It has now been almost three months since I made the move to the LA area. My acting coach said that I would spend the first few months here learning "how the film industry in LA works", and he was dead on in that statement.
I've been far more fortunate than some in my first three months, auditioning for small roles in two NBC series, doing a commercial, as well as a small role in an independent film, which was produced by a solid company in the LA independent film community. Through those experiences and others, and as my acting coach predicted, I have began to learn how LA works, and oh boy, "We're not in Kansas anymore Toto."
Not yet having an agent, I have a service that emails me audition notices. They are on the up and up and have supplied me with good information. My role in the film was the result of an audition call I received from them. I also have a few other sources for auditions. One of the things I have learned is that when you get or see an audition call, you must respond to it immediately, not later, as fifty, one hundred, or more people are also responding to it within hours of it being posted. He who hesitates is quite literally lost when it comes to audition calls in LA.
Next, we come the title of this blog entry, shades of gray, which is a term my acting coach has used more than once. Here's what that means. The talent pool for any type category (young, old, heavy, thin, tall, short, what have you) in LA is populated with a multitude of good actors. When a casting director sits in his or her studio and has fifty or more actors come before them, all reading for the same role, they are not simply looking for the one or two actors who show they have the chops to do the role. Of those fifty plus actors, maybe a few are simply wrong for the role, or do not have the acting ability to handle it, another ten to twenty give OK auditions, but fall short of what the casting director is looking for, but of the rest....many give quality auditions and clearly have what it takes to do the role. What then causes that one individual to rise above the rest and to be cast in the role. That's where the shades of gray come into play. It can be the simplest nuance in an actor's audition that separates them from the rest. A raised eyebrow at the proper time, a look in their eyes that conveys what the character is feeling, a sneer, an unexpected smile, a struggle as the character fights to to find the right words, playing the role totally against the expected type, anything that makes the character believable and real, and makes the casting director take extra notice. One shade of gray less, or one shade of gray more in the actor's audition can make the difference in booking a role or not. Still, as I said in my last blog entry, if you are just one shade of gray away from booking the role, that means you did well and will probably be asked back to audition for other roles with that same casting director in the future.
Here is a highly immodest statement. I am a better actor than I was six months ago. And to that I say, so what! Being a better actor than you were six months ago in a town overflowing with good actors is certainly no guarantee for success. I will need to be a better actor in six months than I am now, to be competitive, and six months after that I will need to be still better.
There is an old saying that goes like this: "What was good enough to get you where you are today may not be good enough to keep you there". How true that is for an actor in LA.
If you are an actor thinking about making the move to LA, remember, more actors who try it fail than succeed. If that fact doesn't stop you then by all means move here, but when you do, be prepared to elevate your game and to learn about and utilize the shades of gray.
More later.......
Monday, May 25, 2009
Sunday, May 24, 2009
Casting About
First a word of warning: While the actors among you might find the subject matter of this entry interesting, those of you who are non actors may find it about as much fun as watching paint dry. With that disclaimer out of the way, I'll proceed
In the LA Casting Director's Guide, which is published every two months, there are literally hundreds of casting directors listed. Besides all the pertinent contact information, the guide lists most casting director's likes and dislikes (more about that later), as well as what project(s) they are currently working on, and what projects they have worked on. In essence, it's a capsule of what each casting director is all about.
I have had several discussions with my acting coach, as to what is an actor's objective when you audition for one of these casting directors. At first look, it might seem like there is only one reason to audition, and that is to be cast in the role for which you are auditioning. Well, yes and no. Actually, there are two objectives.
To be sure, you want to be cast in the role, and through your talent, preparation, and professional conduct you do everything in your power to be into the character, give a good audition, and to make that happen. Of course, there are often conditions concerning an audition which are not within your power to influence. I am reminded of the experience of one of my past acting coaches. A very talented actor, she went into an audition and did exceedingly well. She was not cast, and then one day when talking with a friend who had been at the audition as an assistant to the casting director, she found out why. Yes, the friend said, she clearly had the best audition for the role, but she reminded the director (who was acting as the casting director for the film) so much of his ex wife that he couldn't stand to be in the same room with her. Actually, she was doomed the moment she walked through the door. Actors have no control over things like that and should only concentrate over what the can control.
