What If I Don’t Make It In Hollywood By Age 30?

See the playlist of videos on this topic here via Youtube

Top 30 Under 30, Best Innovators Under 30…the list goes on and on. Is the pressure to receive recognition by age 30 that crucial to being a success in your chosen field?

The answer is personal. The videos below touch on thoughts to help you form your own decision.

Watch the video interview on Youtube here

What If A Screenwriter Doesn’t Make It By Age 30? by Mark Sanderson

Mark Sanderson: It is hard to do but you really have to stay disciplined and also I think you have to have the fire and burning passion to really want it more than anything else. Because I never put an expiration date on my dreams. And I remember people saying…I was at dinner one time and a friend of my brother’s said “Well, what if you don’t make it by 30?” And I was like “30?” And I said “Well, I don’t know. What’s 30?” And to him he was projecting his fear upon me and I go “This is open ended, you know?” I’m sorry because it’s good and bad because you don’t want to fool yourself like you are saying, where after 10 years and you have nothing.

I mean I think after a certain point if you’ve really exhausted all of your abilities and nothing has happened, you might consider something…maybe writing is not for you? Maybe this pursuit of a career is not for you? And it’s a choice and no one is forcing you to write screenplays. It’s a dream. It was my dream since I was 11 years old. So am I going to achieve it? Am I going to achieve it at a level that I want?

Because when I worked in the restaurant while I was going to film school, I knew people that were actors who said “Well, it’s not worth it for me if I’m not like Brad Pitt.” And I said “Oh, really? So you think you’re just going to fall into it and be A-list?”…(Watch the video on Youtube here).


A SCREENWRITER’S JOURNEY TO SUCCESS: Tips, tricks and tactics to survive as a working screenwriter in Hollywood by Mark Sanderson


Watch the video interview on Youtube here

Best Advice To 22 Year Olds Who Want To Be TV Writers

by Jeffrey Davis and Peter Desberg

Jeffrey Davis: Start with how are you and people say “Sorry, busy today.” I think that the best example of this is I had a student two years ago who was the best joke writer at 21-years old and had done a lot of improv and very young.

But she could work on (which is what you want in “A Room”), she could work on other people’s scripts and would say “You know, this would be a great joke.” And they would all come from character and conflict.

And she said to me in the beginning of the year (because it was a 2-semester course), she said to me “I’m going to come out of here at 22 and I’m going right on to a television series as a writer.” And I said to her “I hope not.”  And she got really mad at me. And I said A) You won’t be ready B) They will eat you alive and C) They’ll resent you. So what you need to do is pay your dues. And they found this or she found this program that Second City in Chicago had started a grad program in Harold Ramis name (in his memory). And she applied and she got in. And she just graduated in May I think or I think she had 6 months to go? She’s got one more semester. And she is like a different kid because she took her time. So I guess to go back to your question, you don’t want to put yourself in a position where you will get pummeled because they will pummel you. They have so many people to see and they are looking for things that they can sell. It’s still a business, no matter what it’s on.

Even PBS, people go “Oh British television. It’s so high quality.” It is but it’s supported on the BBC so we’ll see things like THE CROWN and DOWNTON ABBEY and things that like which we rarely see here. Except now we are seeing it here on Netflix.

So I just think it’s always a good idea to dial up. Don’t try to be (when you’re young), don’t go in and pretend to know things…get people to mentor you I think is the best advice I’ve ever been given and is the best advice I could give. And take your time. You want to be in it for the long haul. You don’t want to have a gold strike and be done by the time you are 25. This girl, if she had done what she had in her head, she would have been finished at 25 (I think).

If you look at Orson Welles career, his later career (even though he made some great movies), he didn’t have the career he had at 26. He was too young, but he was a genius, so that doesn’t really count…(Watch the video on Youtube here).


Now That’s Funny! by Peter Desberg and Jeffrey Davis


Watch the video interview on Youtube here

When A Filmmaker Seizes The Opportunity To Make A Feature Film

by A.J. Rickert-Epstein

A.J. Rickert-Epstein: I found no one was ever going to give me the opportunity, I had to take it. So one of the first movies I ever did out in Los Angeles (of my own), I got a bunch of my friends together who were still in college (I graduated a year earlier because I was ahead of a lot of them because of the whole high school thing). And they had that summer and I knew what my summer was like after you graduated, sort of like “What do I do now?” There’s not a whole lot of commitments, you have a lot of time, most people don’t have a full-time job (yet). But sooner or later they are all going to get that or they are going to go off and start living their adult lives. Well I saw a key opportunity to get a lot of my old movie making friends back together and take that short period of time that none of us would ever get back again and try to do something with it. Something that we would all be able to benefit from and that would be making a feature film….(Watch the video interview on Youtube here).

Inside the Room: Writing Television with the Pros at UCLA Extension

Writers’ Program by Linda Venis


Watch the video interview on Youtube here

Reality For A Filmmaker Who Wants To Make A Movie Before Age 30

by Patrick Creadon

Patrick Creadon: I really admire the moxie of a 22-year-old film school graduate who only wants to direct and only wants to make movies and if they can do that, terrific.

Every once or twice in a generation a Steven Spielberg is going to come around, a Steven Soderbergh is going to come around, a Paul Thomas Anderson is going to come around. And these are people who really made great films in their 20’s.

