RESUMES

The layout of your resume should be standardized and match up with the way others in Hollywood do it (it’s different in other cities).

• At the top and most prominent will be your name. You representation can also go here, although it sometimes appears at the bottom of the page. It’s up to you. You will also put your height, eye and hair color (we’d avoid weight) at the top.
• The sections should be in this order:
  • TELEVISION
  • FILM
  • THEATER
  • COMMERCIALS
  • TRAINING
  • SKILLS

Under film, TV and theater, there will be 3 columns:

NAME OF PROJECT

ROLE

DIRECTOR and/or STUDIO

Do NOT give a list of commercials. Theatrically, nobody cares and commercially, if they see any specific products listed, they will worry that you might have a “conflict”.
Simply say it this way: COMMERCIALS (conflicts available upon request)

(If you don’t understand “conflicts”, you will. Basically, in the commercial field, you may not appear in commercials for competing products, i.e. a Burger King ad and a McDonald’s ad, or a Coke ad and a 7-Up ad. Those are “conflicts”. They don’t last forever, so don’t panic. Once an ad has been dropped, you’re free to work for the competition.)

Now, when listing the roles under Film and TV, do NOT mention the name of the character. Only list the credit – Supporting, Co-star, Lead, Principal, Guest Star.

Under Theater (or Stage), however, DO list the name of the character.

Training should be pretty obvious: Classes and teachers that pertain to acting, NOT your accounting class!

Skills include anything physical, musical, vocal, languages and dialects, medical, military, etc. Please don’t include things that anybody could fake, such as reading, cooking, good with kids, etc.

Trim your resumes to the same 8X10 format as your headshots and attach them securely to the back of the photos. That means either staples top and bottom, or glue-sticked (glue-stuck?). As long as they’re neat and won’t easily tear off, you’ll be fine. We do not suggest printing your resume directly onto the back of the headshots. If you do that, every time you book a job or change anything else on the resume, the headshot becomes obsolete, whereas you can easily change a stapled-on resume.

Finally, a word of warning: DO NOT LIE. About anything. It may (most likely will) come back to bite you on your cute li’l ol’ derriere someday and that’s an “ouch” you really don’t want to experience.

RESUME EXAMPLE

HEADSHOTS

No matter where you currently reside, other than L.A. and New York, it’s pretty much a given that when you land in Hollywood, you’re going to need brand new COLOR headshots. Your local photographer was probably perfectly fine for weddings, bar mitzvahs and high school annuals, but not for professional, Hollywood-caliber headshots. That isn’t something that you, the actor, would necessarily recognize, but the people who will judge you here in Hollywood will. Poor-quality headshots can stop your career before it ever begins, fair or unfair as that may seem to you.

All headshots are done in color now, thanks to the popularity of online submissions. When you line up a dozen or so thumbnail shots on a computer screen, the lovely old black & whites just can’t hold up next to color shots. It’s that simple. Besides which, if you’re still using black & whites, you will appear to be so far behind the times, that casting offices will avoid you like yesterday’s egg salad.

We’re going to give you a list of some of the best photographers in town – but not any who charge an arm and a leg. If you think that spending half again as much (or more) for a photo shoot provides you with anything better than these guys can come up with, there are plenty of gougers to choose from. We just won’t recommend them. On the other hand, we have known some fabulous photographers who were so inexpensive to begin with that we wanted to hand them a few bucks just to keep them going. They were smart enough to realize that in order to build up their own portfolios, they would practically have to give their work away. Several of them are on our list and fortunately for them, are able to command “normal” prices now. Our point is merely that you might just luck out and find someone who seems too cheap to be true, but if his or her portfolio matches up with what you need, feel free to give it a go.

Before we get to that list, here are a few pointers, in no particular order:

- This should be obvious (but apparently isn’t): For color shots, be sure to wear…a color! And we don’t mean those dull, boring browns, grays and khakis. We mean something that’s bright enough to draw the viewer’s eye to your headshot and which is complementary to your own coloring. The darker you are, the stronger the color should be.

- No wild patterns in your clothing, please, and no jewelry.

- Little or no makeup, and if you do wear makeup, be sure you can duplicate it yourself for auditions.

- Keep your hairdo as “everyday” as possible, so that (as with makeup) you can do it yourself.

- No costumes, at least not for theatrical shots. It’s still considered OK to suggest a costume for commercial shots.

- Make sure your photographer understands the use of dramatic lighting and try to avoid outdoor shots. It’s too hard to control the lighting and bad lighting can ruin a great face.

