When did the entertainment industry start its downturn? Was it the rise of Netflix? The strikes? The COVID-19 pandemic? Brad Hall, founder of EntertainmentCareers.Net, said the dip began in December 2019. During the final quarter of that year, he and his team noticed some very “strange signals” that suggested jobs in production were about to take a massive hit.
“We felt that we had reached a pinnacle of production in our lifetime, especially in the United States, especially in Los Angeles, and we didn’t see a meaningful recovery for 10 years,” he said. “Then, of course, that was all hidden because the pandemic happened and then multiple labor strikes.”
Hollywood took a similar hit during the economic crisis and recession that began in 2008, but recovery came when tech companies like Amazon, Netflix, and Apple poured in cash to build platforms and libraries. Today, Hall doesn’t see a savior — but there’s still creative work to be found and a lot of it on Entertainment Careers, with members who pay $9.95/month or less depending on the plan they choose receiving the full benefits of the site. This work just might not be where you expect.
“What we do now is try and point people to see themselves in a larger skillset,” said Hall, “like pointing [producers] to experiential marketing or pivoting into live events.”
Hall predicts “massive growth” in live events: It’s where companies like Amazon and Netflix are redirecting their investments with comedy and sports. He believes one of these platforms may stream music festivals like Coachella or live Broadway shows down the line.
“The cost of production is relatively low,” Hall told IndieWire. “It’s an event that’s already happening. So we are trying to get people that have any experience in live events to start shifting in those directions.”
At Backstage, vice president Luke Crowe takes a similar view. He said while self-tapes now make it easier for actors to audition, that glut also makes it harder to get noticed. Through its $24.99/month or $199.99/year membership fee, what Backstage wants to provide, Crowe said, is redirection.
“There’s a lot of new types of work coming up,” Crowe said. “Depending where somebody’s interests are and where they are at in their career, there are some good opportunities. We’ve seen a lot of growth in online advertising — branded content that’s not meant to really look like advertising.”
These are typically TikTok or YouTube videos featuring actors using a product in a way that doesn’t feel like too much of a pitch or when a company puts their name behind a live event or series that attracts its sales base. “Branded content” does not sound as sexy as “network pilot”; the work may not be union and the pay will be lower. However, it’s still a paycheck and can go on a reel. It’s also possible that it will be seen by more people than an independent feature or even some television shows. More importantly, Crowe said, working in this space of creative advertising will likely lead to more job opportunities.
“Actors and directors and crew who may not have even had those opportunities before, they get that one big nationwide commercial, now there’s like a 1,000 smaller [commercial] spots for them to be able to get into,” he said. “It can build up better reels and you can really create a living out of a lot of that, cumulatively.”
Another key to creating long-term success is self reflection: Where are you, really, in your career? Dreams of fame, fortune, and the belief that your story is so special that it must be told are common; it’s what draws many people to entertainment. However, the ability to stick around is based largely on the ability to get over yourself and focus on developing interpersonal skills and the ability to adapt.
“You’ve got to jump over this chasm from graduating or from career changing to becoming employable, to start getting consistent paid work,” said My First Job in Film founder and managing director Sam Kirkwood.
As a “hybrid film school/agency,” My First Job in Film offers a free service that focuses on teaching soft skills, like networking and the ability to cold-call with grace. They also aim to adjust mindsets, advising some to take jobs that may not do anything for your entertainment career other than making you available for it.
“We start advocating for what we call ‘safety net jobs.’ It’s a job that gives you flexibility — typically shift work,” said Kirkwood, “so if a job does come up last minute or tomorrow there’s a great opportunity, you can get someone to cover.”
Developing these soft skills and sense of determination can represent all the difference in making the leap across what he calls “the employability chasm.” With each member, Kirkwood and his team assess what specific stage they’re at and work to level them up.
“For a production PA, it might be you’ve gotta do half a dozen short films,” Kirkwood said. ”Why? Because on the fifth one you might meet somebody who’s doing a favor for somebody and they’re looking for a PA for their next paid gig. And so you’ve come from somewhere having no experience, met people, networked, had time to get comfortable in the environment, understand the lingo of being on set — all the soft skills that are required.”
For jobs in development or at agencies, My First Job in Film promotes a challenge that requires members to execute 20 steps each day toward advancing their careers. That could be a LinkedIn post or a cold call, but it’s all about getting in the habit of putting themselves out there — and being easier to find.
Who you know in this industry always matters, but Hall added that experience you rack up is what recruiters find most attractive nowadays.
“I would say we’re back into that era of the resume,” Hall said. “For us, 85 percent of the people are applying incorrectly.” He said most people look at “how awesome this job would be for them” rather than communicate how they fit “the needs of the employer.”
Truth is, chasing your dreams is a marathon. When creative work is impossible, it’s always okay to redirect your skills to whatever lets you pay the bills. Said Hall, “Any port in a storm.”
