Career: Film Director
A Day in the Life
“What I really want to do is direct.” If this applies to you, read on. Directors turn a script into a movie; they are responsible for the quality of the final product and its success. In most cases, directors work on films far longer than any actor, technician, or editor, from the first day of brainstorming to the final release; it is no wonder that directing is physically,mentally, and emotionally draining. Directors work with actors; makeup artists; cinematographers; writers; and film, sound, and lighting technicians. They determine all the particulars of how scenes are to be shot, from visual requirements to the placement of the actors and the appropriateness of the script. Directors cast actors who can bring their vision to the screen. Sound judgment and an open mind are important during these initial phases. A director guides actors to a greater understanding of their characters’ motivations and encourages them to perform at a high level—sometimes by gently cajoling and sometimes by yelling—anything to get the job done. A director’s unique vision of the final product and ability to communicate that vision effectively and immediately are critical. After the film has been shot, editorial skills are important. Directors must have a good feel for pacing and structure and must know how to integrate and cut scenes so they work effectively. Issues of finance are important in this industry—making films is expensive. First-time directors find it difficult to get work with any large-budget house, so many of them start with small-budget directing, using existing sites and sets creatively, convincing technical assistants to work for little (or more often, convincing friends to work free), and using editing and cutting rooms during off hours to save money. One director surveyed funded his first film entirely on his credit cards.
Paying Your Dues
Nearly all film directors are film school graduates. Film school students must complete their own short films by graduation; you should be prepared to work under difficult conditions, share space, and convince actors to work for little or no money. Aspiring film directors prove themselves by directing stage productions, doing film lighting design, or establishing a history of assistant or associate directorships. This last route is the most common, as professional experience and networking contacts can be combined in a brief but intense period of time. There is no specific ladder to climb. Many aspiring directors develop clips of their work as a display of their talent when applying for industrial, television, or commercial directing jobs, which pay well and serve as working credentials. Individuals entering this career should be warned that 20-hour days are not unusual.
Associated Careers
For the most part, directors who leave enter another area of the entertainment industry. A number of them use their financing experience to move into the producing end of film development. Others move into script development or teaching. Some directors become critics, reviewers, or reporters for film-related magazines. Still 0thers become movie or television writers. A few become actors. People who go into business enter a wide variety of fields including costume supply, lighting rentals, casting agencies, site location, and acting schools.
Credit Link: http://www.princetonreview.com/cte/profiles/dayInLife.asp?careerID=65
Saturday, 7 June 2008
Friday, 6 June 2008
Questions & Answers : Filming in London
Questions & Answers
1 - General information
What does Film London do?
Who works at Film London?
Are there any job opportunities at Film London?
Are there any work placement opportunities at Film London?
I would like to source information about a film commission based overseas, can you help?
I require stock footage of London, is this something you hold in your locations library?
2 - Filming in London
Can you help me find a location?
I need an interesting location, can you help?
I’m a no/low budget/student film-maker and I would like to film in a mansion, can you make any suggestions?
How do I register my property with you?
How much should I charge for the use of my property for the purposes of filming?
What is a Borough Film Officer (BFS)?
Do I need to gain borough permissions if I have a small crew and will only be using a hand held camera?
As a film-maker do I need any paperwork besides a location contract or a filming licence from the BFS?
Who is the borough contact/police contact for ……?
Can you suggest unit bases or production office space that I could use?
Will I need to contact the police if I am filming on the street?
There is disruptive film crew in my residential street, is there anything I can do about this?
I am trying to draw up a budget, can you advise me of local crew rates?
Can you help me source accommodation prior to my shoot in London?
Can you help me source crew and facilities in the London area?
3 - Funding & Sector Support
Can you give me a list of contacts for Film London's funding schemes and sector support departments?
Can you tell me about Film London funding and support for Film Festivals, Public Screenings or Education Projects?
Can you tell me more about Film London production funding schemes?
How can I receive notification of when Film London and other funding schemes / opportunities / competitions are open for applications?
4 - Finding work
I’m looking for work, can you help?
What’s in production at the moment?
I work as a freelancer, how much should I charge for my services?-->
1 - General information
1.1 - What does Film London do?Film London is the capital’s film and media agency. We sustain, promote and develop London as a major international film-making and film cultural capital. This includes all the screen industries based in London – film, television, video, commercials and new interactive media.Film London works across all facets of the sector and our activities include: locations and production services for film and TV crews; investment in film-makers through a range of low budget production schemes; training and business development activities; helping to develop audiences and the provision of a diverse programme of cinema across the whole of the capital; showcasing of London films and talent; domestic and international tourism initiatives; and promoting London on an international stage as an attractive base for film and media production.
1.2 - Who works at Film London?There are six main teams in Film London – Locations & Filming, Production, Strategy & Resources, Skills & Development, Communications and International. For a full breakdown of the staff within these departments please visit the Who's Who section of this site.
1.3 - Are there any job opportunities at Film London?Any new jobs at Film London will be advertised in the vacancies section of this site and in the local or national press (usually in the media section of The Guardian). If you are looking to work as a freelancer in the industry we recommend you register on our online Crew Directory, it is free of charge to do so.
1.4 - Are there any work placement opportunities at Film London?Twice a year Film London is offering a six month internship for enthusiastic new entrants to the moving film and moving image industry. Successful applicants will be based at our offices in Shoreditch working with and supporting all Film London departments in turn: Production, Skills & Development, Location Services, Communications and Strategy & Resources. For application details and deadlines please check the vacancies section of our site.Film London offers also placements to students in full or part-time education as long if the placement is a requirement of their course. For further details please email jobs@filmlondon.org.uk.
1.5 - I would like to source information about a film commission based overseas, can you help?Contact details for worldwide screen commissions can be found on the Association of Film Commissions International (AFCI) website, please visit: http://www.afci.org/. Simply click on the relevant section of the world map for further information.
1.6 - I require stock footage of London, is this something you hold in your locations library?Unfortunately, this is not the case. Our location library holds photographs of properties that can be used for a film shoot. We do not hold publicity material from film sets, historical photographs or any moving image footage. To source this information it is recommended you approach the international membership service called Focal International (http://www.focalint.org/) as they contribute to the protection and preservation of film and other audio and visual formats. Their website holds details of companies as well as freelancers who may be able to assist you. We also hold details of stock shot libraries on our facilities database so please feel free to email us an enquiry to info@filmlondon.org.uk.
2 - Filming in London
2.1 - Can you help me find a location?Our primary resource is a locations library - open Monday to Friday, 9am - 6pm. You do not need to make an appointment - but it advisable to ask for a library tour on arrival in order to get the best use of this resource. We also have a Locations team headed up by the Locations & Filming Manager; Locations Advisors; Locations Assistant and two Coordinators - one for Boroughs and one for Organisations & Agencies. This team are able to take telephone enquiries and assist with requests based on their knowledge and experience. For a personal consultation it is recommended to book an appointment - the direct line for Locations is 020 7613 7683. You can also search for locations online across London's 33 boroughs, where you can view pictures and written descriptions and create personal folios of locations. For privately owned locations you will need to call the office to gain the relevant contact details.
2.2 - I need an interesting location, can you help?To make recommendations on locations it helps for us to have a more detailed brief. Where you are not yet sure what you need we recommend that you come in and use the library.
2.3 - I’m a no/low budget/student film-maker and I would like to film in a mansion, can you make any suggestions? Firstly we suggest approaching friends or family for help, as they don’t usually charge as much. Most location owners are open to negotiation, but you could also think of a way that you may be able to help them, by advertising in the credits perhaps. If neither option is viable you may like to rethink the setting for your scene - it’s good to aim high, but not to work beyond your means.
2.4 - How do I register my property with you?There is a Location Registration Form that can be printed from this site in the Locations section or it can be picked up, posted or emailed from our offices. Please complete and return this form, remembering to sign the final page. We would be grateful if you could supply approximately 10 up-to-date digital images of the property to give us a good overall view of the location. Please email these to us at: locationslibrary@filmlondon.org.uk or post them with the completed Location Registration Form, together with any other photographs or promotional material. If located outside of the London area, then you may wish to register with another screen commission. Please refer to the Regional Screen Agencies (RSA) list, which is located in Lists & Forms section. If located outside of the UK, then it is recommended you register with your local screen commission, details can be found on the Association of Film Commissions International (AFCI) website, please visit: http://www.afci.org/. Simply click on the relevant section of the world map to source contact details.
2.5 - How much should I charge for the use of my property for the purposes of filming?There is no definitive breakdown of charges that apply. It will depend on the type of property that you have, the type of filming that is being proposed, the facilities they wish to utilise, the size of crew and the length of time they wish to use the property for. It is also worth considering the type of production company that has approached you, as a commercials company will probably not have the same budget as a features company. If you would like to discuss this further then please feel free to call the office (020 7613 7683) and speak to our in-house Locations & Filming Manager. It is only possible for us to give you an approximate costing, however, as negotiation takes place directly between the location owner and the production company.
2.6 - What is a Borough Film Officer (BFS)?A BFS is a council representative - the first point of call for any filming on the streets, filming on public land or in council owned properties in that borough (such as town halls and leisure centres). They will liaise on your behalf with all council departments, including parking and refuse collection. Once the terms and conditions for filming have been agreed they will issue a filming licence. It is best to make your initial enquiry by phone and then apply formally using the Filming Application Form. Charges and restrictions vary between the 33 London boroughs, so please refer to the BFS list for further details, or call the relevant officer directly for a breakdown. Please note that Westminster has the longest application process (up to 8 working days) and they also have a longer and more detailed Filming Application Form. It is recommended you download this directly from their website: www.westminster.gov.uk/filming. NB. Filming on private land does not fall under the jurisdiction of the BFS. Borough boundaries are shown in most A-Zs.
