THREE WAYS CREATIVES GET FIRED IN SHOWBUSINESS
I don’t know how you get fired in other professions. But I have witnessed, been party too and been on the receiving end of these particular methods of firing while working in film and television. As we’ll learn, all of them suck, but some suck more than others.
THE ONE WHERE THEY RIP THAT BAND AID OFF FAST
They sit you down and tell you that you haven’t lived up to expectations. It’s brutal. But it’s brave and I congratulate the firers on having the strength of character (or sociopothy) to do this. It’s probably the way most firings should be done. Sure, it’ll make you hurt and angry and despondent and probably drunk for the next 36 hours, but afterwards, you’ll be able to get on with your life without any lingering questions. There’s nothing mysterious about it. You haven’t been fed any lies or subterfuge. They just said you weren’t good enough and took away your security pass. The pain is short and sharp, but you’ll soon laugh it off, get better at your job, and be in a position to win next time.
THE ONE WHERE YOU GET AN EARLY PASS
The next best firing is when they get you to “finish up early”. It’s dignified - particularly, if you’re paid your full fee. For writers, that means you won’t be doing another draft of your screenplay because it’s already “perfect”. For directors, it means leaving the edit before you were meant to because no one has any notes. And for actors, well, you’ll be told “the network has seen the dailies and thinks you’re too good looking for the role.” Essentially, smoke will be blown up your arse as you’re sent out the dor. Now, people have two approaches to handling this kind of firing. The smart ones see the behaviour for what it is – that they’ve been fired as well as lied to and they’re furious about it. And the really smart ones, decide to believe the lie and live a happy life.
THE ONE WHERE THEY FORCE YOU TO BREAK UP WITH THEM
This is the worst kind of firing coz it’s gutless. What will happen is your employers will set up an untenable situation which leaves you no option but to fire yourself. A heightened example might be that you’re writing a standard workplace comedy set in an office. And your employers will say it’d be better if it were set in space. So you set it in space. And then your employers say, “Are you insane? Why are you setting it in space?” My advice in that situation is to read the tea-leaves, make an excuse about a sick relative, and leave the project. What’s happening is they’re too chicken to break up with you, so they’re getting you to break up with them. It’s weak and more common than you think. Some creatives hang around to spite employers who do this, which is kind of funny. But I think it’s better to just leave and turn the disaster into a dinner party anecdote.
So they’re just three of the ways you can get fired as a creative in film and TV. How do you get over being fired? I don’t think you ever do. But the next best thing is turn pain into gain and become offensively, gloriously, and wonderfully successful.
Next week, we’ll talk production and the one thing that will ensure your otherwise perfect set will be a living nightmare.