“The Pitt” may not be set in Los Angeles, but its cast and creatives are proud that it’s filmed there.
HBO Max’s hour-by-hour look at an emergency room shift in a Pittsburgh hospital took home the Emmy Award for best drama series on Sunday, and its cast and creatives dedicated their recognition to healthcare workers. Once they got backstage, they advocated for something else: increasing production in Los Angeles.
Speaking to press after the series’ big win, creator R. Scott Gemmill and star and executive producer Noah Wyle said they believe filming locally is important for the entertainment industry in Los Angeles as production rates have declined over the past several years because of a confluence of issues, including the pandemic, the dual writers’ and actors’ strikes in 2023 and more attractive tax incentives in other states and countries.
Both “The Pitt” and “The Studio,” which won the top prize in the comedy category, are shot in L.A., but the latter is actually set in the city, centering on a fictional Hollywood studio and satirizing the entertainment industry.
Gemmill, who was also a producer on “ER,” said he feels pride in knowing “The Pitt” serves as an example of a series that was successfully filmed in L.A. “When we get casting, I think they get like 3,000 submissions for each role,” he said. “That’s how hungry the people are that work in Los Angeles, so just the fact that we can do our small part is really important, but I hope other producers take note.”
Wyle, who won two Emmy awards, one as an executive producer on the series and one for lead actor in a drama, echoed Gemmill’s comments and said he attended the ceremony in July where Gov. Gavin Newsom signed California’s film tax credit boost into law. It will increase the cap on California’s film and TV tax credit program to $750 million, up from $330 million. Wyle said he gave a speech at the event, sharing his experience filming locally.
“I talked about our special effects coordinator on our show, whose name is Rob Nary, whose father was a special effects coordinator, whose grandfather was a special effects coordinator,” Wyle said. “I said it to highlight the fact that there’s generational talent in this city that’s worked in this industry for over 100 years. When you shoot a show here, you get the benefit of three generations of talent. You get a Rob Nary. You can put up a soundstage in another state, but they don’t come with Rob Narys.”
While production in L.A. overall is still on the decline according to the nonprofit organization FilmLA, which tracks production in the Greater Los Angeles region, television is serving as a bright spot. From April through June, TV production saw an increase of 17% compared with the same time period last year, with 2,224 on-location shoot days. That’s the highest total since early 2024, though it is still 32.6% lower than the five-year quarterly average, FilmLA said in a report published this summer.
Overall, on-location shoot days from April to June decreased 6.2% compared with the same time period last year.
Paul Audley, FilmLA’s president, responded to the Emmy wins for shows that shoot in town, saying in a statement to The Times that the organization “thanks them for choosing to film locally, and for helping to make Los Angeles the entertainment capital of the world.”
“These productions not only highlight the overwhelming talent that this region is known for, but productions like these employ hundreds of film industry workers and contribute to a strong and thriving economy,” Audley said. “Filming locally supports our communities, small businesses, and workers across every corner of the film industry.”
The road to find steady work in Hollywood is more fraught now than ever before. The entertainment industry is in the throes of a seismic transformation, as traditional jobs are vanishing, and AI threatens to completely upend the way visual media is made and consumed. Fortunately, Ada Tseng and Jon Healey are here to help.
The writing team, both former Times editors with extensive experience covering show business, have written “Breaking Into New Hollywood,” a how-to guide like no other. Healey and Tseng interviewed hundreds of insiders both above and below the line — gaffers, casting directors, actors, writers, stunt people and many others — to provide an extensive, wide-screen view of how to break in, and what it’s like when you actually do find that dream job.
I sat down with Healey and Tseng to discuss their new book.
Ada Tseng, left, and Jon Healey.
(Ricardo DeAratanha; Jay L. Clendenin / Los Angeles Times)
This is the most comprehensive how-to guide for Hollywood careers I’ve ever read. Where did the impetus for the book come from?
