Career FAQs - Entertainment PDF

Australia wide
Entertainment
Have you always entertained the idea of working in the theatre, on
television, radio or in the film industry? Have you ever wondered what a
stage manager does? Want to be in front of the bright lights or making
sure that the lights are working perfectly?
Career FAQs Entertainment looks into the working lives of actors,

musicians, entertainers and dancers, as well as the designers,
technicians, script writers, camera people and stage managers who
Entertainmen
collectively bring a production to life.
Get valuable advice from those who have ‘made it’ and those who are
just starting out. Get insiders’ tips and tricks of the trade and discover
what people believe was their secret of their success. Discover what it’s
like to be a writer, director, producer, set builder, film editor or lighting
designer, then decide on the career path that’s right for you.
Entertainment
Entertainme
Entertainment
Career FAQs Entertainment can help you get there!
Other titles:
Other titles:
Architecture
Design Professionals
Entertainment
Engineering
Fashion
realjobs realpeople realexperiences
Hospitality Foreword by Jack Thompson A.M.
One of Australia’s most loved and respected actors, Jack
Human Resources has appeared in numerous Australian and American films
including Breaker Morant in 1980 for which he won an award
Landscaping & at both the AFI awards and the Cannes International Film
Horticulture Festival, The Sum Of Us in 1993, Star Wars Episode II in 2000,
The Assassination Of Richard Nixon in 2003.
Law He is a Goodwill Ambassador for U.N.H.C.R., a foundation
member of the Council for the National Museum of Australia,
Marketing
a Life Member of the Stockman’s Hall of Fame.
Public Relations
Teaching
Travel & Tourism In such a diverse field as entertainment, the best tools can
assist in doing the best job. This book is a great for anyone
Young Entrepreneurs considering going into the biz. Very entertaining!
and more … Russell Dunlop, Musician, musical producer with over 12 Gold and Platinum
albums and 40 years in live performance, theatre, commercial writing and
www.careerfaqs.com.au muscial composition.
Australia wide
ISBN 1 921106 21 2
Published by Career FAQs
Covers Jan 2006.indd 32 10/5/06 2:19:55 PM

Want more quality career resources from Career FAQs for FREE? Click here
Entertainment
By Louise Weihart
Australia wide
Published by Career FAQs Pty Ltd
ENTERTAINMENT_28_04-06_SUE.indd i 4/5/06 1:04:37 PM

© Copyright Career FAQs Pty Ltd
First published in 2006
This book is copyright. Apart from any fair dealing for the purpose of private study,
research, criticism or review, as permitted under the Copyright Act 1968, no part
of this publication may be reproduced by any process or by any means, electronic,
photocopied, recorded or otherwise without prior written permission of the
copyright owner. Inquiries for reproduction should be addressed to the publisher.
Published by
Career FAQs Pty Ltd
Suite 76, The Hub
89–97 Jones Street
Ultimo NSW 2007
+61 2 9282 9383
www.careerfaqs.com.au
National Library of Australia

Cataloguing-in-Publication entry:
Weihart, Louise
Entertainment: Australia.
ISBN 978 1 921106 21 2

1. Performing arts – Vocational guidance – Australia.
2. Entertainers – Employment – Australia.
I. Title. (Series: Career FAQs).
331.761791
Publisher: Sue Stevens

Author: Louise Weihart
Managing editor: Emma Grahame
Editor: Wendy De Vries
Publishing coordinator: Louisa Veidelis
Publishing assistant: Darryn King
Cover and internal design: Terri Marzullo, H2M Creative Services
Illustrations: Tamsin Ainsley, Ainsley Beard Creative
Desktop publisher: Terri Marzullo, H2M Creative Services
Proofreading: John Sims, Sims Editing and Proofreading
Printed by Paragon Printers Australasia
Advertising sales enquiries: Stefan Harland
Career FAQs acknowledges the following copyright owners for permission to

reproduce their work.
Graduate Careers Council of Australia, www.graduatecareers.com.au
Every effort has been made to contact copyright owners and obtain permission.
However, should an infringement have occurred, Career FAQs apologises for the
omission and requests that the copyright owner contact the publisher.
Disclaimer
The opinions and statements made by people who contributed to this book from
the entertainment profession are their own and are not those of Career FAQs. The
publishers do not claim to represent the entire extent of the entertainment profession
and career choices. The aim has always been to provide a broad overview of the
possibilities available. As such Career FAQs Entertainment does not purport to be
a true and accurate record of the entertainment profession, relying on the voices
of those working in the industry to tell their stories. Inaccuracies may arise as a
result of the nature of this book. Users should follow the links to actual websites of
organisations to ascertain current entertainment practice.
ENTERTAINMENT_28_04-06_SUE.indd ii 4/5/06 1:04:40 PM

Foreword
Entertainment has been an essential part of our lives as Australians
since the 1789 performance, by convicts, of The Recruiting Officer
to celebrate the King’s birthday. In 1906, we produced what is
considered by many to be the world’s first feature film, The Story
of the Kelly Gang. Australians from every area of the entertainment
business have achieved international praise and recognition.
Acting has been a passion for me since my childhood. I was in every

school play and after school I became involved at every opportunity
Jack Thompson A.M.
with amateur theatre. I studied with Hayes Gordon at Ensemble
One of Australia’s most loved
Theatre in Sydney and performed with Twelfth Night Theatre in and respected actors, Jack has
Brisbane while attending Queensland University. My hobby started appeared in numerous Australian
and American films including the
to take up more of my time than anything else. classic Sunday Too Far Away in
1975, Breaker Morant in 1980 for
I was fortunate to start my professional career as an actor in which he won an award at both
the AFI awards and the Cannes
1968, just as what is often referred to as ‘the renaissance of the International Film Festival,
The Sum Of Us in 1993, Star
Australian film industry’ began. There were many challenges, not Wars Episode II in 2000, The
least of which was that the concept of an Australian film star was Assassination Of Richard Nixon
in 2003.
considered an oxymoron. If we did not have Australian films, how
He is a Goodwill Ambassador for
could there be such a thing as an Australian film star? U.N.H.C.R., a foundation member
of the Council for the National
When an interviewer asked if I was one, I remember saying, Museum of Australia, a Life
Member of the Stockman’s Hall
‘Whether I am one or not, it’s important that an Australian audience of Fame.
believes that we can have Australian film stars’. Now that so many In 1986 Jack was awarded
Australian actors, directors and other production people are highly Membership of the Order of
Australia for his services to the
acclaimed here and overseas this is no longer an issue. Australian film industry.
There is not much doubt that the Australian film industry has a
future. It’s still not in the best shape it can be in, but it certainly
exists. When I started we didn’t have a film industry. The industry
has its ups and downs. It’s a bit like the farming industry – there
are good years and there are not-so-good years. I think it’s more
important though to concern ourselves with an Australian film
culture.
We can make, as we do, a lot of American films in Australia using

all Australian crews, but having an Australian film culture is what
creates films like Sunday Too Far Away, Gallipoli, Breaker Morant,
The Sum of Us and Little Fish to name a few. These are films about
our lives as Australians.
iii
Ent Foreword pages.indd iii 11/5/06 5:18:31 PM

Entertainment
The film industry is merely a part of the greater ‘entertainment’

industry. The important thing is that our entertainers and all the
people working in the industry – whether as scriptwriters, directors,
stage managers, costume designers or producers – are here reflecting
the Australian ethos and its changing demographic. As a nation we
are evolving and it’s vital we have a strong industry that reflects and
responds to that evolution.
It’s great to see so many Australians doing well in the business these
days. I believe there are still plenty of opportunities out there. It’s a
tough business but if you have the passion, perseverance and respect
for the skills of your craft, I believe you will be rewarded, as I have
been, by an exciting and fulfilling career in the world of entertainment.
iv
ENTERTAINMENT_28_04-06_SUE.indd iv 11/5/06 4:59:06 PM

Contents
About Career FAQs ix
How to use this book xi
The big picture

Why entertainment? 1
What do people in entertainment do? 2
What are the attributes you need for success? 4
What’s happening right now? 6
Current size of the industry 8
What are the job opportunities? 9
In the limelight or backstage 10
Winging it vs permanent work 11
Other ways to work in the industry 11
The Australian scene 12
Overseas opportunities 13
How much can I earn? 14
Who are the main employers? 17
TV and radio broadcasters 17
Public broadcasters 18
The ABC 19
Commercial broadcasters 20
Community stations 21
Digital radio and podcasts 22
Film production companies 22
Theatres and performing arts companies 24
Employers of musicians 25
Gigs 25
Record labels 25
Digital/interactive employers 26
Corporates and private parties 26
Clowning around 26
Advertisers 27
ENTERTAINMENT_28_04-06_SUE.indd v 4/5/06 1:04:41 PM

Entertainment
What are employers looking for? 28

Meet some employers 29
Gerry Llewellyn – Sydney Opera House 29
Peter Grimshaw – Star City Casino 30
Casinos in Australia 32
What support organisations exist? 32
Department of Communications, Information Technology
and the Arts 32
Australia Council for the Arts 33
NSW Ministry for the Arts 33
Australian Entertainment Industry Association 34
Media, Entertainment and Arts Alliance 34
Australian Major Performing Arts Group 34
Australian Film Commission 35
Academy of Interactive Entertainment Ltd 35
Musicians Union of Australia 35
Insider info
What jobs could I do? 41
What do real people say about their jobs? 43
Ben Barrack – Actor 43
Damian de Montemas – Actor 47
Naomi Wallace – Actor 49
Clayton Doley – Musician 54
Adam Leayr – Covers musician 59
Gaylene Cummerfield – Ballet soloist 62
Steve Cannane – Radio presenter 66
Ben Hodson – TV commercial director 69
Ben Allan – Director of photography 72
Russell Boyd – Cinematographer 75
Tommy Murphy – Playwright 77
David Twyman – Freelance designer 81
Hamish Peters – Set and costume designer 85
Dressing 88
Katrina Adams – Freelance film andtheatre designer 89
Matt Connors – Head of department, scenic artist 93
vi
ENTERTAINMENT_28_04-06_SUE.indd vi 4/5/06 1:04:41 PM

Chris Twyman – Lighting designer 95
Margaret Aston – Hair and make-up artist 100
Jane Elizabeth Miskovic – Choreographer 104
Dom Hamra – Production manager 107
Emile Sherman – Film producer 110
Neil Gooding – Concert producer 114
Daniel Bennett – Script producer 116
Guy Bowden – Assistant film editor 118
Jess Skinner – Television researcher 121
Gary Rogers – Solicitor and film producer 125
Ready, set, go for it!

What qualifications do I need? 129
University courses 133
National Institute of Dramatic Art 134
Australian Film, Television and Radio School 136
University of New South Wales College of Fine Arts 136
Victorian College of the Arts 138
Western Australian Academy of Performing Arts 138
How easy is it to get into university? 138
TAFE courses 139
What can I expect to learn at TAFE? 139
Private courses 140
Australian Institute of Music 141
Academy of Screen Performance 141
SAE Institute 141
Animation 141
3D graphics and animation program 142
Film 142
Digital film program 142
Audio engineering 142
Music business program 143
Sydney Film School 143
How do I get that job? 144
How are people recruited? 145
vii
ENTERTAINMENT_28_04-06_SUE.indd vii 4/5/06 1:04:41 PM

Entertainment
Get an agent 145

Network 146
Be seen and heard 146
Enter competitions 148
Apply for advertised jobs 148
What are agents and recruiters looking for? 148
Hannah Mason – Artists & Entertainment Group 149
Nathan Morris – June Cann Management 150
Leanne Bushby – Entertainment Personnel 151
Stand out from the crowd 154
Create an outstanding application 154
The résumé 155
Tips: Résumé writing 156
The cover letter 157
Tips: The cover letter 158
The portfolio 158
How can I stand out at interview or audition? 160
Tips: Standing out at the interview 161
What can I do right now? 162
The school of life 162
Show your stuff 163
Work for free 164
Multitask 165
Work hard 165
Tips: What can I do right now? 166
Buzz words 167
Appendix 1 169
Comparative starting salaries of various profession 169
Appendix 2 170
Entertainment-related course providers from ACPET members 170
Appendix 3 172
Sample job advertisements 172
Appendix 4 174
Sample résumé 174
Appendix 5 176
Sample cover letter 176
viii
ENTERTAINMENT_28_04-06_SUE.indd viii 4/5/06 1:04:41 PM

About Career FAQs
Want to choose your ideal career but don’t
know where to start?
Will Santow, Managing Director, Career FAQs
Career FAQs publishes a diverse range of career books that focus on Career FAQs
different professions, industries and lifestyles to make the search for ■ real jobs
your perfect career that much easier. ■ real people
■ real experiences
Each book profiles real people doing
Don’t end up in
real jobs and talking about their real
someone else’s life, experiences – the good and the bad –
a career choice is as from the day-to-day routine of working
much a life choice as a life through to the more dynamic
vocational decision. aspects of a job. In addition to this,
Career FAQs books feature practical
information about qualification requirements, the key educational
and training institutions, industry bodies and support organisations,
earning capacity and job-hunting tips.
With all of the above covered in each book, it is easy to see why
Career FAQs provides a dynamic new approach to finding the
right career.
Career FAQs was conceived in 2004 as a result of my own quest

to settle on a particular career path through my 20s and early
30s. At times of career angst or just indecision about where I
should go for my next move, I would try to get my hands on
empowering, high-quality, up-to-date career information that
related specifically to the market in which I wanted to work. I
could find nothing. When I asked around, the only thing I found
was a shared frustration amongst many of my contemporaries.
The Career FAQs books will address this critical information and
educational gap and so reduce the future mismatches between
career–lifestyle aspirations and career–lifestyle realities.
ix
ENTERTAINMENT_28_04-06_SUE.indd ix 4/5/06 1:04:41 PM

Entertainment
The range of Career FAQs titles is constantly expanding as we

continue to talk to people who have carved out interesting and
dynamic careers and to hear their stories in their own words.
For a list of current titles, please visit our website,
www.careerfaqs.com.au.
Best of luck with finding the right career for you!
Will Santow
Managing Director
Career FAQs
Thank you!
A special thanks from the team at Career FAQs to the many
people who have contributed their time and shared their
experiences and insights to help make this book possible.
It is always inspirational to find people who are willing

to give of themselves, particularly their time – a scarce
commodity for most people today – to help make a
difference to others.
That you all gave so willingly and provided such compelling

insights into your working lives so that others can make
better informed career choices is truly appreciated.
ENTERTAINMENT_28_04-06_SUE.indd x 4/5/06 1:04:42 PM

How to use this book
All Career FAQs books are structured with a similar layout, so if fyi
you are familiar with one book, you will be able to navigate easily Career FAQs books
through all the others and find the information you need quickly that are grouped by
theme and focus on a
and easily. particular lifestyle choice
or personality type, such
Our books profile real jobs and the people doing them to provide as Xtreme, have the three
a broad overview of possibilities. It is not a definitive list but is sections covered for each
intended to provide some insights into what it can mean to work in of the extreme jobs listed.
these particular roles.
Career FAQs books are divided into three main sections.
‘The big picture’ provides an overview of the industry,

employment opportunities and salary scales. It provides
information about the main employers and the variety of support
organisations that exist.
‘Insider info’ profiles the personal experiences of people who are

currently working within the profession. It allows you to discover
what people working within the industry say you should expect
from working in different jobs at various levels of seniority. fyi
‘Ready, set, go for it!’ tells you how you can get the appropriate Many words, phrases and
acronyms are defined in
training and experience to ultimately get that job you want and
buzz words at the back of
guides you through the process of gaining employment. this book.
Style elements are used in Career FAQs books to help you navigate
through the information.
cv is a snapshot of a person’s career pathway –

it shows some of the key job stepping stones
along an individual’s career path that led to
the current position
detour indicates that another Career FAQs title has

more jobs of this type
find out gives you directions to find out more about a

more particular topic or organisation
xi
ENTERTAINMENT_28_04-06_SUE.indd xi 4/5/06 1:04:42 PM

Entertainment
provides additional information or an interesting

fyi
fact and provides directions to relevant appendixes
is used as a margin note to help clarify the

glossary
meaning of a word (in bold typeface) within text
– also defined in buzz words.
are jobs in the industry or profession that, at the

hotjobs
time of writing, are in demand
in is a short profile of a specific job, with

brief characteristics such as salary, qualifications,
number of hours worked, the ability to balance
personal and work commitments and the flexibility
afforded by the employer
explodes popular myths surrounding a particular

MYTH career choice
fact
myweek is a day-by-day overview of the typical work-

specific activities required of an individual in a
particular job
jobs that have an unconventional, interesting

or out of the ordinary focus
q&a tells the story of real experiences of people

working in the industry
highlight some of the issues associated with a

tradeoffs particular career – such as difficulties or obstacles
that you might face in the featured industry
xii
ENTERTAINMENT_28_04-06_SUE.indd xii 4/5/06 1:04:42 PM

The big picture
Why entertainment?
Think entertainment and you’re likely to be swept away with images
of glitz and glamour, champagne and chandeliers, red wine and red
carpets, fame and fortune. The reality, however, is a far cry from these
glorious visions.
The entertainment industry is about hard work, penny-pinching, job-

juggling and a long road to success, which often has many detours. As
the interviews in this book show, it’s not necessarily formal training
or qualifications that will fast-track your journey. Networking, being
seen, working for free and entering competitions are just some of the
other potential routes.
This is one industry that really tests what you’re made of. While you
might not have much control over your career path, the way you
deal with the challenges – and indeed opportunities – will make all
the difference.
If you don’t give up, value richness of spirit above financial wealth and
are prepared to cope with the idiosyncrasies of a highly competitive
industry in which there are always more candidates than available
positions, you can have a truly rewarding, fulfilling and fun career.
Want more quality career resources

from Career FAQs for FREE? Click here 1
ENTERTAINMENT_28_04-06_SUE.indd Sec1:1 4/5/06 1:04:43 PM

Entertainment
But don’t take our word for it. Read the inspiring stories of the
entertainers we interviewed for this guide and you’ll gain insights
from those in the know – those who haven’t been afraid to follow their
dreams and have found that the journey is often as rewarding as the
destination itself.
What do people in entertainment

do?
Generally speaking, people in the business (as the industry is
sometimes called) work in three main areas: onstage or screen,
backstage, or in management.
Wherever you might start, whether as an actor, a musician or a

trade worker making sets, there will be plenty of opportunity to
move on to new areas with most senior management coming from
an artistic or technical background.
fyi These are careers for those with a real passion for the work
and a great capacity to work to a deadline (also known as
Of the 548 Australian and Opening Night).
co-production feature films
produced between July Helen O’Neil, Executive director, Australian Major Performing Arts Group
1980 and June 2000, 74
per cent had been released In the spotlight you’ll find performers such as actors, musicians, stand-
in Australian cinemas by up comedians, opera singers, dancers and presenters.
January 2005.
Australian Film Commission We asked people who work in entertainment what they do. Their
variety of responses gives you an idea of the scope of the industry.
Here are just some of the tasks our interviewees undertake in the
course of their work:
■ rehearsing for film roles

■ auditioning for commercials
■ reading scripts and learning lines
■ teaching dance
■ writing music
■ creating a television pilot
■ presenting a daily radio show
■ singing
■ choreographing a school concert

T h e big pic ture
■ playing the Hammond organ

■ writing songs
■ playing guitar
■ providing backup vocals for a covers band
■ ballet dancing
■ managing camera, sound, grip and lighting crews
■ overseeing the scripting of the soap opera Home and Away
■ writing plays
■ designing and building sets and costumes
■ teaching design
■ designing and coordinating lighting for productions
■ applying, maintaining and removing make-up for actors and models
■ directing and choreographing musical theatre productions
■ representing artists in the entertainment and advertising industries
■ managing a wide variety of events from plays and opera to large
fundraisers
■ running a production company that produces films
■ advising on general commercial law, but specialising in media,
entertainment, technology and intellectual property
■ editing film
■ researching locations, stories and concepts for television.
There are literally hundreds of employment opportunities to be found in

this diverse industry that encompasses theatre, film, radio, television,
opera, dance, production management, events management, and
administration.
This is team work. Dance, music, theatre, circus and opera rely
on creative, technical and presentation skills all coming together
with artistic leadership and project planning.
Helen O’Neil, Executive director, Australian Major Performing Arts Group
There’s anything and everything from the creative (including design,

lighting, sound, costume-making, wardrobe management, dressing,
scenery construction, choreography, editing, special effects, editing
and research) to the managerial (including producers, directors and
event and stage managers).

Entertainment
What are the attributes you need

for success?
It’s hard getting to pop star status. There are no short cuts and
you have to work your way up from the bottom.
Clayton Doley, Musician
What qualities does it take to ‘make it’? Obviously the ‘X’ factor that
catapults an actor or musician into the spotlight will differ from the
key to success for a production manager or entertainment lawyer.
Looking good might be a requisite for dazzling on the red carpet, but
a good business brain and negotiation skills are what’s needed to pull
the strings backstage.
However, there seems to be one common ingredient in the formula for

success: hard work. Most of our interviewees stressed the competitive
nature of the entertainment industry and how important a good
attitude to work is. ‘Overnight success’ is clearly one of the greatest
myths surrounding the industry.
Here’s what some of the people we interviewed had to say about

the personal qualities needed to succeed – or simply survive – in the
entertainment industry!

T h e big pic ture
What every prospective candidate does need ... is a good

attitude to work and a serious intent about a career in
entertainment ... You have to be resilient, thick-skinned ... able
to take criticism, be organised, and have good time and financial
management skills.
Hannah Mason, General manager, Artists & Entertainment Group
You need to have patience, self-motivation, the ability to take

criticism – and an element of madness!
Naomi Wallace, Actress
Actor Damian de Montemas, who played lawyer Jason Kennedy

in the TV show The Secret Life of Us, loves the variety of his work
– but also stresses the precarious nature of the industry. ‘I hate
having no control over when I work,’ he says. He notes the need for
‘perseverance, abundant patience and an ability to keep a positive
outlook no matter what.’ His advice is ‘don’t say “no” to anything’!
Get your face, your name and your work known. Be professional,
but not pushy, and always be approachable yourself
Naomi Wallace, Actress
Actress Naomi Wallace admits the entertainment industry is tough

and the expectations are high. ‘There are many people wanting jobs
within this industry and, unfortunately, for many reasons, the work is
very limited,’ she says. ‘This makes it very competitive’. She advises
budding entertainers to seize opportunities as they arise – and ‘create
your own work’. Self-promotion is integral to success.
Dom Hamra, production manager, agrees that self-promotion and

seizing opportunities are important keys to success. Dom has been
involved in a number of high-profile projects, including the Fox Studios
theme park, and has worked with well-known directors such as Baz
Luhrmann. However, along the way he has worked as a props person,
lighting assistant and set builder. He advises aspiring entertainers to
‘wait for the right opportunity’ and to seize it when it comes!
Whether a production manager, actor or set designer, you will need to

use your judgment about various proposals and to make sure that the
company is legitimate and that the work will enhance your reputation.
You want to make sure that you don’t do something that cheapens
your work and your name as a brand. Once you decide that this
is a step in the right decision, just go for it.
David Twyman, Freelance designer

Entertainment
As a production manager Dom Hamra is the lynchpin between the artistic

control (director) and financial control (producer and accountants).
Good communication and negotiation skills are imperative for this
role, as are tact and efficiency. His two important rules to succeed are:
First, although you might have the senior management role,

the director has the final say. It’s his vision that needs to be
realised. Second, don’t ever be late – ever!
Dominic Hamra, Production manager
What’s happening right now?

In recent years, digital technology has had a massive impact on
fyi entertainment. In fact, it has led to the creation of entirely new
In 2004 the Australian sectors within the industry that are outstripping traditional mediums
Recording Industry in revenue and employment. It is becoming more and more common,
Association (ARIA) reported a
continuing downward trend for example, for films to rely heavily on computer-generated imagery
in market for recorded music. (CGI) – the character of Gollum in The Lord of the Rings trilogy was
Many attribute this to the
composed entirely of CGI. Animation has been particularly affected,
increase in illegal downloading
of music. (ARIA 2004 full-year with CGI having gone from merely being a supplement to traditional
figures, March 2005) hand-drawn techniques to, for the most part, superseding it.
The interactive media industry is on the increase as well, earning

comparisons with the film industry in more ways than one. Computer
and console games are becoming more and more sophisticated to
meet the standards and expectations of consumers.
The industry is growing exponentially and getting better too.

The technology is improving and becoming more powerful. More
tools and resources are available (which also means that games
are becoming bigger and more costly) but creating games
that are ‘fun to play’ often has little to do with high-powered
technology. One challenge is that because of the high costs of
game development, many companies are afraid to take risks and
launch original content. Similar to the blockbuster film industry,
game can become formulaic and predictable when this caution
takes hold.
Francis Coulombe, Programmer, Auran games
There are some that would argue that the digital age hasn’t been
entirely positive, though. Record companies, film companies and select
artists have been particularly vocal in their criticism of Internet file-
sharing, claiming that the illegal download of music and movies has

T h e big pic ture
hurt revenue. The music industry, for one, is learning to accommodate

this growing trend – online music sales are on the rise, and Australian
CD stores are allowing consumers to create their own compilation discs.
Another issue that is always pertinent to the entertainment industry

is government funding. All sectors, from television, radio, film to the
performing arts are affected by the changes in the level of public
funding. When funding is low, there needs to be more corporate
donations and higher ticket sales to keep the industry viable and
people in the jobs they have trained for.
Public funding in entertainment comes through a number of avenues.

Australia’s public broadcasters, on TV the ABC and SBS, and on radio
ABC Radio and triple j, run entirely or almost entirely on government
funding. The Australian Council for the Arts and the Australian Film
Commission are government bodies that deals with funding to
performing arts, and film. Funding partnerships between these bodies find out
and state governments provide resources for many companies in more
these areas. They also provide grants for projects in these areas. Read more about the
Australian Council for the
The Australian Major Performing Arts Group (AMPAG) that represents Arts and the Australian Film
many employers in the performing arts sector says a recent funding Commission in ‘What support
boost had impacted the sector positively: organisations exist?’
There’s a long running issue of cutbacks in research and

development which hits Australian work hardest. The 2005
Federal Budget saw a welcome announcement of a new funding
package of $8.7 million over four years to relieve cost
pressures across the AMPAG companies. The package will be
of particular benefit to companies with large ensembles of
artists where the declining value of government subsidy for the
Australia Council has hit very hard in recent years. Companies
faced cost increases of more than 4 per cent a year while
funding has been increasing at between 1 and 2 per cent.
Tim Cox, Chair AMPAG and The Bell Theatre Company
Commercial companies, such as the major television networks, radio

stations and film companies, do not have the public-funding issue to
deal with but nevertheless need to remain economically viable. One of
the factors affecting jobs in the Australia commercial television sector
is the Australian Content Standard 2005 that requires all commercial
free-to-air television licencees to broadcast 55 per cent Australian
content between 6.00 am and midnight. Pay TV stations must spend
10 per cent of their total program expenditure on Australian or New
Zealand drama programs.

Entertainment
fyi Current size of the industry

Australians spent $844 When it comes to the entertainment industry, it’s virtually impossible
million going to the to give a definitive answer. Even the two peak bodies for the industry –
cinema in 2002. Cinema
attendance is slowing at the the Media, Arts and Entertainment Alliance (MEAA) and the Australian
moment primarily due to a Entertainment Industry Association (AEIA) – don’t have comprehensive
lack of investment in new
statistics, ‘because there are just so many different roles’.
cinemas (Australian Film
Commission 2003).
Organisations that do have broad statistics don’t necessarily follow
the same definition of the entertainment industry. Australia’s largest
state arts ministry, the NSW Ministry for the Arts, for example, which
advises the Premier and Minister for the Arts on all aspects of the arts
and cultural activity, includes art galleries, museums, libraries and
cinema in its statistics. PriceWaterhouseCoopers gives ‘entertainment
and media’ data and analysis across 11 key industry sectors including
fyi filmed entertainment, recorded music, interactive games, free-to-air
The top Australian films of
and subscription TV, radio and newspapers. The Australian Bureau of
all time at the box office Statistics (ABS) has a number of categories, one being ‘culture and leisure
are: Crocodile Dundee activities’, which includes librarians, publishing, and arts and craft.
(1986) at over $47
million, Babe (1995) over As a broad overview of the industry, ABS figures for the 12 months to
$35 million, and Moulin
Rouge (2001) over $25 April 2004 show that there were about 2.9 million people (18 per cent of
million (Australian Film Australia’s population aged 15 and over) involved in some form of paid
Commission 2003). or unpaid work relating to the selected ‘culture and leisure activities’
covered by the survey. 20 per cent were women and 16 per cent men.
There were more employees in the 15- to 24-year and 35- to 44-year
age groups than the 55- to 64-year age group. Employment figures
for the five most popular areas, as defined by the ABS, were visual art
(nearly 500 000), writing (nearly 300 000), craft (just over 300 000),
performing arts (about 300 000) and design (just over 200 000).
The survey entitled Don’t give up your day job: an economic study
of professional artists in Australia (2003) conducted at Macquarie
University with funding from the Arts Council defined practising
professional artists as writers, visual artists, craft practitioners,
actors, directors, dancers, choreographers, musicians, singers,
composers, and community cultural development workers. With this
criteria established, the survey found that:

T h e big pic ture
■ there were 45 000 professional artists working in Australia
■ one in three artists are musicians and one in five are visual artists
■ the location of artists throughout Australia roughly matches the

state distribution of population find out
more
■ higher numbers of actors, writers and composers reside in New Australian Bureau of Statistics
South Wales. www.abs.gov.au
PriceWaterhouseCoopers
In its breakdown by state, the ABS found that all states and the
www.pwc.com
Northern Territory had quite similar rates of participation in culture
Media, Entertainment
and leisure activities (between 18 per cent and 20 per cent). However, and Arts Alliance
the participation rate for the Australian Capital Territory was www.alliance.org.au
considerably higher at 29 per cent. The participation rate of residents Australian Entertainment
Industry Association
in the state capitals (at 18 per cent) was similar to that of residents
www.aeia.org.au
outside the capital cities (19 per cent).
What are the job opportunities?

Although it has always been and continues to be an exciting industry,
the entertainment business in Australia (in relation to worldwide
standards) is small. From a national perspective, the industry’s
participation level for paid and unpaid work, according to some
figures, represents about 18 per cent of the Australian population
(Australian Film Commission report, 2004 figures). The unpaid
component of this figure, including cultural activities and crafts
people do for leisure or community rather than money, somewhat
complicate statistics in the entertainment industry.

Entertainment
Whether considered small or large, a great diversity of jobs fall under

the broad concept of entertainment. Whether your interests lie in
performing, writing, designing, managing or technical work, there is a
role in the industry for you.
We have looked at the job opportunities in the entertainment industry

in terms of the following divisions:
■ in the limelight or backstage
■ winging it vs permanent work
■ the Australian scene
■ overseas opportunities.
In the limelight or backstage

Wherever jobs exist in the entertainment business – television, radio,
film, theatre, private companies – jobs tend to be classified as either
as those that work in the limelight or backstage. The ‘glamorous’
jobs – the performers, actors and presenters that the audience sees
are jobs we most associate with entertainment – backstage jobs
involve the preparation of the performance – including preparing the
script, cast, set/stage, clothes and make up, lighting, managing the
production and other technical work.
You can see the division between these two primary aspects of
entertainment jobs in the following table.
In the limelight Backstage

actors lighting designer
ballet dancers TV researcher
TV presenters director
TV journalists set and costume designer
radio disc jockeys film editor
musicians director of photography
comedians hair and makeup artist
film or TV extras talent manager
studio engineer
script producer
cinematographer
10

T h e big pic ture
Obviously, the category of the job you aspire to do will greatly impact
the steps required to get there. You can read about the day-to-day
tasks and career paths of people in the above jobs in the interviews in
Insider Info to get a better idea of what the jobs involve.
Winging it vs permanent work

Be prepared for the challenges of being a freelancer or a contractor! A
distinguishing feature of job opportunities in this industry is that they fyi
can be a one-off gig, a short-run production, or a long-term series such
Imagine recording your
as All Saints. Many in the industry freelance as the temporary nature footsteps, the phone ringing,
of projects – a movie, television show, theatrical production or other a bird sing. It’s all in a day’s
performance – means staff are only required for the period of production. work for foley artists, who
specialise in sound effects
Many people working in the industry will tell you that you take what for TV and movies.
you get when it’s there and may have to find ‘work to live’ in the down
times. Competition for jobs is a fact of life and persistence is an absolute
must-have quality. This applies to people working front of house and
backstage. It is precisely because of this unreliable stream of money in
entertainment that most of the interviewees in Insider Info have other
jobs – such as in hospitality, teaching or IT – to supplement their income.
However not all jobs in entertainment have this short-term nature.

You may be lucky enough to land a longer-term job in your area. For
example, a lighting designer or music director may be employed by a
theatre, function centre or entertainment centre to work on projects
held there indefinitely. You could also get work of a longer-term nature
if you work on a regular television or radio program such as television
or radio or work in management for an agency.
Other ways to work in the industry detour

Read about other
You don’t have to entertain to work in entertainment. The
opportunities in the
box office at your local cinema and theatre needs customer hospitality industry in
service people; gigs and concerts require ushers, bar staff and Caeer FAQs Hospitality.
merchandise sellers, and corporate or private events which often www.careerfaqs.com.au
hire musicians or comedians also rely on people in hospitality to
make the event run more smoothly.
There are also specialty companies for just about everything in

entertainment. Film Cars Australia runs a successful business by
find out
supplies action and specialised vehicles for film and TV. If you
more
can find a niche that isn’t being filled, grab it! www.filmcars.com.au
11

Entertainment
The Australian scene

fyi
In the entertainment industry there are many cross-over jobs between
Interactive content creation different sectors. A cameraperson or film editor may work on feature
includes people involved in
the development, creation films, documentaries, television shows and may do wedding or
and production of interactive corporate videos to supplement their income. Likewise, a musician
films and interactive games.
can work on stage, be broadcast on radio, have a film clip shown on
People working on websites
are classified under ‘electronic television, work in film or produce music for corporate work.
information services’.
The Australian Film Commission has collected data on the number of
people working in film and video production, and television services
from 1971 to 2001.
1971 1976 1981 1986 1991 1996 2001

Film and video
1510 1763 3096 4758 5740 7760 7702
production
Television
5295 8737 10 702 11 944 9270 14 552 17 388
services
Numbers employed in 2 sectors of Australia’s audiovisual industries,

1971 – 2001
Source: Compiled by the Australian Film Commission from ABS, Census of Population &
Housing, 1971, 1976, 1981, 1986, 1991, 1996 and 2001.
Employment data on people working in the visual arts from the

Service Industry Surveys (SIS) outlines the areas of work as radio,
TV, film, cinema and interactive content creation. The following table
shows the changes in employment in these area from 1997 to 2003.
1997 2001 2004

Radio 22.8 19.6 28.2
TV 36.4 54.0 48.4
Film Production 18.7 20.4 32.1
Cinema and Video 22.6 11.4 14.4
distribution
find out Interactive content 124.5 117.8
more creation
Interested in getting into People with some paid involvements in sectors of culture/leisure
games development or (‘000)
interactive media? Check out
www.sumea.com.au Housing, 1971, 1976, 1981, 1986, 1991, 1996 and 2001.
www.gdaa.com.au
Note that interactive content creation was not measured in 1997 but far
outstripped the other areas in 2001 and 2003. That this field is included
in the figures for employment opportunities indicates the degree to
which digital technology is affecting the entertainment industry.
12

T h e big pic ture
Overseas opportunities
Entertainment is a worldwide opportunity because everybody needs
to laugh and be entertained. Many artists believe that, under the
terms of Australia’s Free Trade Agreement with the United States, fyi
there will be fewer opportunities for young artists. As a result, many Geoffrey Rush, John
local artists believe they need to go overseas for a chance to succeed. Wood and Toni Collette are
among the stars that have
It’s important to remember that with more opportunities you campaigned against the
will generally find a greater number of people seeking these terms of Australia’s Free
Trade Agreement with the
opportunities. The competition gets fiercer. While there is more United States. For more
competition overseas, however, there is also more likelihood that information see:
www.afc.gov.au/downloads/
if you are successful in gaining a role or position, the operation will
speeches/cannestradebrief.
continue for longer than it would in Australia. pdf
Some Australian entertainers cut their teeth overseas and then return
to Australia with their experience helping to boost their local careers.
This is certainly true for some of the actors and musicians interviewed
for this guide.
As Jane Miscovic, who has worked professionally in the United States,

Europe, Japan, East Timor and the Middle East, points out, working
overseas comes with its positives and negatives. ‘Working overseas
means you get to experience different peoples and cultures in a
completely unique way,’ she says. ‘But it also means spending time
away from your family and friends, which is really hard.’
13

Entertainment
How much can I earn?

