You are here: Home / Archives for acting career

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: , , , ,

Actors Who Kick Ass: Seana Kofoed, writer/producer/star of “Donna’s Revenge”

September 16, 2010 By Kipley Leave a Comment

Donna’s Revenge: Confessions of An Ex-Contestant

Give us the quick set up… what is “Donna’s Revenge: Confessions of an Ex-Contestant” about?
It is a comedy about the aftermath of Reality TV fame, and what happens to one contestant when her fifteen minutes of fame are up.  It’s Celebrity Rehab meets The (British) Office.  The addiction is fame.

After being kicked off a popular reality show, Donna clings to living her life on camera, while serving six months probation and completing court-ordered therapy for a crime she’s not permitted to discuss.

What was the original spark that got this started? What are your goals for this project?

The character of Donna came from one of those Mad TV or SNL auditions five or six years ago.  You had to create 3 characters and go in with them – she was one of those, and I always loved playing her because she’s perpetually cheerful.  Even in the face of repeated humiliation and awkward events.

And I’d been writing scripts with roles I’d like to play – I’d written this short I wanted to shoot but we realized with all the car chases and cops and whatnot, that the costs would be prohibitive…so I began to focus on writing a webseries instead.

It was both a desire to shoot something with a role I loved playing, and to actually go through the process of budgeting, prepping, casting, and filming a show – those were the reasons behind beginning DONNA’S REVENGE.

It’s so satisfying in a business in which we have so little control, to actually GIVE yourself control by shooting a project of your own.  It’s a remarkable, wonderful feeling.  And with a webseries in particular, this is an area in which you can claim that artistic freedom, because the financial stakes are so much lower.

I also knew that I wanted to do it as properly as I could afford to – through SAG, with salaries, paying our crew, feeding people, and spending what it required (within our small budget) to keep it from looking like a cat video on YouTube.

Our hope with DONNA’S REVENGE is to find an audience that sees the series through to the end of Season One, for starters, as audience drop-off is one of the biggest hurdles in the world of the webseries. Until it’s on people’s Tivo queue, it’s a challenge to create that weekly must-see dynamic for something on the web.

Once your tv screen can be surfed, of course, much of that challenge will go away, but in the meantime – follow thru for audience is something we hope to master.  And growing our fan base to create an audience for either a Season Two of DONNA’S REVENGE, or a Season One of some other new exciting series produced for the web.

And the way, our best way to do that, is with views. Simple clicks and votes and feedback on the Donna’s Revenge FB page and the Babelgum FB page.  It seems odd, but that’s the only tool you have when presenting your next project to the web networks and the advertisers.

Your biggest asset is your audience.  Their feedback and their clicks.  So that is what we hope to cultivate.  A relationship with our audience.  Building their loyalty to watching our shows, both current and future ones!  What I would most love is for the web to become a viable, financially lucrative place for actors, writers, directors, and crew to work.  What a great feeling to give your peers and people you admire a job!  That’s truly the overarching goal.  To create more work for all.

Making a video series on this level requires persistence and a lot of support. How did the production team come together?
My long time manager (and long-time friend) Meghan Schumacher and I have always wanted to shoot something together.  I Exec produced, but she co-produced along with our other co and line producer, Jeff Peters. Meghan was wildly helpful in coaxing good actors on baord, is a great cheerleader, and is hugely important now as we work to expand the reach of the show.

And great director, Oliver Oertel, is also a long-time friend, he directed me in a play in Chicago probably 15 years ago (ahem, I mean, just a few short years ago…)  and he’s also been enormously helpful since we wrapped.  He ended up doing the bulk of the editing as well, which is a huuuuge task.  Several of us ended up wearing a number of hats throughout, you’re really asking people to give time and talent beyond what you’re able to pay them.  So, I spent most of my time just being really grateful.

We’ve all heard the stories about indie projects made for 49 cents. What was your approximate budget for Donna’s Revenge, and how did you keep costs down?
Ahhh 49 cents, I wish!  Add about 20k to that and you’re there.  I’m sure it can be done for less, and of course preferably for more! (assuming someone’s paying you to shoot it).  We did the webseries through SAG, and I’m very glad we did.  They were helpful and reachable, and it was not overwhelming at all.

I paid all the lead actors, including pension and health contributions.  The entire crew was paid, we had some insurance we needed to buy to cover the shoot, some location costs, food costs, camera rental, editing, etc.

Certainly no one was getting paid anywhere near what they’d be paid on a proper tv shoot, though, so you’re still being done a huge favor!  I find though, that if people like the material you’re asking them to play or be a part of, they’re happy to be on board.

Are you done shooting the episodes, or does the work continue? How many episodes are there?
There are eight episodes in Season One – we’re completely done shooting and editing – and now Babelgum is just rolling them out every Wednesday!

What is babelgum.com, and how did you come to be associated with them?
Babelgum is a free internet tv platform with a global reach.  They have a channels covering comedy, film, urban culture, art, design, music.  They pride themselves on having high quality visuals and high quality, interesting material.  It’s a cool, smart version of YouTube.

I came to know Amber J Lawson, their excellent VP of comedy, while doing another webseries there called VAMPED OUT, written by Jason Antoon and Kevin Pollack.  She’s a super smart, creative liaison and after having such a great experience with Babelgum during Vamped Out, it was an easy decision for us to bring DONNA’S REVENGE to them as well.

Overall, what has been the greatest challenge you’ve faced as the writer/producer/star of Donna’s Revenge?
I would say the edit.  Really and truly it is so time consuming, and even when you’re paying someone, you’re not paying the amount of money that would get them to edit 85 pages in three weeks.

So you have to be patient, which is hard – especially if you want a hand in the edit, to help with the timing, the minutiae of the cut, which I did.  Oliver (our director who then became our editor) and I worked very closely on the edit, back and forth, and it really is an enormous process.  He was tireless, and excellent, but it’s still a huge process.  My hat is off to editors.  I only wish they were free!

The shoot itself was a joy. Stressful on occasion, when you’re trying to get background actors at 6 o’clock the night before, but a complete and total joy.

You’ve been working consistently in theater, film, and television pretty much since  college. What is the best advice you can offer an actor coming out of college hoping to build a long-term acting career?
Multi-task!  With new media exploding in the way it is, and with the economy affecting the amount of traditional media work out there – it’s crucial to multi-task.  If you have any inclination to write, start now. Write yourself a movie, a webseries, a pilot.  If you have access to cameras and friends who will give their time, shoot something and then something else.

The web has leveled certain parts of the playing field, and if you shoot something cool that shows off your writing or your acting and stick it online – it’s just one more way to be seen by someone who could hire you down the road.

Multi-tasking is in addition to training, natch.  And doing plays, auditioning, taking classes and all that good stuff.  I would just add writing or shooting your own film, webseries, or pilot to that.  Lately I’ve been writing scipts with two roles for myself in them.  One major role and one supporting role, so if they need a massive star for the major role, I can still lay claim to the supporting one! :)

Also, just know there are peaks and valleys in our fair business, and if you’re planning to be in it for a long time – which i hope you are! –  you have to keep that in mind as you go.  The valleys never feel great, but you have to remember everyone has them, and your peaks are around, you just have to hang in there!   (As long as you still enjoy the work when you’re working.)

