Film Accounting 101 Workshops – Los Angeles and Tampa, Fl

There are two workshops on Film Accounting 101 coming up. One on the west coast (Los Angeles) on May 17th/18th-2014, and one on the East Coast (Tampa, FL) on May 31st & June 1st-2014.

See http://www.filmaccounting.com  for more information.

Below is a quick rundown on what the 2 day workshop is all about:

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Introduction: This is the defining course for the fundamentals of Film Accounting. The course is a very practical hands-on workshop of 2 intensive days followed up with a series of 6 Live On-Line Training webinars. This is the toughest course I give, so bring your roller skates! We’ll start from the ground up, practicing all activities associated with an assistant accountant, gaining a thorough practical understanding of the entertainment general ledger software. Finally, the live on-line training webinars bring you into a senior level of Film Accounting through managing the Film Budget and Cost Report (the financial statements of film productions). The classes are small and all attendee’s questions and what-if scenarios are welcomed. See http://www.filmaccounting.com for testimonials.

Course Objective: You will understand and have practiced the duties of an assistant film accountant with the confidence that you CAN not only perform the tasks expected of you without extensive training, but also with an understanding of the cost control points of any film or television production. (Line Producers and Public Accountants will understand the background to their duties in controlling or auditing production costs.)

Participants: will be able to communicate to experienced Film Accountants and Producers convincingly, simply by telling them (showing them) what you have drilled to perfection in this workshop.

Who Is It For?

• Anyone who has tried to find work as a film accountant and has found it difficult to break in, regardless of their previous training, experience or education. If you have a high aptitude with figures, a strong desire, and you have some basic skills in Excel and Word software, you qualify.
• It has also been well utilized by Line Producers who want to strengthen their abilities to manage costs of a larger film production.
• Public Accountants who need to audit the books and records of a film or television production have found this very practical grass-roots training invaluable.

See the details at: http://www.filmaccounting.com

 

Instructor: John Gaskin is a 25 year veteran Film Accountant.  He has worked on 45 film and television productions of every size in 5 different countries. John also has producer credits, and has been delivering film workshops like these for the past few years. See IMDb for his production credits and the web site link for more information about John.

New Orleans -Film Accounting and Auditing For Professional Accts

This workshop introduces the professional accountant to the film industry specific standards, terminology and methodology as used throughout the industry. Before servicing this industry, or planning an audit of a film or television production for State tax credits, it is essential to understand the processes, industry standards and the ethics of not only the film accounting, but also of the producers and financiers of this very insular industry.

The workshop counts as 8 hours of CPE. The workshop will be held on Monday, May 23^rd in New Orleans.

In addition to the Major Topics listed (see the link below) you will also compare the Louisiana State Tax Credit with other State tax credits – to gain a better understanding of why the Louisiana State Tax Credit is working so well.

The workshop is delivered by John Gaskin, a production accountant who has 25 years experience working on over 45 film and television productions of every size, in 5 different countries. John is also an engineer, an instructor, and an author of a book used in the mentoring program at the American Film Institute, the U. of S. California’s producer program, and the U. of Tampa’s producer program.

There are many testimonials on John’s home page. For more information on the “Film Accounting & Auditing for Professionals” workshop see http://www.talkfilm.biz/filmworkshops2.htm

New Orleans -Production Payroll For Accts and Line Producers

Film Production Payroll – The Most In-Demand Job in Film: Saturday, May 21^st in New Orleans

Film Production Payroll has never before been open to a training program. It has been open only to those with insider’s exposure.  

Film Payroll Accountants do not do any of the complicated deductions and remittances to the unions and the IRS, nor does the Payroll Account write the paychecks – that is all the task of an outside service called an “Entertainment Payroll Service”, who also becomes the Employer-of-Record. However, before submitting the timecards to the payroll service, the Payroll Accountant must calculate all of the three producer’s sins first:

1.        Overtime
2.        Meal Penalties, and
3.        Rest Period Violations

Arriving at what is called “Gross Payroll”.

So, the Payroll Accountant must know how to calculate the “Gross Payroll” – i.e. how to calculate the Overtime, Meal Penalties and Rest Violations for each of the applicable unions. This may seem daunting at first, until you see that each union has a set of rules which can be referred to for every circumstance.