As you would expect, the earning capacity for people working in
this industry varies greatly. For those just starting out, even with
qualifications from NIDA, AFTRS or some other university or college,
it can be tough getting enough work to pay the bills and stay alive.
Many young people have to take second jobs (which are often the
primary earner) so that they can continue in their chosen field.
We hear about the huge incomes that some of our international stars
can earn. For many, however, it is their passion for their craft that
keeps them in the industry.
As one actor candidly said, you can earn anything from ‘nothing to
$18 million a year’. And, it’s more likely to be at the ‘nothing’ end
of the spectrum. There are very few that make it anywhere near the
million-dollar mark.
It’s also likely that you won’t be deriving most of your income from
your chosen creative pursuit. According to a 2004 ABS survey,
because most people involved in ‘culture and leisure activities’ had
only a short-term or part-time involvement, their annual income from
these activities was quite low. For example, of the 83 800 people with
paid involvement in music, around half of them (43 000) received an
annual income from this activity of less than $5 000. This compared
with 23 500 (70 per cent) people who received an annual income of
$5 000 or more from their paid involvement in libraries and archives.
According to the New South Wales Ministry for the Arts, more than
750 000 people in New South Wales (almost 15 per cent of the
population) work in ‘culture and leisure activities’, with only about 290
000 of them being paid and the remainder (460 000) being unpaid.
You’ll notice in the interviews in Insider Info that most interviewees

supplemented their income with the steady income in a part-time
fyi (or full-time) job in other industries. Most artists in Australia earn
The number of Australian the majority of their income from a source other than their art, such
releases on VHS/DVD as teaching or hospitality (Don’t give up your day job: an economic
is increasing: from 83
study of professional artists in Australia, Macquarie University, 2003).
titles in 2000 to 183 in
2004. (Australian Film
According to this study most Australian artists cannot make a living
Commission 2003)
from their profession.

14 from Career FAQs for FREE? Click here

T h e big pic ture
If there is one overriding truth, your motivation has to be more about

love than money if you hope to survive in this highly competitive
industry. Certainly, when you’ve made it in your chosen entertainment
field, you can earn as well as – sometimes even better than – your
corporate counterparts. Many people in entertainment roles
– including hair and make-up artists, ballet soloists, set and costume
designers, lighting designers and playwrights, for example – can
eventually and consistently earn around $50 000+ per annum. In
the managerial sphere, salaries also tend to be better with talent
managers able to earn up to $250 000 pa and solicitors/directors able
to reach the $1 million per annum mark.
The reality for most, however, is that there’ll be many times when you
won’t be able to earn a living from your chosen creative endeavours.
Rather, you’ll have to become adept at ‘multitasking’ – doing all sorts
of odd jobs – to pay the bills, while you try to get a foot in the door,
and even when you’re climbing the ladder.
And, indeed, multitasking takes on new meaning in the entertainment

industry. Most of the candidates we interviewed have done (and are
still doing) a variety of jobs as they juggle creative fulfilment with
paying the bills.
One budding actress, for example, also works as a choreographer,

singer, writer and teacher. Then there’s the set and costume designer
who says you can earn anything from $2 000 to $10 000 per project,
but still works as a dresser to pay his bills – and that’s despite being
in the industry for five years. Another set designer, who says freelance
designers can earn anything from $30 000 to $55 000 per annum,
derives a large chunk of her income from doing corporate design work,
like designing marketing brochures.
Another thing to bear in mind is that hours are not always

commensurate with the normal corporate 40-hour working week. A
freelance set and costume designer, for example, might earn $55 000
per annum, but will often be working up to 70 hours per week.
Have a look at our earnings table to see just how diverse the earnings
are and how many hours you’ll be working.
15

Entertainment
No. of No. of
Age Approximate salary as Hours per
Position title years in years in
group at 30 June 2005 ($) week
job profession
24 Lighting designer $20 000– $80 000 pa 3 7 80
25 Script producer $50 000–$250 000 pa 1 5 70
26 Playwright $30 000 pa 1 10 50
27 Ballet soloist $40 000–$50 000 pa 2 9 40
50, more
27 TV researcher About $50 000 pa 4 months 5
when filming
TV commercial
28 $40 000–$120 000 pa 1-and-a-half 6-and-a-half 45–55
director
Composer/
28 project studio $0–$80 000 pa 5 8 47–58
engineer
29 Choreographer $50–$200/hr 6 6 Up to 96
Set and costume $2 000–$10 000 per 7–14 hours
29 5 5
designer project per day
Freelance set
29 and costume $30 000–$55 000 pa 7 months 8 50–70
designer
Producer/Tour $2 000–$3 000 per
29 6 8 40–80
accountant week
Assistant film
30 $38 000 pa 4 years 40–90
editor
Director of $2 000–$10 000 per
30 12 12 Up to 80
photography week
30 Musician $400–$1 000 per week 3 15 50–60
33 Film producer $0–$150 000 per film 18 months 7 65+
34 Talent manager $150 000–$250 000 pa 5 10 60
35 Actor $2 000–$102 000 pa 1 8 varies
35 Radio presenter $60 000–$80 000 2 12 40–50
18 hours
35 Covers musician $200–$250 per gig 10 10 every second
week
36 Actor $0–$18 million! 6 6 40–54
Hair and make-
36 Up to $50 000 pa 5 12 varies
up artist
Production 40–60,
40 $25 000–$80 000 pa 2 22
manager 80–100
Head of
$2 500–$3 500
40 department, 10 22 60
per week
scenic arts
40 Solicitor/Director $30 000–$1 million pa 18 months 17 70–80
Over more than
Cinematographer $100 00–$200 000 70–80
60 40
Career FAQs survey, 2005–06
16

T h e big pic ture
Who are the main employers?

There are many interesting – and intersecting – facets to the
entertainment industry. Increasingly, young entertainers are able to
establish themselves in more than one medium.
The Chaser team, well known for their satirical television programs
CNNNN, The Chaser Decides and The Chaser’s War on Everything, are
a group of comedic performers whose work has encompassed print,
radio, television, the Internet and theatre.
We find being multimedia barons surprisingly uncontroversial so

far – no Michael Moore exposés, no fawning concessions from
Helen Coonan and no love children with exotic Eastern beauties.
We just hope if we keep on adding mediums to our collection

that people will eventually notice us in one of them. Next, we go
out on posters on telegraph poles.
Chas Licciardello – The Chaser
While jobs in entertainment can cross sectors from project to project,

it’s important to get a real understanding of the individual mediums
and sectors you can work in.
■ TV and radio broadcasters

■ Film production companies
■ Theatres and performing arts companies
■ Employers for musicians
■ Digital/interactive employers
■ Corporate and private parties
■ Advertisers
TV and radio broadcasters

The audiovisual sector is a significant employer of people in
entertainment. In 2001 there were 48 297 people working in all
audiovisual industries (including video hire outlets). This figure
includes 17 289 people working in television services.
17

Entertainment
The following table shows the number of people employed in

audiovisual industries in 1996 and 2001
NSW Vic Qld SA WA Tas NT ACT

1996 16 860 9587 6633 2766 3003 726 442 698
2001 20 782 11 511 7436 2690 3725 809 421 923
Numbers employed in all audiovisual industries including video hire

outlets and ‘audiovisual undefined’, 1996–2001
Housing, 1996 and 2001.
TV shows produced in this country fall into the following categories:

■ news and current affairs
■ TV drama
■ situation and sketch comedy
■ sport
■ light entertainment & variety
■ quiz, panel and game shows
■ TV documentaries
■ other TV programs (including children’s).
In 2002/03 the category with the highest value of production, at

$351m, was news and current affairs, followed by sport at, $305.1m.
Commercials had the next highest level of production but we’ll look at
them later.
Radio stations are another employer in audiovisual services, but

statistics are not readily available on the sector. Radio stations
broadcast a mixture of music and talk which incorporates news and
current affairs, light entertainment, documentaries, countdowns and
other programs.
TV and radio employers can be broken down into:

■ public broadcasters
■ commercial networks
■ community channels/stations.
Public broadcasters
The Australian government funds two TV channels, with the aim of
producing quality programming, unaffected by commercial interests.
The public broadcasters in Australian TV are the Australian Broadcasting
Corporation (ABC) and the Special Broadcasting Service (SBS).
18

T h e big pic ture
There are about 4200 people working for ABC, according to the ABC
2005-06 budget.
The ABC relies entirely on funding from the Australian Government to

remain free of the commercialisation of the media. Its charter explains
its main functions.
The ABC
The functions of the Corporation are:
a. to provide within Australia innovative and comprehensive

broadcasting services of a high standard as part of the
Australian broadcasting system consisting of national,
commercial and public sectors and, without limiting the
generality of the foregoing, to provide:
i. broadcasting programs that contribute to a sense of

national identity and inform and entertain, and reflect
the cultural diversity of, the Australian community; and
ii. broadcasting programs of an educational nature;
b. to transmit to countries outside Australia broadcasting

programs of news, current affairs, entertainment and
cultural enrichment that will:
i. encourage awareness of Australia and an international

understanding of Australian attitudes on world affairs;
and
ii. enable Australian citizens living or travelling outside

Australia to obtain information about Australian affairs
and Australian attitudes on world affairs; and
c. to encourage and promote the musical, dramatic and other

performing arts in Australia.
Source: www.abc.net.au/corp/pubs/ABCcharter.htm Excerpt from the Australian
Broadcasting Corporation Act Charter, 1993
Over the past decade there have been significant reductions in

government funding at the ABC, resulting in cutbacks of employment
and training programs. Many attribute the reduction in Australian
drama production to the lack of ABC funding.
19

Entertainment
find out In the world of digital TV, the public broadcaster is ABC2. This channel
more is free-to-air and accessible if you buy a digital TV receiver. This
ABC channel broadcasts some of the programs on the ABC.
www.abc.net.au/jobs
SBS is a TV channel with a multicultural focus, with over half of its
SBS
programs in languages other than English (with English subtitles).
www.sbs.com.au/jobs
SBS now accepts some corporate sponsorship and advertising but still
SBS Radio
www.sbsradio.com relies primarily on government funding.
triple j ABC radio and SBS radio are broadcast nationally, and triple j is
www.abc.net.au/triplej
another publicly funded radio station.
Commercial broadcasters
If you’d like to work in TV production, you can be employed by
production companies or directly by the network. Television channels
buy a large proportion of their content from Australian production
companies or overseas companies.
Commercial networks make up a majority of the free-to-air television

channels. The main ones are:
■ Seven Network
■ Nine Network
■ Network Ten.
The Nine Network has around 1500 permanent full-time and part-time
employees and 3000 to 3500 casual employees across Australia.
Regional radio and television stations are also worth investigating.

It’s often easier to break into these smaller operations and gain some
experience before trying the larger metropolitan stations. Some of
Australia’s best known TV and radio stars started out on country
stations, and learnt their skills out of the limelight.
■ Southern Cross
■ WIN Television
■ Prime
Southern Cross employs 2500 people across Australia – 900 in radio,

1200 in TV and 400 in production houses. The TV and radio stations
under them include: TNT-9 in Tasmania, stations in regional Victoria,
30W and Magic radio stations in Melbourne, Ten Capital in Canberra,
and 2UE in NSW.
20

T h e big pic ture
Roles in production companies include DVD editors, documentary find out

makers, and production solutions and services companies. There are more
hundreds of TV production companies in Australia, but some main Seven Network
ones are: http://au.yahoo.com
■ Crackerjack Nine Network

http://channelnine.ninemsn.
■ Southern Star com.au
■ Grundy Network Ten
www.ten.com.au
■ Village Roadshow.
Foxtel
Pay TV is becoming bigger in Australia. Major pay TV companies in www.foxtel.com.au
Australia include: Optus
www.optus.com.au (click
■ Foxtel on TV)
■ Optus Austar
www.austar.com.au
■ Austar.
Austereo Group Ltd
There are thousands of commercial radio stations in Australia. Most www.austereo.com.au
of the major radio stations are part of commercial networks of radio Nova
stations with sister stations across the country. www.nova100.com.au
ARN
Some of the major networks are: www.arn.com.au
■ Austereo Group Ltd Southern Cross Broadcasting
www.
■ Southern Cross Broadcasting southerncrossbroadcasting.
com.au
■ Macquarie Radio Network
■ Nova
■ Vega
■ Australian Radio Network (ARN)
■ Broadcast Operations Group (BOG).
Community stations
A good way to get started in your career in TV or radio is to volunteer at
a community TV channel or radio station. Many big names in Australian
entertainment started out volunteering for such not-for-profits – presenter
Rove McManus and documentary maker John Saffran for starters.
Channel 31 is the name given to all community TV channels across

Australia, even though some do not use the frequency. They are
independently owned across five states. The channels are not-for-profit.
■ C31 Adelaide – Adelaide ■ Briz 31 – Brisbane

■ Channel 31 Melbourne – Melbourne ■ Access 31 – Perth
21

Entertainment
There are many community radio stations with different audiences and
different approaches. They may have a multicultural focus, talkback or
news focus, or they may exist for a particular subculture that doesn’t
relate to the major stations. They operate entirely by the efforts of
volunteers who cover a shift with music, talk, or news and current
affairs. Taking up a shift on such a station gives you the opportunity
to see what it’s really like to work in radio and shows prospective
employers that you have initiative and a lot of interest in this area.
Many community radio stations operate out of universities. Check out

find out the website of the Community Broadcasting Association of Australia
more for a list of many community stations around Australia.
Melbourne
www.channel31.org.au
Adelaide Digital radio and podcasts
www.c31.com.au
Community Broadcasting Technology is changing the world of radio. A digital radio network
Association of Australia has been under construction in Australia since 2006. This
www.cbaa.org.au
new technology promises better audio quality and many new
features. You will need a new digital receiver to tune in once the
network is up but the old analogue network isn’t going anywhere
so don’t throw out your radio. Certainly this change will mean
more job opportunities for people working in broadcasting.
Another new technology you should be aware of is the rise of the

podcast – sound files anyone with a microphone and a computer
can make and upload onto the internet for the world to listen to.
This can be great practice at working in radio – and there is no
employer to answer to!
find out
more
www.digitalradioaustralia. Film production companies
com.au
www.podcast.net According to the Australian Film Commission, there were around 65
businesses producing feature films in 2002/03, their work having a
production value of $73.5m. This amount was one quarter of the value
of sport and one third of the value of commercials (Australian Bureau
of Statistics, ‘Television, Film and Video Production 2002/03’ (cat. No.
8679.0).
22

T h e big pic ture
NSW Vic Qld SA WA Tas NT ACT Total

1971 941 406 42 40 39 33 4 5 1510
1986 2941 1039 274 232 178 57 19 18 4758
2001 3863 1942 957 358 396 66 44 76 7702
Number of people working in film and video production, 1971–2001

Source: Compiled by the Australian Film Commission using unpublished data from the
Census of Population and Housing, 1971, 1986 and 2001.
There are around 25 to 30 feature films produced in Australia each

year. In March 2006 the Australian Film Commission website showed
that 28 documentaries and around 100 dramas were currently being
made. While contact numbers are given for the makers of these films,
the website warns that these people are always inundated with calls
and prefer to employ via crewing agencies.
Film production companies employ people for short-term projects.

Some major Australian film production companies include:
■ Red Carpet Productions Pty Ltd

■ Showtime Australia
■ Arena Film
fyi
■ Working Dog
You can read the latest
■ Specific Films Australian TV and Film news
at www.filmnet.org.au
■ Hibiscus Films.
Keep in mind that many of the people who work in film production are
not employed directly by the film producer but work for contracted
companies, such as a company that specialises in lighting design or
hair and make up.
Here are some examples of companies that provide services while a

movie is being made:
find out
more
■ Australian Crewing Company: provides personnel from loaders and www.afc.gov.au/
stagehands to technicians, operators and production managers. filminginaustralia
■ DV Footage.com: provides cinematographers and stock footage www.australiancrewing.

com.au
providers and an online interface for management, retrieval,
www.dvfootage.com
preview, sale and delivery of motion images.
www.adrenalinsounds.com/
■ Adrenalin Sounds: Provide production music and sound affects for index.html
the broadcasting and media industry. www.nd3d.com
■ New Dawn Digitizing: A specialist 3-D scanning service which can
convert any object into 3-D computer data. The scanned item can
then be used for animation and manufacturing of props.
23

Entertainment
Theatres and performing arts companies

If it’s your dream to become a ballet dancer, opera singer or part of an
orchestra, there are limited options for employment.
The Australian Major Performing Arts Group (AMPAG) represents

28 companies that make up 86 per cent of employment in ticket-
buying non-profit performing arts. The following table shows these
companies divided into the type of performing art.
Major Australian dance Major Australian theatre

companies companies
■ The Australian Ballet ■ Bell Shakespeare
■ Bangarra Dance Theatre ■ Black Swan Theatre Company
■ Queensland Ballet ■ Company B
■ Sydney Dance Company ■ Malthouse Theatre
■ West Australian Ballet ■ Melbourne Theatre Company
■ Queensland Theatre Company
■ State Theatre Company of South
Australia
■ Sydney Theatre Company
Major Australian orchestra Major Australian opera companies
companies
■ Australian Brandenburg Orchestra ■ Opera Australia
■ Adelaide Symphony Orchestra ■ Opera Queensland
■ Australian Chamber Orchestra ■ State Opera of South Australia
■ Melbourne Symphony Orchestra ■ The West Australia Opera
■ Orchestra Victoria
■ The Queensland Orchestra
■ Sydney Symphony Orchestra
■ Tasmanian Symphony Orchestra
■ West Australian Symphony
Orchestra
Other major performing arts
companies
■ Circus Oz
■ Musica Viva
AMPAG members, 2005

Source: www.ampag.com.au, March 2006
24

T h e big pic ture
Employers of musicians
Classically-trained musicians and singers work for orchestras and
operas, such as the companies shown in the previous table.
Pubs and clubs are one of the biggest employers of live popular and
rock music.
Gigs
Most musicians in Australia perform live music. Pubs, clubs, festivals,
concerts and private parties rely on the good vibe that music
provides. Many bands are regulars at particular venues and can make
a reasonable living this way. A good place to start is your local pub
– and remember to tell all your friends, because your pay may be
determined by how many people come to see you!
Record labels
Record labels are employers of musicians and singers.
Major Australia record labels (and international companies with an

Australian branch) include:
■ Albert Productions
find out
■ BMG Australia more
■ EMI Music Australia www.albertmusic.com
www.click2music.com.au
■ Festival Mushroom Records
www.musichead.com.au
■ Rajon www.fmrecords.com.au
■ Roadrunner Records (Australasia) www.rajon.com.au

www.roadrunnerrecords.
■ Shock Entertainment Group com.au
www.shock.com.au/
■ Sony BMG Music Entertainment Australia
www.sonymusic.com.au
■ Universal Music Australia
www.universal-australia.
com.au
■ Warner Music Australia.
www.warnermusic.com.au
There are also hundreds of independent labels in Australia.
For a list of these see www.themusic.com.au/directory/record.php.
25

Entertainment
Digital/interactive employers
Interactive media is a booming sector of the entertainment industry
and Australia is moving up in the world. In May 2005 a record 42
Australian computer game companies attended the Electronic
Entertainment Expo (E3) in Los Angeles, the world’s biggest electronic
game exhibition.
The Australian computer game industry employs around 1000 game

developers, and Australian developers export $100 million per
annum – with the industry aiming to reach $500 million by 2010.
detour
Victorian game companies and facilities represent more than
For more information about
careers in digital media and/or half of the Australian games industry. We have a proud 20-year
design, see Career FAQs history in computer game development, and are home to the
books: Design Professionals, Game Developers Association of Australia (GDAA), as well as
Industrial Design
the industry’s annual Australian Game Developers’ Conference.
and Digital Media.
www.careerfaqs.com.au Marsha Thomson, Information and Communication Technology Minister,
Victorian Government, May 2006
Corporates and private parties

Companies often hire singers, musicians, actors, comedians or DJs
for their parties. Likewise, it is the norm to hire the entertainment at
weddings and formal dinners, and high school formals. Technical people
such as lighting and sound people are also needed for such functions.
Front of house and backstage interviewees in this book told us that

many in the entertainment industry work at such functions to boost
their income, and that it is a very lucrative field.
Clowning around
If you love to entertain, you might consider working as a clown for
children’s parties. A quick search on the Internet reveals how many
small companies specialise in hired entertainment for children.
If you are prepared to step into those big shoes you might also
contact a circus to find out their recruitment process for clowns.
26

T h e big pic ture
Advertisers
Television and radio advertisers are another employer of people with
front of house and backstage skills. For an actor, landing a part in detour
an advertisement can be a stepping stone to getting recognised and Interested in a career in the
landing bigger projects. Crew members such as those who work in advertising industry? Check out
lighting, sound and music are also required. Career FAQs Advertising.
This medium can also be an opportunity for musicians and bands to
get experience and get recognised – and also get paid!
27

Entertainment
What are employers looking for?

There is no one answer to this question. To a large extent, it depends if
the specific entertainment role is in the limelight, backstage, technical
or managerial. Some of the main attributes that apply across the
board, however, include:
■ determination
■ drive
■ creativity
■ self-motivation
■ flexibility
■ good presentation
■ ability to work hard
■ resilience
■ persistence
■ a thick skin to cope with rejection
■ ability to take criticism
■ good time and financial management skills
■ adaptability
■ ambition.
28

T h e big pic ture
Meet some employers

We spoke to employers from the public and private sectors to find out
what they look for in their new recruits.
■ Gerry Llewellyn, Sydney Opera House
■ Peter Grimshaw, Star City Casino, Sydney
Gerry Llewellyn – Sydney Opera House

Gerry is a human resources consultant at the Sydney Opera House, in
charge of employing people across the entertainment spectrum.
q&a
How do you recruit people?
For permanent positions, like other public sector employers, we
recruit through public sector notices, both online and in the printed
press. Advertisements are placed on the ‘Jobs New South Wales
website’ and a public sector bulletin that goes to all staff in the New
South Wales public sector. We also advertise on staff boards, internal
websites, external websites like Seek, and newspapers like the
Sydney Morning Herald. Once the applications are in, we select the
most appropriate people and invite them to face-to-face interviews.
What do you look for in a candidate?

We employ a wide range of people right through from back-of-
house (including staging) to corporate (including marketing) and
administrative, so it really depends on the position. Qualifications,
experience, attitude to work and fit with workplace culture may all
play a role. What all candidates across the board do need to show,
however, is an ability to meet the selection criteria.
What do you expect from them in terms of applications and

interview?
Once again, this depends on the position, but we always expect a high
standard.
What personal attributes suit people who want to work in the

industry?
Professionalism and flexibility.
What’s the best thing about working in the industry?

The variety.
29

Entertainment
Peter Grimshaw – Star City Casino

As media and government relations director at the Star City Casino
in Sydney, Peter oversees the employment of people for onstage and
backstage positions. The Star City Casino is a major entertainment
venue for theatre, shows, concerts and events.
q&a
What entertainment positions are there at Star City?
Star City offers a whole range of entertainment jobs ... from ushers
and candy bar jobs through to technicians, stage hands and
administrative roles.
However, if you want to become a star of one of our shows, you’ll need
to go through an agent or production company. The major promoters
hire the Star City theatres and put together shows which will draw
big crowds. They usually hold auditions to find the cast of each show
so keep an eye out in the entertainment sections of the paper for
audition dates.
Those wanting to work behind the scenes can apply to Star City’s
recruitment section.
How do you recruit people?

The Entertainment Department recruits staff for some roles by
advertising on Star City’s internal job board and our company
intranet. We also recruit through Seek and press advertising for
more specialised roles. We use agency services for technical roles,
temporary and contract positions, and roles that we may have
difficulties in filling.

Naturally it depends on the type of work but expertise and
experience is obviously essential in the key technical, safety and
administration roles.
However there are other jobs, such as ushers and attendants where
customer service skills are more important.
We want people who are going to be friendly and people who will
ensure our customers have a great time. We always try to match
candidates’ experience with the Star City culture. We have developed
a strong compliance culture given we are subject to strict regulations.
Many of our jobs require people to go through stringent checks to
ensure they are suitable to work in a casino.
30

T h e big pic ture
What do you expect from them in terms of applications and

interview?
We expect professionalism in the construction of applications, and
clear written communication.
At the interview, we expect candidates to be well presented, and able
to communicate clearly and demonstrate previous work history. They
must also have a desire to provide great customer service.
Star City’s theatres are designed to give customers a fun time ... so the
staff must be willing to be friendly as well.
How do you suggest people wanting to break into the

industry get in?
Apply for entry-level roles. They can see how the theatres operate if
they are working as ushers, attendants and technical assistants. Then
they can move up the ranks after they learn their trade. find out
What do you feel young people should know about the more
industry? Casinos around Australia
house all kinds of
The entertainment industry is very much about giving customers a
entertainment venues. Visit
great night out. So we have to put the customer first. Staff members their websites for details.
also need to be prepared to do shift work and they have to be aware
Star City, Sydney
how that may impact on their family and social life. www.starcity.com.au
Remember most shows are in the middle of the day (matinees) or at Crown Casino, Melbourne
night. www.crownltd.com.au
What personal attributes suit people who want to work in the Conrad Treasury, Brisbane
www.conrad.com.au
industry?
Wrest Point Casino, Hobart
Definitely people who enjoy working with people and who have a www.wrestpoint.com.au
service industry background; people with great communication skills;
Sky City, Adelaide
and of course people with developed customer service capabilities. www.skycityadelaide.com.au
What’s the best thing about working in the industry? Sky City, Darwin
It is a job based on entertainment. At Star City, we not only have two www.skycitydarwin.com.au
state-of-the-art theatres but we attract some of the best shows from Burswood Hotel and
around the world. Casino, Perth
www.burswood.com.au
Shows like Mamma Mia, The Producers, The Sound of Music, Singin’
Casino Canberra, Australian
in the Rain and Showboat, to name a few, have been performed to Capital Territory
packed houses at Star City. The whole aim is to give people a great www.casinocanberra.com.au
time so that flows through to the rest of Star City.
31

Entertainment
Casinos in Australia
Who are the main employers?
Tabcorp owns Star City in Sydney and three casinos in Queensland
(Brisbane, Gold Coast and Townsville). PBL operates casinos in Victoria
and Western Australia.
What is the current size of the industry?

There are 13 casinos in Australia, providing about 46 000 jobs and about
$2 billion a year in salaries and wages.
What types of jobs are in demand?

There are always people looking to become dealers because this is a
job where people can take their skills throughout Australia and, indeed,
around the world. People are also interested in administrative, food and
beverage, and hotel jobs.
What are job opportunities in the industry like now?

The casino industry is mature so there are no new waves of employment.
It is mainly a case of filling jobs as they become vacant. However, as with
all hospitality industries, there is reasonable turnover each year and new
opportunities arise in most parts of our business.
How has the industry changed?

The casino business is fairly stable compared to many other industries.
Most of the casino games have been around for a long time so there is not a
lot of change. However, there is much more emphasis on customer service.
What support organisations exist?

There are many associations, government organisations and industry
bodies (both general and industry-specific). Because so many people
in the industry work independently, they rely on these organisations.
Department of Communications,
Information Technology and the Arts
find out
more The Department of Communications, Information Technology and the
For a comprehensive list visit Arts (DCITA) provides strategic advice and professional support to
the Encore magazine website,
the Australian government on a wide range of significant and rapidly
www.encoremagazine.com.au
changing policy areas including, in the entertainment sphere, arts and
culture, and broadcasting and online regulations. The Department
also administers legislation, regulations, grants and incentives to
industry and the wider community.
32

T h e big pic ture
Australia Council for the Arts

The Australia Council for the Arts is the Australian government’s
arts funding and advisory body. In the 2004-2005 financial year,
the council had an appropriation of $138.2 million and 136 full-time find out
employees. more
Department of
During 2003–2004, the council made 1912 investments to the value of Communications, Information
$80.8 million in supporting the creation and presentation of Australian Technology and the Arts
artists’ work. This resulted in an estimated 40 000 artistic works being www.dcita.gov.au
presented with council support, 7800 of these being new Australian Australia Council for the Arts
www.ozco.gov.au
works.
The Australia Council provides funding for the major performing

arts companies through its board, the Major Performing Arts Board
(MPAB), currently consisting of 28 member companies from six states
across Australia (these 28 members are also members of AMPAG).
In seasons throughout Australia in 2004–05, the 28 MPAB companies

embraced cultural diversity, developed significant new Australian
works and performed classics of music, theatre, opera and dance.
The MPAB companies’ combined audiences each year total about

three million people, of whom more than 500 000 are school children
experiencing the arts for the first time.
NSW Ministry for the Arts

find out
The largest state arts ministry is the New South Wales Ministry for more
the Arts. It supports excellence and innovation in the arts with funds Check out the Arts Ministry in
totalling more than $240 million a year. your state:
www.arts.nsw.gov.au
More than $183 million goes each year to the State’s cultural
www.arts.vic.gov.au
institutions.
www.arts.tax.gov.au
Around $35 million goes to an annual program of grants, fellowships, www.ministers.wa.gov.au
awards, lectures, training courses, seminars, special events and www.ministers.sa.gov.au
publications.
33

Entertainment
Australian Entertainment Industry

Association
The Australian Entertainment Industry Association (AEIA) is the peak
industry body for the arts and entertainment industry, registered in
the Australian Industrial Relations Commission (AIRC) since 1917. It
is a not-for-profit, body corporate organisation. The AEIA’s Australia-
wide membership includes employers in commercial and subsidised
organisations, covering all aspects of the industry including employers
involved in theatre, opera, ballet, dance, festivals, colleges, rock-and-
roll, multi-purpose and sporting venues, hirers, casinos, orchestras,
comedy and variety, ticketing, events, promotion, production, cinema
exhibition, crewing, sound and lighting, service supply, contracting
and exhibition. The AEIA has a national structure and perspective, and
is committed to servicing members, both collectively and individually,
regardless of size. Its membership base is a mix of federal and state
government assisted organisations, and commercial operators.
Media, Entertainment and Arts Alliance

The Media Entertainment and Arts Alliance (MEAA) is the union
and professional organisation that covers everyone in the media,
entertainment, sports and arts industries. Its 36 000 members include
people working in TV, radio, theatre and film, entertainment venues,
recreation grounds, journalists, actors, dancers, sportspeople,
cartoonists, photographers, orchestral and opera performers, as well
as people working in public relations, advertising, book publishing
and website production.
Australian Major Performing Arts Group

The Australian Major Performing Arts Group (AMPAG) is the umbrella
find out body for Australia’s major performing arts companies. It represents the
more 28 major performing arts companies in Australia. Their charter is to
Visit the AEIA website ensure that the performing arts companies maintain government funding,
www.aeia.org.au
ensuring that they are accessible to all Australians, with a particular
Media, Arts & Entertainment
Alliance website
emphasis on school children and those outside major urban centres.
www.alliance.org.au
In their support of these performing arts companies, AMPAG not only
Australian Major Performing
hopes to enrich Australia’s cultural identity, but also to provide career
Arts Group website
www.ampag.com.au opportunities for writers, directors, actors, musicians, singers and
technical and design staff.
34

T h e big pic ture
Australian Film Commission

The Australian Film Commission (AFC) is an agency of the Australian
Government that was established in 1975 as part of a government
initiative to promote Australian films worldwide.
Since its inception, the commission has supported this medium and
the promotion of Australian culture in film.
The AFC website links to many unions and industry associations that
represent various entertainment interest groups.
Academy of Interactive Entertainment Ltd

With the explosion of digital media and all that that encompasses, the
Academy of Interactive Entertainment Ltd (AIE Ltd) was established
in 1996 as the peak non-profit registered training organisation for the
Australian computer games industry.
The training at AIE specialises in 3D computer graphics, games

programming and games design. The Academy also developed
the Australian Games Developers Conference (AGDC) to showcase
Australian interactive entertainment to the world. The conference is
organised by IE Events, a division of AIE Ltd.
Musicians Union of Australia

The Musicians Union of Australia (MUA) was established as a national
organisation to look after the interests of musicians in 1911. As the find out
trade union representing musicians, it survives solely on the fees paid more
by its members. www.aie.act.edu.au
The union lobbies the government, represents its members and acts www.agdc.com.au
for them in disputes. Members can also seek advice on all aspects of www.musicians.asn.au
the music industry.
35

84310_SEK0092D_250x176 16/12/05 2:40 PM Page 1
Got an interesting story to tell?
Have a great job that you love?
Know someone who does

something unusual for a living?
This book was only made possible because of the many

people who volunteered their time and shared their
career experiences.
With over 50 titles (national and state-specific) on our list,

there is a Career FAQs book waiting for your story.
Contact us: info@careerfaqs.com.au or 02 9282 9383
realjobs realpeople realexperiences

INSTITUTE
SAE_FAQ_AD_AUDIO.indd 1 9/05/06 5:15:12 PM

84310_SEK0092C_250x176 16/12/05 12:39 PM Page 1
Insider info
What jobs could I do?
The entertainment industry offers a diverse range of career opportunities
and pathways. The jobs profiled in this book encompass onstage,
backstage, technical and managerial positions, including:
■ actor
■ musician
■ dancer
■ radio presenter
■ director
■ director of photography
■ playwright
■ theatre costume and set designer
■ set and costume designer
■ film set and freelance designer
■ lighting designer
41

Entertainment
■ scenic artist
■ hair and make-up artist
■ choreographer
■ composer and sound designer
■ assistant film editor
■ researcher
■ CEO of talent management and media company
■ production manager
■ film producer
■ concert producer
■ script producer
■ radio program manager
■ solicitor and film producer
■ assistant film editor
■ television researcher.
Film, theatre,
TV are very
different
acting
mediums.
42

In s ide r in fo
What do real people say about

their jobs?
We spoke to people in jobs ranging from ballet soloist to film
producer; from hair and make-up artist to playwright. Entertainment
covers a huge range, from the commercial TV, film and radio world to
the traditional performing arts, with a lot of crossover in between.
Ben Barrack – Actor cv construction worker

>> boxer >> actor
Ben Barrack launched his acting career at the age of 30 – a time when
many would-be actors drop out of the profession. A one-time law
student, boxer and construction worker, he believes life experience
has prepared him for his acting career. In six years of acting, Ben, now
36, has had roles in films (including the feature film Beneath Clouds,
which won three Australian Film Institute (AFI) awards, TV programs
(playing the psycho/stalker in Neighbours, his first full-time gig), and
plays (including Men in New York). He advises anyone considering an
acting career to get life experience first and be aware that although it
is hard work, it can be unbelievable fun too.
Ben Barrack’s agent is Stacey Testro (www.sti.com.au)
q&a
What does your job involve?
I’ve had acting roles in films, plays and TV programs. They are all very
different acting mediums, but each one has brought a new dimension
to my acting career. I’d say film is my ‘favourite’, but theatre is my
‘best’. My skills are better suited to the stage, but I really enjoy the
challenge of film because you have to be completely present and open
100 per cent of the time. They say ‘the camera never lies’ and that’s
true. The camera sees everything, whereas on stage, people can’t see
your inner thoughts. TV is a much faster medium. You have to learn
lines quickly, do scenes quickly, be professional and not waste time.
It’s more high pressure than film.
What jobs have you had that led you to this position?
In the world I grew up in, acting was not considered a viable career
option, so I was sort of forced into studying law, and, in all honesty,
found that exceptionally boring. So, I headed off to the United
Kingdom where I accepted a job as a construction worker. I can
honestly say that all the ‘jobs’ I have done in my life have had a
positive impact on my acting career because they all helped to give
43

Entertainment
me a sense of who I am. Being a construction worker was one of the

best experiences I’ve ever had. It not only taught me the meaning of
hard work, which any actor worth his salt needs to understand, but
it was also really fulfilling to be working with my hands and creating
something from nothing. I’ve also been a boxer and that taught me
how to be grounded, spontaneous, relaxed and able to act in the
moment. I’ve been doing it for 16 years and still box today.
What do you think is the most important thing you can do to

advance your career?
Forget acting classes! Rather, go into therapy! Yes, I’m being serious.
Therapy can help you to figure out who you are and that’s the best
thing if you hope to pursue an acting career. I also strongly advise
anyone interested in acting not to rush into it. Look around, travel, try
other jobs and get some real-life experiences under your belt first.
This will give you a sense of who you are and what you really want
from life.
44

In s ide r in fo
What do you like best and least about your occupation?

