I've always worked in cinemas or cafes to make money because it turns out freelance journalism is quite hard to get into.
You can't get a job without experience and you can't get experience until you have a job. Once you solve that problem you are home free.
The biggest thing is getting the kid in a kart - they have to buy it and that's the biggest thing. You can go to a sporting store and buy a basketball for 30 bucks or a football for 30 bucks. You go buy a go-kart and that's 300 bucks. What are you going to get? A basketball or a go-kart?
Unlike with any other art form, filmmakers have this unique web of festivals. There are hundreds. It is a democratic system in which you submit films, and if they are good enough, they play. The only barrier to entry is the submission fee.
And to get real work experience, you need a job, and most jobs will require you to have had either real work experience or a graduate degree.
These days, it seems that if you're not already in place, you can't get there from here.
It's extremely difficult to get these jobs because you can't get a job on a ship unless you have seaman's paper's, and you can't get seaman's papers unless you have a job on a ship. There had to be a way to break through the circle, and he was the one who arranged it for me.
One of the dilemmas of architecture in general is that there is a Catch-22 - you can't actually get to be commissioned to do certain types of building until you've already built that type of building. So it seems to be incredibly hard to get going.
The bar to get entry into the labour force is rising faster than people expected, and the ability to stay there is falling.
Pedigree matters: if you break your shoulder trying to open a door, it's much harder to play the game once you get in the room.
The more I learn about industry structures, the more I feel that once a company has paid the fee, in a manner of speaking, to enter a sector, it becomes even harder to stay afloat.
The cost of building large airships can be prohibitive. The entry barrier is considerable and could be a show-stopper for large-scale projects.
The commercial music video industry is very hard to break into, and until you break in, that first job is the hardest thing in the world to get.
The only barrier to entry you can create is to consistently build a great product.
So the competition isn't once you got the license, running the station; it's getting the license.