- Guys – if you can grow a scruffy beard in a couple of days, but usually are clean-shaven – start your photo shoot with that scruffy look, then shave and continue. Don’t bother with this if it takes you a week to grown pale, weak or semi-hairless facial fuzz.

- Show emotion in your face and especially with your eyes. Blank stares may work for fashion models, but not for actors!

Remember – your headshots are your calling cards, the very first thing that most agents and casting directors will see. They must, must, must look like you – not some glamorized, one-day-out-of-the-year version of you.

One other word of advice: After checking out a potential photographer’s portfolio, please make it a point to meet with him prior to hiring him. It’s really important to “click” (no pun intended) with the person behind the camera. If you don’t like them much, or they seem intimidating, you will not produce relaxed, inviting headshots.

Here’s that list…

CHARLES FRETZIN	www.fretzinphoto.com
ARMEN ASADORIAN	www.armenasadorian.com
LISA BEVIS	www.lisabevis.com
JOHN CORBETT	www.johncorbettphotography.com
DENICE DUFF	www.duffimages.com
KENNETH DOLIN	www.kennethdolin.com
FRICK PHOTOGRAPHY	www.frickphotography.com
MARY ANN HALPIN	www.maryannhalpin.com
ROBERT KAZANDJIAN	www.kazphoto.com
DAVID LAPORTE	www.davidlaporte.com
MICHELLE PEARSON	www.michelleepearson.com
RICK STOCKWELL	www.stockwellphotography.com
VANDIVEER	www.jvimages.com
GUY VIAU	www.guyviauheadshots.com

There are loads of other photographers listed in the display ads in Backstage West. You have plenty to choose from now, so no excuses!

TOUCHUPS AND DUPLICATION

Once you (and your representation, if you have any) have chosen the headshots you wish to duplicate and/or use online, check them carefully to see if they need any touchups (stray hairs, dark circles under the eyes, that stupid pimple that erupted the morning of your shoot, etc.). We suggest that you only touch up things that the makeup artist on your next film or TV show could easily cover – not permanent “flaws” that no amount of stage makeup can disguise. No matter what you order to be touched up, instruct the technician to go lightly. You do not want to completely change the shape of your features or “erase” 15 years of “maturity”. No, no, no. Your mantra should be “keep it real”.

Decide which of the photos will only be used online and which will also be duplicated in hard copies. Then shop around for the best prices for duplications. The quality nowadays is fairly standard, but play it safe: Make sure the duplication house stands behind its work and will re-do the photos if there are any serious problems with them.

Be sure that you only get 8X10s. We’re still astounded that once in a while, someone is using an oddball-sized headshot. That’s really ridiculous; if nothing else, the duplication house should have warned them not to do that.

NOTE: In our opinion, there is no reason to order more than 100 of any shot to start out. For one thing, with the proliferation of online submissions, far less hard copies are used (which is saving actors a ton of money). For another, you may find that what looked great six months ago really isn’t working for you, so why kill an extra tree just to have a pile of unusable headshots in the back of your closet?

Unless your agent specifically instructs you otherwise, you should only have your name on the headshot. All other information should be found on your resume. (Suppose you switch agents and have their logo plastered all over your headshots, of which you still have a couple of hundred left…!)

Many people really detest having their photos taken. It isn’t easy and it’s not designed to make a person feel at ease. If you’re one of those who freezes during a shoot, think about taking a good friend with you, someone who will act as your security blanket, and with whom you can laugh and have a good time. Ask the photographer if you may bring your own music, if that’s your favorite relaxer. No matter what, try to have a good time. After all, if nothing else, you are an actor. Act as if…!

WHY SHOW BIZ CAN BE SO TAXING

David Rogers, owner of ActorsTaxPrep, Inc., is also a longtime actor in voiceovers. A native Kentuckian, he moved to Hollywood from New York in the mid-1990s. He is certified as a tax preparer by the California Tax Education Council and is a member of the National Society of Accountants. As you can probably deduce from the name of his company, ActorsTaxPrep offers a unique specialty: Tax preparation for actors.

David agreed to “speak” to those of you who either already are or are planning to become actors:

When I first came west to our little L.A. village of 15 million or so people, I got two pieces of great advice from a successful actor who had been here for a while, and I pass them on to all acting newbies who are here or thinking about coming here. The first is: Always read street signs wherever you park. It is not uncommon for there to be different regulations every ten yards or so and all the cities in Los Angeles County use parking tickets as major sources of revenue.

The second can save you even more money and grief. My friend said, “Actors love to help, and to be thought of as knowledgeable, so they are very free in giving other actors advice. The problem is…the great majority of that advice is wrong.”

