Film work in the US of A

April 9, 2008 7:46 AM

Working in the US film industry as a foreigner. Please explain...

Can the Hive Mind break down how the post production side of the film industry works in the States? The SO and I are looking into the possibility of working there (we're Australian). We are a film editor and sound editor, with credits in series TV (so no ads or corporates), although you know, they're mostly Australian credits. Aside from the frightening visa issues, which I'll save for another question, we just want an idea of how things run in general.

Are most things done on a freelance/contract basis? What sort of permanent work is out there (I figured it was like working for a big company like, say, MTV and being farmed out on their in-house productions)? Permanent work makes getting an E-3 visa viable for us. Do most people have agents? How necessary and how hard is it to get into the unions? I know LA is the place to be, but is NY doable? Have I broken MeFi rules by asking so many questions? Sorry, a little overwhelmed here.

We'll probably end up in London. But we can dream, can't we?!

posted by mooza to work & money (4 comments total)

Um, I work in a related industry in NYC, but it can be pretty brutal. The best advice is to have jobs before you land (maybe this seems like a no-brainer but a lot of people move before finding work). Not to contradict that advice, but a friend of mine a year or so ago scored a job working for an MTV division, went through multiple hoops and interviews, and on his very first day the entire group of three hundred people were fired. He was bummed because it was like uhhh, not only do I have to find a job, but the competition just got three hundred deeper. I think the economy is a little rough right now, so don't be surprised if the water's choppy.

Good luck.
posted by history is a weapon at 10:11 AM on April 9

the E-3 and all other visas like that are gone the moment you lose a job. that's a lot of insecurity in this industry. you might consider the O-1 if you have tons of press clippings and awards in direct relation to your work but it's still a perm-work visa. or try the greencard lottery.
posted by krautland at 11:25 AM on April 9

What Krautland said.

Full disclosure: I used to work in the reality end of TV. Most of my friends still do. Most everyone I know in the industry is technically an independent contractor. I was up for a contract of ten months, and a friend said, "Wow, great! A permanent job!" Because, well, that's about as close as you get to one.

Generally, you're working for a production company who produces stuff for the network, and not for the network itself.

Many people I know from other countries who work in the industry marry in order to get their green cards. Not necessarily recommended, but it took the guy I know who came over the legitimate way close to three years to get his visa.
posted by rednikki at 2:38 PM on April 9

Union film/tv editor in Hollywood here.

The work is pretty much all freelance, show to show. The kinds of jobs where you might find a more permanent job would be things like trailer houses, who are more likely to have a more permanent staff. A production company crews up for a feature, a commercial or a series, and they want it easy to dissolve that crew when the show ends.

There are post houses with permanent positions, but that's more likely to be for the sound editor than the picture editor.

Generally as a cutter you are sub-contracting to a contractor - the production company gets the contract from the network/studio/what-have-you, and you're being contracted by them.

If you're in the union, you'll be working as an employee (it's the law in the United States that union work is inherently employee work, not independent contractor), but you're rarely legally employed by the production company, you're usually actually the employee of the payroll services firm who's contracted by the production company to cut you checks. You may want to create your own loan-out corporation for tax-purposes.

Getting in the editor's guild involves work performed in the U.S. Here's the requirements. (175 days over a 3 year period of non-union work in the U.S.). There's lots of non-union work, but it's highly competitive to get. Also, the editor's guild allows members to take on non-union work even after joining the union, so non-union work may be an ongoing thing.

For series and feature work, you're getting hired for the show or the season. If you have a good relationship with the producers, director or post supervisor, and do your job well, you'll keep getting work, but it's rare to have any kind of guarantee of permanent employment.

There are agents who represent editors, I have one. I don't think she represents any non-union cutters.

Good luck. It certainly can be done, and I've met people who've successfully done what you're trying to do. But I'd second krautland that you don't want a visa that goes away if you're between jobs. It can happen with a great deal of regularity.

Feel free to MeMail me if you have any more questions.
posted by MythMaker at 3:56 PM on April 9