Should I have to stay late at the office, simply for the benefit of my boss?
At my last appraisal my boss said I “always seem to leave work on time”. We have defined start and end times to our working days. He said he would “expect a senior member of staff” such as me to “work additional hours”.
In fact, I do start early and have worked extra hours when projects have required it, for example to fix a problem or meet a deadline. However, mostly I expect to be able to do my work within the hours I am clearly and contractually paid to do.
I don’t want to get trapped in what appears to be the macho culture of who can stay latest. Are my values reasonable and how else can I appear committed to my boss? In short, do I have to work late in order to look good?
Jeremy says
For as long as I can remember, “clock-watcher” has been a derogatory term. It’s applied to anyone who habitually leaves work the moment the hands of the clock tick round to half-past five – or whatever the formal end-of-day time may be. It’s not entirely rational.
To leave every day exactly on time and not a second later strikes many people as somehow mean-spirited. Your boss would seem to be one of them – and arguing that you’re contractually within your rights won’t help in any way and could make matters worse. To add to the irrationality, even if you’re known to come in early, always leaving bang on time still seems to rankle.
I don’t think you need to work late on a regular basis in order to look good, and you certainly shouldn’t start competing with others as to who stays latest. I suspect all you need to do is quite deliberately make your pattern of departure an irregular one, and avoid snapping shut the laptop and reaching for your coat the moment the clock says you can.
Readers say
• Just designate the hour or two after your normal finishing time as your time for eBay/Facebook/Twitter/online banking etc. You’ll get brownie points for working late and probably get promoted too. salamandertome
• I would start by agreeing that there are times when the workload demands additional hours, and that you would be available. Then I’d point out examples of when you did exactly that, and talk about how in the normal course of business you have time management/efficiency schemes in place to ensure work is done to schedule and without unnecessary overtime. In other words, agree on the principle so that it doesn’t come off as if you’re just being defensive or contradictory, then demonstrate how you’re meeting the standard. hol48
• What he’s saying is either an admission that the job can’t be done in the allotted hours, or that it’s the appearance of extra work that is important rather than actual productivity. The fact you have excellent time-management may expose and threaten his own inefficiencies. Look for another job, this berk won’t do you any favours. Sceptic101
How can my son, who made three films at university, break into the industry?
My son graduated in English a year ago from Cambridge. While there he and others made three short films. He says that he desperately wants to get into the film world. He nearly got a job in London but was pipped at the post.
Should he continue to apply for jobs as they come up (he’s had few replies to his CV) or should he go to film school (expensive and lasting two years) to get a qualification and, presumably, some contacts?
I wonder whether the limited experience as a student in this, or any other, field is enough to make such a career choice? Should he hedge his bets and try for a break, alongside other things? Or is commitment to one area the key?
Jeremy says
I, too, have a son who felt very much this way himself. He’s now running a sizeable independent film company and the advice below is almost entirely his. He says it’s never been easier to break into film. Or harder. Cheap equipment and multiple opportunities to self-broadcast on the internet make access far more easy, but for the same reason they greatly increase the volume of competition.
Your son should be utterly single-minded. He should hone his craft and storytelling skills by making, or helping to make, as many short films as he can, then broadcasting them on specialist internet sites. They do get watched (Google “best short film sites”).
If signing up for a film school seems too long and too expensive, he should consider volunteering to help film-school networks: students are often keen to use committed and talented volunteers to help make their films.
He should keep sending out his CV. He’ll learn on the grapevine which are the more progressive companies and should concentrate his attention on them. Passion and drive are what they’re looking for. He shouldn’t scorn entry level “runner” positions; if runners show camera and narrative skills, they’ll soon be shooting test shots.
He should support all this by taking jobs that offer flexibility (bar/restaurant/service and so on), so that he can seize any film-making opportunities that may crop up. (And he must do those jobs brilliantly if he wants to be welcomed back.)
He should enter his films in as many festivals and competitions as possible. Some grants, subject to qualification, are available from the British Council. Research may reveal other sources of funding. And he should actively encourage the formation of a “friendship group” – a bunch of like-minded people at a similar stage in their careers: artists, composers, actors, technicians (not unlike forming a band).
Breaking into film is a tough and often dispiriting business. It’s easier if you’re with others. And since film-making is inherently a collaborative process, learning to collaborate is as important as any other skill he may come to master.
Finally, and only after a year of giving it absolutely everything, he should take stock. He should know by then whether there’s a future for him in film – or whether he’d be smarter to shift his attentions to another career, one that shares some of the same virtues and values as film but is more likely to offer him a rewarding life.
I hope that you and your son found at least some of this helpful. If you did, then your thanks are due not to me but to Adam.
Readers say
• If he really wants to go to film school it needs to be one of the top ones, like the NFTS. Otherwise he would be far better off working as a runner on student films, perhaps building up to another role such as first AD. ID6912820
• Skip film school. Spend a couple of weeks working for production companies for free. If you’re reliable and hard working they may be in touch with more work down the line. If you have a driving licence and own car, even better. I’d also recommend summer camp work in the US. The majority of them have a media department that requires constant videos being churned out for the website. pukahontas
• Enter the films in festivals and competitions, which is a great way to meet and make contacts. An award-winning short is much more likely to arouse interest than a CV. bluecherry
Do you need advice on a work issue? For Jeremy’s and readers’ help, send a brief email to dear.jeremy@theguardian.com. Please note that he is unable to answer questions of a legal nature or to reply personally.
