Freelance Ebooks Catalog
Be a Freelancer from Home
When you think of freelancing, what is the first thing that comes to your mind? You probably think of a writer, novelist or journalist right off hand. That is primarily because for centuries, the only real job you could have as a freelancer had to do with your mastery of the written word.
Before choosing a particular job or specialty field, you'll have to decide whether to pursue a staff job with one company or freelance work. Freelancing entails working from project to project in a wide variety of positions, such as actor, writer, composer, musician, storyboard artist, graphic artist, dialogue coach, script reader, script doctor or a member of a film or television crew. It's a job that has a finite term, and that term could last anywhere from one day to a year or more. How freelancers are paid will vary, as some are compensated by the hour, the day, the week or the project. Much depends on the exact nature of the work and who's doing the paying. It's often assumed that because you freelance, you're automatically an independent contractor but that isn't necessarily the case. Most freelancers are put on payroll for the term of their employment, and their paychecks reflect all obligatory income tax deductions and any union or guild fringes that may apply. At the end of...
For women as well, freedom from studio contracts meant new opportunities, but these were often traps, or perhaps respites from the traps in which actresses were usually caught. Susan Hayward escaped the insipid love interests she played in her Twentieth Century Fox contract movies (David and Bathsheba, 1951 Demetrius and the Gladiators, 1954), taking challenging and realistic roles in biopics like I'll Cry Tomorrow (1955) and I Want to Live . Doris Day (b. 1924), severely typecast at Warner Bros. as the girl next door in nostalgic musicals, in her first role as a freelancer, played Ruth Etting (1897-1978) in the melodramatic musical biopic, Love Me or Leave Me (1955). The film brought her acclaim, but also letters from fans deeply offended at seeing Day as an alcoholic trapped in an abusive marriage she never accepted such a role again. Less surprisingly, when wholesome actresses like Donna Reed (1922-1986) and Shirley Jones (b. 1934) played prostitutes, they won Oscars .
There is no right or wrong answer to the question raised above. Much of it will depend on your personal finances. However, a great many production companies have gone by the wayside because of heavy overhead. When I was living in Chicago, a friend was the co-partner of a large production company with an overhead of around 11,000 a month to cover the cost of office space, staffing, equipment, and marketing. At the time, business was good and the company thrived for about five years. But when the recession of 1991 emerged, clients began to disappear. With such a large overhead, the company was just above water in the good times. One year later, my friend was operating as a freelancer in a small apartment while paying off a great deal of debt. Freelance support
A consummate American screen hero of Hollywood's classical era and the archetypal strong silent type,'' Gary Cooper spent roughly the first half of his career at Paramount, where he paid his dues as a studio contract star and, in the course of the 1930s, rose to top stardom. Cooper enjoyed sufficient clout by the late 1930s to demand a nonexclusive contract with Paramount, and within a few years he was essentially a freelance star. Thus many of Cooper's most memorable roles, including his Oscar -winning performances in Sergeant York (1941) and High Noon (1952), were done elsewhere. But during the early years at Paramount, Cooper did some of his best work and steadily refined his distinctive screen persona the tall, laconic, hesitant but steadfast hero whose diffident honesty and physical beauty masked an undercurrent of anxiety and self-doubt. He established a remarkable acting range as well, handling comedy, romantic drama, and action-adventure roles with equal assurance. During the...
One of America's greatest writers and philosophers, Ayn Rand, was also a freelance reader. While writing short scripts and making suggestions whenever Cecil B. DeMille asked her opinion, Ayn was employed as a reader first at RKO and later at MGM. The time was the mid-thirties. Her work consisted of reading books and manuscripts submitted to the studios, synopsizing them, and evaluating their screen potentiality. Solid d-girl work. RKO paid two dollars for a brief synopsis, and five dollars for a long one. She lived on that money, albeit modestly, while plotting and outlining The Fountainhead. She most certainly fulfilled Betty Schaefer's declaration of not wanting to be a reader all of her life.
In 1961, Walters became a freelance writer on the Today show.32 Through persistent effort she advanced from freelance writer to regular staff writer, to reporter, and in 1964, the third time she had asked producer Al Morgan for the job, she became the sixteenth Today girl,'' a job which consisted of sitting decoratively at the desk and assisting the main anchor with lively talk and light features. Walters took over the position from actress Maureen O'Sullivan and built it into a permanent spot for herself as reporter and cohost of the show. By the mid-1960s Walters had succeeded her friend Arlene Francis as the best-known female news talk host in an industry dominated by men.