I own and operate a tax preparation firm called ActorsTaxPrep, Inc. It specializes in the entertainment business, with a client list of just about a thousand. Every year, I am staggered by the amount of misinformation about taxes and acting that many of my new clients have accumulated, and have accepted as gospel.

So my message to you is: Be sure the person who gives you advice knows what he’s talking about. When in doubt, check with someone you’re sure knows. Let me share with you some major myths about actors’ taxes, so that you can avoid the pitfalls of accepting erroneous tax information. And please know that ignorance about actors’ taxes is not the sole province of actors. Some mainstream accountants are also blissfully unaware of the special needs and special accommodations that the tax code requires and provides to actors.

What follows is some basic information about taxes for actors, models and others in the entertainment business. There’s a lot more info at our website, including a very comprehensive list of potential business deductions. Check out www.actorstaxprep.com

THE CLOTHES OFF YOUR BACK

I hear it over and over again–I’m an actor (or a model). So all my clothes I buy to wear to auditions are tax deductible. Right? Wrong. Ever so wrong. Here’s why.

The Internal Revenue Code is a daunting document, some 45,000 pages long, and it is often contradictory and ambiguous. But the section of the code that deals with clothing is clean, clear and devoid of double meaning. It says, simply, that clothing that is suitable for street wear is a personal expenditure. Therefore not deductible.

Note that the Code does not say if YOU think it is suitable for street wear–just suitable. The courts interpret that to mean by prevailing standards for the locale in question.

And does it matter if you only wear your clothing to auditions or on gigs? Not at all. The IRS says that if it is suitable for street wear, you can wear it even if you choose not to. So the twenty-something actress who buys a Brooks Brothers gray pin stripe suit for attorney or banker auditions, but never wears it socially in laid-back Hollywood, thinks it unfair that she can’t deduct it. But fairness is not what the IRS strives for–only compliance with tax laws, and the law says no to Brooks Brothers.

There are articles of clothing you can deduct. For women, just as examples, a nurse’s uniform, a dancer’s tutu. For gentlemen, a policeman’s uniform, a tuxedo, something similar. Period pieces for either sex. I strongly suggest that you take a digital photo in case of an audit—that, along with an appropriate receipt, should satisfy even a demanding auditor.

Here’s another myth. All hair care is deductible, right? Because we have to look like our pictures?! Sorry, boys and girls. Just ain’t so. Details follow:

Let’s say you’re a brunette, and you’re called in to audition for a great role. The audition and the following callback go well. The director calls you in, and says: “We want to hire you, but the role calls for a blonde. Become a blonde, and the job is yours.”

And you do, and the cost of becoming a blonde is a deductible expense–because it is for a specific job requirement. But after the job is over, you look into the mirror and find yourself entranced by the blonde tresses cascading over your shoulders. “Damn, I look good,” you say. “I’m staying a blonde.”

Are your monthly safaris to the salon for dyes and touch-ups deductible now and forevermore? Nah. Now we are down to routine hair care, and the IRS doesn’t care if blondes have more fun.

The same circumstances pretty much apply to mannies and peddies.

Here’s another great myth I hear all the time. All business gifts are deductible. They’re business, right? Sure they are, and there’s a kernel of truth to the statement, but like most tax matters, there are strict and sharp limitations.

Business gifts are deductible up to $25.00 per person (recipient), per year. You can spend more than that, but you can’t deduct it. And you need to show a clear business reason for the gift. There’s no limit to the number of people to whom you give business gifts–so long as the criteria listed here are met.

RECORDS AND RECEIPTS

When I lecture around the country to groups of actors, whether through SAG, or state or local organizations, I usually try to begin by asking what one tax “thing” audience members think is the most important.

Some day I need to catalogue those diverse responses, because there are some extremely interesting submissions. But I don’t think I have ever had an audience member say “Good records and receipts.” That is, though, probably the best advice I can give you.

Let’s start by defining what receipts you need to keep. There is one very important distinction. Any individual business expenditure that is $75.00 or more requires a written receipt.

For expenditures under $75.00, a written receipt is not required, if (and this is important) a notation of the purchase was made in your business log or diary. What exactly does that mean?

Simply that you need to keep a business log, and list your business expenditures. What is a business log? Any device in which you regularly record your business matters. It can be a daybook or a monthly calendar. It can be more informal–a steno notebook or a loose-leaf binder. It can be a great software program, such as ActorTrack, which contains a marvelous tax section.

