslapsi ristillä kituvaa Jeesusta. Joku selittämätön tuska täytti
hänet. Hän näki rottien ja sisiliskojen pilkistelevän ja ilkkuvan
hänellekin elämän kivimäestä ja silloin taas ilmestyi elämän keskelle
sen ainainen toveri: kuolema. Se seisoi kivimäen kukkulalla ilkeänä
luurankona, elämä viikatteena kädessä, elämä, jolla se hävitti kaikki
ja polki kaikki ja rasitti kaikkea ja painoi niitä syliänsä: hautaa kohti.

Miehet seisoivat kauvan ja katselivat armotonta kuoleman

viikatetta: armotonta elämää. Posken kurttu syveni, niska näytti
muuttuvan laihemmaksi. Toinen miehistä lausui:

— "Noillekin papeille saa maksaa ja maksaa, eikä niiden säkki

vaan täyty…"

Niistä sanoista leimahti taas Harhamaan viha Jumalaa vastaan,

joka panee pappinsa elämän kovan kivimäen rotiksi, syömään ja
rasittamaan ihmistä. Teoksen joka-ikinen sivu aukeni silloin taas
väljänä merenselkänä, jossa on pelastus ja vapahdus. Hän iloitsi:

— "Se on kukistava papit… Se on hävittävä rotat ja sisiliskot

elämän kivimäen koloista… Se on vapahtava kuolemanpelosta ja
kaikesta…"
 Väki lauloi Maamme-laulun sanoja:

"Ja kerran laulus, synnyinmaa,

korkeimman kaiun saa."

Ja silloin välähti Harhamalle suuri ja hullunrohkea ajatus. Hän

mietti:

— "Se on minun teokseni oleva se ennustettu, jossa synnyinmaan

laulu saa korkeimman kaiun."

Sitä miettiessään hän muisti, että se ajatus ei ollut hänessä uusi.

Jo pikkupoikana, kun hän kotikylänsä juuri avatussa kansakoulussa
kuuli ne sanat ensi kertaa, oli hän ajatellut, että hän kirjoittaisi sen
korkeimman kaiun, ja kotiin tultuansa hän oli alkanut sommitella
runoa.

Kaikki tuulet ja vihurit puhalsivat häneen nyt teoksen ajatusta.

Siihen ei houkutellut enää se tulikysymys yksin, vaan myös
tuliroihuinen kunnianhimo … Ja se tunne sammutti jo kaikki
epäilyksetkin, himmensi ne joskus, kuin metsäpalo kytevän
nuotiotulen.

Muutaman päivän kuluttua tuli kaksi naista rouva Esempion

puheille ja kysyi häneltä Harhaman puheen johdosta:

— "Onko hän ja joku odotettu suurmies?"

Kun Harhama sai sen kuulla, sovitteli hän sen entisten

ennustusten lisäksi ja juopui ja hulluuntui. Kun hän taas kulki
Lammaskallion ohi, pysähtyi hän, mietti kauvan ja lausui sitten
tietoisena kyvyistänsä:
 — "Korpela on kerran ylpeilevä minusta. Sen väki on kerskuva,
että minä olen heidän miehensä, ja häpäisijät ovat häpeävät.
Korpelasta kuuluu kohta Suomen laulun korkein kaiku…"

*****

Pauhu kulki avaruudessa… Äärettömyyden osa puhkui suurissa

synnytyskivuissa.

Etäisimmässä äärettömyyden osassa kierivät uuden maailman

syntymäsumut tulikierekkeenä, hehkuvana spiraalina…
Äärettömyyden ontelo puristi siitä suurta sikiötä, uutta
maailmakuntaa… Tulisumu huusi tuskissansa… Sen hirmukierintä
yltyi… raivostui… kiihtyi… Sen tuliset, hohtavat höyryt huitoivat
siivillänsä miljoonien peninkulmien laajuudelta, piiskaten
kauhuissansa äärettömyyden jääkylmyyttä, joka sitä puristeli
rautaisin kourin… Se tappeli, kuin peto… Se piiskasi tulisiivillänsä
puristelijaansa… Se ärjyi ja vapisi… ja huusi… ja raivosi… ja kiihdytti
hirmukierintäänsä, nopeintakin ajatusta nopeammaksi… Se ikäänkuin
pakeni jääkylmyyden rautaisia pedonkynsiä… Kaksi luonnon suurinta
voimaa tappelivat keskenänsä, ottelivat elämän ja kuoleman suurta
sylipainia.