Ada: The book started as a Hollywood careers series at the Los Angeles Times, when Jon and I were editors on a team that specialized in writing guides and explainers. As we were thinking about how to be useful to L.A. Times readers, I pitched a project to help people who were interested in getting a job in Hollywood. A lot of people come to L.A. starry-eyed with big dreams, but the film and TV industry can be pretty brutal.
As journalists, we’re Hollywood outsiders, but we had access to hundreds of professionals who were generous enough to share what they wished they knew when they were starting out. We see it like this: On behalf of the people who don’t have connections in the industry, we cold-emailed people, asked for informational interviews, picked their brains, listened to stories of what they did to build a career — and did our best to consolidate their most practical pieces of advice into an actionable guide.
Jon: A lot of folks I interviewed had similar origin stories in this respect: They knew that they wanted to work in the industry in some capacity, but they didn’t know what exactly they could do. So it made sense to do a book for that sort of person — a guide that would show an array of possible career paths to people who didn’t know what role they wanted to fill.
I feel like “How to Break into the Business” books in the past have tended to focus on positive outcomes rather than the struggle. Did you want to temper expectations, or at least make sure people think things through very thoroughly before jumping in?
Ada: We just wanted to be honest. The glamorous fantasy of Hollywood is so intoxicating. But if you’re going to work in the industry, you need to navigate the day-to-day reality of it. I don’t think we were trying to encourage or discourage anyone. I’d hope that some people would read the chapters and think, “This seems doable, and now I can make a plan,” while others would read it and think, “If I’m honest with myself, I’m someone who needs more stability in my life.” Because it’s not just a career choice. It’s a lifestyle choice.
Jon: Right, this was about expectation-setting and reality-checking. The very first interviews I did in this project were of Foley artists. An expert I interviewed said there were 40 to 50 established Foley practitioners in the U.S., and 100 to 200 folks trying to get into the field. That’s a very tough nut to crack. Then there are the Hollywood unions, which present a catch-22 to anyone trying to join their ranks — they have to do a certain number of hours in jobs covered by union contracts, but union members get first crack at all those gigs.
Your book also covers jobs above and below the line. I think many people don’t even realize how many different career opportunities exist.
Ada: There are two things we heard over and over again. People would say, “It’s incredibly important to understand what all the different departments do.” And they’d also say, “So many people — even our own colleagues in the industry — don’t understand what we do.” So we wanted to encourage newcomers to learn about all different types of jobs in Hollywood and how they work together.
Jon: Talking about the emotional components is about setting expectations too. The vast majority of people who work in Hollywood, from A-list actors to entry-level grips, are freelancers. That’s a tough life of highs and lows, and you have to prepare for that mentally as well as financially. People have to hustle for years to establish themselves, and that takes an enormous capacity for rejection. On top of that is the physical toll the work can extract, especially on the folks involved in setting up and tearing down sets. Part of the point of the book is to tell people with Hollywood dreams that they’ll need to gird themselves emotionally and physically for the work.
You also broach the subject of money and who makes what. Another novel idea for a book like this.
Ada: We consistently heard from people that it takes 5 to 7 years to make a living — and that’s if you’re successful. So unless you come from wealth, how you pay your bills when you aren’t booking gigs is an integral part of breaking into — and achieving longevity — in Hollywood.
Also, the money varies widely — depending on experience, how big the project is and other factors, but it’s good to understand the basic minimums dictated by the unions, as well as whether you’re interested in a career path where you can expect to have yearly full-time work – or if 30 weeks of employment a year is considered a really good year.
Jon: The hardest parts to write for me, and probably for Ada too, were the sections telling people in certain fields that they were expected to work for free. Happily, the industry seems to be getting better about that, albeit because it’s been forced to do so.
Ada: Although, it’s not even that you aren’t making money. You have to spend a lot of money, whether you’re taking classes, buying equipment, submitting your work for fellowships — getting your own plane tickets and hotel rooms to go to events to network or promote your work. You’re basically investing in yourself as a business.