Easy to say, I know, harder to do – but just enjoy the day-to-day of it as best you can!

Filed Under: Actors, Featured, Film/TV, News & Events Tagged With: , , , , ,

Mindy Sterling: Austin Powers’ Frau Farbissina

August 30, 2010 By Kipley Leave a Comment

Mindy Sterling is certainly one of the comedy queens of present day film and TV.

She is a Groundling alumna, beginning in 1984 where she honed her skills putting her on a path of becoming an improv standout in the present day class of female comedic actors. With an abundance of TV, movie appearances and character voices already attached to her resume, her most recognizable films roles in the past have been in The “Austin Powers” trilogy of films as Dr. Evil’s henchwoman and love interest, “Frau Farbissina”.  She also appeared the hit film, “The Grinch” and the dark comedy with a star-studded female cast “Drop Dead Gorgeous” and recently “Reno 911 Miami”.

Interviewed by Matthew Rose

Tell us about the Groundlings. What is the company, and how did your twenty-plus year association with The Groundlings begin?
The groundlings is a school and a theater company that began in 1974. You can go to the site online and get all the info on them….when I came out here about 28 years ago, I was turned on to improvisation and loved being able to create characters and dialogue right in the moment. I attended some of the shows and worked with some of the actors in an outside improvisation class taught by Bill Steinkellner. Then I was persuaded to audition for the Groundlings classes.

You’ve taught improv at The Groundings since the ’90s. What are the most important ideas that you try to get across to your students?
Listen, don’t try and be funny, and connect with your partners. Improv is a team creation. You must work together.

Lisa Kudrow, Cheri Oteri, and Chris Kataan were just a few of your famous students. Do you think comedy can be taught? Or do you either “have it or you don’t”?
Cheri, Chris and Lisa definitley had it! I can’t teach you to have an interesting point of view…which is what we look for. But as a teacher, we help guide you in those areas and pull things out of you that you might not know exist. Comedy is all about how you perceive the world and then how you can communicate that with characters and writing and improvisation.

The Groundlings led to many of your successful TV and film roles—how did you first meet Mike Myers, who cast you as Frau Farbissina in the Austin Powers movies?
Julia Sweeney brought him to the theater to perform with us one night. I was in awe of him and we just worked together really well. He was trying out some characters in a show he put together at the groundlings and invited me to be a part of it. One of the characters was Austin Powers.

How did you prepare for the audition, and later, the role? Do you have a consistent method of preparation, or is every project different for you?
I read the script and laughed out loud. That doesn’t happen too often…the laughing out loud over a script. Then I called my father, who was an actor, and told him that I needed a German Accent…so he helped me with that. That’s about al the prep work I did. The audition was so nerve wracking for me cause I wanted it more than anything! Then Jay Roach had me improv some stuff and I guess it all worked out.

What did you learn from working with Mike Myers?
He is so focused. For as many takes as we did for each scene, he would add and do it a little different each time. He always brought something different to the scene. He loved to play and you had to be on your toes without hanging too much. I wanted to respect what was written, and it was just plain god damn funny.

After twenty-five years of solid work in the show business, you hit it big when Austin Powers skyrocketed to the top of the box office. What was it like to have such “instant” success?
As you know, its never “instant success”, but it was one of the most thrilling things that ever happened to me. And then to get that call after the first one, to do the 2nd one…and then the 3rd one. Wow, I enjoyed every minute of it and still do!

We often hear about how hard it is for women over 40 to get work in Hollywood. You were no ingénue at that time. What advice would you give to 40 plus actresses who are feeling like time isn’t on their side?
I have no real advice, cause its still hard. You just have to believe in yourself and never give up the dream. Dreams can come true in your life at anytime, at any age.….I’m still dreaming.

Let’s go back to the beginning. You come from an entertainment family. Did that make your decision to pursue acting easier? Why or why not?
My family were incredibly supportive. Its what I did best. But they would’ve been proud of me no matter what…ah…I guessed they loved me!

When did you decide to live in Los Angeles? Do you have any advice for actors who are trying to decide where to pursue their career?
To fulfill my dream, I had to go to New York or Los Angeles. I had never been to N.Y., but I did have relatives in L.A., so that’s where I went.

A lot of actors hit a wall and feel like calling it quits. Did that ever happen to you? And if so, what kept you going?
I am always afraid I will never work again. I’ve never wanted to give it up, but I think of branching out and doing other stuff…like producing? Acting is so rewarding on so many levels, but it does wear you down….

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

Filed Under: Actors, Featured, Film/TV Tagged With: , , , ,

Acting Business Coach: Brian O’Neil – Acting as a Business

August 29, 2010 By Kipley 1 Comment
BRIAN O’NEIL is a former talent agent and personal manager who has represented actors for theatre, film, television, commercials, and radio. As a talent representative he was responsible for the career guidance and professional placement of hundreds of actors including some of todays biggest stars. Brian is the founder of Acting As a Business, a one-on-one career-consultation and career-coaching service for actors. He lives in New York City and is a frequent guest lecturer at some of the nations finest acting-training programs including The Yale School of Drama and The Juilliard School.

Interviewed by Joanna Parson
You recently came out with a new edition of your book, Acting as a Business: Strategies for Success. What do you mean, acting is a business? I thought it was just fun! Seriously– why is it important for actors to educate themselves about the business side of the business?
I think it’s important for actors to know what they’re getting themselves into, and to know realistically what’s expected of them from those on the other side, that is, agents, casting directors, directors etc. It’s good for new actors to see how it all works. It helps to see the big picture. In doing so, an actor is at least somewhat less likely to take every disappointment so deeply and so personally. It’s also important for someone who is entering a profession where there appears to be so little control to know that there are many things he or she can do to advance his or her career.

I bought the second edition in 1999 when I was just getting started in New York, and I know there have been a lot of changes in the profession since then. Can you describe how the industry has changed in recent years, and how you address those changes in the new edition?
Sure. I am always trying to teach actors new and innovative ways to gain access. For example, most of us know that it’s not easy to get a main stage acting job at a top theater. It’s somewhat easier though to get in a “reading” of a new play at a top theater, simply because logistics and finances dictate that more readings can be done than main stage productions.

In the new edition I talk about how a reading at a top theater is vital, and can be placed on a resume in such a way that it doesn’t misrepresent the actor but still gives the actor most of the credibility that he or she would have gotten if they had been in a main stage production. I’ve had a lot of actors set up their resume like this and had their phones ring from agents and managers.

