The Complete Film Production Handbook

496 Pages·2010·10.63 MB·English

by  Eve Light Honthaner

Cover Page Page: i
Title Page Page: i
Copyright Page Page: ii
Dedication Page: iii
Companion Website Page: iv
Contents Page: v
Introduction Page: xiv
Acknowledgments Page: xvii
The Forms in the Book Page: xviii
Chapter 1: The Production Team and Who Does What Page: xviii
Introduction Page: 1
Producers Page: 1
Executive Producer Page: 2
Producer Page: 2
Co-Producer Page: 2
Line Producer Page: 2
Post Production Producer Page: 3
Associate Producer Page: 3
Production Management Page: 3
Unit Production Manager Page: 3
First Assistant Director Page: 4
Second Assistant Director Page: 4
Production Supervisor Page: 4
Production Coordinator Page: 4
Chapter 2: The Production Office Page: 10
Introduction Page: 11
Office Space Page: 11
Setting Up Page: 13
Phone Systems Page: 15
The Traveling Production Kit Page: 16
Answering The Phone Page: 18
Confidentiality Page: 18
Shredding Page: 19
Watermarking Page: 19
Production Assistants Page: 19
Interns Page: 20
Ain't Technology Great? Page: 22
Techie Wanted Page: 22
Employees Driving Their Own Vehicles For Business Purposes Page: 23
Staff Scheduling And Assignmentof Duties Page: 23
Staff Meetings Page: 23
Office Lunches Page: 24
Time Management Page: 24
Office Inventories,Logs,And Sign-Out Sheets Page: 24
The Files Page: 25
Files of Blank Forms Page: 26
Files for Features,Movies for Television,Cable or Internet Page: 26
Series Files Page: 27
Day Files Page: 28
Forms In This Chapter Page: 28
Chapter 3: Basic Accounting Page: 32
Introduction Page: 33
The Production Accountant Page: 33
The Accounting Department Page: 34
Handling Payroll Page: 35
Payroll Companies Page: 35
Accounting Guidelines Page: 35
Start Paperwork Packets Page: 36
Payroll Page: 36
Box Rentals Page: 37
Vendor Accounts Page: 37
Competitive Bids Page: 38
Purchase Orders Page: 39
Check Requests Page: 39
Petty Cash Page: 40
Online Purchases Page: 41
Cell Phone Reimbursement Page: 41
Auto Allowances Page: 41
Mileage Reimbursement Page: 41
Drive-To Page: 42
Per Diem and Living Allowance Page: 42
Invoicing Page: 42
Additional Taxable Income Page: 42
The Budget Page: 43
Tracking Costs Page: 46
The Audit Page: 46
Forms In This Chapter Page: 47
Chapter 4: From Script to Schedule Page: 77
Introduction Page: 79
It All Starts With A Script Page: 79
Script Revisions Page: 79
The Breakdown Page: 81
The Board Page: 84
The Schedule Page: 85
Day-Out-of-Days Page: 86
Breakdowns Page: 87
Chapter 5: Incentives Page: 87
Introduction Page: 89
The Evolution Of Incentive Programs Page: 89
In Flux Page: 90
What To Consider Page: 90
Infrastructure Page: 92
Types Of Incentives Page: 92
Rebat Page: 92
Tax Credits Page: 92
Refundable Tax Credits Page: 93
Transferable Tax Credits Page: 93
Nonrefundable, Nontransferable Tax Credits Page: 93
Up-Front or Back-End Funding Page: 93
Chapter 6: Pre-Production Page: 93
What Is Pre-Production? Page: 95
Establishing Company Policies Page: 95
Stages Page: 96
Meetings, Meetings, And More Meetings Page: 97
Communications Page: 99
Cellular Phones, BlackBerrys, Wireless Internet and More Page: 99
Walkie-Talkies Page: 100
Previsualization Page: 101
Plan Ahead Page: 102
Sample Pre-Production Schedule Page: 102
Week #1 (8 weeks to go) Page: 102
Week #2 (7 weeks to go) Page: 103
Week #3 (6 weeks to go) Page: 103
Week #4 (5 weeks to go) Page: 103
Week #5 (4 weeks to go) Page: 103
Week #6 (3 weeks to go) Page: 103
Week #7 (2 weeks to go) Page: 103
Week #8 (final week of prep) Page: 104
Daily Prep Schedules Page: 105
More On Logs And Sign-Out Sheets Page: 105
Distribution Page: 105
Collecting Information And Making Lists Page: 106
Crew Information Sheet Page: 106
The Crew List Page: 106
The Executive Staff List Page: 106
The Cast List Page: 106
The Contact List Page: 110
Better Safe Than Sorry Page: 110
Pre-Production Checklist Page: 111
Starting from Scratch Page: 111