But it has to be written, and it has to show what the object was, where and when it was purchased, the price, and the business purpose.

Now, actors buy a lot of really small items. Books, trade magazines, office supplies, postage–all come to mind. Suppose you get a receipt–should you keep it?

Absolutely. The IRS in an audit will be favorably impressed the more receipts you have and the better they are kept. So even if you do not legally need a receipt because of a log notation, if you have it, keep it.

Keep it where? one might legitimately ask. Here’s a recommendation that works for most people: Go to Staples or OfficeMax and buy a large accordion file–the box kind with 31 slots, one for each day. Make labels for the category of purchases most common to your business–for example: Acting Lessons, Office Supplies, Postage and Freight, etc.

Then, on a regular basis, ideally weekly, enter the expenses in a ledger by category. Put the receipts in a corresponding category slot in the file. Then you have good records and good receipts.

Remember, this is show BUSINESS. Every business needs a good tax department. Form a partnership with a company that knows actors taxes, keep good records and receipts, and the tax part of your business will run well.

There’s a whole lot more information, needless to say, that actors need to be aware of before, during and after filing their taxes. It’s never too early to start taking care of business!

FOR MORE INFORMATION, PLEASE VISIT OUT WEBSITE:

www.actorstaxprep.com

AGENTS AND MANAGERS – SIGNING ON THE DOTTED LINE

The differences between talent agents and managers seem to be a great mystery to many actors just starting out – and to many who have been here a long time. We’ll give you the long and short of it…shortly.

Talent Agents: In California, talent agents must be licensed and bonded. The various guilds also provide franchises to agents, although at the current time, many of the largest agencies in the business are no longer franchised. That’s a long story and so silly, it’s not worth wasting much space over. The unions will try to tell you that, once you become a member of that particular union, you may not hire a non-franchised agent. Strangely enough, that admonition hasn’t prevented any of these huge agencies (nor the smaller ones) from continuing uninterrupted. Actors want to work and as long as they trust their agents to not be ripping them off, apparently they do whatever they want to do, unions be damned.

By state law, an agent is not allowed to take more than 20% commission from a client. By tradition, they do not take more than 10%. However, there are exceptions to that rule: Many times, non-union work provides for a 15-20% commission that is tacked onto the actor’s fee – the rationale being that, since there will never be any residuals for non-union work, an agent has little incentive to provide his clients’ services to a non-u production. So, the producers up the ante. (Franchised agencies are not supposed to do any non-union submissions, but…a lot of them do. Shhhh…!)

Agents seek employment for their clients. That, of course, means trying to obtain auditions; it’s up to the actor to book the job. If an offer of work is made, the agent can negotiate the contract, meaning try to get more money, although nowadays, that is a very difficult thing to finesse. It is also the agent’s responsibility to make sure that his client’s best interests are served if there is a non-standard contract (as opposed to a standard union contract) being offered.

Is there some law somewhere that demands that an actor have an agent? No. But the producers and studios will not want to deal directly with an actor, so if you happen to book a union job on your own (a.k.a. “a miracle!”), you will probably have to beg some agent to represent you (not unheard of – you might ask your friends to refer you to an agent, or just call some up cold). The alternative to that is to hire an attorney to handle the contract.

Every actor in Hollywood wants and needs an agent. Hiring one (yes, folks! YOU hire the agent, not the other way around, even though most of them act as if they’re doing you a favor taking you on!) is far easier said than done. The first thing you should do once you land in Hollywood (or even before) is hie thee to the nearest Samuel French Bookstore, www.samuelfrench.com, and pick up the most recent “The Agencies” book. It’s updated constantly and gives invaluable information on all of the local agencies. Of course, they rarely, if ever, give any truly negative comments (can you spell “lawsuit”?), but at least you will go into your agent search well-armed.

List in hand, you begin the process of submitting to agencies that seem to fit your needs. We suggest you start by sending a postcard with your headshot on it and a short note, stating that your 8X10 will follow shortly. Then send it. We strongly recommend that you use the type of mailing envelope that has a clear window on one side, so that your face is clearly seen before the recipient even reaches for the letter opener (or trash can).

Be sure to include a short, friendly note of introduction, that is personalized to each agent or head of the agency to whom you’re sending it. No note – or worse, one addressed to “Dear Agent”! – equals lazy actor and guess where that lands you…!

Unless you have a truly distinctive speaking voice (one that in and of itself might garner attention), do not make follow-up calls. You will only get the standard response from whomever answers the phone: “If anyone’s interested, they’ll call you.” Click. Those types of phone calls just annoy agencies and waste everyone’s time.