Your sections on AI are eye-opening.It is not necessarily a career killer but, in fact, might boost employment, right?
Jon: I like to give a super long answer to this question that cites the long history of industrial revolutions, but for the sake of brevity, I’ll just say that technology has always been crucial to the film and TV industry, and innovations over the years have ended some livelihoods while creating others. AI tools can allow filmmakers to be more efficient, just as digital cameras and LED lights have done. That inevitably means fewer jobs per project, but also should result in more projects being green-lit. And as digital tools and streaming services eliminate barriers to entry in music, so can AI eliminate barriers to entry in film. Advocates of AI believe there will be a net increase in jobs, and time will tell whether they’re right. But there’s no question that the jobs in film and TV will be different.
Ada: This was another hard part to give advice about, because AI is rapidly evolving and there’s a lot of well-founded fear about the jobs of our generations that will be eliminated. But this book is for the next generation, and aspiring creatives need to treat AI as part of their toolkit.
Was there any common thread that runs through all of the interviews you conducted with professionals?
Ada: Everyone is deeply committed to their crafts, but what they’re most passionate about is storytelling. What I mean by that is: A costume designer, of course, is passionate about clothing, but if their main priority was beautiful clothing, they’d be a stylist or a fashion designer. Costume designers are passionate about using clothing to create a character and tell a story. Similarly, if a set decorator’s main passion was creating beautiful homes, they’d be an interior designer. But a set decorator wants to use the furniture, decor and objects to help you understand the protagonist’s backstory.
Jon: Even the most accomplished crew members and producers we talked to said they looked at their jobs as advancing someone else’s vision, not their own. They learned early on not to get invested emotionally in their best ideas because someone else — the director on a film, the showrunner on a TV series — would be the judge of which ideas to use. That’s really humbling.
What do you think is the most profound change in Hollywood as it continues to transition from theatrical and TV into streaming?
Jon: Streaming has proven to be a huge boon to long-form storytelling, at least from the viewer’s vantage point. You’d still have “Succession” without streaming, but you don’t have the quantity of “Succession”-level shows without the investment and competition from the likes of Netflix, Apple and Amazon. But the economics of streaming series are very different from those of a long-running broadcast TV show. There are fewer episodes, which means less pay for writers, actors and crew members over the course of a year. And residuals are lower for those who are entitled to them. Meanwhile, after a steady rise in the number of scripted shows released in the U.S., the volume fell sharply in 2024. So it appears that peak TV may have peaked.
For movies, the pandemic gave studios a preview of the post-theatrical world to come. Nevertheless, the industry is still struggling to come up with a coherent approach to streaming. So much of a movie’s marketing is still tied to theatrical releases, and multiplexes and studios continue to fight over how long a new movie should wait before it hits the streamers. And I wonder if there isn’t a lingering stigma for movies that are available immediately for streaming, similar to the one for movies that went straight to DVD.
Ada: It’s not just streaming. Everything that we consume from our phones — from social media content to podcasts to gaming livestreams — is not only competing with mainstream Hollywood but also becoming part of the same big entertainment ecosystem.
But on the flip side, it’s never been more possible for aspiring creatives to bypass traditional gatekeepers, make their own projects, connect directly with audiences and build their own revenue streams — even if it’s never going to be easy.
LANGLEY, Va. — At CIA headquarters, beyond the handsome granite seal on its lobby floor and a wall of stars carved in honor of the agency’s fallen, experts are at work in the complex tasks of spycraft: weapons-trained officers, computer engineers, virologists, nuclear scientists.
But there are also storytellers, makeup artists, theater majors and ballerinas — Americans who probably never thought their skills would match the needs of a spy agency. Yet the CIA thought otherwise.
Though it rarely gets the spotlight, there’s a revolving door of talent between the country’s premiere intelligence agency and its entertainment industry, with inspiration and influence often working both ways.
The agency is targeting professionals at the intersection of arts and technology for recruitment, CIA officers told The Times, and continues to cooperate with entertainment giants to inspire the next generation of creative spies.