I enjoy the opportunity to express myself in ways that are different to
what is conventionally accepted. If I’m angry, I can vent that in a film or
on stage, rather than in the street, which is hardly socially acceptable
behaviour. I also like the fact that people watch me – I’m obviously
getting the attention I need! Acting is an awfully uncertain profession
with high stress levels, but it does give me what I need.
Briefly describe a particularly interesting project you have

been involved in.
I was in a play in New York called Men, and it was an absolutely MYTH
amazing experience to be on stage in Manhattan. Being the resident if you are an
psycho/stalker in Neighbours, my first real full-time gig, was also a extrovert, you’ll be
real thrill. a good actor
What do you wish someone had told you about the industry
fact
You’ll be good
before you chose it as a career? only if you can be
Don’t do it! Seriously though, if you work hard enough your success is emotionally honest.
inevitable. For true actors it’s not so much about talent as hard work.
It is unbelievably hard work.
Does your job allow you to achieve the life–work balance

you want?
Absolutely. I love nature and doing things that have nothing to do
with my career. For me acting is an ideal career as I get months off at
a stretch to do these things. The flipside, of course, is that means lots
of unemployed time, but fortunately, for the past two years, I’ve had
enough work to keep me busy 80 per cent of the time.
What type of person do you think best suits your line

of work?
Somebody who can be unbelievably emotionally honest. You have
to be able to drop the mask and show different aspects of your true
self. You have to have a strong sense of self and self-belief to ensure
that the casting people will be able to cast you. It confuses them if
they can’t see the true you. Being grounded is good too. You can’t be find out
distraught if you don’t get a job. It’s often not about your ability and more
you don’t have much control about what you get. The Australian Film Institute
has promoted Australian film
What should people know about your industry before
and television nearly 50 years
choosing it as a career? www.afi.org.au
There’s a high rate of unemployment and don’t underestimate that.
The Actors College of
Because of this, lots of actors drop out in their 30s and opt for other Theatre and Television (ACTT)
careers. Despite the difficulties, however, acting can be unbelievable www.actt.edu.au
fun too. The Screen Actors Studio
includes an acting school,
Has your career choice lived up to your expectations?
agency and production
Yes. In fact, it’s exceeded my expectations. The whole journey has company
taken me to a point where I have a strong sense of self. I didn’t expect www.screenactors.com.au
that, but it’s a great place to be.
45

Entertainment
What is something you had to learn the hard way?

People can see through your facades. That’s why it’s so important to
be emotionally honest if you want to be a successful actor.
in Have industry networking, personal contacts or professional

brief organisations helped you to get where you are today?
Actor I’m really not good at networking, but if you can do it, it’s great. Some
people get jobs solely on that.
$$$ zero to 18 million pa!
quals LLB What did you do at interview that made you stand out ?
hrs/wk 40–54 (depending
With my agent, I just remember that I was very proactive. I told him I’d
on rehearsals
write to theatre companies and film people to create as much of my
life–work absolutely
flexibility maximum
own work as possible. You’ve got to be a bit of a mover and shaker if
you want to make it as an actor.
myweek
Prepare/‘get emotionally in touch’

Attend rehearsals for play
(1–3 hours)
Attend audition Do boxing workout
Go to a rehearsal for film Go to screen acting class

Boxing work-out
Prepare/‘get emotionally in touch’ Prepare/‘get emotionally in touch’

(1–3 hours) (1–3 hours)
Go to casting session for an ad Audition for film and TV show
Afternoon: Screen acting class Go surfing
Surf Evening: Go to the theatre
Prepare/‘get emotionally in Sometimes rehearse

touch’ (1–3 hours)
Bushwalk
Attend rehearsals for play
Go surfing or box
Do boxing workout
46

In s ide r in fo
Damian de Montemas – Actor cv telemarketing >>

café and retail work >>
Actor Damian de Montemas is well-
voice-over artist >> actor
known for his role in The Secret Life
of Us, but he has had more jobs in
more fields than he can remember in
his eight years of acting. But, as he
says, that’s the reality of an actor’s
life. It’s a hard slog to get to where
you want to be and there’s no such
thing as overnight success. You also
just can’t be in acting for the money.
On the upside, you won’t be stuck
in an office, will meet fascinating
Actor Damian de Montemas
people and will even get to travel. is really sure that acting’s
Damian de Montemas’s agent is exactly what he wants to do.
June Cann.
q&a
My job involves a lot of auditioning, learning lines, reading scripts,
and travel. Once you secure a job, in either film or TV, there is a lot of
sitting around!
What jobs have you had that have led you to this position?
Too many to mention and totally across the board. None usually lasted
more than a few weeks because they bored the hell out of me – all
except acting and writing. Something most actors must realise is that
they have to be proactive, rather than relying on work to come to them.
What do you estimate the typical salary package for your job
to be?
None really. It can be anything from $2K to $102K, depending on the
availability of work.
What type of organisation employs you?

I’m employed by theatre companies, TV production companies and
film production companies.
What do you like best about your occupation? And least?

I like the variety. I’m always doing something different and
imaginative. I’m not stuck in an office. I also get to travel, which
is great. I hate having no control over when I work. My destiny is
dependent on other people’s ends.
47

Entertainment
What is a particularly interesting project you have been

involved in?
Playing Jason Kennedy (the lawyer) in the TV show The Secret Life
of Us, which I did for three years, was great fun. Most importantly, it
was my first TV role not as a guest actor, but as part of the cast. That
was momentous. I moved to Melbourne for the role and it felt like my
first ‘real job’. But that said, in time, it did get boring. I had to be in
the same place at virtually the same time every day. Everything I had
loved about acting became mundane. Although it did become a ‘nine-
to-five’ job, however, it provided a big boost to my career. Just in terms
of casting, it moved me right up the ladder of preference and I didn’t
have to audition for many of the roles I went for after that.
MYTH before you started on this career path?
all acting success
Don’t say no to anything. Even Home and Away has benefits when you
is an overnight
are starting out. There is so little work around that you have to pay
sensation
your dues if you want to make it.
fact
It’s usually a
Does this job allow you to achieve the life–work balance that
long slog. you wish for?
Yes and no. There are perks because when you are working, you are
doing something you truly love and want to do, the financial rewards
are great, and there’s often a lot of time to do your own thing. It can
also get frustrating and depressing, however, if the work is not coming
in. That’s why you’ve got to really be sure this is what you want to do.
I compare myself to friends with ‘standard’ jobs and they have houses
and assets that I am yet to realise. The bottom line is that you cannot
be in acting just for the money.
What type of person do you think best suits your line of

work?
Really, all types are suitable. Of course, you also need perseverance,
abundant patience and an ability to keep a positive outlook no matter
what. And, you have to be able to deal with tough times financially. It’s
so easy to get jaded in the acting business.

To let go of auditions after I’d done them. You will always audition for
a lot more jobs than you ever get. So, it’s important not to worry too
much about getting one particular job. If you don’t get it, you have to
be philosophical and hope it means there’s a better job just around
the corner.
What are your formal qualifications and are they necessary

or optional for someone in your position?
I have a Diploma in Performing Arts from the Western Australian
Academy of Performing Arts (WAAPA), where I studied all aspects of
acting, primarily for the stage. These studies included voice lessons,
movement, dance, stage combat, singing, improvisation, creating your
48

In s ide r in fo
own work and, of course, different acting techniques and methods. I

also have a Bachelor of Arts (English Literature and Politics) from the
Australian National University (ANU). My study was a great help in
preparing me for the real world of acting. But, you take what you need
– not everything is useful or pertinent to everyone, just like with any
tertiary study, I guess.
Are there any ways of getting into the industry or your

position apart from getting the qualifications mentioned
in
above?
Formal qualifications are by no means essential – they are but one
brief
Actor
way of getting into the industry. Plenty of successful actors, like
Russell Crowe, for one, had no formal training. And, plenty, like Marlon $$$ 2K–102K
quals BA, Dip
Brando, have had formal training. There is no right or wrong path
Performing Arts
into acting. You just have to be extremely passionate, patient, thick- hrs/wk 2–14 hours per
skinned (but not too thick!), driven, and have a large amount of belief day (or more)
in yourself. There really is no such thing as an overnight sensation.
Things can change overnight, but it’s usually after a long slog.
Naomi Wallace – Actor cv teacher >> writer >>

singer >> choreographer
Multitasking takes on new meaning when it comes to Naomi
Wallace, who has a list of jobs and formal qualifications as long as >> actor
your arm. What’s more, not only does she have a number of roles in
the entertainment industry, but she also teaches, and is currently
completing a degree at Macquarie University. All of this at age 23. But,
it doesn’t faze Naomi, who has been working in the entertainment
industry since the tender age of 12, and loves the buzz. With so much
happening for Naomi career-wise, it would be easy to imagine that her
professional life is all-consuming. On the contrary, however, Naomi
also has a healthy sense of self and an awareness of the importance
of not basing her personal self-worth solely on her career success.
q&a
What’s it like having so many roles in the entertainment
industry?
Within a week I encounter various different tasks and jobs.
Choreographically, I work with a range of people, from actors and
dancers to school children, covering a wide variety of ages from two to
45 years old. My acting roles include television and stage work.
Time management is very important when you encounter so many
different tasks within a week. It is important to be well prepared and
have a very clear idea of what you need to do and when.
49

Entertainment
At times I leave the house with several bags packed for the many
things I need to do over the day. These may include dance gear, CDs
detour for teaching, a gym bag, changes of clothes, textbooks/folders for uni
If you are interested in – and food to get me through it all!
finding out what a career
I wrote the music for a solo release album while completing a
in teaching involves, you
can find out more in Career Graduate Dip Ed with a major in English and minor in Drama.
FAQs Teaching.
Why a Graduate Diploma in Education?
I chose this degree because, when I finsihed, I could have casual
teaching work every day if I pleased, leaving me choice and freedom
to pursue the acting and singing further without the added financial
or boredom pressures. At times, completing the degree proved very
taxing, butit was worth it.
What types of organisations employ you?

I am self-employed, but various different types of organisations,
including schools and private businesses, use my services. I also often
do contract work.
What do you like best and least about your occupations?

I love the variety and spontaneity – and, of course, all the interesting
people that I meet. But, I really dislike the instability and fickleness.
50

In s ide r in fo
Briefly describe a particularly interesting project you have

been involved in.
It’s hard to choose just one. One that stands out is – creating a
television pilot for Southern Star with a lead role. It was an interactive,
children’s television drama titled Penrose Street. Another was moving
around Australia when I was hosting Nick Takes Over Your School for
the Nickelodeon Network.
before you started on this career path?
I can’t really remember, but the best advice I think I can give to
budding entertainers is to keep their craft alive. It’s important to
continually improve on your skills, whatever they might be. Also,
create your own work. Don’t wait for the opportunities to come
knocking on your door. They won’t! You have to find ways to remain
active in your career.
Does your work allow you to achieve the life–work balance

that you wish for?
It is easy in my industry to confuse work and life! So many performers
tend to base their personal self-worth on their career success, be it
acting, singing or writing. But, it is really essential to keep in focus
what is really important in your life besides your career path.

of work?
You need to have patience, self-motivation, the ability to take criticism
– and an element of madness!

choosing it as a career?
This is an industry in which you are never guaranteed work, so keep
your other goals and interests in mind. You can, however, still pursue
your dreams. But, you need to remember that the entertainment
industry is tough, so you have to be tougher!
What are the myths about the business?

People think entertainment is glamorous. I am, however, yet to work
on a completely glamorous job. The reality is that the work is hard and
expectations are high. There are definitely perks in this industry but,
perhaps surprisingly, fame is often not one of them.
Has your current career choice lived up to your expectations?

I love my job, or should I say, jobs. If I didn’t, I wouldn’t stay in this
industry. I perform and write because there is nothing in the world I
enjoy doing more. When given the opportunity to work professionally,
I embrace it. When I give 100 per cent, it usually rewards me in return.
51

Entertainment

When I was hosting Nick Takes Over Your School and was considered
the ‘star’ of the show, many people offered me the world. Talk the talk
MYTH though, and you’ll start to be suspicious of all the sweet nothings that
entertainment are promised to you. By all means, enjoy the highs, but keep your
is glamorous feet grounded. Take in what is said, but wait to see what ultimately
happens. Work in this industry will not always flow the way you would
like it to.
fact
It’s hard work and

expectations are high.
find out
more
The Australian Music
Examinations Board
www.ameb.edu.au
The Australian Dance Council
is a professional dance
advocacy organisation for
dancers, choreographers,
directors and educators
www.ausdance.org.au
The Royal Academy of
Dance promotes knowledge,
understanding and practice
of dance internationally
www.rad.org.uk
Macquarie University
www.mq.edu.au advance your career?
Always continue to perfect and enhance your skills and art. You will
The Australian Theatre for
Young People always be able to grow and change in your style and art.
www.atyp.com.au What jobs have you had that led to this position?
For more links, see All work leads to other work. I have been working in this industry
www.art-search.com. since the age of 12 and many jobs have linked to other jobs. A while
au/information_education/
back, I auditioned for a casting director who remembered me from a
dance_schools
television advertisement I shot when I was 13!
52

In s ide r in fo
Are there any particular recruitment processes, practices in

or systems for this industry that candidates should know brief
about? Actor
It is important to get your name known by as many people as $$$ Varies depending on
possible. But, that can be difficult. If you can get an agent or manager, work – you will often
be paid very well but
this can often lessen your workload. Plus, they can often access the not very often so you
companies much easier than you can yourself. might have to use
your money wisely
How competitive is the acting industry? quals Ballet Grade 8,
You may have read over the past few years how little work there is for Singing Grade 5,
Australian Theatre
Australian actors and entertainers. This is very true. There are many for Young People
people wanting jobs within this industry and, unfortunately, for many and Screenwise
acting courses, BA
reasons, the work is very limited. This makes it competitive. Also the
hrs/wk approx 56
potential gain in your career from each job that you go for can make
life–work it is easy in this
such a big difference to your future career, so everybody always wants industry to confuse
the one role. work and life!
flexibility necessary
myweek
9.00–1.00 Songwriting/recording,
9.00–3.00 Directing/
auditions, meetings
choreographing a
school concert 2.00–5.00 Rock Eisteddfod directing
4.00–7.00 University tutorials 6.30–8.30 Sydney Dance Company
class – personal practice.
9.00–12.00 University tutorials

9.00–2.00 Songwriting/recording,
auditions, meetings 1.00–2.00 Singing lesson
3.00–6.00 University tutorials 3.00–5.00 Songwriting/recording,

auditions, meetings
9.00–12.00 Saturday: Dance teaching for

9.00–3.00 School practicum unit a private company
for university 2.00–4.00 Saturday: Sydney Dance
4.00–7.00 Dance teaching for a Company class – personal training
private company Sunday rest. Any extra rehearsals.
Songwriting at the beach
53

Entertainment
cv Hammond organ Clayton Doley – Musician

player >> singer >>
Putting food on the table might be a struggle sometimes, but musician
songwriter >> band leader
Clayton Doley wouldn’t do anything else. In fact, he thinks it’s
>> musician outrageous that he even gets paid for having so much fun. The leader
of The Hands band, Clayton has been playing music since his school
days. He recalls: ‘I was doing gigs for much of my high school life and,
in year 12 (1993), was already playing as a professional a few nights
of the week in night clubs and pubs in Adelaide.’ While the real world
of music is very different to how it’s often perceived, Clayton believes
if you have the talent, discipline to practise and a slightly ‘nutty’
personality you can have a very fulfilling career.
q&a
My job is both creative and managerial. On the creative side, I sing
and play the Hammond organ. On the managerial side (I am effectively
the band’s ‘CEO’), I am responsible for calling up band members and
making sure they are available for gigs – and then reminding them
to be there! I phone venues to organise gigs and recording studios to
organise recording sessions.
to be?
Currently, as a band member, $400 per week, but if I was freelancing
that could go as high as $1000 per week.
glossary What type of organisation employs you?
I’m a sole trader, but I’m employed by pubs, clubs and festivals. I’d
Hammond organ means:
love to say recording studios too, but in effect, as a band, we have to
– an electric organ of unique pay for our recordings!
design, first built by Laurens
Hammond in 1935. What do you like best about your occupation? And least?
The lifestyle is unbeatable. Music is my life; it’s fun and rewarding. It’s
Gig means:
actually quite outrageous to be getting paid for having such fun. But, I
– an engagement at a venue, don’t enjoy the ‘hand-to-mouth’ living and having to watch the money
whether it’s a pub, restaurant,
all the time. If you don’t have a gig for a week, putting food on the
concert or wedding.
table can literally be a struggle. That said, I wouldn’t do anything else.
54

In s ide r in fo
What’s an interesting project you have been involved in?

Working with and creating an album with Nina Persson while I was in
New York has undoubtedly been the highlight of my career to date. I
glossary
was able to work at the legendary Woodstock studio where The Band Muso means:
(Bob Dylan’s backing band) and a whole lot of other musos make
– a musician.
inspiring records. It was an awesome experience. I got to use really cool
state-of-the-art keyboards and equipment and meet really good people.
Creating an
album at the
legendary
Woodstock
Studio in NY is
a highlight.
before you started?
Because I started playing music, also professionally, at such an early
age, everyone had told me pretty much everything about the industry.
So, I really knew what it would be like. I was young when I started, so
I knew the ropes.
you wish for?
Yes. Music doesn’t present as work to me at all. It’s all about my life. If
I wake up and feel like writing a song or practising, I do.

of work?
Having the discipline to practise is essential. Aspiring musos also
need to know that music is a very different lifestyle. Most creative
people are a bit off-beat, so I’d say you have to be slightly ‘nutty’ to
survive in this business.
55

Entertainment

Students thinking of a career in music would probably already know
if they are gifted at music or not. It’s the kind of job where the path
chooses you rather than the other way round. You don’t wake up one
day and say ‘I think I’ll be a musician’. It’s about having an overriding
gift and talent. Although it’s not really a respected job in the
traditional sense of the word, if you’re good at it, you can do well.
What, in your opinion, is a commonly held myth?

There’s a widely held belief that the music industry represents the
glamour of rock stars. It’s not really like that for most musicians. For
most of us, it’s more grounded and not like what’s portrayed in the
movies. In reality, there’s a lot of admin and grunt work. You have to be
on time and make sure your equipment is working. You’ve also got to
have venues signed up. And, to do that, you’ve got to get the numbers
through the door, which involves promotions and advertising.

Definitely. As a kid everyone dreams of being famous. For me, just
MYTH having worked with famous people has satisfied that need. It’s also
made me realise that, in fact, I wouldn’t want to be famous all the
it’s all about glamour
time. I love being around good musicians, but I wouldn’t want to be
and rock stars
‘the’ star. Being in the public eye is gruelling, rather than glamorous.
fact

It’s a lot of grunt work.
Undoubtedly, team work. Trying to organise four ‘space cadet’
musicians to get to the same place at the same time is no mean feat.
Musicians are a funny breed. They can be a bit unreliable when it
comes to things like time-keeping. There’s the constant nagging to
ensure band members remember to learn their new songs and turn
up for practice – and even the gig sometimes! A band is a group of
people, so each one is dependent on the other, to make sure things
work. It’s not just up to you. If one member isn’t there, there’s no
band, and that means no gig.

It’s hard getting to pop star status. There are no short cuts and you
have to work your way up from the bottom. It’s most important to
keep learning more skills and never just do one thing. Networking is
also very important. You need to find out what type of music you want
to play and meet the people. Play in university bands, meet young
managers and agents representing the genre that you are interested
in. You have to get to know the people – and that means lots of
socialising.
What jobs have you had that led to this position?

After completing high school, having already played professionally
in various pubs and nightclubs, I came to Sydney in 1993 and joined
56

In s ide r in fo
a touring band. This was a new experience for me that lasted for six
months. During this time, I also took on any work that I could, including
glossary
playing at various functions like weddings, and in a cover band. But I Cover band means:
got sick of it because I really wanted to be creative with music.
– a band that plays other
The function/cover work started to feel like a boring job. So, I joined musicians’ music, rather
a blues band called the Mighty Reapers, and played at jazz festivals. than its own original songs.
This was another important boost for my career as it elevated me to Session musician means:
‘respected musician’ status. During this time, I also started playing
– a freelance player brought in
with Jackie Orszaczki (and still do every Tuesday in Newtown). for one or more sessions.
The next years saw me touring internationally, doing the odd wedding (to
put food on the table), backing international artists playing in Australia,
and performing as a session musician. This enabled me to save some
money, which was later spent on making the album for The Hands.
In 1999, I moved to New York, after having played with The Whitlams.
For three years I got into the New York music scene, which included find out
working with Jeff Buckley’s old band, meeting all sorts of people, more
touring Europe, and even hooking up with Jackie Orszaczki in Hungary
Surf the links at
and playing there. In 2002, I came back to Australia and started The www.cultureandrecreation.
Hands with my brother. My freelancing days were over and I was able gov.au
to perform the many songs I had written in New York. The Music Council
of Australia
What made you stand out at interview?
www.mca.org.au
I specialise in the Hammond organ and there aren’t many keyboard
players that do, so that has always tended to attract interest. That’s
my voice. These days if people want a Hammond player for a gig, they
know they can just ‘call Clayton’.
57

Entertainment
Have professional organisations helped you in your

career path?
There is not much support for the music industry, right from school
level. Unfortunately, it’s not well supported and students don’t get
enough exposure. We could certainly do with more music teachers in
in our schools. There aren’t many organisations that support the music
brief industry either. There’s the Musicians’ Union, but that’s only really
Musician for classical musicians. Most of the support comes from the people
$$$ $400 per week as a already in the industry. So the support network is really from within.
band member; up to
$1000 per week as You spend a lot of time on the road. What’s a touring week
a freelance musician like?
quals none, except a
lifetime of practice Usually I’d spend Monday organising the trip, organising a hire car
hrs/wk 50–60 (when and that kind of thing. Tuesday we pack and drive – say half the way, if
not on tour) it’s a North Coast gig. Wednesday, we’d drive on, get settled and play
life–work music’s not work our first gig that night. Then Thursday it’s more driving and an evening
to me at all – it
is my life! gig – Friday’s the same. Another gig on Saturday night – hopefully not
too far away! Sunday, we drive home. It’s pretty exhausting.
myweek – in Sydney
Run in the park

Run in the park
Business day: organise the week
– gigs, venues, practice times Write songs
with the band
Write songs alone or with Write songs

other people
4.00pm set up for night-time gig
Rehearse
Play at the gig
Night-time gig
Write songs
Run in the park
Read newspapers in a café
Recording session – could be a
radio commercial, playing for 4.00pm set up for night-time gig
somebody’s album
Play at the gig
58

In s ide r in fo
Adam Leayr – Covers musician cv occasional wedding

musician >> songwriter >>
If he’d started playing earlier, covers musician Adam Leayr (Jacko),
backing vocalist >> bass
aged 35, might have made a career out of music. But having started
at the age of 25 and with a wife and young family to care for, it didn’t player >> covers musician
seem feasible. That said, however, Adam’s experience proves that

it’s never too late for any budding musician, no matter how old. He
started playing music 10 years ago and with no formal training at
all. Today, Adam and his band, Pelican Head, play covers at pubs
countrywide every second weekend. His web developer business
keeps food on the table while his band keeps his soul alive. In fact,
it’s a perfect mix for Adam, who warns that music as a career is tough
work. ‘It’s about late nights and loading gear, and there’s not usually a
lot of money to be made,’ he says.
q&a
I’m a freelance web developer full time, so my music is more of a
hobby. I play bass guitar and provide back-up vocals for a covers
band, which also includes a guitarist, vocalist and drummer. We play
‘pub rock’ in pubs around Canberra two nights every second weekend,
which includes a wide range of cover material like classic rock/retro
(Jimi Hendrix, Deep Purple, Cream, Black Sabbath, The Doors, Van
Morrison), Oz rock (Hunters and Collectors, AC/DC, Silver Chair, Pete
Murray), and pop/rock (Nirvana, U2, Robbie Williams, Green Day, Pearl
Jam). We also do some private functions like weddings. Those aren’t,
however, my favourite as our repertoire doesn’t exactly lend itself to
that sort of occasion. We’ve now also started writing and playing some
of our own original music.

Students should ask the question, why not me? I only started playing
music 10 years ago at the age of 25. My brother-in-law was a guitarist
and asked me why I didn’t start learning bass. I had absolutely no
formal training and just started teaching myself. This was definitely
something I had to learn the hard way, but shows that there’s hope
for anyone who’s really keen on music. It’s never too late. That said,
perhaps if I’d started earlier I’d have made a career out of music.
Starting so late, however, and already having family responsibilities,
it just didn’t seem feasible. For me, my web developer job and
fortnightly music evenings is a perfect mix.
59

Entertainment
Is it important for bands to have websites?

It depends what you want to achieve. We’ve got regular gigs and
aren’t looking for more work so, for us, our website shows people
what we can do. For bands trying to sell themselves, however, having
a website is an important marketing tool. But, that doesn’t mean that
industry networking, personal contacts visiting pubs and phoning
around aren’t important too.
How important is formal training? And, is it true that many

find out famous musicians don’t have any?
more You can be sure that many of the famous musicians play by ear
See what a band’s website and feel. They know the notes, but can’t read sheet music. Formal
can be like by visiting qualifications can definitely help a career in music, but they are not
www.pelicanhead.com
that important. At the end of the day, music is an art form – it’s about
feel, expression and natural talent.

I love the buzz that you get from giving enjoyment to people and
seeing their reactions. Packing up and carrying the equipment rates as
my least favourite activity. Music as a career is tough work.
What’s an interesting project you have worked on?

A gig that I really enjoy every time is the one we play at one of our
original venues – Tumut in New South Wales. We’re treated like the
locals and it’s a really good weekend away.
What do you wish someone had told you about the industry?
I wish I’d known just how much money one can spend on equipment!
Maybe it’s just me but, with ongoing technology improvements,
I’m always finding something new to buy, be it leads, strings or
microphone stands.
MYTH How do you manage work, music and family commitments?
you need formal
The music is great because when I play it’s on a Friday and Saturday
music training to be
night, so it is quite easy to balance, especially as it’s about pleasure,
in a band or make
not work. It really helps to have an understanding partner and I count
money from music myself lucky in that regard. Probably the biggest difficulty in balancing
I am self-taught, have the music and family commitments is that I can get home from a gig at
fact
no formal training 4am and be woken by the kids a few hours later! It’s not too good for
and could play every
weekend if I wanted to. one’s beauty sleep. But, because I love music so much, it makes the
lack of sleep pretty easy to deal with.
60

In s ide r in fo

of work?
You have to be easy-going, tolerant, and able to get along with band
members and people.
What are the best ways of getting in?

Get to know people in the industry, go to music shops, see bands. If
you visit your local music shop, you’ll always find notice boards with
advertisements for band members. It’s also important to have good
relationships with the music shop staff, as you’re likely to get leads, in
not to mention good discounts and an assurance that you’re buying brief
quality products. Watching bands is a great way to get a foot in the Covers musician
door. That’s how our band was formed. Our current drummer turned $$$ $200–$250 per gig
up at a gig one night and before we knew it, he was a band member! quals None
hrs/wk about 18 every
What are your tips for preparing an outstanding job second week
application? life–work really good
The ‘job application’ in the music industry is usually an audition. Be flexibility my web developer
job and fortnightly
confident, be prepared and play well. Be yourself and don’t be afraid
music evenings
to express yourself. Know what the band plays and learn some of is a perfect mix
the songs.
myweek
9.00–5.00 Work from home

as a web developer 9.00–5.00 Work from
home as a web
developer
9.00–5.00 Work
9.00–5.00 Work from home as
a web developer Gig every second Friday night:
9.00 pm–10.00 pm set up equipment
Evening: Practise music on
my own 10.00 pm–2.00 am Play
2.00–3.00 am Pack up, home by 4 am
9.00–5.00 Work from home as Gig every second Saturday night:

a web developer
9.00 pm–10.00 pm set up equipment
Evening: Practise new songs 10.00 pm–2.00 am Play
with the band
2.00–3.00 am Pack up, home by 4 am
61

Entertainment
cv ballet student >> Gaylene Cummerfield – Ballet soloist

member corps de ballet >>
Gaylene, aged 27, has been in her current position for two years and
ballet soloist
has worked in the industry for nine years. She bears out much of the
stereotype of what a career as a ballet dancer is all about – in short,
total dedication and strenuous physical work. And, indeed, while it
can be hard work, lighting up the stage with special performances
makes it all worthwhile. Perhaps not so widely known is that ballet is,
however, not only about skills and physical endurance, but also about
physical aesthetics.
q&a
Ballet has been a full-time endeavour for me since the age of 16. It
requires so much dedication and commitment, there really isn’t time to
do anything else. Once in the company, it is a full-time job. Every day, we
start with class for one-and-a-quarter hours. This is the time to work on
our classical technique and warm up for rehearsals and performances. I
also do Pilates regularly to keep up strength and help prevent injuries.

The Australian Ballet is a private company.
How long can a career in ballet realistically be and what are

the options after it is over?
A career in ballet can be anything from a few years to 20 years. It
really depends on the individual’s body. An average time-span would
be around 10 or 15 years if you make it to the rank of principal.

What I like best is performing, being around theatres and travelling.
But, my job also involves a lot of physical work.

It’s hard to single out one interesting ‘project’ but I love getting to be
different characters and show different emotions or personalities on
stage. One recent role I loved performing was ‘Cigarette’ in a ballet
called Suite en Blanc – a French ballet that was very stylish and
technically challenging.
I wish I had known beforehand how much of an aesthetic art ballet truly
is. This means that your career path can be somewhat in the hands of
one or two people’s opinions. Skill is not the only thing involved.
62

In s ide r in fo
suits you?
A career in ballet means dedicating your life to it. You don’t get into it
thinking it will be a nice day job. It requires too much work, too many
hours and too much of ‘you’ to have much time left for other things,
but it’s special performances that make it all worthwhile.
What type of person do you think best suits a ballet career?

You have to be strong-minded and determined.
What should students know about being a dancer before

Students need to know that a career in ballet involves very hard work.
You have to really love it. You need to be self-disciplined and able to take
criticism. As a dancer, you are constantly striving for perfection, which
means there will be very few performances you are truly happy with. But,
when you have a good show, the performance high is addictive.
63

Entertainment

Not yet, I still have so much to achieve. But, I wouldn’t want to be
anywhere else.

I learnt that you need to listen to your body and look after yourself. I
ended up having surgery on my ankle because I kept dancing on an
injury for a year and a half.

Be the best that you can be – it’s all you can do.
Do you have any particular qualifications?

MYTH I have a Diploma of Dance from the Australian Ballet School and the
there’s a lot of full-time training is hard work and long hours. Life with the company
anorexia in the is very different though and it takes a while to adjust. There can be
ballet world times when you are not required for rehearsals. With this new-found
freedom, you need to be disciplined with how you use your time.
Anorexia is rare. You
need to eat well to What jobs have you had that led to this position?
fact
be strong and able I was with the Australian Ballet School for three years full-time and
to cope with the
spent one year with Royal New Zealand Ballet before joining the
strenuous exercise.
Australian Ballet.
Are there any particular recruitment processes that

candidates should know about?
Some companies hold open auditions. In other cases, you would send
your CV or video and then ask to do class with the company.
How many people typically apply for each role?

In the Australian Ballet, we don’t apply for roles. As it is a full-time
in job, you are watched throughout the year in class, rehearsals and on
brief stage. When a ballet is cast, it is discussed among the artistic team
Ballet soloist and the casting goes up on a notice board. There is anything from
$$$ 40–50K two to seven casts plus understudies for each role. Occasionally,
quals Dip Dance the casting can change due to injuries or choreographers choosing
from Australian
someone else as rehearsals progress.
Ballet School
hrs/wk Average 40 What are your tips for preparing an outstanding job
life–work a career in ballet application?
requires total
dedication Present yourself well at auditions and remember to wear clothes in
which your physique can be seen.
64

In s ide r in fo
What is a typical week like in your job?

