You are here: Home / Archives for acting

Acting Career Coach – Betsy Capes, Capes Coaching

January 1, 2011 By Kipley 1 Comment

Betsy Capes founded Capes Coaching in April 2004 after six successful years casting and directing New York theatre. Her mission is simple but ambitious: to create a new type of actor in the entertainment industry, the Empowered and Fulfilled Actor. Betsy has led the Capes Coaching team in developing a new method of personalized coaching that helps actors take their careers to the next level. She has coached over 600 actors to creating successful careers in film, television, theatre, and beyond.

Interviewed by Joanna Parson

What is Capes Coaching?
We’re a career coaching center for actors and artists. There’s a wealth of resources in New York for building the acting craft, but very little when it comes to building an acting career. We focus on everything that supports the craft – bringing the passion and joy you have for your craft to how you run your business. Our team comes from all sides of the industry, and we work to bring our knowledge of how the business works to our coaching and classes. Our style is to match the career plan to the artist – that’s why we work one-on-one, so that their business plan matches who they are and their specific goals. We don’t believe in one foolproof answer for everyone.

Our readers come to Actorslife.com because they already think and/or know that they want to be an actor. So, why would an actor need a coach?
The same reason an athlete needs a coach – even the most talented person needs to be pushed, get challenged, stay accountable. Determining whether or not to pursue an acting career is one of many things that may come up in a coaching session. We’re here to help you make it through your career once you make that commitment. There are lots of decisions, ideas, and plans to make happen. We help you stay connected to what fulfills you as you move along your career path when difficult times come up – and they always do. No matter who you are, challenges are going to occur if you choose this business. We help actors confront and overcome their challenges so they can avoid burnout and stay fulfilled.

You offer both group classes and private coaching. What’s the difference? And what differentiates your classes from typical acting schools?
What’s innovative about Capes Coaching is that instead of starting this company with a roster of classes, we started with individual coaching and then developed small classes based on the needs of the actors. And then we tailored our classes to meet the needs of the industry, like giving actors audition skills that align with what casting directors need to see when they walk in the room.

Also, the community aspect can be a huge benefit when it comes to career issues like where to train or where to find auditions. But I should mention that none of our classes are about one casting director or other industry person telling you what you should do. They are all designed to help you develop your approach based on who you are and where your talents lie.

Super/Capes Casting casts for film, television and stage. What kind of projects do you cast? In casting, do you give preference to Capes Coaching clients?
We’ve been fortunate enough to set it up so we only take projects that are the right fit for Super/Capes Casting, that excite us. I started out as a casting director and it’s been amazing to return to casting after three years of working with actors as a coach.
Like all casting directors who also teach or do seminars around town, we certainly meet talented actors through our work as coaches, but we don’t give preference to Capes Coaching clients. We pull from a wide pool of actors that we meet through agents, showcases, and even events. We’re hired by our clients to solve a problem of a specific role and we use all our resources to do that. However, in-house, we make it very clear that Super/Capes Casting is a division of Capes Coaching and not the other way around – in fact, everyone who does coaching or a class here signs an agreement that says they understand that meeting us does not give them preferential treatment in casting.

Let’s do some role-playing—what would you say if someone said to you, “I think I want to be an actor, but I don’t know whether I’m good enough?”
Okay. I don’t know what “good enough” means to you, so we have to start by getting clear on that. So how would we know whether you’re good enough? Are you good enough because you get cast in something? Great! So have you been cast in something? Not yet… so what do you need to do to get cast? Audition – but for what? Are you ready to do that? What do you need to do to get ready? What does success in this business mean to you? And then we would start brainstorming, and get very specific so they would walk away with clarity on what they need to do to become good enough.

It’s all about determining what your standards are for success in this business. This is a very personal decision… We’re not about telling you if you’re good enough, we’re about helping you zoom into exactly what you want, why you want it, and how to get it.

How about this old chestnut: “I’ve really enjoyed being an actor for some years now, but it’s time to get paid! How do I be an actor and yet get a hold of my finances?”
Another opportunity to explore what’s really behind that statement: what does “getting a hold of finances” mean to you? What about getting paid is important to you? Is it the validation? The freedom? The actual money in your bank account that you need to see in order to stay in this business? To tell mom and dad? There are so many possibilities for getting in control of your finances that may tie into your acting, but don’t have to. We challenge you to think outside the box – what are ALL the possibilities for getting what you want, not just the first few that come to mind.

You used to write a hilarious blog on your web site, fake personality Factor Von Factor’s “How to be an Actor in New York“. It’s basically how to do everything wrong. Not to be negative, but what are the most common mistakes that you see actors making in their approach to their career?
Not being true to who they are. Being preoccupied with what they assume the rest of the industry wants from them. Lack of clarity on how to run their business with confidence. That’s why our motto is “talent is only half the equation” – you have to run your business in a way that puts your talent across in the best possible way in order to be successful.

Most actors come to us asking “what more can I do” – but 9 times out of 10 it’s not about what they’re doing, it’s HOW they’re doing it. And they’re too dramatic about it! Keep the drama on stage. You guys are so hard on yourselves! Actors beat themselves up, try to attack every goal at once, and don’t plan the path from here to there. We have a class called “The Path Class” that’s all about setting up a business plan for the next year of your career. Every actor who has gone through Path walks away not only with a plan, but with clarity, and that leads to confidence, a truer energy that’s not going to take away from what they are capable of as an artist. Now their talent is supported rather than strained.

I know that at Capes Coaching you’re as big a fan of self-starters as we are, and have encouraged many people to write their own shows, produce films, and write screenplays. Why?
No one will ever care as much about your career as you do. Our philosophy is to focus on what’s in your control. Other people’s projects are, to a degree, out of your control. Creating your own projects, at any level, has helped our clients reconnect to their creativity, their artistic voice, and helped them discover other skills sets they have. One of the beauties of being part of this business is that you can do more than one thing – we encourage them to strengthen those muscles if that’s the right fit for them.

Many of our readers are interested in many different aspects of the business—they would like to do TV, film, and television, but they also write, but they also dance, but they also fill-in-the-blank. Do you encourage people to find one or two niches and stay there? What’s your opinion on multi-threats?
We call this “multi-goal syndrome.” Definition: the burning desire to have it all without a tangible plan for how to go about getting it – and it’s contagious! You’ve got to have a good enough strategy that you’re not changing it every time you see someone else doing something different. Seriously! The only time you should be doing everything another actor is telling you to do is if you want the exact career they have, and have the exact resources, talent, and look they do. I believe the most important resource you have outside of yourself in this business is your network of contacts, including other actors, but you have to put your own talent first.

