Breaking into film journalism, one step at a time... Part 2

I'd usually introduce this kind of follow-up post by saying that it's long overdue. But then I realised: who the hell is it long overdue to? As far as I'm aware, nobody's set me a deadline. I tend to live by the mantra that if you have nothing worth saying, then don't say anything at all. That's not to say I've gone nowhere in the past few months since Part 1 of this series: just that there wasn't enough to write about in one go until now.

And now there's so much, Part 3 will probably be right around the corner. It's like Pirates of the Caribbean 2 and 3! Or Avatar 2 and 3! ...No, I'm not sure why I'm associating myself with those other back-to-back releases either. But suffice to say that by the end of this post, it'll become blatantly obvious why Part 3 will surface in a couple of weeks...

In Part 1, I mentioned I was writing for a website called The Hollywood News. I still am. I also mentioned that I might be going to a film premiere to interview Justin Timberlake, Amanda Seyfried and Cillian Murphy. And that I did. (It was a complete clusterfuck and a pretty horrendous experience, but more on that later.) Now, though, I've expanded my horizons somewhat: I'm writing for Kettle Magazine, with my first piece (which is currently in the research process, and will likely end up at around 4,000 words. Ah, if only I was paid per word. Or paid at all) consisting of a history of the Red Hot Chili Peppers, followed by an album and concert review. So there's that.

Also along the music lines, I'm currently midway through a one-week stint at Uncut magazine. You might have heard of it. As it was a short notice invitation, they don't have much for me to do. For the past two days I've mainly been proofreading the March issue. But I've also had the chance to write an album review, for which I'm awaiting feedback from Deputy and Reviews Editor John Mulvey, and I've had a nice long chat with the Editor, Allan Jones, about getting into the business. So it's not been a complete waste of time. Plus, I get to listen to decent music, while kicking back and basking in the sun from my tenth story view of Central London. Not too shabby.

On another note, before Christmas I applied for a paid freelance position at mobile advertising website MobiAD, and next week I have a phone interview. Now, anyone who's spoken to me in person will no doubt have wondered what the hell the other half of the conversation they just had was about. My vocal clarity is about as advanced as that of a mute infant. But never mind. MobiAD, in any case, is, like Uncut, a completely different direction from film journalism. But one can never have too many doors open.

And now it's apparent to you, or at least it will be if you actually took any of the last couple of hundred words in, why Part 3's just around the corner. No doubt in a couple of weeks I'll be telling you how I shouted at the interviewer in a state of panic about how I'm acshully a reli gud jurnalist man despite wat he must fink by dis stage in the intavew and how I accidentally burned down Uncut's offices on my final day. At least I'll have plenty to write about...

Back in the world of film journalism, and I've had my fair share of press screenings to attend since October. Most surprisingly enjoyable was A Very Harold and Kumar 3D Christmas (where I also got a free pair of 3D glasses. Simple minds and all that). I do love a good press screening. Free drinks, free films, etc.; it's all good. But yes. Back to that premiere. Huddled into groups of 6 after waiting in the cold Halloween winds for an hour and a half, the lowly print/radio/online journos (basically anyone without a camera) all charged at the poor unassuming actors in one go. For about thirty seconds. Which meant we got about one question in each (if that). And when it got to Seyfried, they were really short on time, so all 12 or 13 of us had to clump together. Again, a bit of a clusterfuck.

Luckily, JT and Seyfried were lovely and co-operative. Murphy, on the other hand, looked like he'd rather be anywhere else in the world and was very unresponsive and offhand to questions, but, then, a lot of them were about the weather... bloody Sunday tabloid journos.

Breaking into film journalism, one step at a time… Part 1

Without getting too personal about things - I’d rather not turn this into a ‘me me me rant rant rant’ blog after all - I thought I’d start a series of posts relating to my journey into the torturous, bewildering and oh so exciting world of film journalism. Here’s part the first, whereupon I watch some films, write some words and get lost in a hotel with the man who has managed to basically do everything I want to do in my career. The bastard.

Just before starting at City University on a journalism course (what else?) I started writing for a website called Nerditorial. I can’t stress this enough as a way to get yourself out there: find and volunteer to write for as many websites as you can. Or have time for. After a few weeks at City I was forwarded an email from one of the journo guys about a website called The Hollywood News. Here was yet another opportunity to get myself into the world of film journalism. And in the cut-throat world of, well, any journalism really, opportunities are not things you can wave at as they pass you by.

Sure, these aren’t the kind of opportunities that are particularly financially viable. I’m writing for free, but at the moment it’s just about getting my name out there. The Hollywood News in particular is brilliant for this: last night I attended a press screening of The Thing, due out in December. Five seats down was Kim Newman, author, film critic, journalist and contributing editor to Empire magazine. In short, everywhere I want to be.

I remember reading an article a few weeks ago, though I haven’t a clue who by, which described a very similar situation to mine. The author was breaking into film journalism, writing for free for some local fanzine, and was sent to a press screening. He described his awe at being in the presence of such renowned names in the world of film journalism as Newman, and… well, other guys from Total Film and stuff. This was when he knew he was beginning to ‘make it’; he was in the industry now and it was all gravy from here. Regardless, as I was reading it I was pretty sceptical about the whole thing; surely it was just a bunch of guys watching a film - the only difference being everyone else was getting paid for it and he wasn’t?

Yet upon entering the Charlotte Street Hotel last night, feeling horribly out of place in jeans and a tee, clutching a free copy of the Evening Standard and a bottle of Ribena, I was overcome with that same sense of awe. And nervousness, of course; I may have felt a tad better was I in a suit, with a copy of the Financial Times (or at least The Guardian), and perhaps a bottle of champagne instead of Ribena, but nevertheless it was a stomach-churning experience. I just couldn’t believe I was there; I felt like I’d made it already. It was the same thing I felt after attending City for a couple of weeks - everything was just completely surreal and I couldn’t believe I was finally on the course I’d been looking at for at least two years. But now this post really has become all about me. Bollocks.

Basically, in any kind of journalism you’re gonna find yourself working for free to start off with, unless you get incredibly lucky. But push yourself out there, across all platforms, in multiple ways; don’t limit yourself to writing for one publication or website. And if you want to get into film journalism, go write for The Hollywood News. On Monday I might be going to the film premiere of In Time to interview Justin Timberlake, Cillian Murphy and Amanda Seyfried. It doesn’t get much better than this… until I start getting paid for it, of course.

(Please note: I’m just describing my experience starting out, I have no idea whether this will actually get me into film journalism and taking my advice is a pretty daft thing to do in all honesty.)