There’s no ‘typical’ week as it varies depending on whether it is a
rehearsal week or a week when we’re performing.
Rehearsal weeks are not as hectic and I can finish by 6.30 pm. During
performances, my days are about the same but I have the evening
performance that takes me through to about 10.30 pm.
myweek – performance period
8.30 Pilates 11.00–3.00 Class and rehearsals

11.00–3.00 Class and rehearsals
5.30 Start doing make-up
5.30 Start doing make-up
6.30 Barre 6.30 Barre
6.30–10.30 pm Performance 7.30–10.30 pm Performance
11.00–3.00 Class and rehearsals 11.00–3.00 Class and rehearsals
5.30 Start doing make-up 5.30 Start doing make-up
6.30 Barre 6.30 Barre
7.30–10.30 pm Performance 7.30–10.30 pm Performance
11.00–3.00 Class and rehearsals 11.30 Class

5.30 Start doing make-up 1.30–4.30 Performance
6.30 Barre
6.30 Barre
7.30 Second performance
7.30–10.30 pm Performance Sunday: Day off
65

Entertainment
cv storeman >> kitchen Steve Cannane – Radio presenter

hand >> barman >>
Steve has been presenter on the radio program ‘Hack’, for two years.
waiter >> radio production
The show is broadcast nationally on weekday evenings on triple j
assistant >> radio producer (ABC radio). Steve speaks to all sorts of people in a day’s work, which
>> radio reporter >> radio satisfies his passion for talking to people and knowing what’s going
presenter on in the world. Steve is known for his quick wit and quirky interviews.
q&a
How long have you worked in this job and in the industry
overall?
Two years. I was presenter of the Morning Show on triple j for
10 years. Before that I was reporter on the Morning Show.
What was it like doing morning radio?

I was at work at seven. Not too bad compared to bakers or breakfast
radio people, but I struggled a little. I like staying up late, and I always
found it hard to go home early if I was out somewhere.
Briefly describe what you do in your current job.

Present program, do interviews and talkback, chase stories.
What is the salary package for your job?

$60 000 to $80 000.
What’s your working environment like?

Hack has one full-time executive producer, two full-time reporters and
three part-time reporters. We all work closely together.
Is there an interesting or inspiring person you’ve talked

to on radio?
Larry Adler. He was an American harmonica player who died a few years
ago. I interviewed him when he was 87 and he was still as sharp as a
tack. In the 40s and 50s he was one of the highest paid musicians in the
world. His politics were left-wing and he was asked to appear before the
House Un-American Activities Committee, the committee run by Senator
Joe McCarthy as seen in the film Good Night and Good Luck. All these
artists and actors were facing the option of either dobbing in people
with left-wing politics or face black bans on their work and possibly jail
sentences. Adler was asked to appear and he told them to go to hell. He
didn’t want to dob on his friends or his enemies. His career suffered
and he moved to England where he lived for the rest of his life.
I admired him for standing up for what he believed in at great personal
cost to his career. That is a very rare thing. And he was a very funny
man with a great range of stories. He once played a game of mixed
doubles tennis with Salvador Dali, Greta Garbo and Charlie Chaplin. I
spent an hour with him and enjoyed every minute of it.
66

In s ide r in fo
TV/movie stars and presenters get their faces recognised in

the street. Do you get people recognising your voice in the
supermarket?
No-one recognises radio people which is a very good thing. Sometimes
people recognise your voice, but I find that rare. If you do TV you
get recognised. I did a tiny bit a couple of years ago and I got three
comments from middle-aged women over a four-week period in the
city. So yeah, I was getting absolutely mobbed.
What do you like most about your job?

I love doing interviews, chasing stories and talking to the listeners. I’m
passionate about what’s going on in the world and I get to learn about
current issues every day as part of my job. Also I get on well with my
colleagues – they have no noticeable personality disorders.
What do you like least?

The email traffic can get a little intense at times ... but really I have
nothing to complain about.
Where to from here?

Radio, but I guess there are growth opportunities in other parts of the
grown-up ABC.
find out
more
triple j is one of six radio
Nothing really.
networks run by the ABC.
Does your job allow you to achieve the life–work balance that Find out more about all of
ABC Radio at
suits you? www.abc.net.au/radio
It’s pretty all-consuming. I’m always reading papers, books and
watching the news so it takes up a lot of my time. But the fact that I love
it means I’m not a grumpy bastard around my family in non-work hours.
How flexible are your work arrangements?

Not flexible.
How many hours per week do you work?

Everyone tells lies about this question. I’m in the office pretty much
between 9.30 and 6 every day with periodic bouts of extra work.
What are your ambitions – where to from here?

To continue to do a job that turns me on, and doesn’t play havoc with
my conscience.
What qualifications do you have?

Bachelor of Economics (Social Science) from Sydney University. I learnt
a lot about having an enquiring mind at uni and I think that’s a really
important thing in my job. I learnt all the industry skills on the job.
67

Entertainment

in Not that I know of. Getting known always helps. Someone always calls
brief in sick and they need someone to fill in.
Radio presenter
What are your tips for preparing an outstanding job
$$$ 60K–80K
quals B Ec (Soc Sc)
application?
hrs/wk 40–50 I’m hopeless at this kind of thing, so my tip is don’t ask me.
life–work work takes up a What do you think that you said or did at interview that
lot of my time,
lucky I love it helped you get the job?
flexibility bad There was no interview for my job. I was appointed. But I think it was
my past history of doing stories that were a little cheeky.
Be the
best you
can be!
68

In s ide r in fo
Ben Hodson – TV commercial director cv TV runner >> art

department assistant >>
Ben has been producing TV commercials (TVCs) at Exit Films for
director’s assistant >>
18 months and in the industry for six-and-a-half years, and there is
nothing else he can see himself doing. He certainly has the persistence first assistant director on
he describes as a crucial attribute for prospective TV directors. commercials and music

Working through the ranks from runner to assistant director, often as a videos >> TV commercial
volunteer, it took him 10 years to get to where he is today. Erratic hours director
aside, he’s passionate about his work, and advises anyone interested
in pursuing this career ‘never knock back an opportunity’.
q&a glossary
TVC means:
– an abbreviation for
to be? television commercial.
It’s hard to say, but around $40 000 to $120 000 per year.
Runner means:
– someone who carries
Exit Films is a private company, but I also do some freelance work.
messages or runs errands.
I like the creative environment – like-minded and talented work
colleagues that inspire me – and the opportunity to work creating
what I love (films). I also like the endless possibilities and avenues. I
don’t like the limited car park spaces!
What is an interesting project you have been involved in?

I worked on a TV ad for Chupa Chups. It was a simple idea that I still
enjoy watching. It won a Melbourne Advertising and Design Club
(MADC) award recently for the best 15-second TVC. detour
What do you wish someone had told you about the industry Find out about more media/
before you started on this career path? advertising jobs in Career
That you can’t do everything and please everybody. FAQs Advertising.
suits you?
Yes it does, although the hours can be erratic and that makes it hard to
plan for things too far away. Generally I am in control of my own hours.

of work?
You have to be good with people, a creative thinker, passionate about
the art form, and ambitious.
69

Entertainment
What should students know about directing commercials?

Someone else generally has the final say on the product and they may
not necessarily be the best person to make this decision.

Yes. It is the only career I see myself working in. It has taken me a long
find out time – 10 years – to get to this place, and I’m going to enjoy it.
more What, in your opinion, is a commonly held myth? What’s
Action-Cut-Print is a resource the reality?
centre for filmmakers
It is not all about glamour and partying with movie stars at red carpet
www.actioncutprint.com
events, although it does happen. It’s harder work than you imagine.
Boards Mag is an online
and print publication with What is something you had to learn the hard way?
cutting-edge information on People drink a lot of water when it is hot! They also get bored easily!
commercial production
www.boardsmag.com What do you think is the most important thing you can do to
Be persistent and positive.
What are your formal qualifications? Are they necessary for

your job?
I have a Bachelor of Arts (Media Arts) from Deakin University, Rusden.
Qualifications are optional, but being educated in the likes of film
fyi production, video production, sound production, and photography can
certainly help. I’d advise students to do as many different things as they
Being educated in film
production, video production, can at university or TAFE. The more you know, the better chance you
sound production, and have of getting your foot in the door. After that, though, it is up to you.
photography can stand you in
good stead for a career in TV
What are other ways of getting into the business?
commercial directing. Work experience definitely helps as most jobs go to people who are
known, or friends of friends, not simply names on a CV.

I’ve had a number of freelance positions, including working as a
runner on TVCs, as an art department assistant, as a director’s
assistant (for three years), and as a first assistant director on TVCs
in and music videos.
brief Are there any particular recruitment processes that
TV commercial director
$$$ 40K–120K
Work experience really helps, so it’s worth offering to work for free to
quals BA (Media Arts)
hrs/wk approx 45–55
gain experience. It’s also worthwhile to talk to as many people in the
life–work erratic hours aside, industry as you can.
yes, I have a nice
balance between What are your tips for preparing an outstanding job
work and play application?
flexibility I am generally You have to push to get a face-to-face interview. Have all your relevant
in control of my
own hours experience ready to explain. Be willing to do anything at any time to
show your commitment to the industry. Never knock back an opportunity.
70

In s ide r in fo
Can you recall anything you did or said at interview that you
feel made you stand out from other candidates?
I had experience in production (editing, camera, direction) and, of
course, passion for the job.
myweek
Write treatments for TVCs Shoot TVCs

Research ideas Edit, grade, sound-mix
Get references
Update my showreel Plan, storyboard, cast, wardrobe,

hunt for locations
Do animatics and shooting tests
Update the website Party

Do promotion and public Watch movies
relations activities
Go to see exhibitions
Respond to emails
Exercise
glossary
Treatment means:
– ideas used as the basis of
a television commercial.
Storyboard means:
– a way of presenting
everything that will be in the
TV commercial program.
71

Entertainment
cv wedding video Ben Allan – Director of photography

maker >> short film-maker
Ben (aged 30) has been filming
>> TV station photographer professionally for 12 years, as a
>> cinematographer >> freelancer for seven of those. With
director of photography a passion for photography since
high school, Ben worked his way
through the ranks until he realised
his dream of becoming a freelance
cinematographer. During high school,
he shot wedding videos and used
the hired cameras to make short
films, which helped him get a job at
a small TV station. This led to a job Director of photography Ben Allan
at another station before he broke with Panasonic Varicam and Zeiss
into freelance work. Long hours DigiPrime Lens, on Mortal Fools.
and high-risk locations are the downsides of a career in photography,
but as Ben points out, if you love the work and the process, a career in
photography is likely to live up to your expectations.
q&a
I am a director of photography for films, TV commercials and music
MYTH videos. I am responsible for visually executing the director’s ideas
photography technically and creatively, while also managing the camera, sound,
is glamorous grip and lighting crews.
Who do you work for?

It’s intellectually and I get freelance assignments through Stacey Testro International (an
fact
physically demanding
entertainment management company). Production companies also
and often done in
hostile environments. hire me on a project-by-project basis.

I love the creative and technical challenges as well as the collaboration
with directors and actors. I don’t enjoy the extremely long hours.
What is a particularly interesting project you have been

involved in?
I recently shot a 90-minute film in three weeks, which required some
very unusual techniques to be done on time. We shot the film on
digital high definition (HD), which enabled us to work very quickly.
HD also enabled us to do many long, often handheld, takes where we
could cover a great deal of action in a single, moving shot. We also
worked at very low light levels. Even though a scene still needs to be
72

In s ide r in fo
‘lit’ for creative effect, smaller lights are quicker and cheaper to work
with than big lighting units.
fyi
What do you wish someone had told you about the industry The ‘half-pay’ days in
pre-production came
before you chose it as a career?
from cinematographers
Even ‘overnight’ success usually takes time! encouraging producers
Does your job allow you to achieve the life–work balance to put more time into pre-
production before actual
you want? shooting. It allows the
Cinematography is not just a job (there are definitely easier ways to cinematographer to solve
earn a living!). You have to have the passion that makes it a major part many problems before the
of your lifestyle. expensive shooting phase.
Post-production (especially
What type of person do you think best suits your sector of
colour grading) is not paid
the industry? because it was traditionally
Collaborators and decisive problem-solvers. You can’t do this on your a very brief process. It is
own. You have to constantly make careful, but fast, decisions – and in the cinematographer’s
there are always problems! interests to be part of the
final grading. Even though
What should students know about your industry before grading is now a much
choosing it as a career? more complex and time-
consuming task, it is still
It’s hard! You need to constantly be on the look-out for techniques and
traditionally unpaid.
ideas and then practise using them. Even as a professional, things like
short films are a great way to do this without commercial pressures.

Because I love the work and love the process, it does live up to my
expectations. Many people think it would be ‘cool’ to be a film-maker,
but to do it well you need to be more interested in making the next
shot great.

It’s important to choose your crew by instinct as much as logic. This is
vital to a successful shoot.

advance your career? find out
You need to always push the boundaries as soon as you know your more
craft well enough to do it with controlled risk. There’s no end to the number
of photography courses
What jobs have you had that led you to this position? available nationally – here’s a
In high school I shot wedding videos and used the hired cameras taste:
to make short films. The short films helped me get a job at a small
www.thomsoneducationdirect.
TV station, which then led to a job at another station, and then the com.au
chance to move into freelance work.
www.acs.edu.au/digphotog/
Can you recall anything you did or said at interview that you www.vtac.edu.au/institutions/
feel made you stand out from other candidates? psc.html
At the interview for my job at the first TV station I found out the model www.adelaidezoo.com.au/
number of the cameras they were using and asked them about the education/
cameras by name. They also asked if I was prepared to do a day’s work photographycourses.php
for free and I offered to do two!
73

Entertainment
If you are involved in the recruitment process, briefly

fyi describe your role.
Film cameras are rapidly I am usually asked by the producer to recommend my preferred crew
giving way to digital cameras for most roles in a production below producer and director. I also
and cinematographers are usually get the final say on camera, sound, lighting and grip crews.
shooting in digital format
rather than the more Have industry networking, personal contacts and
expensive 16 or 35 mm professional organisations helped you to get to your current
film. Many believe digital
position?
projection is stealing a lot of
the passion and romance, Networking and professional organisations are vital to a career in the
warmth and lustre of film. film industry. At the same time, there are plenty of people who talk
the talk, so your work has to back up the connections you make by
networking.
in Which organisations and what kind of benefits do
brief they provide?
Director of photography The Australian Cinematographers Society (ACS) has been a very
$$$ 2K–10K per week important part of my career. It has provided accessible role models
hrs/wk 50–60 who have shown me higher standards to aspire to. It has access to
life–work Cinematography mentors and peers to exchange ideas or techniques and provided
is a major part
of my lifestyle
an important networking environment to build relationships with
equipment suppliers as well as other cinematographers.
myweek
Fly to location and meet with Shoot for 10 to 14 hours

producer, director and key crew (full pay)
(half pay)
Check locations with production Telecine transfer (film to

director and first assistant video tape) (not paid)
director (half pay)
Shoot for 10 to 14 hours Day off (or preparation for

(full pay) other job) while director and
editor edit
Colour grading finished
commercial (not paid)
74

In s ide r in fo
Russell Boyd – Cinematographer cv filing clerk >>

cinematographer
Russell has worked in the entertainment industry for over 40 years,
working in the production of films, TV shows and commercials. He’s
been a freelance cinematographer for 32 years, in that time working
as the director of photography for Picnic at Hanging Rock (1975),
cinematographer for Gallipoli (1981), Crocodile Dundee (1986), Liar
Liar (1997) and many other well-known films.
Russell won an Academy Award for his cinematography on Master and fyi
Commander: The Far Side of the World (2003).
The first Australians to win
an Oscar were Ken Hall and
q&a Damian Parer (posthumously)
for their documentary, Kokoda
Front Line in 1942.
Collaborating with the director and also collaborating with my camera
operator and focus puller, my lighting crew and my grip crew, who
handle the large camera cranes and supports, on all creative and
technical aspects of my role. I also have a close association with the art
department when they are designing sets, colours and set decoration.
What is the salary package in your job?

Very approximately between $100 000 and $200 000 a year.
What is your working environment like?

It is a fairly pressured working environment as time is the filmmaker’s
enemy, and we have to work quickly and efficiently to keep to our
often-rigorous daily schedule.

The satisfaction of seeing the previous day’s shooting on the screen
when it is exactly the way I expected it, and wanted it to look.

The months I have to spend away from family and home. This is
qualified by the fact that world travel is probably one of the most
fascinating rewards.
Were you interested in photography as a child?

Photography became a teenage hobby. My aspiration was to become a
press photographer.
What interesting projects have you been involved in?

I always hope that any film I make a commitment to will be an
interesting project. Most are.
75

Entertainment
How did you feel winning the Oscar as Cinematographer for

Master and Commander?
I was very glad that it was for a film with Peter Weir. Naturally it was
quite a proud moment.
How did winning the Oscar affect your career – do you get
many more job offers now, compared to before?
The Oscar did remind people that I was still alive and sometimes I get
hired to shoot a commercial for the novelty factor and to tell some
Award night stories and spread some goss.
What projects are you working on right now?

The film, Ghost Rider, that I shot in Melbourne last year is now almost
ready for printing so I will journey to Los Angeles soon for some work
on that. Otherwise I’m working on TV commercials at the moment.
What aspects of the industry interest you in particular, and

where do you see the growth opportunities?
The digital ‘revolution’, or technology advancements are what interest
find out me a lot but the telling of the story and getting it onto the screen
more should always be the prime objective.
Visit the AFTRS website at: Does your job allow you to achieve the life–work balance that
www.aftrs.edu.au
suits you?
I have to choose my work carefully to allow me a balance between
being at home and/or away on location.
What qualifications do you have?

I have no formal film qualifications but I do think that an Australian Film,
Television and Radio School (AFTRS) degree and hands-on experience,
such as involvement in student films, is beneficial these days.
Are there any particular recruitment processes that people

in
brief should know about?
A lot of hopefuls are willing to work as unpaid attachments on films as
Cinematographer
a first step. In my opinion, participating on or making short films is the
$$$ 100K–200K best portfolio.
quals none formally
hrs/wk 70–80 Is there anything else you think young people considering
life–work I choose my work this career path need to know about becoming a
carefully to keep
cinematographer?
the balance
It is a difficult industry to break into these days, as there are so many
flexibility yes because I’m
a freelancer young people with film-making ambitions, so be prepared to spend
quite a bit of time trying.
76

In s ide r in fo
Tommy Murphy – Playwright cv call centre operator

>> news librarian >>
At the age of 26, playwright Tommy Murphy has finally found a ‘home’
in theatre and had his work professionally produced. For Tommy, teacher >> playwright
whose first love is theatre and who wanted to be a playwright and has
been writing plays since the age of 16, it’s a dream come true. And
he’s certainly paid his dues. While he might now be earning a full-time
salary, on the way up he had to dedicate equal time to learning his
craft (most of it unpaid) and working in a variety of odd jobs to pay
the bills. His advice to young hopefuls is to enter competitions, put on
informal play readings and – most importantly – get a trusted mentor.
q&a MYTH
a writer works
in isolation
I’m a freelance writer, mostly for theatre, but sometimes also for films.
My writing involves an effort to broaden my understanding of how the
fact
theatre works. It’s a continual process of education and developing my A playwright exists
in a community.
craft by practising. I am currently in my second year of residence at the
Griffin Theatre Company – my ‘home’ as a writer. In addition to writing
(‘nine-to-five’), I’m also involved in workshops and plays with actors.
I have had six plays produced in young people’s and cooperative
theatre. I’ve had one play professionally produced – Strangers in
Between – which is fantastic because it was a combination of training
and work.
I’ve had many jobs, both formal and informal, that have led me to this
position. Becoming writer-in-residence at the Griffin Theatre Company
is the most significant formal position to date. At an informal level, I glossary
have put on readings at community halls and for dramatic societies.
I have also been involved with various industry organisations, taking Writer-in-residence means:
part in student workshop productions and drama teaching. I still teach – a paid appointment with a
and have done a number of jobs over the years, including working in theatre company where you
have an opportunity to work
a call centre, to pay the bills. Any creative work you do really leads to
and learn.
other opportunities. For example, the play I produced this year has led
to a film opportunity, simply because there happened to be a producer
in the audience.
to be and what is your current salary?
It’s hard to say. This year, I hope to earn a little more than $30 000
through grants, commissions and box office royalties.
77

Entertainment
Who employs you?

Subsidised companies like the Griffin Theatre Company – for writing.
Belvoir Street Theatre as assistant director. Schools, universities,
dramatic societies and industry organisations – for teaching.

I really need to exercise my creative side and derive most of my
satisfaction from being involved in creative work. What I like least
is the constant threat of money drying up. Often, I have to do
unsatisfying work to pay the bills, while developing ideas to secure
creative work for free. When writing a treatment for a film, for
example, which can take a year, you only get paid draft by draft and
the project can fall over at any stage. Until this year, I had to support
MYTH myself with casual jobs, including teaching (at the National Institute
theatre is all a of Dramatic Art (NIDA), the Australian Theatre for Young People (ATYP)
bit ‘airy fairy’ and various schools), working in a call centre and as a news librarian
for Channel 10. I have a personal rule that if I have to do money jobs, I
do them outside the theatre industry (and ideally they should feed my
fact
It needs to be
rigorous and requires imagination). I don’t want to get stuck in the wrong department or get
technical skill. frustrated in a role that’s not my expertise and passion simply for the
sake of getting work in the theatre industry. I do have friends that find
the opposite is true.

My most recent project has always proved to be the most interesting
for me. Strangers in Between was a turning point for me in terms of
the honesty and ambition of the characters and the plot. The company,
and indeed its artistic director, David Berthold, really took a chance
with me being a relatively unknown, young writer, so I was really
thrilled that their gamble paid off.
To relax. Anxiety is an unnecessary part of the novice’s process. Just
go moment by moment and it will come together.

you want?
This is tricky to achieve when it comes to creative jobs, as turning
creativity on (when you need it) and off (when you want downtime)
is not that easy. If you don’t have the luxury of regular payment, then
you also have to juggle paid work with the time you spend on creative
endeavours. I’m certainly finding it hard to achieve the balance.
78

In s ide r in fo
What type of person do you think best suits being a

playwright?
glossary
There’s no single type of person. It requires variety and diversity. I’d Mentor means:
say anybody wanting to pursue a career in dramatic art needs to have
– a senior practitioner who
great determination and drive. You need to have a keen engagement gives a more junior one
with the world around you and a need to articulate a response to that help and advice over a
world. period of time.
What should students know about your industry before

It’s going to be a continual process of education so you need to be find out
open to that. Treasure a trusted mentor if you find one – someone who
can strengthen, teach, nurture and test your knowledge of the craft.
more
The Australian National
Having David Berthold as my mentor has made all the difference. Playwrights’ Centre
Has your career choice lived up to your expectations? www.anpc.org.au
Absolutely. When I was 16, I staged a play in my hometown. The script Interplay is committed to the
won a competition in Sydney and I met David Berthold. I dreamed of development of
being a playwright from that age and am continually energised and young playwrights
grateful for the many opportunities and rewards. www.worldinterplay.org
What is something you had to learn the hard way? Sydney’s Griffin
Responding to public criticism and, to be honest, I’m still not good at Theatre Company
www.griffintheatre.com.au
it. It’s essential and strengthening, but really hard when you’ve spent
a year working hard on something and then are severely criticised in a Check out Company B, one
public forum. It’s also hard to accept that a project you have spent so of Australia’s most respected
much time on might not be as great as you had hoped, and you have theatre companies
www.belvoir.com.au
to admit that you have failed, despite all the hard work you’ve put in.

Read and watch widely – feed your imagination.

application?
I still don’t know. That’s a skill I’m still working on. One essential skill
in
is editing.
brief
Is networking important? Playwright
Yes, but it’s not something you should focus on. In fact, the most
$$$ 30K
enjoyable side to theatre is the social stuff – being part of a quals BA, postgraduate
community or ‘hanging out with your mates’. Calling that networking study of dramatic
art and directing
though might lose rather than win friends for you!
hrs/wk about 50
Are there professional organisations that support your life–work it’s tricky because
industry? you can’t just turn
creativity on or off
There are a number of professional organisations like the Australian
flexibility no; it’s hard to
National Playwrights’ Centre (ANPC), Interplay (the young people’s plan, especially if
international playwright conference), ATYP and the Media, your partner has a
‘nine-to-five’ job
Entertainment and Arts Alliance (MEAA) that provide useful support.
79

Entertainment
myweek
9.00–5.00 Writing 9.00–5.00 Writing
Evening: Teach or go to the Evening: Teach or go to the

theatre theatre
9.00–5.00 Teaching or running 9.00–5.00 Running workshops

workshops
Evening: Teach or go to the
Evening: Teach or go to the theatre
theatre
9.00–5.00 Writing
Just hang out if possible
Evening: Teach or go to the
theatre
80

In s ide r in fo
David Twyman – Freelance designer cv set designer >>

interior designer >>
David certainly takes the notion of not putting all your eggs in one
basket seriously – from week to week he works in vastly different costume designer >>
environments doing different tasks. The 26-year-old works as a venue designer >>
freelance designer, covering both the corporate and creative spectrums. freelance designer
Within his designing career, David works for companies and
organisations that require a theatrical design – being self-employed
means it’s important to try everything and learn many skills.
He also works full time in a customer service role to ensure financial

security.
q&a
What do you do in your job?
The entertainment side involves working from a design brief to create
the designs required, be they for a set design for a theatre show,
an interior for a cafe, costumes for a show, or a theme for an entire
venue for a dance party. Although I’ve been trained in theatre design,
I have the skills to design for a whole range of areas and mediums. I
designed solidly throughout my training at the National Institute of
Dramatic Art (NIDA), which started in 1999, and have been working in
the industry since 2001 after finishing my tertiary training.
Who do you work for?

I have a good balance of creative and corporate work which certainly
helps with the cash flow. Designing for different areas and fields not
only creates a variation in what I do, but also balances out the amount
of money that can be made from different fields of the design areas.
Corporate events can pay good money, but often lack the creativity
that you get from theatrical design which doesn’t pay very well. It’s
hard to give an accurate income for freelance design work because the
very nature of it is irregular and fees depend on the scale of the event
and the field it is in.
Best year was two years ago when I travelled to China to design the
interior of a casino. Worst year has been this year when there were
gaps between jobs.

Like a lot of artists, I don’t really have a choice about what I do – it’s just
something I have to do! What I love most is the satisfaction of creating
and making whatever I do look amazing. The types of designs I do also
involve great variety so it’s always changing and never boring. The
biggest challenge with working freelance is when I have to fight to get
paid for work I have done on time. This is one of the things that I like
81

Entertainment
least about my occupation, and I’ve had to learn the hard way how to
safeguard myself against this. The unstructured work environment
also makes things a little tricky at times and I definitely don’t enjoy
the uncertainty of where the next job is going to come from.
What’s an interesting project you have worked on?

Working on the after party for the Gay and Lesbian Mardi Gras is a
great experience for me. I work on the shows that happen during the
evening. Watching something of that scale is exciting and satisfying
for me because a lot of my best work is big and operatic in style.
Having an audience of 7000 all focused at the same time watching and
enjoying my work is a great feeling.
Training in the business side of things would have been a huge help
– training in things like how much to charge for work, your rights as
the designer and who owns the work.
What type of person do you think best suits this type

of work?
For this industry you have to have the ability to design in a variety of
fields from theatre and performance-based design through to interiors
and static events. You also have to have confidence in your work and
the ability to present that work to people in a professional manner.
Personality plays a large part as well. Liaising and working with a wide
range of people is a part of the job, so people skills are important in
making sure those relationships are smooth and effective.
A compilation of David’s costume designs.
82

In s ide r in fo

It’s hard! Being able to expand on your skills will always be a plus for
you from an employer’s perspective. The more you can do the easier
you are to hire.
What, in your opinion, is a commonly held myth? What’s

the reality?
The really amazing jobs that you see around that glamorise the
industry are few and far between. Usually, to be satisfied with the
creative process, you’ll have to do it all by yourself. As a designer,
you’ll always have input on your work from other people and things
will ultimately change away from what you originally wanted. It’s not
an easy career to choose, you really have to love it.

Since I discovered what a designer did I’ve wanted to do it as a career.
The only difference now is that I know there are many fields that
designing can fit into, so it’s important for me to try to find the areas
that best satisfy me as a creator. I’m still only at the beginning of my
career, though, and have so many goals I want to achieve.
What are the important things you can do to advance your

career?
Learn more skills and never just do one thing. Try everything and get
your work out there so people can see it. Don’t expect them to come
to you, go to them.
What are your formal qualifications and are formal

qualifications necessary for your line of work?
I have a BA in Design from the National Institute of Dramatic Art
(NIDA) and I’ve found that the formal qualification has been necessary
– maybe not in teaching how to design, but in enabling me to try
new things and to think differently as far as design is concerned.
Formal training has also opened some doors and has given me a good
background that is respected in the industry.
Which subjects or aspects of your study did you enjoy the

most and have your formal qualifications equipped you for
the reality of working life?
A large amount of my training was practical and therefore enjoyable.
Learning by doing was absolutely the best way to practise and know
what my process was as far as coming away from a design satisfied.
The workload that I encountered during my training was the hardest
part, but being able to succeed in that has made it possible to get
through anything that comes my way in my working life.
83

Entertainment
Are there ways of getting into the industry or your position

apart from these qualifications?
Training isn’t always necessary, but I do believe it’s essential if you
want to be good at what you do. You can get work in the industry by
doing work experience and meeting the right people, but to be able
to compete against people who have been trained and have more
fine-tuned skills, your knowledge of design needs to be just as high
as theirs. For theatre design, NIDA is the place in the country to go to,
when it comes to learning additional skills and gaining knowledge.
TAFE courses, although more hands-on, are great too.

The only work I’ve done in the industry as a designer or assistant
came during or after my training. NIDA was the first thing I did as far
as working in the industry and all my work has come from that.

A lot of it is about who you know or being in the right place at the
right time. Getting your work seen and remembered by people in the
industry is the best way to get more work.

application?
That’s still a work in progress. To pitch for different jobs you need to
change what you do to fit the employer’s needs. It’s not easy, but if
your work is good then hopefully they’ll see that.
Can you recall anything you did or said at interview that you
feel made you stand out from other candidates?
My entrance interview at NIDA was a difficult one, but I took all the
criticism as they gave it to me and listened to what they thought was
good or bad about my work. Taking something good from that and not
in
brief being offended because they didn’t like it as much as I did is always a
good thing to do. It shows an employer that you are able to work with
Freelance designer
differing opinions and can leave your ego at the door.
$$$ variable
quals BA in design (NIDA) Is networking important?
hrs/wk 4 hours per day Networking is a huge part of working in my industry. For some, it’s not
designing, 8 hours what you know, it’s who you know. As sad as that is, it’s a reality.
customer service job
life–work not ideal but What is your typical week like?
designing work To pay the bills, I have a full-time gig (not in design). So when design
is a passion
work comes in, I have a very large workload over the whole week.
84

In s ide r in fo
Hamish Peters – Set and costume designer cv pharmacy assistant

>> hair salon assistant
Hamish would love to be designing
all the time, but the reality for >> costume department
him, like so many others in the assistant for television
entertainment industry, is that that show >> dresser set and

just won’t pay the bills. With five costume designer
years in the set and costume design
industry under his belt, Hamish still
has another job – as a dresser – to
pay the rent and bills. Now 29 years
old, he’s had part-time work at all
times while pursuing his theatre
design career. Hamish certainly has Set and costume designer
the qualities of diligence, discipline Hamish Peters loves being
and passion that he believes are creative and giving audiences
essential for anyone in this industry a new view of the world they
live in.
if they hope to keep working towards
their goals.
q&a
What does your job involve? detour
I am responsible for the design or look of a theatrical or film
production. And, that really means creating a world in which these Find out about other jobs in
productions can take place. I also work with the manufacturing design in CareerFAQs
departments to realise the actual costumes.
Can you describe the process?
Usually, I begin with discussions about a piece with the director, after
having read the play (or film manuscript). I then research the period
because for costume design, it is vital to understand the period
details. I also look at research that describes the atmosphere or
feeling we are trying to achieve. After that, it’s just drawing ... drawing
... drawing. It’s about continually refining the character/s, and creating
the characters in the play. The drawings are then presented to the
director (who has been in constant contact during the design period)
and to the production company. Next comes the manufacturing
process, which involves working alongside a costume manufacturing/
wardrobe department to choose fabrics, work with the pattern cutters
and machinists, and have fittings with the cast. During this time, I’m
constantly editing and fine-tuning the design.
85

Entertainment
It depends. I work on a contract basis, so the lower scale might be around
$2000 per project, increasing to up to $6000 for someone at my current
level, and going up to $10 000 for larger-scale projects and companies.
Who employs you?

I am mostly employed by private theatre companies or film production
companies, which can either be subsidised or independent. I am
currently working for Opera Australia, and Pinchgut Opera on a project
basis. A project can range from a few weeks to several months to a
year or more. As a designer, you are contracted up until opening night.
What do you like best and least about your work?

I love being creative and giving an audience a new point of view of
the world in which they live. But, I really hate the scarcity of work for
emerging designers.
What is an interesting project you have worked on?

I designed the set and costumes for an Opera called Dardanus – a
French baroque piece that had never before been performed in this
MYTH country. It was my first large-scale job. I enjoyed the autonomy of
theatre is artsy and being in control, and facing the challenges of space and budget. I also
flippant; decadent enjoyed the collaborative process with a director who was based in
and indulgent the United Kingdom.
fact
It’s a demanding
profession that can
really move audiences. I would have liked to have known that it would be harder to get work.
But, I investigated it myself during my earlier years. For me, choosing
this career path has been a gradual process, rather than just deciding
one day that I want to be a theatre designer.

you want?
I have another job to pay the rent and bills at this stage, and have had
part-time work at all times while pursuing my theatre design career. I
worked in a pharmacy for about 14 years. I have worked in a hair salon
and as an assistant in the costume department of a television show.
I would love to just be designing all the time. But, the reality of the
fyi
industry at this stage is that I need other sources of income. This isn’t,
Theatre design encompasses however, necessarily true for well-established designers.
roles beyond designing,
including model-making, What type of person do you think best suits design work?
drawing costume illustrations, I think someone who is creative, technical, intelligent, open to new
making costumes or props, ideas, sensitive to a whole range of emotions, and able to express
sourcing, finishing, abstract thoughts in a three-dimensional space. You also need to be
and dressing.
diligent, disciplined and passionate to keep working towards your goal.
86

In s ide r in fo

glossary
Certainly, the more you do, the more people see your work, and the Finishing means:
more places you can slot into in the industry, whether it be designing, – breaking down costumes
model making, drawing costume illustrations, making costumes or or props, giving them a
distressed look if something
props, sourcing, finishing, or dressing. All these skills are part of the
needs to look aged and
whole world of theatre design. lived in. It might also be
What is a commonly held myth? What’s the reality? giving something an antique
look, say for a prop you
A big myth would be that theatre is artsy and flippant; decadent and
bought new, for use in a
indulgent. I think it is actually a very demanding profession. As an period play.
art form, and from an audience point of view, it can also transform a
person’s soul. It can take you to emotional places you would not get to
in ‘real life’ and it can tell you about where you are and why you are.