I also dig much deeper into how an actor should prepare an answer to the dreaded “How do you see yourself?” question so often posed by agents in an interview. As far as industry changes go, I talk about the escalation of actors meeting industry people through paid seminar events, and I analyze the value of said events. I also show that working in regional theater can get an actor an agent sometimes even faster than if he or she is appearing in a play right here in New York. I also point out that actors, via the Internet, often get to directors and playwrights and directly. And it should come as no surprise that I reinforce the importance of stage visibility to the New York actor who wants to work in film and TV, which is just about everyone.

The overall theme of the book is, as before, learning to create quality audition opportunities for yourself and learning how to communicate effectively as a person in the business of acting.

You’ve been helping actors get agents for years– you must know what agents are looking for in new clients. So– what the heck is it? And what can actors DO to make themselves more appealing to agents?
Most agents are looking for an “easy sell.” A prime example of an “easy sell” would be someone who just got out of a top school, or is really good-looking, or better yet, a combination of those two things. That aside, many agents feel they can be effective when someone has already gotten themselves “on the map”, so to speak.

For example, through a prior contact, an actor might have gotten himself or herself in a play at a really good regional theater, or gotten themselves in an independent film that got distribution. Luck of the draw stuff like that. If an actor wants to be more “appealing” to an agent, sometimes he must realize that he has to get some work first, before an agent will even be interested. I outline strategies for getting that work in my book. See, some actors get an agent, and then they get a career. Some actors get a career and then they get an agent. And some of the best careers happen in the latter manner!

You’ve said about headshots that “a preoccupation with this subject is, at best, time-wasting.” What do you mean by that?
Perfect timing with that question! But remember, I also said that good pictures are important! What I mean is, there is often OVER emphasis on the photo. With the current digital color pictures, the quality of photos has never been better. And yet actors often go on and on and on about their picture, when the real problem is often their RESUME!!! As in, there’s nothing impressive on it!! Recently, I was on a panel with three casting directors, all of whom concurred that if the picture is a quality photo and looks like the actor, then fine. They all said they were far more interested in what that actor had done! Training, jobs, in other words, THEIR CAREER!! Touche!

Here’s what I mean. An actor recently showed me his picture. I thought it was a great picture. He told me that he was working with two different agencies. One of the agencies was getting him a lot of auditions and the other wasn’t getting him any at all. The agency that wasn’t getting him any auditions told him his picture wasn’t any good and that’s why they couldn’t get him any auditions. “Go get new pictures”, he was told!

I asked him to name the two agencies he was working with. He did. I said: “The agency that’s getting you lots of auditions is the ‘such and such’ agency, (and I named it) and the agency that is getting you no auditions is the ‘so and so’ agency(and I named it). He said, “Yes!! How did you know?” I said: “I am very familiar with the industry reputations of both agencies. The ‘such and such’ agency has a lot of clout and access, and the ‘so and so’ agency has very little. As such, the ‘so and so’ agency is ineffective in getting you auditions so they are blaming it on your PICTURE which happens to be a very good picture of you!”
Similarly, another actor that I know had a meeting with an agency who didn’t like his pictures. Wanted him to go out and get new ones (he had just gotten new ones!) Wouldn’t work with him with those pictures! He met another agent the next week who LOVED the pictures! They send him out all the time and now he’s working like crazy. Okay, best of all: A really smart young actor friend of mine showed me his pictures. I liked them. He said his agent didn’t. Then he said: “But isn’t that what agents almost always say? That they don’t like them? I told them I couldn’t afford new ones right now, which wasn’t completely true. Anyway, I just laughed it off after I left the office.” Well, he’s talented and they “made do” with the pictures and guess what? This kid is now the star of a huge hit prime-time series and making tons and tons of money and he NEVER got new pictures! His pictures were fine, but his TALENT is sublime, and so it goes. I think I’ve said enough.

If an actor is planning to move to NY/LA to pursue a professional career, what should they do to prepare before leaving, and what should they focus on when they first arrive?
They should get great new pictures!! (Kidding). Before departure, they should get the best training locally that they can, explore the local scene for film, commercial, and stage opportunities that may help build their resume and possibly even give them a demo to show when they get to the big city. On arrival, survival stuff aside, get in a good class.

You’re a big fan of working in soap operas– how does one “break in” to soaps? Should I spend my resources on getting into soaps even if I may not be targeting them as a focus of my career?
I like soaps for a few reasons. One is that I used to work on them in my earlier years when there were many more of them around. But it’s still a good way to get on a professional set and learn a few things. Also, there is an “access” factor in soaps that doesn’t quite exist in prime-time television. To cut to the chase, let me put it this way.

If you watch a soap, and you see an actor who has, say, a scene with maybe four lines in it, he or she probably got that job by themselves. If you watch a prime-time show, and you see an actor with a four-line scene, he or she almost definitely had an agent send them in to read for it. Also, one can get upgraded on a set from extra to small part on a soap, which is under AFTRA’s jurisdiction without union membership much faster than on a primetime SAG show, where the upgrade will almost always be given to someone who is already a member of SAG.

Actors get called in by soaps from their mailings to casting directors every day. That’s a fact, but there is far less access for the actor in primetime work. So it involves mailings! And it’s greatly detailed in Acting As a Business. Actors call me and stop me on the street all the time telling me they got soap work using the same techniques that worked for me years ago. As far as whether or not you should spend your resources approaching the soaps, just remember that if you are a New York actor there are only four soaps left in New York, so a small handful of postcards a couple of times a month wouldn’t likely take up too much of your energy or your money.
Are “mass mailings” of headshots to every agent in town an effective way to build a career? Should actors continue to send postcards and headshots to agents if they don’t have any bookings or callbacks to report?
A “mass mailing” might work—depends on what you look like, how old you are, and possibly your credits. One young Brad Pitt type I worked with recently did a mass mailing. It probably won’t surprise you that it worked! He got an agent immediately,and two soap screen tests within a couple of weeks. Again, going back to what agents want—he was an easy sell. But for most, effective follow-up every month or two—with progress will be critical. Some will call actors in to see monologues, others still would want to see your work in something, and won’t call at all.

But remember that your progress can determine whether they come see you when you are in something! The bigger issue is that you have a goal and through regular progress reports, you are chipping away at having your goal come to pass. Not to get all “new-agey” on you, but when we have a goal and we have an ongoing strategy, things happen that might not happen if we didn’t have the goal-mentality in place from the get-go. So when actors say “mailings don’t work”, sadly, they’re not making a statement about mailings, but they’re making a statement about themselves, i.e. the way they look, or that no progress is happening. And if there’s no career progress to report, something is wrong and I wouldn’t keep writing to someone if I have nothing new to say.

With the proliferation of the Internet, actors may be tempted to find the e-mail addresses for agents and managers and overuse them. When is it appropriate to e-mail people in the industry?
Generally speaking, and there would be exceptions, I would say to e-mail someone after you’ve met them. E-mail is also easier than post office mail (I hate the term “snail-mail”), so it has proliferated. Sometimes a combination of using the internet for research, and then using postal mail is most effective of all. I’ll give you an example later (it will appear as an answer to question # 14, but don’t read it yet!!)

