Posted by Karen "Kay" Ross

Before I taught film and television production to teenagers, before I developed a comprehensive internship program within a production company, and before I shepherded freshman theatre technicians through grueling lighting hangs and late-night set strikes, I myself was mentored. I owe a great debt of gratitude to my first mentor; my mother. She is an expert in adult education and a retired computer specialist, so it may be no surprise to learn she was incredibly methodical when training me. Don't know how to do the laundry? Let's try it! Not sure how to cite your sources? Let's look it up! Can't reconcile this budget? Let's figure it out!

Okay, we probably never did that last one together. Still, we did have an unusually adult rapport that boiled down to one obvious intention: she was invested in my continued improvement. She excelled at breaking down a process to troubleshoot an issue accurately. She was exemplary at using incredibly precise language to guide my next steps in such a way where both of us felt confident enough for her to walk away and let me try. Her approach to mentoring me taught me autonomy, responsibility, and leadership. I will be forever grateful to her for giving me the tools to empower others.

Since today's blog happens to be released on her birthday, I'd like to dedicate today's final reflection on mentorship to my mother, Carol Stoil (or as she was previously known, Carol Ross). Happy 69th Birthday, Momma!

 

Film Production Mentorship Part 4 Priorities Systems and Leadership

 

PART 4: GIVING BACK TO MOVE UP

While my first boss mentored me, a fantastic Production Manager named Cat Demaree, who was kind enough to groom me to become a PM as well, my first PM credit was only just this year (2021). I've even written a Production Management curriculum for both high schoolers and community college students, but since arriving in Los Angeles, I had actively been avoiding any work that would lead up to a PM position. In short, the work gives me very little joy. When you know this about yourself, you also know that you have a limited amount of time to do the job before the work withers away or you do.

Yes, ideally you find someone to mentor you, both into the role you want while in a role you enjoy, but sometimes it's either one or the other. If you make smart choices, then you'll be in a role you don't mind long enough to be mentored into the role of your dreams. Even high-profile roles have to "eat shit" and do work they don't like in order to get to the good stuff.

Taking a position of responsibility that also gives you no joy, you must identify your motivation to ensure that you will continue to meet the expectations of your role. That is to say, not everyone has the capacity to mentor, and that starts with making sure the job does not absorb all of your available energy. For me, the opportunity to continue learning from Shane Stanley and the excitement of getting to work with people I like with a script I enjoy was incentive enough. If you cannot identify why you are in this position of authority, potentially affecting your subordinates and influencing future filmmakers, reconsider your decision. You must be a competent contributor before you can be a worthy mentor. If a role model is someone others observe and mimic, and a mentor is someone who guides your improvement, then being someone's manager means you both have to do good work and offer sound guidance.

 

Film Production Mentorship Part 4 Priorities Systems and Leadership

 

Meet Expectations First

The trick with "on the job" mentorship is you must fulfill the job requirements first. Mentorship implies someone above you is interested in and supplying information towards your progress. However, when it comes to "learning on the job," that lesson may not come so easily. This can be a particularly sore spot since mentors sometimes think they can guide their mentees so precisely that they can avoid friction or failure. How soon they forget how they learned! What is worse is if a mentor does not feel confident in their own position and so uses the opportunity to mentor to instead micro-manage.

So, my eager mentors - let us release our focus on "how to mentor" for a moment, lest we become "micro-managers", and tackle "managing expectations." First, talk with your immediate collaborators to set expectations. The higher you go, the more tasks you will be responsible for, but the fewer tasks you will do. Make sure you know the tasks that only YOU will be responsible for and make them your top priority.

On Night Train (2022), Shane made it clear that my top priorities were keeping in contact with all talent, submitting SAG paperwork completed and on time, and submitting payroll on time. Once I understood what was expected of me, I could confirm whether or not that would be within my capabilities. After that, clarifying the responsibilities of my Production Coordinator (PC) helped distinguish our roles and establish our working relationship. Would she be someone to mentor, or do I continue to mentor PAs? What assignments is she completely autonomous with, and how do we help each other? Was there anything I could delegate to her in case of an emergency?

As it turned out, I assumed more responsibilities as a "flexible" First Assistant Director (1st AD), which required me to be on set so that our PC could stay at base camp. This additional responsibility changed how we worked together, which changed the mentorship opportunities. In an ideal world, I would have only mentored my PC and had more regular contact with her. The moment I had to be on set, however, I had to know my "right hand" PA (i.e. Set PA) would be programmed to fit my needs, and that mentorship was the top priority. Would I do it that way again? Probably not. I discussed my "PA Training Program" with the PC to help her with her own mentoring, but I could not implement it as a PM. Sometimes the best thing you can do for your subordinates is let them figure out how they want to lead. Lesson learned! At the end of the day, the job has to get done, so be sure you know what that is and how best to communicate its completion.