If you are fortunate enough to have a personal referral to the agency, write it on the outside of the envelope, too. That’s in case the envelope was destined to never be opened.

Most agents do attend showcases and really prefer finding new talent that way. Once you land in Hollywood, you’ll find ways to join showcases. Do consider doing that – if you’re good enough to be allowed to perform in one, you never know where it may lead.

THE CARE AND FEEDING OF WILD AGENTS

Managers: There are hundreds of managers in Hollywood, many of whom are truly fabulous and worth their weight in gold. Unfortunately, due to a lack of regulations, there are also a bunch of worthless ones, whose only interest lies in getting enough unsuspecting actors to supply them with a monthly stipend (“Gee – we have to spend money on postage and envelopes on your behalf. You have to cover those costs, honey!”). Run, do not walk, from anyone who asks you for money up front.

How can you tell the difference between the good, the bad and the ugly? It ain’t easy, pal. Your best shot at culling the useless ones from your list of potential managers is word-of-mouth and…”The Managers” book, also at Samuel French Bookstore.

By definition, managers have only a small handful of clients (usually less than 25). It is their duty to coddle, mold, advise and generally speaking, smother their clients with individual care and attention. (Talent agents, on the other hand, can have literally hundreds of clients, so there’s no way they can give each one that kind of personal attention all the time.)

Managers are not allowed to solicit work or negotiate salaries, unless they also have an agency license or are attorneys. Of course, many of them do it anyway, and if it results in work, we have never understood why anyone would object. But there have been plenty of actor vs manager lawsuits to prove that it can, indeed, become a problem.

Managers do not have to be licensed, bonded or franchised, but many of them do belong to a very fine organization, the Talent Managers Association (TMA). You can always check there to see if someone you’re interested in is a member: www.talentmanagers.org

It has become a “trend” in Hollywood for actors at every stage of their careers to boast that they have an agent, a manager, an attorney, and anything else that makes them look more important (maybe in their own eyes?). In our opinion, not every single actor needs or benefits from a manager and we often wonder why a particular manager would take on an actor with little or nothing on his or her resume. Could it be the potential for that 15% commission…? NOTE: If you have both an agent (10%) and a manager (15%), you are losing 25% of your gross salary in commissions (all tax deductible, of course). Be sure you really can afford to do that before making any decisions. NOTE #2: Most managers ask you to sign a contract that is basically written in stone and, unlike agency contracts, is virtually impossible to break. So, again, be very, very sure before signing anything with anyone that this is truly what you want to do.

Seeking a manager is exactly the same process as seeking an agent (above).

Good luck!

PASSPORTS - - THE “OTHER” KIND

This is going to be very short and sweet, folks.

EVERYONE NEEDS TO HAVE A CURRENT PASSPORT. The price has been rising rapidly, but at least they’re valid for 10 years.

Whether you plan to travel occasionally or never at all (shame on you!), as an actor, it is your responsibility to maintain a passport at all times. More and more productions are shooting outside the United States. You might be cast in something today and told you’re leaving for Siberia the day after tomorrow.

Not without a passport, you aren’t!

Besides which, it’s an ideal form of identification.

Although it can take several weeks or months for the passport to arrive, they are really quite easy to obtain, either in person (at a U.S. Post Office or Federal Building) or by mail. The following link will provide everything you need to get started.

http://www.state.gov/m/a/dir/forms/

STRANGERS IN A FOREIGN LAND

This section is for you wonderful actors from foreign countries, who are considering testing the waters in Hollywood. You may very well be fully aware of what we’re about to say, but perhaps you should read this anyway.

It has never been easy to begin a career of any type in the United States unless you have the proper work documents. Since 9/11, it has become next to impossible to enter the United States with the intention of working, no matter which country you’re coming from. Between our government’s rigid restrictions and those of your homeland, it can take literally years to obtain the proper clearances.

Actors face additional hurdles, unless they are already world-famous (no! just being a “star” in your own country does not guarantee entry here!). Proving that you are going to be able to support yourself (and not become a burden on us!) is one of those hurdles.

You must come here with a proficiency in English, first of all. The only language other than English in which you can possibly hope to make a living is, of course, Spanish, since Telemundo and Televisa have become major Spanish-language networks in the U.S. There are a handful of stations that cater to other nationalities, such as Japanese, Korean, Armenian, etc., but they provide very, very limited opportunities to work. So, even if you have an accent in English (and who doesn’t?!), you must feel comfortable enough to perform in the language of this country.