There seems to be some overlap in what you do and what actors imagine a wonderful manager might do, in terms of guiding a career. Can you address what the difference might be, aside from the fact that you don’t submit clients for projects?
Clients book sessions with us; we never take a percentage of anything earned. In fact, agents and managers regularly refer their clients to us.
We don’t fish for our clients. We teach them how to fish! We give you the tools to make the decisions that are right for you, but we don’t do it for you. Coaching should not be a relationship that lasts forever; you should use coaching as one of many resources to move you forward when you need it.

Do you give advice to your actors about headshots? What do you think is important in a headshot, and what are the first steps actors should take when planning to get new pictures?
We have a specific process for supporting actors through their headshot process from beginning to end, including selecting the photographer, what you want your headshots to say about you (type clarification), selecting headshots once they’ve been taken, and managing the feedback you get from other people.

The first step is to be clear on the purpose of the headshot. Research, research, research! I’ve seen people get burned spending tons of money on headshots because they weren’t clear about what they want. Getting headshots you love is more in your control than you think. Before you put down a lot of money, know what you want to get out of that investment. In fact, that’s how you should be approaching everything in your career.

You do audition preparation work with your actors. What are a few things every actor should do when they know they have an important audition coming up?
This is where we see actors getting in their own way the most. We have a whole workshop designed to identify and overcome what’s blocking them in auditioning. Auditioning is its own skill, and is not synonymous with your performance ability, but it can support it. Have a process that you can count on – this may be the most important thing an actor can do.

Do you help actors with their personal presentation? For example, are you gonna tell me to spend more than $5 on a haircut? How can actors learn to look their best without becoming crazy neurotics about appearances?
We definitely believe physical presentation is an important part of the actor’s arsenal – we even have an image consultant on staff as a resource for actors if they need support with their image beyond a coaching session. But it’s just one of several things the actor has to be on top of to present themselves well. Don’t obsess – be balanced in your approach to your career!

Does a person have to live in New York in order to take advantage of Capes Coaching? What advice would you give to someone in a smaller market—Atlanta, Washington DC, Chicago, who wanted to ramp up the professional momentum in their career?
Absolutely not – we work with clients all over the map. Our coaches do sessions over the phone when they’re on tour, on location, or based in other cities, especially LA. We do the same work with clients regardless of where they are: working on their network, setting goals, building their resume. That’s the great thing – we don’t have to be in the same city to teach you a process for moving forward.

Like I mentioned before, after working on your craft and getting clear on your goals and strategy, your contact network is a great next step. Keep meeting people and don’t be afraid to put yourself out there! And stay in contact – let them know how your career is growing, and be sure to ask them about what they’re doing too. People don’t forget someone with authentic, positive, generous energy.

Can you tell us some of the books and/or resources that have helped shape your philosophies?
We have a great book list on our website, and our clients keep telling us about new books that have helped them. And remember to think outside the box – anything can be a resource! Read plays to get new monologues. Read books about networking and communicating well. Get some books that inspire you, whatever that means to you. And don’t forget all the great stuff online – like ActorsLife.com! Search online for articles, podcasts, and forums – we also send out a monthly newsletter with career advice and tools.

Filed Under: Agents, Featured Tagged With: , , ,

Actors Who Kick Ass: Iris Bahr – author, actor, solo perfomer

September 26, 2010 By Kipley Leave a Comment

Iris Bahr Born and raised in the Bronx, Iris moved to Israel at the age of twelve, where she remained until completing her military service. Upon her release, she embarked on an extensive solo journey through Asia, which is humorously chronicled in her new memoir DORK WHORE (published through Bloomsbury in the US and translated into German, Portuguese and Italian as well).

Upon returning from Asia, Iris proceeded to study neuropsychology and religious studies at Brown University, graduating magna cum laude. She has since found much success on stage and screen, starring in numerous TV shows and films, including a recurring role on Curb Your Enthusiasm (as Rachel Heinemann in the highly memorable ski-lift and Korean Bookie episodes), The Drew Carey Show, Friends, The King of Queens, Commander in Chief, E-Ring, Strong Medicine, Star Trek Voyager, and The Big Bang Theory, among others.

Her directorial debut, The Unchosen Ones, was featured at the Cannes Short Film Corner, Durango, and Boulder film festivals. As a stand-up, Iris has performed at the world-renowned Montreal Just for Laughs Comedy Festival and co-starred alongside Larry the Cable Guy in the nationwide release Health Inspector. Her critically acclaimed first solo show Planet America was nominated for Best Solo Performance Award by LA Weekly and is currently being developed with Meryl Poster into a feature film. Many thanks to Will Pomerantz for his hard work and Allan Buchman for first launching DAI at the Culture Project and to Jon Pollard, Bernie Kukoff and Jon Cutler for their  indispensable continual contribution.  Visit www.irisbahr.org for more information.

Interviewed by Joanna Parson

When did you first start writing DAI? Talk about the germination of the idea.
I started writing DAI a couple of years ago. I had wanted to write about the experience of living in Israel for a long time, the tension, the passion, the connection to a place so loved and hated by the world, and also wanted to explore my identity crisis resulting from having grown up in both Israel and the US.

The desire to share my experiences and feelings on Israel and its current state and conflict intensified the last couple of years when, after growing discussions with my peers both here and in Europe, it really hit me to what extent Israelis were misunderstood.

People have no idea how conflicted and diverse Israeli culture was, and most people don’t really understand the complexity of the conflict nor the resulting tension and tragic/triumphant mindset that results from living in a place where suicide bombings are a reality, whether it be Israel, Iraq or anywhere where such warfare is standard.

You’ve had a history of success with one-person shows, with your previous shows winning you acclaim, awards, and even a book deal. Why did you first choose to work in the genre? Are there specific rewards as an artist?
I love creating characters that challenge me as a writer and performer– that are as different from me as possible but that also channel my many conflicted opinions, emotions and life experiences.

Your characters in DAI are incredibly well-drawn; they’re all fully conceived characters. Did you ever consider writing DAI as a traditional multi-character play?
No, I always wanted it to be a one person show; to have me as one person manifest all these different aspects of one society.