If giving a good enough audition to be cast in the role is one objective, what is the other? Quite simply, it to earn the right to be considered by that casting director in the future when roles which fit your type arise. You may not be cast in the role for which you auditioned for a number of reasons. However, if you do a good job at the audition, and if you are confident and professional at all times (remember, an audition starts from the moment you walk through the door of the casting director's studio, and not when you say your first line) the casting director will have a favorable impression of you and will be willing to see you for other roles in the future.
As I said, in the Casting Director's Guide are listed the likes and dislikes for many (but not all) of the casting directors listed. They vary some, but there are several fairly universal dislikes, and one trait they all seem to like.
As for the dislikes, one is actors coming before them who have had the sides long enough to be prepared for the audition, but are not. They have not sufficiently studied the scene, or broken it down. They shoot from the hip, and hope that will be good enough. They have not done their homework. This is not a way to win a role, or to be asked back for future projects. A second dislike is being touched. Remember, casting directors may see fifty people a day and being pawed by fifty people is not something that any of us would want. At an audition for a film in which I was later cast, the director offered his hand at the end of the audition, and I shook hands with him. If a director or casting director makes a gesture like that, of course follow through with it, but don't touch them uninvited. A third dislike is obvious. Casting directors dislike actors who are not on time. There is an old adage for actors which goes like this: If you are early, you're on time....If you are on time, you're late....if you are late, you're fired. Good advice.
Again, while there were other things that casting directors like, this one was mentioned more often than any other. Casting directors like actors who are confident. This doesn't mean smug or over the top, just actors who exhibit a calm, confident manner. If you think about it, we all feel more comfortable with confident people than with those who are not.
One final thought about casting directors. Some actors seem to feel that a casting director is the enemy, when in truth, just the opposite is true. Their job is not an easy one and they are quite pleased when an actor comes before them and does the audition in a way that knocks their socks off. They want you to succeed, not fail. Many will offer some direction, and cast in the role or not, an actor should regard each audition as a learning tool. Our moms used to tell us to "Do our best, and have fun." Mom was right, as that's excellent advice for an actor in an audition.
See you soon...........
In the LA Casting Director's Guide, which is published every two months, there are literally hundreds of casting directors listed. Besides all the pertinent contact information, the guide lists most casting director's likes and dislikes (more about that later), as well as what project(s) they are currently working on, and what projects they have worked on. In essence, it's a capsule of what each casting director is all about.
I have had several discussions with my acting coach, as to what is an actor's objective when you audition for one of these casting directors. At first look, it might seem like there is only one reason to audition, and that is to be cast in the role for which you are auditioning. Well, yes and no. Actually, there are two objectives.
To be sure, you want to be cast in the role, and through your talent, preparation, and professional conduct you do everything in your power to be into the character, give a good audition, and to make that happen. Of course, there are often conditions concerning an audition which are not within your power to influence. I am reminded of the experience of one of my past acting coaches. A very talented actor, she went into an audition and did exceedingly well. She was not cast, and then one day when talking with a friend who had been at the audition as an assistant to the casting director, she found out why. Yes, the friend said, she clearly had the best audition for the role, but she reminded the director (who was acting as the casting director for the film) so much of his ex wife that he couldn't stand to be in the same room with her. Actually, she was doomed the moment she walked through the door. Actors have no control over things like that and should only concentrate over what the can control.
If giving a good enough audition to be cast in the role is one objective, what is the other? Quite simply, it to earn the right to be considered by that casting director in the future when roles which fit your type arise. You may not be cast in the role for which you auditioned for a number of reasons. However, if you do a good job at the audition, and if you are confident and professional at all times (remember, an audition starts from the moment you walk through the door of the casting director's studio, and not when you say your first line) the casting director will have a favorable impression of you and will be willing to see you for other roles in the future.