This month, the agency is assisting a New York Times bestselling author on a young adult book examining the foundations of the CIA laid during World War II. Scenes from a major upcoming film production were just shot at its headquarters, a logistical feat at an intelligence campus tucked away in the Virginia suburbs behind rings of security perimeters, where officers roam cracking down on Bluetooth signals. Another popular streaming TV series will be back at Langley to film this fall.
But their collaboration goes far deeper than that, officers said. Creative minds in Hollywood and the entertainment industry have long had a role at the Central Intelligence Agency, devising clever solutions to its most vexing problems, such as perfecting the art of disguise and harnessing a magician’s ability to cast spellbinding illusions. Indeed, in the 1950s, a magician from New York named John Mulholland was secretly contracted with the agency to write a manual for Cold War spies on trickery and deception.
These days, the officers said, creative skills are more valuable than ever in such a technologically complex world.
“You’re only limited by your own imagination — don’t self-censor your ideas,” said Janelle, a CIA public affairs officer, granted the ability to speak under her first name at the request of the agency. “We’re always looking for partners.”
An elusive history
David McCloskey, a former CIA analyst and author of “Damascus Station” and other spy thrillers, offered several theories on why the agency might be interested in fostering a robust relationship with Hollywood, calling it “a two-way street.”
“There definitely have been operational applications for espionage,” McCloskey said. “It’s probably the exception to the rule, but when it happens, it’s compelling.”
It’s easy to see why CIA leaders would be interested in Hollywood, he said, in part to shape impressions of the agency. “But their bread and butter business is receiving people to give secrets,” he continued, “and part of that is getting close to people in power.”
“The closer you are to Hollywood,” McCloskey added, “that’s a really interesting ‘in’ to having a lot of interesting conversations.”
The CIA’s mission to rescue six American diplomats out of Tehran during the Iran hostage crisis, the subject of the film “Argo,” featured a detailed ruse centered around a fabricated movie project.
(CIA Museum)
Some of the CIA’s most iconic missions — at least the declassified ones — document the agency’s rich history with Hollywood, including Canadian Caper, when CIA operatives disguised themselves as a film crew to rescue six American diplomats in Tehran during the Iran hostage crisis, an operation moviegoers will recognize as the plot of “Argo.”
“‘Argo’ was almost too far-fetched to even believe,” said Brent, an in-house historian at CIA headquarters. “It’s almost more Hollywood than Hollywood.”
Canadian Caper was both inspired by Hollywood and relied on Hollywood talent. Agent Tony Mendez had been a graphic artist before joining the agency and helping craft the mission.
Another key player was John Chambers, the makeup artist who gave the world Spock’s ears on “Star Trek” and won an honorary Oscar for his trailblazing simian work on “Planet of the Apes.” He was awarded the CIA’s Intelligence Medal of Merit for his work on the covert rescue effort.
The Los Angeles Times broke the story in February 1975 that business tycoon Howard Hughes had lent his ship, the Glomar Explorer, as cover for a CIA operation.
(CIA Museum)
Just a few years before, Howard Hughes, then one of the world’s richest men and a tycoon in media, film and aerospace, agreed to work with the CIA to provide cover for an effort by the agency to lift a sunken Soviet nuclear submarine off the floor of the Pacific Ocean.
Deploying Hughes’ Glomar Explorer under the guise of mineral extraction, the CIA was able to salvage most of the sub before The Times broke a story blowing its cover — “the story that sunk our efforts,” in CIA parlance.
And another mission was made possible thanks to a device invented by a professional photographer — a gadget that later became the inspiration of an over-the-top scene in the blockbuster Batman film “The Dark Knight.”
In Project Coldfeet, CIA agents gathering intelligence on a Soviet station erected on a precariously drifting sheet of ice in the Arctic needed a reliable extraction plan. But how does one pick up an agent without landing a plane on the ice?