Teague, like Loewy, began his career in design as a freelance illustrator, working mainly for advertising agencies. After a visit to Paris in 1925 he returned to New York to found his industrial design consultancy. His first major project was for Eastman Kodak, when he designed the
Pollack's film was based on James Grady's novel Six Days of the Condor, published by W W. Norton in April 1974. Grady was a precocious freelance writer in his early twenties, whose imagination was fuelled by a recent stint as a Congressional journalist intern. His book told the story of CIA bookworm Ronald Malcolm, who uncovers a renegade cell operating within the CIA that is killing agency colleagues to cover up a Vietnam-related heroin-smuggling racket. In late 1973, even before Six Days of the Condor had appeared on the shelves, independent producers Dino De Laurentiis and Stanley Schneider
Once the range of projects was decided in terms of budget and genre, work commenced on planning the individual films. Projects normally originated with the script department, a unit all major producers had instituted by 1911. Normally, potential scripts were selected by readers from existing sources such as novels, plays, radio shows, or even existing movies. The Wizard of Oz (1939), for instance, had previously existed in all these forms by the time it was put into production. Other films began life as original screenplays, normally by writers under contract to the studio, since producers rarely purchased original screenplays from freelance writers for fear of copyright infringement.
Each other.21 This is unfortunate, since their ambitious bodies of work and their impacts on the industry were so widespread and similar. Both men worked their way up from story editors to head production at major studios and then went on to create their own studios. Both had an obsession with overseeing each script and production detail of every film released by their companies. Both were tireless workers, perfectionists who blurred the border between producer and dictator. Yet here their similarities ceased. Zanuck was the only non-Jewish studio head in Hollywood. He was no one's son-in-law, whereas Selznick had cannily married his boss's daughter, Irene Mayer, in 1930. Zanuck had no family in motion pictures. When he started as a freelance screenwriter in the mid-1920s, he started alone, with no help or encouragement. Unlike Selznick, who grew up with Hollywood, Zanuck had few memories of the glamour of old Hollywood. Working at the thrifty Warner Brothers studio was tough, and for...
To help prevent your photograph and resume from being used inappropriately, include a disclaimer such as the following Property of your name . For casting purposes only. Not intended for sale or commercial use. 5. When having headshots taken, ask the photographer to include language in the contract stating that it is a work for hire. Otherwise, you do not own the copyright to your photographs (even if the photographer gives you the negative).
I once took a job as a second unit UPM and worked for a very astute line producer named Jonathan who, at the time, specialized in non-union features. My first day on the job, he took me on the set and pointed to an individual. See that camera loader he asked. He worked for free two shows ago. And the second AD over there, she worked for free three shows ago. His routine was to hire interns and give them a chance to ask questions, learn and figure out what they were most interested in doing while working in PA positions. After working for free and proving themselves capable on an entire show, he'd hire them again on his next show, give them more responsibility and pay them a small salary. They'd learn more each time and get paid more on each show, until eventually, they'd be ready to assume an actual crew position. Voicing my astonishment, he said that's how he had started. He knew no one when he first moved to L.A., had no connections and couldn't get a job. But he did have a little...
Set in affluent Santa Barbara, the film harks back to the Nixon-era mode of Polanski's Chinatown or Arthur Penn's Night Moves. Bone (Jeff Bridges), an occasional boat salesman and freelance gigolo, stumbles across a squalid sex murder the corpse is literally dumped from a Cadillac into a trashcan which his Viet-vet roommate, the crazed and crippled Cutter (John Heard), proceeds to solve. This leads to a grossly unequal struggle with an Olympian corporate magnate. And while Bone vacillates and bats his bedroom eyes at Cutter's long-suffering wife (Lisa Eichhorn), who floats through the film in an alcoholic haze, all three are drawn inexorably into the whirlpool.
Bond is a crime-busting secret agent on a grand scale - a very distant relative of the G-man heroes of old. His opposition in this film is SPECTRE, an acronym of Special Executive for Terrorism, Revenge, Extortion his opponents in other adventures were SMERSH ('Smiert Spionom' Death to Spies), or freelance lunatics like Auric Goldfinger or Francisco Scaramanga. In the finale, SPECTRE is pitted against Draco's Union Corse, another crime syndicate to access Piz Gloria's airspace Draco's helicopter Alpine troops pose as the Red Cross, on a mercy flight carrying blood plasma to victims of the Italian flood disaster.
Stars are no longer employees (on a freelance, let alone fixed-term, basis), but stakeholders in the enterprise that manages their career (Baker and Faulkner, 1991). Within any product cycle the star has a direct commercial interest in claiming a deep existential commitment to a given role. et, the star as entrepreneur must be ready to switch roles as business opportunities arise. Hence the paradoxical desire to be protean and yet quintessential in every role. The globalisation of the market for the star's services exacerbates this process, because claims of existential commitment multiply as films and product open in different markets and address different cultural constituencies. 'Big in Japan' is not the same semantically as 'Big in America'. This can require a higher level of abstraction
Leacock served in the US Army as a combat camera operator during World War II, and later did freelance camera work for various government agencies and for a number of directors, including the pioneer documentary filmmaker Robert Flaherty on Louisiana Story (1948). He was continually frustrated by the way the cumbersome cameras and sound equipment made it nearly impossible to capture events spontaneously. Although he found some creative ways around this problem, such as shooting with a handheld camera and later adding non-synchronized sound over the image, he found these solutions to be ultimately unsatisfactory.
