By Charlie Kesslering, BA’11

Charlie Kesslering, BA’11

If I’ve learned one thing since landing my first job in Hollywood, it’s that it’s nearly impossible to get a dinner reservation at the Hotel Bel Air.

But we’ll get to that. Last July, months before four-course meals ever crossed my mind, I was unemployed and consumed by another impossible task—breaking into the movie business. An internship under my belt and a dream in my back pocket, I had left Nashville for sunny Los Angeles and was in the market for my first paid gig, likely as an assistant in one corner of the industry or another.  I had bought enough ramen noodles to stock a respectable bomb shelter and settled into a studio apartment that, on different day, might have ignited a bidding war between Stuart Little and The Borrowers. God bless my mom and dad; while most parents would have been looking for an exorcist, they fronted rent.

“Blame Vanderbilt,” I told them, only half-joking. After all, it was the tightknit network of Commodores in this seaside wonderland—a group that has branded itself Vandy-in-Hollywood—that had enabled my seamless transition from economics and political science double major to starving artist. The previous summer, these powers that be had plucked me and 20 or so other undergrads from obscurity and placed us in internships reserved specifically for Vanderbilt students each year. Mine was at Double Feature Films working for the producers behind such favorites as Garden State, Erin Brockovich and Pulp Fiction. To give some perspective on just how lucky we were, internships in this business are completely unpaid because they are so highly sought after.

The curtain had been pulled back. For an entire summer, between coffee runs and photocopies, I got to watch the wizards of Hollywood conjure movie magic. At the time, they were gearing up for production on Contagion; given that and other projects, I had the pleasure of witnessing every step from script to screen. What had started for me two semesters prior as an elective screenwriting class had quickly become a full-blown career path in an industry that without Vandy-in-Hollywood would still be as fictional to me as the blockbusters it puts out. I was spellbound.

So, after graduation, I let my dreams carry me back to the Promised Land. Three months of unemployment, countless interviews and hundreds of self-deprecating tweets later, my internship—and my parents’ patience—paid off. One fateful September day, my boss from the previous summer, a Vandy alum himself, called me and said, “I know someone looking for an assistant. … How do you feel about talent management?” How did I feel? I felt like the little girl who actually received a pony for Christmas. I felt deliverance.

Now, that was six months ago. Sadly, the glamour has worn off. You can only feel star-struck for so long (trust me). In fact, anyone that actually describes entertainment as “glamorous” is not, and has never been, an assistant. After nearly half a year at the ground floor of a talent management firm that represents numerous A-listers, I’m still immensely thankful for the job. I would hardly describe what I do as glitzy—partly because it’s not, and partly because I wouldn’t be caught dead saying that word out loud. There’s a phrase that people always seem to equate with working in the entertainment industry—“swimming with sharks.” I don’t find that analogy entirely accurate. To me, it’s more like swimming with vampire sharks while wearing Lady Gaga’s meat dress.

Don’t believe me? Try going 12 rounds with the hostess at The Polo Lounge. Have a tangle with the maître d’ at The Ivy. Pull yourself off the ropes after having the words “we’re fully booked until 10:30” smacked against your eardrum day after day. Try telling your boss—who has managed to make a queen out of herself and kings out of others—that she’ll have to take her dinner plans elsewhere, because you, a Vanderbilt graduate that forsook lucrative opportunities in investment banking in favor of answering the phone, couldn’t make a dinner reservation.

Simply not an option. So you beg, borrow and steal. “Let me speak to your manager” becomes your catch phrase, name dropping an extreme sport. During an after-hours trip to McDonalds, you have to catch yourself before spouting off the monikers of famous actors and directors. (“You mean I can just have the quiet, secluded booth by the Play Zone?”) You’ll soon search Google for “online carpentry lessons,” hoping that, next time, the girl at Matsuhisa will accept your offer to build her a table for four.

