1% LUCK, 1% TIMING, 98% PERSISTENCE!

This morning I got a call from "Kenny" (fictitious name), a fellow I have never met, but who calls me about every 6 weeks to see if I have any assistant work for him or have any leads on production. I hope to meet this guy or at least find out from others that he is really good, because I am so impressed with his persistence, persistence in a good way.

A dear friend of mine recently landed a really good job doing what she loves and is so thankful for her good luck. But as I point out to her, only a fraction of it is luck. She works hard at sending out resumes, knowing that 99% of them will end up in the circular file. She does designs for charity events so her work will be seen, and she puts in serious time honing her talents, networking, and expanding her range of contacts. When the job came, she was ready for it, and the company is lucky to have her.

Man oh man, it is never easy. I wish it was. But in the world of entertainment (film, TV theater) the looking-for-a-job part never gets better. That’s the worst news that you are going to hear in this blog. The good news is that with the right tools, and with that old word persistence, all things are possible.

But you also need some personal discipline, and some organization. Anyone looking for a job, be it full time or per production, needs to keep a log of people they have met (anywhere, on set, at a mixer, even virtually). In this log shold be their contact information, where you met them, some basics about them, and when you last called or emailed them. Here is an example:

DIANA EDEN     

diana.eden@yahoo.com   

costume designer and wardrobe stylist    

met at Women in Entertainment mixer 12/21/10.  

Notes: encouraged me to stay in touch with her.     

Last contacted:    Jan 25th.  Got vm.   Will try again tomorrow.

People tend to remember the LAST person who contacted them when looking for an assistant, not someone who gave them a card six months ago.

Another tip: I have always HATED making “cold calls”. HATED the idea that someone would 

1. not remember who I was;  or  

b) be cool or abrupt with me and make me feel like a fool! 

So I do a little exercise before I make a call. I go through the reasons why that person might WANT to hear from me:

1. as it happens, they are just starting to think about crewing a new project
2. it makes them feel important to be a potential employer
3. they were really bored, and like having someone get in touch
4. they really really like you!

Also, be consistent. If someone invites you to stay in touch with them, then do so. Often I invite people to do just that, or to “call me in a month”, and then I never hear from them again.

Another tip: if someone is really encouraging or helpful on a phone call, do a very quick (and to the point) follow up and thank you by email. “That lead you gave me was really helpful, thank you so much for giving me his/her name”.

Lastly, remember when you are “pitching” yourself, find the thing that makes you not only special, but employable. Perhaps its just your personality! That’s OK, its good to have people who are fun on board. Perhaps it is your research skills. Perhaps its your connections - you might know exactly the right people to get locations for a certain type of scene. Perhaps its your experience in a particular area that you know the film is going to be dealing with: “I just finished a three year course on Japanese Samurai Warriors and I hear you might be filming a few scenes with samurais....” You get the drift.

And now, because MY phone hasn’t rung in a few weeks, I must get up my courage and go call a few people!

BRIDES: ALL IN A DAY'S WORK

A fan asked me today what my favorite moments were on “Santa Barbara” and who my favorite stars were. Though there were many, the actress who came to mind immediately was Sidney Penny. She was so easy to design for! Not only did she have a lovely body to clothe, but she was so down to earth and adventurous and open about ideas that I had. That is always such a treat! Sometimes I want to design something a little different from the norm, especially when it comes to wedding gowns, and though the producer always has final approval on designs, it always helps when an actor is willing to go along with some crazy ideas.

I have found that bridal gowns tend to always look the same (strapless, full skirts right now) and on both “Santa Barbara” and “Passions”, I wanted my wedding gowns to be unique. I didn't always succeed - sometimes the fans hated what I did, but more about that later!

“BJ” and “Warren” were to wed on the final show of “Santa Barbara” and we were to shoot on location at the gorgeous Ritz Carlton Hotel at Laguna Niguel on the California coast. We filmed in December, and though all the actors were in formal wear, the icy ocean breeze was whipping up the bluff, and we were all freezing! I had wanted to do a 1930's themed gown for Sidney and I had actually found an authentic 1930's dress that I liked in a costume rental house. But I wanted to add my own unique touch, so I designed a white velvet coat to go over the gown, and a "juliet" cap with silk flowers for her hair. Sidney's face and bone structure allow her to wear things close to her head, and she just wasn't a big fluffy veil type! Needless to say, she looked amazing. As she approached her groom, a small breeze picked up the train of the coat and gave the whole outfit some movement. I was standing just off camera going yes! yes! 

Another actress who was a dream to design for is MacKenzie Westmore on “Passions”! Not only is she gorgeous, tall, incredibly shapely, but she also went along with my wild ideas. When "Sheridan" was to wed "Luis" I also went once more to a 1930's theme, basing her gown on my mother's 1930's wedding gown, though I added some sexiness by creating a very bare back, and a keyhole opening in the front. The dress had a stand up lace color, and to me she looked every bit like an amazing Carole Lombard or Marlene Dietrich. However, the young fans didn't get it (who is Carole Lombard to them??) and blogged about what a horrible choice it was!