As I said, in the Casting Director's Guide are listed the likes and dislikes for many (but not all) of the casting directors listed. They vary some, but there are several fairly universal dislikes, and one trait they all seem to like.
As for the dislikes, one is actors coming before them who have had the sides long enough to be prepared for the audition, but are not. They have not sufficiently studied the scene, or broken it down. They shoot from the hip, and hope that will be good enough. They have not done their homework. This is not a way to win a role, or to be asked back for future projects. A second dislike is being touched. Remember, casting directors may see fifty people a day and being pawed by fifty people is not something that any of us would want. At an audition for a film in which I was later cast, the director offered his hand at the end of the audition, and I shook hands with him. If a director or casting director makes a gesture like that, of course follow through with it, but don't touch them uninvited. A third dislike is obvious. Casting directors dislike actors who are not on time. There is an old adage for actors which goes like this: If you are early, you're on time....If you are on time, you're late....if you are late, you're fired. Good advice.
Again, while there were other things that casting directors like, this one was mentioned more often than any other. Casting directors like actors who are confident. This doesn't mean smug or over the top, just actors who exhibit a calm, confident manner. If you think about it, we all feel more comfortable with confident people than with those who are not.
One final thought about casting directors. Some actors seem to feel that a casting director is the enemy, when in truth, just the opposite is true. Their job is not an easy one and they are quite pleased when an actor comes before them and does the audition in a way that knocks their socks off. They want you to succeed, not fail. Many will offer some direction, and cast in the role or not, an actor should regard each audition as a learning tool. Our moms used to tell us to "Do our best, and have fun." Mom was right, as that's excellent advice for an actor in an audition.
See you soon...........
Friday, May 15, 2009
Ebbs and Flows
I have mentioned before that even though breaking into the business of acting in LA is a full time job, there will be some down time when not much is happening, and so it is for me right now.
Quite some time ago (before being bitten by the acting bug), I spent a number of years selling information systems to hospitals. I once had a great run of selling a system to a different hospital, each month for six months in a row. That won me the salesman of the year award. I also had a run where I sold no systems for six months. That won me a trip to the sales manager's office to answer the question, "What's the problem?" Ebbs and flows.
I have had no auditions in the last month. One could get down over that, but the key is to not get too high when things are up ("Hey, just got a part in a good film."), or too low when they are down, like they are now. An even keel is a much better approach, plus the knowledge that slow times do not last forever, nor do the good times, as more than likely, they alternate.
My wife was here last weekend. She was attending a conference at Pepperdine University in Malibu and then stayed for three more days. That was the good news. The bad news was that at the exact same time she was here, I came down with the worst cold I have had in several years, and our plans to play tourist in Southern California, had to be postponed until her next trip down. It was wonderful seeing her, even though the circumstances were not the best.
The cold, of course, is why I haven't entered a new post in this blog in a while. I'm fine now, with only the irritating aftermath we all have from a cold, and I'm now back to my daily routine of audition board checking and again picking up my efforts to secure an agent, as well as putting my headshot and resume in front of as many casting directors as possible. It's good to "be back to work", and to put that miserable cold behind me. I have an acting lesson with my acting coach scheduled next Wednesday, and then I will really feel back in the swing of things.
Ebbs and Flows.
Talk with you later...........
Quite some time ago (before being bitten by the acting bug), I spent a number of years selling information systems to hospitals. I once had a great run of selling a system to a different hospital, each month for six months in a row. That won me the salesman of the year award. I also had a run where I sold no systems for six months. That won me a trip to the sales manager's office to answer the question, "What's the problem?" Ebbs and flows.
I have had no auditions in the last month. One could get down over that, but the key is to not get too high when things are up ("Hey, just got a part in a good film."), or too low when they are down, like they are now. An even keel is a much better approach, plus the knowledge that slow times do not last forever, nor do the good times, as more than likely, they alternate.
My wife was here last weekend. She was attending a conference at Pepperdine University in Malibu and then stayed for three more days. That was the good news. The bad news was that at the exact same time she was here, I came down with the worst cold I have had in several years, and our plans to play tourist in Southern California, had to be postponed until her next trip down. It was wonderful seeing her, even though the circumstances were not the best.