My career choice has definitely lived up to my expectations, and
continues to do so, but it is a slow process.

How hard it is to get a job; and then to get that to pay off by leading to find out
other work. more
What do you think is the most important thing you can do to Opera Australia
www.opera-australia.org.au
You have to be the one to have the most interesting take on a project. For a more intimate
And, hard as it is for artists sometimes, you have to be able to experience of opera,
try Pinchgut Opera
compromise to a degree. www.pinchgutopera.com.au
I’ve been involved in a series of small-scale works with schools and
small independent theatre companies, which have been very valuable
in enabling me to try things out, make mistakes – and even have the
odd triumph!
Are there any particular recruitment processes candidates

should know about?
There is really no such thing in this industry. Most of it is word of
mouth, reputation and luck. That said, developing a good body of
work in a portfolio is a good start.
Is networking important? in
In the theatre industry, it is all about meeting people, and networking. brief
There is a little bravado, and going out and saying you can do certain Set and costume designer
things. I got my first big break, which was designing an opera, $$$ 2K–10K per project
because a director who I had worked with knew someone who was hrs/wk varies
looking for a designer – and he suggested me. life–work I have two jobs!
87

Entertainment
Dressing
Dressing refers to dressing actors and actresses for their scenes,
ensuring that the costumes fit properly, are clean and in good
condition. Set dressing in theatre is usually done by the designer
and then each night of the run of the show by the backstage
crew. Although there are no formal courses for dressing in the
theatre, either set or costume, it can be a good in and a way to
pay the bills. If a costume dresser, you might start volunteering or
might get into it via a course in costume making, like the Theatre
Makers Degree at the National Institute of Dramatic Art (NIDA). A
start in set dressing, or decorating, for film would involve either
volunteering for a short time to the set decoration department
to make the initial contacts and then being available and putting
your hand up for more experience as each film comes up.
Many people think that

theatre is all about
red carpets and champagne.
This only happens after a
hell of a lot of hard work.
88

In s ide r in fo
Katrina Adams – Freelance film and cv marketing material
theatre designer designer >> interior

designer >> corporate
Theatre design might be Katrina’s
project designer >> school
first love, but lately she’s mostly
show designer >> theatre
been working with film, including as
design tutor >> set design
a set design assistant on Superman
assistant >> costume
Returns, and for Baz Luhrmann
designer >> freelance
on his new, as yet unnamed film.
Interestingly, while working in theatre, designer
most of Katrina’s income came from

other related areas of design like
teaching design at the National
Institute of Dramatic Art (NIDA) Freelance designer Katrina
and other educational institutions, Adams is happy to give
150 per cent!
designing events for companies,
graphic design, and domestic interior design projects. At age 29, Katrina
has been doing general design for the past eight years, and theatre and
film design for the past two-and-a-half years. While hard work, long
hours and little pay are the reality of Katrina’s working life, she wouldn’t
have it any other way, and gives ‘150 per cent’ to her chosen career.
q&a
Depending on the job at the time, I am either designing a set for a
theatre production or designing the costumes, or both. I sometimes
also design the marketing material, such as posters and postcards, for
those shows. Very occasionally, I do some domestic interior design. I
also teach set and costume design to young people through the NIDA
Open Program as required.
What do you do at different stages of production?

In freelance designing, every day is different. My weeks vary
depending on the proximity to the opening of a show.
If I felt I was on top of all the work I had to do in one week I might take
it a little bit easier or begin updating portfolios or trying to make new
contacts and get more work.
If it’s a week before a show opens, I’ll be running around like mad
sourcing props, going to the hardware shop, sourcing costumes, dyeing
costumes, sewing costumes, going to meetings, sitting in on rehearsals,
and going to the theatre to ‘check in’ with the head of the lighting crew
to answer questions and make sure rigging of the lights is on schedule.
89

Entertainment
What was it like working on the set of Superman Returns?

Just to clarify, working in the art department on a film does not mean
you are necessarily ‘on set’ every day. Most of the art department’s
work is, in fact, done in advance. So, while the film was being shot, we
were working on the next set to be built. Working on such a big film
was a very interesting experience – there were reports at the time that
it was the most expensive film ever made! Just to see how such a big
film was made, how much money was spent and how much work was
involved were the highlights for me.
The experience of having a good job and steady income, with regular,
albeit long, hours was also really enjoyable. Working in a team
environment, as opposed to working for, and by, myself was also
a nice change. I made a lot of new friends and contacts. Superman
Returns also involved a lot of computer work (Photoshop) and
photography, which was really a great opportunity to improve my
computer skills. I developed a lot of my graphic skills on that job
and learnt a lot about the presentation of ideas to make a project
flow smoothly. People respond and can read graphic presentations
in colour so that is how most of the work was presented. I also did
a lot of photography – firstly because I put my hand up for it, and
secondly, because absolutely everything had to be documented for
archiving (and marketing) purposes. For example, a lot of the beautiful
work done by the models, props and costume department had to be
documented for the Art of Superman Returns book.
It’s really hard to say as it changes from year to year. It could be
anything from $30 000 to $55 000 depending on how much work I
get. Most of my income does not come from theatre, but other related
areas of design.
Who employs you?

As a set and costume designer, I’m mainly employed by private
companies, or I volunteer my time to small theatre companies. These
are formed specifically to put on a show where everyone gets paid on
an equal basis depending on the success of the show. I have also been
employed by schools to design for their school shows as well as other
educational institutions and companies. I am employed by individuals
on a consultant basis for domestic interior design projects.

I love the creativity of design for theatre and the conceptual nature of
set design. I love the speed with which you see a design realised and
the collaborative nature of theatre. The fact that you sometimes don’t
know what each day entails can, however, be trying. Although it’s
great having that flexibility, it does make it hard to plan for the future
when you don’t know when the next pay cheque is coming in.
90

In s ide r in fo

Probably the most interesting job I have had to date – post-NIDA MYTH
that is – was when I worked for seven months for Baz Luhrmann and film work has lots
Catherine Martin doing design research for a project, Alexander the of red carpets and
Great. Although it didn’t ultimately proceed to the production phase, champagne
which was disappointing, it allowed me to combine my love of design
fact
with my love for history and research. I always love the first phase of a The red carpets are
usually only there
project when you are researching a particular period in history or place.
for the actors.
It’s fascinating learning all about things like costumes and armour, and
finding out all the information you need to know to start the design
process. I read and wrote for seven months, which was a great change
of pace. I really began to understand the scope of working on a very
large project and just how much detail you need to know.
That you usually have to work on so many different projects at the
same time to make ends meet, which means you often end up not
enjoying the work because you are working so hard.

you want?
I haven’t worked out yet what the work–life balance that suits me is!
I would say that working as a freelance designer you are more often
working with less time for life than you might want. The boundaries
between the two are very blurred as your friends are also the people
you work with. You end up socialising with the people you work with
and discussing work a lot of the time.
What type of person do you think best suits film and

theatre design?
Someone who is prepared to work very hard. As a designer you usually
do all the design work at home alone, occasionally meeting the
director and co-collaborators for meetings. So, you need to be quite
self-motivated. At the same time, it really helps to be able to get along
with a lot of different types of people as the designer has to be able
to communicate their ideas to everyone involved – from the director
and lighting designer, to the actors and people who paint and build
the set. This is all in addition to being a creative thinker and problem-
solver. Ultimately, you need to have an artistic voice and be able to
translate that into a very tangible creation on stage for an audience.

It is a small industry and it’s not well-paid because the arts are not
well supported by the government. You have to rely on word of mouth
about your work and your personality to get you more work in the
future. That said, however, it is very satisfying and can be a lot of fun.
91

Entertainment

fyi I wanted to be doing something full-time that I loved and was
Corporate design creatively satisfied by. For the most part, working in theatre has
opportunities include fulfilled that need. However, like everything, there are always the
fundraising events, product boring things you have to do with any job. You can’t expect to be
launches and parties.
creative 24 hours a day, every day.

It has taken me a long time to work out that I can’t be doing only
creative and fun work all the time. There is a reason why it is called
work! Only a small percentage of your time is actually doing the
design work. After that, there is a lot of work involved with making a
design happen.

Give 150 per cent to everything. I do. It’s all about word of mouth
getting you the next job.
I did a lot of non-related part-time work through school and university
years. It was only after my first degree that I decided my love for
theatre would hopefully become a career. After further study, the jobs
were all work and income, so none of that work influenced future
career choices.
in
brief Is networking important?
An art director I worked with on a previous film phoned an art director
Freelance designer
on Superman Returns for me, as they knew there was a job opening.
$$$ 30–55K
This secured the personal recommendation and an interview where
quals B Design, Bachelor
of Dramatic Art they could see that I was more than capable of doing the job. So,
in Design networks certainly helped here. Of course, the first art director would
hrs/wk approx 50–70 not have recommended me if they did not think I could do the job, and
life–work you’re more often was good at what I do!
working with less
time for life than Is there anything you did or said at an interview that made
you might want
flexibility great, but hard not
you stand out from other candidates?
knowing when the I would have to say that a personal recommendation is more than
next pay cheque likely to get you the interview in the first place. Then, a combination of
is coming in
personality and a good portfolio would be the standout.
92

In s ide r in fo
Matt Connors – Head of department cv child care worker >>

scenic artist builders’ labourer >> set
painter >> scenic artist >>
Matt Connors has worked on a host of major films in his 22 years in
head of department
the industry, ranging from Mad Max through to Star Wars: Attack of
scenic artist
the Clones. Without formal art school training, he’s advanced on the
basis of the quality of his work, and his attitude, which is that the
work is all that matters in the end.
q&a
Briefly describe what you do in your current job.
I run a team of set painters, coordinate all painting of film sets and
backgrounds and perform specialist paint finishes.
What is the salary package in your job?

People in my position earn between $2500 and $3500 per week,
depending on their standing in the industry and what they
can negotiate.

It is always different depending on the size of the production and the
personalities involved. Star Wars had a scenic team of 42 at its peak,
Ned Kelly had 12.

The end results are very satisfying and it is very social.

The long hours, and there are a lot of stressful deadlines.
What projects are you working on right now?

At the moment, a TV commercial. I am soon to begin on the new Baz
Luhrmann picture.

The new digital camera technology is changing how we work.
The camera is seeing more and the standards are becoming more
demanding.
Do you have to travel for work?

There is a lot of travel, within Australia and overseas, mostly to Asia.
I love it.
What is it like working with internationally known actors and

directors?
It was thrilling when I was younger and had less responsibility, now I
am too busy and focused mostly on my particular job.
93

Entertainment
What do wish someone had told you about the industry

The long hours, the unstable lifestyle.
Does your job allow you to achieve the life–work balance that
suits you?
No, not really. It is a real feast and famine situation, with full-on work
followed by periods of unpaid downtime.

I average 60 hours on a normal feature. Fifty is the standard for
someone who is not the head of the department.
Where to from here?

My ambition is to retire at 50 with my reputation intact.
Do you think there are qualifications for your job, or is

experience more important?
On-the-job experience is the only way. Nothing can prepare you for
the sometimes odd tasks you will perform. In the early 80s there was
plenty of time to teach the skills, now things are tighter, and training
is an issue. You have to learn fast.
Are there any particular recruitment processes that people

should know about?
Not really. Getting a job is luck of the draw. There is no qualification,
and I prefer someone with a trade background to an art or film school
person, they just seem to be easier to teach.

application?
in Be yourself and don’t lie about your skills or experience.
brief What do you think that you said or did at interview that
Head of department
scenic artist helped you get the job?
$$$ 2.5K–3K per week,
Nothing really. I was lucky. Mad Max was looking for unskilled people
when you are and I then fell in with the scenic artist. Work followed on from that.
working
quals on the job Is there anything else you think young people considering
hrs/wk 60–80 this career path need to know about the industry?
life–work feast and famine Don’t get caught up in the people or the lifestyle, your work is all that
matters in the end.
94

In s ide r in fo
Chris Twyman – Lighting designer cv associate lighting

designer >> lighting
Chris has his own lighting company
called Chris Twyman Lighting Design. designer
Working an 80-hour week for as little

as $22 000 in a lean year might not
be everybody’s idea of a rewarding
career, but, at age 24, lighting
designer Chris Twyman doesn’t have
any regrets about his career choice.
Although he wishes someone had
told him how underpaid the job
really is in relation to the hours
worked, Chris enjoys the variety, Regardless of the long hours,
flexibility and travel opportunities lighting designer Chris
that come with the territory. In fact, Twyman is happiest when
when he finally gets time to relax, he he’s working.
finds himself ‘in desperate need of some work to do’.
q&a
I work as a lighting designer in live theatre, which involves designing
all aspects of the lighting of the production. I work closely with the
director, set and costume designers, composer/sound designer, and
actors. I am responsible for overseeing everything from the placement
of the lighting instruments to the composition of each lighting cue. At
all times, the focus is on working towards the ultimate ‘goals’ of the
production as a whole.
How long have you been working in the industry, and in your
current position?
I have been working in this industry for seven years, including three
years at university (NIDA) and doing some professional amateur
or ‘pro-am’ work prior to this in the theatre. I have been working in
professional theatre for three years.
My work is contractual so there is no set income. Fees for a lighting
designer at my ‘level’ range from around $750 to $3 500 per
production. My gross earnings per year usually range between
$20 000 and $33 000 at this point in my career, but it is not uncommon
for the few ‘top’ lighting designers to earn up to $80 000 a year.
95

Entertainment
Who employs you?

Generally, I am employed by theatre companies on a contractual
basis, that is, show-by-show. I am also occasionally employed by
the odd school or educational institute to light a production or teach
lighting design and its technical aspects. To date, I have worked for
the Sydney Theatre Company, Griffin Theatre Company, Australian
Theatre for Young People, Bangarra Dance Theatre, and Jacobsen
Entertainment, among others, for performances in venues like the
Sydney Opera House, the Adelaide Festival Centre, the Queensland
Performing Arts Centre, His Majesty’s Theatre Perth, Theatre Royal
Sydney, Sydney Theatre, the Victorian Arts Centre, and the Princess
Theatre Melbourne.
What do you like best about your occupation?

The variation. In a single week I can be working on up to five different
productions in various stages of completion. I also enjoy working from
home some days and being in the theatre on others. Every show is a
collaboration with a different group of people in a different theatre,
sometimes even in a different city or country, and that is really exciting.
What do you like least about your occupation?

Probably the creative stress – the fear that either what I design will be
inadequate or that the final product will be vastly different to what I
had been aiming to achieve.
Is there an interesting project you have worked on?

I was associate lighting designer on two Sydney Theatre Company
productions (both new plays) – Harbour and The Republic of Myopia,
which opened the Sydney Theatre in Walsh Bay in early 2004.
The simple fact that they were the first-ever productions in a new
multi-million-dollar theatre made them really interesting. This factor
added, not always in a positive way, to the voyage of discovery that is
producing plays that have never been performed before. Needless to
say the production had disasters in biblical proportions – fire, flood
and pestilence (the pestilence was a chicken pox epidemic!)
I wish someone had told me how underpaid the job is in relation
to how many hours are worked, and how much devotion is really
required to make it in this business. That said, had I known, I still
would not have been deterred from choosing this line of work.
96

In s ide r in fo

you want?
Compared with many other professions, the balance is definitely
tipped towards work rather than ‘having a life’. Of course, if you
are fortunate you will find the work fulfilling enough to not find the
balance inadequate. When I’m busy, I often crave a holiday. Yet,
when I’m holidaying, or more specifically not working, I find myself in
desperate need of some work to do. find out
What type of person do you think best suits your sector of
more
Jacobsen Entertainment
the industry?
presents live entertainment
I think it’s important to be creative, flexible and dedicated. Excellent and manages venues and
time management skills and the ability to handle working long hours facilities
are also a prerequisite. A caffeine addiction comes in handy too! www.jacobsen.com.au
The Adelaide Festival Centre
presents arts activities and
choosing it as a career? performances
It is not like many other ‘conventional’ jobs. There are no set hours www.afct.org.au
of work. You don’t get weekends off and you don’t get paid every Check out the Queensland
fortnight. You work when you have it and rest when you don’t. Performing Arts Centre
www.qpac.com.au
I feel it has. Although, today, I struggle to remember what my His Majesty’s Theatre is one of
Western Australia’s best-loved
expectations were. I think they have evolved over time. It is always
heritage icons
satisfying to witness an audience of people enthralled, shocked, www.hismajestystheatre.
moved to tears or laughter in response to a performance that you have com.au
contributed to.
97

Entertainment

It was tough going learning how to manage a lighting crew. When you
are young and ‘new’ (anyone who has been in the industry for less than
10 years is considered new), it can often be hard to gain the trust of the
crew members, who in most cases have an average age of two to three
times your own.
You need them to trust you and to trust that you know how to perform
your job. They need to know that you won’t make mistakes that will
create more work for them to fix. This trust is something that needs to
be formed with each crew on every show where the crew hasn’t worked
with you before.
Over time, hopefully, your reputation will precede you somewhat and
the trust will already be there when you step in the door on the first
day of production week.

Work hard! Fight for what you believe in, but be prepared to
compromise if necessary. Look out for yourself but never burn bridges.
It is a very small industry with a very extensive grapevine.
I often worked as an associate lighting designer to ‘larger’ designers
with many more decades of experience than I.
The people you meet through working with these designers, and also
in the knowledge you obtain from working with them, are extremely
brief useful.
Lighting designer
$$$ 20K–30K, but
can reach 80K
quals Degree in Technical ‘Who you know’ is essential. It’s important to build up connections
Production (NIDA)
with other people in the industry as this will become your main way to
hrs/wk about 80
life–work definitely tipped
get work.
towards work rather
There are seldom advertisements for available jobs in the newspaper
than ‘having a life’
flexibility it’s flexible in that
and interviews are rare. The work really finds you through
you work when you recommendations from your peers, which is why your reputation in
have it and rest the industry becomes so important.
when you don’t
Enthusiasm also counts for a great deal when starting out.
98

In s ide r in fo
myweek
2.30pm Arrive at theatre, ‘check in’

with head electrician, make sure rigging 10.00am–midnight
of lights is on schedule Working in the office, drawing lighting
7.00–11.00pm Start focus session plan and producing paperwork for a
– each light in the rig is powered up new production in Adelaide
and pointed to the section of the stage
that it needs to light
11.00–6.00 Focusing
10.00–1.00 Watch actors rehearse
7.00–9.00 Fixing problems with colour for a production I will light in a few
scrollers in the rig weeks time
9.00–11.00 Plot session with director 2.00–11.00pm Preparing plans for a
and lighting operator, creating all number of other productions coming up
lighting cues by setting each light at a later in the year
percentage level in each cue
9.30–1.00 Plotting 10.00am–10.00pm Draw up a lighting

plan for a production in New Zealand
2.30–6.00 Technical rehearsal
– run through whole show. Make fine Sunday
adjustments to cues and timing. 10.00am–6.00pm Same as Thursday
8.00–10.30 Opening night 8.00pm Production meeting with
director, producer and other members
10.30–11.00 Adjustments after show
of the creative team for new production
99

Entertainment
cv hairdresser >> Margaret Aston – Hair and make-up artist

make-up artist
For 36-year-old working mum Margaret Aston, a freelance career in
hairdressing and make-up for the entertainment industry provides
the variety and flexibility she needs. In her 12 years in the profession,
she’s done anything and everything from straight male make-up for
photography stills to make-up for blockblusters like Lord of the Rings,
detour which involves character development.
Find out about other jobs After school, Margaret went straight into hairdressing, which she
in this field in CareerFAQs mastered over seven years, before also branching out into make-up.
Beauty and Fitness
Today, she’s happily marrying her career and family commitments.
q&a
I apply, remove and maintain make-up and take care of the
hairdressing requirements for actors and models for films, TV, stills
(photography, usually for magazines) and weddings. Often I have to
design the look required by interpreting briefs, be it for a character
in a film, or a model in a still. This involves reading the script and
breaking it down into manageable chunks.
Which areas of your work do you find most challenging and

most enjoyable?
Film is definitely the most challenging as you have to maintain
continuity of characters over a long period of time. For example, if
an actress has gone for a swim in the previous scene, you have to
remember she has wet hair.
TV is also challenging, particularly live TV, in that there are time limits.
There’s the pressure of going live to air. Stills are also hard as it is one
photo you are making up for therefore it’s more easily scrutinised.
Animation, on the other hand, is alive and involves movement,
so there are distractions and less of a focus on one image. With
photography stills, you’ve only got one shot so it has to be perfect.
When I started on this career path, I did a lot of work for weddings,
and this is certainly a good starting point for anyone wanting to
practise and make some money while waiting for the breaks.
Now, with two small children, I’m finding weddings are once again
proving useful as they give me the flexibility I need to manage career
and family commitments.
100

In s ide r in fo
What is a typical salary package for your type of work?

At my level, it is $50K+ depending on the amount of work. It can take
anything from 12 months to five years to get to this level. The fact that
work levels fluctuate is the biggest problem with this industry. You
can literally spend five years doing nothing (which is where weddings
come in handy) as work can dry up at the drop of a hat. Or, you can
have a year of frenetic, back-to-back work. You generally start with
nothing – in fact, in the early days, working for free is a way to get into
the industry.
Who employs you?

I’m employed by film and television producers, magazines, and private
clients.
What do you like best about your occupation?

I love the variety – there are different locations, different people and
different job types. For example, I’ve done anything and everything
from straight male make-up right through to character development
for a film. My career choice has totally lived up to my expectations.

I don’t enjoy the long hours. A basic week on a film can be 60 to 70
hours a week, not including travel time, which can be substantial as
most films are not shot in Sydney. Make-up has to be first up so it can
be as early as a 4 am start – ending 15 hours later!
101

Entertainment
What interesting project have you worked on?

Working in New Zealand on Lord of the Rings for seven months was a
definite highlight of my career. I just loved everything. It was a huge
production, being shot in a beautiful location with some of the most
creative people in the industry.
Does this job allow you to achieve a life–work balance that

suits you?
Yes, I don’t work every day and I don’t have to work all the time. It’s
nothing like a regular ‘nine-to-five’ job, so I can do other things with
my life (right now that’s looking after two toddlers). The downside is
that often I can’t take weekends off.
MYTH What type of person do you think best suits this type
it’s all about of work?
models and glossy You need to be artistic and tolerant. You also need to be able to take
magazines instructions and directions, and to interpret what’s being asked of
you. You might not have done a bad make-up job, but you do need to
be able to interpret the character. For example, if 1950s make-up is
fact
You could be standing

in the snow for 10 called for and you come up with 1920s make-up, you’ve got it wrong,
hours a day. no matter how good your actual make-up might be.

It’s hard to break into even after doing a course. The commercial
industry is declining and there are always more people than available
work. This is in part because in the advertising industry, for example,
less commercials are being made as they are being replaced by other
things like product placement. There are more schools of make-up
opening up, but not more jobs. To get in you’ve got to really prove
yourself and do your ground work.

Practise. The first time you do it, it’s not going to be right. Do your
research and practise. Also, go to work prepared. Don’t just show up;
you’ll be expected to know what’s expected of you and have some ideas
find out about how you are going to approach the particular make-up assignment.
more Do you have formal qualifications and are they necessary?
The Yellow Pages is the I’m a fully trained hairdresser and make-up artist (12-month course in
best place to find make-up London, certificate). Although I studied overseas, there’s no shortage
schools in your city. of make-up schools in Australia. Look at the school’s reputation,
length of time in operation and who the teachers are.
You definitely need hairdressing and make-up qualifications as you
need to learn the practical skills. I loved all my study and it equipped me
well for the reality of working life. Work experience and working for free
in the early stages are ways of getting into the industry after you’ve got
your formal training.
102

In s ide r in fo

fyi
There are a number of ways to get the job you’re after. Sending your Today, hairdressing and make-
CV to agents and make-up schools is one. You can also become a up roles are combined. You
trainee at a film school, where you’d do films with students. won’t have much of a chance
getting one without the other.
Although it’s not paid, it’ll enable you to get an eye – and even a foot
– in. You can also try to join a grammar studio, where you can get in
experience doing make-up and hair for photographs. brief
If you get an opportunity to get work experience while still at school, Hair and make-up artist
for example, don’t be blasé about it. Take it! $$$ up to 50K
quals Hairdressing
Is networking important? apprenticeship,
Networking is big in this industry. If you have a personal reference 12-month make-
up certificate
from someone reputable you don’t even need a CV. It’s a small industry
hrs/wk varies
and most people know each other.
life–work yes
There aren’t any professional organisations because the industry isn’t flexibility fantastic – I can
big enough to sustain them. There have been some but they haven’t juggle family and
children’s needs
lasted the distance. with work
myweek
5.00am Arrive on set, do make-up, 5.00am Arrive on set, do make-up,

breakfast breakfast
7.15–1.00pm Maintenance make-up on set 7.15–1.00pm Maintenance make-up on set
2.00–2.15 After lunch make-up checks 2.00–2.15 After lunch make-up checks
3.00–7.00 Standby maintenance make-up 3.00–7.00 Standby maintenance make-up
7.00–7.30 Clean up, take make-up off 7.00–7.30 Clean up, take make-up off
5.00am Arrive on set, do make-up,

breakfast Socialise
7.15–1.00pm Maintenance make-up on set
Sleep
2.00–2.15 After lunch make-up checks
3.00–7.00 Standby maintenance make-up Relax
7.00–7.30 Clean up, take make-up off
5.00am Arrive on set, do make-up,

breakfast Socialise
7.15–1.00pm Maintenance make-up on set
2.00–2.15 After lunch make-up checks
Sleep
3.00–7.00 Standby maintenance make-up Relax
7.00–7.30 Clean up, take make-up off
103

Entertainment
cv director >> tutor >> Jane Elizabeth Miskovic – Choreographer

choreographer
The entertainment industry might not offer the glamour that many
expect, but Jane has definitely had her fair share in the choreography
stakes, having been involved in large-scale events from the Sydney
Olympic Opening Ceremony to East Timor’s Independence Ceremony.
Having worked in the industry as a freelancer for six years, Jane,
who is 29, has yet to attend an interview. Rather, every position has
come from a personal recommendation, because she put her hand
up or created it herself. As Jane points out, the key to success in
this industry is enthusiasm, energy, good organisational skills and
leadership qualities – and a love of all aspects of the performing arts.
q&a
What do you do?
I work in a number of different aspects of choreography and direction.
I have led and been part of choreographic teams for large-scale field
events. I have directed and choreographed musical theatre productions,
scene work presentations and cabaret shows. And, I have directed and
tutored musical theatre and dance workshops and classes.
What do you estimate the typical salary package for your line
of work?
The salary package is incredibly varied depending on the event,
show or class. When I first started, I volunteered my time to build up
experience and exposure. Now, my normal rate is anything from
$50 to $200/hr, depending on the job and the employer.

My employers are varied, from secondary and tertiary training
institutions to government organisations and international
event companies.

I love the varied people I get to work with, whether they are industry
professionals or students, and the amazing international experiences
I have been fortunate enough to have. Unfortunately, though, being a
freelancer, most jobs have little security or additional benefits, such
as sick pay or holiday pay.

I have been involved in many large-scale events such as the Sydney
Olympic Opening Ceremony, East Timor’s Independence Ceremony,
the Deaflympics, the Paralympics, and the Schools Spectacular. I have
also been the Associate Director of Choreography for the 15th Asian
Games opening and closing ceremonies in Doha, Qatar (the Middle
104

In s ide r in fo
East). I am currently in Doha on a two-year contract as the associate

director of choreography for the 15th Asian Games opening and detour
closing ceremonies.
To find out about entertainment
Does this job allow you to achieve a good life–work balance? opportunities overseas, see
I love the fact that every day for me is so varied. I have also been lucky Career FAQs Global.
enough to be constantly employed for six years, so I have the luxury www.careerfaqs.com.au
of choosing my work. Because I can organise rehearsals and classes
in the evenings and on weekends, I have had the flexibility of time
to work on my postgraduate (Doctorate) degree within the past four
years too.
What type of person do you think best suits your sector of the
industry in terms of personal attributes, skills and aptitude?
To be successful in this industry, you have to be enthusiastic and
energetic. You have to be organised and have strong leadership
qualities. And, you must love all aspects of the performing arts.

It’s hard and being able to expand on your skills will always be a plus
for you from an employer’s perspective. The more you can do the
easier you are to hire.
The performing arts is a very difficult industry to maintain steady
employment in, especially as most work is offered to known people in
the industry rather than openly advertised. The only way to really get
people to recognise you is to create your own opportunities, volunteer
your time on large projects, and be prepared to promote yourself.

My current career choice has hugely exceeded my expectations. Dance
and choreography were hobbies that kept me sane during high school
and undergraduate university.
However, in the past six years I have worked on some of Australia’s
most exciting large-scale events and worked professionally in the
USA, Europe, Japan, East Timor and the Middle East.
What’s it like working overseas and realistically what are the

opportunities for local entertainers?
Working overseas means you get to experience different peoples and
cultures in a completely unique way, but it also means spending time
away from your family and friends, which is really hard.
When I have worked overseas, the jobs have mostly come through
local events companies who have won the tender. So, even though
I am abroad, I have often been surrounded by friends and work
colleagues from back home.
105

Entertainment

I have worked on over 80 projects of incredibly varied scales and types
over the past 15 years as a student, a volunteer and a professional.
This profession is all about what you have worked on previously, who
recommends you, and how well you did on your last project.
MYTH Every person you come in contact with is a potential employer,

you need to be a colleague or employee. Be friendly and respectful to everyone, but
professional dancer to always be clear and honest about your experience, and also your
be a choreographer willingness to jump into the deep end.
or dance teacher Are there any particular recruitment processes that
fact
It’s about dedication,

Not necessarily. It is good to have a basic knowledge of how a class
energy and commitment.
should be run, how rehearsals work, and how a production is created.
But, most people have very different styles of working, and you need
to create most jobs as you go.
Is there anything you did or said at interview that made you

stand out from other candidates?
I have never had a job interview for this line of work. Every position
has come from a personal recommendation, because I put my hand
up, or I created it myself.
Are there any professional organisations that have

helped you?
There are organisations that have been very helpful in providing me
with training, work opportunities and professional support, including
the National Institute of Dramatic Art, the Australian Theatre for Young
in People, the Bjelke-Petersen School of Physical Culture, the Performing
brief Arts Unit of the NSW Department of Education, and Ausdance.
Choreographer What is your typical week like?
$$$ $50–$200 per hour Every week is completely different. Some weeks I am more focused
quals BSc (Hons 1),
on study and may only teach three to four classes, whereas in other
Postgraduate
Diploma of Directing weeks, I may work seven days from 8.00 am until midnight with any
hrs/wk up to 96 number of different classes, rehearsals, and meetings scheduled into
life–work it’s great that every the day.
day is so varied
flexibility has allowed me What do you wish someone had told you about the industry
to complete a before you started on this career path?
postgraduate
degree
Get health insurance! You have to be at your physical best the whole
time, otherwise you cannot do your job.
106

In s ide r in fo
Dom Hamra – Production manager cv lighting assistant

>> props person >>
A ‘jack of all trades’, Dom Hamra learnt project management through
handyman >> set builder
‘the school of hard knocks’, but also got tertiary training later on in
his career to keep up with the times. Although he admits that project >> production manager
managing creative people can be tricky, there’s nothing he doesn’t

love about the job he’s been doing for 22 years now. He’s been
involved in some notorious, high-profile projects, including the Fox
Studios theme park and clearly has vast experience in the industry.
But, interestingly, no matter how long you’ve been in the industry
or how much you’ve achieved, it seems that you’ll always also be
doing other ‘odd jobs’ on the side. Depending on how much work is
available, Dom still does property maintenance for domestic clients
from time to time.
q&a
What do you do in your job?
I am a freelance production manager, currently working full-time for
Opera Australia, but have freelanced for a host of event companies
over the years including the State Opera of South Australia and the
Queensland Theatre Company. I have been responsible for managing a
wide variety of events from plays and opera to large fundraisers.
I am the key linchpin between the artistic control (working closely
with the director) and financial control (working with the producer and
accountants). I have to ensure that the creative vision is realised, but
within the budgetary constraints.
To do this, I have to also listen to all the people involved in the
production, from the dressers to the special effects people, to ensure
that the budget is used to maximum effect.
What jobs have led you to where you are today?

I started production management for drama festivals while still at
school. Between the ages of 18 and 28, I did a number of related
backstage jobs including working as a props person, a lighting
designer and a set builder. One job just snowballed into the next.
What is a typical salary package for your job?

You can earn anything from $25 000 a year if working for a small
company to $80 000 a year if working for an organisation like Opera
Australia. Salaries in this business are, however, not gender- or age-
related, but rather depend on experience.
107

Entertainment
Who employs you?

MYTH I am employed by public and private organisations or people,
including producers, artistic directors, theatre companies, arts
production
organisations and event organisers.
management
is an avenue to How is your role different to a similar role in the business
becoming an actor world?
The real beauty about production management is that you don’t have
fact
That happens only to know everything about every role, because qualified people – be
in fairy tales. they lighting designers or directors – are employed to fulfil their roles.
My role, therefore, is purely a managerial one – not that different to a
similar role in the business world. Like any manager I have to rely on
my team of people, I have to be a good communicator and I need to be
able to deal with deadlines and staffing issues.
The main difference for a production manager in the creative industry
is that you have to also be able to deal with the artistic temperament
– and that probably requires more empathy than does a similar role
in the corporate world. It would be fair to say that I could slot more
easily into a business production management role than a business
manager would be able to if switching to entertainment.

Building the Fox Studios theme park with Baz Luhrmann. It was
a really challenging two-year project as I wore two hats – that of
production manager and designer.
What do you like most and least about your job?