Creating Your Own Production Manual Page: 117
For Your Own Good Page: 118
Forms In This Chapter Page: 118
Chapter 7: Insurance Requirements Page: 124
Introduction Page: 125
General Insurance Guidelines Page: 126
Errors And Omissions (E&O) Page: 126
Comprehensive General Liability Page: 127
Certificates Of Insurance Page: 127
Hired, Loaned, Donated Or Nonowned Auto Liability Page: 128
Hired, Loaned Or Donated Auto Physical Damage Page: 128
Workers' Compensation And Employer'a Liability Page: 128
Guild/Union Accident Coverage Page: 129
Production Package (Portfolio Policy) Page: 129
Cast Insurance Page: 129
Essential Elements Page: 130
Bereavement Coverage Page: 131
Production Media (Film, Digital Elements or Other Medium)/Direct Physical Loss Page: 131
Faulty Stock, Camera and Processing Page: 131
Props, Sets and Scenery; Costumes and Wardrobe; Miscellaneous Rented Equipment; Office Contents Page: 131
Extra Expense Page: 132
Third-Party Property Damage Page: 132
Supplemental (Or Optional) Coverages Page: 132
Umbrella (Excess Liability) Page: 132
Use of Aircraft Page: 132
Use of Watercraft Page: 132
Use of Railroads or Railroad Facilities Page: 132
Use of Valuables Page: 132
Use of Livestock or Animals Page: 133
Signal Interruption Insurance Page: 133
Foreign Package Policy Page: 133
Political Risk Insurance Page: 133
Weather Insurance Page: 133
Completion Bonds Page: 133
Claims Reporting Procedures Page: 134
Submitting Claims Page: 134
Forms In This Chapter Page: 135
Chapter 8: During the Shoot Page: 156
The Prep Continues Page: 157
The Set Page: 157
Communications Page: 158
The Daily Routine Page: 158
Call Sheets And Production Reports Page: 160
Paperwork From The Set Page: 161
The Script Supervisor's Role Page: 162
The Day Before Page: 163
Reshoots Page: 163
Daily Wrap Page: 164
On The Lighter Side Page: 164
Forms In This Chapter Page: 166
Chapter 9: Building Strong Industry Relationships: Making Good Deals and Navigating The Politics Page: 180
Introduction Page: 181
Vendors Page: 181
Negotiating with Vendors Page: 182
Studio And Network Executives Page: 182
Agents Page: 183
Your Crew Page: 184
Negotiating Tips for Hiring Crew Page: 185
Avoid Cutting Off Your Nose To Spite Your Face Page: 185
Standards Of Business Conduct Page: 186
Politics And Principles Page: 186
#1: Jonathan Sanger (Elephant Man, Frances, Vanilla Sky, Suspect Zero, The Producers) Page: 187
#2: A Top Production Exective (who prefers to remain anonymous) Page: 187
#3: Ira Shuman (Just Married, Cheaper by the Dozen, The Pink Panther, Night at the Museum, The Pink Panther 2, The Spy Next Door) Page: 188
A Producer's Mission Page: 188
Chapter 10: Deal Memos Page: 188
Introduction Page: 189
The Cast Deal Memo Page: 189
Crew Deal Memos Page: 189
Writers' Deal Memos Page: 189
DGA Deal Memos Page: 189
Forms In This Chapter Page: 190
Chapter 11: Unions and Guilds Page: 198
Introduction Page: 199
An Overview Of Industry Unions And Guilds Page: 199
Union Versus Nonunion Shows Page: 200
Becoming A Union Member Page: 200
Becoming A Union Signatory Page: 200
More Specifically Page: 201
Screen Actors Guild (SAG) Page: 201
SAGIndie Page: 201
Short Film Agreement Page: 201
Ultra-Low-Budget Agreement Page: 201
Modified Low-Budget Agreement Page: 202
Low-Budget Agreement Page: 202
Aftra Page: 202
Directors Guild of America (DGA) Page: 202
Getting into the DGA Page: 203
Creative Rights Page: 204
Writers Guild of America (WGA) Page: 205
The Producers Guild of America (PGA) Page: 205
The Alliance Of Motion Picture And Television Producers (AMPTP) Page: 206
Contract Services Administration Trust Fund Page: 206
SAG, DGA AND WGA: Forms And Reports Page: 206
Union And Guild Contact Information Page: 207
Chapter 12: Principal Talent Page: 208
Introduction Page: 209
With A Little Help From Technology Page: 209
Follow-Through After An Actor's Been Cast Page: 209
Work Calls Page: 211
Performer Categories Page: 211
