somebody asks you to do
something, you get up and you
do it right then. Be very anal
about what you do and get it
done quickly, nicely, and neatly
. . . Try to learn by asking ques-
tions and making an effort to
help the coordinator as best
you can."
Professional Profile: Laura
DeRosa, Art Department
Coordinator
While managing entertain-
ment industry hangout The
Hollywood Athletic Club,
Laura DeRosa became
intrigued by the possibility
of working in the film busi-
ness. "We hosted all the big
Castle Rock parties . . . [and]
a lot of photo shoots. It was a
Hollywood hot spot." In time,
she began to wonder if there
was a job in the industry that
might be right for her.
Shortly after a friend took a
job working on a film, she tele-
phoned to alert DeRosa that an
office down the hall was looking for a production assistant for the pilot of
the television series Fame L.A. DeRosa'a initial response quickly changed
from "I'm not going to make any money. I'm going to make half what I'm
making now," to "I'm going to do it."
From production assistant on Fame L.A., De Rosa made the jump to art
department coordinator when she was recommended for the television
movie Virtual Obsession. Soon after it wrapped, she landed her first
feature, The Breaks. From that point on, she worked continuously as an art
department production coordinator, moving from one feature to another,
including The Bachelor and Bounce, and as construction buyer on
Mulholland Drive.
While working on Waking Up in Reno, De Rosa impressed set decorator
Jay Hart enough that when he went on to do Swordfish with production
What do you like
least about your job?
"I don't like filing, but I
normally have an assis-
tant do that. The only
thing I don't like is
filing."--Laura DeRosa
What do you love most
about your job?
"What I like most is getting involved to the
point where I become an important part of
the art department. I love making sure every-
thing gets done. I love tracking the money.
I love doing the research. I love finding or
getting things that are impossible."
For the movie Bounce, production designer
David Wasco wanted Vespa Scooters for the
film, but the company had already refused to
allow their logo to be used in the film Austin
Powers. Undaunted by that fact, DeRosa
contacted the Italian-based company and not
only persuaded them to sign off on the use of
their name and logo, but negotiated the use
of two classic model Vespas for free. "Getting
something that nobody else has been able to
get--I love that."--Laura DeRosa
VOICES OF
EXPERIENCE
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