2.7 - Do I need to gain borough permissions if I have a small crew and will only be using a hand held camera?This does depend on exactly where you will be filming. However, it is important to inform the BFS that you will be filming in their local area to ensure that film crews are not attempting to use the same space at the same time. The BFS will also be aware of any ‘hot spots’ (areas where lots of film work has taken place so it has temporarily been withdrawn from use) so they can pre-warn your crew to avoid them. BFSs are normally also able to suggest good places for parking, so worthwhile calling for general information - please refer to the boroughs map or BFS list for further information.If you are planning to film in more than one borough you can apply to do so by completing a Small Crew Application Form. Please call Francesca on 020 7613 7683 or email francesca.walker@filmlondon.org.uk for further details.
2.8 - As a film-maker do I need any paperwork besides a location contract or a filming licence from the BFS?Yes, you should have Public Liability Insurance to a minimum of £2 million. If you are a student film-maker this should be covered by your college/university. We keep details of media related insurance companies on our facilities database, so please feel free to contact us by phone or email. Alternatively you can source these details from the online UK production guides, such as: http://www.theknowledgeonline.com/ / http://www.kftv.com/ / http://www.talentcircle.co.uk/.
2.9 - Who is the borough contact/police contact for ……?If requiring police assistance please contact the Met Police Service Film Unit (MPSFU) on 020 7161 1099 or refer to their website: www.met.police.uk/filmunit. There are downloadable lists available on this site, and hard copies available in the main reception of our offices in Shoreditch, that outline all current contacts for Borough Film Services and the Met Police. NB. Please bear in mind that these details tend to change, so do update your lists regularly.
2.10 - Can you suggest unit bases or production office space that I could use?We do have a selection of unit bases and production offices registered on our Directory, although it is not a definitive guide to all that are available. It is possible to search within the Directory if you are currently registered on the Film London website. Use the Facilities search to source unit bases. Select “Transport and Portable Facilities” for type of company and “Car Parks” and/or “Unit Parking” for the sub category. Use the Locations search to source production office space. Select “Commercial” for the category and “Production Space” for the sub category. Please email any general enquiries to locations@filmlondon.org.uk. If you are looking in a specific area then it is worthwhile contacting the local Borough Film Service.
2.11 - Will I need to contact the police if I am filming on the street?If firearms, marked police cars and/or actors dressed in full uniform are being used then it is essential. If there are stunts taking place or ‘traffic management’ is being implemented then police supervision may also be required. The BFS will normally inform you of this on application to film, although it is recommended to inform the Met Police of ALL exterior location filming.
2.12 - There is disruptive film crew in my residential street, is there anything I can do about this?There is normally a location manager on the shoot who should be able to answer any queries you have. If they are not available to speak to then it may be possible to liaise with the film officer for the borough in which you reside.
2.13 - I am trying to draw up a budget, can you advise me of local crew rates?BECTU have rate cards on their website (http://www.bectu.co.uk/) that can be used as an approximate guideline. They can be found in the ‘agreements’ section displayed in the right hand menu. There are two sets of rates: APA Production Agreements for commercial rates and PACT Production Agreements applicable to crew on larger productions such as TV dramas and feature films. These are not definitive. NB. Crew members in the UK do not have to be a member of this union in order to work.
2.14 - Can you help me source accommodation prior to my shoot in London?To help you get the very best out of what the capital has to offer, Film London has negotiated several discounts exclusive to the film and television industry. The discounted rates cover a range of facilities and services, including accommodation, in and around London. Access to this section is password protected and requires prior registration on the Film London site. We also have a facilities database with further contact details and it is possible to access this information through our online Directory.
2.15 - Can you help me source crew and facilities in the London area?If you are trying to source a make-up artist, a production assistant, a blue screen facility or a studio space, we are able to help. We hold crew and facilities databases in addition to our locations database and library. You can register online with the Film London Directory and the service is free of charge whether you are registering as a crew member or a facility or searching for crew, facilities or locations. Alternatively you can source similar details from the online UK production guides, such as: http://www.theknowledgeonline.com/ / http://www.kftv.com/ / http://www.talentcircle.co.uk/. Please contact us if you have difficulty with a specific requirement and we will try to help you with your request.
3 - Funding & Sector Support
3.1 - Can you give me a list of contacts for Film London's funding schemes and sector support departments?Contact the relevant departments by email or phone, as follows: Production enquiries - josic.cadoret@filmlondon.org.uk / 020 7613 7692; Business & Skills Development enquiries - skillsdevelopment@filmlondon.org.uk / 020 7613 7696; Exhibition and Education enquiries - skillsdevelopment@filmlondon.org.uk / 020 7613 7697.
3.2 - Can you tell me about Film London funding and support for Film Festivals, Public Screenings or Education Projects?The Film London Audience Development Fund is open to London based organisations who wish to apply for project funding to support education and audience development in film and media. This is the only Film London scheme to support film related exhibition (e.g. film festivals), participatory video and education projects.
3.3 - Can you tell me more about Film London production funding schemes?Below is a list of Film London production funding schemes: PULSE – digital shorts scheme is Film London’s digital shorts production fund for new and emerging film-makers, run in partnership with the UK Film Council’s New Cinema Fund. This is an annual scheme; The London Artists' Film & Video Awards (LAFVA) - supports artists working in contemporary moving image practice and is run in association with Arts Council England, London. This is an annual scheme;Microwave: Micro-budget Feature Film Fund - a new initiative to produce ten micro-budget feature film projects in the capital. Run in partnership with BBC television. There are a series of deadlines for this scheme;Borough Production Funding Schemes - Film London supports and works in partnership with a number of London Boroughs.
3.4 - How can I receive notification of when Film London and other funding schemes / opportunities / competitions are open for applications?If you would like advance notification of when Film London and other funding schemes / opportunities / competitions are open for applications please register for regular email updates, this is a free service.
4 - Finding work
4.1 - I’m looking for work, can you help?If you are a freelancer and would like to join our crew database, we recommend you register online with the Film London Directory. The registration process is straightforward and free of charge. NB. We are, of course, unable to guarantee you will gain work through joining this service.
4.2 - What’s in production at the moment?There are several trade magazines that hold this sort of information - Screen International, Broadcast, PCR, Filmlog - we keep a selection of these in the Film London office, or it is possible to individually subscribe to them. If you would like to come in and read these then please visit during working hours (Mon-Fri, 9am-6pm), it is not necessary to make an appointment.
4.3 - I work as a freelancer, how much should I charge for my services?BECTU have rate cards on their website (http://www.bectu.org.uk/). However, this is just a rough guideline as to what could be expected, it often varies based on the budget of a specific project.
Credit Link: http://www.filmlondon.org.uk/faq.asp
Film Crew: Position
Film Crew:
A film crew is a group of people hired by a film company for the purpose of producing a film or motion picture. Crew are distinguished from cast, the actors who appear in front of the camera or provide voices for characters in the film. Crew are also separate from producers, those who own a portion of either the film company or the film's intellectual property rights. A film crew is divided into different departments, each of which specializes in a specific aspect of the production.
Production
“Production” is generally not considered a department as such, but rather as a series of functional groups. These include the "front office" staff such as the Production Manager, the Production Coordinator, and their assistants; the accounting staff; the various Assistant Directors; and sometimes the Locations Manager and his or her assistants. The Director is considered to be a separate entity, not within the departmental structure.
Executive Producer is usually an investor in the project or just a credit that the filmmaker gave to someone who paid for the credit. You can have as many executive producers as you want but generally keep it to a minimum.
Producer
A film producer creates the conditions for making movies. The producer initiates, coordinates, supervises and controls matters such as raising funding, hiring key personnel, and arranging for distributors. The producer is involved throughout all phases of the filmmaking process from development to completion of a project.
Production Manager
The production manager supervises the physical aspects of the production (not the creative aspects) including personnel, technology, budget, and scheduling. It is the production manager's responsibility to make sure the filming stays on schedule and within its budget. The PM also helps manage the day-to-day budget by managing operating costs such as salaries, production costs, and everyday equipment rental costs. The PM often works under the supervision of a line producer and directly supervises the Production Coordinator.
Unit Manager
The unit manager fulfills the same role as the production manager but for secondary "unit" shooting. In some functional structures, the unit manager subsumes the role of the Transport Coordinator.
Production Coordinator
The Production Coordinator is the information nexus of the production, responsible for organizing all the logistics from hiring crew, renting equipment, and booking talent. The PC is an integral part of film production.
Post-production supervisor
Director
The director is responsible for overseeing the creative aspects of a film, including controlling the content and flow of the film's plot, directing the performances of actors, organizing and selecting the locations in which the film will be shot, and managing technical details such as the positioning of cameras, the use of lighting, and the timing and content of the film's soundtrack. Though the director wields a great deal of power, he or she is ultimately subordinate to the film's producer or producers. Some directors, especially more established ones, take on many of the roles of a producer, and the distinction between the two roles is sometimes blurred.
First Assistant Director
The first assistant director (1st AD) assists the production manager and director. The ultimate aim of any 1st AD is to ensure the film comes in on schedule while maintaining a working environment in which the director, principal artists (actors) and crew can be focussed on their work. He or she is in charge of overseeing the day-to-day management of the cast and crew scheduling, equipment, script, and set. A 1st AD may also be responsible for directing background action for major shots or the entirety of relatively minor shots, at the director's discretion.
Second Assistant Director
The second assistant director (2nd AD) is the chief assistant of the 1st AD and helps carry out those tasks delegated to the 1st AD. The 2nd AD may also direct background action and extras in addition to helping the 1st AD with scheduling, booking, etc. The 2nd AD is responsible for creating Call Sheets that let the crew know the schedule and important details about the shooting day. In Canadian and British functional structures there are 3rd ADs and even Trainee ADs; in the American system there are 2nd 2nd ADs.
Production Assistant
A production assistant assists the first assistant director with set operations. Production assistants, almost always referred to as PAs, also assist in the production office with general tasks.