The cold, of course, is why I haven't entered a new post in this blog in a while. I'm fine now, with only the irritating aftermath we all have from a cold, and I'm now back to my daily routine of audition board checking and again picking up my efforts to secure an agent, as well as putting my headshot and resume in front of as many casting directors as possible. It's good to "be back to work", and to put that miserable cold behind me. I have an acting lesson with my acting coach scheduled next Wednesday, and then I will really feel back in the swing of things.
Ebbs and Flows.
Talk with you later...........
Tuesday, May 5, 2009
A Salute, Long Overdue
Every actor, in fact most people in most professions, have a person or two who helped guide them to whatever level of success they occupy, and I'm certainly no different in that regard.
In this blog I have written much about my acting coach in Hollywood and what he has meant, and continues to mean to my acting career and aspirations. This is all true, and I owe him a great deal.
However, in my thirteen plus years of acting there is one other person, whom without their guidance and help, I would have never reached the point of even thinking about trying the LA acting market. I am careful in this blog not to mention many names, as I feel that protecting the privacy of the people in my professional life is important. However, in this one case, I am going to suspend that rule because this person deserves to be named and given the credit she deserves.
It all began one weekend morning, years ago, in Seattle, as I was reading the Sunday paper. In the entertainment section was a small notice, about a three hour introduction to voice-over class which was being offered that same afternoon, downtown. It sounded interesting, so I drove downtown, paid the course fee (not all that much, as I remember), and attended the class. I didn't realize it at the time, but that afternoon was to have a profound influence on the direction of my life.
At the end of the class, the instructor said there was a more advanced introduction to voice-over class the following weekend. I attended that as well. next, I asked the lady teaching the two classes if she had other classes. It turned out she was a full time acting coach who taught classes for actors of all levels. I quickly enrolled in her course for beginning actors, and thereby began a relationship with not only a fine acting coach, but a wonderful human being, as well.
That coach's name is Pat French, an institution among Seattle acting coaches. Pat is a fine actor, with many credits over her distinguished career. She has taught a number students over the years who have gone on to do some outstanding work in the theater, films, television, and voice-over.
I have taken a number of classes from Pat, as well as private lessons. Also, through her contacts in the business, I have attended workshops conducted by such renowned people as acting coach Tony Barr (his book, Acting For The Camera, is a must for all actors), and such highly regarded LA casting directors as Mark Malis and Paul Weber.
Pat, like my current acting coach, is no pushover, gushing with compliments every time you do a scene in her class or in a private lesson. If you did well, she will tell you, and if you didn't she will also tell you that, plus why and what to do to correct it. She makes you work, she makes you stretch your abilities, and best of all she constantly challenges you as an actor.
Here is an absolute fact. Without the guidance, the pushing, the influence of Pat French, I would never have been prepared to study with my current acting coach, and make the move to Southern California. In fact, if she had not entered my life, I wouldn't be an actor at all.
Pat is not only an influential acting coach, but she is also my friend. Both she and her husband (Jim, an extremely talented man in his own right) took me under their wing (Pat for acting, and Jim for writing) and for that I will be forever grateful
So to both Pat and Jim, I say thank you for your kindness, your friendship, and for all you have done for me.
More to come..........
In this blog I have written much about my acting coach in Hollywood and what he has meant, and continues to mean to my acting career and aspirations. This is all true, and I owe him a great deal.
However, in my thirteen plus years of acting there is one other person, whom without their guidance and help, I would have never reached the point of even thinking about trying the LA acting market. I am careful in this blog not to mention many names, as I feel that protecting the privacy of the people in my professional life is important. However, in this one case, I am going to suspend that rule because this person deserves to be named and given the credit she deserves.
It all began one weekend morning, years ago, in Seattle, as I was reading the Sunday paper. In the entertainment section was a small notice, about a three hour introduction to voice-over class which was being offered that same afternoon, downtown. It sounded interesting, so I drove downtown, paid the course fee (not all that much, as I remember), and attended the class. I didn't realize it at the time, but that afternoon was to have a profound influence on the direction of my life.