Stunt Performer Categories Page: 212
Interviews Page: 212
Workweek Page: 212
Rest Periods Page: 212
Consecutive Employment Page: 213
Transportation And Location Expenses Page: 213
Looping Page: 213
Dubbing (Theatrical Motion Pictures Only) Page: 213
The Employment Of Minors Page: 213
Work Permits Page: 214
Coogan's Law Page: 214
Parents, Guardians, Teachers and Schooling Page: 215
Working Hours Page: 215
Miscellaneous Guidelines Pertaining to Minors Page: 215
Specific California Guidelines Page: 216
Taft/Hartley Page: 216
Nudity Page: 217
Work In Smoke Page: 217
Sag Background Actors Page: 218
Additionally Page: 218
Forms In This Chapter Page: 218
Screen Actors Guild Offices Page: 218
Chapter 13: Background Talent Page: 260
Background Casting Agencies Page: 261
Finding Specific Types Page: 261
The Process Page: 261
Gathering Large Crowds and Filling Stadiums Page: 263
Background Casting On Location Page: 263
Specifically SAG Page: 264
Moving from Nonunion to Union Status Page: 265
With The Extra In Mind Page: 265
Reminder of Professional Conductfor Background Actors Page: 266
Forms In This Chapter Page: 266
Chapter 14: There's An Animal In My Film Page: 268
Introduction Page: 269
The Process Page: 269
Shipping Animals Page: 269
Animal Trainers Page: 270
Some Expert Advice Page: 270
The American Humane Association Page: 270
Chapter 15: Clearances and Releases Page: 271
Introduction Page: 273
What Needs To Be Cleared Page: 274
Likeness Page: 274
Crowd Notice Page: 274
Locations Page: 274
Name Page: 274
Names of Actual Businesses or Organizations Page: 274
Telephone Numbers Page: 274
License Plates Page: 274
Depiction of Public Authorities Page: 275
Street Addresses Page: 275
Depiction of Actual Products Page: 275
Posters and Paintings Page: 275
Publications Page: 275
Currency Page: 275
Web Addresses Page: 275
Music Page: 275
Product Placement Page: 275
Guidelines For The Use Of Clips, Stills And News Footage In Multimedia Programs Page: 276
Literary Works Page: 277
News and/or Stock Footage Page: 277
Film Clips Page: 277
Television Clips Page: 277
Still Photos Page: 278
Public Domain Films and Stills Page: 278
Trailers Page: 278
Talent Clearance Page: 279
News Footage Page: 279
Public Figures in News Footage Page: 279
Feature Films Page: 279
Television Programs Page: 280
Directors and Writers Payments Page: 280
Distribution of Release Forms Page: 281
Forms In This Chapter Page: 281
Chapter 16: A Guide to Music Clearance Page: 301
What Is Music Clearance? Page: 303
Why Does A Producer Have To Secure Licenses For “Music Rights”? Page: 303
How Does Your Errors And Omission Insurance Policy Relate To Music Clearance? Page: 303
Who Are the Owners of Musical Compositions and Recordings? Page: 304
What Was The U.S. Supreme Court's Rear Window Decision And How Does It Affect Music Licensing? Page: 304
What Rights Are Needed In Order To Make Sure That The Musical Material Used In A Production Is Properly Cleared? Page: 304
Public Performing Rights Page: 304
Reproduction Rights Page: 305
Adaptation Rights Page: 305
From Whom Are These Music Rights Obtained? Page: 305
Musical Compositions Page: 305
Recordings Page: 305
What Is A Music Cue Sheet And Why Is It So Important? Page: 306
To Where Should Music Cue Sheets Be Sent? Page: 306
Can A Copyright Owner Prevent Music From Being Used? Page: 306
What Happens If A Song Is Used Without Clearance? Page: 306
What About Old Songs? Aren't These Songs In The Public Domain, And Free To Be Used Without Restrictions? Page: 306
How Long Can Music Be Protected By Copyright? Page: 307
May I Use Eight Bars Of A Song Without Paying For It? Page: 307
What Is “Fair use”? Page: 307
May The Title Of A Song Be Used As The Title Of A Program? Page: 307
Must A License Be Secured If Song Lyrics Are Spoken In Dialogue? Page: 307
May Lyrics To An Existing Song Be Changed Without Permission? Page: 308
If A Song Is Cleared For One Episode Of A Television Series, May It Be Used In Other Episodes Without Additional Permission? Page: 308