And that’s just dinner—I haven’t even mentioned the tasks that come before and after the day’s other two meals (most of which, in the grand scheme, are much more critical than a good seat for supper). Drafting letters to high-power producers, connecting calls to studio heads, reading scripts and deciding whether to give your (surprisingly influential) seal of approval, booking travel for some clients and securing auditions for others. Oh, and FedEx-ing a birthday gift overnight to London when there’s no such thing as FedEx-ing internationally overnight.  That was fun.

So what’s the point? Why do I and so many other well-educated youngsters put ourselves through this menial torture?

A couple weeks before graduation, as I enjoyed some of those last moments on my fraternity’s front lawn, a freshman brother posed a similar, but more pretentious, question. “Why entertainment?” he asked. “Your roommate is doing Teach for America. So-and-so is going to medical school.  They’re actually putting their degrees to use and helping people. Don’t you feel like chasing money in Hollywood is kind of insignificant?”

“You’re wrong,” I told him, unfazed by his swipe at my chosen path. “Movies and TV are a form of medicine. For millions, they’re a necessary escape from the economic recession or the simple monotony of their daily lives.”

Needless to say, I had spent one too many hours in the sun. A truthful answer would have begun something like, “One night, after a few episodes of Entourage…” and ended with some anecdotes about my awesome internship the summer before. In all honesty, I came out here to chase an ultimate dream. We all did, I think. Maybe I’m not using my prestigious degree in a way Cornelius Vanderbilt envisioned when he endowed our great university. But don’t be so sure—he never had the pleasure of watching a motion picture.

I’m paying my dues, as steep as they may be, because I want this more than anything. I want to write a movie people pay money to see. I want to write dialogue that makes you laugh so hard you fall out of your seat and hurt yourself. In my pipiest of pipe dreams, people know my name as the one that follows “Created By” in the credits of their favorite sitcom. And at the Emmys, I give a hilarious yet touching acceptance speech in which I thank the good people of Vandy-in-Hollywood for crushing my parents’ hopes for my life, but making my own possible.

I fantasize about Vanderbilt film students, years from now, peering over their horn-rimmed glasses and muttering, “Boy, that Charlie Kesslering wrote some classics. Too bad about that amphibious car accident.” And then they make a movie about my brief but wonderful time here—dinner reservations included.

Previously, Jeannette was a Vandy-in-Hollywood intern two summers in a row; first, in 2008, at The Tennis Channel… and second, in 2009, at Red Varden Studios.

Stacy’s first Vandy-in-Hollywood internship was in 2008, when she interned with Weller-Grossman Productions on their hit Fox Reality clip/sketch show, Reality Binge. The following summer, she interned at Reveille Productions (The Office, The Biggest Loser, Ugly Betty.)

Now, as the assistant to the president, Stacy helps find, pitch, and develop new TV show ideas and properties… as well as helping to oversee current on-air programming.

Alex Echols ('09) at the "Kung Fu Panda 2" premiere at Grauman's Chinese Theater in Hollywood

Congratulations to former Vandy-in-Hollywood intern Alex Echols (class of 2009), who recently landed a plum gig in Dreamworks Animations’ marketing department.

As Dreamworks’ Strategic Brand Marketing Coordinator, Alex helps create and shepherd marketing campaigns for movies such as Kung Fu Panda 2 and Puss in Boots.

Alex completed the Vandy-in-Hollywood Summer Internship Program in 2008, interning in IMAX’s production department.

Lucy Liu, Jack Black, Seth Rogen and the cast of "Kung Fu Panda 2" at Grauman's Chinese Theater

The show, which comes from a partnership between Dill and Richard Joel and Phil Gurin (Shark Tank, The Singing Bee), pits people against each other in an obstacle-course adaptation of the popular kids’ game, Musical Chairs.

Click HERE for the Variety article…

OR

My Fabulous Day at Vandy in Hollywood

by William M. Akers (Senior Lecturer, Film Studies Program

“The first job is everything.” – Brian Terwilliger, intern coordinator, G4 network

“I couldn’t have gotten this internship without Vandy in Hollywood.  That connection was HUGE.  Everyone else has an uncle who works here.” - Kelsey Margol, ViH intern, PMK BMC public relations

Mason Ziluca & Will Lowery, enjoying coffee at Generate in Santa Monica

It’s fun to be a visiting dignitary.  I get the chance so rarely.