We won’t pretend to know all of the rules and regulations that will inhibit your ability to work here. It’s up to you to investigate that yourself, before leaving home. There is nothing worse than knowing that you are in this country illegally, just waiting for our immigration service to come knocking on your door. But we do have one suggestion:

There are a number of excellent acting schools in Hollywood that cater to foreign students. They can help their students obtain certain types of work visas, at least for part-time work. Here are links to two of the oldest:

THEATRE OF ARTS/ACT HOLLYWOOD www.acthollywood.com

LEE STRASBERG INSTITUTE www.strasberg.com

You should also check on a couple of our universities that have great theater arts departments: U.C.L.A., U.S.C., LOYOLA, CHAPMAN and CAL ARTS.

You may have heard that if a movie studio hires you for a role in a film, they can sponsor you for up to a year. That is true. What you may not have heard is that this type of temporary sponsorship limits you to only working for that particular studio during that one year period. You may also have heard that if an agency takes you on as a client, they might be willing to sponsor you, too. Don’t count on that happening – it’s easier said than done.

The bottom line to all of this is: Be very careful before attempting to make a move to Hollywood. Everything that we have said throughout this website applies to you, plus the added burden of being a stranger in this very foreign land.

Bon chance! Buena suerte! Viel Glück! Good luck!

CASTING DIRECTOR TERRY BERLAND “SHARES”

Clio Awards - www.clioawards.com - don’t come easily. They honor the best work in the field of commercials, similar to Emmys and Oscars, and we’d bet dollars to doughnuts that most of you reading this never heard of them. Well, now you have.

Terry Berland, longtime commercial casting director and owner of Terry Berland Casting in Los Angeles, is a Clio Award winner and rightly so. She possesses a great eye for talent and the attention to detail that has assured her a top spot on producers’ wish lists of “casting directors I’d love to hire”.

Terry began her casting career in New York, working her way up the ladder in casting offices at Madison Avenue advertising agencies, ultimately becoming Head of Casting at BBDO (at the time, the third largest ad agency in the world). She then decided to start her own independent casting company and opened an office in L.A. in 1991.

In addition to her hectic casting schedule, Terry has taught commercial acting techniques to literally hundreds of actors in cities throughout the United States. Her interest in actors inspired her to co-author the “how to” industry book, “Breaking Into Commercials”, now in its second printing. Over the years, Terry has observed many actors at various acting and modeling conventions and workshops, as they grow and develop their skills to the point where they are able to make the move successfully from regional areas to New York and Hollywood. She has also seen plenty of actors who decide that the larger markets really weren’t for them after all.

Terry shares some of her hard-earned wisdom:

“Actors need to know that casting directors are always on the look-out for good, solid, well-trained actors. An actor also needs to understand how he or she fits into the process of casting. In the commercial industry, there are eight people who decide which actor is going to be booked – the ad agency producer, art director, writer, account supervisor, creative supervisor, account executive, production company director, plus final client approval - and the casting director is not one of those people. The casting director is the first person to bring the actor in to audition, because he believes that the actor is right for the part and will do a good job auditioning. Once she presents the various actors to the producers and director, it’s up to them to make the final casting decision.”

When asked what mistakes she sees actors making in her casting office, she offered this:

“The competition in Hollywood and New York is much fiercer than in the regional areas or in the college classroom environment. Acting is a growth process, so naturally, the more you train, the longer you’re in it, the better you’re going to be.

“You want to get to the point that as soon as you step on the mark you are given to work on, you know how to create an environment where you reveal your personality and appear very connected to whatever you’re doing.

“Always have your 8X10 (with the resume attached) with you (there is no excuse for not having one in-hand when you enter a casting office).

“Never wear perfume or cologne.

“Always be on time. If you see that you’re going to be unavoidably delayed, have your agent call the casting person and warn them. And if you cannot make it at all, let your agent know that, too. Another actor will then have the opportunity to fill that coveted audition slot.

“The most impressive actors are the ones who are well-trained, really feel happy to be at the audition, and are open and ready to take direction and do their best work. Most actors have very good dispositions. They are patient, used to waiting, do their job (their audition) and then leave, happy campers, on to their next thing. There is no feeling (from the actor) of wanting, or worse yet, needing the booking.”

In Terry’s opinion, actors need to choose their teachers and classes carefully. “Actors need to make decisions that don’t waste a lot of their time and money. In Hollywood, there is a lot of good, but also a lot of bad. Gather advice from well-respected people. Since good acting is your strong foundation, I would certainly say get into a good acting class. Find a coach whose technique and manner you are comfortable with and along with that, take a commercial workshop. That is a technique unto itself – TV, film and commercials each have their own different techniques, by the way.