You just need some practice and someone like John Gaskin to point out the applicable rules for each Union, as follows:

–          SAG (Screen Actors Guild) for Day Performers

–          SAG for and Weekly Performers

–          DGA (Directors Guild) for the Assistant Directors and DGA Trainees

–          IATSE (International Association of Stage and Theatrical Employees) for Crew working on what is called a “Low Budget Agreement”, meaning productions less than $12Mil

–          IATSE, for the “Area Standards Agreement”, i.e. for local productions in excess of $12Mil.

–          Teamsters – i.e. the drivers on film productions.

The workshop will be held on Saturday, May 21^st in New Orleans. It counts as 8 hours of Continuing Professional Education. This one-day workshop also includes on-line courses for follow-up self-training at your own pace, with John Gaskin available for mentoring over the email lines.

The workshop is delivered by John Gaskin, a production accountant who has 25 years experience working on over 45 film and television productions of every size, in 5 different countries. John is also an engineer, an instructor, and an author of a book used in the mentoring program at the American Film Institute, the U. of S. California’s producer program, and the U. of Tampa’s producer program.

There are many testimonials on John’s home page. For more information on the “Film Production Payroll” workshop see http://www.talkfilm.biz/filmworkshops6.htm

New Orleans -Managing Film Budgets and Production Costs

My final series of workshops are coming up in New Orleans. I’ll be delivering three workshops over three days. Here’s the one for Line Producers, Emerging Producers, or just anyone who wants to learn more about managing film budgets and costs – Sunday, May 22^nd in New Orleans

The attendees will review a $9Mil budget from several angles, learning the practical methods of managing a film budget used by film producers and production accountants everywhere. From that very important step, we practice the essential steps in controlling and reporting the production costs through the Weekly Cost Report – this report is fundamental to ALL media-based productions, and is reviewed weekly by the completion guarantors, the financiers, the studios, etc. In addition you will be introduced to the 6 basic ways that you can use to control the costs before they are spent.

The workshop is delivered by John Gaskin, a production accountant who has 25 years experience working on over 45 film and television productions of every size, in 5 different countries. John is also an author of a book used in the mentoring program at AFI, the U. of S.Calif’s producer program, and the U. of Tampa’s producer program.

The workshop will be held on Sunday, May 22^nd in New Orleans. It counts as 8 hours of Continuing Professional Education.

There are many testimonials on John’s home page. For more information on the “Managing Film Budgets and Production Costs” workshop see http://www.talkfilm.biz/filmworkshops1.htm

#1 of 7: MAKING the Opportunity

While I have some time on my hands during hiatus I thought I’d been review my various articles and blogs around the net. It was with surprise that I noticed over 18,000 hits on a series of articles that I published in early 2009.  This is a pretty good stat for me, so I decided to re-publish them here. The design of the articles is for entry level Line Producers/Production Managers, even for film directors; however, those interested in film accounting will find them a great way to bolster your knowledge in that area as well.

#1 of 7: MAKING the Opportunity

Do you, or do you want to, work in feature films, or any film & video project in the film industry? Whether you want to become a film director, or already work in some capacity in film production of any kind, this article will help you make it!

Why aren’t more film school students finding work in production? Why aren’t there more crew working their way up to Line Producer or Unit Production Manager? I’m sure there are lots of reasons, but take a quiet moment to really look. Let’s see…. It’s not competence – most crew disappear pretty quickly if they’re slow witted and incompetent. Film students who graduate have shown they’re pretty smart. It’s not a lack of drive – again, for the same reasons. Wouldn’t you agree that the biggest hurdle is getting the opportunity? Well, that’s true and not true. The biggest hurdle is MAKING the opportunity.

How do you increase the odds of landing a film job out of film school? What about getting a contract as a Line Producer, a Department Head (if you’re not one already), or even a UPM (Unit Production Manager) on a small independent production? Lots of film school graduates are ready to burst with ideas to get their scripts into production; how do they get to produce their scripts?

First you need to get the confidence of the person in front of you. That single person in front of you needs to believe that you can control your sphere of work so effectively that he/she can get on with creating their vision.

