Accomplished acting coach, actress and director, Judy Kerr brings over 25 years of experience to her book, “Acting is Everything”, now in it’s 11th edition. Click here for more info
Judy is recognized in Hollywood for her unique gift of nurturing talent and helping actors succeed. Coaching one-on-one with some of the top names in the business, Judy works to enhance the artistry and technical skills of actors while building their confidence so they deliver their best performance.
As dialogue coach on the hit series Seinfeld, she worked with the series regulars Jerry Seinfeld, Julia Louis-Dreyfus, Michael Richards and Jason Alexander as well as the show’s many guest stars including Teri Hatcher, Janeane Garofalo, Raquel Welch and Bette Midler.
With this 11th Gold Edition, Judy opens the doors of Hollywood to a new generation of acting hopefuls and professionals with a straightforward road map for building their careers. Judy Kerr takes special pleasure helping young talent and veterans grow as she continues to coach both privately and on sets, and to teach workshops and seminars worldwide.
Interviewed by Kipley Wentz
Judy, your book “Acting Is Everything” (now in it’s 11th edition) is basically the bible for the Los Angeles actor. In case there’s anyone left who hasn’t heard about it, can you describe the book and why it is so valuable for anyone who wants to build a successful career in Los Angeles?
I wrote the book as an acting/guidance coach specifically for the actor who wants to have a professional career. It speaks of what a person, who wants to be an actor, must do to get started where they live. Then when ready, the steps to take when they arrive in Los Angeles. For seasoned and new actors already in Los Angeles, it gives specific services that can be trusted to give them the most value for their dollar. I stand behind all of my resources and if any of my readers has a problem with a service they email me and I take care of it with the offending party. There are no advertisements or kickbacks. My resources are reliable, solid, and golden; I’ve only had about 4 complaints in 22 years.
This book goes way beyond your average “how to be an actor” text. What inspired you to create this incredible resource, and how do you keep it up to date year after year?
The book began as essays for the actors in my acting classes 25 years ago. I am a Los Angeles actor, so I investigate everything for my students and myself. Also my students tell me of someone who is good, a teacher or a photographer. I interview them, go to a class or look at websites.
Most important to me is the personality of the person I am recommending. I don’t like actors to work with anyone who is hurtful or demeaning. I only want my people with services who support and encourage their efforts. We all have nay-sayers in our lives, but we don’t want to hire them and pay them to work for us. Let our families or friends have that role – if we must.
On the first page of the book is written, “What you need to know to master acting is everything you need to know to master your life.” Is it truly possible to “master” my life, and how will I know when I’ve mastered it?
You got me there, you are right; it is not possible to master your life until death. More properly it is the process of mastering acting, it is the process of mastering our life that is everything. The knowledge, the path, the investigations, the failings, the successes are what is the joy. Over and over again you will hear actors talk about how much they enjoy the rehearsal process.
So I guess with that statement I mean, it is the path that is important, not the final arrival. I feel that if an actor can’t enjoy the path they miss out on life. For most actors we never have enough “performance moments” but have many more “path moments” if that makes sense. I encourage people to look for the fun and joy during all the aspects. To me, living my life as an actor is my life.
You write, “When we operate from poverty thinking, we will always be lacking.” What is “poverty thinking” and how can actors avoid that trap?
Poverty thinking is talking about what you lack; it is saying statements like, “I can’t afford pictures, I have to put all my time in on my day job, I can’t find a teacher who is cheap enough, no one wants me,” etc. Makes me sad just to write them. No one wants to hear you can’t afford something. Many, many people are creating their own realities and I say find a way to make the reality you want happen for yourself.
People in the world hate to hear complaints – yes you can find listeners but why not give your listeners stories about what you have been doing, not what is lacking. Never talk about what you are going to do when you have the money. Get the money, do your plan, then talk about what you did.
I am a fan of THE FOUR AGREEMENTS by Don Miguel Ruiz. The first agreement is “Be Impeccable With Your Word.” That means be careful what you say – act as if what you say will be your reality. Often times saying you can’t afford something is a way of not taking responsibility for your actions.
Many aspiring actors arrive in Los Angeles dreaming of fame and wealth. By what standards do you measure success in life?
Fun, pleasure and joy are my goals. That may sound trivial to some, but that is what life is about for me. I feel very successful. For others it would take much more than what I have in my life for them to call their life successful. To be truthful, I don’t measure others’ success; we each have our own yardsticks and have to satisfy ourselves. I sometimes have to scramble to find the fun and joy in some circumstances in my life. These are success goals, after all, and aren’t reached on a consistent basis.
You talk about three components to acting… the art, the business, and the dream. What do you wish more actors understood about the business of acting?
That you must be a master craftsman, you must be the best actor you can be. You must work on your craft every day. That acting is vocal art and a physical art. That you are never done, you are always in development for the part, the next scene, the next audition. We spend much more time in development than work. As an actor you must develop all aspects of your life. Sometimes you will learn something incredible about yourself while you are playing basketball at the park or looking at a painting in a museum. We must be well-rounded. We must keep investigating who this actor/person is who occupies our body.
While it is typically the experience of seeing great artists perform that inspires people to become actors, often actors can become so focused on “making it” that they lose sight of the art of acting. How can actors satisfy the artist within their soul amidst the constant pressure to remain focused on the business of acting?
