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Scrambling up the down slope


Mick

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Mixing "CSI" for eleven years was a dream job and I am so grateful to have had it for as long as I did. The downside now that I no longer have it however, is that I no longer have any current contacts in the biz and I feel like I'm back to square one, almost like starting in the business from scratch. I subscribe to Production Weekly and Below The Line and send out resumes galore but nothing seems to be working, especially me!

Am I missing something? Did the protocol for finding work and networking change while I was out of touch?

I've chatted with a couple of contemporaries and it seems that I'm not the only one in this dilemma. I can understand that the alarming amount of work going out of town is partly to blame in that there are now more mixers than available jobs, but ego aside, I assumed that a resume as comprehensive as mine would at least get me some interviews. Nope. I've worked about six weeks in the last year and a half. I'm geared up for 2nd unit work in the hope that any of the current series out there can use my expertise and experience in day playing.

If anyone has a word of advice that I can use I'd appreciate it. I'm way too young to retire and in all modesty, way too good to have my talents stay this idle this long.

Live long and prosper

Mick

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I worry about this even when I get a gig of a couple of months.  I feel out of the loop.  The key (I know this is hindsight but...) is to maintain your contacts while you are in the gig and to start looking for work before your current gig ends.  That being said, keep in contact with the CSI prodco.  They are sure to launch something soon based on their past success and if you had a cordial working relationship with them why wouldn't your name be on the top of their list.  The CSI PM will likely be moving on to another show, work that contact.  You are now a salesman and your product is YOU!  You should be out there hustling just as hard as any vacuum cleaner salesman on the planet.  Network, network, network.  I must assume CSI was a union show?  Work the union lists.

 

best of luck, believe me I know how scary it can be out there after the relative security of a long-standing steady pay check.

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Only cliché's come to mind Mick. Out of sight out of mind springs to the front of the line. I wish I had some good advise for you to follow Mick but I don't. The only thing that comes to mind is that networking is easier than ever but how far that can take you is an unknown really. This is a good place to stay in sight. Coffey/Trew Sound have many worthwhile events. The CAS is a fine organization with many brothers and sisters doing what we do. There are get togethers in town now n again that are fun and worthwhile on many levels. You made it from the bottom to the top once before, I bet you can again. Best of luck.

CrewC

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I really relate to Mick's predicament, what he has expressed here really saddens me. The only partial bit of solace I can offer to you Mick is that you are not alone. I find myself in much the same situation as you, and in talking to many others the numbers are growing every day. Not everyone is ready to admit to a lot of these things, publicly, and I will say that I had some reluctance even replying to your post in such a public forum (yes, MY forum with my name on it). Many of my friends have retired, specifically because of the situation you find yourself in. One statement from your post: "I assumed that a resume as comprehensive as mine would at least get me some interviews. Nope." sums up exactly where I'm at, and I think I have a fairly substantial resume. You ask if the procedures and protocol for hiring have changed and I believe they have. I do blame a lot of our situation on the changes in the industry, runaway production (where a production chooses to shoot somewhere for money reasons alone), and the fact that even producers and directors are being marginalized by the power structure above them (the mega-media corporations where movie and television production is only one part of a much larger business). I know that all the incentive states have provided a lot of work for other fellow sound people (many of them members on JWSOUND), work which they would not have had otherwise when the bulk of ALL work was centered in Los Angeles, Chicago and New York. This has been a good thing for those people but it has lowered the bar for ALL of us by allowing the production companies to make hiring decisions solely based on geography, jurisdiction and willingness for the workers to work under much less favorable contracts (or no contracts).

 

It is not a simple issue and when looked at personally, as Mick has done, it is really tragic. I would love to still be working on movies and I'm sure Mick has a lot of good years left in him, but I don't know exactly what can be done about it.

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Most of the people on the lower food chain can't really identify with you unfortunately. I had no idea how you feel. I've got an advanced degree and am barely making ends meat. I carry my bag like a mule most days. 11 years mixing a major scripted TV holy shit...what an accomplishment. Aren't you ready for another segment in your life? Either teaching, because you can afford to boss some kids around and stuff and feel young again or whatever. Surprised your not in Hawaii writing this sipping your Corona. I just don't know how you feel...sorry mate...not to be offensive.

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This same kind of thing has decimated the post-production business as well. I know a couple of dozen colorists and re-recording mixers who were axed from longtime staff gigs and now have to swim the uncharted waters of freelance employment. The pie has shrunk, and the slices are being sliced thinner than ever, especially in LA. 

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I have the same story as Mick almost exactly, 12 years on CSI and CSI Miami, then nothing. Now with the help of a few friends I'm doing 2nd unit on several shows and It's been really fun. Working 2nd unit is much more interesting than working your own show because anyone can make things work there own way but it takes talent to do a good job doing it another mixers way. It reminds me of when a record company wanted to recreate the "Motown Sound" on some of their new CDs, well they hired famous and experienced engineers and only a few had the chops to get that sound in a way that another engineer designed the sound.

 

I would love to see 695 and IATSE in general address the issue of the TV seasons with 3 months off during a time when very few other productions start, You can go through a lot of savings in 3 months, and even more and then some trying to completely start over in a hiring system that has no regard for experience or talent, It's wrong that mixers like Mick are out of work for such a long time. 

 

Hang in there Mick when I get a show again (some day) It will be privilege to give you some days if you need them.

 

Donavan

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