United Artists' move to offer independent producers complete production financing, creative control, final cut and a share of the profits differentiated the distribution company from the other majors, for which it was not as easy to adapt to the post-studio era. One great advantage UA held over its competitors was that it did not have a studio backlot and therefore no stars or technical personnel under contract and no overhead costs at a time when studio production started declining and studio employees were turning freelance. Unlike the other majors that were recruiting independent production units to provide them with product but, equally importantly, to make use of the ex-studios' production facilities and empty soundstages for a fee (a practice that inflated budgets considerably), United Artists was happy for its producers to make their own arrangements for the use of studio space provided that their choice would not have any impact on the budget. For this reason, it did not...
That put Francis in about 350,000 worth of debt. We were going to have to shut down at that point. I was sort of thrown off on my own to do my own thing and Francis had to go off and do a gangster picture that had been offered to him. He had a lot of concern about whether to give up his freedom and do this work for hire or whether he would try to continue on doing his own thing. As it turned out, I went on and did my own thing with American Graffiti, and he went off and did The Godfather.
Ensure that their members receive onscreen credit. In an era in which most film workers freelance, rather than work under studio contract, it is especially important for their career that they receive credit, since this may affect their remuneration as well as their future employment prospects.
But Paramount was impressed with DeMille's use of popular historical material, and in 1936 the studio hired Frank Lloyd to adapt Stuart Lake's unpublished (and unfinished) history of the Wells Fargo Company. Like many other screenwriters of this era, Lake had worked as a reporter, freelance writer, and popular historian. Lake believed that he possessed a historical connection to the West that no historian could match he had spoken with old-timers Bat Masterson and Wyatt Earp, who cleared up a lot of frontier mysteries. 67 He proclaimed that his entry into the historical world would replace western myths propounded by historians with firsthand accounts and research. He would cleanse history and have a best seller on his hands. But when he wrote to Frank Lockwood of the University of Arizona about his work on Earp, Lockwood, like many professional historians, dismissed Lake's efforts, saying, I think entirely too
Peg Aloi teaches creative writing and film studies at Emerson College in Boston, Massachusetts. She is also a freelance film critic for the Boston Phoenix. Recent publications include essays in the anthologies Seven Seasons of Buffy from BenBella Books, and The Last Pentacle of the Sun Writings to Benefit the West Memphis Three from Arsenal Pulp Press. She is also co-editing (with Hannah Sanders) a collection of academic essays on contemporary paganism in the US and UK. Email Amberapple aol.com
A History of Violence, with its Hitchcockian wrong man theme and continual implication of the viewer, is as coolly distanced as its title would suggest. In the film's first minute, a scarily hard-bitten killer walks on camera and perfects the flat perspective by straightening a chair. A work for hire, as well as David Cronenberg's biggest budget ever, freely adapted by Josh Olson from John Wagner and Vince Locke's graphic novel, A History of Violence manages to have its cake and eat it impersonating an action flick in its staccato mayhem while questioning these violent attractions every step of the way.
For those of us who freelance, we're always relieved when the current project we're on has wrapped, because by then, we're drained physically and emotionally. But once you rest up and catch up on all the personal things you didn't have time to do while on the show, panic generally starts setting in if you don't have another project lined up within a month or two. Or maybe you worked on a show, you know you did a good job, but the producer isn't hiring you back again on his next picture (even though he said he would). Or maybe you've gotten laid off, and you start going on the interview circuit, but nothing seems to click. Or you've had a great interview or reading, and you were sure you had the job or part, but they pick someone else instead. Or someone calls to ask if
Production management is another term for physical production. It encompasses the studio and production company execs (mentioned earlier in this chapter) who supervise the freelancers working on their shows and also those who are (back to that term again) in the trenches the line producers, UPMs, assistant directors, production supervisors, production coordinators (also referred to as production office coordinators or POCs) and assistant production coordinators (APOCs). other freelance positions, there's always something new to learn, new people to meet and work with and new locations to travel to. Production is the behind-the-scenes office responsible for dispersing all pertinent information, making sure everyone involved has what they need to do their job and of ensuring that everyone and everything arrives on the set each day on time and prepared. Production is responsible for preliminary budgeting scheduling negotiating for and securing a crew, locations, equipment and all outside...