At the end of the class, the instructor said there was a more advanced introduction to voice-over class the following weekend. I attended that as well. next, I asked the lady teaching the two classes if she had other classes. It turned out she was a full time acting coach who taught classes for actors of all levels. I quickly enrolled in her course for beginning actors, and thereby began a relationship with not only a fine acting coach, but a wonderful human being, as well.
That coach's name is Pat French, an institution among Seattle acting coaches. Pat is a fine actor, with many credits over her distinguished career. She has taught a number students over the years who have gone on to do some outstanding work in the theater, films, television, and voice-over.
I have taken a number of classes from Pat, as well as private lessons. Also, through her contacts in the business, I have attended workshops conducted by such renowned people as acting coach Tony Barr (his book, Acting For The Camera, is a must for all actors), and such highly regarded LA casting directors as Mark Malis and Paul Weber.
Pat, like my current acting coach, is no pushover, gushing with compliments every time you do a scene in her class or in a private lesson. If you did well, she will tell you, and if you didn't she will also tell you that, plus why and what to do to correct it. She makes you work, she makes you stretch your abilities, and best of all she constantly challenges you as an actor.
Here is an absolute fact. Without the guidance, the pushing, the influence of Pat French, I would never have been prepared to study with my current acting coach, and make the move to Southern California. In fact, if she had not entered my life, I wouldn't be an actor at all.
Pat is not only an influential acting coach, but she is also my friend. Both she and her husband (Jim, an extremely talented man in his own right) took me under their wing (Pat for acting, and Jim for writing) and for that I will be forever grateful
So to both Pat and Jim, I say thank you for your kindness, your friendship, and for all you have done for me.
More to come..........
Sunday, May 3, 2009
Phase Two
After two months in LA, it is now time to begin phase two. That's probably a bit misleading as going to phase two doesn't mean stopping phase one at all, but instead, now phase one and two will run concurrently. Are you confused? I know I am so maybe I had better explain it to both of us. Phase one is taking lessons from my Hollywood acting coach and scouring the audition notices and services to see what film and/or TV work I might find. This has gone fairly well with one commercial (shot a couple of weeks ago), an audition for an infomercial, in which I was not cast, a small role in a film (which I shot on location,today), and of course my auditions for small roles in two NBC series, which I was fortunate to do several days after I arrived in town.
Today's shoot was only six miles or so from where I live (a rarity in LA to be working that close to home) and the director and crew couldn't have been nicer or more professional. It was a fun experience. The director has done some nice work on sci-fi films, although this film isn't sci-fi.
So, in addition to continuing what I have been doing, I must start exploring (phase two) the world of agents and casting directors via submissions of headshots, resumes and a short cover letter. Most are mailed, but some must be dropped off in person (oh goodie, more LA freeway driving. Don't you love it!). There are two magazines which are a great help. One is called "The Agencies" and list all agents, who they are looking for, are they SAG franchised or not (the "or not" being those who will work with non-union actors). "The Agencies" comes out on the first of every month. The other magazine comes out every two months and is called The "Casting Director Guide". It lists all casting directors, what they are working on, what they have worked on, and what type they are looking to audition in the near future. The magazine even lists the personal likes (showing confidence, being prepared, etc.) and dislikes (strong perfumes or shaving lotions, touching the casting director, etc.) of some of the casting directors. Finally in the front of the magazine is an alphabetical listing (a number of pages) of every TV and film project in town, and its status.
Samuel French bookstores (Studio City and Hollywood) are the major acting bookstores in the area and the magazines may be purchased there, or you may also subscribe to them and have them mailed to you. I drove to Studio City yesterday to buy both.
