Issue link: https://digital.copcomm.com/i/1437291
81 W I N T E R Q 4 I S S U E J U M P P A G E Members CONTINUED FROM PAGE 24 Fallout CONTINUED FROM PAGE 26 Dune CONTINUED FROM PAGE 70 and put them to use at networking events to start building your own network. Contact assistants and editors that you admire and aspire to be, with the genuine intent of ask- ing for advice, not a job. Learn to budget and save money. It will allow you to say no to the jobs that don't serve you and help progress your career more quickly as you wait for the right opportunity instead of the first. Practice setting and enforcing boundaries. You will gain respect and self-worth, and empower those around you to do the same. Establish healthy habits and maintain consistency. Doing so early on will make a significant difference in managing projects where consistency is imperative. Q Was there ever a circumstance when you had to rely on the Guild for help or assistance? Before I start a new job, I call Jessica Pratt [the Guild's senior field rep and now Assistant Executive Director] to go over my contract and make sure I know my rights. Every. Single. Time. I also send her my first paystub and respective timecard to check that I am being paid correctly. You'd be surprised how much vacation and holiday pay you could be missing out on because of an accounting error. I've also spoken with her when instances of harassment and contract violations have arisen. I appreciate that what steps are taken is ultimately up to me instead of being forced to file a grievance the moment I share an issue. In my experience, problems in the workplace are more likely to be resolved when a discussion takes place rather than a formal write-up that can take months or more to make it through the system. Re- gardless of the outcome, it's important that our field reps are aware of the issues we're experiencing so they can better prepare us on how to navigate repeat offenses. Q Is there anything you'd like to say to your fellow Guild members, some words of encouragement? Solidarity, education, and active in- volvement are key to making a difference in this industry. I urge everyone who joins the union and the entertainment industry in general to learn what it means to be a part of this community. See a problem? Talk to your coworkers, field reps, and other union mem- bers. You are a part of a collective voice, so use it! When we stand up for ourselves and our union kin, we make the industry a better place for everyone. Never forget that we are all human beings with a shared passion for storytelling. We all deserve a safe working environment, actual living wages, and time outside of work to thrive, not just survive. ■ Compiled by David Bruskin Talent Agency as clients. I freelanced for many companies at once and read boatloads of material quickly, all to make a living. But generally, the freelance world is a dog-eat- dog world with criminally low rates. Suffice it to say, the burnout is real. In 2018, I met my now friend and men- tor Holly Sklar, the member-at-large who represents story analysts on the Local 700 Board, and learned there was a union that represented story analysts. This completely blew my mind. Since I was already interest- ed in building a community of colleagues in the freelance story analyst world (there was none at the time), I teamed up with Holly to build what would become United Story Analysts — a safe space where analysts of all stripes, freelance and union, can dis- cuss how to elevate working conditions of our craft. After cutting my teeth in the freelance world, as well as a stint in the mailroom at United Talent Agency, I got an incredible, life-changing opportunity to work as an MPEG story analyst at Warner Bros. Pic- tures where I worked on the development of a handful of feature film projects from iconic and beloved franchises to some cool genre pieces — I'm just waiting for the day that any of them see the light of day! Other jobs followed, including time served as a development exec, and in 2021, I returned to story analysis, this time at Sony Pictures. I count myself lucky every single day to be surrounded by stories and people who love movies. I can't emphasize enough what being in Local 700 has done for me. As a 20-something kid, a living wage, healthcare, and pension give me a stable life in this town. For this, I'm forever grateful. ■ Mark Chandley is a story analyst working at Sony Pictures. When he's not knee-deep in scripts, he's hiking around beautiful California or binge-playing the latest video game. Mark lives in Los Angeles and can be reached at mchandley2@gmail.com. brings to storytelling is phenomenal." " We d eve l o p e d way s fo r s o u n d s to fully integrate with the storytelling," Green said, summarizing the team's creative experience. "It takes a real effort to get a production to bring the post crew on early, but [that capability] gives a director time to think about how those sounds can be integral with the film. Mark Mangini and I are passionate about spreading the word that sound can become a deeper and more organic part of the storytelling process, but only when we are brought on during filming and editing." "I prefer to hear sounds early on," Vil- leneuve concluded, "and not at the end of [post production] when we have very little time to make changes!" ■ Mel Lambert is a long-time contributor to CineMontage.