Plot
Why to Succeed in Entertainment You Need to Build a Family-Like Environment Established on Trust and Loyalty
Hollywood, Unapologetic!
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Learn more- When I started The New Hollywood Generation, right from the beginning, I believed to succeed in entertainment you need to build a family-like environment established on trust and loyalty. Whether there are hundreds of artisans or only two, working together as a team for a common goal builds a bond. But sometimes, someone you've known a long time may not be the person you thought you knew.
A friend I have known for a few years called me for help with a project. It was a television show that was still in development, and they were looking for a full, animated graphic design package once they were in pre-production. I asked what else was needed and was told the show pretty much needed everything.
I pitched the idea to some close friends in production that I have worked with for years. All the key players were award winners in television, film, music, and the literary world. Introductions were made, and agreements were drawn up and signed. The show was in the pre-production phase in a short amount of time with budgets finalized, scripts written, and crews and a sound stage scheduled; everything was ready to go.
Problems arose on the very first day of production. A slew of avoidable headaches, ranging from booking un-needed additional studio and location time, without our knowledge, to blasting press releases and creating pubic relations items that were not in our budget or timeline, forced us to move our production schedule ahead by several months. This was money misspent with a lower turnout for auditions.
There was at least one major problem daily during production, usually caused by this friend who wore shoes that would echo throughout the soundstage disrupting production whenever she walked around.
The friend would stand behind the director and give "directions" to the talent while we were rolling, which was not only a breach of set protocol it stopped production altogether. Arguments on the set began, and from that point on everything ran at a slow crawl. And this was only day one.
By lunchtime of the third day of shooting, she instigated the dismissal of our makeup person only to bring in her crew of makeup artists, whom she told would be paid through her. Our makeup person was someone who is well respected in the industry and came into the project as a favor to me. Needless to say, she won't be doing me any more favors.
The friend opposed our use of family members within the fashion industry for the free use of clothing not yet released to the public by going down to the fashion district herself and buying gaudy, cheaply made clothing, taking the money from our budget and, unknown to us at that time, keeping the remaining funds for herself. The clothing was so poorly made that it was coming apart while cameras were rolling. In between takes, more and more safety pins were added to hold everything together.
She constantly had people showing up on set looking over everyone's shoulder, taking notes and asking technical questions about our equipment, production costs, techniques, and workflow only to have them break out their iPhones to capture as much of the shoot as they possibly could before production was disrupted. She even had the audacity to reach out to connections we knew personally and professionally, while we were shooting, in order to get our "family and friends" discounts for her side projects. Fucking balls!
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