The day (Wednesday, July 13, 2011) started bright (because it’s L.A.) and early (because it’s business) when Richard Hull (A&S 1992) picked me up and drove me out to Generate in Santa Monica, where Will Lowery (A&S 2000) works as a literary manager and where Mason Alexander Ziluca is interning.  When we arrived, Mason was ready with coffee, bagels, and plenty of cream cheese.  Yay!

ViH interns Lex Ardeljan-Braden and Clay Prietsch at K. Jam Media

After caffeine-loading and lively conversation with Chad Gervich (A&S 1996), it was around the corner to K. Jam Media and Miramax, where Clay Preitsch and Alexa Ardeljian-Braden slave their guts out for no money.  I got the Cook’s tour and we sat down and discussed what ViH could do for them and what they can do for ViH.

Then, a quick trip to the ultra-cool Pacific Design Center and a fact-finding visit with Kelsey Margol, intern at PMK BNC public relations.  What’s unique about Kelsey is that she’s not interested in entertainment but came to ViH for a marketing internship.  How cool.

ViH intern Kelsey Margol at PMK, one of Hollywood's top PR firms

From there, it was off to the heart of Beverly Hills for killer Chinese and a great visit with alumni Sam Miller (A&S 2006) and Jeannette Francis (A&S 2010), both ViH survivors and both employed!

One thing I enjoyed was seeing Clay and Alexa, who have a very good handle on what’s going on… and then seeing Sam, who is a writers’ assistant on “Desperate Housewives”… He graduated five years ago and really understands the business.  Clay and Alexa are pre-career and Sam has one — he’s doing what he got an education to do.  That was incredibly gratifying.  Ain’t education swell!

ViH alum (and WME employee) Jeannette Francis and ViH co-president Rich Hull at Xian

After lunch we went to the G4 network where Keith Jones is interning.  Chad and I spent time with Keith and his boss, Erika Lewis, VP of Programming and Production (and Vanderbilt alumna!!, A&S 1990)  She told us how well Keith was doing in between conversation about the value of internships in general and ViH in particular.  Also, it was very cool to see a VU intern help put “Attack of the Show” on the air, live.  With Sarah Sanguin Carter of “Falling Skies” as a guest, no less.

After G4, it was Chad, Richard, and me, zip, zip, zip to a most excellent burger dinner and a massive download-of-information and planning ViH for the future session.  Stocked up on truffle fries, it was off to the ViH party at Geisha House in Hollywood!

Kevin Pereira ("Attack of the Show" co-host), VU professor Will Akers, ViH co-president Chad Gervich, Candace Bailey (AotS co-host)

This is a stellar networking event for current interns, recent graduates, ViH alumni, and Vanderbilt alumni pursuing careers in entertainment.  The food was excellent, the beer was cold, and the level of conversation was off the hook.

Saw old friends, among them Alessandro Echols, Scott Donaghe and Richard Codding, and recent graduates… Kristina Lyons and Courtlin Byrd who are grad students at USC, Mina Ross, currently interning at Reveille, recently at Top Chef, and Charlie Kesslering and Hillary Schoelzel, who are primed to storm Hollywood and make it theirs.  There were c. 100 people at the party, (a ton of Vanderbilt entertainment oriented folk!) so forgive me if I didn’t get your name on the list.  It was an excellent event, beautifully planned and executed by Alexandra Gaines (A&S 2007).

VU alum and interns reconnecting in Hollywood at the annual ViH Summer Bash

Whew.  It was a long day but a good one.  So, what did I take away other than marvelous memories of a jolly day being out of town talent…?

A lot.

Through the course of the day, two things became more and more clear.  The interns (and later the alumni) told me 1.)  jobs (in any field, much less one you actually find interesting) are jusssst about impossible to get, 2.)  how crucial an internship is to getting a job, and, 3.)  how incredibly important the ViH connection is to getting an internship.