Script Supervisor
Also known as the "continuity person", the script supervisor keeps track of what parts of the script have been filmed and makes notes of any deviations between what was actually filmed and what appeared in the script. He or she makes notes on every shot, also keeping track of props, blocking, and other details to ensure that continuity is maintained from shot to shot, and from scene to scene. The Script Supervisor's notes are given to the Editor to expedite the editing process. The script supervisor works very closely with the director on set.
Stunt Coordinator
Where the film requires a stunt, and involves the use of stunt performers, the stunt coordinator will arrange the casting and performance of the stunt, working closely with the director.
[edit] Art Department
The Art Department in a major feature film can often number hundreds of people. Usually it is considered to include several sub-departments: the art department proper, with its art director, set designers and draughtsmen; sets, under the set decorator; props, under the propmaster; construction, headed by the construction coordinator; scenic, headed by the key scenic artist; and special effects.
Production Designer
A production designer is responsible for creating the physical, visual appearance of the film - settings, costumes, properties, character makeup, all taken as a unit. The production designer works closely with the director and the cinematographer to achieve the 'look' of the film.
[edit] Art
Within the overall Art Department is a sub-department, called the Art Department, which can be confusing. This consists of the people who design the sets and create the graphic art.
Art Director
The art director reports to the production designer, and more directly oversees artists and craftspeople, such as the set designer and set decorator, who carry out the production design.
Assistant art director
The first, second and third assistant art directors carry out the instructions of the art director. Their work often involves measuring locations, creating graphics and paper props, collecting information for the production designer and drawing sets. Sometimes a set designer is also the first assistant art director; in this capacity, he or she manages the work flow and acts as the 'foreman' of the drawing office.
Set Designer
The set designer is the draftsman, often an architect, who realizes the structures or interior spaces called for by the production designer.
Illustrator
The illustrator illustrates visual representations of the designs to communicate the ideas imagined by the production designer.
[edit] Sets
Set Decorator
The set decorator is in charge of the decorating of a film set, which includes the furnishings and all the other objects that will be seen in the film. He works closely with the production designer and coordinates with the art director. In recognition of the set decorator's importance, the Academy Award for Art Direction is given jointly to both the production designer and the set decorator.
Buyer
The buyer is the number two person in the set department below the set decorator. The buyer locates, and then purchases or rents the set dressing.
Lead Man
The lead man is the foreman of the sets crew, often referred to as the “swing gang.”
Set Dresser
The set dressers apply and remove the "dressing," i.e., furniture, drapery, carpets—everything one would find in a location, even doorknobs and wall sockets. Most of the swing gang's work occurs before and after the shooting crew arrives but one set dresser remains with the shooting crew and is known as the on-set dresser.
[edit] Props
Props Master
The property master, more commonly known as the props master, is in charge of finding and managing all the props that appear in the film. The propsmaster usually has several assistants.
Props builder
The props builder, as the name implies, builds the props that are used for the film. Props builders are often technicians skilled in construction, plastics casting, machining, and electronics.
Armourer
The armourer is a specialized props technician who deals with firearms. In most jurisdictions this requires special training and licenses.
[edit] Construction
Construction Coordinator
The construction coordinator oversees the construction of all the sets. The coordinator orders materials, schedules the work, and supervises the often sizeable construction crew of carpenters, painters and labourers. In some jurisdictions the construction coordinator is called the construction manager.
Head Carpenter
The head carpenter is the foreman of a "gang" of carpenters and laborers.
[edit] Scenic
Key Scenic
The key scenic artist is responsible for the surface treatments of the sets. This includes special paint treatments such as aging and gilding, as well as simulating the appearance of wood, stone, brick, metal, stained glass--anything called for by the production designer. The key scenic artist supervises the crew of painters, and is often a master craftsperson.
[edit] Greens
Greensman
The greensman is a specialised set dresser dealing with the artistic arrangement or landscape design of plant material, sometimes real and sometimes artificial, and usually a combination of both. Depending on the scope of the greens work in a film, the greensman may report to the art director or may report directly to the production designer. If a significant amount of greens work is required in a film, then the Greens may be an identifiable sub-department, with its own team - often of a size numbering double figures - and hierarchy (eg. Greensmaster, Greens Supervisor, Foreperson, Leading Hand, Laborers). Specialists from other areas of the Art Dept. (eg. Fabricators, Sculptors, Painters/Scenics) may also be drafted to work exclusively on Greens.
[edit] Hair and make-up
Make-up Artist
Make-up artists are beauticians that apply makeup to anyone appearing on screen. They concentrate on the area above the chest, the face, the top of the head, the fingers, hands, arms, and elbows. Their role is to manipulate an actors on screen appearance whether it makes them look more youthful, larger, older, or in some cases monstrous. There are also body makeup artist who concentrate their abilities on the body rather than the head.
Hairdresser
The hair stylist is responsible for maintaining and styling the hair of anyone appearing on screen. He works in conjunction with the makeup artist.
[edit] Wardrobe
Costume Designer
The costume designer is responsible for all the clothing and costumes worn by all the actors that appear on screen. He/She is also responsible for designing, planning, and organizing the construction of the garments down to the fabric, colors, and sizes. The costume designer works closely with the director to understand and interpret "character," and counsels with the production designer to achieve an overall tone of the film.
Costume Supervisor
The Costume Supervisor works closely with the designer. In addition to helping with the design of the costumes, the he/she manages the wardrobe workspace. He/She is responsible for supervising the construction or sourcing of garments, the hiring and firing of support staff, the budget, paperwork, and department logistics.
Key Costumer
The Key Costumer is employed on larger productions to manage the set costumers, and to handle the Star's wardrobe needs.
Costume Standby
The Costume Standby is present on set at all times. It is his/her responsibility to monitor the quality and continuity of the actors and actresses costumes before and during takes. (S)he will also assist the actors and actresses with dressing. This person is also known as a 'set costumer'.
Art Finisher
An Art Finisher may be employed during the pre-production stage to "break down" garments. This specialised job includes making new clothing appear dirty, faded and worn.
Buyer
On large productions a Buyer may be employed to source and purchase fabrics and garments.
Camera
A Camera operator filming a scene from the 1950 Hollywood film Julius Caesar starring Charlton Heston.
Director of Photography
The director of photography is the chief of the camera and lighting crew of the film. The DoP makes decisions on lighting and framing of scenes in conjunction with the film's director. Typically, the director tells the DoP how he wants the film to look, and the DoP then chooses the correct aperture, filter, and lighting to achieve the desired effect.
Cinematographer
The term cinematographer has been a point of contention for some time now. It is usually synonymous with "director of photography," though some professionals insist that it only applies when the director of photography and camera operator are the same person.
Camera Operator
The camera operator uses the camera at the direction of the cinematographer, director of photography, or the film director to capture the scenes on film. Generally, a cinematographer or director of photography does not operate the camera, but sometimes these jobs may be combined.
First Assistant Camera (Focus Puller)
The first assistant camera (1st AC) is responsible for keeping the camera in focus as it is shooting.
Second Assistant Camera (Clapper Loader)
The second assistant camera (2nd AC) operates the clapperboard at the beginning of each take and loads the raw film stock into the camera magazines between takes, if there is no additional specifically desiginated film loader. The 2nd AC is also in charge of overseeing the meticulously kept notebooks that records when the film stock is received, used, and sent to the lab for processing. Additionally, the 2nd AC oversees organization of camera equipment and transport of the equipment from one shooting location to another.
Loader
The loader is the designated film loader. He transfers motion picture film from the manufacturer's light-tight canisters to the camera magazines for attachment to the camera by the 2nd AC. After exposure during filming, the loader then removes the film from the magazines and places it back into the light-tight cans for transport to the laboratory. It is the responsibility of the loader to manage the inventory of film and communicate with the 1st AC on the film usage and remaining stock throughout the day. On small production crews, this job is often combined with the 2nd AC. With the prevalence of digital photography, this position is often eliminated.
Camera Production Assistant (camera intern)
Usually a volunteer or trainee in the camera department, the camera PA assists the crew with menial details while learning the trade of the camera assistant, operator or cinematographer.
Digital Imaging Technician ("DIT")
On digital photography productions the digital imaging technician is responsible for the coordination of the internal workings of the digital camera. Under the direction of the cinematographer or director of photography, the DIT will make adjustments to the multitude of variables available in most professional digital cameras to creatively or technically manipulate the resulting image.
Steadicam operator
A Steadicam operator is someone who is skilled at operating a Steadicam rig (the genericized trademark for a camera stabilization rig).
Motion Control Technician/Operator
This technician operates a motion control rig, which is essentially a 'camera robot' that is able to consistently repeat camera moves for special effects use[1]. Motion control rigs are typically rented with an experienced operator.
[edit] Production Sound
Production Sound Mixer
The production sound mixer is head of the sound department on set, responsible for recording all sound during filming. This involves the choice and deployment of microphones, operation of a sound recording device, and sometimes the mixing of audio signals in real time.
Boom Operator
The boom operator is an assistant to the production sound mixer, responsible for microphone placement and movement during filming. The boom operator uses a boom pole, a long, special piece of equipment made from light aluminum or carbon fiber, that allows precise positioning of the microphone above or below the actors, just out of the camera's frame. In France, the boom operator is known as the perchman.
Utility Sound Technician
The utility sound technician has a dynamic role in the sound department, most typically pulling cables, but often acting as an additional boom operator or mixer when required by complex filming circumstances. Not all films employ a utility sound technician, but the increasing complexities of location sound recording in modern film have made the job more prevalent. This role is sometimes credited as "cable man" or "python wrangler."
[edit] Grip
Grips are trained lighting and rigging technicians. The main responsibilities of a grip are to work closely with the electrical department to put in the lighting set-ups necessary for a shot. On the sound stage, they are responsible for moving and adjusting major set pieces when something needs to be moved to get a camera into position. They may belong to the International Alliance of Theatrical Stage Employees.