Is It Necessary to Clear Music That's To Be Used In Commercials? Page: 308
May Records Or Compact Discs Be Used On A Television Show? Page: 308
If A License Is Obtained To Use A Film Clip From A Television Program Or Feature Film, Will That License Include The Right To Use The Music Contained On The Clip? Page: 308
If A Record Company Issues A License To Use A Music Video Clip, Will Further Clearances Be Required? Page: 308
Is A Synchronization License Required For The First U.S. Network Broadcast Of An Original Live Or Taped Television Program? Page: 309
What Rights Are Required To Release A Program For Sale In The Home Video/Dvd Marketplace? Page: 309
What Do Music Copyright Owners Charge For Home Video/Dvd Rights? Page: 309
How Are Feature Films Licensed? Page: 309
How Is Music Licensed In Religious Programs? Page: 310
How Much Will It Cost To Clear A Song For Use In My Television Or Film Project? Page: 310
What Is A Needle Drop? Page: 310
What Happens When Licenses Expire? Page: 310
Chapter 17: Safety Page: 310
Safety Programs Page: 311
Safety Meetings Page: 311
Safety Training Page: 312
Designated Areas of Responsibility Page: 312
Safety Bulletins Page: 312
General Code of Safe Practices for Production Page: 312
Procedural Guidelines Page: 313
General Safety Guidelines For Production Page: 313
General Rules Page: 313
Lifting and Moving Page: 314
Common Fall Risks (Catwalks, Runways, Floor Openings, Guard Rails, Scaffolds and Stairwells) Page: 314
Hazardous Materials Page: 314
Hand Tools and Related Equipment Page: 314
Filming Equipment (Booms, Camera and Insert Cars, Cranes, Dollies, etc.) Page: 314
Filming Vehicles (Aircraft,Helicopters, Cars, Trains, etc.) Page: 315
Electrical Safety Page: 315
Water Hazards Page: 315
Stunts and Special Effects Page: 315
Smoke Page: 315
Firearms Page: 315
Animals Page: 315
Environmental Concerns Page: 315
Preparing for an Emergency Page: 315
Screen Actors Guild – Safety Regulations Page: 316
Working Under Hazardous Conditions Page: 316
Advice From An Expert Page: 317
Sexual Harassment Page: 317
“On Location” – Personal Safety Considerations And Suggestions Page: 317
Visit Locations Prior to First Day of Shooting Page: 317
Gang-Occupied Locations Page: 317
Additional Suggestions Page: 318
Taking Action Page: 318
Conflict Resolution Page: 318
Self-Defense Page: 318
Forms In This Chapter Page: 318
Chapter 18: Locations Page: 322
Introduction Page: 323
The Location Manager Page: 323
Filmmaker's Code Of Conduct Page: 327
Filmmaker's Code of Conduct Page: 327
Sample Notification Letter Page: 328
Forms In This Chapter Page: 329
Chapter 19: Distant Location Page: 336
Introduction Page: 337
Location Managers On Distant Location Page: 337
The Production Office Page: 337
The Traveling Production Office Page: 338
Distant Location Checklist Page: 338
Welcome To Location Page: 340
Interacting With Local Communities Page: 341
Film Commissions Page: 342
Sag Branch Offices Page: 342
Form In This Chapter Page: 342
Chapter 20: Foreign Locations Page: 343
Introduction Page: 345
U.S. Companies Shooting In Foreign Countries Page: 345
Before You Make Your Plane Reservations Page: 345
Supplying Information to Cast and Crew Page: 348
Instructions for Crossing into a Foreign Country Page: 348
The U.S. Foreign Corrupt Practices Act (FCPA) Page: 349
Final Notes Page: 349
The United States As A Foreign Location Page: 350
O Visas Page: 350
P Visas Page: 350
H-2B Visas Page: 351
Chapter 21: Travel and Housing Page: 352
Introduction Page: 353
Travel Considerations Page: 353
General Travel Information Page: 354
Movement Lists and Individual Travel Itineraries Page: 355
Housing Page: 355
There's Always Someone Page: 357
Alternative Housing Page: 358
Forms In This Chapter Page: 358
Chapter 22: Shipping Page: 364
Introduction Page: 365
Shipping Companies Page: 365
Shipping Coordination Page: 366