You have always believed in the stage as a route to film and screen acting careers– certainly for actors based in New York. How has the advent of digital cameras and the proliferation of indie films changed that? It’s easier now than ever for an actor to create film or video work as a calling card– is it still important for New York actors to be seen on stage?
I invite the reader to go to amazon.com and look at the free sampling they offer of the first several pages of this third edition of Acting As a Business just to see how alive and well the stage to screen connection is! And those examples are just the tip of the iceberg.

It’s wonderful that technology has made film making easier, but the problem area is that the overwhelming majority of small films and independents don’t really get much visibility. There are exceptions, of course.

Remember that theaters have reputations, high level productions get reviewed, and even if someone doesn’t see the production you’re in, they may see a review. Or even if they don’t, it’s on your resume for keeps, which highly valuable if the theater is respected. Most independent films on a resume are simply titles that don’t mean much or often don’t mean anything to anyone. And even if you get a demo, you still have to have someone want to look at it. Okay, here goes. A young actor friend of mine got in a play at a really good off-Broadway theater two months ago that was scheduled for a four week run. The New York Times said he was “excellent”, so did The New Yorker. Boom. He had a great part on an episode of a New York prime-time show within two weeks. He also told me that his auditions through his agent had escalated after the show opened –from one per week to five or six per week –and that his call-back rate had also escalated from 30% to 80%!

I asked him if he thought he was auditioning better than before. He said, “No, I’m auditioning worse than before because I’ve been sick as a dog for the last three weeks. But it doesn’t matter because everyone that auditions me has either seen the show or read the reviews so I’m being seen in a new light. The perception of me is different.” He was absolutely right, although many casting directors, directors, and producers would probably be in denial about just how much they are influenced by outside sources, which in effect, make them somewhat less scared about who to cast.

Many actors believe they can’t make headway in the New York theater scene unless they’ve gone to “the right” school. What do you tell people with that mindset? In your opinion, is a degree in acting essential to a successful career?
It’s not essential, but the facts bear out that people from top academic training programs have a far better shot at being considered for major New York stage productions. Still, it’s no guarantee. I’m a little amused in that I work for many top schools and the students at those schools often say to me: “Okay, so I’m at a top school, but if you aren’t a name from film and TV, you still can’t get theater!” This isn’t true of course, but everyone points to the next group up the ladder and blames it on that! My solution is to show actors how to get into good, smaller places that still are good to perform at and be associated with, and from there I can show them how to get the bigger stuff.

Some new actors have trouble identifying their look, or their “type”– and it can be a self-defeating trap, trying to second-guess how other people might see them. How can a person get ideas about their type without limiting themselves?
As I mentioned at the outset, I really delve into this more deeply than ever in the latest edition of Acting As a Business. My approach is to think about the essence, that is, the makeup or the traits of the characters you have already played well, if only in class. Watch a profile emerge as you compare one character to another. You will discover that these characteristics often also describe you as well, in varying degrees. This way, you can start to get a “rap” ready to answer the “How do you see yourself?” question. If you have a prototype, think about a specific role that he or she played that most makes your point and it will bring your discussion full circle. In other words, don’t just name someone simply because you look like him or her. After you’ve done this, get out of the house and find an audition to go to. The business will guide you to where you fit in so by all means have a realistic sense of where you fit in, but don’t overstress the “type” thing. (Sorta like the pictures).

There are many ways to get in front of casting directors and agents by paying for seminars or “audition workshops”. When do you think this a good use of an actor’s time and money? What should actors be wary of when considering these workshops?
I think an actor needs to know exactly which accounts a casting director has, and if the actor is going to pay to meet them, prepare appropriate material. Most venues provide this information. One actor I worked with did this: He waited to meet a specific casting director when he knew the casting director was preparing to cast an Irish play for Broadway. The actor came in and did a monologue with a flawless Irish brogue. When he finished, the casting director said: “Wow! That’s great! In two weeks it so happens that I will be casting a play for Broadway that requires what you just did!!” The actor (laughing up his sleeve) said: “Really? That’s just great!” Yep, he got the Broadway Now that was smart! When it comes to agents, I think an actor should be aware of the career level the agency handles. Is it realistic for you to meet them at this time? Are your skills agent ready? Or, perhaps, whether it’s a particular agency’s policy to free-lance, which would make for a flexible situation, and sometimes offer a more realistic chance to be able to work with that agency.

What are some of the biggest mistakes you’ve seen actors make in terms of approaching acting as a business?
I guess I would say they’ve made the biggest mistakes by NOT approaching acting as a business!

Tell us a story– in the last six months, what’s the most innovative thing you’ve heard of an actor doing to get a part?
Well, I’ll take some credit here, because I told the actor what to do, but here goes. An unrepresented young actor whom I know wanted to get an audition for a production at an A-list off-Broadway theater. Not so easy to do, but here is where the internet-post-office connection I mentioned earlier came in. No casting director had been listed yet for this play, which was a revival. He told me that he had the director’s e-mail address. So I said: “What are you going to do, e-mail this director who doesn’t even know you and ask him to go to the trouble of downloading your picture and resume and your letter just because you want something from him?” No, no, I said! I suggested that he do an internet search for the director, and we discovered that the director was directing another play between then and the time of the play this actor wanted to be in in New York the play was being done in the midwest.

I told the actor to put together a photo, resume, and a letter telling the director why he felt he should be considered for the part. He did. I told the actor to extend his best wishes to the director (in the letter) for the play he was directing at the theater in the midwest and then to “post-office” mail the package to the director care of the theater in the midwest the week the play was opening. I told the actor that the director would get the package, which of course, he did. The director read his letter, was impressed by what the actor said, and kept his photo and resume and then called him directly when casting was imminent a few months later. He got the part!! Now, isn’t that a smarter approach than firing off an email to someone who has no clue who you are and making them work to find out what YOU want from them? It’s called “the extra mile” and it so often makes the difference in work and in life. But you already knew that!

What did you think of this interview? Let us know.
Feedback@actorslife.com

Filed Under: Agents, Talent Managers, Theater Tagged With: , , , ,

Los Angeles Talent Manager: Meghan Schumacher

August 24, 2010 By Kipley 1 Comment

Meghan Schumacher was born and raised in the Chicago area. She attended The University of Iowa and received a BA in Theatre Arts. Following an internship at Stewart Talent, a talent agency in Chicago, she was hired to be an agent in the Children’s Division where she worked for several years. She subsequently began working at the nascent MKS & Associates where she served as a talent agent for three years.

During her tenure at MKS, she discovered that management was really more her style and made the decision to leave MKS and become a talent manager. She soon was working at the Beverly Hills firm Himber Entertainment. After developing her career as a manager at Himber, Meghan chose to begin her own company, Meghan Schumacher Management in 2005. Currently she lives and works in the Los Angeles area.

