I graduated from the Grad Film Program at NYU in 1995, but I knew pretty much as soon as I started cutting my thesis film at the end of 1993 that 1) it probably wasn’t going to get me signed by, well, anyone; 2) I needed to pay off the thousands of dollars I’d put on my credit cards making the film, and there was no way I was going to do that at my part-time, $8/hr filing job at a financial management firm; and 3) if I was ever going to be a director, I wanted the experience of working on a real film set. Luckily, having gotten a reputation for doing sound at film school, I started getting calls to do it elsewhere — first from other film schools, then on independent features. Unluckily, the pay started at “deferment,” aka zero unless the film made money, and went, in my first couple of years on the job, all the way up to $400/week flat rate with no overtime.
The film I worked on that ended in murder
The film I worked on that ended in murder
The film I worked on that ended in murder
I graduated from the Grad Film Program at NYU in 1995, but I knew pretty much as soon as I started cutting my thesis film at the end of 1993 that 1) it probably wasn’t going to get me signed by, well, anyone; 2) I needed to pay off the thousands of dollars I’d put on my credit cards making the film, and there was no way I was going to do that at my part-time, $8/hr filing job at a financial management firm; and 3) if I was ever going to be a director, I wanted the experience of working on a real film set. Luckily, having gotten a reputation for doing sound at film school, I started getting calls to do it elsewhere — first from other film schools, then on independent features. Unluckily, the pay started at “deferment,” aka zero unless the film made money, and went, in my first couple of years on the job, all the way up to $400/week flat rate with no overtime.