Directors who understand the special needs of one-person plays are sometimes hard to come by. How did you hook up with Will Pomerantz?
Will Pomerantz was working at the Culture Project as the director in residence, and once they (The Culture Project) invited me to perform the show for four nights at the impact festival, Will called me and asked if he could assist in staging the play for the Festival.

He was extremely easy to work with, as our rehearsal time was extremely limited before the festival. It helped that I had come with the characters fully formed and had already designed the sound with an amazing sound designer in LA, and had a clear idea of what I wanted. Will was great, in that he served as a support system and as an outside eye to confirm what worked in terms of staging and lighting and such.

Talk about the physicality of your characters. How do you consider each character’s particular relationship to their bodies and space when you’re trying to convey different pictures age, race, and class?
That’s hard to answer, as I don’t analyze the physicality intellectually. I just try to see what resonates as true. I guess I could say I first visualize them as fully formed in my mind, and in terms of my body I decide where their core is– what body part leads them, where they hold tension, what their physical habits are, where their voice is placed, what they are trying to hide, and how good they are at hiding it.

One of the problems anyone working on multi-character solo shows faces is how to indicate transitions between characters. How did you land on the minimal costume pieces, movement and music you use to morph characters in DAI?  Each character’s monologue is punctuated by the sound of the suicide bombing, while you change costumes and take the place of the next character.
I wanted the transitions to be quick and fluid. The moment of death is very short, and I wanted the main power of the death to come from the audio cue in juxtaposition with the simplicity on stage. I designed the music to take us from the moment of death very quickly into a new life of the next character and the world that character inhabits.

You use a myriad of dialects in the show. How did you work on each character’s dialect and speech patterns?
The character’s core and habits really dictated the vocal quality. It was not a conscious process. It came naturally, once I inhabited the character. In terms of dialects, I worked on the German one with a friend and the others just came naturally. Some were inspired by real people– Arik Sharon, Christiane Amanpour, Hanan Ashrawi.

You studied at the Actors Center in New York, a well-respected professional conservatory that, unfortunately, recently closed its doors. Why did you choose a private conservatory program like the Actors Center? And why did you choose to ultimately leave the program and move to Los Angeles?
The Actors Center offered the best teachers in the city and so that was an easy choice to make– Earle Gister, Christopher Bayes. I left the program upon booking a lead in an Off Broadway show, and found that I preferred learning from being on stage than in a classroom environment.

While I find classical training (Shakespeare Lab was a fantastic experience) and physical theatre training like my time with Theatre De Complicite indispensable and amazing, in terms of straight acting classes I still prefer learning from performing in live shows than being in a classroom.

What were your first steps when you arrived in Los Angeles? Was there one particular choice that you made or audition you landed that helped get the ball rolling for your television and film career?
I can’t pinpoint a particular choice. I was a person obsessed when I arrived in Los Angeles, running around all day auditioning for everything no matter how near or far or ridiculous it was. I did a lot of theatre, and casting workshops (and got my first sitcom gig on King of Queens through that). I also started writing and doing stand-up, which helped me get noticed in the comedy world. And I mounted my first one woman show, Planet America, which ran on and off for over a year.

How did you land the audition for “Curb Your Enthusiasm?”
My commercial agent called me and said, “There’s this role on Curb you have to go in on.” Having wanted to audition for Curb forever, I immediately called my theatrical people. They set it up, and the next day I found myself improvising in the room with Larry and I booked it.

DAI is often described as political theatre, though you’re clear to express the fact that it’s not a political statement. What has it meant to you to write and perform a show that provokes such strong emotional and politically-charged reactions?
For me, there is nothing more gratifying than creating and performing a piece that entertains, moves, angers, satisfies people and stimulates post-show thought and dialogue.

At Actorslife.com, we hear from actors all the time who also believe they have the voice and ideas to write their own material and tell their own stories, but need help figuring out the writing process. How do you personally find the time and discipline to write? Do you, like your characters, spend a lot of writing time in bustling cafes?
Yes. I have a few cafes I frequent in both NY and LA. I go through phases. When writing DAI I just set myself a date to perform a reading of the script, invited a bunch of people and then had no choice but to finish it by the deadline. Once that was in place I got sucked in and ended up writing 7-10 hours a day.

What advice would you have for young people interested in acting and performing careers?
Be passionate and work your butt off. There is no excuse for waiting for the phone to ring. If you enjoy acting classes, find a teacher who inspires you and makes you feel good about yourself even in their criticism, and never compare yourself to your peers, since everyone has their own journey and you will end up just getting frustrated.

After all, you can always find people whose success comes easier, harder, faster, slower or not at all!

Filed Under: Actors, Theater Tagged With: , , , ,

Talent Agent: Naomi Kolstein, Kolstein Talent Agency, New York, Los Angeles

September 6, 2010 By Kipley 10 Comments

Naomi KolsteinNaomi Kolstein is the owner/agent, Kolstein Talent Agency with offices in New York and Los Angeles. Naomi catapulted to prominence in the entertainment field through her successful special event business called, “Naomi’s World of Entertainment, Inc..” In that world Naomi and her staff contracted with corporate America to provide the very best performers in every arena of show business to make it available to every part of the world.

Today, with the enthusiasm of Professor Harold Hill and the visionary spirit of PT Barnum, Naomi Kolstein works her magic to ensure that the tremendously talented roster of actors represented by Kolstein Talent Agency are, indeed, WORKING actors. The Kolstein Talent Agency represents actors in areas including film, television, commercials, theatre, voice-overs, industrials, and print.

Naomi says a short bio on her would read, “I love my work. I will travel far for a good story. I live for a great face. I seek authentic emotion” Naomi relishes the opportunity everyday to connect the actor with the project. She adores the art of the sale.

Interviewed by Joanna Parson

How did you get into the business?
Getting into the business was an evolutionary process for me. I grew up in a family where my parents were partners in a Public Relations firm that handled among other things, a theatre, a shopping mall, and some political campaigns. Their office was part of our old Victorian house and because of that I was always privy to the goings on of the family business. I attended theatre on a weekly basis and brainstormed about live entertainment for the shopping mall and positioning, presenting, speechmaking on the political front.

From a childhood filled with glimpses into both the world of entertainment and the arts (sort of) I went on to create “Naomi’s World of Entertainment, Inc” , entertainment company focusing primarily on the corporate market. The world of custom corporate entertainment led to representing talent for corporate gigs from NY to Japan to India, England, Italy, and more. And then quite unexpectedly to calls from both casting people and ad agency people interested in booking our talent for film, commercials, and spokesperson work.

