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Messages - MatthewShiner

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661
As I have stated before . . . I have never owned a multi-tool.

And anyone who has worked with me, probably thinks if I had a multi-tool, it would probably be best I didn't use it . . . for everyone involved.

662
Let's be honest, as a stage manager, it is not in my job to fix anything with a multi-tool or a single tool, and in some houses, I would be in a lot of trouble for using my multi-tool.

I am not saying that a multi-tool isn't a handy device, and although some people think there is some part of "big photocopy" and it's industry that is behind me and my "dickish" advice . . . the reality is we are a stage management forum, and for stage management, I think the answer is obvious that it's the photo copier which helps us more in the long term.

Granted we can't wear a photocopier stylishly on your belt . . .

Post Merge: Dec 17, 2012, 09:19 am
On_Headset=Fox News (Just saying)

663
(gets on soapbox)

That is the true genius of America, a faith -- a faith in simple dreams, an insistence on miracles of copying; that we can tuck in our children at night and know that they can wake up in the morning and make photocopies; that we can say what we think, print what we think, copy what we think, without hearing a sudden knock on the door; that we can have an idea and copy that idea without paying a bribe; that we can participate in the photocopy process without fear of retribution, and that our votes will be counted.

664
I would love to do one for the entire staff, the main issue - is number of pages, does everyone have a photo, and (if at an institution) how quick is the change over . . .

665
So, working at a new theatre, got a request for a "stalker page"?


It's what I would call a "headshot page" - headshot of the cast, with their name and role for the sound guys, specifically the A2 to get to know the cast quickly.  I also use them on large cast shows to put in their actor packet to help people learn names.  Side note, always ask the cast for which headshot they want on this page before you go pulling any old head shot off the interwebs.

666
HOW CAN MULTI-TOOL BE PULLING UP?????

This is fixed!!!!  Who is putting money into this race?  Leatherman????

667
Yes, but the cost for printing 50 scripts versus copying 50 scripts is so much more.

And I think, the thing is, as you move up the ladder, I am in venues where I couldn't use the multi-tool on anything.

And do I carry a scanner around with me everywhere - no, I use my photocopier to email me a PDF of the document.

BOOYAH!

(I do know the irony that probably a multi-tool could fix a photo copier, but it would be very hard hard to fix a multi-tool with a photo-copier.)

Nick, there is an emotional, emotional battle . . . it will be close.  Tears will be shed, hair will be pulled.


668
i tend to gaff paint a lot of stuff for events.

true, you can break down gaff to spike, but very hard to stitch together spike to make gaff.  I mean you can, but seriously, who has that much time.

669
Can't photo copy 50 scripts by Monday for first rehearsal when Kinko's loses your order with the Multi-tool, huh? 


670
I have to admit, I have never owned a multi-tool.

I have owned 2 photo copiers.


671
It's all going to be in how you package the teaching and time away.

See your private message.

672
I would consider someone with teaching experience for PSM, ASM or even a PA position.  Like any interview, I would ask questions to make sure if I had any reservations, those reservations could be put aside.

What those reservations would be would be based on a variety of things - but the question at the back of my head, is why teach rather then do?  How that question was answered, would allow me to put aside some of my reservations.

"I taught because I had this fantastic opportunity to pursue my dream of teaching" versus "I wasn't finding work in the field, so I opted to go into education" are two very different reasons to go into teaching.

"I was looking for my solid and stable work in my field of choice" versus "There was an opening at the school I used to go to" also give different insights.

"I had a fantastic opportunity to follow a different career path for awhile" is another interesting insight. 

One of the things I would ask is "Why are you leaving teaching to return to stage management?"  Like I would ask someone, "Why are you leaving behind the exciting world of accounting to become a stage manager?"

Again, I am unsure I have a bias personally.  The few people I have interviewed taught part time while continuing their professional career - so teaching was not highlighted in their resume in a way that made it seem like they paused their career.   My personal experience is that teaching often leads to more careers in academia, not always a return to the work force . . . it's one of few reservations I have for myself going into academia - I am not sure I am done doing.  A lot of people I know who have turned to academia full time is because they were not satisfied with the career they had.  And, in one case, a horrible stage manager who wasn't get worked because they were ABSOLUTELY TERRIBLE AT THE JOB - is not actively pursuing teaching jobs - which SCARES ME! - but I digress.  That's my personal baggage.

In my mind, the skill set to be a great teacher/education are not always the same skill set of being a good stage manager - to be an excellent teacher you don't have to be great at the job (one of the best teachers of stage management I encounter was a director - another was a production manager).  Saying I teach creative writing, doesn't make you a great novelist.

All that being said, I think there is going to be a great way to highlight these experiences in a professional resume without distracting from the professional credits you have.  And remember, you don't have to submit the same resume for every job.  See how one resume works versus another with the teaching experience highlighted in different manners.  And given how often our job is to serve as an educator as members of the SM (working with training SMs or other members of the staff), it's obviously only going to serve you in the long run - the skill set is amazing to have - I am jealous that you have it to drawn on.  But like some many things, for some, it maybe some sort of flag for someone to be worried about, until they are able to talk to you and get the entire picture.

I feel it's a great interview topic to engage in some pretty good talking points and allow you to stand out in the interview process.




673
No, My bias regarding those who teach is different then those I listed - those I think are just the standard lines . . . if they teach, I feel like we can get into a more serious question about style and approach to work; because those that teach have usually given more thought in how to articulate it . . . so, I change the interview style . . .

674
Quote
I would agree with this from a skills perspective, but if you leave the teaching experience off, how do you explain a 1-2 year (or longer) gap on your resume?

First, the gap might not be noticed if you leave years off resume (I am huge about leaving dates off your resume).

But, if the topic came up, you can explain at that point what you were doing . . . like you would if you were out due to family issues, going to school, serving time for knocking over a liquor store to support your meth habit.

It happens.

And, I am not sure how I would feel with someone applying to me for a professional position with teaching experience . . . is it a bias that "those who can, do, those who can't, teach"?  Is it because I would feel there are to set in their ways to be flexible enough to work as part of team?  Too opinionated?  I know, personally, that those applicants that have run across my "desk" that had teaching experience either left it off, or just put in the additional skills. 


675
The Hardline / Re: AEA and "Right To Work"
« on: Dec 14, 2012, 01:46 pm »
Quote
I got weeks toward getting my card if I wanted it, the theatre had to pay into pension and health weeks, they had to pay me at least Equity minimums and all other Equity rules were in place for myself and the cast in regards to breaks, overtime, extra duties, etc.

Although it will change from theatre to theatre, I was allowed to schedule those NOT an AEA contract differently - they had a separate overtime policy and break policy (think state law versus AEA rules) - which made scheduling interesting . . . and gave me more options - just like you do with mixed union/non-unions shows in LORT anywhere . . . But that was nice the theater wanted everyone to be treated the same.

But in my case, there was an advantage of being AEA . . . because only the AEA were covered by those work rules.

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