Interviewed by Matthew Rose

You represent actors for a living. What do you enjoy most about being a manager?
The thrill of creating an exciting opportunity for someone is great. I have been working with some of the same actors now for over ten years. Having that long-term knowledge of their needs and building on a foundation so that their career continues to grow is a challenge and very satisfying. Every day is a different set of goals to accomplish. It’s fun.

Why did you decide to form Meghan Schumacher Management?
I had already been working with a very nice management company in Beverly Hills for a few years when I decided to start my own company. I have a child and decided I could balance family and work better if my commute could be pared down. So I now work very close to home and my child’s school so I can be there if needed. Eliminating that commute also allows me more time to be on the phone working towards that next job for my clients.

Okay, this still confuses people. What is the difference between an agent and a manager? If I have a manager, do I need an agent? Or vice-versa?
This is the million-dollar question, isn’t it? Technically the difference is that an agent is responsible for getting those opportunities (offers/auditions) that an actor needs to get a job and that a manager is there to guide or advise the client through the process getting that job. The lines are blurry in many cases, I will be honest. Also, as a general rule, an agency will have many different agents covering separate projects.

A manager can offer different services for different clients. If an actor has a great agency and they are doing a great job, then a manager can be a part of the team that enhances all of those positive experiences by playing “air traffic control,” if you will. In essence, a manager can help distill everything so that the right decisions (i.e. which role to choose, which audition/offer to prioritize) are made. If an actor has many different agents covering separate parts of the business, the manager is there to oversee that they all get covered equally and to the best advantage of that specific actor.

It seems like anyone with a suit and a cell phone can call themselves a “manager.” How do I know which managers are reputable? How can an actor avoid a potentially bad situation?
If you do not have the opportunity to ask other people in the industry for referrals on a manager, then go online and do your research on your own. If you use a search engine like google you can probably find references to a manager to see what they are currently doing. Also, if you want a list of clients they work with, go to imdb.com. If you have a subscription to imdbpro.com, you can look up a manager by their name or company name and usually get a pretty good idea of whom they represent and what their credits are.

A legitimate agent takes 10% of an actor’s salary for jobs they negotiate. What percentage does a manager take? Is there a standard amount?
It is my understanding that most managers charge a 10% commission. Many used to ask for 15% but I don’t believe they do as often anymore. However, some managers ask 15% of clients who are developmental. Often the justification for a higher commission on a newer actor is because they may be working harder with no immediate payoff on a client who needs to be introduced to the industry. I believe that as those actors become more established, some managers change the commission to 10%.

What attributes do you look for in a new client? How do you know if an actor is right for you to manage?
I have such a nice list of clients I work with I often pass on actors I am introduced to. They really have to excite me and ALSO complement the other actors on my roster.

Conversely, what should an actor consider before signing with a manager? In your opinion, what are the qualities of a great manager?
On both sides I think it is about passion. Really do your homework. If someone is interested in working with you, you need to be sure of a few things. They should be a working professional with credible business contacts. They should have a palpable passion for your talent. And you should like them. I really mean this. People often stay with managers for a long time. You should be proud that this person will be speaking for you and on your behalf. You should be able to have tough conversations with this person. They will deliver bad news and good and you must be able to take it from them.

Would you ever consider representing an actor who was not based in Los Angeles? Why or why not?
I do represent a few actors who do not live here. I have one or two who are based in New York and one who is based in Vancouver. But they all have agents and work in their own cities quite a bit. I don’t just cover Los Angeles work for my clients. I look for the correct job for each actor at any given time in any given place.

What are the three most important things an actor should do before moving to L.A.?
1. If you are moving from another city where you already have representation, try to set up representation before you move here. (Even if all you can get is a commercial agent, at least then you have the potential for work when you get here.)

2. Have a savings account ready to be spent on set up costs here for rent and car and headshots and on-camera acting classes etc.

3. Come and visit first to make sure you can enjoy life in Los Angeles. I think people think it is all palm trees and surfers here. But living and working in this community takes a lot of focus and determination. Ask yourself it you really want to be an actor in LA and make sure nothing else would make you happier.

This is a business where relationships and contacts are “key.” But, a lot of actors do not have a vast network. Some have no industry contacts whatsoever. What should they do?
Everyone here is connected to someone in the business. As soon as an actor lands here they will see that. Baby-sit for extra money, volunteer for an organization that is important to you. Work in a day-job that has other people in the industry and you will find eventually you have made friends that can become contacts. Some may offer advice and assistance.

Acting classes are also a place to find friends in the industry who are in your same position as well.

Finally, many internships are available and they are not all full time. During busy periods, many casting offices have internship positions open. That is an amazing place to see how the process works. Even if it doesn’t lead to a casting director wanting to hire you as an actor, you may end up with an acquaintance in the industry who you can go to if you need advice.

Actors spend tons of money on headshots. But, once many get signed, their manager or agent suggests they re-take them. Is this a normal part of the process? And what makes a great headshot?
I guess it really is a natural part of the process. However some people are signed and their agents happily accept the photo the client already has. Usually the re-shoots are necessary because the photos are cheap or bad photos or they don’t illustrate the actor’s best traits. A photo should be the most beautiful picture of the actor without being unrealistic. Whether they evoke humor or drama is up to that certain actor.

Dustin Hoffman’s agent in Tootsie has a great line. He says to Hoffman: “I’m your agent, not your mother.” Realistically, what should an actor expect from his or her representatives?
The expectation for all representatives is that they should be working hard to help move the actor’s career forward. Everything after that is different with each manager. The flair and style with which each company illustrates that is very different. Some are very motherly and interested in your personal life etc. Some do just as well a job but stay completely on the professional side of the relationship. Each actor can find what they are looking for.

Actors are always complaining their manager or agent is not doing enough for them. How do you respond this ongoing grievance? What are the actors’ responsibilities after signing with a manager?
Speaking only for myself, I know that my clients know only a small percentage of what I do for them. If I spent my day talking about what I was doing for each actor with them, I would not get a chance to actually do my job. Some people need to hear, though, that work is being done on their behalf and they deserve the respect of being in communication with their representative. But others completely trust me and we only talk when there is really something concrete to discuss. I guess it the responsibility of the actor and manager to keep the lines of communication open at all times, if possible.

The hardest thing for an agent or manager to do is drop a client. How do you decide when it is time to end a business relationship?
It is a very difficult thing to do. However, if it is not done, it can be disastrous for the actor. I believe a representative usually lets a client go most often because they are not successfully doing business together. So I always try to see the bright side of this parting. If I let someone go, maybe they will find someone who they CAN have a successful experience with in terms of booking jobs.

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

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

Jonathan Hammond, Actor/Coach on Training and The Truth

August 24, 2010 By Kipley Leave a Comment

 

Jonathan Hammond Bio:

Jonathan has held faculty positions at Rutgers University (the MFA program) and Collaborative Arts Project 21 (NYU). His private clients have appeared and are currently appearing on and off Broadway, major regional theaters, soaps, television and film.

 

 

Interviewed by Joanna Parson

 

You’ve been a successful actor for many years.  When did you decide to begin teaching?