I’m really lucky because there’s nothing I can think of that I don’t
like about my job – I’m really doing what I love. I deal with so many
different and amazing people on jobs lasting anything from six month
to two years. I love the buzz of opening night. No matter how long a
project takes and how much of the emotional attachment you have,
find out it’s all back on opening night. It’s a real thrill to see an audience being
more moved by something you have put so much effort into.
Visit some of Australia’s
theatre and opera companies
online for opportunities in you want?
theatre and opera production Generally, if you work in theatre, you’ve got to be doing it for the love,
www.sydneytheatre.com.au not the money. It’s all-encompassing. As you get older and family
commitments take over, your priorities change. At this stage of my life,
www.mtc.com.au
I certainly feel I’m getting enough career and family time.
www.opera-australia.org.au
www.saopera.sa.gov.au
of work?
www.qldtheatreco.com.au
You can’t have a big ego, and need to be able to accept that other
www.chambermade.org.au people’s ideas are often better than your own. You need to be able to
www.perththeatre.com.au make executive decisions but, more important, you need to be able to
get the team to realise the overall vision of the project.
108

In s ide r in fo

There are two important rules: First, although you might have the
senior management role, the director has the final say. It’s his vision
that needs to be realised. Second, don’t be late – ever! As a lecturer
once said to me, ‘if you’re one minute late, don’t bother coming!’ If a
show starts at 8.00 pm, it starts at 8.00 pm, not 8.01 pm. You need to
be able to show your commitment to deadlines because not doing so
has repercussions right throughout. You’re part of a team, so time-
keeping is essential to keep things running smoothly.
in
Has your career choice lived up to your expectations? brief
Yes, although I did fall into it rather than knowing that I wanted to Production manager
do it. Once I fell into it though, even in the early years, I knew it was $$$ 25–80K
right for me. Although it’s hard and there’s a lot of responsibility, I’ve quals Certificate of
Technical Theatre,
enjoyed the role more than I thought I would.
postgraduate
course in Production
Management
advance your career? hrs/wk 40–60 (when
Having the opportunity to work with well-known directors and leading up to a
executive producers, because it really boosts your reputation more production), 80–100
(in production)
than the company you work for. You need to be patient though and wait
life–work yes
for the right opportunity. And, when it comes, don’t be afraid to grab it.
myweek
Production meetings Do workshop rounds

Do workshop rounds – check up
Production meetings
on the contractors, wardrobe
artists, sound guys, others Sort out payroll
involved in the production
Track the budget
Track the budget
Do workshop rounds Do workshop rounds

Production meetings Production meetings
Sort out payroll Track the budget
Track the budget
Do workshop rounds
Spend time with my wife and two
Production meetings kids
Sort out payroll Go rock climbing and bushwalking
Track the budget Watch movies
109

Entertainment
cv journalist >> Emile Sherman – Film producer

commercial producer >>
If you thought a film producer just put the money up, think again. As
film producer
co-executive producer and distributor for Rabbit-Proof Fence Emile
Sherman explains, the producer is the central entity in any film project
and therefore requires excellent leadership qualities. Aged 33, Emile
has been in the film production industry for seven years, the last 18
months with his own company, Sherman Pictures. ‘I never expected to
be a film producer,’ says Emile. ‘I just fell into it and found that it suited
my personality and skill base.’ Although it’s a tough career choice –
‘there’s no clocking out at the end of the day’ and there’s not necessarily
a lot of money to be made – if you’ve got good creative and financial
skills, film producing can prove to be a very rewarding endeavour.
q&a
You could compare my role to that of a property developer. I run
a production company that produces films and sometimes co-
distributes films with other distributors. My company legally owns the
movie and, as the producer, I am responsible for raising the budget,
glossary employing the personnel, making the movie and delivering the returns
to the investors.
Pre- and post-production
While the director is the head creative person, the producer is the
means:
central entity in the creation of a film and can be involved with a film
– the periods in the lead-up
for many years. It’s important to be aware that a big part of the film-
to the making of the film and
the time after the making making process happens outside of the shoot.
of the film – both critical
Especially crucial is the development of the script, which can be up to
components in the film-
making process. seven years! Then, you have the pre-production time of anything from
six to nine weeks, and post-production activities, which can take up to
Cottage industry means: nine months. Ultimately, the film can be released up to a year after that.
– an industry, like the
Australian film industry,
What do you like best about your occupation? And least?
which is still in its infancy, is I like the variety. As a producer, in a single day, I’ll be dealing with a
relatively small and requires range of issues, including legal issues, financing problems, selling a
government support to project, dealing with developing a script, discussing a picture edit with
keep going.
a director, and discussing budget.
More often than not, I’m finding solutions to problems and
strategising a way forward to get the best possible outcome. And
when we’re shooting, I’m involved in all the issues around a shoot. I
also spend a lot of time on the phone, and to be honest, I do get tired
of the pushing and selling, and trying to garner support for an idea or
project. It’s emotionally draining and that is the least favourite part
for me.
110

In s ide r in fo

A highlight was working on Candy (due for release in early 2006),
because I just loved the people who worked on the film. It stars
famous Australian actors Heath Ledger, Abbie Cornish and Geoffrey
Rush and is directed by top theatre director Neil Armfield.
My co-producer is Margaret Fink and Luke Davies wrote the novel on
which the film is based and co-wrote the script. This was the most
harmonious team I have yet worked with. You have to use people
skills enormously when making a film.
Often a number of producers and financiers are involved and the
relationship between the various parties can be stretched during the
MYTH
film producing is
heated production process. It’s really important to mesh well, and put
the film first and egos last. And this is what happened with Candy.
about just putting
the money up
fact
before you started on this career path? The film producer
You can’t be an expert at every part of producing because it involves is the central entity
in the project.
such a wide range of skills.
It’s important to know your limitations and be able to delegate to a
team that has been well chosen. That’s why you also have to know
who the good people in the industry are.
you wish for?
Probably not, to be honest. It’s very stimulating, never boring and I
love it, but it’s also very all-consuming, especially if you are running
your own business.
The buck stops with you in every way – and you are ultimately
responsible to your investors. There’s no one to turn to and nowhere
to run. You carry this with you all the time. There’s no clocking out at
the end of the day.

I never expected to be a film producer. I just fell into it, but found that
it suited my personality and skill base. detour
During my seven years at university, I also worked as a journalist. Find out more about working
After that, I produced a low-budget film with a friend. I then started as a journalist in Career
Ocean Pictures with a fellow producer, and recently, started Sherman FAQs Journalism.
Pictures. www.careerfaqs.com.au

I learnt everything the hard way because I learned on the job, by doing
and by making mistakes. I learnt that, especially when a film is in
production, you need to know you’re steering the ship. You’re it. It’s a
leadership role. This is hard, especially when you’re not experienced.
What’s a typical salary for a film producer?

The salary is directly linked to the budget of the film and the number of
111

Entertainment
producers – there’s usually more than one producer on any film. With
the average Australian film being A$4 million, there’d be a $150 000
producer’s fee and $80 000 for company overheads.
Because the feature film-producing industry in Australia is still a
cottage industry, many producers, in fact, don’t earn a living through
producing films alone.
It’s important to remember that every film is in effect a new,
standalone company, with the salary directly linked to the film. That
means, if you make a film, you get a fee. But, if the film is never made
in the end, you don’t get paid for the work that’s gone in regardless
(unlike the US where there is often an ongoing salary for work done on
a film regardless of whether it is ultimately made or not).
find out
more
Here are just some of the film-
related sites you’ll want to visit
www.ffc.gov.au
www.aftrs.edu.au
www.spaa.org.au
www.fto.nsw.gov.au/about.
asp
www.ausfilm.com.au Is networking important?
www.sifs.com.au It’s a relationship-based industry so networking is important. If you’ve
got a good project, but the relationships are bad, you won’t succeed.

Get the rights to a fantastic project (which could be a book) or team
up with a good writer or director. You’re only as good as your material.
112

In s ide r in fo
Do you have formal qualifications and are they necessary?

I completed a Bachelor of Arts and Bachelor of Law at the University
of New South Wales, but never studied film. In retrospect, the training
was perfect for film producing because it covered both the business
and creative sides. English helped me to analyse stories, break
down characters, synthesise ideas, and write well. Law helped with
structured thinking, analysing and understanding the basics of drawing
up contracts. While ‘on-the-job’ training is probably more important,
education is always helpful, and the more you learn the better.
What is your role in the recruitment process?

I employ the whole crew of 80 to 100 people. My role is to choose the
heads of departments including the product manager, accountant and
lawyer. I always work with the director to choose the creative roles,
in
like the cinematographer, editor and casting director. Then, I’m partly
involved in approving the people they recruit.
brief
Film producer
I oversee the whole process and generally have a veto across the $$$ up to 150K per film
board if I’m not happy with any choices or decisions. It’s a fine line quals BA, LLB
of getting the balance of crew right and finding a team that will work hrs/wk 65+
harmoniously together – and this is not easy in the entertainment life–work probably not
industry as there are lots of diverse personalities. in balance
myweek
Meet with sales and investors to

discuss strategy Work on UK project
Follow up on projects in
development with writers
Liaise with overseas contacts re
film distribution
Watch one of my films ‘Opal Dream’

Meet a producer and writer for
to re-edit for US distributor
project development
Read a play
Read a script
Do a press interview
Meet corporate lawyer about
Test screening of a film. starting a film investment fund
More meetings – with the Film Cross-over zone – watching movies

Finance Corporation, a new director, for fun and work
and the sound designer for Candy Family time with wife
Test screening Candy Play tennis
See friends
113

Entertainment
cv manager >> tour Neil Gooding – Concert producer

accountant >> director
After two years in the concert production industry, Neil Gooding started
>> theatre and concert his own company – Neil Gooding Productions Pty Ltd. Six years on, at
producer the age of 29, Neil is more than happy with his career choice. It’s hard
work and often involves extensive travel, but he loves the challenge.
His advice to anyone considering a career in concert producing is
to ‘just be natural and be yourself – what you are like is almost as
important in this industry as what you can do’. Perhaps surprisingly,
Neil says law and commerce degrees, although not essential, have
come in useful for him. And, perhaps even more surprising, you’ll need
a good knowledge of computer software programs!
q&a
This varies depending on whether I am working for my own company
or contracting to external companies. My work involves a broad
spectrum of theatre and concert production roles including producer,
director, tour accountant, and manager.
What is a typical salary package for your job?

Because my job is project-based, the salary package varies from
project to project. As an example, a weekly tour accounting/
management fee for concerts would be approximately $2000 to $3000
per week.
Who employs you?

I am self-employed, but contract to external organisations – generally
private companies and producers in the entertainment industry.

I change projects frequently, so it is always varied. Sometimes, I get to
work on some of the biggest shows and concerts in Australia, which is
a great thrill. When a concert or a show is on, however, it can require
very long weeks of hard work in the lead up to the tour and for the
duration of the tour.

Working on the Man From Snowy River Arena Spectacular was very
interesting. Just figuring out the logistics of how the likes of the horses,
stables, cast, crew and set were going to be toured around every capital
city in Australia was intriguing. It was certainly a huge undertaking.
I wish I had known that so many shows in Australia lose money
because of the small population that we have as a country.
114

In s ide r in fo
Does this job allow you to achieve the life–work balance that MYTH
suits you?
Generally, I do achieve the work–life balance that I aspire to. However, it’s one big,
this work can involve a fair bit of travel, which can be problematic for glamorous party
family life.
fact
The party is only on
What type of person do you think best suits this industry? opening night; for the
rest it’s hard work.
You need to be flexible and have the ability to work on numerous
projects simultaneously. You also need to be thorough and calm.
And, believe it or not, you need to be able to use computer software
programs like Excel, MYOB and Microsoft Word extensively!
What should students know about working in entertainment

before choosing it as a career?
The entertainment industry is a tiny industry in this country. There are
not enough production jobs going around to cater for the number of
people that are trained and hopeful of embarking on careers in the
industry. Once you are lucky enough to get your first break, you need
detour
to make sure you do all jobs thoroughly and well. Also, you need to be
a person that people want to work with – that is pretty much the key Find out more about careers
in this industry. in accounting in Career
FAQs Accounting.
What is a commonly held myth? What’s the reality? www.careerfaqs.com.au
The myth is that it is all very glamorous and one enormous party. The
reality is that the party occurs on opening night, but there are months
of hard work beforehand and after to make sure that a show or a tour
is successful.

Yes, I love it.

In this industry, you sometimes get thrown into the deep end very
early on in your career. And, the first time that you do, you either have
find out
to sink or swim. If you can make it through, you can probably have a
good career.
more
www.entertainmentpersonnel.
What do you think is the most important thing you can do to com.au
You must really do each project as well as possible, and get on with
everybody in the industry as well as you can.

I have been a tour accountant for various projects, including the Man
From Snowy River Arena Spectacular, the Long Way To The Top Concert
Series, De La Guarda, Ja Rule & Ashanti Tour, and the Delta Goodrem
Visualise Tour 2005, to name a few. This involved looking after all the
budgeting, financial matters, and venue and artist settlements. As a
producer, I have staged numerous theatre projects, including Back to
the 80s, Assassins and Long Gone Lonesome Cowgirls.
115

Entertainment

Entertainment Personnel is a recruitment firm specialising in the
in entertainment industry. There are also a couple of industry-specific
brief websites that one needs to keep an eye on.
Concert producer
$$$ very varied – as an
application?
example, 2K–3K
per week for Just be natural and be yourself – what you are like is almost as
producing a concert important in this industry as what you can do.
quals BComm, LLB
hrs/wk 40–60 What about networking?
life–work it’s achievable despite The entertainment industry is very small and networking is just about
the travel involved the single most important thing.
cv waiter >> sales

Daniel Bennett – Script producer
assistant >> script editor At age 25, Daniel has been doing
>> producer’s assistant >> the job he’s always wanted to for
script producer five years now, the past year as a
script producer for Channel 7’s Home
and Away program. Passionate
about his work, Daniel is ‘yet to find
a downside’, although he admits
it requires no small amount of
stamina, both ‘physical and mental’.
Without any formal qualifications,
Daniel worked his way up, like many
others in his industry. For Daniel, the Daniel Bennett is
key to success is being passionate, ‘absolutely passionate’
and knowing when to say ‘no’. As he about script producing.
points out, no matter how passionate you are, nobody can
do everything.
q&a
I oversee the scripting process of Home and Away, from story
conception to script release. It takes eight weeks from script plot to
script release. In that time, six people will have worked on the script.

I’m employed by a private company.
116

In s ide r in fo

I enjoy the opportunity to tell stories and to be creative. To be
absolutely honest, I’m yet to find a downside!

The creation of our major storyline for 2005 – ‘Who is the Summer Bay
stalker?’ – was particularly rewarding for me, because the audience
received it with such enthusiasm.
suits you? MYTH
It’s very easy, working in this industry, to lose the life–work balance, working in television
so I make a conscious effort to put time aside away from work. is all glitz, glamour
What type of person do you think best suits your line of work? and celebrity
I find the skills I draw on the most in this position are organisation,
patience, efficiency, and stamina (both physical and mental). It’s really just like any
fact
other job – office
What should students know about your industry before hours are office hours
choosing it as a career? are office hours.
From my point of view, the main criterion for working as a writer in
television is being absolutely passionate about the medium and the
industry. The workload is such that complete admiration and respect
for the genre is essential.

Yes, it has. This is the job I’ve always wanted – and I’ve enjoyed (and
continue to enjoy) an immense amount of satisfaction from doing it.

An important lesson was accepting that it’s okay to say ‘no’. You can’t
take on everything.

Work hard and love what you’re doing – if you’re passionate enough in
about something, you can achieve anything. brief
Script producer
Have networking or professional organisations helped you to
$$$ 50–250K
get to your current position? quals one year, Bachelor
Making contacts within the industry gets your name out there – and of Creative Arts
people therefore keep you in mind when positions arise. hrs/wk 70
life–work I make a conscious
What’s a typical week like? effort to keep
Monday I go to a script draft meeting and pre-plot meeting. Tuesday a balance
I might work on a plot block (five episodes). Wednesday more plot flexibility not much, I work
office hours
block – it’s an ongoing process.
117

Entertainment
cv butcher shop Guy Bowden – Assistant film editor

cleaner >> telephonist
Guy has been in the film industry since 1994. He worked mainly
>> assistant director’s
as a grip, doing camera movement and rigging, until 2001 when a
attachment >> production workplace accident led to three years off. He then retrained as an
runner >> assistant grip >> editor and began working for the ABC in early 2004.
best boy grip >> assistant
film editor
q&a
What you do in your current job?
glossary As an assistant editor it is my job to view, dub and log all the footage
that is shot for the particular story I am working on. Four Corners is a
Grip is: unique set-up and we have a very quick turnaround for the 45-minute
– the technical job on a programs that fit our current format. That means the editors (and I) do
film shoot of setting up and extra work that would ordinarily be done by a specialised technician.
moving rigging, lighting and
I record voice-over with the reporters, dig up archival material from
camera equipement.
past programs, find music and sound effects for the editors and
Voice-over means:
oversee the online editing process, audio mix and picture grade which
– a recorded offscreen voice are done on the Sunday before the show goes to air on Monday. After
usually for narration. the program airs, there is a great deal of work to be done to sort out
copyright clearance for archival footage from external sources and
music which is used in the program.
What is the salary package like?

I’m not really sure about the salary packages that other people in
my position earn. I am still relatively ‘young’ in the business but I
have chances to work my way up by having regular appraisals and
doing extra work and more editing as opposed to assisting. The other
assistant at Four Corners has been there for over six years and does
a lot of extra editing on Foreign Correspondent, Australian Story and
7:30 Report so he earns a bit more than I do. I am currently on a
$38 000 package but earn most of my money in overtime during the
week and on the Sundays that I work.

At Four Corners people work in small teams on particular programs.
There is a reporter, producer, researcher(s), editor and assistant editor.
The editor will mainly deal with the reporter and the producer and I will
assist him or her in any way needed (including a constant supply of
caffeine!). As the assistant editor, I work with all of these people during
a program’s duration. Because there are two assistants and three
editors, I am often working on up to three programs at a time so, in turn,
I am liaising with three teams of people (which can get confusing!).
As the programs progress, the size of the team increases. When we get
to a stage where the script is completed and a rough cut has been put
together, we have a viewing. That’s when the executive and associate
118

In s ide r in fo
producers, as well as all the other peripheral resources, come together to

watch the program and make sure that everyone is on the right track and
where changes are to be made. The archive, graphics, promotions, legal
and online personnel and sometimes the shooting crew will sit in too.

Probably working in a team and the sense of accomplishment.

Personality clashes and egos – but there aren’t really very many of them.
What interesting projects have you been involved in?

I have worked on quite a few interesting programs at Four Corners but
to list every one would take a bit too long. My day-to-day activities
usually remain the same – thought I did provide the voice for David
Hicks in a program at the end of 2005. I found Ticky Fullerton’s space
program very interesting. Sally Neighbour did a program on the
Democratic Republic of the Congo and an Australian mining company’s
involvement in a small town massacre and that was amazing. I always
enjoy working with Janine Cohen – I’ve worked on three of her programs
about marijuana-induced psychosis in teens, depression and bipolar
disorder and her last one on donor-conceived babies. She always puts
an excellent program together with as little fuss as is possible.

I would like to move forward and into actual editing – not necessarily
at Four Corners, or even at the ABC, and just see what happens. I do
still have a great many contacts in the film industry and would maybe
move into drama or an independent post-production house but I am
very happy where I am for the moment.
I seemed to just fall on my feet when I was 18 and started in the film
industry and everyone was really helpful to me so I can’t really think of
anything that I wish someone had told me about the industry because
people told me what was required of me before I really needed to
know it. If I had to choose anything, it’s probably the fact that you
work absolutely horrendous hours.
How does your job allow you to achieve the life–work balance
that suits you (if it does)?
I work long hours at the ABC and can sometimes do 18 hours on a
Sunday but I am always prepared for a long day and my wife works
in the film industry and also works long hours (when she is working)
so we are both used to it. I am still relatively new to this job and did
not work for nearly three years so the chance to put the hours in is
welcomed. We always make time for each other when not working.
119

Entertainment

My working hours are flexible as far as the editor is concerned. I am
the assistant and I will always check with the editor I am working with
if I am leaving early or need time off. The other assistant can cover any
work that needs doing if I am away (as I can help with his workload if
find out he is away) and that works very well within the editing department.
more Because I work on several programs at once I don’t really have a
www.metroscreen.com.au standard day-to-day regime. I do have the opportunity to take a day
off during the week after a program I have worked on has gone to air
but I usually don’t bother unless the week was a 90-hour marathon or
I worked seven or more days straight!
What qualifications do you have, and are they necessary for

your job?
I had different qualifications when I was working as a grip than the ones I
have now. I now have a Certificate IV in Film and TV Production from TAFE
and have done a few editing courses at Metroscreen in Paddington on
Final Cut Pro. The TAFE qualification actually got me the job at the ABC as
many former students now work there. One of the administration people
who take care of the editors in News and Current Affairs called the
TAFE to see if they had anyone suitable for the job at Four Corners and
I was nominated. So I would have to say that my qualification was very
beneficial and necessary for my current position though I have learned
so much more than any course could teach me in the last few years..
What are your tips for creating an outstanding job application?

Write down everything you’ve ever done for your résumé even if it has
nothing to do with the application – when I first started I used to put
down that I had worked in a butcher’s shop three afternoons a week
after school! Try to talk to people who are in the position that you
are going for to get a bit of inside knowledge – anything will do. Be
yourself in the interview and don’t exaggerate your abilities too much!
What do you think you said or did at interview that helped

you get the job?
in That I was keen to do anything and I’m pretty sure that I know what
brief I’m doing. The senior editor liked me and liked the fact that I had a
Assistant film director film-making background. He knew that working as a grip was all about
$$$ 38K problem solving. I spoke to him after I got the job and he told me the
quals TAFE Certificate interview was a formality and it was just to see if I would fit in OK.
IV Film and TV
production, Is there anything else that you think young people
private college considering this career path need to know about the industry?
editing courses
The hours can be long and the work can sometimes be repetitive but
hrs/wk 40–90
life–work It works for me
I reckon it’s worth it. I used to think that being a grip was the best job
at the moment and always said I’d never do anything else but I think editing is more
flexibility 7/10 of a long-term career and I now think that editing is the best part of
film/TV making. Love it!
120

In s ide r in fo
Jess Skinner – Television researcher cv shop assistant
Jess Skinner has worked her way up through the ranks in television >> admin assistant >>
production, learning the ropes all the way. She loves the industry and executive assistant >>
the people in it, especially the way a project finishes before she has producer’s assistant >>
time to get bored with it. television researcher
q&a
What do you do in your current job?
I am one of three researchers working on the Australian series of The
Biggest Loser. Three production teams control all the activities and
challenges undertaken by the contestants on this reality series. We
conceive and organise the challenges a week or two ahead, and then
spend a week in the field filming the tasks and the stories generated
by them, including daily interviews with the participants.
What is the usual salary package for this type of work?

The average weekly wage for a television researcher is around $1000
per week, not including sick or holiday pay. Some jobs pay higher, and
some individuals earn above the going rate.

Each role varies, but a researcher position can be quite autonomous
– you are often told what the producers want and can get there any
way you choose. Currently, I work very closely with an associate
producer and a story producer, so much so that the lines are very
blurred as to the individual roles. On each production, there are
always some working on pre-production (planning), some out in the
field (filming), and others in post-production (editing) – there are
a few points at which these departments meet, often with a senior
producer overseeing all elements of production.

The variety – no job, good or bad, goes on too long and you never
know what the next job will be. I also love working in this industry
because of the people – increasingly, I socialise with other people who
work in television.

There are unrealistic pressures on production schedules and budgets.
Pre-production time is getting shorter, budgets are getting tighter,
but expectations continue to soar. It will take a television production
NOT making it in time for broadcast for the demands to be more
reasonable, but there are too many determined hard workers to allow
for that kind of failure.
121

Entertainment
What interesting project have you been involved in?

In the last year, I have been involved with three documentary series,
looking for interesting stories and people to be part of the shows.
I may get sick of looking, but I love finding a good story, or helping
make a great casting decision.
On CampDARE, we found eight really amazing boys to participate in an
outback trek, and for the Real Seachange I found a couple of stories
involving real characters – I know there will be some good television
involving them.
I look forward to watching The Biggest Loser to see how some of my
ideas have come across.

A lot about the television industry could be streamlined, but as it
is largely staffed by casuals, there is little opportunity to institute
change across the board.
I am still excited by the process of television making and love being
out on set. Almost every day on set, I learn something about how
television is made and surprise myself at how little I know.
What do wish someone had told you about the industry

I wish someone had told me that my attention span for work would
be ruined by freelance work. Five months in a job and I am dying for a
change, and that is not the kind of attitude that will help me find job
security, especially if I reach the point where I want to buy a home or
MYTH have a family.
you can do a course
and get straight into Does your job allow you to achieve the life–work balance that
television production suits you?
Some jobs are 9am to 5pm. My current work is so inconsistent that
You need someone to
it is completely reasonable for me to assume that I will not be part
give you an opportunity
fact
and they may or of any social engagements until it is over, unless I am absolutely
may not value the determined.
qualifications at all.
It is fine for now, but this lifestyle would be unfeasible if I had any
responsibilities beyond feeding and accommodating myself and only
me.

There are days when I can practically come and go as I please if I
have things that need to be done outside work, but more often than
not there are meetings that cannot be missed, filming that must be
completed and work that needs to be done.
We are paid a casual rate, inclusive of all overtime with no other
benefits.
122

In s ide r in fo

On average about 50 hours per week, which often blows out when
filming.
What are your ambitions? Where to from here?

I am now relatively close to getting work as a producer, which is
a more interesting job in many respects. I would like to work as a
producer on a show where I have confidence in what I am doing and
know I do the job really well.
What qualifications do you have and do you feel they are

necessary for your job?
I have an Arts degree, majoring in English (Film), Drama and Sociology.
This is in no way necessary for my career, but definitely beneficial ...
mostly because I had an opportunity to grow up a little before going
into a television career. It has made me aware of other disciplines and
encouraged me to keep my skills broad. That said, in television it is all
about on-the-job experience – there is a career path in television that
could not work in any other way.
Most executive producers were at one time production assistants,
researchers and producers and so therefore understand the role of
each person they manage.
What about getting jobs?

Unfortunately, it is very much who you know, but to get an in it is
worth contacting production managers as listed on the credits at the
end of a show. ‘Right place, right time’ is mostly how you can get a
start in television, as well as being willing to do something you don’t
want to for a few months ... but that doesn’t mean you should allow
yourself to be exploited.

application?
Television people are relatively casual, so polite yet friendly would be
a good angle to take in an application letter. They will be looking for a
candidate who will help the production run smoothly and will get the
job done.
What is your interview tip?

More often, it is what someone else says about you that will get you a
job. Before I had even arrived at the interview for my current job, the
head of production had spoken to a former colleague of mine.
It is a small industry, and if you get a good reputation as a hard worker
and as being easy to get on with (personality really matters), the word
gets through to any potential employers.
123

Entertainment
in Is there anything else you think young people considering

brief this career path need to know about the industry?
Television researcher Television people are friendly – if you want to ask questions, you should
$$$ about $50K, but try and email someone on a show you are interested in and ask them
some people about the job. Also, if anyone ever offers you a contact, be brave and
make more
call them. It is how this industry, which never advertises jobs, works.
quals BA
hrs/wk 50 most weeks,
more when filming
life–work work and social
life in one
flexibility great in theory
myweek
Early on location for filming

Contact potential filming locations
Create questions and conduct
Develop and prep challenges interviews
Create draft schedule for filming Write up notes from day
week Evening: Cook dinner
Check out potential locations Early on location for filming

Negotiate prizes and continue prep Oversee filming of challenge
for challenges
Write up notes from day
Evening: Go out with friends
Post-work drinks or takeaway
Get permission to film on location Go out with friends

Finalise shooting schedule and
distribute Do housework
Confirm all elements of shoot Shop
Evening: Cook or get takeaway Watch DVDs
124

In s ide r in fo
In any profession, there are people who use their

qualifications and experience to do something different,
exceptional or unconventional. Others may combine
their passion for a cause, a sport or a special interest
with their chosen career.
Gary Rogers – Solicitor and film producer cv removalist >> house
Much like for anyone in the entertainment industry, ‘long days and builder >> fence builder >>
hard work’ is the name of the game for self-confessed workaholic waiter >> kitchen porter >>
Gary Rogers. Although not an entertainer, Gary’s role as a lawyer, solicitor and film producer
specialising in the entertainment industry, among others, underlies
that a career in the entertainment industry is not confined to
performing roles. While these lawyers need the same skills as other
lawyers – namely, common sense and an ability to think on their feet
and to communicate well orally and in writing – they are also generally
more heavily involved in putting deals together and negotiating terms.
And, perhaps ironically, like with many entertainment roles, it’s often a
lot of hard work for little money – but can still be very rewarding.
q&a
I run a niche commercial law practice, Blueprint Law Pty Ltd, advising
on general commercial law but specialising in media, entertainment,
technology and intellectual property. I also run a separate film
production and distribution company, International Entertainment
Services Pty Ltd.
How long have you been in your current position?

I have been a lawyer for over 17 years, 10 years of which were in
London before moving to Sydney in 1998. I established Blueprint Law
in March 2004.
What is the typical salary package for the work you do?
Salaries for lawyers can range from $30 000 to over $1 million per
annum. Typical salaries for junior lawyers range from $30 000 to
$70 000.
Who employs you?

Private companies and individuals use my services, including
production companies, designers, broadcasters and new media
developers.
125

Entertainment

I love providing effective commercial legal advice that assists clients
in growing and expanding their businesses. I hate the billing and
cost recovery.
MYTH
all lawyers are What is an interesting project you have been involved in?
extremely well paid We assisted with the immigration requirements for an ice troupe
touring Australia from Eastern Europe. This involved processing over
fact
Legal incomes vary 50 visa applicants from several countries and ensuring they arrived in
as much or more than time to meet the tour schedule.
any other area.
That it never gets easier!
suits you?
It may do but I don’t think I allow it myself – I have been a workaholic
from day one – but I enjoy it.
What type of person do you think best suits this line of work?
Good lawyers must possess common sense, the ability to think on
their feet, and the ability to communicate well both orally and in
writing. They must also be committed and professional at all times.

The legal industry is diverse, covering many practice areas and
working environments. Until you start work, you generally won’t know
what will suit you best. Therefore, aim to acquire as much practical
experience as you can during your studies so that by the time you are
ready to enter the profession full-time, you have a much better idea
about what you are looking for. And, even then, start with broad-
based experience before specialising too soon.
Is it very different practising as a lawyer for the

entertainment industry?
detour In a sense, yes, as entertainment lawyers are generally heavily
involved in the commercial side of putting deals together and
For more information on negotiating terms. In some cases, this may extend to a lawyer acting
careers in law, see Career as executive producer on a feature film – this is something I do
FAQs Law.
outside of my direct legal work.
I had no real idea what it would be like working as a lawyer until I
started. Also, your expectations can change along the way, so it’s best
to be flexible.
126

In s ide r in fo

That being bright isn’t enough to get ahead in the legal industry. It
also takes a lot of hard work and perseverance. And, you have to be
prepared to continually learn, both the law and practice.

Keep one step ahead of those around you, especially your clients.
What are your formal qualifications and did they equip you
for the reality of working life?
I have a Bachelor of Laws (Hons) from the University of Hull in
England. My qualifications provided only the foundation for my
working career – nothing can substitute for actual working experience.

I did work experience with a small law firm when I was at university,
and then ‘articles’ for two years when I left Law College. I then worked
at a couple of law firms in London, before moving into television,
working for two broadcasters for four years. After moving to Sydney, I
worked for a law firm. I also spent a few months in the firm’s LA office
working on film projects.

The main universities have legal recruitment fairs and operate student
placement services for work experience.

application?
Make sure it is tailored for the company to whom you are applying.
If you are involved in the recruitment process, briefly

describe your role. in
As I run the practice, I carry out all interviews, but also make sure that brief
my staff members meet short-listed candidates prior to final selection. Solicitor and film producer
We all need to feel comfortable with the final choice. $$$ 30K–1 million pa
quals LLB (Hons)
Have networking or professional organisations helped you
hrs/wk 70–80
get to your current position? life–work I guess I don’t allow
Yes, it is important to have some status in the industry as it can help for balance because
give you an edge. I’m a workaholic
127

Ready, set,
go for it!
What qualifications do I need?
Unlike more traditional professions, such as law, there is no one
compulsory formal or tertiary qualification for ‘entertainers’. That
said, there are almost as many qualification options as there are roles
– and, indeed, opinions as to where qualifications fit in.
As statistics, and our interviews, indicate, formal or tertiary

qualifications are certainly no guarantee of work. A 2004 survey by
the Australian Bureau of Statistics (ABS) found that of the almost
1.1 million people who had completed training in an arts or cultural
field, only 73 per cent were employed at the time of the survey, many
of them not in a field related to their training.
Most of the entertainers we interviewed have

Any type
formal qualifications and most agreed that
of tertiary
qualifications have been helpful in getting work.
qualification
Script producer Daniel Bennett, who completed
is beneficial just one year of a Bachelor of Creative Arts course
before commencing work in the industry, says, ‘Like
me, many people obtain an entry-level position, learning the craft on
the job as they work their way up.’

from Career FAQs for FREE? Click here 129

Entertainment
Director of photography Ben Allan believes ‘training is a good way

into the industry and qualifications are becoming more respected, but
real-world experience is still considered the basis for a photographic
career’. Ballet soloist Gaylene Cummerfield, who has a Diploma of
Dance from the Australian Ballet School, agrees. ‘While full-time
training definitely helps,’ she says, ‘at the end of the day, it’s about
what you can do – and how you look on stage.’
Designer Katrina Adams, who has a Bachelor of Design from the

University of New South Wales’ College of Fine Arts and a Bachelor
of Dramatic Art in Design from the National Institute of Dramatic Art
(NIDA), believes that formal qualifications do play a role, but they are
only part of the process of succeeding in entertainment.
Apart from providing you with a lot of industry contacts, the

design training is very rigorous and makes you a designer. It
provides you with a lot of valuable skills for a career in theatre.
Likewise for a career in film design, depending on what you want
to do, training in drafting, architecture or production design
would be necessary. They give you the necessary skills to work,
but cannot prepare you entirely for the realities of work – that is
just something only experience in the working world can provide.
Even now, I find I am constantly learning on every different job.
Katrina Adams, Designer
While Katrina found the courses to be ‘undeniably good’, she believes

they really prepare you only in a small way for the working world.
130

Re ady, s e t,
go for it!
Some people in the entertainment industry have qualifications not

specific to their area of work, such as Bachelor of Arts degrees, but
say that any type of tertiary education is beneficial.
Playwright Tommy Murphy has a Bachelor of Arts in English from the

University of Sydney and a postgraduate Diploma in Directing from
National Institute of Dramatic Art (NIDA). Although he doesn’t believe
formal qualifications are absolutely essential, he believes they do
broaden your mind, play a role in equipping you to learn the language
of entertainment and teach you how to deal with failure.
Hamish Peters is a set and costumer designer with a Bachelor of Arts

(English Literature) from Wollongong University and a Bachelor of
Dramatic Art in Design from NIDA. He says his degrees helped him
develop a disciplined approach to work. The design course at NIDA is
valuable as it teaches skills, and gives experience and exposure.
A tertiary qualification can help you to understand the world,

and in turn inform on your creative work. But, it’s also important
to be aware that there’s still a lot of personal work to be done
once you have finished your course – like meeting people. You can
only really do that kind of thing for yourself. Work experience
would be a way, but it would take a long time to be able to work
your way up to being a designer without tertiary qualifications.
Hamish Peters, Set and costume designer
131

Entertainment
Some of our interviewees, however, do believe formal qualifications

are absolutely essential – importantly, these are mostly people in
managerial positions.
Formal qualifications have become very important today and

I would say that formal training counts for 70 per cent when
trying to secure a job, unless of course you happen to be
exceptionally gifted. Tertiary education is not essential, but
some kind of formal training certainly is. In my day, there were
not many courses for production management and you were
expected to learn through ‘the school of hard knocks’. Despite
this, I obtained a Certificate of Technical Theatre at the
Adelaide Centre of Performing Arts. At the age of 28, I did a
postgraduate course in Production Management at NIDA. After
that my career just rocketed forward. Production management
is covered in most three-year degrees today, with the option
to specialise in this discipline by the third year. There are also
postgraduate courses.’
Dom Hamra, Production manager
We also spoke to Neil Gooding, a concert producer with Bachelor

degrees in Law and Commerce from the University of Queensland.
Although he believes some aspects of the industry can be learnt on
the job, he believes it’s important to have formal qualifications too.
Although I did not enjoy either degree particularly, they

have turned out to be a perfect combination for a career in
producing. Numbers and accounting have really helped when
working out production budgets. The ability to review and draw
up contracts is invaluable in this industry so having a Law degree
is a real bonus.
Neil Gooding, Concert producer
So what types of courses are available to people in the industry?