Key grip
The key grip is the chief grip on a set, and is the head of the set operations department. The key grip works with the director of photography to help set up the set and to achieve the correct lighting and blocking.
Best boy (Grip)
The best boy grip is the chief assistant to the key grip.
Dolly grip
The grip in charge of operating the camera dolly is called the dolly grip. He/she places, levels, and moves the dolly track, then pushes and pulls the dolly and usually a camera operator and camera assistant as riders.
[edit] Electrical
Gaffer
The gaffer is the head of the electrical department, responsible for the design and execution of the lighting plan for a production. Sometimes the gaffer is credited as "Chief Lighting Technician".
Best boy (Electrical)
The best boy electric is the chief assistant to the gaffer.
Lighting Technician
Lighting technicians are involved with setting up and controlling lighting equipment.
[edit] Editorial
Film Editor
The film editor is the person who assembles the various shots into a coherent film, with the help of the director. Film editors may belong to the American Cinema Editors (A.C.E.)
Colorist
With a photochemical process, the color timer adjusts the color of the film via printer lights for greater consistency in the film's colors. With a digital intermediate process, the colorist can use digital tools in manipulating the image and has greater creative freedom in changing the aesthetic of a film.
Negative Cutter
The negative cutter cuts and splices the negatives as directed by the film editor, and then provide the assembled negative reels to the lab in order for prints (positives for projection) to be made.
[edit] Visual Effects
Visual Effects Supervisor
The visual effects supervisor is in charge of the visual effects department. Visual effects refer to post-production alterations to the film's images. They are not to be confused with special effects, which are done during production (on set).
Compositor
A compositor is a visual effects artist responsible for compositing images from different sources such as video, film, computer generated 3-D imagery, 2-D animations, matte paintings, photographs, and text.
Inferno, Flame
These artists operate an Inferno or Flame visual effects system. These systems are manufactured by Discreet (now a division of Autodesk).
Roto, paint
These artists may rotoscope the footage, manually creating mattes for use in compositing. They may also paint visual information into or out of a scene, such removing wires and rigs, logos, dust busting, scratch removal, etc.[2]
Matte Painter
These artists draw/paint entire sets or extend portions of an existing set.
[edit] Sound/Music
Sound Designer
The sound designer, or "supervising sound editor", is in charge of the post-production sound of a movie. Sometimes this may involve great creative license, and other times it may simply mean working with the director and editor to balance the sound to their liking.
Dialogue Editor
Responsible for assembling and editing all the dialog in the soundtrack.
Sound Editor
Responsible for assembling and editing all the sound effects in the soundtrack.
Re-recording Mixer
Balances all of the sounds prepared by the dialogue, music and effects editors, and finalizes the films audio track.
Music Supervisor
The music supervisor, or "music director", works with composer, mixers and editors to create and integrate the film's music. In Hollywood, a music supervisor's primary responsibility is to act as liaison between the film production and the recording industry, negotiating the use rights for all source music used in a film.
Composer
The composer is responsible for writing the musical score for a film.
Foley Artist
Credit Link : http://en.wikipedia.org/wiki/Film_crew
The foley artist is the person who creates and records many of the sound effects for a film.
[edit] See also
Screenplay
Motion picture terminology
List of motion picture-related topics
[edit] References
Katz, Ephraim (2005). The Film Encyclopedia (5ed). Collins. ISBN 0-06-074214-3.
Knox, Dave (2005). Strike the Baby and Kill the Blonde: An Insider's Guide to Film Slang. Three Rivers Press. ISBN 1-4000-9759-2.
Levy, Frederick (2000). Hollywood 101: The Film Industry. Renaissance Books. ISBN 1-58063-123-1.
How To Apply For Jobs In Production
How To Apply For Jobs In Production
Union vs. Non-Union
A union show will only hire union crew. They are required under their contract to do so. Don't even think about applying to a union show unless you are in the right union for the job you're looking for. The exception are Production Assistants (PA's). Since PA's are not unionized they are free to work on both union and non union shows. However, they are the ONLY exception.
Resumes/Credits
The production crew "resume" is very simple. It consists of a listing of credits for the shows the crew member has worked on. Your name, address and contact phone numbers go at the top followed by a line or two for each credit. Usually, the title of the show, production date, the name of the director, and the job function performed. Credits can be divided into sections (e.g., "Features," "Television," "Commercials," etc.). If desired, a section on education can also be included. In addition to listing university and college training, professional training programs may also be included in this section.
Applying
To apply, mail your Credits to the production office address to the attention of the Department Head for the department your job falls under. For example, someone wanting to work as a Camera Loader would submit to the Director of Photography. PA's would submit to the Production Coordinator, etc.
Response
Production offices receive a lot of resumes. Most are genuinely looked at but don't expect to hear back unless they're interested.
Link: http://www.entertainmentjobs.com/workinproduction.htm
Union vs. Non-Union
A union show will only hire union crew. They are required under their contract to do so. Don't even think about applying to a union show unless you are in the right union for the job you're looking for. The exception are Production Assistants (PA's). Since PA's are not unionized they are free to work on both union and non union shows. However, they are the ONLY exception.
Resumes/Credits
The production crew "resume" is very simple. It consists of a listing of credits for the shows the crew member has worked on. Your name, address and contact phone numbers go at the top followed by a line or two for each credit. Usually, the title of the show, production date, the name of the director, and the job function performed. Credits can be divided into sections (e.g., "Features," "Television," "Commercials," etc.). If desired, a section on education can also be included. In addition to listing university and college training, professional training programs may also be included in this section.
Applying
To apply, mail your Credits to the production office address to the attention of the Department Head for the department your job falls under. For example, someone wanting to work as a Camera Loader would submit to the Director of Photography. PA's would submit to the Production Coordinator, etc.
Response
Production offices receive a lot of resumes. Most are genuinely looked at but don't expect to hear back unless they're interested.
Link: http://www.entertainmentjobs.com/workinproduction.htm
Film directors take overall responsibility for the look
Film directors take overall responsibility for the look, sound and style of a film. Their job usually starts once they receive the script, although in the case of some feature films the director may also be the scriptwriter. It is the director's artistic vision that will guide the work of the film crew as they search for suitable locations, hire the cast, design the sets and lighting and finally edit and dub the finished recording.
Typical work activities include:
interpreting the script;
developing storyboards;
directing actors;
managing technical details, for example camera shots and the use of lighting;
making decisions about location and design;
liaising with the producer, for example when editing the final 'cut';
managing the work of the other production staff and delegating tasks accordingly to realise the final production.
Directors may come from a range of different backgrounds (e.g. production, camera, editing) but most importantly they will have substantial experience in the industry.
Credit Link
Typical work activities include:
interpreting the script;
developing storyboards;
directing actors;
managing technical details, for example camera shots and the use of lighting;
making decisions about location and design;
liaising with the producer, for example when editing the final 'cut';
managing the work of the other production staff and delegating tasks accordingly to realise the final production.
Directors may come from a range of different backgrounds (e.g. production, camera, editing) but most importantly they will have substantial experience in the industry.
Credit Link
Dreams : Dream Job: Film Director
Dream Job: Film Director
Few film directors, including George, are in the business for the money. "It's this tremendous sense of accomplishment. This thing outlives you. Long after you're gone, there will still be this piece of work people can look at and hopefully appreciate."
Making Movies
If you can name a movie director off the top of your head, chances are it's a member of the Hollywood elite who earns massive sums of money. Yet for every Steven Spielberg or James Cameron there are hordes of lesser-known artists, happily hammering away at their craft. There are all kinds of movie makers, just as there are all kinds of movies - major motion pictures, independent films, cable movies, documentaries, sitcoms, TV dramas, and more. Some directors make excellent livings while others just scrape by, hoping for a lucky break.
In reality, making it as a director has much more to do with hard work and talent than with luck. Take George. In 1994, when he was 25 years old, he made his writing and directing debut with a dark comedy about the inner workings of Hollywood. In the movie industry, this is a monumental victory for someone so young, but while success came early for George, it didn't come easy. It took seven years slogging away in the film industry before he seized his chance to direct.
A native Californian, George caught the film bug early, and by the time he was 18 he was interning for some of the major studios in Los Angeles. "Basically I was doing full-time work for free," he said with a laugh, "but I stuck around and worked hard, so eventually they had to start paying me.
After several years of paying his dues, George became an assistant among several high-profile producers and studio executives. The connections and experience he developed there, as well as the encouragement of a fellow up-and-coming director, eventually got him behind the camera. "It was tough," he said. "No one wants to just give a first-time director a movie, but I wanted to tell this story."
Raising independent financing through various means, he got to do just that. "My first film was made with little money. I earned nothing, but it was an investment in my career. Thankfully the film turned out well." While his debut feature didn't score big at the box office, he received widespread critical acclaim which gave him the credibility he lives up to today.
Now 32, George has directed two feature films, a TV pilot, and guest spots on episodic TV shows. Which should mean he's rolling in the proverbial dough. Or maybe not. "One of the toughest parts of the job is the financial instability," George said matter-of-factly. "You don't know what you'll be making year to year." In 1998, he cleared a whopping mid-six figures. Last year, however, he only made $10,000. "It all depends. You could be making $50,000 a week on one show, then the next you're doing for free because you really want to do the project. The philosophy is, if you keep doing what you love, eventually it will pay off."
Few film directors, including George, are in the business for the money. "It's this tremendous sense of accomplishment. This thing outlives you. Long after you're gone, there will still be this piece of work people can look at and hopefully appreciate."
The majority of directors in Hollywood work outside the classic notion of big-studio filmmaking with hundred-million-dollar budgets and six months to shoot in some exotic location. A typical cable movie, for example, costs $3-$4 million. That translates into a grueling four weeks of pre-production, four weeks of shooting, and four weeks to edit the pieces together. "Actually shooting the film is the toughest," said one veteran film maker whose credits used to include big-budget feature films but now hover in the cable movie zone.