A passion had always been representing the slightly offbeat and original in talent and I guess word had spread that we could be a resource in other areas as well as corporate entertainment. We were thrilled to cross over have our Chinese Paper cutter doing national commercials along with our banjo player, Joe Pesci Look-alike, 85 year old beauty queen, etc.

After a time of doing both the special event and commercial/film work simultaneously I decided to focus on this new challenge of film, television, commercials, and theatre and look for and represent actors for these specific areas. So no more 1000 person company picnics with stilt walkers, magicians, and sidewalk street artists.

What impresses you the most when you meet actors?
What impresses me most when I meet actors is a blend of passion, originality, and reality. I want to represent people who are stand-outs in their look, their performance style, their bold choices. Also I am impressed by actors who know about the business of acting and all that it entails.

How do you find and meet new people?
I often attend showcases, go to shows, participate in seminars, consider referrals, and do research to find appropriate actors for specific roles.

Do you ever work with people based on mailings and headshots alone? How often do you call people in for an interview based on mailings?
We receive many unsolicited headshots and resumes daily and often we do invite actors in from mailings if their look combined with their resume peak our interest. Generally we would not respond to a beginning actor from a mailing but we might be inclined to respond to an actor who speaks multiple languages or a child actor, or a musical theatre person with great credits in this way.

Some years ago we received a headshot of Anthony Berry in the mail. He had the most unique and wonderful look. His resume was almost non-existent but we met him because his face was the best long sad face we had ever seen. Anthony came to our office and we found him to be charming, intelligent and very funny. We began introducing him to a few casting people and he immediately began to book. Then he was picked up as a regular on the Dave Chappel Show.

Sadly, Anthony Berry died a few years ago. We would never have known him had he not sent that unsolicited headshot to our office.

You do a lot of freelancing, and have a large pool of actors with whom you have relationships. How does freelancing help the actors you represent? Is there a downside?
Regarding freelancing, it is our practice to represent a large pool of unsigned actors mostly in the area of commercials. We feel the requests for looks/types are so scattered and specific we might be hampering an actors ability to get work if we limit their opportunities to be sent our by other agents as well for commercials.

We do work primarily with our signed clients in film and television and theatre but reach out to our freelancers as well in these areas.

When do you typically decide to sign an actor exclusively?
 We usually begin by working in a loose verbal agreement with our clients for the first three months. If we see that the client is well received (even if he/she has not yet booked for us) we tend to move to the next level and sign that client. If there is no visible response from our submissions after three months we often keep the client in our files and continue to submit but without a contractual commitment for either party.

Can or should an actor freelance with many agencies? If so, how can he or she avoid being sent out for the same audition by multiple agents, and keep everything running smoothly?
 This is a hard question to answer. If there are multiple agents submitting a client for a single job that is not an ideal situation. Sometimes we clear through a manager or directly through the talent. We do keep in close contact with our clients so in our case it’s usually not a problem. We often discuss specific roles with the talent and check schedules, character descriptions, etc.

You work with a number of older actors. How can older actors without extensive credits expand their marketability? Are there particular professional areas on which they should concentrate?
We enjoy working with older actors and find there is a tremendous amount of work in this area. I suggest any older actors without extensive credits might consider some of the following ideas:

Make sure you enroll in some good training for your areas of interest.

Consider the possibility of work in the field of corporate industrials and commercials.

Look into teleprompter and earprompter and on camera classes.

Study improv – essential for commercials

Make sure your headshot shows some personality

Take time in writing your resume and be sure your special skills area is complete and detailed

How important is theatre training for actors who want to target TV and film?
 The best actors I have seen ALL have theatre training. It may not be essential for commercials and industrials but I believe it always helps improve the actor.

How much film and TV work is there in New York City, anyway? Are your clients being seen for projects on both coasts, or is it mostly TV shows and movies that are shot in New York?
 Jeremy Zall heads up our film and television division in New York and, happily, he is busy all the time. There is more work now than in the past few years open to NY actors for film and television. Most film projects that are set in LA also cast in NY and while we do have an LA office, our NY actors are often seen for these same projects.

You are a boutique agency that works in all areas—film, TV, commercial, theatre, and print work. What advantages does that small size and wide scope give you and the actors you represent?
We are a small office and being such have a commitment to know the talent we represent and to do a good job in representing that talent. We have divided responsibilities in our New York office between our three agents, i.e. I focus on theatre, industrials, and commercials, Jeremy Zall focuses on film, television and commercials, Pam Wisneski focuses on voice-overs and print.

Our assistants focus on being a wonderful support system for us and we each sit with each other each day working on projects jointly and making sure we share information about our clients. We are a team and collaborate extensively with our clients and with each other.

I feel we have very strong relationships with casting directors. They know how closely we work with our clients and that we make a tremendous effort to submit people who are well qualified for each job.

You love pro-active actors, and describe the agent/actor relationship as a collaboration. What do you mean by that? How can actors help you?
 I want to know everything I can know about an actor. I’d like to know what roles were most challenging to him. What casting directors know him by name. Who he studied with and when and why. If he says he’s a baritone I want to hear it. If he says he can play angry or sad or shy I want to feel it, see it, know it. If he e-mails (and I welcome this) and says they are casting… and I hope you consider submitting me, I want to know why he feels that role is perfect.

His suggestions are no guarantee that we will agree and submit him/her for that role, but I like the suggestions and I like the reasons even more and I will think and listen and discuss with my staff; that is what I consider a collaborative effort.

Let’s talk about the tools of the actor. How important are headshots? How often do you suggest actors get headshots, and is there actors can look out for that might signal that their headshot is out-of-date or unprofessional?
Regarding headshots, they are vital. While I spend more time with resumes than with headshots, I always look at the headshot first. I don’t have a “rule” about how often headshots should be taken. I think any new headshots should be done in color. Like most agents, I imagine, I want to see headshots that look exactly like the actor. Additionally, I want to see eyes that show some sort of emotion. Pizaaz.

What about resumes? Some professional resume services encourage photos, catchy typefaces, and graphics on resumes. Is it important to spend time and money on the design of a resume?
I am not a fan of catchy typefaces or graphics on a resume. I much prefer simple and clear and uncluttered.

You have begun to work a lot with online casting. Which parts of the industry are going online the fastest? If casting is now happening online, will I soon be using my unused pictures and resumes to wallpaper my guestroom?
For now commercials are the only area that is almost exclusively on-line. Many industrials and many voice-overs and some print are submitted electronically. All other areas including film, television, theatre still usually require hard copy. I love submitting on line with attached notes. I look forward to an office with no file cabinets- doubt if that will be in the near future.