General Shipping Guidelines Page: 366
Dangerous Goods Page: 367
Modes of Transportation Page: 368
Ground Page: 368
Air Page: 368
Ocean Page: 368
Domestic Shipping Page: 369
Manifests Page: 369
Packing and Labeling Page: 370
Shipping Dailies Page: 370
Weapons, Ammunition, and Explosives Page: 371
Shipping Animals Page: 371
Returns Page: 372
Personal Items Page: 372
Sea Containers and Rolling Stock Page: 372
Rolling Stock Page: 374
International Shipping Page: 374
General Customs and Shipping Guidelines Page: 374
Weapons Page: 375
Temporary versus Definite Page: 375
Brokers and Freight Forwarders Page: 375
Methods of Importing Goods on a Temporary Basis Page: 375
Carnets Page: 376
Certificate of Registration Page: 376
Pro-Forma Shipping Invoices Page: 376
Temporary Importation Bonds (TIBs) Page: 378
In-Bond Page: 378
Shipper Export Declaration Page: 378
Transporting Goods Across the Border Page: 378
Fees Page: 378
Packing and Labeling International Shipments Page: 379
Providing Information to Vendors Page: 379
Returns Page: 379
Film and Dailies on a Foreign Location Page: 380
U.S. Sales Tax Exemptions Page: 380
Final Notes Page: 380
Forms In This Chapter Page: 380
Chapter 23: Effects Page: 387
Introduction Page: 389
Visual Effects Page: 389
Physical Effects Page: 392
Mechanical Effects Page: 392
Chapter 24: Specifically Television Page: 393
Introduction Page: 395
Showrunners Page: 395
TV Directors Page: 395
Cable Movies Page: 396
The One-Hour Drama Page: 396
Overview Page: 396
Airdates Page: 397
Titles Page: 398
A Prep Schedule Page: 398
Budgets Page: 399
The Cast Page: 399
The HD Factor Page: 399
Some Differences Between Broadcast Network and Cable Shows Page: 400
Reality TV Page: 400
Reality as a Genre Page: 400
Casting Page: 401
Insurance Considerations Page: 401
Product Placement Page: 401
Staff and Crew Page: 401
Post Production Page: 402
Summing It Up Page: 402
Half-Hour Sitcoms Page: 402
Chapter 25: Independent Filmmaking Page: 403
Introduction Page: 405
Specialty Divisions Page: 405
So You're Going To Make A Film Page: 406
For Starters Page: 406
Rights Page: 407
Completion Bonds Page: 408
From Financing To Distribution Page: 408
A Business Plan Page: 408
Financing Models Page: 409
Bank Loan Page: 410
About Sales Agents Page: 410
Producer's Reps Page: 411
Distribution Page: 411
Acquisition Executives Page: 412
Some Additional Resources Page: 412
Chapter 26: Practical Low-Budget Filmmaking Page: 413
Introduction Page: 415
General Suggestions For Low- And Ultra-Low-Budget Films Page: 415
Filming On A Shoestring Page: 417
What Is It? Page: 419
How Does It Work? Page: 419
What to Include in the Proposal Page: 419
Some Very Important Notes Page: 419
Short Films Page: 420
Marrying Creativity With Business Page: 421
Film Festivals Page: 422
Direct-To-Dvd Page: 423
Documentaries Page: 425
More On Marketing Page: 427
Music For Your Film Page: 427
Additional Resources Page: 428
Forms In This Chapter Page: 428
Chapter 27: New Media Page: 433
Introduction Page: 435
What Is New Media? Page: 435
Cross-Platforms Page: 436
Studios And Networks Page: 437
New Media Producers, Studios And Production Companies Page: 438
Games Page: 438
Special Venues Page: 438
Interactive Tv Page: 439
Marketing In The Digital Age Page: 439
Where To Go For More Page: 440
A Little Terminology Page: 440
Website Resources Page: 440
Conferences Page: 441
Final Thoughts Page: 441
Chapter 28: Commercial Production Page: 441
Introduction Page: 443
Developing, Bidding And Awarding Page: 443
The Pre-Production Book Page: 445
The Relationship Between The Client, The Agency And The Production Company Page: 445
Differences Page: 445
The Wrap Book Page: 446
Forms In This Chapter Page: 447
Chapter 29: Clearances and Releases Page: 447
Introduction Page: 449
Recoverable Assets Page: 449
Getting Started Page: 450
Tentative Screen Credits Page: 451
At The Completion Of Principal Photography Page: 452
Short Ends Page: 452