I have always taught. It’s very much in my blood. Even in college I was ‘acting coach’ on student productions. I feel as much ‘in flow’ when I am teaching or coaching as I do when I am acting. It is a true passion of mine. For me the idea of ‘those that can’t, teach’ is totally absurd. I am an actor and I am acting teacher and coach. I love it!

I love empowering actors. I love helping them remove the obstacles that stand in the way of their brilliance. An actor’s greatest asset is who he already is. It seems so obvious, but so much of the work I do is simply getting actors to trust their instincts, work from themselves, and celebrate who they are. So often, my clients and students are trying to be some pre-conceived notion of what they think the people behind the table want. In actuality, it is their own special uniqueness that is of the most value.  

Also, I see that so many wonderful actors don’t really have the first clue about analysis. It doesn’t seem to be taught well in the schools, because even the actors that come to me with lots of training are sometimes sketchy when it comes to this. This is part of what excites me the most about teaching and coaching, helping actors discover and utilize the clues from the script.

Do you teach or coach a specific method of acting, like the Method or Meisner work?

Absolutely not. People work very differently. It is the job of a teacher and coach to be well-versed in many different approaches and methodologies.  Some actors are heady and analytical, others are intuitive and earthy. A good teacher/coach can read this kind of thing immediately about a client and find the best way in for them. I am not going to work with a primarily Shakespearean actor with an MFA in the same way that I would work with a fabulously talented dancer from the cast of WICKED. There are a myriad of different types of experiences and histories.  

The material itself also requires different ways of working. While we are ultimately always looking for the truth, you can’t approach MEDEA in the same way that you tackle THE LION KING.  

While I work with a host of ‘techniques’, I love Practical Aesthetics. This encourages the actor to imagine himself in a given situation. How he would react, feel, and respond. This is the quickest way to the actor’s truth. From there it is easy to add ‘style’, a dialect, a specific physicality, or whatever other externals might be appropriate.  

Can acting be taught, anyway?  Shouldn’t people with talent be able to pick up a script and simply dazzle us with their instinctive choices?

Training is important. That being said, I know brilliant and successful actors with MFAs from YALE and others who have dropped out of community college. Everyone comes to their art in a different way and with different experiences.  Most of the actors I know who do classic plays have trained. Most of my Broadway/Musical Theater folks take class and study privately. There are some actors are just instinctual and if they do have a technique, they don’t really know what it is.  

To answer your question, many exceptionally talented (and trained) actors that I work with are not always able to ‘pick up a script and dazzle’. So often, the people that work with me, clients with MFA’s or lots of professional experience, haven’t really figured out exactly what it is they are trying to do in a scene. It is the same with my musical theater clients. Often, they have not decided what it is that they specifically want to accomplish dramatically in their song. There are basic steps that get over-looked. I see it over and over again. People often just need an outside eye that can see what they have missed.  

How do you suggest that actors go about picking acting classes or coaches that are right for them?

Follow your instinct. By this I mean… do you feel empowered when you work with this teacher of coach? Notice I said “empowered”. You want someone who is going to tell you the truth about yourself so that you can be awakened and excited about the next step. I don’t care how famous or ‘accomplished’ an instructor is, you should never be made to feel shamed, humiliated or censored.

I would also be wary of classes with industry professionals. Show business contacts are extremely important, and these kinds of seminars and workshops can open doors. While I believe agents and casting directors have invaluable insights about work presented to them as a finished product, it is not been my experience that they are the place to necessarily go to for technique and craft. There are exceptions of course.  

I believe that the alchemy of the actor’s art is best left to people who can look compassionately at the entire picture of the artist. There are many stages that an actor’s work and craftsmanship goes through before it should be presented to the people who will make final decisions about it.  

You went to undergraduate school at the University of Michigan.  How was that experience?  What kind of people do you recommend look at the University of Michigan theatre program for their undergrad education?

It’s a fantastic program. It’s not right for everyone.   

I am a bit Taoist about the whole school thing. If you want to go, apply, audition and see what happens. If you get in, that’s great. If you don’t, there are always other possibilities. It is important to add that I have coached seventeen year old kids who want to go to NYU, Michigan, or the like. They have had every financial opportunity available to them – summer programs, trips to New York, cast albums, and private voice lessons. The parents have hired me to coach their children, sometimes as many as ten sessions for college auditions.  

Musical theater training of the caliber of University of Michigan, Carnegie-Mellon, etc. is an extremely intense market place. There is amazing training to be had at these institutions. But there are many ways to approach a career in the arts.  

When did you apply to the American Repertory Theatre Institute at Harvard University?  Do you think that attending ART has made a significant difference in your career?

A.R.T. got me an agent and put me in a lot of debt. Graduate school can absolutely help your career. There is a showcase in New York, and the cache of ‘I went there’. If it’s a school that is respected, it can be a great introduction to the business. But if you want that kind of training, get it wherever you can get it. The cream does rise to the top. It may be a bit more difficult if you went to Iowa State than to Julliard, but if you get training, I believe that you will get to where you are supposed to be.  

On a personal level, I have to say that I believe A.R.T. to be a spectacularly mediocre program. I do not recommend it. I did get some good training, but I do not believe it is of the caliber of many other programs – even those that are considered less ‘prestigious’.  

I also think it is important to be very careful about accruing debt for acting training. A regional theater job is at best $800-900 a week, and that’s when you actually get a job. This is not a wage that accommodates monthly student loan payments.  

In your opinion, is there a significant difference between musical theatre acting, and acting for straight plays?

Nope. It’s just about telling the truth.

We all know we want to act naturally when we’re singing, but there’s all that… well… SINGING to do.  Do you have any tips to help get actors out of the trap of listening to the sound they’re producing instead of focusing on the words and actions of a character?

It all boils down to technique. The singing voice must be trained in such away that it can express itself with the same intention and subtlety that it does when it is speaking. In the contemporary musical theater this is a requirement. This is something that can be taught.

Once the vocal technique is in place, the actor is totally free to express whatever he is trying to express. What am I trying to do? What am I trying to get? What am I trying to figure out for myself? These are the exact same questions that need to be answered for a Eugene O’Neill play or Shakespeare. The difference is that the singing technique must be in place before the actor can communicate with a real and authentic level of truth in a musical framework.  

Do you coach people differently when they’re auditioning for on-screen television or film work?  Is there a difference between screen and stage acting?

Nope. It’s just way, way smaller. Everyone makes the acting-in-film-thing into some big mystery. You tell the truth without the extra energy that you would give an 800 person room. That’s it.  

It’s all about the thinking in film and TV. You simply approach it with the gentleness and nakedness of thought. Thought translates and communicates effortlessly. It’s quieter.  

What should actors look for in a monologue?  Do people really audition with monologues anymore, anyway?

I don’t work with monologues very often at all. In general, most auditions are going to be prepared material from whatever it is one is auditioning for. However, if you are introducing yourself to agents and casting directors, it is a good idea to have a few monologues.  