Filed Under: Agents, Featured Tagged With: , , , ,

10 STEPS TO SAVING MONEY (THAT EVEN AN ACTOR CAN DO)

August 29, 2010 By Kipley 1 Comment

by Sandy Rustin Fleischer

Sandy Rustin Fleischer is a working actress and a mortgage broker with Americorp Funding (www.acfpartners.com) in New York.

From birth to eighteen, a girl needs good parents.
From eighteen to thirty-five, she needs good looks.
From thirty-five to fifty-five, a good personality.
From fifty-five on, she needs good cash.
I’m saving my money.
–Sophie Tucker

Actors are notoriously broke. There are plays, movies, songs, and poems written about the life of the struggling artist. A cliché? Perhaps. A truth? Most definitely.

Actors take jobs as waiters and personal assistants so they can work in cold dark theatres for free. They earn their keep as nannies, carpenters, secretaries and substitute teachers so that they can audition for people who may or may not ever look up from the table. They want to pay the rent, their electric bill and their cell phone, but mainly they want to fulfill their creative soul. Money slowly earned is money quickly spent. Vocal coaching, dance class, sheet music, and vitamin water. That perfect dress that is sure to land her the role. That vibrant blue tie that all auditioning leading men must own. Money in the pockets of actors is simply hard to come by. But does it have to be that way?

I say no.

What if every actor took a fraction of the passion and motivation dedicated to their profession and focused that energy on creating financial security. Would that not in turn directly affect their artistic freedom? I say yes. If you were able to save $1,000/year for 10 years, you would have $10,000. $10,000 wisely invested at age 30 can easily evolve to $100,000 by retirement. Start now.

If you are earning money, whether as a temp or a Broadway star, you are in a position to start thinking about saving wisely. No matter your day job or your current acting resume, your dream to be a professional actor is vivid and unwavering. Make your goal for financial freedom just as steadfast. Help put yourself in the “fiscally secure” category so that when the role of Lennie comes up in “Of Mice and Men” at that no paying, little theatre in Midtown ~ you can jump at the chance without having to go on blood pressure medication. Financial autonomy leads to artistic freedom; a dream at the top of every actor’s wish list.

10 STEPS TO SAVING MONEY (THAT EVEN AN ACTOR CAN DO)

Spend one month tracking your expenses. Start on the first day of next month. Keep a little journal with you at all times. Every time you buy something (cash, check, or credit card), even a cup of coffee, record it. Your journal should be as detailed as the example below:

September 1, 2010

Cup of Coffee, Bagel, and pack of gum: $4.50
Weekly Subway Pass: $24.00
Dance Class: $11
Water Bottle & Apple: $1.75
Repair tap shoes: $7.50
Lunch with Abby: $11.14
Sheet Music Copies: $1.10
Order in Chinese: $12.35
DVD Rental: $5.00

TOTAL: $78.34

After one month is over, total your expenses and average your daily expenses. So, if you learn that you spend $2,200 a month (including rent and bills), then you are spending an average of $73.33/ day.

Take out a highlighter and your journal. Highlight every entry that (in retrospect) you could have done without. Add them all up. Marvel at the number.

Commit to lowering your monthly spending by 5% the following month. So, if you are operating on a $2,200 monthly expense, decide to spend no more than $2,090 the following month. Agree to put that otherwise spent money in a savings account.

Sign the following contract with yourself:

I ­­­­­­­________ swear to myself that I will save $______ by the end of next month.

Open a high earning savings account at the same bank you have an open checking account. Make sure your accounts are linked and that you can access your savings acct from an ATM machine.

Begin to avoid purchasing items that appear highlighted on last month’s list. Make small life changes to help save money. (ie, make coffee at home and use a thermos, refill your water bottle with tap water, buy fruit at the grocery store and take snacks with you, eliminate channels you watch less than once a month from your cable plan, determine how many minutes you really use on your cell phone and make sure your cell phone plan accurately reflects your true needs, etc)

At the end of every week, transfer 5% of last month’s weekly expense into your savings acct. So, if you spent $2,200 last month, this month you should transfer $27.50/week into your new savings acct. Set up an automatic transfer with your bank so that $27.50/week goes into savings without you having to think about it.

Continue to operate on your new budget for 3 months. Then repeat above steps.

Repeat step 8 until you’ve decided that you are operating at your minimum expense ~ while still maintaining a manageable and happy lifestyle. Pat yourself on the back. You are now actively saving money every month. NOW … take the next step.

EARN MORE MONEY. Figure out one way to earn a little extra income each month. Take that extra, unexpected income and stash it away in your savings acct.

These 10 steps are just the beginning … master saving a little every day, and you are on your way to financial security and artistic freedom!

What did you think of this article? Let us know.
feedback@actorslife.com

Filed Under: Budget living, Featured Tagged With: , ,

Casting Director: Paul Russell, New York City

August 24, 2010 By Kipley 1 Comment

Paul Russell’s career as a casting director, SDC director, acting teacher and former actor has spanned nearly thirty years. He has worked on projects for major film studios, television networks, Broadway and is the author of ACTING: Make it Your Business – How to Avoid Mistakes and Achieve Success as a Working Actor.

To contact Paul visit: www.PaulRussell.net.

Paul… you have written a fantastic new book, “ACTING: Make it Your Business “. What is your greatest hope for those who read the book?

That the actor, whether new to the business or as a veteran, treats every aspect of the business with professionalism. As I wrote in the book, “This industry is all about image, image, and image. Oh and did I mention image?”

In your book, you reveal “The Cardinal Sin of Auditioning”. What is it, and why is it so offensive to casting directors?

This Cardinal Sin pisses me and my colleagues (casting personnel, talent reps, producers and directors) so much that not only did I devote several pages to it in ACTING: Make It Your Business, I also recently wrote about it in my weekly blog Answers for Actors.

What is so monstrous a sin to cause such ire? Actors auditioning for projects for which they are either; knowingly not right for the role(s) available, not available for the production or worst of all not interested in actually taking the job if offered employment. Now, that last reason may be a surprise to some of the readers here but it happens. Often. Far to f-ing much. If you want to know what happens to those arrogant actors who propagate the Cardinal Sin of auditioning… well… you’ll have to read my book.

Throughout your book, you include insightful interviews with actors who have built and sustained very successful careers. In your opinion, what are the most important qualities of successful actors?

