Ask An Assistant: Elise Dadourian (Assistant, Blueprint Pictures)

Elise Dadourian,

Assistant to Graham Broadbent and Pete Czernin,

Blueprint Pictures

Hi Elise! Thank you so much for chatting with me today. Tell us about your day-to-day at Blueprint Pictures, the UK-based production company behind The Banshees of Inisherin, Emma, Three Billboards Outside of Ebbing Missouri, and so many others! 

As personal assistant to producers Graham Broadent and Pete Czernin (co-founders of Blueprint Pictures), my day-to-day consists of managing their diaries, liaising between internal/ external colleagues, organizing travel, and generally ensuring their days run as smoothly as possible. The core responsibilities are highly administrative, but there’s often room for me to dip my toes in the creative side of things (e.g. attending screenings, reading scripts, listening in on development meetings, etc.). 

What originally attracted you to Blueprint / this role? 

What originally attracted me to Blueprint was their content, i.e. prestige film/TV with a commercial audience. Features like Three Billboards and series like A Very English Scandal are very much in line with the kind of content I hope to produce myself. What better way to get into the industry than by working directly under the people I hope to one day become?

Notably, Blueprint is based in London. You first made the move from the U.S. to England for graduate school to pursue a Masters in Film and Television Producing from MetFilm School. Tell us more about the Hollywood outside-of-Hollywood life. What is the industry like in London, especially as an American?

Living in London is never something I thought I’d do! Like most Americans, I assumed that if I wanted to be in the industry, I’d have to move to New York or Los Angeles (or, at a stretch, Atlanta). To anyone that feels that limitation, I need to tell you that that is absolutely not true! You can carve out a film/tv career for yourself in any major city! The pace is a bit slower, the scope of content being made is narrower, and there are fewer people involved… but that has its perks! For one, the cut-throat feeling of competition that you get in places like LA just doesn’t exist here in London.

I don’t have to work inhumane hours or push myself to the breaking point in order to ‘stand out above the rest.’ And when I clock out? I clock out. There’s no expectation to schmooze at networking events or answer emails until midnight. Having a better work/life balance is by far the biggest perk; I can say with absolute certainty that I am a happier/ healthier person for working in London. 

Tell us more about your decision to earn a Masters. What made you pursue further education, and is this a route you would recommend to others?

My decision to pursue a masters in producing was entirely a result of COVID-19. I planned to start working immediately after college, but, when I graduated in the Spring of 2020, it became clear that I wouldn’t be able to get a job anytime soon…

Reflecting upon my own experience at grad school, I must say that I’m not sure it was worth it. I have no regrets – without the program, I wouldn’t have been eligible for the visa that permits me to stay and work in London (nor would I have met my three best friends, Henry, Leonie and Julia!)

But, that said, paying tens of thousands of dollars for an education and network you can easily learn/ gain by working…? Not sure it’s worth it.

Backing up even further in your journey, you were an Environmental Studies major undergrad. What prompted your switch to entertainment? Was that a tough switch to make?

Growing up in a family of doctors, I had always believed that saving lives was the only worthy profession. I always loved the arts – I was heavily involved in local musical theater, recorded two original albums, and toured several states with the Dan May Band – but it was all just a hobby in my mind. At one point or another, I’d have to ‘grow up’ and ‘get serious about my life.’ And so, I applied to Brown University as a neuroscience major.It wasn’t until a summer internship at Little Big Room Studios that I discovered my passion for the entertainment industry could be more than an extracurricular activity. Back at Brown, I considered switching my concentration to film and media, but then thought – When else will I have the chance to study something just because I love it? Climate change was particularly interesting to me at the time, so that’s what I chose to study!

We’re certainly glad that you made the switch! And now that you have, where do you see yourself in ten years? 

Candidly, I’m not sure where I’ll be in ten years. I’d like to produce prestige drama, but whether that’s film or TV, at a small indie or with a big studio, in London or in LA, I’m just not sure!One thing I firmly believe is that, when it comes to career progression, there’s no such thing as a step backwards. I think in the States, we are so focused on moving forward that we forget the value in lateral mobility. Without an open-minded attitude and a little exploration, we limit ourselves to a narrow, often unfulfilling path. I’ve spoken to a wide range of high-level professionals, and the one thing ‘the happy ones’ all have in common is a career path full of pivots and side-steps. Each pivot is a reflection of their choice to listen to instinct and follow their heart, not money or title. 

In addition to your work, how are you actively working on your career development?

Coffee! Lunch-break coffee (be it in-person or over Zoom) with fellow assistants throughout the industry. We are the next gen – writers, directors, agents, execs. We are next in line, so it doesn’t hurt to know everyone!

Is there any other advice or parting words you would like to leave your fellow Hollywood (and greater-Hollywood!) assistants?

One thing I’d like to say to my fellow assistants is this: don’t be afraid to talk about your salary! There’s so much secrecy around what we earn, and why? Who does that benefit but under-paying employers? By speaking candidly about salary, hours, vacation days, etc., we learn to differentiate when we are being treated fairly and when we are being taken advantage of.