Depending on what you want to do, you can choose courses at:
■ university
■ TAFE
■ private colleges.
132

Re ady, s e t,
go for it!
University courses
There are many tertiary study options around Australia for those
interested in a career in entertainment.
New South Wales Victoria Queensland

Australian Catholic University Australian Catholic University Australian Catholic University
Australian Film, Television and Deakin University Central Queensland University
Radio School (AFTRS) La Trobe University Central Queensland
Australian International Monash University Conservatorium of Music
Conservatorium of Music Griffith University
RMIT University
Charles Sturt University Queensland Conservatorium
School of Audio Engineering
Riverina Conservatorium of Music
Swinburne University of
of Music James Cook University
Technology
School of Audio Engineering Queensland University of
University of Ballarat
Macquarie University Technology
University of Melbourne
University of New England School of Audio Engineering
Victorian College of the Arts
University of Newcastle Southern Cross University
Victoria University
University of Notre Dame* University of Queensland
Melba Conservatorium
University of NSW of Music University of Southern
National Institute of Dramatic Queensland
Art (NIDA) University of the Sunshine Coast
College of Fine Arts (COFA)
University of Sydney
Sydney Conservatorium
of Music
University of Technology Sydney
University of Western Sydney
University of Wollongong
Australian Capital Territory South Australia Western Australia
Australian Catholic University Flinders University Curtin University of Technology
Australian National University School of Audio Engineering Edith Cowan University
School of Music University of Adelaide Western Australian Academy
University of Canberra Elder School of Music of Performing Arts
University of South Australia Murdoch University
School of Audio Engineering
University of Notre Dame
University of Western Australia
Northern Territory Tasmania
Charles Darwin University University of Tasmania
Conservatorium of Music
Australian universities with entertainment-related courses
As you can see, there are numerous options for bachelor degrees in
theatre, music and the arts generally.
133

Entertainment
find out Comprehensive lists of Australian tertiary institutions and courses are
more available on www.australian-universities.com, or at the ‘Going to Uni’
www.australian-universities.
website, a government website listing higher education options for
com students in Australia. Options are categorised by state with a drop-
www.goingtouni.gov.au down list of institutions’ names. Clicking on the institution will take
Click on the ‘going to uni’ you to its website where you will quickly be able to find whether or not
option on the home page it offers entertainment-related courses and, if so, which ones.
A brief look at some of the major institutions and what they offer
provides a broad overview of the tertiary entertainment sector.
fyi National Institute of Dramatic Art

One of the best known tertiary education institutions for the
Well known acting graduates
of NIDA include: entertainment industry is the highly regarded National Institute of
Mel Gibson 1977 Dramatic Art (NIDA), which is supported by the Federal Government
Cate Blanchett 1992
Department of Communications, Information Technology and the
Arts (DCITA). Graduates, who are in great demand and are often
Angela Punch-McGregor
1973 employed before they even graduate, form an important part of
Judy Davis 1977 Australia’s entertainment industry, with many going on to achieve
www.nida.unsw.edu.au international success.
A centre of excellence in training for theatre, film and television,

NIDA’s primary role is to select and train exceptionally gifted young
people at a tertiary level, preparing them for careers in theatre, film
and television. While best known for its acting course, NIDA also
offers courses in:
■ design ■ wardrobe management
■ stage management ■ scenery construction
■ event management ■ choreography
■ lighting ■ properties
■ sound ■ special effects.
■ costume-making
Graduates go on to work in areas as diverse as theatre, film,

television, opera, dance, production management, events
management and arts administration.
The NIDA full-time courses are accredited advanced education courses

approved under the (NSW) Higher Education Act, 1988. But, it’s not
just those seeking full-time training for a career in entertainment who
have access to the school. NIDA’s training philosophy, educational
expertise and environment are available to the public through its open
134

Re ady, s e t,
go for it!
program, which provides short course training for children and adults.
Its corporate performance department provides quality training to the
corporate world and other specialist areas.
NIDA receives almost 2000 applications every year from all over
Australia and overseas, but anyone who is determined to make a
career in the entertainment industry should not be intimidated by the
statistics. The first thing to decide is what kind of talent you have and
the type of career you wish to pursue. What do you want to be – an
actor, designer, director, manager, craftsperson or technician? You
must then decide which NIDA course is best suited to your needs.
All applicants first need to complete the application form that can be
downloaded from the website or sent by mail on request. Applicants for
the acting course are required to attend an audition. Applicants for all
other courses are required to prepare a project and attend an interview.
NIDA courses cost anything from $4000 to $18 000 per year, but
FEE HELP is available in certain circumstances. A limited number of
NIDA scholarships are awarded to ensure no ‘exceptional’ student is
denied the opportunity to train at NIDA because of financial constraints.
Some NIDA graduates:

Cate Blanchett
Judy Davis
Mel Gibson
Catherine Martin
Baz Luhrmann
Hugo Weaving
135

Entertainment
Australian Film, Television and Radio School

The Australian Film, Television and Radio School (AFTRS) is a national
educational institution represented in each of the six Australian states.
Full-time programs of study are conducted at the AFTRS in Sydney

and are open only to Australian citizens and permanent residents.
All AFTRS education and training programs are organised around the
specialist teaching departments.
The list of full-time courses is extensive and they are organised

in departments including cinematography, design, digital media,
directing, screen writing and sound. Qualifications include certificate,
graduate certificate, graduate diploma and master.
AFTRS offers short courses for people who want to upgrade skills or
re-skill. Short courses include:
■ courses for industry professionals

■ transition courses for professionals working in allied fields who
wish to enter the film, television or radio industries, such as writers
and theatre directors
■ courses associated with professional development or research activities
of tertiary educators, critics, media commentators, documentary
program-makers and other sectors of the film and broadcast industry
■ courses for specialised clients
■ individually tailored on-the-job training programs.
Applications for all courses are competitive because places are

limited. Applicants have to demonstrate pre-existing knowledge or
experience as well as clear training objectives. AFTRS does not set
educational prerequisites. This policy reflects AFTRS’s interest in
encouraging applications from people with creative ability and not
necessarily prior academic achievement. Costs differ, but for full-time
students the fee is around $5000 per year.
University of New South Wales College of Fine Arts

The College of Fine Arts (COFA) is part of the University of New South
Wales and is one of Australia’s premier university art and design
schools. COFA is in Paddington, the heartland of Sydney’s arts
community. Studies in art and design combine creativity with the
extensive research and teaching resources of the university.
136

Re ady, s e t,
go for it!
COFA offers rigorous and exciting studies in:
■ visual arts
■ design
■ digital media
■ art education
■ art history and theory.
These studies are enhanced by experimental research, the latest

applications in media and technology, contemporary developments
in art and design practice, and through the innovative exhibition
program of the university’s Ivan Dougherty Gallery, the COFA Students
Association’s own Kudos Gallery and the COFA Exhibition and
Performance Space.
COFA has five schools out of which all undergraduate programs are
run. The schools are:
■ Art Education
■ Art History & Theory
■ Design
■ Fine Arts
■ Media Arts.
COFA also offers short courses for students and the general public
– run during session breaks and after hours at COFA.
‘Assumed knowledge’ is highly recommended for the Bachelor of Art

Education, Bachelor of Design, Bachelor of Design/Bachelor of Art
Education and Bachelor of Fine Arts courses. Assumed knowledge can
be met by completion of 2 Unit Visual Arts with a mark in the range of
60–100, or may also be met by a completed TAFE Advanced Diploma or
Diploma in Visual Arts in Year 12.
Students who do not have this level of knowledge are not prevented
from enrolling but may be placed at considerable disadvantage.
Admission to the Bachelor of Art Theory and the Bachelor of Digital
Media is based on the universities admissions index (UAI) or
equivalent; no assumed knowledge is required.
137

Entertainment
Victorian College of the Arts

The Victorian College of the Arts (VCA) is a visual and performing arts
training institution in Melbourne. Located in the heart of Melbourne’s
vibrant arts precinct, the college is distinctive in Australia as it offers
training across all artistic disciplines. The VCA comprises the Schools
of Dance, Film and Television, Music, Drama, Art and Production.
The VCA has a dedicated Indigenous Centre and a common curriculum

is offered to all undergraduate students through the Centre for Ideas.
The teaching philosophy of the college reflects a long-held belief that
learning comes from doing. As the tuition is practical, intensive and
studio-based, class sizes are small, places are limited and admission
is competitive.
VCA degrees are conferred by the University of Melbourne. Most of the

VCA schools have comprehensive short course programs except for the
School of Dance and School of Production.
Western Australian Academy of Performing Arts

The Western Australian Academy of Performing Arts (WAAPA) provides
performing arts tuition which, they state, is comparable to the highest
calibre of national and international training benchmarks. Originally
an initiative of the state government, it receives funding from both the
state and federal governments.
Distinctive by virtue of its reputation, the overriding objective of

WAAPA is to nurture and develop the talent of a select group of
emerging artists to standards of excellence. Academic teaching
appointments are made not only on the basis of qualifications, but
also on recent professional experience, as well as industry profile and
reputation. WAAPA teaches acting, music theatre, directing, dance,
jazz and contemporary music, classical music, arts management,
production, design and broadcasting. Another primary purpose of the
academy is to stage concerts and performances. Each year it stages
hundreds of concerts and performances across the genres of jazz,
find out contemporary and classical music, dance, acting and music theatre.
more
www.nida.unsw.edu.au
How easy is it to get into university?
www.aftrs.edu.au
www.cofa.unsw.edu.au
The higher the demand and prestige associated with the course, the
more difficult it is to get in, as it is mostly the demand that drives entry
www.vca.unimelb.edu.au
requirements upwards. Places at NIDA, VCA and WAAPA, for example,
www.waapa.ecu.edu.au
have a small intake of students each year, and are in very high demand.
138

Re ady, s e t,
go for it!
But, as designer Katrina Adams points out, if you have the talent, you find out
should not be deterred. more
www.tafe.nsw.edu.au
TAFE courses www.tafe.wa.edu.au
www.tafe.sa.edu.au
TAFE colleges and institutions in each state and territory have many
www.tafe.vic.gov.au
entertainment-related full-time, part-time and short courses. The entry
www.tafe.qld.gov.au
criteria are not as demanding as those of many university courses.
Northern Territory
What can I expect to learn at TAFE? www.centralian.nt.edu.au
TAFE courses are usually much shorter in duration because they are www.cdu.edu.au
Certificate of Diploma level. As with all vocational training courses, ACT

they have a practical emphasis and are good as an introduction to a www.cit.act.edu.au
craft, to build on existing skills or to aid an application into a degree
or other diploma. In many cases, they are a preferable option to
universities as the training is more practical and provides good job
prospects as the following table shows.
TAFE course Job prospect

Certificate III Electrotechnology Entertainment Broadcasting technician
and Servicing
Certificate IV Entertainment – Lighting Film and television lighting operator
Certificate IV in Entertainment – Sound Sound technician
Diploma of Entertainment – Stage management Stage manager, director/producer
Diploma of Entertainment – Costume Theatre costume maker and designer
Bachelor of Dance Performance (SA) Professional dancer
Advanced Diploma of Arts – Acting (SA) Actor
Diploma of Live Production Theatre and Events (SA) Theatre production role
Theatre and Dance Costume Design (short Costume maker
course, WA)
Certificate IV Music (WA) Musician, singer
Certificate IV Music Industry – Technical Audiovisual technician, musician, production
Production (WA) crew member, singer, sound technician
Certificate III in Arts Administration (WA) Arts administration roles
Some entertainment-related TAFE courses, 2006
TAFE colleges are state-based institutions, run by the state and

territory governments. However, the qualifications are standardised
across Australia.
139

Entertainment
Private courses
Many private educational colleges and institutions run entertainment-
related courses.
As public education costs rise, more students are opting for private
education, according to the Australian Council of Private Eduction and
Training (ACPET). With public university fees increasing all the time,
the benefits of private education often outweigh the comparative costs
between public and private education.
The number of students enrolled in private colleges in Australia, it

says, has increased from 23 000 in 1995 to 200 000 in 2004. ACPET has
just over 1,000 members across Australia. The ACPET website has a
course search facility to help prospective students find the right course
for them. A list of ACPET members providing entertainment-related
courses is shown in Appendix 2.
Students are enrolling in their private courses for a variety of reasons

including specialisation in niche areas of training and knowledge and the
advantages of practical and theoretical industry training. Another reason
that students are choosing to enrol in private colleges is that they are also
able to offer personalised learning environments and offer assistance
in industry placements after graduation. Students of private colleges
can also profit from the flexible entry requirements as course placements
fyi are based on impressionable interviews, as opposed to a high tertiary
The National Training admission score.
Information Service provides
access to current and The Australian Government Department of Education Science and
emerging training market Training has also introduced FEE-HELP, a loan program for students
information and products in
vocational education and
in full fee paying vocational courses. Students are eligible to apply
training on their website, for up to $50 000 to cover tuition fees. Working similarly to the HECS
www.ntis.gov.au scheme, the FEE-HELP loan will incur a 20 per cent loan fee and can
be repaid via the Australian Taxation Office once a graduate’s income
reaches $35 000 a year.
The following private education providers give some idea of the variety
of entertainment-related courses available in Australia.
■ Australian Institute of Music

■ Academy of Screen Performance
■ SAE Institute
■ Sydney Film School
140

Re ady, s e t,
go for it!
Australian Institute of Music

The Australian Institute of Music (AIM), situated in Surrey Hills in
Sydney, provides undergraduate and postgraduate courses that are
designed to be relevant to musical performers and musicians looking
for a career in the music industry. Faculties are:
■ performance
■ audio, composition and music production
■ arts management and research.
Undergraduate degrees can be undertaken in contemporary and

classical music, audio technology, and performance.
Academy of Screen Performance

Situated on the Gold Coast, Queensland, the Academy of Screen
Performance is a privately-owned training organisation that
specialises in film and television onscreen careers. Its courses are
Austudy approved and include a Diploma of Screen Performance, and
TV presentation.
SAE Institute
The SAE Institute provides many courses that focus on entertainment
technology training. With campuses in Sydney, Melbourne, Byron Bay,
Brisbane, Adelaide and Perth, courses include:
■ animation
■ 3D graphics and animation program
■ film
■ audio engineering
■ music business program.
Animation
SAE/CGC offer training in the 3D software package called MAYA, the
technology behind many of the visual blockbusters such as Lord of the
Rings, Star Wars, Spiderman, Xmen.
Full-time and part-time programs focused entirely on practical

production skills of animation. According to SAE, graduates are
working at many production houses around Australia.
141

Entertainment
3D graphics and animation program

Students learn to use the complex software packages and concepts for
3D graphics and animation. The objective is for students to complete
a show reel that will not only demonstrate their achievements but also
show potential employers their skills levels.
Film
SAE/CGC’s digital film program is a 12-month diploma, or 2-year degree
that focuses on film production from the ground up.
Cinematography, lighting, scripting, storyboarding, visual effects

and editing are some of the courses in the film diploma and degree
programs. Students learn to produce films using digital cameras,
lighting rigs, steady cam systems and location gear.
Digital film program

Students learn about film making from concept through to final
production. Students are encouraged to work on their own projects as
well as course work in order to develop their skills as directors, editors
and in order to become proficient film makers. This program takes a
very ‘hands on’ practical approach to making documentaries, short
films and music videos.
Students likewise are encouraged to enter their work in local and

international film festivals and competitions and the institute supports
the students in the process.
Audio engineering
The SAE audio school teaches students the art of music and sound
production. Students can attain the level of certificate, diploma, degree
and even masters level of qualification.
The audio engineering program guides students through the multiple

complex skills necessary for today’s successful audio engineer or
music producer. Students learn both technical and creative aspects of
the recording process. For 12 months full time (or 24 months part time)
students complete assignments ranging from digital editing, film scores
and mixes through to full live band production and digital mastering.
Some campuses also offer electronic music production courses (six

months part time). This course caters for those who wish to work
in the electronic and dance music production fields. Students learn
142

Re ady, s e t,
go for it!
fundamental engineering techniques in all the major production find out

software packages, making beats, mixing, mastering, releasing and more
promoting their work. www.acpet.edu.au
www.aim.edu.au
Music business program
www.screenacademy.com
The music business program focuses on real life business scenarios, www.sae.edu
business fundamentals as they apply to the industry, artists and ww.sydneyfilmschool.com
human resource management, marketing, promotion and publicity, www.ntis.gov.au
legal issues and industry perspectives.
Sydney Film School

The Sydney Film School, established in 2004, is a registered training
organisation (RTO) that offers nationally recognised qualifications
including a Diploma of Screen (one year full time) and a Certificate IV
in Screen (one semester full time).
The school’s emphasis is to provide training across a broad range

of subject areas in an environment that operates as a busy film
production studio. Staff at the school emphasise team building,
production work and individual creativity – all essential characteristics fyi
for a career in the film industry. Sydney Film School is also
registered on CRICOS, the
The Diploma of Screen is run over two semesters. The first semester Commonwealth Register of
is the Certificate IV in Screen and course subjects include 16mm Film Institutions and Courses for
Overseas Students.
Production (group project), Digital Video Production incorporating
Documentary (group project, Digital Editing on Final Cut Pro 5,
Directing, Script Writing, Screen Studies and specialisation elements
such as Cinematography, Production Design, 16mm Film Editing,
Experimental Film, Production Management, Music for Film and others.
The second semester of the Diploma of Screen subjects include: the

Thesis Project (individual project), Major Film Project with a larger
budget (group project), three specialisation workshops of two weeks
each, including Directing, Cinematography, Screenwriting.
The school attracts students from around the world. In 2005, 68

students graduated from the Sydney Film School, with 60 short film
and documentary projects being produced. Most recently, two 2005
student works have been accepted as finalists into the St. Kilda Film
Festival, two have been accepted into the Newtown Film Festival and
one has been accepted into the New York Film Festival.
Graduates typically find employment with film production companies

and television stations. Currently one 2005 graduate has a 16-month
143

Entertainment
internship with a US production company, and another with a leading

Australian production company, Sherman Pictures. Others have found
work in a variety of freelance positions by forming their own production
companies. Some graduates decide to continue further studies at
university. Graduates of Sydney Film School Diploma of Screen may
be eligible for advanced standing into second year of the Bachelor of
Visual Arts at The University of Sydney, Sydney College of the Arts.
As a provider of Vocational Education & Training (VET), Sydney Film

School does not require UAI for entry to the courses. All courses at
Sydney Film School are Austudy approved.
How do I get that job?

Many entertainers, like actors, singers and writers, have become
immensely successful merely by self-implementation. The variety
of paths to success is incomprehensible. There is no right way.
Naomi Wallace, Choreographer
So, you’ve decided you want to be in the entertainment industry.

Maybe you have taken the formal qualification route and are in your
last year of study. Or maybe you’ve dabbled in your chosen field while
at school, and are ready to turn professional.
Either way, the first thing you need to know is that the entertainment
industry is extremely tough and competitive and the recruitment
process differs from that of more ‘traditional’ careers.
A lot of entertainment work is contract or freelance. According to

the Australian Entertainment Industry Association, around half of all
people employed by performing arts organisations are employed on a
temporary or casual basis. For support personnel such as technicians
or program managers, full-time work is more likely to be available
through a venue or commercial media company. Channel 9, for
example, employ cameramen on a permanent basis.
For support personnel such as technical directors, full-time work is

find out more likely with a performing arts company or institution with ongoing
more funding. Work in the commercial sector is more likely to be contractual
for both performers and crew because there is no guarantee that a
producer will need the same group of employees on the next project.
It is extremely rare for performers to be employed on a full-time basis
in any area of the live performing arts industry.
144

Re ady, s e t,
go for it!
There is only one employment agency for the entertainment industry

– Entertainment Personnel – and it’s worth registering with them. You
can also check out and register with recruitment websites such as
Seek and MyCareer, which do advertise some entertainment industry
jobs from time to time, but these are few and far between.
It’s also useful to visit the websites of various producers to find out
what is coming up. But getting a foot in the door this way is unlikely
unless you are known.
One way to give you an excellent chance of securing work is to get

an agent. There are hundreds of agents in Australia. Some represent
entertainment people across the board from writers, directors and
producers to composers, directors of photography and actors. Others
specialise in certain fields, such as acting.
How are people recruited?

People get ‘gigs’ in the entertainment industry in a number of ways.
Many recruitment hints relate to what you can do yourself to be
noticed. These include:
■ network
■ get an agent
■ be seen and heard
■ enter competitions
■ apply for advertised jobs.
Network
Almost every entertainer and technical support person we interviewed
cited networking as critical to success in the entertainment world. More
often than not, positions are secured by word of mouth, so it’s important
to make and maintain contacts with other people in the industry.
There are no formal job application forms for this type of job.
It’s generally all word of mouth. Nothing often happens until you
get your foot in the door and can prove you can do your stuff.
It’s not what you know, but who you know to a certain extent.
Every single person you talk to, work for, or help out could know
someone or be ‘the someone’ who offers you your next opportunity.
Ben Hodson, TV commercial director
145

Entertainment
A lot of it is about who you know or being in the right place

at the right time. Getting your work seen and remembered by
people in the industry is the best way to get more work.
David Twyman, Designer
The formal qualifications are far less important or useful than

the connections you make and people you meet during your years
at a place like NIDA.
Chris Twyman, Lighting designer
Get an agent
Agents are the ‘employment agencies’ of the entertainment world.
Agents represent creative people and can play a significant, even
essential, role in launching and guiding their careers.
Make plays or short films, watch movies, audition for everything

you can get your hands on, and, get an agent! The ways of
getting into the industry are very specific. First and foremost,
you need to get an agent who will represent you to casting
directors. Get your agent to see your work and help you to
put a show reel together. Most of all, show initiative. Find out
everything about who’s doing what and how it can give you an ‘in’
into the industry.
Ben Barrack, Actor
Be seen and heard

Performers have to be out there being seen and heard if they hope
to secure work. But, because the industry is so competitive, even
behind-the-scenes people need to be out there being seen and heard
if they want to stay in the game.
Here’s some advice from the people we interviewed.
Musicians are usually headhunted so you have to be out there,

playing and being seen. This could be in school bands for ‘rock
schools’, like the one run by the Newtown Council, or having your
songs played on university and independent radio stations to get
a following. The most important thing is to be heard.
Clayton Doley, Musician
146

Re ady, s e t,
go for it!
You could do a drafting course at TAFE and get into drafting on

films. You would need to make the break to production design
by volunteering on short films in any capacity and build up your
contacts that way. You could volunteer for the likes of small
theatre projects or community theatre, and build up a network
base to start designing smaller shows. It would be a hard and
long way to the top doing it that way. That said, though, it would
still be a lot of fun.
Focus on improving your craft all the time, be it just putting on

a reading of a play at your local community centre. Not only do
these activities help you to improve your skills, but they also
give you a lot of exposure.
Tommy Murphy, Playwright
147

Entertainment
Enter competitions
Entertainers have to be creative in their approach to job hunting.
Trying different things, such as entering competitions, can go a long
way to securing work and even launching a career.
Take part in competitions. There are lots offered by, among

others, the New South Wales Ministry for Arts and the
Australian Theatre for Young People (ATYP). I’d advise young
hopefuls to submit to as many competitions as they can. That’s
how I got my first big break.
find out Tommy Murphy, Playwright
more
There are a number of ways of entering the field of
General job search websites:
choreography, from study to volunteer work on large-scale
www.seek.com.au
events, entering festivals and competitions, and working with
www.jobsearch.gov.au
local dance groups and schools.
www.mycareer.com.au
Naomi Wallace, Choreographer
www.careerone.com.au
Artshub has jobs pages
accessible for small annual fee: Apply for advertised jobs
www.artshub.com.au
While many entertainment jobs come from the approaches described
The Media, Entertainment and
Arts Alliance (MEAA) has an
above, there are some that are advertised in newspapers or online.
online freelance register:
www.alliance.org.au
The entertainment sections of major daily newspapers often have
advertisements for jobs in the industry. Auditions are sometimes
Other useful websites:
www.screenhub.com.au
advertised in these sections of the newspaper.
www.encoremagazine.com.au Check out some job search websites. For example, Seek has a market
www.if.com.au segment called ‘Advertising/Media/Entertainment. While many of the
jobs are in administration, some are in related fields such as ‘events
management’.
Some industry associations are also useful sources of job

opportunities, especially for freelancers.
What are agents and recruiters looking for?

There are hundreds of agents in Australia, ranging from large
organisations covering a broad spectrum of entertainment roles, to
smaller specialist agencies. Securing an agent requires the same sort
of dedication as securing a job. Among the qualities you’ll need are
determination, professionalism, commitment and motivation.
We asked some agents and recruiters in the entertainment industry

what they think is important for getting the gig.
148

Re ady, s e t,
go for it!
■ Hannah Mason, General Manager, Artists & Entertainment Group
■ Nathan Morris, Agent, June Cann Management
■ Leanne Bushby, Account manager, Film, Entertainment Personnel
Hannah Mason – Artists & Entertainment Group

Hannah is the General Manager of Artists & Entertainment Group is a
talent management and media company operating out of Sydney and
Melbourne. It has a varied Australian customer base, ranging from film
studios and television networks to music companies and advertisers.
q&a
Across the board, tertiary qualifications don’t matter at all. For the
rest, it depends on the role. Actors, for example, do need to have
some formal training, but models don’t. The same applies with
experience.
Some people who approach us don’t have any experience yet, but we
can see their potential. What every prospective candidate does need
though is a good attitude to work and a serious intent about a career
in entertainment.
What do you expect from them in terms of applications

and interview?
Candidates need to be serious, professional and have a strong desire
to succeed. Whereas some candidates will have portfolios, new ones
won’t so that’s not essential. In short though, whatever they are using
to sell themselves needs to be well presented.
What do you feel young people should know about the

industry?
There are no guarantees for success. It’s not about easy money. It’s a
lot of hard work. And, it can take years to get to where you want to be.

industry?
You have to be resilient, thick-skinned, not over-sensitive, be able
to take criticism, be organised, and have good time and financial
management skills.

The people!
149

Entertainment
Nathan Morris – June Cann Management

Nathan Morris is an agent with June Cann Management, one of the
premier agencies in Australia, representing actors and other creative
people. The late June Cann was instrumental in launching and guiding
the careers of notable actors such as Jack Thompson, Bryan Brown
and Nicole Kidman.
q&a
Although there are some well-known actors with no qualifications, the
general rule would be to undertake training of some sort – ideally a
three-year Bachelor or Diploma in Acting. Otherwise, there are many
shorter courses (part-time or full-time), workshops and ‘drop-in’
classes. There are institutions and acting schools in most capital
cities. For younger actors, experience is not essential as this is
something they will get with time. If an older actor wants to join our
agency, however, some demonstrable experience in theatre, television
or feature film is essential. Because acting is a highly competitive
occupation, we also look for people who are motivated and keen to
work every day. And, because it is different to many other jobs in
that work tends to be on short contracts and every job is completely
different, candidates must be adaptable to constantly changing work
conditions and cultures.

and interview?
There are two possibilities. Firstly, an actor can be referred to our
agency from someone we know and, if they have a profile, we will
interview them straight up. Otherwise, we require a photo, a résumé
and a show reel (if they have one) to be sent to our office. If these are
suitable, we will organise an interview. We probably interview one
person for every 50 applications, as an estimate. In an interview, we
would primarily be looking for someone we think we will be able to
get auditions for, and someone we can work with on a personal level.
How do you suggest people wanting to break into the

industry get in?
Do as much acting training as you can and obtain as much experience
as you can. Although, admittedly, this can be difficult as the best
way to get experience is to have an agent, and the best way to get an
agent is to have experience! Be persistent, but not pushy. Don’t hassle
agents for an interview, learn to accept ‘no’ as an answer, and get as
much feedback as you can.
150

Re ady, s e t,
go for it!
What do you feel young people should know about

the industry?
Acting is an extraordinarily competitive and harsh occupation. If
you are looking for fame and fortune, don’t be an actor. There is an
assumption that it is a glamorous industry, but it is really like any
other industry – hard work!

find out
industry?
You need to be polite, ambitious, hard-working, upbeat, and able to
more
For an example of
take the hard knocks.
an agency website, see
What’s the best thing about working in the industry? www.junecann.com
There is an amazing array of unique experiences in any work day –
some good, some bad. You get to go to movies and theatre frequently.
You get to read scripts and talk to many interesting actors, directors,
producers and the like. No day is the same as the one before.
Leanne Bushby – Entertainment Personnel

Leanne is an Account Manager at Entertainment Personnel, the
only Australian specialist recruitment company catering for the
entertainment industry and including music, theatre, film, radio, TV
and new media. It is not an agency, so operates and has the same fee
structure as any other recruitment company. This means the candidates
are not charged for the service and the clients (employers) are.
q&a
The need for qualifications depends on the role, as practical
experience speaks volumes in some areas of this industry. There is no
formal training for many roles and years ago there wasn’t any tertiary
education available, so skills just got acquired as you went along.
With hundreds of different jobs all requiring different skill sets and
hundreds of courses available, you really need to do your research
on what’s going to help you before you spend years and thousands of
dollars studying subjects that may not help. A tour manager, publicist
or theatrical agent will have very different skills to that of a producer,
editor or audio engineer, so check it out thoroughly.
Experience is important as it’s a fast-paced industry and the hours and
conditions can be extreme. If it’s an entry-level role with no experience
necessary then a good attitude and an absolute proven passion for
the industry is necessary. Working or volunteering at festivals, events,
cinemas, and the like is an excellent way to get this experience.
151

Entertainment
You can’t work in this industry without the ‘right’ attitude.

You need a very ‘can-do’ attitude and you must be passionate and
hardworking. If you don’t love what you do, you won’t survive. The
money compared to the hours isn’t great, so loving what you do
is what gets you through. It’s not enough to have studied. It’s not
enough to be ambitious. The world is filled with ambition. It would be
great not to have to invest time and energy into skill and credential-
building and go straight to the dream job, but it just doesn’t work that
way. Have the right attitude and then the journey can be as rewarding
as the goal itself.
Fit with workplace culture is another important attribute. The
entertainment industry is very broad, and encompasses anything from
multinationals (which have a structured, corporate work environment)
to small three-man companies (which have no structure whatsoever).
It’s not really as much about an ‘entertainment industry culture’ as a
company culture within the entertainment industry. Identifying what
you like and don’t like will help give you a clearer idea of what type
of career suits your personality, lifestyle, skills and values. That’s
commonsense, but it is ignored time and time again.
Don’t confuse a relaxed dress code with a relaxed work environment.

and interview?
Firstly, if you’re serious about getting a job – spellcheck your
application! Not a difficult thing, but most don’t do it! Attention
to detail is important in a visual industry. It’s also an extremely
competitive industry and for every job there are a huge number of
applications, so show proof that you want to work in it. Put time into
an application.
If you get an interview know where you’re going and turn up on time,
not half an hour late or for that matter half an hour early. Find out the
dress code of the company. Jeans are appropriate for some companies,
but not for others. Unless you know a suit is required, do some
research as often smart casual dress is best. Again, commonsense
should come into play here. Be prepared for the interview, because
there are plenty of others who will be.
Whatever you do, don’t rock up for the interview with a latte in one
hand and your mobile phone in the other! Never use the term: ‘I just
want to get a foot in the door’, because you’ll be overlooked for the
person who actually wants the job that’s being advertised.
What do you feel young people should know about

the industry?
It’s still a very ‘who you know’ industry, which can be frustrating. Don’t
come out of your studies expecting to get a job in the area you’ve
studied straight away. If it’s the receptionist job going, then take it.
152

Re ady, s e t,
go for it!
Be passionate about that role and do it well, then no one can ever say
a bad word against you. It’s a small industry and everybody knows
everybody – don’t ever burn anyone as it will come back to bite you.
Be known as someone who is punctual, efficient and professional
– and has a sense of fun.

industry?
You need to be passionate, efficient, determined, hardworking,
energetic, motivated, open-minded, enthusiastic, flexible and
confidential.