“Commercial acting classes are not on-going like other acting classes. You can learn the commercial technique in a workshop (such as mine) in five or six weeks. A good commercial class can even trigger major breakthroughs in your regular acting class. I’ve been told that I give the same notes or adjustments to talent that they are getting in the acting class – we simply push through faster, due to the nature of everything about commercials being quicker.

“That brings me to another important class everyone should take and that is improv. In improv, you learn how to think and create quickly, on your feet. That is the foundation for commercials and anything with comedy or humor.

“It gives a real sense of community to know that the actors we audition are well-trained and waiting for their auditions, so they can get to us (sometimes) at a moment’s notice. These actors make our jobs successful.

“The breakdowns for commercials come quickly and the actors we bring in for auditions are part of our team. They might not always get booked for that particular job, but a knowledgeable actor understands that casting directors, producers and directors remember good people for future jobs.

“An actor who lives in a regional market who asks a commercial casting director in L.A. to call him and have him fly in for an audition, obviously cannot understand how fast the process is – or he wouldn’t ask. It isn’t cost-effective or time-efficient for an actor to fly to an audition, be in the room for five minutes and then fly home again. Under those circumstances, the audition itself becomes far too important. Then factor in the callbacks, which may not happen for a couple of days. Is he going to hop on another plane for that?!

“I believe an actor should work and take advantage of everything available in his or her own region before moving to a larger market. They should only move if it makes them happy and they can afford it. Success is different things to different people. Acting should nurture the soul, wherever that may be.”

To gain more insight and knowledge about how to be successful in commercials, as well as how you fit into the commercial process, you can read Terry’ book, “Breaking Into Commercials”. It can be found online at Amazon.com, Barnes & Noble, Samuel French Bookstore, as well as most major bookstores.

Further information about Terry Berland can be found on her website, www.berlandcasting.com. And here’s some fun for you: Join Terry’s MySpace for actors only under Myspace.com/berlandcasting.

THE UNIONS – SAG, AFTRA AND EQUITY

Since each of the acting guilds (unions) has its own website, there isn’t much need for us to go into a lot of details about their rules and regulations here. We will, however, give you a very brief overview of the differences between the three main unions that will ultimately affect your career now and in the future.

SAG (Screen Actors Guild): This guild handles any project that is shot on film, including feature films, television and commercials. It is by far the most difficult of the three guilds to join.

There are a number of ways in which an actor can become a member:

Taft-Hartley: If a producer wishes to hire a non-union actor for his union project, he has to justify to the union why he needs that particular actor, as opposed to one of the thousands who are already members. Don’t worry – it’s not quite as impossible as it sounds and they are rarely turned down when they request the Taft-Hartley waiver.

Being Taft-Hartleyed is the ideal way to get into the union. It shows that someone really, truly wanted to hire you. It doesn’t cost anyone a dime – not the actor and not the production. It’s simply paperwork. Under this, the actor is permitted to work both union and non-union for 30 days from the date of his Taft- Hartley (that’s the date of the job it relates to). As of the 31st day, the next time he books a union job, he’s considered a “must join” and is expected to pay his initiation dues. There can be one more delay in forking over the (current) $2,400, however. At this point, the actor is considered a “must pay” and will not be allowed to work another union job until he does, indeed, pay those dues. Until he actually is a paid-up member, he may continue to work non-union jobs.

Vouchers earned from “extra” work: At the present time, 3 vouchers are required in order to make an actor “SAG eligible”. If you work as an extra (or “background”) on a SAG project, you just might earn a voucher. These are limited and you must request it from the A.D. on the set. Once you have 3 of these (and it can take a long time to accumulate them), they entitle you to join the union and you may label yourself (and your resume) “SAG eligible”. The vouchers do not expire for a long, long time, but you must make sure they remain viable. Do that by checking on them every so often with the Membership Department at the union.

Crossover from a sister union: The rules for this vary, so it’s best to check with SAG to find out the exact requirements. The basics are that if you’ve been a member of either AFTRA or Equity for at least one year, you may “cross over” into SAG.

AFTRA (American Federation of Television & Radio Actors): This guild handles radio and anything on-camera that is shot on videotape. All soap operas and many commercials, industrials and web-related projects fall into this category. AFTRA is the easiest guild to join, since it is an “open” union, meaning that anyone can walk in, hand them his money and walk out a card-carrying member. They also have a very actor-friendly payment plan, as opposed to SAG, which demands everything in one payment.