Keen self-awareness of type and potential. Lack of desire to be in this business just to be famous (far too many of those Paris Hilton wanna-be’s roaming audition studio corridors) and a strong work ethic. Most of all; sanity is key. The insecurities that plague our business, especially among actors, often ruin careers and projects.

What do the people you interviewed have in common?

They work. Often. They’re also grounded and realistic about the business. They have no bull shit pretenses about ability and their place within the industry. I don’t like associating myself with ass kissers or bull-shitters.

So much of the e-mail we receive at ActorsLife.com comes from aspiring actors whose main focus is on becoming famous. In your experience, what impact does a yearning for fame have on an actors’ career development?

If fame is all you want here’s a cold water splash for you. Get the fuck out of the business. Now. We have no place for people who are more concerned about dressing rooms, limos, talk show appearances and wealth. All of that is a by-product of the business that less than one percent of actors attain. Be in this business because of love for craft not for love of attention. Got it?

You want fame? Go on a reality show. You want to be an actor? Get training and never stop learning and growing. I and my colleagues on this side of the audition table detest actors, or actor hopefuls, who live by the mantra “I wanna be a famous actor!” Give us all and yourself a break. Grow up.

What is your job as a casting director, and what do you love about it?
Before we begin, there’s a statement I make at the beginning of every class or coaching seminar and I wanted to place it at the very start of the interview…

Everything I say is right.
Everything I say is wrong.
There are many conflicting opinions in this industry. Don’t take one person’s words as gospel, including my own. Take what works for you.

My job as a casting director is to solve puzzles. As often as I joke about being “glorified human resources”, I’m dedicated to helping performers attain goals and employment. I began as an actor and understand the “hell” they go through in order to survive.What I most love about being a casting director is completing a project. Well, actually, what does thrill me is when a performer hits the audition dead-on and chills go through everyone behind the table. By-the-by, there are also many things I hate about being a casting director and one of them is that table that separates the creative team from the talent. It’s intimidating for the performer.

What are the qualities of a good casting director?
Being open to new or unknown talent. Perseverance in putting the puzzle together. Going after the actor that passes on a project because his representation told him to pass, when in reality, the actor wants to work. Organization. There’s a lot of paperwork. There’s more time at the desk than there is behind the audition table.

How does your experience as an actor and director make you a better casting director?
I don’t know if my experience in all three performance fields makes me better. I may be more aware and sensitive to what an actor is going through during an audition having been there myself. As a director, also being a casting director, I will work a lot with actors in pre-screens to help them reach what the creative team is seeking. I’ll nearly always ask an actor in a pre-screen; “Can we play?”

What qualities do you admire in actors you have worked with?
Wit, intelligence, genuine charm and honesty.

What (if any) are the differences between casting for film, tv, and theater projects?
With film and TV the exchange I’m looking for in an actor’s audition is much more intimate than with theatrical auditions. Lately I’ve seen far too many actors giving a film or TV read for theatrical auditions. When this happens the essence of the character and the scene/story dynamic has a life expectancy of 2 inches beyond the actor before it falls dead onto the floor.

Do you expect to see a different acting style/technique depending on the project, or can a good actor move easily from theater to on-camera work?
For me, performance on a stage is an expansion of the heart. Film and TV is more analytical and comes from the depths of the soul and projected through the performers eyes. Many actors now know how to make the transference. The one’s that have the hardest time straddling the two are those with no stage experience and those with only broad musical comedy experience

What are the first steps an actor should take in developing a relationship with a casting director?
Know that a casting director is not an agent. I don’t represent actors, I champion and hope for them. Also, know that a casting director is not someone to be put upon a pedestal and revered as all knowing and powerful. Respect as a casting director should be earned by acts of humanity than by credits on a resume.
To break into the frenetic world that a casting director is caught up in, an actor would do well to keep aware of the projects the casting director is working on and keep sending their marketing material when appropriate. Also, doing well at auditions helps.

Are there resources you recommend investigating to find out more about specific casting directors?
I’m purposely ignorant to the myriad of “guides”, books and other published resources that capture our names and addresses. Learning a casting director’s history is as easy as Google. IMDB.com is helpful as well.

If a casting director you want to know more about is holding a seminar or lecture series, go and meet them if affordable. Ask questions but don’t interrogate.

The best way to know a casting director is to present quality work and/or ask if a casting director needs help whether it’s being a reader, audition site assistant/intern, opening the avalanche of mail received daily (there’s a good one to learn the difference between proper and poor marketing). Be honest on the approach. We’re all ambitious to some degree, using others to move along. I prefer honesty in knowing that an actor who wants to help out is doing so to learn.

Are events at places like TVI and Actors’ Connection an effective way to meet casting directors?
Yes, if used efficiently. TVI is a great place. Actor’s Connection has improved dramatically with the new management. One-on-One is also good. But make sure that you’re placing your hard earned money on the right industry associate. Often when I go, I see that other associates on the schedule are low-level assistants at agencies and casting offices. Many agents and casting directors with their names on the doors do not want to be bothered with these “Paid Auditions.” Sometimes I can understand that feeling after having a knife pulled on me by an actor as part of his audition. But they are missing opportunities. I do know of some agents with their names on the door who are very faithful about this form of outreach and treating it seriously.

Myself, I have often called in people for a project that I have met at Paid Auditions. But for some industry associates, theses places are seen as two dreadful hours to mindlessly sit through in order to gain some extra cash to pay personal bills. Be judicious about who you pay to meet.

What should actors consider when getting headshots?
That the headshot LOOK exactly like the actor when the actor enters the audition room each and every time, for the life expectancy of that headshot. One would think that this question need not so much hand wringing and sleepless nights for an actor. It’s simple. What we see is what we should get. Every time. Repeat. Every time. I and others behind the table expect, no, demand, to see reflected in corporeal form what is on paper in front of us. Would anyone buying a car or house seen first by a photo, learn that in reality the photo and reality do not match. No.

This does not mean that an actor has to be wearing the same clothing in the audition setting as in the picture, although I do know of one actress who used to do that. I haven’t seen her in awhile, I don’t know if she still reflects that picture and wears the dress to auditions, if so that blue velvet dress must be thin shreds by now.

Don’t go cheap if the quality is cheap because that’s all you can afford. Do some shopping as you would for a car. A headshot is an investment. Ask agents and casting directors what photographers work they prefer. Ask other actors. Look at many headshots.