You need to be able to convince others that you understand the underlying, common denominator of all filmmaking. Some people feel that a creative mind is all that’s needed. Nobody denies that you need to have a creative bent in film productions. But let’s lay it on the table –

The driving force behind film production is MONEY.

By the time we, as working crew, start working on a film production, our creative bent is totally bent by the amount of MONEY available to us. We want to get the best product we can out of every buck. Like it or not, your performance in film production is measured, to some degree, by how well you control the money. It’s like ‘Directing’, only you’re ‘Directing the Money’.

Do you want to be the best? Do you want to get that upgrade? You can! Learn the language of those who ‘Direct the Money’. To my way of thinking, that’s the only way to be taken seriously.

Here’s the deal – you need to show them, with attitude, that you will provide them with a controlled environment from which they can create their vision. The only way I know to do that is to graduate to a ‘Director of Money’. From that position you can be the go-to Line Producer, Producer-For-Hire, Department Head, UPM, etc.

Let’s pretend for a moment that you’ve met a hot new Director, Actor or Executive Producer, etc. with a script. Whoever you meet, they’ll be in love with their script and they’ll be very excited to talk with you about it. They want someone interested in their baby and they want someone to contribute to its success in any way. After the first ½ hour or less, how do you segue into being their Line Producer, Producer or UPM?

Here’s some real questions that would knock their socks off and show that you’re the one to do it while they get on with creating their vision (if you you’re foggy on some of these terms, be patient, you’ll be very familiar with them after a little reading):

1. Do you need help with the budget? (Don’t agree to build it from scratch – but know someone who can; find out what you can about the script breakdown)

2. Do you have an idea of the Above-The-Line costs budgeted? (Cast, Director, Writers, Producers)

3. What kind of bottom line do you have in mind for the final budget?

4. Who needs to approve the budget? Will it be an independent film or studio driven? (This is important for your chances – if it’s studio funded, you’ll need all of his/her backup, and if it’s an independent production, find out which bonding company is involved.)

5. What locations are in the script? (Suggest using the services of various Film Commissions to scout for cost efficient locations compatible their vision)

6. How many days of shooting are planned? (If no script breakdowns are completed, recommend somebody you know to do it)

7. If union crew are planned for, find out how many shooting hours a day are planned for? (Insist on at least 13 worked hours per day, as well as a storyboard artist)

You get the idea. You need to know the ‘lingo’ of budgets and you need to understand that those budgeted numbers need to be directed. You’ll also need to inspire confidence in the Financiers, or the Bonding Company, that you know what the weekly financial report card is all about (that is, the universally standard Weekly Cost Report).

Most of those questions, with a little imagination, can also apply to anyone who wants to upgrade to a Department Head. Take my word for it; a Production Manager would be completely blown away if a novice started showing an informed understanding of how budgets and costs were so important.

So how do you get familiar with Budgets and Cost Reports? I’ve been a Production Accountant for over 20 years and I’ve NEVER shown a crewmember a Final Budget or a Weekly Cost Report (the universally standard financial report card issued to the Financiers and Producers every week) in that entire time. They are considered sacrosanct by Studio Executives, Financiers and Bonding Companies everywhere.

Well, get a good book, that’s easy to read, that lays it out for you. As of July 27/08 both the University of Southern California Masters of Fine Arts (Peter Stark Program) and the University of Tampa Film Program have ordered my book, “Walk The Talk” as required reading for their students.

Let’s better define the end result of a quick study of “Walk The Talk”:

Budgets: The reader will be able to make comments about budgets with the confidence that financiers and producers, not just in Hollywood, but also throughout the world, universally accept the words and topics. You will also be able to read and follow the style and format of the industry leader of budgeting software, Movie Magic Budgeting©. It won’t make you into a master, but it will certainly give you the confidence to upgrade at your next opportunity. If at any time you need help, you can always blog (https://filmproduction.wordpress.com ) or email me (johngaskin@talkfilm.biz ). My web site is www.talkfilm.biz . I’d be happy to point you in the right direction.