In acting class. That is where you get to express yourself doing the characters that you are dying to do. If you are type cast as the gorgeous one, you may be longing to play ugly. If you are cast as the villain, you may be eager to play the hero. You can fulfill yourself artistically by playing roles that fill your heart. Another way is by creating a gathering of friends in your living room and reading the plays or scripts that speak to you. Cast your friends and maybe ask one of them to be the one to give notes and read it again the next week. Maybe stage one of the scenes between two of the characters and the rest of your friends are the audience to applaud you.
At ActorsLife.com, we get a lot of e-mail from people who dream of moving to LA. How can aspiring actors best prepare for Los Angeles before they move?
The best way to prepare is by saving money and training. But I often say if that isn’t available then take the leap and move and deal with it all when you get here. The information in the book or one of my traveling “Los Angeles Bound” workshops will give you the lay of the land, so to speak. For some that is all they need to take a lot of the fear out of making the move. If you are in NYC, Florida, Austin, Seattle or Chicago, chances are you can get great pictures, a demo reel, and a decent resume before you arrive. If you also were SAG or SAG eligible that would be a huge bonus.
Warner Loughlin is quoted in your book saying that choosing to become an actor is “brave and courageous”. In your experience, what about acting requires the most bravery and courage?
Taking the rejections. There are many, many rejections and learning not to take them personally can build bravery and courage. As actors we have to walk through our fear all the time. Then we have to be brave and stand up for ourselves when someone we love may look at our lives and judge them as not working out. I’m so glad I’ve lived my life as an artist—that is the payoff for me. Did I have a choice? I guess, but it never felt like it. Doing anything else other than acting or working with actors has never worked out for me; it is way too painful.
There is a whole section on acting training and coaches. Let’s say I’ve just spent four years and tens of thousands of dollars earning a degree in acting. Why is it important that I take more classes once I arrive in Los Angeles? Is there ever a point at which I’m done studying acting?
College is college and is not a training ground for professional actors – it isn’t meant to be. You need graduate school, and that is what you come to Los Angeles for: a new area of expertise. You need to get on the set, you need to deliver professional performances, you need to become worthy of them turning on the cameras. Are you worth being paid $20,000 a week to have a regular role on a series when you graduate from college? If you can land the job, if you are “audition ready” from college then you will still need a class to get connected, to meet people, to hear of opportunities.
There is never a point in my opinion that you stop taking class unless you are working consistently on the set. I go every Wednesday afternoon and study in Kimberly Jentzen’s master class. It keeps my acting chops in good shape and keeps me connected with working actors. I have a personal trainer twice a week to keep my body in shape; why wouldn’t my acting muscles have to stay in shape as well?
You have worked with many of the best actors of our time. Have you noticed any qualities that the most successful actors have in common?
Yes, and it is how much they care about their performance. I consider my years as a coach on Seinfeld as some of my most important learning years. Each of the stars of the show cared so much about the performance they were giving and the quality of what they were doing. Nothing was ever, ever “phoned in” as they say. Each word was important.
Sometimes I would work with a guest star on the show and I would be so disappointed with them if they didn’t throw their whole self into each moment. Because the show was such a big hit and so much pressure, sometimes actors would be really scared. It was my job to calm them down and help them enjoy the process and deliver the best performance they were capable of. What a great job that was. I miss it. All the actors always showed up on time and no matter what might be going on in their personal life, they strove to deliver.
In sports and other performing arts such as dance, the fundamentals are practiced every day. What would you recommend that actors do every day to ensure continual growth and success?
I would say join Showfax.com and download scripts every day and practice delivering the script.
Let’s talk a bit about some of the actors’ tools. What, in your opinion, makes for a good headshot?
I’ll say what everyone else says – make sure it looks like how you will be cast. I think it’s smart to even wear the same outfit you wore for the pictures if it’s close to what you are being cast for.
Photo sessions can be very expensive and intimidating. What can actors do to insure that they’re hiring the right photographer?
Go to the photographer’s website and print out pictures of people that look like you. In fact, do that with a lot of sites. If you like the way the photographer shoots the people who look like you then that person is a good bet for you. Meet them, see if you can expose yourself to them. Will you feel comfortable almost being naked with them? Do you feel safe to expose your feelings? That is what your photo shoot consists of.
We get a lot of questions about cover letters. Should actors include a cover letter with every headshot they send, and what information should actors include?
Well, I’m used to on-line casting. There is a place for comments and if you really have something to say, then put in a comment, but something very specific. The character rides horses and if you are a champion equestrian then put that in. When mailing, a post-it on the picture with the character’s name is enough or a short comment why this role is a good fit. Also put the character name on the envelope.
In your experience, are “mass mailings” an effective way to get the attention of agents and casting directors? How often should actors do mailings, and is there anything specific they should consider before spending the time and money on that effort?
I don’t think mass mailings work in getting work. I think the people you mail to should be targeted, and you should have something specific to say. “Watch me Thursday night on Grey’s Anatomy” or “come to my play this weekend.” Maybe in commercials your face coming across the desk might help. I do think it helps to drop off headshots and resumes to casting offices for shows you are right for.
In conclusion, you write that “Having fun can be the most important goal in life”. It seems like such a difficult life… What does it take to actually enjoy the process of being an actor?
Well, saying it is difficult is a choice. I think any other life would be difficult. Life is a process and the ups and downs make it interesting. It’s what we do with what we are given that makes it an adventure. I would tell someone to give up saying or believing life is difficult, I don’t see the payoff.
Beyond “Acting is Everything”, do you have a recommended reading list for actors?
My recommended reading list and many other resources are on my website.
About Kipley