For phase two, I will need to have headshots printed. I brought about thirty with me (and have used eight or nine since being here.), but for phase two I will need at least a couple of hundred. I will also need to prepare mailing labels. You can buy them pre-printed, but I have decided to enter the information myself (from the two magazines) and prepare them on my computer. Finally, there is the cost of postage, which wont be small, since before it's done (over the course of several months), I will be mailing a hundred to a hundred and fifty headshots. The purpose of all of this is to find an agent to represent me, and to put my face in front of as many casting directors as possible. it's all part of the marketing side of being an actor, and believe me when I say, represented by an agent or not, you must market yourself non-stop in this town, so as not to be buried by the thousands of actors all jockeying for agents, auditions, and roles in film, TV, and commercials. If you are planning on making the move to LA, bring a computer and printer, and know how to use them. Hitting town and quickly getting a top agent and landing a big role may happen in the movies, but very seldom in real life.
Last Wednesday, I had my best lesson ever with my acting coach. He had me do four cold reads (no preparation the day before). The first one went really well and he said it was "book it" quality, both the first and second times through. The second cold read, went very well, but not quite as well as the first, the third was again right on target, and the fourth one was only slightly below that. My acting coach does not give out compliments left and right, and when he tells me I did something that was the 'book it" quality that most casting directors are looking for, I have to believe him. Each lesson with him is an insight into what it takes to succeed in acting in LA, and it also tells me how close I am to that standard. It's my yardstick, and it was a highly encouraging hour that I spent with him, last week, as I moved a few inches higher on that stick.
More later...........
Today's shoot was only six miles or so from where I live (a rarity in LA to be working that close to home) and the director and crew couldn't have been nicer or more professional. It was a fun experience. The director has done some nice work on sci-fi films, although this film isn't sci-fi.
So, in addition to continuing what I have been doing, I must start exploring (phase two) the world of agents and casting directors via submissions of headshots, resumes and a short cover letter. Most are mailed, but some must be dropped off in person (oh goodie, more LA freeway driving. Don't you love it!). There are two magazines which are a great help. One is called "The Agencies" and list all agents, who they are looking for, are they SAG franchised or not (the "or not" being those who will work with non-union actors). "The Agencies" comes out on the first of every month. The other magazine comes out every two months and is called The "Casting Director Guide". It lists all casting directors, what they are working on, what they have worked on, and what type they are looking to audition in the near future. The magazine even lists the personal likes (showing confidence, being prepared, etc.) and dislikes (strong perfumes or shaving lotions, touching the casting director, etc.) of some of the casting directors. Finally in the front of the magazine is an alphabetical listing (a number of pages) of every TV and film project in town, and its status.
Samuel French bookstores (Studio City and Hollywood) are the major acting bookstores in the area and the magazines may be purchased there, or you may also subscribe to them and have them mailed to you. I drove to Studio City yesterday to buy both.
For phase two, I will need to have headshots printed. I brought about thirty with me (and have used eight or nine since being here.), but for phase two I will need at least a couple of hundred. I will also need to prepare mailing labels. You can buy them pre-printed, but I have decided to enter the information myself (from the two magazines) and prepare them on my computer. Finally, there is the cost of postage, which wont be small, since before it's done (over the course of several months), I will be mailing a hundred to a hundred and fifty headshots. The purpose of all of this is to find an agent to represent me, and to put my face in front of as many casting directors as possible. it's all part of the marketing side of being an actor, and believe me when I say, represented by an agent or not, you must market yourself non-stop in this town, so as not to be buried by the thousands of actors all jockeying for agents, auditions, and roles in film, TV, and commercials. If you are planning on making the move to LA, bring a computer and printer, and know how to use them. Hitting town and quickly getting a top agent and landing a big role may happen in the movies, but very seldom in real life.
Last Wednesday, I had my best lesson ever with my acting coach. He had me do four cold reads (no preparation the day before). The first one went really well and he said it was "book it" quality, both the first and second times through. The second cold read, went very well, but not quite as well as the first, the third was again right on target, and the fourth one was only slightly below that. My acting coach does not give out compliments left and right, and when he tells me I did something that was the 'book it" quality that most casting directors are looking for, I have to believe him. Each lesson with him is an insight into what it takes to succeed in acting in LA, and it also tells me how close I am to that standard. It's my yardstick, and it was a highly encouraging hour that I spent with him, last week, as I moved a few inches higher on that stick.
More later...........
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