Weekly Cost Reports: The Cost Report at first glance looks incredibly detailed, and to some, even complex. After a quick study of my book the reader will be able to understand the layout of Cost Reports (remember they’re the same the world over), and be able to make comments about them intelligently. You’ll have the confidence that you’ll be using the same terms, and are looking at the same topics, as the pros. You won’t become a production accountant, but you’ll get the drift, and with experience it will become second nature. There are several more examples and charts in my book, Walk The Talk, which will expand on your familiarity with Cost Reports.

They’re available in my book – see my web site here “Walk The Talk”. All of them are simple but effective.

Cheers,

Visit my web site at www.talkfilm.biz.

John Gaskin’s Profile: http://www.linkedin.com/in/johngaskin

Email: johngaskin@talkfilm.biz

You may use this article for your ezine, or on your site, as long as the article and links remain the same.

An Introduction to Film Budgeting

After my first Live On-Line Training session (Tues Feb 23/10), I had a few very good questions from an attendee. The purpose of the 1st on-line session was: “An Introduction to Film Budgeting” and her questions are relevant to anyone not used to film budgeting, so I’m sharing it here on my blog.

Below are her questions, in italics, and my answers.

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Thank you for tonight’s class.  I am learning so much!

You mentioned you were giving out the EP Budgeting file for “No Big Deal”, could you send that to me too?  I have EP Budgeting.

I have questions from Class 1:

1.  Which title is standard – UPM or Line Producer? And what is producer doing during production? Is there always a Line Producer and a Production Manager on every large project? What is the difference between a production manager and a production supervisor?

The Line Producer and UPM are very often the same person. The status of Line Producer is senior to UPM, but the UPM must be a hired position because it’s a DGA requirement. So I’ve often seen where a UPM is hired and registered with the DGA, then that same person calls themselves the Line Producer. On a large show, like “Shall We Dance” there was both a Line Producer and a UPM, but on anything smaller than that the two roles are folded into one – probably because of the overlapping of so many of their functions.

2.  How do you budget for holidays if you don’t know the time of the year when the shoot will be?

When doing a budget you have a stretch of time in mind and can estimate the number of holidays that will be coming up. I did one budget for Walden Entertainment where they weren’t sure when they would be shooting it, but because it was a 60 day shoot they advised me to just budget for 2 holidays. Once Prep starts, of course you know the shooting schedule and you can enter the exact number of holidays that will fall during the shooting period.

3.  You mentioned a line item “interest charges of several hundred thousand dollars” – interest on what?

That would be the interest charges on any bank loans. Almost all independent films need to get a loan from some kind of lending institution to put together their financing for the film production. For example, depending on the type of Tax Incentive program offered by the State where you are producing the film, it’s very possible to go to the bank for a loan against the expected Tax Incentive. It’s common to put all of the financing charges into that film production’s budget.

4.  Resales and tax incentive returns are considered bonuses – where/to who does that “reimbursed” money go?

The reimbursed funds always go to the shell company set up to produce the film in that particular State, and the shell company is owned and controlled by the Independent Film Company who are also putting together the financing for the film – the financing is usually pulled from various sources, including a bank loan against the future State Incentives. (Not sure if you know this already, but a shell company is created for every independent film production with the intention of using that shell company as a separate entity to capture all the costs associated with that film production).
– While doing the budget in Prep an estimate will be made of the State Tax Incentive and that estimate will be used to raise financing (the rules of what can be financed vary from State to State). I have seen smart Line Producers and UPM’s recalculate the Tax Incentives during the production to update the Tax Incentive estimates. If the Tax Incentive estimates go up, then the Line Producer says – “Mr. Independent Film Company, you’re getting more money back than we thought so we would like to spend that additional amount and go over the locked-budget accordingly”. The producers and financiers hate that kind of thing because there’s still a lot of uncertainty in estimating things like that, such as audit fees, State disputes over the rules, any bank loan interest charges, etc, as well as their own overheads to cover.

5.  Deferment – you made an entry for the exec prod’s $400K but not for the lighting package, why, doesn’t it need to be noted?  And how can you keep deferments from muddying the water in your variance column when you are trying to balance the budget day to day?