 

Film Production Mentorship Part 4 Priorities Systems and Leadership

 

Confirm Systems and Oversee Implementation

When you are in an in-between position, like a PC, you can create systems with a wide range of options since the only ones who know about them are your subordinates - in this case, PAs. You may have the opportunity to show off your checklists to your AD or your receipt reconciliation to your PM, but for the most part, those systems are for you. As long as you get the job done, no one really cares

The higher up you go, the more others are affected by your systems. Thus, you must go with what works best for everyone. For example, on Night Train (2022) as the PM, I tried using StudioBinder to create our call sheets. While the online software has fantastic data intake to make the process of creating daily call sheets faster, the resulting output was terrible. It left excessive space that made the call sheet six pages instead of one or two (this is an old school rule, but it still holds true - if crew members print it out, they only have enough space and coordination for a single sheet of paper). Additionally, there was no ability to color-code or highlight anything to make sure people read the important information (and trust me, someone always misses something). Suffice it to say, Shane took one look at it and said, "absolutely not". So, we used a free template instead. It took me an hour every day to create each call sheet and send it out, but they were bright, detailed, and kept to the two-page-max requirement.

No matter what is easiest for you, you must consider what system renders the best output for the entire team. Otherwise, you could be sitting on an unfinished film crying, "but my spreadsheets look amazing!"

With all of the new details, complicated choices, and responsibilities of my managerial role, I could not in good faith be involved in the same details in my previous position. And that's okay. What was more important was communicating whether or not the PC's efforts were effective, showing appreciation, and giving guidance when necessary. Sometimes that includes troubleshooting with them - a bit like a math teacher asking you to "show your work" in order to understand what may have gone off the rails - but for the most part, you have to regulate your contact with your subordinates. This gives them time to implement and you time to do your work.

My strategy for overseeing implementation was checking in with my PC before the safety meeting every morning, again briefly after lunch, and a short planning meeting at the end of each day. This last meeting was imperative as you want to know what the plan is for the next day before you make the next call sheet or go to sleep. You may not sleep very well if you still have lingering questions or doubts. In this particular relationship, since the PC rarely goes on set, the end-of-day check-in was also to relay the highlights of the day so the PC would be able to adjust her own priorities accordingly. Overseeing implementation does not mean dictating it, but it does mean actively informing it.

After reviewing our individual needs, we also created blackout times to ensure that both of us received time off. We supported each others' well-being by one of us making ourselves available when the other was not. Creating and implementing systems between roles is a great way to listen to the needs of your crew and adapt!

 

Leadership vs. Mentorship

It's true. Not everyone is cut out to be a leader. A leader focuses on a goal and uses their knowledge, experience, and influence to get their team to that goal no matter the obstacles. A mentor, however, is not looking at the immediate needs of this project when they dispense knowledge. They just believe that you can do better. They are seeing your potential beyond the here and now and offering up their time and energy as an investment towards that potential. Everyone has the capacity to be a mentor. You just have to believe that making that investment is worth your time.

As a PC, you supervise PAs. As a PM, you manage your PC, but you do not need heavy involvement with your PAs. In this way, your mentorship style has to change from "trainer mode," where you may be physically showing them what to do, to "orbital mode." That is to say - you have to give your mentee room to grow, and room to be mentored by others. You never know who else is interested in teaching them something.

It's at this point as a mentor that you begin to incorporate the big battles. What else are you investing your time in?How is donating your time to up-and-coming filmmakers working towards your "big battle" agenda? Knowing what's going on around set? Imperative. Knowing what's going on around the rest of the industry? Progressive! For example, we knew the impending IATSE strikes were happening as we began our indie shoot, so we took great care to communicate our open-door policy. As it happens, Shane actively advocates for filming days to no last longer than 12 hours, aiming for 10 hours as the ideal workday.

Asking how THEY want to work is the next step on your Mentoring Journey, and one step closer to becoming a leader. This is different from asking for peer opinions (like this critical discussion among producers about new distribution models). The expectation with a mentee is that you will both hear what they are attempting to achieve and inform how they could best accomplish it. Instead, asking your mentee's approach allows you to learn from their fresh eyes while gently guiding their next steps. Reviewing one's technique looks like a hands-off approach to mentorship, but what it does is ensure that you are listening to where they are before you attempt to affect change (like this reflection on an indie artist's approach to animation). This is an incredibly important distinction because one of the key elements a supervisor needs is confidence, and the best way to support it is through autonomy. Don't step in and do anything for them. Let them make their own decisions and mistakes, but regularly follow up to inform their progress. Their subordinates will see you respect their authority while maintaining your own, another imperative step on the road to becoming a leader.

 

Film Production Mentorship Part 4 Priorities Systems and Leadership

 

On-the-Job Mentoring? Living the Dream

To fully graduate from my original statement in Part 1, in which I asserted, "the only people who last in this industry are the ones who love the work, not the results of the work," I present to you the top-down perspective:

"The only people who last in this industry are the ones who love the work
AND are invested in the results of the work."

Early in your career, it makes sense to keep your head down, hustle hard, and gain a reputation. You learn to bring your gaze further and further up toward the horizon as you level up. This perspective shift allows you to gain foresight and see more of the big picture. This is absolutely required if you are going to make tough decisions. First, you must understand what is going on and what the highest priority is at any given time.