"You wake up each day knowing that there are only so many hours to cover so many scenes, and even if all the technical aspects hold up, the camera angles, the lighting, the sets, wardrobe, hair, make-up, the actors…, you can't anticipate the kind of absurd thing that could grind the entire production to a halt."
Such as? "I've had to stop shooting for anything from hurricanes, to a food-poisoned crew, to a lead actor getting hideous cold sores. The fun part is trying to explain this stuff to the executives."
From the moment a film goes into production it is the director's job to oversee all the technical, and creative details, while still holding firm to the story he or she wants to tell. For every director, seeing the finished project on screen is the ultimate high. "The best feeling in the world is sitting in the back of the movie theater and having the audience laugh at something you've created," George said, then added, "hopefully laughing with it, not at it."
- Audrey Arkins, Salary.com Contributor
Few film directors, including George, are in the business for the money. "It's this tremendous sense of accomplishment. This thing outlives you. Long after you're gone, there will still be this piece of work people can look at and hopefully appreciate."
Making Movies
If you can name a movie director off the top of your head, chances are it's a member of the Hollywood elite who earns massive sums of money. Yet for every Steven Spielberg or James Cameron there are hordes of lesser-known artists, happily hammering away at their craft. There are all kinds of movie makers, just as there are all kinds of movies - major motion pictures, independent films, cable movies, documentaries, sitcoms, TV dramas, and more. Some directors make excellent livings while others just scrape by, hoping for a lucky break.
In reality, making it as a director has much more to do with hard work and talent than with luck. Take George. In 1994, when he was 25 years old, he made his writing and directing debut with a dark comedy about the inner workings of Hollywood. In the movie industry, this is a monumental victory for someone so young, but while success came early for George, it didn't come easy. It took seven years slogging away in the film industry before he seized his chance to direct.
A native Californian, George caught the film bug early, and by the time he was 18 he was interning for some of the major studios in Los Angeles. "Basically I was doing full-time work for free," he said with a laugh, "but I stuck around and worked hard, so eventually they had to start paying me.
After several years of paying his dues, George became an assistant among several high-profile producers and studio executives. The connections and experience he developed there, as well as the encouragement of a fellow up-and-coming director, eventually got him behind the camera. "It was tough," he said. "No one wants to just give a first-time director a movie, but I wanted to tell this story."
Raising independent financing through various means, he got to do just that. "My first film was made with little money. I earned nothing, but it was an investment in my career. Thankfully the film turned out well." While his debut feature didn't score big at the box office, he received widespread critical acclaim which gave him the credibility he lives up to today.
Now 32, George has directed two feature films, a TV pilot, and guest spots on episodic TV shows. Which should mean he's rolling in the proverbial dough. Or maybe not. "One of the toughest parts of the job is the financial instability," George said matter-of-factly. "You don't know what you'll be making year to year." In 1998, he cleared a whopping mid-six figures. Last year, however, he only made $10,000. "It all depends. You could be making $50,000 a week on one show, then the next you're doing for free because you really want to do the project. The philosophy is, if you keep doing what you love, eventually it will pay off."
Few film directors, including George, are in the business for the money. "It's this tremendous sense of accomplishment. This thing outlives you. Long after you're gone, there will still be this piece of work people can look at and hopefully appreciate."
The majority of directors in Hollywood work outside the classic notion of big-studio filmmaking with hundred-million-dollar budgets and six months to shoot in some exotic location. A typical cable movie, for example, costs $3-$4 million. That translates into a grueling four weeks of pre-production, four weeks of shooting, and four weeks to edit the pieces together. "Actually shooting the film is the toughest," said one veteran film maker whose credits used to include big-budget feature films but now hover in the cable movie zone.
"You wake up each day knowing that there are only so many hours to cover so many scenes, and even if all the technical aspects hold up, the camera angles, the lighting, the sets, wardrobe, hair, make-up, the actors…, you can't anticipate the kind of absurd thing that could grind the entire production to a halt."
Such as? "I've had to stop shooting for anything from hurricanes, to a food-poisoned crew, to a lead actor getting hideous cold sores. The fun part is trying to explain this stuff to the executives."
From the moment a film goes into production it is the director's job to oversee all the technical, and creative details, while still holding firm to the story he or she wants to tell. For every director, seeing the finished project on screen is the ultimate high. "The best feeling in the world is sitting in the back of the movie theater and having the audience laugh at something you've created," George said, then added, "hopefully laughing with it, not at it."
- Audrey Arkins, Salary.com Contributor
Career: Film Director : A Day in the Life
Career: Film Director
A Day in the Life
“What I really want to do is direct.” If this applies to you, read on. Directors turn a script into a movie; they are responsible for the quality of the final product and its success. In most cases, directors work on films far longer than any actor, technician, or editor, from the first day of brainstorming to the final release; it is no wonder that directing is physically,mentally, and emotionally draining. Directors work with actors; makeup artists; cinematographers; writers; and film, sound, and lighting technicians. They determine all the particulars of how scenes are to be shot, from visual requirements to the placement of the actors and the appropriateness of the script. Directors cast actors who can bring their vision to the screen. Sound judgment and an open mind are important during these initial phases. A director guides actors to a greater understanding of their characters’ motivations and encourages them to perform at a high level—sometimes by gently cajoling and sometimes by yelling—anything to get the job done. A director’s unique vision of the final product and ability to communicate that vision effectively and immediately are critical. After the film has been shot, editorial skills are important. Directors must have a good feel for pacing and structure and must know how to integrate and cut scenes so they work effectively. Issues of finance are important in this industry—making films is expensive. First-time directors find it difficult to get work with any large-budget house, so many of them start with small-budget directing, using existing sites and sets creatively, convincing technical assistants to work for little (or more often, convincing friends to work free), and using editing and cutting rooms during off hours to save money. One director surveyed funded his first film entirely on his credit cards.
Paying Your Dues
Nearly all film directors are film school graduates. Film school students must complete their own short films by graduation; you should be prepared to work under difficult conditions, share space, and convince actors to work for little or no money. Aspiring film directors prove themselves by directing stage productions, doing film lighting design, or establishing a history of assistant or associate directorships. This last route is the most common, as professional experience and networking contacts can be combined in a brief but intense period of time. There is no specific ladder to climb. Many aspiring directors develop clips of their work as a display of their talent when applying for industrial, television, or commercial directing jobs, which pay well and serve as working credentials. Individuals entering this career should be warned that 20-hour days are not unusual.
Associated Careers
For the most part, directors who leave enter another area of the entertainment industry. A number of them use their financing experience to move into the producing end of film development. Others move into script development or teaching. Some directors become critics, reviewers, or reporters for film-related magazines. Still 0thers become movie or television writers. A few become actors. People who go into business enter a wide variety of fields including costume supply, lighting rentals, casting agencies, site location, and acting schools.
A Day in the Life
“What I really want to do is direct.” If this applies to you, read on. Directors turn a script into a movie; they are responsible for the quality of the final product and its success. In most cases, directors work on films far longer than any actor, technician, or editor, from the first day of brainstorming to the final release; it is no wonder that directing is physically,mentally, and emotionally draining. Directors work with actors; makeup artists; cinematographers; writers; and film, sound, and lighting technicians. They determine all the particulars of how scenes are to be shot, from visual requirements to the placement of the actors and the appropriateness of the script. Directors cast actors who can bring their vision to the screen. Sound judgment and an open mind are important during these initial phases. A director guides actors to a greater understanding of their characters’ motivations and encourages them to perform at a high level—sometimes by gently cajoling and sometimes by yelling—anything to get the job done. A director’s unique vision of the final product and ability to communicate that vision effectively and immediately are critical. After the film has been shot, editorial skills are important. Directors must have a good feel for pacing and structure and must know how to integrate and cut scenes so they work effectively. Issues of finance are important in this industry—making films is expensive. First-time directors find it difficult to get work with any large-budget house, so many of them start with small-budget directing, using existing sites and sets creatively, convincing technical assistants to work for little (or more often, convincing friends to work free), and using editing and cutting rooms during off hours to save money. One director surveyed funded his first film entirely on his credit cards.
Paying Your Dues
Nearly all film directors are film school graduates. Film school students must complete their own short films by graduation; you should be prepared to work under difficult conditions, share space, and convince actors to work for little or no money. Aspiring film directors prove themselves by directing stage productions, doing film lighting design, or establishing a history of assistant or associate directorships. This last route is the most common, as professional experience and networking contacts can be combined in a brief but intense period of time. There is no specific ladder to climb. Many aspiring directors develop clips of their work as a display of their talent when applying for industrial, television, or commercial directing jobs, which pay well and serve as working credentials. Individuals entering this career should be warned that 20-hour days are not unusual.
Associated Careers
For the most part, directors who leave enter another area of the entertainment industry. A number of them use their financing experience to move into the producing end of film development. Others move into script development or teaching. Some directors become critics, reviewers, or reporters for film-related magazines. Still 0thers become movie or television writers. A few become actors. People who go into business enter a wide variety of fields including costume supply, lighting rentals, casting agencies, site location, and acting schools.
The Film Director
The Film Director
The position of film director is not easy to define concisely. Different film companies and directors have different ideas about exactly what the job entails. However the following duties are fairly standard:
Interpreting the script and making it into a film. This can involve planning locations, shots, pacing, acting styles and anything else which affects the feel of the movie.
Overseeing the cinematography and technical aspects.
Coaching actors and directing them towards the required performances.
Coordinating staff on set, directing the shooting timetable and ensuring that deadlines are met.
Laypeople sometimes confuse the director with the producer. This is understandable since they are both "bosses" of the film, and indeed their jobs can often overlap. The difference is that the producer is usually responsible for overseeing the entire project, including finance and budgets, hiring staff, managing logistics, etc. The director is more responsible for the creative aspects. The director is usually hired by and answerable to the producer.