I was making an entry to the budget to update it just to show how the producer’s fees were deferred. I wanted to show that it could be in the budget but not in the cashflow – so, all would could see that deferrals are always put in the budget, but may, or may not, be in the cashflow, depending on when the deferred amount had to be paid. (Note: the cashflow worksheet is used by the Independent Film Company when arranging financing for the production so it’s important that payments that are put off until the post period are noted on the cashflow for when they’re due, or if the deferral is right off the map and not due until some cash in excess of loans and costs start happening.)
– To answer your question on how to the variance column – normally the deferments are already in the locked budget, so there would be no additional entries to make, thus no problems with the variance column.

Thanks a lot for your Q’s. I’ll share them with the other attendees.

See you in tomorrow night’s class.

All the best,

“Hot Costs” – a big part of a Film Production Auditor’s Job

As of Sept 2, 2013 I finished an online Hot Cost Course.

For more info see this short 2 minute YouTube Video:

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Original Article:

I wrote a longish email to a young man who wanted to know  a few things about my workshops and one of the things he raised was the Hot Cost – a daily comparison to budget done by the Production Accountants. I spent some extra time describing it because I don’t include it in my workshops (yet, anyway) and I wanted him to understand why.

I decided to post my answer to him on my blog for all to see. Here it is:

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The principle of a Hot Cost in film production accounting is to compare the actual costs of the previous day’s shooting with the budgeted costs for a day of shooting. The Hot Cost is meant to be measuring only within the scope of the on-set shooting crew, cast, footage/processing and catering. I like to sneak things into the Hot Cost that I know are over-budget, like any equipment or off-set riggers, etc. Although, that’s not it’s true purpose.

In the early days, say early to mid 90’s, the Hot Cost was meant to be just that – some quick calculations done manually on the back of the penciled copy of the DPR (Daily Production Report). The UPM and I would sit together and quickly round out an average labor cost for the Electric’s, an average labor cost for Grips, etc right through the list of on-set departments per the DPR, with maybe a little more of a cost accounting schedule for Transpo and Cast. It really only took about 1/2 hr. Then, a couple of the Majors  started getting fussy and insisted that the Hot Cost results go into the Cost Report BEFORE I had any meetings with the Line Producer/UPM. That’s when it became more of a precision thing because Producers will always challenge an over-budget line item, and the Studio gets upset if you miss an over-budget line item. Now, you’re right, a chunk of the Production Accountant’s day goes to fussing with the Hot Cost, simply because so many people use it as a crutch – now it’s often used as a Daily “Cost Report”, even though that’s not it’s original purpose at all – and indeed is an impossible purpose given the scope of the Hot Cost.

If you have a “usual” hot cost front page, like the ones that Disney and Universal use, then you can build Excel worksheets that feed that. This saves an enormous amount of time for the Production Accountant during the shooting period, but it means that you need to be an Excel junkie. Sometimes the studios only want to see the front page without the supporting schedules, and sometimes Line Producers/UPM’s refuse to believe the Hot Cost without supporting schedules, so you need to have it all.

So…. I guess what I’m saying is that the Hot Cost has become an Excel series of side schedules prepared every day by the Production Accountant.

I have developed a series of said schedules that I massage for every show – for the different chart of accounts and for every geographical location (needs lots of prep time or I end up working until midnight several nights in a row right before the first day of shooting). It has a worksheet for just about every function related to labor and each worksheet feeds the lead page. The intention is to automate the estimated pay hours, and compare the resultant cost with the budgeted cost, for:
-every crew member on the floor,
-every fixed category of Transpo who worked,
-and cast member who worked that day,

-every line-item in the budget classified as “ManDays” (sometimes called “Dailies” a slug line saying 25 man-days without much thought put to it),

-Extras, Stand-In’s

Then do a variance calculation as compared to the budgeted day.

Remember to keep in mind that there are 2 kinds of variance:
– Hourly variances worked (also in this type of variance would be the person who was budgeted at one hourly rate then is being paid at a different hourly rate – rare, but it happens)
– Volume variance (i.e. more crew hired on for that particular line-item)

You can imagine that if you had to do all of that with a calculator every day, it would be a difficult task on anything over 50 to 75 crew and a few cast. Note that most feature films have double that on an easy day.