Clark Gable worked freelance on his last film, The Misfits (John Huston, 1961) with Marilyn Monroe. everett Clark Gable worked freelance on his last film, The Misfits (John Huston, 1961) with Marilyn Monroe. everett Although the Indian industry would produce stars of its own, until the late 1940s popular cinema in India continued to be dominated by the films and stars of Hollywood. From the 1930s to early 1950s, a number of major studios stood at the forefront of the Indian industry, each with its own contracted stars Bombay Talkies, Imperial Film Company, New Theatres, Prabhat Film Company, Ranjit Film Company (renamed Ranjit Movietone), and Sagar (later National Studios). For example, the silent star Sulochana signed to Imperial, where she was reportedly paid 2,500 rupees per month in 1933, making her the highest-paid film performer in the period Kundan Lal Saigal (1904-1947) became the leading star of Indian cinema in the 1930s while signed to New Theatres. Following national...
You can consider hiring a composer on a work-for-hire basis. Here, all publishing and recording rights for any music composed specifically for your project by the composer belong to you. In exchange, you'll pay a fee and agree on screen credit. If you do have music composed specifically for your project, you want to avoid music that bears a strong resemblance to a well-known piece. Even this can bring on a lawsuit.
Weber had trained in his native Germany before settling in Santa Barbara after the First World War. He established his own interior design and furniture design studio in Los Angeles in 1921 and worked as Art Director for Barker Brothers from 1922 to 1927. He shot to fame after his inclusion in the Art in Industry exhibition and resigned from Barker Brothers to establish his own design studio in Hollywood in 1928. He produced moderne designs for silverware, clocks and furniture and also worked as a freelance art director for a number of the major studios. While the French goods were primarily aimed at the luxury market, their American derivatives were intended for mass consumption. As Simonson declared at the time of the exhibition '. . . art in this age has to be simplified if it is going to be produced on a large enough scale for most people to afford and enjoy it'. The mass production of goods would create 'a tremendous widening of the variety of articles in everyday use as...
Many individuals have given up good, steady staff positions to freelance on individual films and television shows. You've already read about the downside to freelancing, but there is no denying that if you're a team player, there's no better team to be on than a film crew.
Corin Redgrave is an actor, director and author. Since his debut in 1962 his work has been divided almost evenly between theatre, film and television. He is the author of Michael Redgrave My Father (RCB, Fourth Estate, 1995) and Julius Caesar and the English Revolution (Faber & Faber, 2002). As a playwright he has written Roy and Daisy (1998), Fool for the Rest of his Life (2000), Blunt Speaking (2001) and Not Half the Man I Used to Be (2002 ), all plays commissioned for BBC radio. He has been the editor of The Marxist, a bi-monthly journal, since 1987, and is an occasional freelance journalist.
The general rule in journalism is that if you start paying for stories, people will come up with stories for which they want to be paid. There is a big difference between paying an actor to portray Thomas Jefferson and paying a scholar or expert to discuss him. One is a craftsman in an art frequently supported through freelance employment such as this. The other is usually a career scholar and or author who benefits by advancing his or her expertise and, in many cases, published work, for whom you are providing a significant audience. Some filmmakers may decide to pay subjects indirectly, whether through buying them groceries or making a contribution to a charity. Scholars and experts who appear on screen (and are not also advisors) are not paid, although this is usually under debate and some new precedents are being set.
In addition to the executives who run the studios' post production departments and their in-house staff, freelance post supervisors and Studio post jobs and freelance post supervisors and coordinators aren't the only positions in this field. This aspect of the industry encompasses music supervisors, visual effects supervisors, editors, assistant and apprentice editors, sound and music editors, negative cutters, re-recording engineers, projectionists, foley artists, ADR talent, title designers and all the jobs found within service providers such as laboratories, sound houses, optical houses, transfer facilities, screening rooms, equipment rental companies and facility rentals (editing bays, recording studios, offices, ADR and foley stages, mixing stages or suites, etc.).
Jerry arrived in Los Angeles with a lot of hope in his heart but few resources at his disposal. Having several years of editing experience to his credit, he began freelancing as an editor to supplement his income. I was freelancing around town when one Christmas my father came out to visit and spent time with me while I was editing at a production house. He was interested in the equipment and asked what it would cost to get it set up. I told him it was rather expensive, but he felt it would be a good investment for my company because I could always rent it out on top of editing projects for myself. So we got a business loan and acquired an Avid editing system for Nitestar Productions. I rented an office and most of my work since that time has been editorial. It's a great tool to have when I'm producing and directing my own projects as I don't have to worry about finding an edit house and trying to negotiate a deal. On the flip side, it's an asset I have to pay off. I have to keep work...