There are a few great things about working in the industry – the perks
for one. Let’s be honest, if you love films and music, why not work in
an industry you get to enjoy as a part of the job? Working in television
gave me access to some amazing experiences, in incredible places,
working with fascinating people. I have travelled the world with this
industry and loved every minute of it. I’m not rich, I’ll never be rich, but
it’s been rich in experience and it’s
been incredibly rewarding. In my
current role, the satisfaction I get
is helping others achieve the
same dream.
153

Entertainment
Stand out from the crowd

Perhaps more than in any other industry, you need to be able to really
stand out from the crowd if you hope to make a breakthrough in
entertainment.
Unlike other careers, it’s usually not only the standard résumé, no
matter how well or professionally done, that’s likely to do that for you.
In most cases in this industry, it’s also work samples, song recordings,
written work, visuals of choreographic work, and the like, that will
help you to get in front of a prospective employer.
Create an outstanding application

If you do need to submit an application to a prospective employer, your
application will need to have the elements that every application has:
■ the résumé
■ the cover letter
■ the portfolio.
You may also have to present a portfolio of past work that showcases
your work.
154

Re ady, s e t,
go for it!
The résumé
If you are applying for a job through a recruitment agency, the
newspaper or online, your résumé is your golden ticket to an interview.
Set designer
Your name and Street address

Telephone
Email blake.jones@hotmail.com
contact details
Blake Jones
Career objective
To be one of the most highly-regarded set and costumer designers with the
ability to adapt my skills and experience to suit corporate events, and stage
and film productions
Designed corporate events
Production designer
Themed dance parties (average 3000 guests)
In The Raw, September 2005
Wizardry, November 2005
Hotel California, January 2006
I Go to Rio, March 2006 Costu
m
Private e design
er
Design consultant Long Lives, Stat
Day’s e
Christmas event for major corporate, 2004 and 2005 (800 guests) King Journe Theatre Co
Lear,
Shakes y Into the mpany, 20
My role was to develop the theme and work with the Entertainment Coordinator.M pearea Nigh 03
odel n Thea t, Indepe
m tre Co nden
Man of aking mpany t Produc
Production designer A Stre La Manch , 2002 tion Co
etcar a, De mpany
New Year's Eve corporate event 2005 (2000 guests) The Ch Na sig ner: Jo , 2003
Educ erry O med Desir hn
ation rchid, e, Am
Designer and co-creator Desig Designer: os (Opera
ner: Be Sand compa
List work from Dance party company 2002 – 2004
2001
th Ng ra
uyen Rosso (Sta
(Indepe te
ny 20
02 )
I produced nine dance party events for this group. I was responsible for theming Bach ndent Theatre Co
most to least each party, sourcing and buying materials, hiring equipment, constructing and
assembling the props, recruiting and supervising the bump-in and bump-out 1998
elo
WAAPA r of Perfo
rming
Arts (P
Theatre
)
mpany
2002
)
roduct
recent crew, and working with the graphic designer on all promotional material and
invitations. Refer
ees
Compl
Sm
eted HS
ithsville C
ion &
Desig
n)
High
Scho
Set designer ol
Entrepreneur of the Year 2003 Name
Compa
I designed a touring set for the regional awards for five major cities, and a ny
Cont
separate design for the national awards held at the Crown Casino in Em act te
Melbourne.
ail lepho
ne
Theatrical production
Name
Set designer
Compa
Waiting for Godot, The Playhouse, 2002
Contac ny
Much Ado About Nothing, The Attic Theatre, 2001
Email t telephone
A Hard God, Revival Theatre, 2000
Separate
different sectors
makes easy
reading
References
You can see a full-sized version of this résumé in Appendix 4.
The layout of this résumé is different from the standard business

résumé in that previous work is differentiated into corporate events,
contractual work and theatre productions. This enables the reader to
see the flexibility of the person’s work history.
Click here for more FREE industry-specific

sample resumes and cover letters from Career FAQs 155

Entertainment
The definition of a great résumé can be subjective. Different

employers and recruitment consultants have their own pet hates and
preferences, and in this industry, employers may well look for the ‘x’
factor that shows a combination of creativity and ability.
Think outside the box when planning your application process and at
the same time follow some well-established guidelines.
■ Research the company so you understand their style.
■ Keep the layout and design of your résumé clean. Don’t clutter it
with a hundred different fonts. Go for elegant simplicity.
■ Get someone to proofread it and give you some feedback about

content and layout.
Tips: Résumé writing

■ Be truthful.
■ Do not plagiarise anyone’s work.
■ Do not waste employers’ time by applying for positions requiring

essential skills and competencies that you do not have.
■ Keep your résumé to two or three pages.
■ Check job search websites for résumé samples and tips.
■ Consider using a professional résumé-writing service.
■ Write each résumé to fit the job that you are going for.
■ Create your résumé in a common program such as Microsoft Word

so it can be opened and read easily. Consider saving it as a PDF so
it cannot be changed.
■ Keep the master résumé as an electronic file and update it regularly.
■ Keep copies of each individualised résumé for reference when

applying for similar jobs.
■ When sending your résumé by email, make sure the email address
you use appears professional – not cutiepie@yahoo.com
■ Attach your résumé to an email, rather than pasting the text into
your email which can make text appear distorted or muddled,
making it difficult to read.
156

Re ady, s e t,
go for it!
The cover letter

Your cover letter must grab the reader’s attention and entice them
to read your résumé. Some employers and recruiters place a high
importance on the cover letter and use it to make the first cull of
applications. Others do not consider them so crucial.
Because you don’t know how the person reading your cover letter will
respond to it, put some effort into writing it. Clarity, relevance and
brevity are good rules to follow – and make sure there are no spelling
or grammatical errors.
Blake Jones Your contact

Street address details
Suburb State postcode
Date Today’s date as number, month, year
Geoff Richards
Employer’s name, Design Professionals
position, company Street address
and address
Dear Mr Richards
I would like to apply for the position of Designer advertised on www.seek.com. I

have attached my resume detailing my work history as a designer and can bring my
Address the portfolio to interview.
requirements stated Since graduating from WAAPA I have designed for and production managed events
in the advertisement – scaling from boutique events for 800 people through to large-scale parties for 17,000
people. I have worked in venues such as the Opera house, Fox Studios, and Luna
briefly state how your Park’s Big Top.
interestes, relevant
My skills as a production designer range from scenic and décor design through to
achievements, show creation, sound and video mixing, costume design and production. I have
experience and extensive experience in compiling and pitching design concepts and proposals,
including budgets as well as technical information. I have successfully done this to a
qualifications make range of private businesses, theatre directors and event committees.
you the right person
My ability to design concepts in Photoshop together with my hand-drawn artwork
for the job have contributed to well-constructed design pitches that enable clients to see the
vision of the design before production begins. This has created a strong foundation
that takes the idea and transforms it into reality.
I understand the need to be able to create quickly and effectively, to work within
deadlines and be able to present ideas clearly and precisely to the client. I would like
the opportunity to work for a professional events company such as yours and believe
I can contribute to your events program. I would like the opportunity to present my
portfolio and show you some examples of my work.
Closing statement
Yours sincerely
Blake Jones
Sign your letter
You can see a full-sized version of this letter in Appendix 5.
The cover letter should be set out as a standard business letter.

Keep your letter short and to the point – three to four paragraphs on
one page. Use it to persuade the reader that you know your own
strengths, and that they are relevant to the position.

157
sample resumes and cover letters from Career FAQs

Entertainment
If no cover letter is required, build your comments into your résumé,

and emphasise your most relevant skills. If the job application goes
through a recruitment consultant, you can also call the recruiter
to tell them that you have sent in your résumé. This gives you the
opportunity to ‘sell yourself’ during the telephone call and to get an
idea of the role.
Tips: The cover letter

■ Tailor the letter to suit the employer.
■ Make sure you have your name and contact details in

business-letter format.
■ Make sure your contact details are clearly visible.
■ Include the name and address of the employer.
■ Address the selection criteria, using your interests,

relevant achievements, experience and qualifications.
■ Be succinct.
■ Have a friend proofread your letter for spelling,

grammar and layout.
The portfolio
You’re not only selling yourself at interview or audition. It’s important
also to document your career. How you do this will depend on the role
you are after. For example, a photographer or designer may have a
portfolio of illustrations, where a musician will have a demonstration
tape. For some specialities, such as acting, professional photographs
of yourself will be necessary.
As far as portfolio options there are a few ways of presenting your work.
The standard portfolio is an art folder with plastic slips so you can
add or subtract any work you want. Plastic sleeves can be added as
you add to your body of work. These work well but do have a very ‘art
student feel’ to them. However, they do present graphic images of
your work or the production very well.
158

Re ady, s e t,
go for it!
You can put together a hard cover book made to look like a published
art book. The look is more professional and impresses most people
because they don’t really see portfolios presented in this way.
A very ‘now’ way to present your work is to design your own website.
If you are a freelancer in the business, a website is becoming more of
a must-have. People use websites to present their portfolio which is a
great idea because it’s so easily accessible. An example of a website
portfolio is www.assness.com. This guy is a great event designer.
Another option is to create a CD or DVD that showcases your work.

You will need a good computer system with the necessary software to
develop your digital video portfolio.
I’m making a moving portfolio showcasing my work. Like a

movie trailer, it is a combination of sound and visuals which
create a strong impact on the viewer. People usually respond
well to colour, movement and music. I think you can get the
emotion of what’s happening in the images using this method of
presentation.
David Twyman, Set and costume designer
Whatever method you use, make sure that the work samples are of
good quality and that the portfolio is well structured. For people in
any creative industry, you need to sell yourself at the audition and
presenting your work to its best advantage is a good start.
159

Entertainment
How can I stand out at interview or

audition?
There’s no doubt about it, if you want to make an impression,
you have to stand out from the crowd at an interview or audition.
Sometimes, it’s just about doing something creative, and trying an
approach that is different from the obvious.
It stands to reason that it’s to your advantage to go to the interview

or audition well prepared even if you are not sure that this is the role
for you. If you have prepared properly, you’ll feel much more confident
going into the interview.
Think about the 3Ps of interviewing.
Preparation Presentation
Research the company Be personable and dynamic
Focus on your strengths
Read or skim the annual report – you’ll be less nervous
and any other information.
Develop a rapport with
the interviewer/s
Find out about the structure
of the organisation. Dress appropriately and be
well groomed
Get to know the key Interview Speak clearly
positions and the names
of people in them. 3 Ps Make eye contact
Smile, relax,
breathe!
Performance
Find out about interview techniques
Make sure you answer the question – don’t get side tracked!
Be honest in your responses
Talking about mistakes isn’t a bad thing if you
show that you have learnt from them
If you cover off on preparation, presentation and performance, you’ll

go a long way to getting the gig.
Another way to stand out is to think of some way to get the

‘competitive advantage’ over the other candidates for the role. A
beautifully-presented portfolio may show the interviewer that you
have put in a great deal of time and effort rather than just cobbling
together bits and pieces in a random fashion.
160

Re ady, s e t,
go for it!
Needless to say, rehearse! Whether you want to be on stage or in

a backstage position, rehearsing for the interview can make your
presentation on the day smoother and more professional.
Find some time before you present yourself to relax and calm yourself.
Whether it is finding a quiet place in a park to sit and reflect, or having
a cup of coffee while you watch the world go by, this beats arriving
frazzled and on the verge of being late, or worse – turning up late.
Tips: Standing out at the interview

■ Be punctual, professional and efficient.
■ Be approachable.
■ Have a good portfolio, tape or showreel.
■ Be proactive – you have to be a bit of a mover and shaker.
■ Show that you know something special about the position.
■ Don’t get defensive when criticised.
■ Be enthusiastic.
■ Engage the interviewer at a personal level.
■ Don’t burn bridges.
■ Always operate with grace.
■ Never give up.
Just another thought about planning a future in entertainment.

It is a tough business, however talented you are. The auditions
are few and far between, the right role can remain elusive,
and when the show finishes so do you. Competing for places in
musical ensembles and orchestras is gruelling because Australia
produces so many wonderful performers. So keep an eye open
for the management and production jobs which might give you
a transition into a second career in the arts. Don’t be scared
of retraining – there’s ex dancers who are arts marketing
executives, special effects specialists who are financial
managers.
Helen O’Neil, Executive director, Australian Major Performing Arts Group
161

Entertainment
What can I do right now?

There are things that you can do right now to help kick-start your
career in the business.
The school of life

There are many ways of getting into the industry apart from
qualifications. It’s sad to say, but it’s often not what you know,
but who you know. This industry is all about networking. Get
your face, your name and your work known. Be professional, but
not pushy, and always be approachable yourself.
Naomi Wallace, Actor
In the entertainment industry, practical experience and networking

often count for more than academic qualifications.
Jane Miscovic – who has a Bachelor of Science, a Postgraduate

Diploma of Directing from NIDA and is currently doing a Doctorate of
Clinical Psychology at the University of Sydney – believes experience
is just as important as formal qualifications.
I think time spent studying not only helps you to advance

your skills, learn theory and history, and study contemporary
forms, but also helps you become more organised, efficient
and multiskilled. Time spent in institutional organisations also
puts you in touch with mentors and peers, and can provide
valuable opportunities to develop your own creative and
working style. However, experience is just as important as
formal qualifications. I have always been academic, so I enjoy
the flexibility of my current work while I study for future
opportunities. However, study is more a personal choice than a
requirement for the industry.
Jane Miscovic, Choreographer
If you are interested in the visual arts and film, pay attention to films
and television shows. Many successful writers, directors and actors
say that they fell in love with film and learnt their craft from hours in
front of the television or spending hours in the local cinema.
162

Re ady, s e t,
go for it!
Show your stuff

Whatever field you’re in, you’ll have to be able to show samples of
your work. Make sure these are compiled as carefully as your résumé
and give a true reflection of your abilities.
Documenting your career is essential in the entertainment industry.
Most jobs work by a CV and at times a showreel. Industry

casting websites and books such as AT2 and SHOWCAST
always have an up-to-date portfolio and photo of entertainers.
Casting directors and producers will audition and hire people
from these documents.
Naomi Wallace, Actor
When it comes to choreography, Jane Miscovic advises that you

create a presentation of video clips of what you have choreographed,
production shots of shows you have been involved with, and letters of
reference from any industry professionals you have worked with.
If you’re going for a musician’s position, you would put a demo

together, instead of a job application. ‘It pays to get help from
producers or engineers with this,’ says Clayton Doley. ‘The demo
needs to be professional – the sound needs to be honed as it might
sound great live, but the quality needs to be different for a recording.
It also needs to be the right length.’
163

Entertainment
As director of photography Ben Allan points out, it’s not always only
your physical material that counts. ‘Your job applications will almost
always be casual meetings,’ explains Ben. ‘Find out as much as you
can about the person you are about to meet and then try to ask them
about their work and career and their ideas for the project ahead. This
not only shows them you are interested to learn from them, but can
give you valuable information that will help fast-track your career.’
For positions where the CV will count for more, such as managerial
positions, it’s important to be concise and enthusiastic.
Attention to detail is important. Ensure the information you

provide is precise – no spelling errors! You need to have a
businesslike but practical approach. Put yourself in the shoes
of the employer. It’s easy to hire someone, but hard to dismiss
them if things go wrong. Therefore, employing someone is
a major investment not only in money, but also in time, and
employers don’t take on new recruits lightly. Have a clear view
of what you can and are prepared to bring to the company.
The starting point is having an understanding of the business
and then shaping your approach. Your CV will speak of your
experience, but it’s not the whole view. It’s important to also
make telephonic contact, rather than relying solely on your CV.
Ben Macpherson, CEO, Artists & Entertainment Group
Hair and make-up artist Margaret Aston agrees. ‘Keep your CV short
and sweet – one page is ample,’ she says.
Work for free

With so many people clamouring for the same jobs, perhaps more so
than with many other careers, entertainment professionals often have
to work for free, not only to get the experience they need, but also to
get a foot in the door.
Here’s some advice from some of the people we interviewed.
Jobs in film are rarely advertised. To get a foot in the door

often entails working for free to prove your ability. Then, if you
work well, it usually leads to other opportunities.
Ben Allan, Director of photography
Most people and companies prefer formal training, but it is

possible to work in such entities as cooperative theatre – where
you work for free – and gain experience that way.
Chris Twyman, Lighting designer
164

Re ady, s e t,
go for it!
Be proactive and research the industry – get involved. Talk to

people - read the industry magazines, websites and newsletters,
join associations, get hold of an industry directory. Know what’s
going on – volunteer or do work experience where you can.
Leanne Bushby, Recruitment agency account manager
Multitask
It’s rare indeed to come across an entertainer who isn’t doing more
than one job at a time. Often it’s the second (third, fourth or even
fifth) job that pays the bills, while the creative job satisfies the soul.
Sometimes, to scale the heights to get to your dream job, you need to
start at the bottom of the ladder.
Get any jobs in the industry initially, be they lighting, sound,

wardrobe, whatever. You need about four to six years of all-
round industry experience in various fields – the more diverse
the better – as a lead-in to project management.
Dom Hamra, Production manager
It’s still a very ‘who you know’ industry, which can be

frustrating. Don’t come out of your studies expecting to get
a job in the area you’ve studied straight away. If it’s the
receptionist job going, then take it.
Leanne Bushby, Recruitment agency account manager
Work hard
As in any industry, there are no real shortcuts to success. All other
requirements aside, you won’t get anywhere without working hard, too
The main difference between people who succeed in this business and
those who don’t is hard work.
Don Lane, who has achieved the highest accolades as the host of The
Don Lane Show on Channel 9 and as a live performer had this to say:
Many years ago I saw the following quote in a newspaper in

California. I cut it out and kept it as inspiration. It said:
‘Press on, nothing in the world can take the place of persistence,
talent will not. Nothing is more common than unsuccessful men
with talent. Genius will not. Unrewarded genius is almost a
proverb. Education alone will not.The world is full of educated
derelicts. Persistence and determination alone are omnipotent.’
Don Lane, Gold Logie winner, 1977
165

Entertainment
Tips: What can I do right now?

Think about doing some of these:
■ Learn your craft.
■ Be informed.
■ Take part in student workshops.
■ Volunteer at festivals.
■ Watch movies.
■ Audition for anything you can get your hands on.
■ Work with local dance, theatre or music groups.
■ Volunteer to be part of the technical crew for amateur

or semi-professional shows or student films.
■ Visit music shops and check noticeboards.
■ Watch live bands.
■ Start a school or university band.
■ Have your music played on university or independent

radio stations.
166

B uz z words
Buzz words
AFTRS Australian Film, Television and Radio School, a
national organisation represented in each of the six
Australian states
agent person who represents creative people and who
plays a significant role in guiding their careers
ACPET Australian Council of Private Education and Training
AMEB Australian Music Examinations Board
ATYP Australian Theatre for Young People
behind the scenes term to describe people who work backstage or in
support roles in the entertainment industry, such as
designers, stagehands, hair and make-up artists
CEO Chief Executive Officer, the head of a company
CGI computer-generated imagery
COFA College of Fine Arts (University of NSW)
cottage industry an industry still in its infancy, relatively small and
requiring government support to keep going
covers band band that plays (covers) other musicians’ music,
rather than its own original songs
finishing breaking down costumes or props giving them a
distressed or antique look
focus session process in lighting design when each light in the rig
is powered up and pointed very accurately to the
section of the stage or object that it needs to light
gig an engagement at a venue, whether it’s a pub,
restaurant, concert or wedding
grip the technical job on a film shoot of setting up and
moving rigging, lighting and camera equipment
Hammond organ an electric organ or unique design, first built by
Laurens Hammond in 1935
in the spotlight term to describe those entertainment jobs such as
actors, musicians, singers, TV presenters, radio
personalities in the entertainment spotlight, such as
actors, singers, musicians
mentor person who gives another person help and advice
over a period of time
muso a musician
NIDA National Institute of Dramatic Arts, Australia’s most
prestigious tertiary institute for the entertainment
industry
pre- and post- the periods in the lead up to the making of a film
production and the time after the making of the film, both
critical components in the film making process
pro-am a work situation in which teams include
professionals (people who are paid) and amateurs
(people who work for the experience)
167

Entertainment
proactive to take the initiative to do something, e.g. promote

yourself in the entertainment industry
RAD Royal Academy of Dance
residence when an artist finds a place (home) with a theatre
company as an opportunity to work and learn
runner someone who carries messages or runs errands
session musician freelance musician employed for recording work
show reels examples of TV commercial directors’ work; similar
to a portfolio for an artist
sourcing obtaining necessary items, like materials, to
complete a set or costume design
storyboard graphic representation of everything that will be
contained in the TV commercial
treatment ideas used to create a television commercial
TVC television commercial
VCA Victorian College of the Arts
voice-over a recorded off-screen voice, usually for narration
WAAPA Western Australian Academy of Performing Arts
writer-in-residence a paid appointment with a theatre company where
you have an opportunity to work and learn
‘x’ factor special quality that sets a performer apart; charisma
or unique talent
168

Appe n dixe s
Appendix 1
Comparative starting salaries of various
professions
Seeking full-time
Seeking full-time Further
In full-time employment, Median starting
Bachelor degree employment, not full-time study
employment (%) working part-time salary ($000)
working (%) (%)
or casual (%)
Agriculture 80.3 6.7 13.0 19.4 37.0
Architecture** 86.7 6.5 6.7 29.8 31.5
Building 91.0 4.5 4.5 25.0 35.0
Urb & reg planning 91.0 3.0 6.0 20.3 41.0
Humanities 70.7 11.1 18.2 34.4 35.0
Languages 74.9 8.3 16.8 40.2 40.0
Vis/perf arts 60.3 13.2 26.5 32.7 32.0
Social sciences 67.2 11.2 21.5 34.2 38.3
Psychology 70.5 10.8 18.7 44.2 38.5
Social work 80.2 7.6 12.2 8.1 40.0
Business studies 81.1 6.9 12.1 15.4 37.0
Accounting 86.9 6.7 6.4 11.1 35.5
Economics 86.1 7.3 6.6 32.1 41.0
Education 77.9 3.8 18.3 6.4 43.0
Education, post/other 84.3 3.6 12.0 34.7 39.5
Aeronautical eng 89.1 5.8 5.1 17.1 45.0
Chemical eng 83.1 9.6 7.3 18.9 45.7
Civil engineering 95.7 3.0 1.3 6.3 43.0
Electrical eng 87.3 8.6 4.0 13.2 45.0
Elect/Comp eng 78.3 11.7 10.0 14.0 43.0
Mechanical eng 89.5 4.8 5.8 9.4 44.0
Mining engineering 98.8 1.2 0.0 7.5 63.0
Other engineering 86.9 7.7 5.4 17.7 44.0
Surveying 95.4 2.0 2.6 11.5 40.0
Dentistry 95.0 0.8 4.1 10.2 65.0
Health, other 81.9 4.3 13.8 26.6 40.0
Nursing, initial 96.2 1.0 2.8 5.3 38.0
Nursing, post-initial 94.0 1.3 4.6 4.2 38.0
Pharmacy** 98.7 0.9 0.4 17.7 30.0
Medicine 98.3 0.6 1.1 13.1 48.0
Rehabilitation 90.0 3.1 6.8 13.3 41.2
Law 88.4 6.2 5.4 22.6 41.0
Law, other 84.6 6.1 9.3 17.4 38.0
Computer science 73.7 13.6 12.7 17.8 39.9
Life sciences 71.3 9.9 18.9 46.2 38.0
Mathematics 72.6 14.5 12.9 50.7 42.0
Chemistry 84.7 5.1 10.2 55.3 38.0
Physics 78.9 9.0 12.0 50.9 40.0
Geology 87.4 4.2 8.4 39.2 42.0
Veterinary science 94.0 3.6 2.4 6.7 37.0
Bachelor degree graduates: employment, further study and starting

salaries (%), 2005
* Base figure is group in full-time employment. ** Pre-registration
Reproduced with the kind permission of Graduate Careers Australia,
www.graduatecareers.com.au
169

Entertainment
Appendix 2
Entertainment-related course providers
from ACPET members
Many members of the Australian Council for Private Education and
Training (ACPET) provide courses related to entertainment. List
supplied by ACPET.
ACPET member Location URL

Academy of Information Haymarket, NSW
www.academyit.nsw.edu.au
Technology
APITT Australia Institute of Perth, WA
www.apiit.wa.edu.au
Business and Technology
Australian Academy of South Melbourne, Vic
www.designacademy.org
Design
Australian Institute of Melbourne, Vic
www.aiptonline.com
Professional Training
Australian International Bundall, Qld
www.aica.net.au
College of Art
Australian School of South Melbourne, Vic
Business Administration www.ausbatar.edu.au
Technology and Research
Billy Blue School of North Sydney, NSW
www.billyblue.com.au
Graphic Arts
Commercial Arts Training Spring Hill, Qld
College and Queensland www.catc.qld.edu.au
Business College
Commercial Arts Training Sydney, NSW
www.catc.nsw.edu.au
College (NSW)
IBT Education Ltd Churchlands, WA www.ibteducation.com
Institute for Design Melbourne, Vic
www.ideaonline.com.au
Entertainment and the Arts
International College of South Melbourne, Vic
www.icpp.net
Creative Arts
JMC Academy Surry Hills, NSW www.jmc.net.au
Kal Multimedia Training Bundoora, Vic www.kalmultimedia.com.au
KvB Institute of Technology North Sydney, NSW www.kvb.edu.au
Melbourne International Melbourne, Vic
www.melbournecollege.edu.au
College
Photography Studies Melbourne, Vic
www.psc.edu.au
College
QANTM College City East, Qld www.qantmcollege.edu.au
SAE College (NSW) Surry Hills, NSW www2.sae.edu/aus/sydney
SAE College (WA) East Perth, WA www2.sae.edu/aus/perth
170

Appe n dixe s
SAE College (VIC) South Melbourne, VIC www2.sae.edu/aus/melbourne

South Australian Adelaide, SA
Institute of Business and www.saibt.sa.edu.au
Technology
St George Institute of Glen Waverley, Vic
www.stgeorge.net.au
Professionals
The Academy of Interactive Watson, ACT
www.aie.act.edu.au
Entertainment
The Actors Workshop Clayfield, Qld www.theactorsworkshop.com.au
The Computer Graphics Sydney, NSW
www.cgc.com.au
College (NSW)
The Computer Graphics South Melbourne, Vic
www.cgc.com.au
College (VIC)
The Sydney Business and Sydney, NSW
www.sbta.com.au
Travel Academy
ACPET members providing entertainment-related courses
171

Entertainment
Appendix 3
Sample job advertisements
Final Cut Pro Editor

Show Reel/Sample of work (MUST HAVE)
Young/Energetic/Passionate & Creative
12 mths Final Cut Pro experience (desirable)
Company Background Our company is young and energetic.
We all have a passion for what we do and love creating unique and
outstanding work for our clients. We focus on DVDs and CDs, but also
create exceptional quality Ad Campaigns, Music Videos, Short Films
and stacks more!
Your Role We need someone who is young, outgoing, creative,
hard working and willing to give everything a go. We need someone
who can confidently edit using final cut pro, whether it’s finishing off
an existing job or starting a new job and working through everything
including creative design/capturing/editing the works.
Education & Qualifications No formal qualifications are required. We
know that experience is just as good and if you believe you can do the
job and provide a sample of your work, then we’ll give you a go!
Experience 12 months of Final Cut Pro experience is desirable.
You MUST have a sample of your work!
Please click the ‘Apply Now’ button below.
-
Junior designer/animator
• Great Opportunities
• Exciting Projects
• Full time position
FLASHY DASH is a Melbourne-based multimedia company looking
for a full-time junior designer/animator to join our expanding studio.
All the skill sets needed Web Apps/After Effects/Photoshop/Flash/
Director, and If you know 3D Studio Max then this is a massive foot
in the door. Our applicant must be design focused with a great
attitude towards work and the industry. Our applicant must work well
under pressure, and use their initiative at all times.
Email: Please click the ‘Apply Now’ button below
172

Appe n dixe s
Video Editor – Hybrid Role

You have a background in the Film & TV
industry as an Editor. You have the desire
to do more than just edit. You are looking
to utilise your innovation and creativity.
You have the ability to work on multiple
tasks concurrently
Our client is presently seeking a Hybrid Video Editor.
The suitable individual will actually be involved in the
entire process from contract signing through facilitating
the programming, testing, technical support and finally
getting it to air. Coupled with this, the role will involve a
large creative aspect as well. The applicant selected will
be redesigning the look and feel of the interface and work
on ad’s and promotional material.
You must have strong experience in video editing using
Final Cut Studio with demonstrated general graphic
design experience using Photoshop etc.
To register interest in this permanent career opportunity,
either send your résumé to Michelle@HR.com.au
Children’s Birthday Party

Entertainer
Seeking energetic, bubbly and reliable people
Dynamic entertaining role
Excellent CASUAL rate available.
Due to substantial growth, a leading children’s birthday party
entertainment company is seeking enthusiastic people to join its
progressive company to appear at and run Children’s themed Birthday
Parties. You must have the ability to work in ‘character’, be personable,
fun loving, reliable, presentable and preferably have some form of
entertainment background (previous experience will be a distinct
advantage). You must be well organised with an attention to detail and
have the ability to relate to young children. You must be available to work
weekends and have a driver’s licence and your own vehicle. The role can
be summarised as follows: 1. Run a child’s birthday party (in character)
including playing music, dancing and lot’s of great games. 2. Ensure the
agreed service is provided and that all customers are happy. 3. Assist in
developing local marketing strategies to build brand awareness. 4. Ensure
all monies are collected. The positions are available immediately.
Email: Please click the ‘Apply Now’ button below.
173

Entertainment
Appendix 4
Sample résumé
Set designer
Street address
Telephone
Email blake.jones@hotmail.com
Blake Jones
Career objective
To be one of the most highly-regarded set and costumer designers with the
ability to adapt my skills and experience to suit corporate events, and stage
and film productions
Designed corporate events
Production designer
Themed dance parties (average 3000 guests)
In The Raw, September 2005
Wizardry, November 2005
Hotel California, January 2006
I Go to Rio, March 2006
Design consultant
Christmas event for major corporate, 2004 and 2005 (800 guests)
My role was to develop the theme and work with the Entertainment Coordinator.
Production designer
New Year's Eve corporate event 2005 (2000 guests)
Designer and co-creator

Dance party company 2002 – 2004
I produced nine dance party events for this group. I was responsible for theming
each party, sourcing and buying materials, hiring equipment, constructing and
assembling the props, recruiting and supervising the bump-in and bump-out
crew, and working with the graphic designer on all promotional material and
invitations.
Set designer
Entrepreneur of the Year 2003
I designed a touring set for the regional awards for five major cities, and a
separate design for the national awards held at the Crown Casino in Melbourne.
Theatrical production
Set designer
Waiting for Godot, The Playhouse, 2002
Much Ado About Nothing, The Attic Theatre, 2001
A Hard God, Revival Theatre, 2000

174

Appe n dixe s
Costume designer
Private Lives, State Theatre Company, 2003
Long Day’s Journey Into the Night, Independent Production Company, 2003
King Lear, Shakespearean Theatre Company, 2002
Model making
Man of La Mancha, Designer: John Amos (Opera company 2002)
A Streetcar Named Desire, Designer: Sandra Rosso (State Theatre Company 2002)
The Cherry Orchid, Designer: Beth Nguyen (Independent Theatre)
Education
2001 Bachelor of Performing Arts (Production & Design)
WAAPA
1998 Completed HSC

Smithsville High School
Referees
Name
Company
Contact telephone
Email
Name
Company
Contact telephone
Email
175

Entertainment
Appendix 5
Sample cover letter
Blake Jones
Street address
Today’s date as number, month, year
Geoff Richards
Street address
Dear Mr Richards
I would like to apply for the position of Designer advertised on www.seek.com. I

have attached my resume detailing my work history as a designer and can bring my
portfolio to interview.
Since graduating from WAAPA I have designed for and production managed events
scaling from boutique events for 800 people through to large-scale parties for 17,000
people. I have worked in venues such as the Opera house, Fox Studios, and Luna
Park’s Big Top.
My skills as a production designer range from scenic and décor design through to
show creation, sound and video mixing, costume design and production. I have
extensive experience in compiling and pitching design concepts and proposals,
including budgets as well as technical information. I have successfully done this to a
range of private businesses, theatre directors and event committees.
My ability to design concepts in Photoshop together with my hand-drawn artwork
have contributed to well-constructed design pitches that enable clients to see the
vision of the design before production begins. This has created a strong foundation
that takes the idea and transforms it into reality.
I understand the need to be able to create quickly and effectively, to work within
deadlines and be able to present ideas clearly and precisely to the client. I would like
the opportunity to work for a professional events company such as yours and believe
I can contribute to your events program. I would like the opportunity to present my
portfolio and show you some examples of my work.
Yours sincerely
Blake Jones

176

INSTITUTE
SAE_FAQ_AD_FILM.indd 1 9/05/06 5:14:44 PM

Career FAQs - Entertainment PDF

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Career FAQs - Entertainment PDF

Uploaded by

Copyright:

Available Formats

Australia wide

Career FAQs Entertainment looks into the working lives of actors,

Published by Career FAQs

Covers Jan 2006.indd 32 10/5/06 2:19:55 PM

Published by Career FAQs Pty Ltd

ENTERTAINMENT_28_04-06_SUE.indd i 4/5/06 1:04:37 PM

National Library of Australia

ISBN 978 1 921106 21 2

Publisher: Sue Stevens

Advertising sales enquiries: Stefan Harland

Career FAQs acknowledges the following copyright owners for permission to

Graduate Careers Council of Australia, www.graduatecareers.com.au

ENTERTAINMENT_28_04-06_SUE.indd ii 4/5/06 1:04:40 PM

Acting has been a passion for me since my childhood. I was in every

We can make, as we do, a lot of American ﬁlms in Australia using

Ent Foreword pages.indd iii 11/5/06 5:18:31 PM

The ﬁlm industry is merely a part of the greater ‘entertainment’

ENTERTAINMENT_28_04-06_SUE.indd iv 11/5/06 4:59:06 PM

The big picture

ENTERTAINMENT_28_04-06_SUE.indd v 4/5/06 1:04:41 PM

What are employers looking for? 28

ENTERTAINMENT_28_04-06_SUE.indd vi 4/5/06 1:04:41 PM

Ready, set, go for it!

ENTERTAINMENT_28_04-06_SUE.indd vii 4/5/06 1:04:41 PM

Get an agent 145

ENTERTAINMENT_28_04-06_SUE.indd viii 4/5/06 1:04:41 PM

Career FAQs was conceived in 2004 as a result of my own quest

ENTERTAINMENT_28_04-06_SUE.indd ix 4/5/06 1:04:41 PM

The range of Career FAQs titles is constantly expanding as we

Best of luck with ﬁnding the right career for you!

It is always inspirational to ﬁnd people who are willing

That you all gave so willingly and provided such compelling

ENTERTAINMENT_28_04-06_SUE.indd x 4/5/06 1:04:42 PM

these particular roles.

Career FAQs books are divided into three main sections.

‘The big picture’ provides an overview of the industry,

‘Insider info’ proﬁles the personal experiences of people who are

cv is a snapshot of a person’s career pathway –

detour indicates that another Career FAQs title has

find out gives you directions to ﬁnd out more about a

ENTERTAINMENT_28_04-06_SUE.indd xi 4/5/06 1:04:42 PM

provides additional information or an interesting

is used as a margin note to help clarify the

are jobs in the industry or profession that, at the

in is a short proﬁle of a speciﬁc job, with

explodes popular myths surrounding a particular

myweek is a day-by-day overview of the typical work-

jobs that have an unconventional, interesting

q&a tells the story of real experiences of people

highlight some of the issues associated with a

ENTERTAINMENT_28_04-06_SUE.indd xii 4/5/06 1:04:42 PM

The entertainment industry is about hard work, penny-pinching, job-

Want more quality career resources

ENTERTAINMENT_28_04-06_SUE.indd Sec1:1 4/5/06 1:04:43 PM

What do people in entertainment

Wherever you might start, whether as an actor, a musician or a

■ rehearsing for ﬁlm roles

ENTERTAINMENT_28_04-06_SUE.indd Sec1:2 4/5/06 1:04:43 PM

■ playing the Hammond organ

There are literally hundreds of employment opportunities to be found in

There’s anything and everything from the creative (including design,

ENTERTAINMENT_28_04-06_SUE.indd Sec1:3 4/5/06 1:04:43 PM

What are the attributes you need