How much authority is given to the director depends on many factors, most notably the director's experience and reputation. A first-time director might be given specific instructions on how the film is to be made, but an acclaimed Hollywood director is likely to be given full creative control.
As mentioned, some directors also take on certain duties of the producer. S/he may even do both jobs and be credited as producer/director. This tends to happen at both the bottom end of the budget scale (where many jobs are shared) and the top end (where some directors are given total control).
Directors may or may not be involved in the editing. In some cases there is a separate "director's cut", which means the director's version of the final edit.
Required Skills
A film director must have a comprehensive understanding of all aspects of film production, from acting to lens technology. It goes without saying that this is a senior position — if you want to be a director you will need to gain a lot of experience in other roles first.
Film directing is a vocation which, for most people, is more about creative achievement than financial reward. It is a difficult field to break into and the aspiring director should be prepared for a lot of hard work. Huge salaries are the exception rather than the rule.
Special Thank For Link: http://www.mediacollege.com/employment/film/director.html
Thursday, 5 June 2008
RECORD NUMBER OF ENTRIES FOR CANNES LIONS 2008 - AUSTRALIAN ENTRIES UP 31%
RECORD NUMBER OF ENTRIES FOR CANNES LIONS 2008 - AUSTRALIAN ENTRIES UP 31%
Over 28,000 entries from 85 countries will be competing for the coveted Lions at the Cannes Lions 55th International Advertising Festival next month, an increase of 10.2% versus last year. Without taking into account the new Design Lions category, the increase is 5.8%.
"We are seeing strong growth right across the categories and right across the world," said Philip Thomas, Festival, Chief Executive Officer. "This is the fifth year in a row that we have seen record entries into Cannes, another indication that agencies and clients across the world are embracing creativity and wishing to showcase their work at a global level at the Festival."
“From Australia’s perspective we’re delighted total entries are up 31% to 822. Even more pleasing is the growth in media entries to a total of 70, up a massive 46% against 48 last year," said Garth Agius, Group Director of Marketing: Advertising and Integration, News Limited. “This should place Australia in an excellent position to win at Cannes, recognising our country’s talent and showcasing their great work."
"The launch of Design has been particularly exciting. When we launch a new section at Cannes, there is clearly a minimum number of entries that make it a worthwhile thing to do, and a worthwhile global competition to take part in. Design has outstripped even our most optimistic estimates; with over 1,100 entries it has established itself, in year one, as a major trophy to compete for, and will be a major Lion to win," said Thomas.
Much of the growth has once again come from the newer categories, with Promo, Media and Titanium & Integrated particularly strong. But the more established categories are also buoyant - there is growth in Press and Outdoor, and Film has reversed a three-year trend of decline, mainly due to the Film section being expanded this year to include categories for films created for transmission on screens other than TV and cinema.
As expected, there is much activity from the booming regions of the world with The Middle East, China, Russia, and India all showing spectacular growth. But there are also more entries from more established players, such as the USA, UK, Germany, Spain, and Brazil which have all grown in entries this year.
Over 28,000 entries from 85 countries will be competing for the coveted Lions at the Cannes Lions 55th International Advertising Festival next month, an increase of 10.2% versus last year. Without taking into account the new Design Lions category, the increase is 5.8%.
"We are seeing strong growth right across the categories and right across the world," said Philip Thomas, Festival, Chief Executive Officer. "This is the fifth year in a row that we have seen record entries into Cannes, another indication that agencies and clients across the world are embracing creativity and wishing to showcase their work at a global level at the Festival."
“From Australia’s perspective we’re delighted total entries are up 31% to 822. Even more pleasing is the growth in media entries to a total of 70, up a massive 46% against 48 last year," said Garth Agius, Group Director of Marketing: Advertising and Integration, News Limited. “This should place Australia in an excellent position to win at Cannes, recognising our country’s talent and showcasing their great work."
"The launch of Design has been particularly exciting. When we launch a new section at Cannes, there is clearly a minimum number of entries that make it a worthwhile thing to do, and a worthwhile global competition to take part in. Design has outstripped even our most optimistic estimates; with over 1,100 entries it has established itself, in year one, as a major trophy to compete for, and will be a major Lion to win," said Thomas.
Much of the growth has once again come from the newer categories, with Promo, Media and Titanium & Integrated particularly strong. But the more established categories are also buoyant - there is growth in Press and Outdoor, and Film has reversed a three-year trend of decline, mainly due to the Film section being expanded this year to include categories for films created for transmission on screens other than TV and cinema.
As expected, there is much activity from the booming regions of the world with The Middle East, China, Russia, and India all showing spectacular growth. But there are also more entries from more established players, such as the USA, UK, Germany, Spain, and Brazil which have all grown in entries this year.
Download the list of entries per country:
Cannes Lions : Chinese Advertising Association
Monday 16 June, 10:00 - 10:45 (Debussy)
Download to your Calendar
Chinese Advertising Association
From Fast Changes to Global Benchmark: Building Lovemarks In China
Daniela Riccardi, Greater China President - Procter & GamblePully Chau, CEO - Saatchi & Saatchi China
Most people believe advertising will continue to boom in China despite the global recession. Procter & Gamble and Saatchi & Saatchi expect to reverse the trend of recession by focusing on building strong brands, consumer loyalty/shopper loyalty beyond reason via continuous marketing innovation and world-class advertising, leading to sustainable growth.
This session held by two China experts (in marketing and branding) will explore China’s new brand matrix; new China consumer value; new media diversity and trends; the rise in luxury brands leading to polarised segmentation and need for tiered communications. Pully Chau will share some outstanding creative cases of idea navigation across multiple consumer/shopper touchpoints; how the fast-changing China is inspiring the world… how the world is creating modern China.
Through P&G’s fruitful journey of 20 years in China, Daniela Riccardi will demonstrate how lovemarks can be built by leveraging on:
- Strong consumer and shopper relationships- Commitment to marketing innovation- High involvement of agency partners to transform their brands and reputations
Download to your Calendar
Chinese Advertising Association
From Fast Changes to Global Benchmark: Building Lovemarks In China
Daniela Riccardi, Greater China President - Procter & GamblePully Chau, CEO - Saatchi & Saatchi China
Most people believe advertising will continue to boom in China despite the global recession. Procter & Gamble and Saatchi & Saatchi expect to reverse the trend of recession by focusing on building strong brands, consumer loyalty/shopper loyalty beyond reason via continuous marketing innovation and world-class advertising, leading to sustainable growth.
This session held by two China experts (in marketing and branding) will explore China’s new brand matrix; new China consumer value; new media diversity and trends; the rise in luxury brands leading to polarised segmentation and need for tiered communications. Pully Chau will share some outstanding creative cases of idea navigation across multiple consumer/shopper touchpoints; how the fast-changing China is inspiring the world… how the world is creating modern China.
Through P&G’s fruitful journey of 20 years in China, Daniela Riccardi will demonstrate how lovemarks can be built by leveraging on:
- Strong consumer and shopper relationships- Commitment to marketing innovation- High involvement of agency partners to transform their brands and reputations
JEFF GOODBY JURY PREZ FOR ADOI ADVERTISING AWARDS (AAA) 2008!
JEFF GOODBY JURY PREZ FOR ADOI ADVERTISING AWARDS (AAA) 2008!
JAKARTA: Cannes Jury President Jeff Goodby will head the AAA Jury this year, now into its fifth year in Indonesia. Regarded as the most prestigious awards show in the country, the AAA attracts almost a thousand entries and this year will feature some new Media categories.
Other jury members who will be conducting the judging in Bali in August include Yasmin Ahmad (LB Malaysia), Adrian Miller (Saatchi & Saatchi, Malaysia), Lakshmi Mohan (DraftFCB, Malaysia), Edward Ong (Creative Director (Y&R Singapore), Farrokh Maddon (McCann Singapore), Jagdish Ramakrishnan (BBDO Singapore) and Graham Kelly (TBWA\ & Tequila Singapore).
ADOI Indonesia this year decided to give back to society again,
as part of the ADOI Advertising Awards (AAA) 2008 festival. Together with Indonesia’s advertising creative genius Glen Marsalim, ADOI visited four homes for orphans and the under privileged around Jakarta and told them to display their artistic talent in expressing AAA on used newspapers which will be used as posters for this year’s event.
Over the past few years, part of the proceeds from our AAA shows have gone towards the Bali Recovery Fund, Save the Orang Utan campaign, and more. This year 5% of all entry fees for AAA 2008 will be chanelled to these homes for underprivileged and orphans around Jakarta.
Credit Link: http://www.adoimagazine.com/newhome/index.php?option=com_content&view=article&id=2427&catid=1&Itemid=5
JAKARTA: Cannes Jury President Jeff Goodby will head the AAA Jury this year, now into its fifth year in Indonesia. Regarded as the most prestigious awards show in the country, the AAA attracts almost a thousand entries and this year will feature some new Media categories.
Other jury members who will be conducting the judging in Bali in August include Yasmin Ahmad (LB Malaysia), Adrian Miller (Saatchi & Saatchi, Malaysia), Lakshmi Mohan (DraftFCB, Malaysia), Edward Ong (Creative Director (Y&R Singapore), Farrokh Maddon (McCann Singapore), Jagdish Ramakrishnan (BBDO Singapore) and Graham Kelly (TBWA\ & Tequila Singapore).
ADOI Indonesia this year decided to give back to society again,
as part of the ADOI Advertising Awards (AAA) 2008 festival. Together with Indonesia’s advertising creative genius Glen Marsalim, ADOI visited four homes for orphans and the under privileged around Jakarta and told them to display their artistic talent in expressing AAA on used newspapers which will be used as posters for this year’s event.
Over the past few years, part of the proceeds from our AAA shows have gone towards the Bali Recovery Fund, Save the Orang Utan campaign, and more. This year 5% of all entry fees for AAA 2008 will be chanelled to these homes for underprivileged and orphans around Jakarta.