You have to have monologues that say who you are. If you are hilarious, make sure you have something that shows your comic chops off. If you are gorgeous, play the part of the beautiful person in love, or the sexy ingénue. If you are intense, let them see the driven side of you that comes so naturally. Show business divides and categorizes and type casting exists. If you are in the monologue stage of your career, you need to think in these terms. Your monologue needs to present to them what you are in the most obvious of ways. Eventually, of course, you will transcend every stereotype and change the world with your monumental talent.  

On a side note, if you are someone who does Shakespeare, you will often use soliloquies for auditions.  

When an actor is working on a scene or a monologue, what are the first things he or she should do?

Read the play. Answer the following questions — who am I? What kind of person am I? What do I want? What am I trying to do? What is in my way? The big one for me is – what am I trying to do?  

Also, just play with it. Read it out loud, read all the parts. Explore it without your internal censor judging it. You can edit, refine and specify later. But at first, just play.  

What are the biggest mistakes that you see actors making when they approach the work?   

They don’t answer the basic questions for themselves. Or, they have given their power away and become identified with what they think they lack, or to what they believe that they are supposed to be.  

Do you have any hints for actors who are working with material in a heightened classical style, like Shakespeare or Moliere?  How are we supposed to keep the emotions real when the language is so foreign to the way we really speak?  

You have to totally understand what it is you are saying. What am I actually saying in words that I can understand? What am I trying to do? This seems so obvious but I can’t tell you how many times people come to me with a classical piece with only a vague sense of the meaning of the language.

The best way to work with classical material is to actually work with it. Listen to it. Go to see it done well. There are wonderful recordings and videos of Shakespeare plays. The more you hear the language and experience it in your mouth, the more facility you will have with it.  

There is definitely more ‘homework’ to be done when you first start approaching the classic plays. You may need a summary, or an edition that provides lots of definitions, clarifications and foot-notes.  You can’t begin to bring real emotions to anything unless you have a deep understanding of it. This ‘academic’ approach, is an essential step.

Finally, take the trip off yourself that there is a ‘right’ way to do Shakespeare. Everything is always just about telling the truth.

What do you think beginning actors should do when they are first trying to get on stage and screen?  

Take very good care of yourself. Make sure that your basic needs are met. Replace overwhelm with excitement. Be honest. Listen. Train.  

Try to act somewhere, even if it means you have to pay to do it. Ask yourself these questions – Why do I want to act? Could I be happy doing anything else?

Tell us a story!  Is there one particular role or experience that you’ve had that changed the way you thought of the process of acting?

I think it is very important that actors approach acting not only in terms of their craft, but equally in terms of their emotional and mental well-being. Show business can be cruel, objectifying, and triggering place. Actors often feel that everyone else has the power, that they have no say in what happens to them in their lives, and that they are totally expendable. The key is for you to decide for yourself how you choose to relate to this difficult profession. If you have a starving artist mentality, you will be a starving artist. If you believe that you are powerless and subscribe to ‘victim’ mentality, that is what the world will mirror back to you.  

Rather than a story, there are two things that teachers of mine have said to me that have been extremely useful and that I would like to pass on:

A few years ago, I was in the throes of an angst-ridden decision to go or not go to an audition for a play that I didn’t believe in. I knew that I supposed to care. It was a kind of high-profile, commercial production, an ‘opportunity’. But I couldn’t shake the feeling that it just wasn’t right for me. The wonderful musical theater teacher Craig Carnelia said to me: ‘Jonathan, you don’t have to do anything that you don’t want to do. Ever. For the rest of your life. Until you die’. To this day, I follow this advice.  

The second comes from my amazing, sage-like voice teacher Margret Riddelberger who told me that ‘if the decisions and choices that you are making don’t scare you a little bit, you’re probably not growing’.   

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

feedback@actorslife.com

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

Talent Agent – Adam Lieblein, Former President, Acme Talent & Literary, Los Angeles

August 23, 2010 By Kipley Leave a Comment

THIS INTERVIEW WAS ORIGINALLY POSTED IN 2006 – MR. LIEBLEIN SOLD ACME TALENT IN 2008 AND IS NOW AN EXECUTIVE WITH DIVERSE TALENT GROUP.

ADAM LIEBLEIN BIO:

Adam is a graduate of UCLA’s film school and began his career in production in the early 1980’s. After ten years as a producer on television magazine shows, feature films, and television commercials, he made the move to agent in the early 1990’s, and in 1993, opened Acme Talent & Literary. “My quality of life was a lot better when I worked with good people,” says Adam, so when he decided to open Acme, he sought agents that were not only well qualified and had unique philosophies on doing business, but who were also people he could work with as friends. The same feeling carried over to signing clients—Adam sought those he could befriend. “When we sign a client,” he says, “we want to know that we have a mutual respect and admiration for each other.” Adam is married to Sharon Chazin Lieblein, the Vice President of Talent & Casting for Nickelodeon Networks. Together, they have two children.

Interviewed by Kipley Wentz

Everyone believes they need one, but not everyone fully understands what an agent does. How would you describe the agents’ job? What’s the most important thing an agent does?
An agent is the one person who is licensed and bonded with the state, franchised by the various unions and guilds, and allowed to procure work for artists. Managers and attorneys are not technically allowed to do that without the assistance of a licensed talent agent. For an agent who represents actors, the majority of an agent’s job it getting actors auditions. That is the most important part of the job. Without opportunities for work, nothing else matters. The rest of the job is spent coordinating client’s schedules, negotiating contracts, collecting and processing the money, and searching for new clients.

In your opinion, what are the qualities of a great agent?
A great agent truly knows the structure of the business, has the courage and fortitude to regularly contact the appropriate casting executives, producers, and directors who can help their clients work, has excellent taste in actors and for the material presented to them, and regularly makes friends and maintains a stable base of helpful contacts within the industry. It also helps to be an excellent negotiator, and to have sources for information which can be used to make the best choices for the agency and for it’s clients. But the bottom line is that an agent has to be perceived as trustworthy and helpful. If they merely seem opportunistic, they may make money in short spurts, but they will constantly lose their best clients, and cannot achieve great success.

Seriously… everyone wants to know how to get an agent. In your opinion, is working with an agent essential to a successful acting career?
There is no way an actor can be successful without an agent. No way. Sure, some actors may find a handful of jobs without an agent. A few big stars might even spend a short period of time between agencies just using an attorney or manager to field offers, but an agent is absolutely essential to build a real career.

HOW to get an agent? That’s a loaded question. I teach classes at UCLA and with other venues like Hollywood Insider Educators in which I spend a tremendous amount of time on the subject. It’s not easy to answer quickly. To summarize my thoughts on this: Get an agent to see your work. Invite agents to a play in which you are a main character. Invite agents to a showcase. Take casting director workshops and ask them to refer you to an appropriate agent. Use all your contacts to get a referral to an agent. Don’t blindly submit a headshot and resume to a theatrical agent with and expect to get a positive response.

