If you expect to work for a studio it is almost required, but there are exceptions (note they are mostly unique visions who work with low budgets).

Robert Rodriguez lives and works in Texas. Kevin Smith lives and works in New Jersey. George Romero lives and works in Pennsylvania. John Waters does all his movies in Baltimore, I don't know where he lives though.

As far as screenwriters are concerned, Joe Esterhaz suggests that you do not live in Hollywood and that you write all screenplays on spec. Otherwise it is sort of required that you live in Hollywood so you can take the meetings and make the pitches.

RJSchwarz
San Diego, CA

Well, I'm not planning on working for a studio, but I am preparing for a possibility with signing on to the DGA. Not saying I'm going to, but it is a possibility. Should that also influence my decision on whether to live in LA or not?

If you don't want to work for the studios and will be writing and directing
independent, non-studio movies then it doesn't matter where you live.

You can write and direct movies anywhere in the world!

=============================================
The aim of an argument or discussion should not be victory, but progress.
Joseph Joubert, essayist (1754-1824)

quote:

---

Originally posted by Spokane36

This question has been bugging me for quite a while now, and I would like to just let it out and ask the experts about it. Simply put, do I have to live in Los Angeles to become a writer and director? In case it's important, I'm thinking about doing movies.

Thanks for using your time to help answer my question.

---

The "trick" to creating success in the film industry is in networking. People have to know who you are and what you can do.

With that in mind, then yes, the closer you can live to the industry and the people in it, the more opportunities you'll have to build those relationships.

That said, you don't have to move to LA right away if you are interested in screenwriting. At some point you'll definitely want to be close so that you can expose yourself and your work to those in the industry, but there isn't much sense in making the move until you have at least two or three full screenplays under your belt and, in the case of directing, some type of example of your work, like at least one truly excellent short film.

You don't want to put off moving too long as it's important to not get trapped somewhere else by overhead living expenses and the kinds of "life" things that can lock you into life (ie, wife, kids, friends, mortgage, etc) ... live somewhere less expensive than LA where you can afford to work less and devote more time to honing your writing skills.

As mentioned, you do want to move closer to the business at some point. Far too many aspiring writers (and "filmmakers") don't invest the time and effort into meeting those who can help you advance your career. You might have the most brilliant script in the world, but if no one sees it, it might as well not exist.

Also be aware that MOST working Directors do not start their careers as Directors. They get their start doing something else, like Production Design or Cinematography. Frank Darabont, Tim Burton, Jan DeBont are just a few Directors who had their start "below-the-line." Beginning like this does two things for you... first it puts you in the industry where you can meet people. Second, you are making money and money is what buys you time you need to work on the things you really want to do in life. You could get a job as a PA or some low paying job outside the industry. But those jobs don't pay well and you won't (necessarily) be taken seriously.

So, the bottom line is that yes, to work in the business you should be close to it. Just invest the time into preparing yourself as much as possible when you do make the move. Have your finished scripts ready to go when you do meet the right people. Have your short film ready to hand out on DVDs or to screen somewhere. Learn as much as you possibly can about how the actual professional industry works (see book below). There is a bit of luck involved, but you can improve your own odds by being ready to hit the ground running when you get here.

Brian Dzyak
Cameraman/Author
IATSE Local 600, SOC
http://www.whatireallywanttodo.com

Alright, so bj, as a matter of curiosity, you said that most directors don't usually start their careers as directors. Does that mean I should start things off as a writer and then later go into the directing business?

Spokane,

You should get all the experience you can. You should write, you should do
crew work on student films, work as an office PA and as a set PA on independent
movies, make your own short films as a writer/director, help out any other
filmmaker you can find and even work in the theater. Everything you can do to
get experience helps.

It helps to be in a city where there is a lot of production. Where there are movies
being made, there are opportunities to learn. But you don't need to live in Los
Angeles to be a director.

Are you making short films right now? Or still thining about making them?

=============================================
The aim of an argument or discussion should not be victory, but progress.
Joseph Joubert, essayist (1754-1824)

quote:

---

Originally posted by Spokane36

Alright, so bj, as a matter of curiosity, you said that most directors don't usually start their careers as directors. Does that mean I should start things off as a writer and then later go into the directing business?

---

I don't know that I'd phrase it in quite that way. ?:)?

What's important to understand is that there is no single way to "get in" the industry. If having a career as a Director is what you truly wish to do, then there are several different paths that might get you there. The "trick" is to understand how the industry truly works and to know the various ways that could get you to your goal and then do everything you can to improve your odds.

Writing is indeed one of those potential paths. But it isn't as if you can just go out and "get a job" as a Screenwriter either. One method that has been successful for some and not successful for even more is to write your own script and then make the movie yourself as an independent project. IF the movie is any good and gets attention at a significant festival or sold at AFM or Cannes, then maybe you'll be signing a three-picture deal with a studio. Or maybe not.

Or you could write a screenplay that is so good that an Agent decides to represent you and your work. Or maybe you get the interest of an established Actor, Director, or Producer who likes your script and takes it to the next level.

You could be a successful Writer but never get the chance to direct anything. Or maybe you find a great script from a friend or fellow student and you direct the low-budget movie that is so good that it gets the attention of someone in the business.

Or maybe you start writing but don't get an agent or interest right away. So you get a job inside the industry doing something else and over time, you manage to meet lots of people and by chance one day, you happen to talk to the right person at the right time who wants to see what you are working on. Then by "luck" (when preparation and opportunity collide), you get your chance to sell the screenplay and maybe direct the movie.

Or maybe you get sucked into a career in the Camera Department or the Art Department or in Stunts and over time, you rise to the top of those departments and are given the opportunity to direct a Second Unit on a film...and that eventually leads to you directing your own movie after that.

So, you see, there are so many different potential paths to take in creating a career as a Director. Which one is right for you is up to you to determine as you recognize your own skills and limitations and how you can exploit your abilities. The first step is to learn how the professional business actually works.

Good luck!

Brian Dzyak
Cameraman/Author
IATSE Local 600, SOC
http://www.whatireallywanttodo.com

Thanks for setting me straight, bj. Hopefully, I'll find the right path over there.

Well put BJ - from a personal POV, try not to over analyze the situation as well. Just go for it, you have some great input to work off of.

Nothing fancy, just honesty.