The answer was the “skyhook”: Balloons lifted a tether attached to a harness worn by an agent high into the sky. A CIA plane snagged the tether and carried the agent off to safety.
In “The Dark Knight,” Batman makes a dramatic escape deploying the same kind of balloon-harness contraption.
‘The superhero spy’
CIA leadership often says that acceptance into the agency is harder than getting into Harvard and Yale combined. Yet the agency still has challenges recruiting the type of talent it is looking for — either in reaching those with unconventional skills, or in convincing them that they should leave secure, comparatively well-paid, comfortable jobs for a secretive life of public service.
It is no easy task managing work at the agency, especially with family, CIA officials acknowledged. Deciding if and when to share one’s true identity with their children is a regular struggle. But Janelle said the CIA tells potential recruits there is a middle ground that doesn’t require them to entirely abandon their existing lives.
A professional photographer working with the CIA invented what became known as the “skyhook,’ a surface-to-air recovery system used by the spy agency in an Arctic mission and later featured in the 2008 Batman film “The Dark Knight.”
(CIA Museum)
“People don’t have to leave their companies to help their country and to work with CIA,” Janelle said. “People come here because they love their country and know they can make a difference.”
Janelle is part of a team that regularly engages with creatives who want to portray the agency or spies as accurately as possible.
“Some producers and directors reach out and they do care about accuracy,” Janelle said, “but they ultimately pick and choose what’s going to work for the film or show.”
CIA analysts have also been known to leave the agency for opportunities in the entertainment industry, writing books and scripts drawing from their experiences — so long as they don’t track too closely with those experiences.
Joe Weisberg, the writer and producer behind the television series “The Americans,” and McCloskey, who is working on a fifth novel focused on U.S. and British intelligence, were both part of the agency before launching their writing careers. And as CIA alumni, they had to submit their works for review.
“There’s a whole publication and classification-review process,” Brent said.
That process can be a bit of a slog, McCloskey said: “They quite literally redact in black ink.”
But it is far more difficult for nonfiction writers than novelists.
“There could be bits of tradecraft, or alluding to assets, or people at the agency, which are clear no’s,” McCloskey said. “But with novels, it’s not that hard to write them in a way to get them through the review board.”
Try as they may, studios often repeat the same falsehoods about the CIA, no matter how often they are corrected. Officers and agents aren’t the same thing, for one. And as disappointing as it may be for lovers of spy thrillers, the majority of officers are not licensed or trained to carry weapons.
“One thing Hollywood often gets wrong is the idea that it’s one officer doing everything, when it’s really a team sport here,” Janelle said.
Jessica Chastain, center, plays a member of the elite team of spies and military operatives who secretly devoted themselves to finding Al Qaeda leader Osama bin Laden in the Columbia Pictures 2012 film “Zero Dark Thirty.”
(Jonathan Olley / Sony Pictures)
“Zero Dark Thirty,” an Oscar-winning film released in 2012 about the hunt for Al Qaeda leader Osama bin Laden, was widely acclaimed but criticized by some within the intelligence community over the credit it lends a single, fictional CIA analyst for tracking him down.
McCloskey sympathizes with the writer’s dilemma.
“I can’t have 35 people on a team. From a storytelling standpoint, it just doesn’t work,” he said, acknowledging that little in the field of espionage is accurately captured on screen, even though there are plenty of former spies available to work as consultants.
“There’s no lack of sources to get it right,” he said. “It’s that the superhero spy — the Jack Ryans and Jason Bournes — are pretty much the Hollywood representation of espionage.”
However inaccurately glorified and dramatized, the agency hopes that Hollywood’s work can keep the revolving door moving, inspiring atypical talent to join its ranks.
“We have architects, carpenters, people who worked in logistics,” Brent said. “People might not realize the range of skill sets here at CIA.”
And as Canadian Caper showed, sometimes spycraft requires stagecraft. It’s possible that what’s needed most to complete the next mission won’t be oceanography or data mining, but costume design. Or maybe another ballerina.