One of the most important lessons I have learned, both from observing Shane's approach to filmmaking and from my own experience as Production Manager on Night Train (2022), is the best way to save money. Shane's strategy? To make arrangements as soon as possible. You don't have to pay top dollar when you book locations, accommodations, even talent and crew well in advance. You also have more time to research any potential problems so you can address them before they interfere with your schedule. Plenty of things may fall through, but with more time and plenty of opportunities to check in before filming, you can make a backup plan with the extra time.

In this way, Shane is both brilliant and fortunate. He books his crew months ahead of time to ensure he gets everyone he prefers on set. Sure, some people may be poached if a higher-profile gig is offered to them, but on the whole, Shane works with a hand-picked cast and crew because of this foresight.

Bringing it back around to the "hard conversations" you learned to embrace as a PA and continue to flex and get comfortable with as a PC, you now have to initiate a new kind as management. Now, you must initiate "the offer." Let's take a moment and appreciate being able to offer anything to anyone as a filmmaker. Remember when you were at the bottom of the rung, searching for jobs, scraping for funding, hustling for reputation? Now, you have allies, mentors, funding, and a project in motion - and now YOU are the one who can make someone else an offer. 

My friends... that IS living the dream! Enjoy the fulfillment of giving what you were once granted.

 

Film Production Mentorship Part 4 Priorities Systems and Leadership

 

Final Thoughts on Mentoring During Production

GET SOCIAL: The first offer you should accept, if you can, is any offer to hang out with the crew after wrap. That "hang out" time getting drinks or food is the prime opportunity to geek out, network, and attempt asking any favors. This was a hard lesson for me during my first staff position as I was so focused on doing good work that I would work myself to exhaustion and would not save any energy to get to know anyone outside of work hours. By the time I was invited to join the Double Threat team, I had already missed several opportunities to bond with the crew due to my delayed arrival. The best I could do was be present, attentive, and wait for another networking event to present itself. Luckily, our last day on set was at a market right next to a bar, so we all had a chance to chat and celebrate together.

MAKE YOUR "ASK" COUNT: If you start as a PA and make the "ask" too general, like "I want to be a writer/director", then expect they will wish you luck, walk away, and roll their eyes. Be clear about what you want (like this fantastic concept being discussed in the Acting Lounge) and what you want from them. Do your own homework/preparation so that you can make the "ask" as specific and tangible as possible.

Also, consider making a short-term plan so they can contribute to your progress now. Instead of saying, "I want to be a writer/director", say, "I'm directing a short in a few months and could use some help securing crew". Stage 32 is a great place to make these goals known, too.

BE GRATEFUL FOR WHAT YOU ARE GIVEN: It's also not their job to find you more work, but you can absolutely ask them to keep your information should they have an opportunity to hire or refer you. When engaging our PAs after Double Threat (2021) and Night Train (2022) wrapped, I would ask what work they would want to be recommended for. This is a great time to ask to be recommended for work above where you started. PC, Camera Assistant, Grip & Electric, even Art Department are all great ways to make this recommendation level you up on the next job.

When following up with someone who has taken the time to impart their wisdom, be sure to say your thanks and leave it at that. As a secondary follow-up, you can ask how they are and be friendly, but do not make a habit out of only contacting your mentors when you need something. Your relationship will become a zero-sum game that you have no currency to pay (i.e. they don't need anything from you, so they'll stop giving when you ask). They are also likely busy, as you now know they like helping when they can, so don't be offended when they don't contact you promptly or often. Just learn the "orbit mode" and check back with them in a few weeks with a short but kind email.

 

Just as there is a benefit to giving to charity, there is a benefit to mentoring. Giving can be in a single direction or it can be passed on in a never-ending cycle of generosity. I prefer the latter. I hope this blog series has illuminated the ways Film Production Mentorship can benefit you and your next project.

 

About Karen "Kay" Ross

Stay Connected Inspired and Creative with the Stage 32 Lounges
 
K. Ross is a graduate of Colorado Film School and Regis University in Denver, Colorado. She’s a screenwriter, actor/director, and producer based out of Los Angeles. Originally from the DC area, she’s written and produced several short films, hosts "The Pre-Pro Podcast" aimed at teenagers interested in media, and is currently developing a slate of new material, including a coming-of-age TV Pilot set at the Renaissance Festival and a feature film about how "compassion fatigue" affects everyday people. She enjoys acting, directing, and being interviewed, just like her fun-loving mentor, Kevin Smith. She loves opportunities to work with inclusive, diverse, and driven professionals.

 

Enjoying Kay’s insights? Be sure to check out these previous blogs to help build better relationships in the industry:

How to Make Friends in the Film Business: Resetting the Intention of Networking

5 Ways to Explore and Network in the Stage 32 Lounges

#SocialSaturday - Mining for Gold in the Stage 32 Lounges

#SocialSaturday - Connecting the Facets of Filmmaking

#SocialSaturday - The Calm is the Storm

 


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