Also, stop the color crap. This color craze thing that is spreading from LA like a virus, is horrible. The quality is often poorer than B&W and many look like high school graduation portraits or worse, air brushed, pin-ups from a porn magazine. The burgeoning color headshots for actors has become a talking point nearly every time agents, managers and casting directors get together. To put it bluntly. We hate the color pictures. Stop feeding into the anxiety that you must have them because a small, limited number of actors have them and photographers are telling you we want them. We don’t want them. They’re ugly. When the photographers pushing color headshots are sitting behind our desks, then they have the right to say; ‘This is what the industry wants’ Until then, stop sending color pictures.

What are you looking for on an actor’s resume? What impresses you?
If I am casting for a specific project I am looking for similar credits that match what I am casting at present. I will also, sadly, look to see the education factor. MFA? BA? “Industry approved” school or workshops given by long-time out of the loop actor-teachers. I will also look to see what directors the actor has worked with as well as the level of the performance venue(s).

I came from summer stock and dinner theater. I know there are quality actors out there who for whatever reason can not cross that bridge into the next level. It’s not always easy. Beyond talent, timing and luck are major factors. But there is a snob factor that I will admit to having myself because my clients (producers) expect a certain level of quality and history. For a language play I give stronger consideration to an actor who has worked at the Guthrie or Yale than someone who has only done musical ensemble at Barney’s Beef & Boards at The K-mart Plaza Dinner Theater. Mea culpa. But all integrity is not lost. If the latter is the only credit on the resume, something else might spark me into meeting the actor. For every casting director, it’s subjective

How important is a college degree in acting?
Sadly, today, we’ve forgotten that great actors of the past did not need an MFA to be an actor. But the system, as it stands presently, nearly demands those three little letters be present on the resume. I admit to taking part in the snobbery of “the industry approved schools”. As mentioned previously, I sometimes have to. BUT, I also open all my mail and will bring in anyone I consider appropriate, based on the variables presented, without regard to three little initials that cost three thousand times their base number.

Is there any other training you feel actors should have?
Life. Remember there is a world beyond the tight knit entertainment community. Also, go out and work. Stop waiting with cell phone in hand for that pilot audition. Take work in the regional and stock theaters. You meet more people working than you do sitting with a phone in your hand, waiting for it to vibrate with the possibility of an audition that might lead to a callback which may in turn lead to another callback, then testing, then studio haggling…oy … it’s nearly endless. Go out and work. Broadway directors work out of town at regional theaters, why should it be any different for actors? Work is training.

How important is it for actors to participate in “showcase” evenings, and what type of showcase (if any) are you most likely to attend?
The AEA Showcase Contract began as a good opportunity for out-of-work AEA actors in NY to keep fresh. Unfortunately, today, showcases have become New York City’s version of really bad community theater that is an endurance test for the audience, and sometimes the actors. I stopped attending showcases long ago after seeing far too many torturous productions of “Savage In Limbo”, the most overdone showcase play.

The only showcases I attend are those of very close friends, associates and school leagues. Please remember that we’re people too. We have lives. We work all day, have little opportunity to eat, sit in sessions which cause “audition glaze” and have to commute 45 mins. to 90 mins. to get home. Attending a showcase is still work to us. Make sure that what you’re are inviting us to, is something that you would proudly invite your entire family to. And their neighbors. I am often asked this question and my basic response is; ‘Don’t invite me to anything unless everything about the production is absolutely stellar. If you’re stellar in a production that is less than stellar, don’t bother because then I’m wondering why you made the poor choice to be a part of something so painful for the audience. I go home with a lot of resentment.’

Is there anything that would make a showcase more appealing?
Stop doing Savage In Limbo.

How often should an actor mail you a headshot and resume or a postcard?
A post card tells me nothing. I prefer to receive a full headshot & resume. One of each please. I often get mailings from an actor that has sent five to seven of the same headshot. It happened to me this morning. Am I to paper my walls or wrap my holiday gifts with the extras? (They now await my municipal waste service.) Send the headshots when relevant to a project or if there is something new to say. With regard to postcards they are better suited for commercial and extras casting. Know the appropriate demographic you’re spending your hard earned money on when doing mailings.

Are “blind mailings” an effective way to get noticed?
If you can afford the cost, then do so. Some casting directors open all their mail, others (no names mentioned) let the mail pile up unopened and then after three or four months toss the unopened mailings into the dumpster. (I know of one office that is very guilty.) I can’t do the latter for several reasons. One; I never know if what is in the envelope that may match a project I’m working on or may soon be working on. Two; I appreciate the time and cost factor an actor has spent to send the mailing. Three; Karma. I’m sending out mail as well and I would want someone to open my mail.

What is the best way for an actor to follow up after mailing a headshot?
For each casting director the answer will be different. For me; don’t call. I am often surprised and a bit annoyed by the actor who will call and ask if I got their headshot. Why am I surprised? I get on average 50 headshots a day. I barely recall what I had for breakfast. Why am I annoyed? Because I’m constantly on a deadline and trying to get my work done. The actor “headshot follow-up” phone calls are an equivilant to a tele-marketing call during diner. Trust me when I say that, I open all my mail and keep a large file for reference. If you have mailed information to me, I’ve looked at it.

One follow up I really dislike is getting a postcard, inside a Hallmark envelope, masked as a greeting card (the actor thinking it will disguise the mailing. Most of us are not that stupid, well, OK, some of us are.) Then on the postcard I’m being told nothing except “Hi, how are you? My cat is at the vet” (I get these often. Either there are a lot of rich veterinarians out there or a large group of insecure felines who need attention.)
At what point does “following up” become a nuisance?
When the Christmas cards come from people I’ve never met. And inside the Christmas card is their postcard. This is a business. Treat it as such. Be professional. Outreach for employment as an actor should not be much different in behavior as if you’re interviewing for civilian employment. Sending me Christmas cards with a resume will have you on display at my next class as part of “the Freak File”. By the way thank you to the actor who sent the blue holiday card with the loose, Mylar snow flakes that fell onto my floor when the card was opened. I’m now taking my cat to the vet.

If an actor has no film or tv credits, do you recommend they make their own demo reel or pay a service to shoot a demo reel of them?
” If I wanted to sell cars, do I falsify my resume to read that I worked at several non-existent dealerships? No. If an actor has no experience with film or TV, go get some. Endure the confusion and the chaos that is student films. Find those casting directors who cast for independent features (SAG Modified, Non-Union, etc…), track down the NYU and Columbia students. Nearly everyday Craigslist.org has listings.