When is an actor ready to begin approaching agents?
When an actor has had enough training to feel confident in his/her abilities, then it is time. It may take awhile, but and actor should always continue training, showcasing, and pursuing work (plays, student films, indy films, etc) while waiting. The industry always gravitates towards talent, so if an actor is talented, and is showing his work, then agents will find him.

What’s the most effective way for an actor to approach an agent?
This is another question with too many answers. But here’s a good one: The best way to approach an agent is through a referral from someone the agent respects. Casting directors are probably the best referrals, and when they personally speak to an agent on behalf of an actor, then the agent will nearly always take a meeting with that actor.

What are the most common mistakes actors make when approaching and/or meeting with agents?
Oy. Are you asking me to write a book for you? How much time do you think I have here? Anyway… When an actor has a bad attitude, or tells a potential agent that he has had “numerous” agents during the last few years, or invites an agent to see a play where the actor has a very small role… These are some mistakes. Or how about when an actor lies on his resume, or doesn’t look like his picture, or can’t carry a conversation in a meeting. There are just so many mistakes. Just be prepared and use common sense.

In your opinion, should actors participate in “showcase” events? Is there anything that would make a showcase event more appealing to attend?
Yes, actors who are just beginning, or are looking to expand their casting director contacts, or who need a new agent, should definitely showcase their work. But there are many showcase environments that are not appropriate, and some of which are illegal. The best ones are fully produced showcases that last about an hour, is located in a nice theatre, has six to eight scenes or monologues, and the audience is composed of agents and casting directors. Other showcases that are good would include those that offer some type of teaching and workshop exercises with a casting director. Basically, if you can interact with those you are showcasing for, in a controlled environment, that makes it worth while, however, you should never expect to find representation directly from those environments. They are only a means to get an actor closer to their goal.

What are you looking for on an actors’ résumé? What impresses you?
I look for training and legit theatre credits. It shows how serious the actor is, and how long they have been doing it. I also look in the TV/Film categories, and want to see the sizes of roles and how recent the TV credits are. If someone has done ten Guest Starring roles, but none of them were produced in the last 5 years, it sparks questions and potential problems. If there are no TV/Film credits, that’s another type of problem we have to overcome before signing a client. We also look for glaring lies and poorly drafted resumes. Basically, we always look for reasons to pass. It’s easier to find a reason to say “no” than it is to say “yes.”

Beyond the résumé, what personal qualities are you seeking in the actors you represent?
That’s a very subjective question. It’s like asking someone what they look for in a spouse. Personally, when I meet a potential new client, I look for likeability. If they have talent, then I need them to light up a room when they walk in. Make friends. I want casting directors and directors to fall in love with them, and even if they aren’t right for a specific role, I want the casting director to become a fan. They must have a good attitude, be a hard worker, always be on time, always be studying their craft, and trust their agents to do a good job. Loyalty, which is only seen over time, is another quality we desire in our clients.

I often hear actors lament that if you haven’t “made it” by age 28, it’s not going to happen. Is Hollywood only for the young and the gorgeous? What are the prospects for an “older” actor in Los Angeles?
That’s mostly bullshit. There’s some truth to it, of course, but it depends on what you mean by “make it.” We’ve had clients who struggled for years, and finally hit some great roles and a substantial regular income in their 30’s and 40’s. And sometimes it can happen even later. It really is never too late to become a working actor, but it can sometimes be too late to become a “hot young rising star.” But if an actor is in this business with the only goal of becoming a sex-symbol/teen idol/hot young star, then they are in it for the wrong reasons.

I think people selfishly spread the word around Hollywood that if you haven’t made it by 28 you should get out of the business. Why? To clear the playing field. There are too many out of work actors in this business. People think that if you can discourage a bunch of them, it will be easier to succeed. Not true. It’s still going to be hard.

There is a common perception out there that once an actor gets an agent, they can sit back and wait to get famous. What are the actors’ responsibilities after signing with an agent?
An actor can never rest for long without losing momentum. Once an actor gets an agent, they must work even harder, preparing for their opportunities, and seeking more work through other angles, while keeping his agent informed. An actor with few credits should still do plays, casting director workshops, standup, improv, and go to industry social events whenever possible. Go see more plays. See independent films. Read the trades. Keep current. See at least one episode of all the new original television programs. Make notes of the actors you like, and who directed and cast each film or television show you see. Do research. Use internet search engines for the entertainment industry like IMDB.com to find out answers, and look up the background of anyone you meet with. An actor who waits at home for a call from his agent is an actor who will be dropped by that agent in six months or less.

How has “reality” television changed the industry in Los Angeles?
Reality TV. Geez. I love it and hate it. At first, it was interesting documentary work to watch, and didn’t really effect our business. Then, just prior to the potential theatrical actors strike a few years back, the networks developed a ton of reality shows to cover their asses if theatrical actors went on a long strike like they did for commercials the year before. The public loved it, and even after the strike was averted, the networks realized they could make cheap, high rated programming without actors.

Needless to say, this takes work away from actors, and commissions away from agencies. Thus, I hate it. However, there are so many more venues for original programming these days with all the cable networks, I think there are many more roles to cast than there were 15 years ago when I opened my agency. Additionally, talent agencies have balanced the financial scales by representing reality show producers, and packaging reality shows themselves. Thus, I love it.

Even though I admit to avoiding most reality shows, I find myself loving Extreme Makeover: Home Edition. It’s good television, very emotional, and incredibly inspirational.

What do you wish more actors understood about building a career in Los Angeles?
I wish actors understood the business of our industry. That’s why I teach business classes for actors at UCLA Extension. If an actor understood not only that it is a hard task, and that you must work constantly for years to become an overnight success, but that it really is a business, they would make smarter choices. An actor is the president of his own company, and must know everything about how the industry works. He can’t depend on anyone else to do most of the work. Learn the union rules. What is “consecutive employment?” What is a “Schedule F” Perfomer? What are the pay rates for various media? What does “Top of Show” mean? What is a “test-option” deal? Do sitcoms pay more to series regular performers than one-hour episodics? Why? What is the difference between a casting associate and a casting assistant? What are the legal differences between managers and agents? When should an actor become a corporation? When does an actor need a publicist or an attorney, and how much do they cost?
Agents don’t have time to teach their clients all of these things. Managers should, but many managers, unfortunately, are less educated on these topics than they should be. Most actors learn by making their own mistakes. A smart actor can increase his chances for success by learning everything possible about the business of his craft.

If I’ve decided I’m going to pack up and move to Los Angeles to become an actor, what three things should I do to prepare?
First, you should have as much training as you can from wherever you come from before making the choice to move to LA. Next, you should have enough money to last for at least three years without an acting job, or be able to survive long enough to find a non-acting job that will allow you to audition and take classes during the day. Once you are here, you’re last in a line of countless struggling actors looking for agents and jobs. Good luck.

What did you think of this interview?
Feedback@actorslife.com

Filed Under: Agents, Featured Tagged With: , ,