But…then there’s the rest of us and the rest of us have to figure out a way to make a living and you also have to really work at your craft, you know? So I think studying any sort of discipline within film school is very, very valuable.

In my own experience I’ve seen that studying camera which is what I studied (cinematography) at the American Film Institute or studying editing, are two really good places to begin because those are the kind of jobs that production companies need to hire all the time…(Watch the video on Youtube here).


Bird by Bird: Some Instructions on Writing and Life by Anne Lamott


Watch the video interview on Youtube here

What A 25 Year Old Doesn’t Know About Hollywood Filmmaking by Jack Perez

Jack Perez: Well, maybe that’s the other thing (to answer your question from earlier) “What does a 25-year-old not know” is that…and I’ve answered this question before is as much as you would love it to be this constantly building step ladder, it is this crazy…you know you can drop like a stone and that doesn’t mean that you cant climb up again. But that was a big surprise for me, when those valleys came it was like “Holy Sh*t.” It was like the end of the world, I can’t believe it. But you survived…(Watch the video on Youtube here).

Real Artists Don’t Starve: Timeless Strategies for Thriving in the New Creative

Age by Jeff Goins

Watch the video interview on Youtube here

When A Young Filmmaker Deals With Age Drama From Older Crew Members On A Film Set by James Cullen Bressack

James Cullen Bressack: But I continue to work hard and I continue to push myself and keep going and that’s the important thing. You have to just keep going.

I think when you spend so much time getting mad about somebody else’s success, you forget about your own and you forget about focusing on your own. Because I remember when I first started doing this, I saw filmmakers and I was like “Well, I don’t know why this person is getting like a huge budget?” Instead of being genuinely happy for them and then I started realizing “No, I should be genuinely happy for them.” Because them getting that feature that proves that it’s possible and that proves that this is not just a fantasy. It proves that you can go make a little $5,000 movie and get a huge budget feature. You can go and make a couple movies and win a bunch of awards and suddenly become a filmmaking sensation in horror or whatever genre you are doing and you can do that. You can make a little movie that goes to Sundance, you can do that. And instead of being the type of person that gets angry that other people are doing that and you’re not, realize that it could possibly be your turn later and just fall in love with the idea that it’s still a possibility, rather than a fantasy…(Watch the video interview on Youtube here).


Writing Down Your Soul: How to Activate and Listen to the Extraordinary

Voice Within by Janet Conner


Watch the video interview on Youtube here

Advice To Film School Graduates On Making A Living As A Filmmaker

by James Kicklighter

James Kicklighter:  Here’s the thing, it doesn’t matter if you are a Georgia Southern student or a UCLA student or an NYU student. No college student (well that’s not maybe not true), most college students do not think about the totality of the picture because when they are in film school or when they are learning how to tell a story or whatever it is that they’re doing. They get taught the mechanics of it. They get taught this is a 3-act structure. This is how you compose a frame. This is how you run the camera. This is how you turn the sound on and you learn these technical things but no one and most schools do not teach the practical elements of what it means to be a film professional. And that’s a very, very different distinction and that’s something that unfortunately most of our schools let students learn once they get out into the real world. And it’s something that should be taught in our schools before they ever leave college because if they want to do that, they need to understand how to see their career as a trajectory, not a short term thing…(Watch the video interview on Youtube here).


Watch the video interview on Youtube here

An Advantage 25 Year Old Creatives Have Over Everyone Else by Jeff Leisawitz

Jeff Leisawitz:  Well, one of the pieces was I was young, I was like 24, 25. So when we’re younger we have more flexibility I think in our choices and in our lifestyles and things like that. On of the things that I try to get across to my college students that I teach song writing and recording to college students which like…that’s a job? Are you kidding me? I love it.

But I try to get them to understand the power and flexibility of their youth because they don’t really know it because they haven’t been 15 years older yet. They haven’t been in the workforce and running around. They are just getting out of school or in school. So that was a piece of it. Being young and I knew sort of where I wanted to go with my life, but it just seemed like a good place.

Film Courage: Another thing that I say a lot in these interviews, but I’m going to say it again is that when you are 20 or 24 people give you pats on the back and they give you “Attagirl! Attaboy! You can do it.” When you are 40, they don’t do that. And I think that part of it is there is part of them that wants to do that and they can’t [mostly from obligations] and it’s all very real thing in the adult world. You have certain roles and obligations and so you don’t get as many Attagirls! [or Attaboys!].

Jeff Leisawitz: That’s true. Maybe you can’t drop everything and move to different city. But you always can do something and that is the key, right? A huge difference is you’ve got to pay the rent and whatever the deal is. Okay, I get that, of course. But if you want to be a screenwriter, spend a half an hour a day or two hours on a Saturday or whatever it is. A little bit and you absolutely can do that. It’s just about prioritizing, right? Are you watching TV or are you writing on your screenplay? I mean…let’s get real…(Watch the video on Youtube here).

Not F*ing Around: The No Bullsh*t Guide to Getting Your
Creative Dreams Off The Ground by Jeff Leisawitz





Maggie’s dreams of starting a family of her own begin to take shape after she and her husband, Jonah, purchase their first home together. However, the pretty picture’s frame cracks when Jonah loses his job writing for a newspaper soon after moving into the new house. Unable to handle the pressure, Jonah disappears and leaves Maggie to deal with the fallout by Writer/Director John Goshorn. Watch it on Amazon here!