Every January the awards season kicks off, beginning with the Golden Globes. Then we make our way to the SAG Awards, The Grammys, The Oscars, and later on, The Tonys and The Emmys.
These are it is safe to say, the major ceremonies broadcast throughout the year that we eagerly look forward to, anticipating, guessing and hedging our bets on who is going to win or lose.
In recent years, though, it seems the pre-show has taken on just as much importance as the actual ceremonies. What do we see?
Celebrities arriving in their limos, walking the red carpet in designer attire and who, are carefully primed, primped, and attended to by small armies of stylists, dressers, make-up artists, and publicists.
These events are televised to a worldwide audience complete with klieg lights, adoring fans, and the press and media eagerly scuffling to get their three or four minute on-camera or audio bite.
Eventually the actual presentation begins and as we gather around our wide screens, computers, or mobile devices we’ve come to accept the fact the minor awards will be handed out first.
What we really want to see are the big winners or the upsets in the major categories. But, how many of us stop to consider the months and even years it takes to see any one of these projects developed and produced?
Considering and Respecting the Extended Workforce Making the Film and Television Industry Possible
Considered what goes into developing these projects and the workforce needed to make it happen: actors, actresses, extras, singers, writers, composers, arrangers, creative crafts people, producers, editors, technicians, engineers, electricians, permits, crews, drivers, production assistants, agents, publicists, managers, lawyers, designers, art directors, copywriters, computer artists, marketing agencies, salespeople, photographers, caterers, exhibitors, etc.
The list is virtually endless.
Stop for a moment and think about the assistant director on a set. He or she is in charge of a 75-100 member crew and is responsible for all the set-ups and, that all guild regulations are adhered to, before the director shouts, “Action.”
Think of that person at 3:00 AM, in fifteen degree weather and the overhead crane freezes, but still has to get that last shot before dawn.
Consider the legions of artists, agents, managers, lawyers, paralegals, proofreaders, and assistants painstakingly negotiating contracts and hammering out the deals. Their job is not to be creative like the artists they represent, but to help their clients produce, license, and achieve the most favorable results in the most informed and protected manner whether it’s for an actor, musician, playwright, or producer.
Contemplate the diversified groups of CGI artists, modelers, and designers, meticulously sitting at computers, making sure coding, backgrounds, and other components match seamlessly as a game’s publication approaches. Or, the stage managers, backstage crews, and pit musicians on Broadway, at the Met, or in Vegas, ensuring that each performance is presented without a hitch.
These are the people who deliver and make the magic happen.
They, and so many more like them, are all part of the creative process, and for the most part, we will never know who they are. Without them the movie won’t be made, the song won’t be recorded, the game won’t be published, or the show won’t go on.
They don’t get to walk the red carpet and have their moment in the spotlight. The glitz, glamour, and red carpet are the public persona the industry presents on behalf of itself, but it amounts to one half of one percent.
We’re not aware of the early morning calls, emails, texts, and problems, the studio sessions running into overtime, and other obstacles that have to be dealt with when they arise. They are the people, the unsung heroes, who deserve a walk down the red carpet, who deserve to have the spotlight on them, and get the standing ovation, too.
He also served as the Chief Marketing Officer for the firm of Software Magic, he worked on developing console and online gaming concepts with companies such as Electronic Arts, Atari, Activision, Dreamworks Interactive, Mattel, and Lucas Arts.
His work also appears in the Hollywood Journal and on his website Aspects of Entertainment.
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