Another successful wedding gown on Santa Barbara was the 1940's inspired gown for "Julia" when she married "Mason" for the umpteenth time. Nancy (Grahn) told me she liked the 1940's silhouette, and since in the 1990's, when this was being filmed, wide shoulders were still in style, this wasn't too much of a stretch. But to make the somewhat masculine silhouette more feminine, I made it of silk chiffon, with a long sheer cape attached at the shoulders that I hoped would billow in the breeze. I've never been big on tulle veils, at least on camera, as sometimes I think they overwhelm the actress' face, which is important to see.

At least my fictional brides don’t have the wedding day nerves of a real bride! For them, it’s all in a day’s work.


PS I had two great photos posted along with this, but they keep disappearing. Not sure why.

GOD BLESS MODERN TECHNOLOGY, SKYPE, AND MENTORS!

I just hung up the phone (no, actually, I was on the computer on skype) with Joe I Tompkins, a very successful, Oscar nominated, Emmy winning costume designer. He is now retired and living  happily in Merida, Mexico, and I was "on assignment" for the Costume Designers Guild to write about some of our best retired designers. What an amazing career Joe has had, and what a wealth of great advice he had.

As a mentor myself, naturally I am biased toward mentors! But I think back to when I was just starting out in a career in costumes and how much it meant to me when a more seasoned designer gave of their time to help me.

Had someone told me back then that I should seek out someone I admired as a mentor and contact them, I would have shrunk in fear from the idea! Who, after all, that was successful and whose work I admired would have the time to give advice to lowly me? Would I have had the courage to ask for help? Could I have made that call?

But actually  I got lucky when I was hired by Bob Mackie to work as his assitant for the Oscar Awards in 1980, and then the original Jubilee production for the MGM Grand. I consider Bob and the designers I worked with at his company Elizabeth Courtney Costumes my mentors. I didn't actually call them that, but everything that I know now about costume design I learned from working with them - watching them, listening to them, asking questions, and following their examples. They were all generous with suggestions or information when asked for, and to this day I feel I could call on any of them if I got "stuck" on a design. One time I asked Bob Mackie whether a white pique vest should show below the point at the waist of a man's black formal tailcoat. He said that Fred Astaire had told him directly that no, it should not, as a clean black line from head to toe elongated a man, and the vest should only show when the arms were raised, perhaps to dance? Astaire also said that he had learned that from the Duke of Windsor, fashion arbiter and innovator. So my simple question to Bob elicited an answer that went all the way back to the 1930's for authenticity! I have never forgotten that moment.

I would suggest to any young designer, writer, film-maker, or creative being, not to be afraid to reach out to those whose careers they admire. Sometimes, yes, they are too busy or not interested, but as often as not, especially in their later years, they are very mellow, very understanding, and actually love the fact that their experience and wisdom might be appreciated by someone.

START OF A NEW YEAR - onward and upward!

Its been a few weeks since I've posted a blog. I've not thought much about costumes over the last few weeks as my days have been occupied with the usual holiday activities of parties, family, and friends. All of which have been great.

But here it is January, and I am feeling eager to get started working again in my chosen profession of costume design. The pursuit of work and its rewards never ends, no matter what stage you are at.

I heard recently from a young art director /costumer whom I had recommended for a possible job with a film  coming to Las Vegas from Los Angeles. She was discouraged as she did not get the job, and wondered what she might have done better. It reminded me of how difficult this career can be when you love the work but feel powerless when others hold the strings.

There are a number of reasons why you DON'T get the job, and a lot of the time you don't even know why. Perhaps the producer decided to cut the budget and not hire anyone in that position, or perhaps it was between you and one other person and they just edged you out. Perhaps the hiring person had a friend, or owed a favor to someone who requested their candidate be considered.  Or (and this is not the case of the young woman I refer to in the paragraph above), maybe you did not give a good interview or appear prepared.

Practicing you interview style is as important as knowing your craft,  having a good resume and portfolio. Its all part of the package. Having been the one in the position of hiring, I do know that I usually hire the costumers that impress me with how they can make MY job easier! I know that may sound selfish, but, after all, when  you are looking for a job on any rung of the ladder, you are looking to make the person directly above you look good! As a costume designer, my employers want to make sure that I can stay within the budget, keep the actors happy, get everyone dressed and to the set on time, as well as make the right artistic choices.

I in turn want assistants who love the work, show up on time, work well with other crew members, deliver what they say they can deliver, and in general help make my department run smoothly.

Believe me, having spent many years earning my living as a costumer and costume designer, I had my heart broken more than a few times. I did not get all the jobs I wanted or thought I deserved. Its a tough competitive world out there, and if you don't have drive, persistence, and a love for the work, you'll lose heart and become discouraged.

But don't be.  Stay true to what you believe about your abilities, strive continually to improve your knowledge, your talents, and your presentation, and next time it will be someone else feeling sad because you got the job instead of them!