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Aaron Marcus has been a full - time actor and commercial model since 1986. As of today he has worked 1052 times on projects such as: Law & Order: CI, The West Wing, The Wire, AT&T, Molson Beer and America's Most Wanted. He wrote How to Become a Successful Commercial Model, and travels throughout the United States offering his Actor/Model Boot Camp. Find out more at: www.howtomodel.com

Since 1986, you’ve been a full time actor and commercial model, succeeding at a career which so many find nearly impossible. What sets you apart? In your opinion, which of your qualities have enabled you to succeed where so many give up in frustration?
I believe that being persistent, willing to ask questions, keep my eyes and ears open while on a set, and learning very early on that you can’t take things personally in this industry, has helped me persevere and have success in the acting and modeling industry.


Presumably, you don’t spend much time sitting around waiting for the phone to ring. What steps do you consistently take to insure that you keep getting booked?
I send out postcards or letters to all of the people I have had contact with over the years. My last post card mailing went to about 800 agents, producers, photographers and art/creative directors who I have had some contact with over the past 20 years. This is a great way to let people know you are still around and available for work. Whenever you meet someone in the industry, add them into a data base so you can easily send them notes.


I thought I had to be tall, thin, and gorgeous to be a professional model. But you write that commercial models “need only to have the ability to look like a real person”. Doesn’t everyone look like a real person? Can anyone be a model?
I do believe that everyone has the ability to become a commercial model. There are certain heights, ages and looks that will get you more work than others will, but you never know what type of image is needed for an ad campaign.

In your opinion, what are the greatest misconceptions people have about a career in modeling?
Quite often I will be told from women in her late 20’s 30’s 40’s or even 50’s that they are too old to model. Nothing could be further from the truth. If you open any non-fashion magazine, like, People, Time, Newsweek, Life, Readers Digest etc… you will find most of the women in the ads are in those age categories. They are portraying the mom, doctor, lawyer, banker, real estate agent, etc… There is more work for women between the ages of 30-50 than any other age.

Most actors are killing themselves trying to get an agent, and yet I read in your bio that you’re represented by 127 agents across the country. How do you manage to work with so many agents? Why would an actor need that many agents… doesn’t it confuse things?
It does make life very confusing, complicated and expensive. Each agent needs head shots, comp cards, and some want voice over CD’s and video tapes. I have not found one agent to get me all of the work I need, so I decided to spread out my working territory, and that way if one market is slow, hopefully, another is booming.

For those people just getting beginning in the industry, I would recommend finding one local agent to work with. If you find that work is going great, you get a lot of experience and want to move into other markets, then make sure you do not have any contract issues that could prevent you from working with other agents. Increase your markets slowly. Keep in mind that if you want to work with an agent in a distant market, you have to be willing to travel there (at your expense) for every audition and or go-see you are called for.

I received an e-mail from someone recently asking for a list of “good” agents. How can I tell if an agent is honest, reputable, and going to work to get me auditions?
There is no way to know for sure if an agent is going to get you auditions. However, there are a few ways to make sure you are working with a reputable agent. If the agent is franchised, and is a signatory agent with SAG or AFTRA, then you know you are dealing with a strong agency. However, there are tons of modeling agencies who are great and will not be connected with the Unions, because there is no relationship with modeling and Unions. There are also many great agencies who have chosen not to be affiliated with the Unions.

If an agent asks you up-front money for any reason, watch out. If an agent demands that you take their classes, or they will not represent you, watch out. According to Union rules, a signatory is not allowed to have a school. They are concerned about a possible conflict of interest. If an agent tells you that you have to get all of your photos shot by their photographer, that would concern me.

You can get a list of strong agents from my web site, but more importantly, talk with some of the actors and models who the agent represents, and see what they have to say. If you get an opportunity to do some extra work on a film or TV show, network, and ask other actors, which agents they like in your area. I actually have an entire chapter on agents in my book.

I keep hearing about modeling school scams. What do I need to know to avoid being ripped off?
Like any school, I always recommend that you audit a class or two. If you find that the instructor has had some wonderful experiences in the industry, and has the ability to teach you a tremendous amount about the acting and or modeling world, then I would seriously consider signing up for the class.


Many actors feel that getting an agent is the hard part, then you can relax and let the agent do the work. If I’ve got an agent interested in working with me, what is expected of me as a professional model? How can I make the agent’s job as easy as possible?
One of the things actors and models can do is help their agent by marketing themselves. Send your materials to photographers, art and creative directors at ad agencies, producers and casting directors. If you book a job, I would still send it through your agent, even if he/she had nothing to do with the booking.