Credit Link: http://www.adoimagazine.com/newhome/index.php?option=com_content&view=article&id=2427&catid=1&Itemid=5
Tuesday, 3 June 2008
มุมมองต่างชาติกับการทำงานแบบไทย
มุมมองต่างชาติกับการทำงานแบบไทย
บ้านเราเดี๋ยวนี้มีคนต่างชาติเข้ามาทำงานหลายพันชีวิต พอฝรั่งกับไทยมาเจอกัน ความอลเวงก็เลยเกิดขึ้น เพราะนอกจากภาษาและความเคยชินจะต่างกันชนิดฟ้ากับเหวแล้ว นิสัยการทำงานก็ยังไม่เหมือนกันอีกด้วย ฝรั่งนินทาคนไทยว่ายังไรบ้าง มาแอบฟังกันดีกว่า....
ฝรั่งทั้งหมด 12 คน ซึ่งแต่ละคนโชกโชนกับการทำงานในแวดวงคนไทยไม่ต่ำกว่า 10 ปี เมื่อถามว่าพวกเค้ามีความเห็นอย่างไรกับการทำงานแบบไทยๆ เราก็ได้คำตอบว่า:
1. ทัศนคติต่อการเปลี่ยนแปลง คนไทยมักจะยึดติดกับความเคยชินแบบเดิมๆ เคยทำมาอย่างไรก็จะทำอยู่อย่างนั้น ไม่ค่อยมีความคิดที่จะเปลี่ยนแปลง และถ้าฝรั่งเอาวิธีใหม่ๆ เข้ามาทำให้พวกเขาต้องทำอะไรที่ต่างไปจากเดิม ก็จะถูกมองว่าเป็นการสร้างความรำคาญให้พวกเขา มักจะไม่ค่อยได้รับความร่วมมืออย่างเต็มที่ หรือไม่ก็ถึงกับถูกต่อต้ านก็มี
- เจฟฟรีย์ บาร์น
2. การโต้แย้ง
เมื่อมีการเจรจา คนไทยจะไม่กล้าโต้แย้งทั้งๆ ที่ตัวเองกำลังเสียเปรียบ ส่วนใหญ่มักจะปล่อยให้อีกฝ่ายเป็นคนคุมเกม บางคนบอกว่ามีนิสัยอย่างนี้เรียกว่า "ขี้เกรงใจ" แต่สำหรับฝรั่งแล้ว นิสัยนี้จะทำให้คนไทยไม่ก้าวหน้าเท่าที่ควร
- ทานากะ โรบิน (จูเนียร์) ฟูจฮาระ
3. ไม่พูดสิ่งที่ควรพูด
เอกลักษณ์อีกอย่างหนึ่งของคนไทยคือ มักจะไม่ค่อยกล้าบอกความคิดของตัวเองออกมาทั้งๆ ที่คนไทยก็มีความคิดดีไม่ไม่แพ้ฝรั่งเลย แต่มักจะเก็บความสามารถไว้ ไม่บอกออกมาให้เจ้านายได้รู้ และจะไม่กล้าตั้งคำถาม บางทีฝรั่งก็คิดว่าคนไทยรู้แล้วเลยไม่บอกเพราะเห็นว่าไม่ถามอะไร ทำให้ทำงานกันไปคนละเป้าหมาย หรือทำงานไม่สำเร็จ เพราะคนที่รับคำสั่งไม่รู้ว่าถูกสั่งให้ทำอะไร
- ไมเคิล วิดฟิล์ค
4. ความรับผิดชอบ
1. ฝรั่งมองว่าคนไทยเรามักทำไม่ค่อยกำหนดระยะเวลาในการทำงานไว้ล่วงหน้า ทั้งๆทีงานบางชิ้นต้องทำให้เสร็จภายในระยะเวลาที่กำหนด ยิ่งงานไหนให้เวลาในการทำงานนาน ก็จะยิ่งทิ้งไว้ทำตอนใกล้ๆ จะถึงกำหนดส่ง เลยทำงานออกมาแบบรีบๆ ไม่ได้ผลงานดีเท่าที่ควร
2. ไม่ค่อยยอมผูกพันและรับผิดชอบเป็นลายลักษณ์อักษร ถ้าให้เซ็นชื่อรับผิดชอบงานที่ทำคนไทยจะกลัวขึ้นมาทันที เหมือนกับกลัวจะทำไม่ได้ หรือกลัวจะถูกหลอก
- สเตฟานี จอห์นสัน
5. วิธีแก้ไขปัญหา
คนไทยไม่ค่อยมีแผนการรองรับเวลาเกิดปัญหา แต่จะรอให้เกิดก่อนแล้วค่อยหาทางแก้ไปแบบเฉพาะหน้า หลายคั้งที่ฝรั่งพบว่าคนไทยไม่รู้จะแก้ปัญหาที่เกิดขึ้นอย่างไรต้องรอให้เจ้านายสั่งลงมาก่อนแล้วค่อยทำตาม ถ้านายเจ้านายไม่อยู่ทุกคนก็จะประสาทเสียไปหมด
- ดร.มาเรีย โรเซนเบิร์ก
6. บอกแต่ข่าวดี
คนไทยมีความเคยชินในการแจ้งข่าวที่แปลกมาก คือ
1. จะไม่กล้าบอกผู้บังคับบัญชาชาวต่างชาติเมื่อเกิดปัญหาขึ้น จนกระทั่งบานปลายไปเกินแก้ไขได้จึงค่อยเข้ามาปรึกษา
2. จะเลือกบอกแต่สิ่งที่คิดว่าเจ้านายจะชอบ เช่น บอกแต่ข่าวดีๆ แทนที่จะเล่าไปตามความจริงหรือถ้าหากเจ้านายถามว่า จะทำงานเสร็จทันเวลาไหม ก็จะบอกว่าทัน (เพราะรู้ว่านายอยากได้ยินแบบนี้) แต่ก็ไม่เคยทำทันตามเวลาที่รับปากเลย
- โจนาธาน ธอมพ์สัน
7. คำว่า "ไม่เป็นไร"
เป็นคำพูดที่ติดปากคนไทยทุกคน ทำให้เวลามีปัญหา ก็จะไม่มีใครรับผิดชอบ และจะไม่ค่อยหาตัวคนทำผิดด้วยเพราะเกรงใจกัน แต่จะใช้คำว่า "ไม่เป็นไร" มาแก้ปัญหาแทน
- เจนิส อิกนาโรห์
8. ทักษะในการทำงาน
1. ไม่สามารถทำงานร่วมกันเป็นทีมได้ ถ้าทำงานเป็นทีมมักมีปัญหาเรื่องการกินแรงกัน บางคนขยันแต่บางคนไม่ทำอะไรเลย บางทีก็มีการขัดแย้งกันเองในทีม หรือเกี่ยงงานกันจนผลงานไม่คืบหน้า
2. ไม่ค่อยมีทักษะในการทำงาน แม้จะผ่านการศึกษาในระดับสูงมาแล้ว และไม่ค่อยใช้ความพยายามอย่างเต็มทีเพื่อให้ได้ผลงานที่ดีที่สุด
3. พนักงานชาวไทยที่รู้จัก ส่วนใหญ่ไม่ค่อยรู้สึกกระตือรือร้นที่จะเรียนรู้เรื่องราวความเคลื่อนไหวของโลกเท่าไรนัก แล้วไม่ค่อยชอบหาความรู้เพิ่มเติมแม้จะเป็นเรื่องที่เกี่ยวกับงานก็ตาม
- เดวิด กิลเบิร์ก
9. ความซื่อสัตย์
พนักงานคนไทยควรจะมีความซื่อสัตย์และตรงไปตรงมามากกว่านี้ หลายครั้งที่ชอบโกหกในเรื่องเล็กๆ น้อยๆ เช่น มาสาย ขาดงานโดยอ้างว่าป่วย ออกไปข้างนอกในเวลางาน
- เฮเบิร์ก โอ ลิสส์
10. ระบบพวกพ้อง
คนไทยมักจะนำเพื่อนฝูงมาเกี่ยวข้องกับธุรกิจเสมอ ผมไม่เคยชอบวิธีนี้เลย ตัวอย่างเช่น การจัดซื้อข้าวของภายในสำนักงาน พวกเขามักจะแนะนำเพื่อนๆ มาก่อนโดยไม่คำนึงถึงผลประโยชน์ที่บริษัทควรจะได้รับ นี่เป็นประสบการณ์จริงที่ประสบมา การให้ความช่วยเหลือเพื่อนไม่ใช่เรื่องแปลก แต่การที่ไม่คำนึงถึงผลประโยชน์ของบริษัทเลยเป็นอะไรที่แย่มาก และเมื่อพบว่าเพื่อนพนักงานด้วยกันทุจริต คนไทยก็จะช่วยกันปกป้อง และทำให้ไม่รู้ไม่เห็นจนกว่าผู้บริหารจะตรวจสอบได้เอง
- มาร์ค โอเนล ฮิวจ์
11. แยกไม่ออกระหว่างเรื่องงาน และเรื่องส่วนตัว
คนไทยมักจะไม่รู้ว่าอะไรว่าอะไรคือเรื่องงาน และอะไรที่เรียกว่าเรื่องส่วนตัว พวกเขาชอบเอาทั้งสองอย่างนี้มาปนกันจนทำให้ระบบการทำงานเสียไปหมด ซึ่งเป็นปัญหาใหญ่อย่างหนึ่งขององค์กร
1. ชอบสอดรู้สอดเห็น โดยเฉพาะเรื่องส่วนตัวของเพื่อนร่วมงาน
2. มักจะคุยกันเรื่องส่วนตัวที่ไม่เกี่ยวกับงานมากเกินไป บางครั้งทำให้บานปลายและนำไปสู่ข่าวลือ และการนินทากันภายในสำนักงาน
3. มักจะลาออกจากบริษัทโดยไม่ยอมแจ้งล่วงหน้าตามข้อตกลง
บ้านเราเดี๋ยวนี้มีคนต่างชาติเข้ามาทำงานหลายพันชีวิต พอฝรั่งกับไทยมาเจอกัน ความอลเวงก็เลยเกิดขึ้น เพราะนอกจากภาษาและความเคยชินจะต่างกันชนิดฟ้ากับเหวแล้ว นิสัยการทำงานก็ยังไม่เหมือนกันอีกด้วย ฝรั่งนินทาคนไทยว่ายังไรบ้าง มาแอบฟังกันดีกว่า....