Throw into the mix an inexperienced AD (assistant director) team who aren’t promptly getting you the in-out times of the crew/cast and you are up the proverbial creek.

It’s a big job to teach someone a course on “How To Make A Hot Cost”. Not only is there a lot to learn about payroll (understanding SAG, DGA, IATSE in different circumstances in different geographical areas), there’s also a lot to learn about Excel. In your case, because you have a background in payroll accounting, it should make sense very quickly.

Are you familiar with Excel? I’ll attach the working example that I have for a feature film I just finished up in Toronto for a budget over $20Mil. Have a look at it, and if you can change the formulas to calculate pay hours for an IATSE International Low Budget  feature I would much appreciate a copy. (I haven’t landed on one of those yet).

To get back to the workshop – come to the one on March 6th and I’ll answer your Q’s and work with you towards your goal. There will be a few times when we’re going over material you already know, but that’s cool – I’ll get you to help answer the other attendee’s Q’s :))

Best,
John

Film Accounting and Budget Management for Professionals

John Gaskin held workshops on Film Accounting and Film Budget Management for Professionals in the Michigan area. This is what some of the attendees had to say about John Gaskin and about the workshop.

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Getting Work In Film Accounting/Production- Attitudes Count

Since I decided to do a series of workshops on Film Budgeting, Accounting & Auditing it’s occurred to me many times that I need to instill an attitude as much as accounting & budgeting skill. This is not just true for those who want to work in Film Accounting, but is also true for Public Accountants & Line Producers who come to the workshop for entirely different reasons.

Here’s the dilemma:

– how do you present something that is fundamentally a skill but is primarily an attitude? Man, it’s a difficult thought process.

Within each workshop I try not to make any promises of work…. that is, to promise that the attendees will fall out of the workshop, certficate in hand, and find a producer, production manager, key accountant who will hire them on the spot. There is an attitude prevalent amongst all who work in the film industry that unless you’ve been-there-done-that then you just can’t do it.So, it’s my task to not only give you a skill, but to introduce you to the attitudes of those hiring you. I usually do that through relating actual events that have happened to me, so as to give you concepts that you can relate to your own life.

Because I have worked in such a wide range of professions in my early days:

-Land Surveyor,

-Engineer,

-bottom end of a major public accounting firm,

-Controller at a Bank,

-high-priced-temp-Accountant for a variety of industries,

-small private bookkeeping & tax practice

I can see attitudes from across the room. One glance let’s me know how tough the person is going to be to deal with. In the Film Industry you’re dealing with attitudes that are deep in the fabric of everyone who is involved in it.

And…. one of those attitudes is – you don’t understand what it’s like, so you may not “make it”. This kind of pre-assumption of failure doesn’t allow for any training – at least within a film or television production environment. The old phrase, “Many are called but few are chosen” comes to mind. If a training environment IS provided, it’s quite likely an internship (a euphemism for NO PAY).

What can I do to help you to overcome that barrier? Well, I definitely lay it on the line – knowing this Film Attitude (i.e. pre-assumption of failure) is usually behind every interview is a big factor inn dealing with it. Also, I drill you (that is have you practice several times) so that you are no longer intimidated by the film accounting process, or the attitude of the production manager or film accountant, which is more important (remember what I said about the film industry and attitudes).

Another thing that’s important is to have the ability to speak up and to have a sense of humor. This is not a platitude, although it sounds like one. When the pressure is on, when you’re working 12 hour days, and the Key Accountant throws a BF, it’s expected that YOU don’t.  The only way to avoid getting caught up in a shouting match is to keep your sense of humor.

How do you do that? There have been a few times when I didn’t, but immediately afterward I could see what’s going on and I’d do a face-to-face conversation with whoever – it pretty much always works if you understand the film business and if you look at the positive side of the film attitudes towards work (and life).

There are positive sides to the Film Attitude – the fact that film and television productions get done at all is due to the PUSH attitude. There are so many collaborative steps to produce and distribute a feature film or television show that the longer I’m in the business the more amazed I am that so many productions are made! (On the other side of the coin I’m also amazed at why so many people make it so hard on themselves while they’re making them).