Making up a reel on your own, in which the product is not a result of a production under a directors guidance is parallel to making up a resume and filling in credits that didn’t happen. You weren’t hired. DON’T DO IT. And also you take the risk that the final product, of which cost equaled three months rent, is poor in quality, and lacks authenticity. It’s like a showcase but in electronic form.”

Do you feel a personal website is an important tool for actors? Do you visit actors’ websites?
Yes. & Yes.

What are the common mistakes you see actors make?
If an actor wants to learn to acknowledge and correct some of their mistakes, become a reader at auditions. We ALL make mistakes. When I jumped over the table from being an actor to being a casting director I was mortified by seeing mistakes I had made previously, now reflected by the actors in front of me.

The biggest mistake of all, are actors treating the actor employment search as something foreign to normal civilian job searching. Be professional. Cut the cute, get attention “I’m unique” crap unless that is what is being sought. If you do gimmicks routinely, you’ll end up in the trash basket. Or worse, my Freak File for the class I teach on career development and audition technique. It goes from the headshot and resume to mailings, to getting the audition, winning the audition, to negotiating the deal.

At heart this business is image, image, image. What image do you want to present and be known by? By the way, 90% of the decision process about a performer’s ability to match a role is made within the first ten seconds of entering the audition room. During the audition, it’s the actor’s job to meet or exceed those expectations or correct and defy the less than stellar expectations.

Is there anything that frustrates you when dealing with actors?
In all fairness there is frustration on both sides of the table. It’s unavoidable. We’re human. But as to my own frustrations … yes I have them, but I’ll have to do a Reader’s Digest version or else I’ll never be able to walk safely the audition hallways again.

My biggest pet peeve goes back to what I stated earlier. Image. Know who you are and how to present that in a professional manner. And what I mean by a professional manner is this: If you were applying for a civilian job at a Fortune 500 company, would you send a poorly laid out resume or no resume at all with NO cover letter? Actors do this to me. I get similar and worse all the time. I still keep in my Freak File the “cover letter” I received from one actress whose cover letter was a Prozac post-it and written on it the role she wanted. Nothing else.

The other major pet peeve I have is when I encounter actors who don’t want to work. I’m floored by it. When I was an actor, you took work when it came. Nowadays many actors in NY are waiting for the film and TV career to land in their lap. Go to LA.

Now, I understand that some work may not be to an actor’s liking. Everyone is discerning. I’m picky with my food. It’s a Virgo thing. But I and my assistant Bonnie Black (also an actress) are amazed when actors pass on an audition for a project they feel is beneath them. Example; recently we had many actors (with minimal to fair credits) turning down a chance to play Othello over several weeks, to audiences of 5,000 a night for a weekly salary that would be the cost of a month’s rent in a small NY apartment. I thought this business was about creating, not waiting.

What steps can actors take to make the casting director’s job as easy as possible?
Enjoy the audition as much as possible. I know that is easier said than done. And I’ve heard from actors and agents that going in for some auditions is tantamount to facing a Nazi firing squad. I and my assistant Bonnie try to strive for a much more relaxed and friendly atmosphere. Also, be prepared. Even if you’ve been called in for an appointment and your representation has sent the casting director a headshot, BRING MORE with you. Again, I refer to the civilian world. Would you go to an interview for a job without your resume and some business cards? Also, make sure that you have the proper material for the audition. I can’t stress enough, be prepared. It’s those prepared people who get the job.

When called in for an audition, what can an actor do to be well prepared?
Ask questions. If represented make sure to ask the person calling you with the audition gives you full information on the following: (and this is going to seem elementary but not knowing the following, often happens)

Full address of audition. Who is going to be in the room? Is there a script available? Can I read the script? Are there sides? (BIG OVERLOOKED FAUX PAS). The more prepared the better chances you have of winning. Who is involved? Commitment dates. Even the play title. OK, OK, I know that sounds obvious BUT sometimes an agent will just give out a character name and hope that the actor will know that Prospero is from As You Like It. Or is it Measure For Measure…. or Death of A Salesman? I wish I were making up the last one..

If the casting director instructs you or your representation that you should see a current production of what you’re auditioning for, even though you’re auditioning for a tour or regional version of that same play or musical, DO IT. It means that the director is going to be wanting a carbon copy of what another director has labored to present.

Prepare your audition as it would be in the audition setting. If it is a scene, drag, beg, or Craigslist.org a scene partner to be the reader. Place the reader where a reader normally is set in the audition room.

Do not memorize the performance. Memorizing the lines is okay if you’re solid with them but if the performance becomes audition by rote, you’re dead. Like scene theater games, do your audition piece in settings with activities that have nothing to do with material. Such as; Lady Macbeth ‘rehearses’ the “out damn spot” scene as the actress washes dishes, folds laundry, drives her Ford Explorer to the mall. Sweeney Todd rehearses his ‘Epiphany’ while planting mums in the back yard or jogging in the park …

Doing your audition outside of its intended environment as written will open up discoveries. You’ll hear new interpretations. Also you will be stronger in the audition room when the director begins adjustments. You’ll feel secure because, hey, if you could be Maggie from “Cat On a Hot Tin Roof” at the local Pathmark, you can be Maggie anywhere in any situation.

Also, musical performer auditions … As patronizing and elementary as the following is, many musical performers do forget that the lyrics to a musical number where written to tell a story and not just words placed to accentuate the pretty notes. I and many of my client’s want to hear the story in a song. Take the notes away from lyrics and dive into what is being told. (Okay if it’s Tim Rice you may find yourself laughing and wondering about the intellectual depth of a lyric that reads; “Only goes to showa, greatest man since Noah”.) There are some exceptions.

If an actor is considering moving to New York, what is the most important thing they should know about the industry before they arrive?
No one is going to call you. You have to make the calls and create the work. The competition is fierce, sometimes dishonorable. From the many “no’s” there will always be at least one “yes”.

What did you think of this interview? Let us know!

Another popular mailing is; “I auditioned for (insert generic play) and (insert generic commercial) and (insert generic casting director) and I’m available.’ OK, so I’ve just been told that you’re auditioning a lot but not getting any work. What’s wrong with your talent if you’re auditioning for the world and not booking? Why should I call you in if you’re not succeeding? Don’t tell us about the auditions you didn’t get. Tell us about the work you’re getting. And please, no pet stories.”

Filed Under: Casting Tagged With: , , ,