Wrapping By Department Page: 453
Wardrobe Page: 453
Props Page: 453
Set Dressing Page: 453
Set Dressing/Construction Page: 453
Art Department/Construction Page: 453
Construction Page: 453
Packing Page: 454
To Submit To Your Production Exec Or Parent Company Page: 454
Your Basic Wrap Book Page: 454
Wrap Checklist Page: 455
The Final Production Book Page: 457
Forms In This Chapter Page: 457
Chapter 30: Post Production Overview Page: 462
Introduction Page: 463
Shooting On Film Page: 464
The Process Page: 465
Shooting Digitally Page: 465
Editing Page: 466
The Director's Cut Page: 466
Under the DGA Basic Agreement Page: 466
Under a DGA Low-Budget Agreement Page: 467
Dailies Page: 467
Post Production Sound Page: 467
Schedules And Workflow Page: 468
Screen Credits Page: 469
Directors Guild of America (DGA) Page: 470
Director — Theatrical Motion Pictures Page: 470
Director — Television Page: 470
Unit Production Manager/First Assistant Director/Second Assistant Director — Theatrical Motion Pictures and Television Page: 470
Screen Actors Guild (SAG) Page: 470
Performers — Theatrical Motion Pictures Page: 470
Performers — Television Motion Pictures Page: 470
Writers Guild of America (WGA) Page: 470
Writers — Theatrical and Television Credits Page: 471
Other Significant Screen Credits Page: 471
Producers' Credits Page: 471
Casting Page: 471
Music Page: 471
Film Editor Page: 471
Art Director/Production Designer Page: 471
Director of Photography Page: 471
Costume Designer Page: 471
Set Decorator Page: 471
Costumers Page: 471
Hair and Make-Up Page: 471
Alternative Titles Page: 471
Sample Screen Credits Page: 471
Standard Delivery Requirements Page: 475
Negative and Picture Elements Page: 475
Sound Elements Page: 475
Videotape Masters Page: 476
Publicity Materials Page: 476
Music Documents Page: 476
General Documents Page: 476
Work Materials Page: 477
Post Production Terminology Page: 477
Film Terms Translated to Their Digital Equivalent Page: 481
Chapter 31: Greener Filmmaking Page: 481
Introduction Page: 483
General Guidelines Page: 484
Recycle! Page: 484
Conserve Energy! Page: 484
Be Environmentally Responsible! Page: 484
Properly Dispose of Hazardous Waste! Page: 485
Departmental Guidelines Page: 485
The Production Office Page: 485
Construction Page: 485
Transportation Page: 486
On-Set Page: 486
Craft Service/Catering Page: 486
Grip and Electric Page: 487
Special Effects Page: 487
Wardrobe Page: 487
Make-Up and Hair Page: 487
Camera Page: 487
What Can Be Recycled Page: 487
Paper Page: 487
Metals Page: 488
Glass Page: 488
Plastics Page: 488
Do Not Recycle These Items Page: 488
Green Guidelines Page: 488
Green Links Page: 489
Chapter 32: Industry Survival Tips Page: 489
Introduction Page: 495
Key Ingredients To A Successful Career Page: 495
#1: Passion! Passion! And More Passion! Page: 495
#2: Being Prepared Page: 495
#3: It's Who You Know and Who Knows You Page: 496
#4: It's Also What You Know About the Industry Page: 496
#5: Understanding the Power of Networking Page: 496
#6: Having a Plan, and Committing to Your Success Page: 497
#7: Standing Out from the Crowd Page: 497
#8: Developing a Thick Skin Page: 497
#9: Perfecting Your Craft Page: 498
#10: Having Good Interview Skills Page: 498
#11: Being Able to Ask for What You Want Page: 498
#12: A Winning Attitude Page: 498
#13: A Willingness and an Ability to Play the Game Page: 499
#14: Being Well Liked and Having a Good Reputation Page: 499
#15: A Game Plan for Getting Through the Rough Times Page: 499
#16: The Seven Ps Page: 499
More On Getting Through The Tough Times Page: 500
Getting Work Page: 501
Developing Good Work Habits And Necessary People Skills Page: 503
A Lesson In Paying Dues Page: 504
It's The Attitude, Dummy Page: 504
How To Keep Learning Page: 504
Easier Said Than Done Page: 504
Remembering Why You Got Into This Business To Begin With Page: 506
Recipe for Success Page: 508
Glossary Page: 509
Index Page: 517