ฝรั่งทั้งหมด 12 คน ซึ่งแต่ละคนโชกโชนกับการทำงานในแวดวงคนไทยไม่ต่ำกว่า 10 ปี เมื่อถามว่าพวกเค้ามีความเห็นอย่างไรกับการทำงานแบบไทยๆ เราก็ได้คำตอบว่า:
1. ทัศนคติต่อการเปลี่ยนแปลง คนไทยมักจะยึดติดกับความเคยชินแบบเดิมๆ เคยทำมาอย่างไรก็จะทำอยู่อย่างนั้น ไม่ค่อยมีความคิดที่จะเปลี่ยนแปลง และถ้าฝรั่งเอาวิธีใหม่ๆ เข้ามาทำให้พวกเขาต้องทำอะไรที่ต่างไปจากเดิม ก็จะถูกมองว่าเป็นการสร้างความรำคาญให้พวกเขา มักจะไม่ค่อยได้รับความร่วมมืออย่างเต็มที่ หรือไม่ก็ถึงกับถูกต่อต้ านก็มี
- เจฟฟรีย์ บาร์น
2. การโต้แย้ง
เมื่อมีการเจรจา คนไทยจะไม่กล้าโต้แย้งทั้งๆ ที่ตัวเองกำลังเสียเปรียบ ส่วนใหญ่มักจะปล่อยให้อีกฝ่ายเป็นคนคุมเกม บางคนบอกว่ามีนิสัยอย่างนี้เรียกว่า "ขี้เกรงใจ" แต่สำหรับฝรั่งแล้ว นิสัยนี้จะทำให้คนไทยไม่ก้าวหน้าเท่าที่ควร
- ทานากะ โรบิน (จูเนียร์) ฟูจฮาระ
3. ไม่พูดสิ่งที่ควรพูด
เอกลักษณ์อีกอย่างหนึ่งของคนไทยคือ มักจะไม่ค่อยกล้าบอกความคิดของตัวเองออกมาทั้งๆ ที่คนไทยก็มีความคิดดีไม่ไม่แพ้ฝรั่งเลย แต่มักจะเก็บความสามารถไว้ ไม่บอกออกมาให้เจ้านายได้รู้ และจะไม่กล้าตั้งคำถาม บางทีฝรั่งก็คิดว่าคนไทยรู้แล้วเลยไม่บอกเพราะเห็นว่าไม่ถามอะไร ทำให้ทำงานกันไปคนละเป้าหมาย หรือทำงานไม่สำเร็จ เพราะคนที่รับคำสั่งไม่รู้ว่าถูกสั่งให้ทำอะไร
- ไมเคิล วิดฟิล์ค
4. ความรับผิดชอบ
1. ฝรั่งมองว่าคนไทยเรามักทำไม่ค่อยกำหนดระยะเวลาในการทำงานไว้ล่วงหน้า ทั้งๆทีงานบางชิ้นต้องทำให้เสร็จภายในระยะเวลาที่กำหนด ยิ่งงานไหนให้เวลาในการทำงานนาน ก็จะยิ่งทิ้งไว้ทำตอนใกล้ๆ จะถึงกำหนดส่ง เลยทำงานออกมาแบบรีบๆ ไม่ได้ผลงานดีเท่าที่ควร
2. ไม่ค่อยยอมผูกพันและรับผิดชอบเป็นลายลักษณ์อักษร ถ้าให้เซ็นชื่อรับผิดชอบงานที่ทำคนไทยจะกลัวขึ้นมาทันที เหมือนกับกลัวจะทำไม่ได้ หรือกลัวจะถูกหลอก
- สเตฟานี จอห์นสัน
5. วิธีแก้ไขปัญหา
คนไทยไม่ค่อยมีแผนการรองรับเวลาเกิดปัญหา แต่จะรอให้เกิดก่อนแล้วค่อยหาทางแก้ไปแบบเฉพาะหน้า หลายคั้งที่ฝรั่งพบว่าคนไทยไม่รู้จะแก้ปัญหาที่เกิดขึ้นอย่างไรต้องรอให้เจ้านายสั่งลงมาก่อนแล้วค่อยทำตาม ถ้านายเจ้านายไม่อยู่ทุกคนก็จะประสาทเสียไปหมด
- ดร.มาเรีย โรเซนเบิร์ก
6. บอกแต่ข่าวดี
คนไทยมีความเคยชินในการแจ้งข่าวที่แปลกมาก คือ
1. จะไม่กล้าบอกผู้บังคับบัญชาชาวต่างชาติเมื่อเกิดปัญหาขึ้น จนกระทั่งบานปลายไปเกินแก้ไขได้จึงค่อยเข้ามาปรึกษา
2. จะเลือกบอกแต่สิ่งที่คิดว่าเจ้านายจะชอบ เช่น บอกแต่ข่าวดีๆ แทนที่จะเล่าไปตามความจริงหรือถ้าหากเจ้านายถามว่า จะทำงานเสร็จทันเวลาไหม ก็จะบอกว่าทัน (เพราะรู้ว่านายอยากได้ยินแบบนี้) แต่ก็ไม่เคยทำทันตามเวลาที่รับปากเลย
- โจนาธาน ธอมพ์สัน
7. คำว่า "ไม่เป็นไร"
เป็นคำพูดที่ติดปากคนไทยทุกคน ทำให้เวลามีปัญหา ก็จะไม่มีใครรับผิดชอบ และจะไม่ค่อยหาตัวคนทำผิดด้วยเพราะเกรงใจกัน แต่จะใช้คำว่า "ไม่เป็นไร" มาแก้ปัญหาแทน
- เจนิส อิกนาโรห์
8. ทักษะในการทำงาน
1. ไม่สามารถทำงานร่วมกันเป็นทีมได้ ถ้าทำงานเป็นทีมมักมีปัญหาเรื่องการกินแรงกัน บางคนขยันแต่บางคนไม่ทำอะไรเลย บางทีก็มีการขัดแย้งกันเองในทีม หรือเกี่ยงงานกันจนผลงานไม่คืบหน้า
2. ไม่ค่อยมีทักษะในการทำงาน แม้จะผ่านการศึกษาในระดับสูงมาแล้ว และไม่ค่อยใช้ความพยายามอย่างเต็มทีเพื่อให้ได้ผลงานที่ดีที่สุด
3. พนักงานชาวไทยที่รู้จัก ส่วนใหญ่ไม่ค่อยรู้สึกกระตือรือร้นที่จะเรียนรู้เรื่องราวความเคลื่อนไหวของโลกเท่าไรนัก แล้วไม่ค่อยชอบหาความรู้เพิ่มเติมแม้จะเป็นเรื่องที่เกี่ยวกับงานก็ตาม
- เดวิด กิลเบิร์ก
9. ความซื่อสัตย์
พนักงานคนไทยควรจะมีความซื่อสัตย์และตรงไปตรงมามากกว่านี้ หลายครั้งที่ชอบโกหกในเรื่องเล็กๆ น้อยๆ เช่น มาสาย ขาดงานโดยอ้างว่าป่วย ออกไปข้างนอกในเวลางาน
- เฮเบิร์ก โอ ลิสส์
10. ระบบพวกพ้อง
คนไทยมักจะนำเพื่อนฝูงมาเกี่ยวข้องกับธุรกิจเสมอ ผมไม่เคยชอบวิธีนี้เลย ตัวอย่างเช่น การจัดซื้อข้าวของภายในสำนักงาน พวกเขามักจะแนะนำเพื่อนๆ มาก่อนโดยไม่คำนึงถึงผลประโยชน์ที่บริษัทควรจะได้รับ นี่เป็นประสบการณ์จริงที่ประสบมา การให้ความช่วยเหลือเพื่อนไม่ใช่เรื่องแปลก แต่การที่ไม่คำนึงถึงผลประโยชน์ของบริษัทเลยเป็นอะไรที่แย่มาก และเมื่อพบว่าเพื่อนพนักงานด้วยกันทุจริต คนไทยก็จะช่วยกันปกป้อง และทำให้ไม่รู้ไม่เห็นจนกว่าผู้บริหารจะตรวจสอบได้เอง
- มาร์ค โอเนล ฮิวจ์
11. แยกไม่ออกระหว่างเรื่องงาน และเรื่องส่วนตัว
คนไทยมักจะไม่รู้ว่าอะไรว่าอะไรคือเรื่องงาน และอะไรที่เรียกว่าเรื่องส่วนตัว พวกเขาชอบเอาทั้งสองอย่างนี้มาปนกันจนทำให้ระบบการทำงานเสียไปหมด ซึ่งเป็นปัญหาใหญ่อย่างหนึ่งขององค์กร
1. ชอบสอดรู้สอดเห็น โดยเฉพาะเรื่องส่วนตัวของเพื่อนร่วมงาน
2. มักจะคุยกันเรื่องส่วนตัวที่ไม่เกี่ยวกับงานมากเกินไป บางครั้งทำให้บานปลายและนำไปสู่ข่าวลือ และการนินทากันภายในสำนักงาน
3. มักจะลาออกจากบริษัทโดยไม่ยอมแจ้งล่วงหน้าตามข้อตกลง
Monday, 2 June 2008
Behind The Scene Making of The Movie : By Sky Exits Films Production Bangkok Thailand
Behind The Scene Making of The Movie : By Sky Exits Films Production Bangkok Thailand
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