Part IV: Descriptions of the 50 Best Jobs for Each Personality Type _______________________________

Bailiff s; Correctional Offi cers and Jailers; Crimi-
nal Investigators and Special Agents; Detectives and
Criminal Investigators; Fire Investigators; Forensic
Science Technicians; Parking Enforcement Work-
ers; Police and Sheriff ’s Patrol Offi cers; Police Identi-
fi cation and Records Offi cers; Police Patrol Offi cers;
Sheriff s and Deputy Sheriff s; Transit and Railroad
Police.

Skills: Persuasion; Systems Analysis; Social Per-
ceptiveness; Systems Evaluation; Complex Prob-
lem Solving; Critical # inking; Negotiation; Active
Listening.

Education and Training Programs: Criminal Jus-
tice/Police Science; Criminalistics and Criminal Sci-
ence. Related Knowledge/Courses: Public Safety
and Security; Law and Government; Psychology;

erapy and Counseling; Customer and Personal

Service; Philosophy and # eology.

Work Env ironment : More often indoors than out-
doors; very hot or cold; sitting.

Producers

! Personality Code: EA

! Education/Training Required: Work
experience plus degree
! Annual Earnings: $61,090

! Beginning Wage: $28,980

! Earnings Growth Potential: Very high

! Growth: 11.1%

! Annual Job Openings: 8,992

! Self-Employed: 29.5%

! Part-Time: 9.0%

! e job openings listed here are shared with Directors—

Stage, Motion Pictures, Television, and Radio; Program

Directors; Talent Directors; and Technical Directors/

Managers.

Plan and coordinate various aspects of radio,

television, stage, or motion picture production,

such as selecting script; coordinating writing,

directing, and editing; and arranging fi nancing.

Coordinate the activities of writers, directors, man-

agers, and other personnel throughout the produc-

tion process. Monitor post-production processes to

ensure accurate completion of all details. Perform

management activities such as budgeting, schedul-

ing, planning, and marketing. Determine produc-

tion size, content, and budget, establishing details

such as production schedules and management pol-

icies. Compose and edit scripts or provide screen-

writers with story outlines from which scripts can be

written. Conduct meetings with staff to discuss pro-

duction progress and to ensure production objectives

are attained. Resolve personnel problems that arise

during the production process by acting as liaisons

between dissenting parties when necessary. Produce

shows for special occasions, such as holidays or testi-

monials. Edit and write news stories from information

collected by reporters. Write and submit proposals to

bid on contracts for projects. Hire directors, prin-

cipal cast members, and key production staff mem-

bers. Arrange fi nancing for productions. Select plays,

scripts, books, or ideas to be produced. Review fi lm,

recordings, or rehearsals to ensure conformance to

production and broadcast standards. Perform admin-

istrative duties such as preparing operational reports,

distributing rehearsal call sheets and script copies,

and arranging for rehearsal quarters. Obtain and dis-

tribute costumes, props, music, and studio equip-

ment needed to complete productions. Negotiate

contracts with artistic personnel, often in accordance

with collective bargaining agreements. Maintain

knowledge of minimum wages and working condi-

tions established by unions or associations of actors

and technicians. Plan and coordinate the production

of musical recordings, selecting music and directing

performers. Negotiate with parties, including inde-

pendent producers and the distributors and broad-

casters who will be handling completed productions.

Develop marketing plans for fi nished products, col-

laborating with sales associates to supervise product

distribution. Determine and direct the content of

radio programming.

GOE—Interest Area/Cluster: 03. Arts and Com-

munication. Work Group: 03.01. Managerial Work