Enough said – here’s the point:

There are downsides and there are upsides to the Film Attitude, and overall the upsides are admirable. If you want to work in any aspect of the film business, especially in film accounting, you need to know what they are and you need to know something of how to deal with them…. as well as have your film accounting skills honed.

Until the next blog….

John

See my web site at http://www.talkfilm.biz for scheduled workshops, articles, etc.

How to Get Into Film Accounting

Over the past few years a common denominator of most emails sent to me is – How do I get into film accounting? It’s a tough question to answer. How do you get into film accounting? It’s an insular industry, but not impenetrable. I go over this in more detail in my workshops, but this blog gives you a good idea of what to do. Essentially, you need to discover what the film accountant believes she/he needs, then fill that need – remember they’re looking for someone who is a FILE CLERK, or an INPUT CLERK.

Here’s a long-ish email that I just sent to a young woman who moved from DC to LA with the express purpose of starting to work at the introductory level of film accounting:

Which are you the most interested in?

(polls)

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The only way to get work in film accounting is to convince someone that you can fill their needs. It would help if you had some of the terminology and had some knowledge of the working environment.

Word of mouth is the only reliable method of getting work – I always call the previous accountants because it’s more important to me that the person I’m looking at can take direction and is relatively friendly, and isn’t afraid of hard work, long hours, etc. If you’re not working you may consider volunteering for free – just start calling productions in LA and ask for the production accountant and let her/him know that you’re willing to work for free (for about 2 weeks) and in exchange they answer calls made to them from other accountants. That way you can get 2 or 3 accountants who would know you and, assuming they like you, will provide some good telephone references.

Another tip is to say that you’re willing to go on Distant Location. A lot of LA accountants don’t want to leave town, so it makes your chances higher.

The most important step in finding work is to send out notifications that you’re ‘available’. Put together an email list, and a snail-mail address list, that has at least 200 names and addresses of accountants, assistant accountants and production managers. Then send out emails and snail-mail in an organized way, cycling through the emails and mailings every 3 weeks. When I started out working in film I found that I got 3 inquiries for every 125 letters mailed out, and usually one of those inquiries turned into a firm offer. With emails now, it’s easier to communicate, but I still find that snail-mail has more impact (a lot of blind emails ends up in Junk Mail).

Regarding your resume throw out whatever you’ve learned before. Have a covering letter stating what clerical functions you’re good at – practical things like – type 80 words a minute, use an adding machine without looking at the keys, understand the networking of computers, counted lots of cash before, understand purchase orders/petty cash, etc. Remember you’re applying to be a clerk, so you want to play down any accounting degrees, certifications, MBA, etc. That’s not what the accountant needs – they need a good CLERK.

Then on the second page have a list of jobs you’ve held in the past with a short 2 line (max) description of what you did and a person’s name and telephone number who the accountant can contact. The accountant is only interested in whether or not you are a good worker or a wacko who argues easily, is perpetually late, gives excuses instead of results, etc.

Nobody’s interested in your long term goals, etc – those kinds resumes taught in schools everywhere sound like BS to people in the film business and result in them concluding that you really don’t know what you’re doing.

At any time that you’re promoting yourself keep your eye open for what that particular film accountant says they need – pay attention to the actual words they say. You’ll find a trend in there pretty quickly – it’ll go something like “someone who can start right away and who I don’t have to spend a lot of time training”. Or it may the negative side of the same concept, “I don’t want someone who takes a lot of my time learning – I might as well just do it myself.”

Then use those same words in your covering letter. That way you’re promoting yourself to fill what they feel they need.

Finally, understand that you’ll be lucky to find something right away. According to statistics, it normally takes 5 to 7 weeks for a big promotional campaign to bite. So, be persistent and know that what you’re doing will work (provided to know, and can fill, what the film accountant needs). Don’t be afraid to re-cycle your mailings and emails. I had one producer call me up and say that because I had written to her 6 times, that she was going to hire me out right without even interviewing anybody else. Generally, people in the film industry understand that promotion is part of the business, and they respect that you’re out there doing it.

Let me know how it goes.

Best regards,
John Gaskin