If I’m interested in acting and modeling, do I need separate headshots? What about compilations of different “looks”? What do I need to know before getting headshots?
Actors need to use head shots with a resume on the back. Models should use composite sheets. Many comp cards will have a head shot on the front, and a variety of photos on the other side (if it is a 2 sided card.) One of the important things that commercial models need to do is show many different emotions and expressions on the comp card. Make the shots look like ads, and not just posed photos.

Using your acting skills and showing many layers of expressions and emotions, will allow you to be considered for many more jobs. If you do what most models do, and basically have one look with different wardrobe, then you will only be thought of for that one look.


Headshots can be very expensive. How do I know which photographer will get the best photos of me? What should I ask before a photo session?
Like with schools, you need to talk with the photographer before the session. Look through his/her book. Do the actors look alive and jump off the page? Do the actors seem interesting, or just have a blank smile?

There are many great shooters working in the industry. After you like the persons work, then the other essential thing is their personality. Do you feel comfortable with the photographer? Do they offer you some good ideas? The main thing is that no matter how good a photographer is, if you don’t feel comfortable with the person, the shots won’t work. Great photographers know how to relax people and allow them to look their best.

The cost of head shots can vary from market to market. Generally, you are looking at anywhere from $250 -$500 for the session. Actors should always spend the extra money for a makeup artist. If you are going to go to this expense of creating a head shot and or comp card, then do everything you can to look your best. Your head shot will be the only introduction you get with many agents and casting directors. It would be a shame to have a good head shot ruined because the makeup looks bad.

Then to get them reproduced is another fee. You can go an inexpensive route and get lithographs made. This will cost you around $95 for 500 black and white head shots. They look pretty good, but not as good as when they are printed on photographic paper. These will cost around $125 each, but you can order them in much smaller quantities than 500.

All of the information about creating strong photos and lists of reproduction companies are in my book and Industry Information Directory, which you get free when ordering the book from my site, www.howtomodel.com. By reading my book, you will even learn how to get photos taken free.

How do I know what my “type” is? Should my headshot represent what I think my type is, or should I go for a more generic look and let the client decide?
One of the things an actor can do is to ask a number of industry professionals, agents, ad agency people, photographers, casting directors, etc… what type of roles seem right for you. Actors can also watch movies, TV shows and commercials. When you see a character that you can honestly say, “that is me, I could do that,” then you will know what type of head shot is right for you. It is also helpful to look at other head shots of successful actors, and see other actors in your category. How do they present themselves. What type of wardrobe are they wearing. Make sure that you only have clothing and accessories that help create the image you are desiring, and not to have anything stand out. If someone looks at your head shot and says, “that is a beautiful necklace, or that is a great blouse or sweater,” then that is a problem.


Presumably, appearing natural on camera is not as easy as it looks. What skills are most important to a commercial model? How does one practice modeling?
That is a tough question to answer here. Once again, I have an entire section in my book discussing this, and I spend hours during my actor/model boot camps teaching people how to look natural on camera. The short version would be to think of a real experience in your life that will give you the same type of emotion you are needing for the shot. If you can really feel the emotion, then it will shoot out of your eyes and force your body to stand in a natural way.


We always hear that it’s not what you know, it’s who you know. Is that true? How important is building a network of friends and connections to a successful career?
It is crucial that you network and make connections in the industry. There are not many situations (although we have all seen some) where someone with little to no talent has tremendous success through nepotism, but, if you have talent and have the connections, then you can have tremendous success. It is not uncommon for directors or producers to hire many of the same actors in a number of their projects. It is like going on a blind date. If you both have a good time, why wouldn’t you want to go out with that person again. If the actor gives great performances, and is enjoyable to be around, why would someone want to re-hire him/her again and again.

The life of an actor and model has ups and downs. How do you stay positive and focused when you don’t book the job?
That is a great question. Like I said earlier, you can’t take things personally. There are so many reasons why someone books a job and does not get the role. You have to love the audition process, and know and have faith that at some point, the right job will come along. Most of the auditions or go-sees I attend, I will not book. I just understand that I was not right for that part. It is also very important to have other interests. I have seen many people burn out due to expending 100 percent of their waking hours to the business. It is really important to take some breaks, and do things unrelated to the industry.

Some people love the business a lot more by having another form of income, so that they are not totally dependant on earning money from acting or modeling. That can take the stress off when auditioning if you know you can still pay your monthly bills, even if you don’t book the job.

When you’re working, do you do anything to prepare for potential lean times in the future?
Whenever I am working, I am always thinking that this could be my last job for a while. It is so important to not only set aside the correct amount of money for taxes, but also for the times when work is not happening. That is why it can be so helpful if there is some other form of income coming in along with your acting and modeling work. It really can take some of the stress away.

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