If your parents are insanely wealthy and all you plan to do is go clubbing for the rest of your life, a job may not be a priority.  I know, I know, “Jobs are for losers.”  But for most people after college, gainful employment looks pretty appealing.

Through internships, students meet non-VU interns (networking, networking, networking), learn how to model themselves on the people they work for, and figure out what is required in a real job… without the pressure of being fired.  Once you’ve had an internship, you don’t sweat the one-day real life kamikaze learning curve.  More important than anything, interns often have bosses who care about them, take a vested interest in teaching them, and (key!) can help them get a post-internship job.

ViH co-presidents Rich Hull & Chad Gervich grabbing a bite at Umami Burger, Hollywood's latest hot spot

Wisdom, wealth of experience, and professional mentors are end-of-the-rainbow-pot-of-gold genius that you cannot get in school.

ViH is tough to get into.  The screening process accepts about half the applicants.  But it’s worth it.  When Chad or Richard call a buddy and say, “Do me a favor, give this guy an internship,” and the buddy DOES… that student’s life is about to be changed forever.  Impressively, companies are now coming to ViH for interns and this year, for the first time, we had more companies than interns.  That speaks highly for the quality of interns that Vanderbilt delivers.

Backstage at "Attack of the Show," watching live with ViH intern Keith Jones

Career trajectory is everything and you never know what affects it.  Speeding forward, you could bump into just the right person at the precise correct instant and that little extra tap can send you in the direction that gives you your life’s work.  If you never bump into that person, the magic… may not… happen…

There’s no way to know what might have happened without an internship… but it’s obvious what happens with an internship and the deft guidance provided by Vandy in Hollywood.  Students get a leg up on their careers.

At lunch, Sam Miller told me, “I’ve got a friend who’s applying to assist a studio development executive.  After three years, he has the credentials and connections to have a real shot at a desk.  With Vandy in Hollywood, I had them in three months.  Back when I was leaving Vanderbilt, you told me a former student of yours became a writers’ assistant after five years and that it would take at least that long for me to find a similar position.  Thanks to the advantage Vandy in Hollywood gave me, I was able to get one in just over three years.”

Former ViH intern and "Desperate Housewives" writers assistant Sam Miller and ViH co-president Chad Gervich, lunching in Beverly Hills

ViH is five years old and Vanderbilt (students, alumni, administration, faculty, and the Career Center) has every right to be button-busting proud.

When I moved to Los Angeles after Vanderbilt, the only alumnus to talk to about the entertainment industry was Delbert Mann (A&S 1941).  When Richard Hull moved to L.A., Delbert Mann was still the go-to guy.  We have come a long, long way.  Instead of one phone number to call for help and advice, a Vandy in Hollywood alumnus starts the job hunt with a smart phone full of contacts.

Hey kids!  Go ask your parents why that’s important!

Chad Gervich and Richard Hull should be knighted for what they do.  They search out these internships, twist their friends’ arms to get the students slotted in the internships, put their own reputations on the line by guaranteeing the students will act professionally, and get Vanderbilt students started with their careers — thereby changing their lives in profound ways.

VU alum and interns taking over Hollywood... and Geisha House

The first job is the tough one.  Any halfway competent clod can get a second job.  Everyone will tell you though: the first one takes a miracle… which Vandy in Hollywood provides.

I am honored to be a part of it.  It was thrilling to see the results.

• Chris Danby – FX Networks
• Will Estes – Valeo Entertainment
• Hannah Fasick – Double Feature
• Megan Seely- Amsel, Eisenstadt & Frasier
• Alexa Ardeljan-Braden – Miramax/Kia Jam Productions
• Will Beyer – The Tavis Smiley Show
• Hillis Emanuelson – Amsel, Eisenstadt & Frasier
• Tim Hamilton – New Wave
• Tonika Huff – Levity Entertainment
• Keith Jones – G4/Attack of the Show
• Charles Kane – Crucial Films
• Mason Ziluca – Generate
• Andres Londono – Candor Entertainment
• Kelsey Margol – PMK-BNC
• Clay Prietsch – Miramax/Kia Jam Productions
• Roshni Rao – Reveille
• Mina Ross – Reveille, After Lately
• Lora Schaeffer – Wind Dancer
• Ricky Taylor – DigiSynd
• Eric Klappholz – APA (Agency for the Performing Arts)

The Seawall will screen daily at Court Métrage in Festival de Cannes.  Private screenings for small groups will be arranged at Cannes.  Please contact Maurva Productions for details, dates and times.