Äärettömyyden kylmät kourat kovenivat… Tulisumut pakahtuivat

tuskiinsa… Äärettömyys oli pauhuna… Tyhjyys vapisi… Uudet
maailmat huusivat tuli-emättimessänsä… Emätin raivosi
synnytyskivuissa…

Kuului hirveä räjähdys… Äärettömyyden osa oli tulimerenä… Kaikki

pakahtui pauhuun ja huutoon ja riehuntaan… Kaikki huusi tuskasta
ja ilosta ja kivusta ja voitosta… Kaikki kieri ja ärjyi tulen seassa…
 Maailmoiden syntymähetki oli joutunut… Tulisumuhirviö oli
halennut tuskiinsa… Maailmoiden emätin oli revennyt ja purki ulos
suuria sikiöitänsä… Tuhansina tulikerinä syöksyivät niistä
äärettömyyden sikiöhirviöt: tuliset tähdet ja kuut ja auringot…
Hirmuhuudolla syöksyivät ne radoillensa… Tappelivat tiestä…
tuhosivat toisiansa… kierivät tulikerinä… huusivat kauhuissansa ja
etenivät ja alkoivat tulisina tähtinä kieriä ja kiertää äärettömyyden
onkalossa…

Mutta kaiken sen pauhun… ja tulen… ja huudon… ja pauhinan… ja

raivon… ja tuskan keskellä seisoi Perkele kruunu päässä ja
käärmevaltikka kädessä… Hänen ympärillänsä oli miljaardi enkeliä,
kaikilla tulivaippa hartioilla, käärme vyöllä ja välkkyvät aseet
kädessä… Hänen joukkonsa loisti tuhat kertaa kirkkaampana, kuin
tuliroihu… Hänen kruununsa hohti tuhannen kertaa kirkkaampana,
kuin kaikki sekin kirkkaus… Hänen valtikkansa välkkyi kirkkaampana
kaikkea kirkkautta… Enkelien miljaardiarmeija veisasi hänen
ylistystänsä ja tunnusti hänen voimaansa.

Ja pauhun ja huudon ja jyrinän ja ryskeen keskeltä kuului

Perkeleen ääni ylinnä kaiken muun, kun hän puhui:

— "Jehovan portto: äärettömyys on synnyttänyt… Se on

emästänsä purkanut uusien maailmoiden tuliset sikiöt… Se synnyttää
nyt vielä Jehovan käskystä, mutta se aika lähestyy, jolloin sen täytyy
raskautua minun käskystäni… Sen täytyy kantaa maailmasikiöitä
minulle…"

Loistava miljaardi-armeija veisasi Perkeleen ylistystä ja tunnusti

sen voimaa:
 "Joka emä, kohtu, kantaa kohta sulle sikiöitä. Sekin, joll' ei
ole rantaa eikä päiviä, ei öitä, sulle siittää maailmoita. Sinua ei
kukaan voita."

Maailmoiden syntymäpauhu ja hirmumyrsky ja huuto säestivät

laulua… Etäinen jyrinä karkeloi sen kaiken keralla äärettömyyden
perukoilla… Tuli ja savu ulvoivat ja ulisivat ja hohtivat… Perkele
puhui kaiken sen keskellä, kauhun ja liekkien ottelussa:

— "Pitäkää huoli, että minun henkeni hedelmöittyy nyt syntyneissä

maailmoissa!… Katsokaa, että kunkin tiellä hohtaa ihanimpana se
hedelmä, jonka on Jehova kieltänyt!!"

Enkelit vannoivat häntä tottelevansa, veisaten:

"Käskysi on ruoka, juoma meille, sekä lepo myös. Oikeuden

virran-uoma olet sinä. Kohta työs ovat loppuun suoritetut.
Silloin ovat nuoritetut Vihollises kädet, jalat. Silloin suuruutesi
salat kirkastuvat niin kuin koi. Sit' ei kukaan estää voi."

Maailmoiden synnytyspauhu raikui, ärjyi ja jyrisi laulun

säestyksenä… Tulihirviöt tappelivat tiestänsä. Äärettömyys puhkui ja
pauhasi… Perkele jatkoi:

— "Nyt on yksi maailman pakahtuma puhennut… Siinä itää jo

minun henkeni, jota teidän on vaan vaalittava… Huomishetkenä
puhkeaa maanpäällä ihmishengen pakahtumasta minun henkeni
hedelmä… Harhaman henki on nyt kypsä. Huomishetkenä on siitä
puhkeava isku Jehovan kasvoja vastaan… Huomishetkenä tarttuu
hän kynään ja paiskaa sen keihäänä Jehovan kantapäähän. Se kynä
on minun hampaani."
 Ihana enkelilaulu pauhasi… Syntyneet maailmat syöksyivät
tulihirviöinä ratojansa pitkin, säestäen pauhullansa ylistyslaulua…
 *** END OF THE PROJECT GUTENBERG EBOOK HARHAMA II ***

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