About The Seawall
The Seawall is a narrative short film shot entirely on location in Georgetown, Guyana, and centers around Marjorie, a Guyanese woman, as she prepares for her 10-year old grandson’s move to America to be with his mother.Struggling with loneliness, abandonment, audiences watch as Marjorie sacrifices her happiness for her grandson’s future. The cast and crew consisted of local Guyanese non-actors, non-professionals and students working alongside Mason and his crew from Los Angeles.  The film offers a rare glimpse into the day-to-day lives of a Guyanese family and stunningly captures how emigration affects those left behind.

Although heartbreaking, The Seawall is a fundamental story about hope and optimism. In addition to being Mason’s graduate thesis project at the renowned Film Directing program at CalArts, the film allowedRichards to return to his home country, Guyana, to share what he has learned about filmmaking and tell a story “in the community – with the community… Guyana is a beautiful country with good people.  I wanted to make a tonal film that captures the essence of a few people’s experience in the country I love so much.”

The Seawall was made possible by fundraising and donations totaling $20,000 through a non-profit fiscal sponsor affiliate with Friends & Returned Peace Corps Volunteers of Guyana (FROG). FROG, based in Washington, D.C., was created in 2007 by a group of Returned Peace Corps Volunteers who wanted to create a community of people interested in Guyana, the small, English speaking country in South America. Through a grassroots grants program, FROG implements projects in and about this beautiful and largely unexplored region of the world.

Guyana has millions of acres of rainforest, thousands of kilometers of rivers and a diverse ethnic make-up of African, Indian, Amerindian and Portuguese cultures. Today, the country itself has a modest population of 750,000 but additionalhundreds of thousands live outside of Guyana – in the United States, Canada,Europe and Caribbean.  The topic of emigration discussed in The Seawall highlights the important issues that are changing and challenging Guyanese culture within its borders and across the globe.

Mason hopes to turn The Seawall into a feature film.  He is currently in pre-production for his next short film to be shot on location in Brooklyn, New York and is also in development for his first feature-length film based on a Simon & Schuster published novel about a kid coming of age in the inner city.  Mason splits his time between Los Angeles and New York City.  He will be in Cannes for the duration of the festival.

The Festival de Cannes will be held at the Palais des Festivals et des Congrès in Cannes, France from May 11th – May 22nd, 2011. For more information about The Seawall or its inclusion in the Festival de Cannes, please contact Maurva Productions at 323.842.2052.  requests@maurvaproductions.com.

After nearly five months of filming last fall and winter, Vanderbilt University Medical Center will once again be the subject of a new reality TV series scheduled to debut on TLC on Monday, May 2, at 1 p.m.

The series, titled “Baby’s First Day,” is a new effort for TLC’s daytime programming that focuses on stories about mothers and their newborn babies.

The entire first season of “Baby’s First Day,” consisting of 26 half-hour episodes, was filmed at VUMC. Each new episode is currently scheduled to air at 1 p.m., and then will re-air the following morning at 8:30 a.m. For more information please consult TLC’s programming schedule at http://tlc.discovery.com/tv-schedules/daily.html.

Participating faculty and staff from the Department of Obstetrics and Gynecology, Center for Women’s Health, Department of Anesthesiology, Vanderbilt University School of Nursing’s Midwifery Practice, Department of Pediatrics and the Monroe Carell Jr. Children’s Hospital at Vanderbilt, along with their patients, are the subjects of this new series.

TLC’s description of the series says, “Every day, around the clock, women arrive at Vanderbilt University Medical Center for the most challenging and overwhelming experience of their lives — childbirth. No matter what happens, the excitement and joy of the staff and patients come together in a perfect drama where every moment is indeed a miracle.”