Taft-Hartleys also apply with this guild, but are probably used far less frequently because of the ease of joining. Still, it’s nice to not have to come up with any dues (approximately $1,400 in 2008) on your first AFTRA job.

AEA (Actors Equity Association): This guild handles live theater (stage) only. They have completely different requirements for joining than the others. Since you really aren’t coming to Hollywood to become a theater actor, there’s no need for us to go into details here.

For further information, check out their websites:

SAG (Screen Actors Guild)
AFTRA (American Federation of Television & Radio Artists)
AEA (Actors Equity Association)

Being a member of a guild guarantees you absolutely nothing, except that you will be allowed to work on projects that fall under their jurisdiction. It also guarantees that you will be prohibited from working on anything that is non-union (the exception being student films). If you earn enough money over your lifetime, you will probably qualify for a pension; health insurance, on the other hand, must be earned every fiscal year (you have to earn enough union wages to keep that insurance, once you have it, every single year). It’s terrific insurance, by the way, but if you lose it due to lack of income, it can be disastrous.

Should you join once you become eligible? In our opinion, you should keep the funds for the initiation dues in an interest-bearing savings account and only hand it over to a guild when you absolutely must pay. It can be a long wait between union jobs, so why hand over your hard-earned cash today if your next union job (the one that makes you a “must-join” or “must-pay”) may not happen until next year? In the meantime, change your resume to reflect your potential union status and relax, knowing that you have the money in the bank, working for you!

ACTING TEACHERS/COACHES/SCHOOLS

As you can well imagine, there are scores of acting teachers and schools in Hollywood. For a newcomer, it’s a daunting task to try to determine which ones to consider studying with. The list that we are going to provide below is just the tip of the iceberg, but it is comprised of some of the best-known teachers, coaches and schools in town.

It’s up to you to figure out which ones will provide you with the type of class that you need most, but if you are coming from a strong stage background, or have just finished studying somewhere that doesn’t offer on-camera training, we urge you to seek out at least some classes that are geared to film and television acting. How do you find out? You ask!

Most, though not all, classes allow you to audit, so by all means take advantage of that if it’s offered. In fact, we kinda feel that it’s a mistake to just jump into any ol’ class without knowing if you’d even like the teacher. After all, unlike high school or even college, no one is forcing you to study with someone you detest, or whose methods are off-putting to your own acting instincts (which, of course, are not always correct…ahem!). And these classes cost money, which is all the more reason to look before you leap. So, again – ask!

First, the “private” teachers/coaches:

DEKE ANDERSON		(310) 722-8303
GARY AUSTIN (”GROUNDLINGS” FOUNDER)		(800) DOG-TOES
TERRY BERLAND		www.terryberlandcasting.com
CRAIG CAMPOBASSO		www.craigcampobasso.com
SHARON CHATTEN		(213) 486-4229
MICHELLE DANNER &LARRY MOSS		(310) 392-0815
HOWARD FINE		www.howardfine.com
MARGIE HABER		www.margiehaber.com
JEANIE HACKETT		(818) 763-5933
JOHN HOMA		www.johnhoma.com
GARY IMHOFF		(323) 938-3772
JOEY PAUL JENSEN		www.joeypaul.com
ANITA JESSE		(323) 876-2870
RICHARD LAWSON		(310) 855-1556, EX. 30
KEN LERNER		(818) 753-7444
HOLLY POWELL		www.hollypowellstudios.com
BRIAN REESE		(323) 874-5593
LEO ROSSI & STEPHEN SNYDER		(323) 465-4241
SCOTT SEDITA		www.scottseditaacting.com
CAMERON THOR		(818) 760-9426
CRAIG WALLACE		(323) 960-7852
DEE WALLACE-STONE		(818) 635-2149
DOUG WARHIT		(310) 479-5647
CARYN WEST		(818) 693-4625, (323) 876-0394
HARRIET GREENSPAN		(818) 266-6698, greenspancasting@aol.com
A few acting schools:
BEVERLY HILLS PLAYHOUSE		www.bhplayhouse.com
AMERICAN ACADEMY OF DRAMATIC ARTS		www.aada.org
*LEE STRASBERG INSTITUTE		www.strasberg.com
*THEATRE OF ARTS		www.acthollywood.com
STELLA ADLER CONSERVATORY		www.stellaadler-la.com
ACTORS COMPREHENSIVE TRAINING		www.actorscomprehensivetraining.com
*Also has a special program for international students

Now, it’s up to you to contact the teachers or schools and ask as many pertinent questions as you may have. Don’t let the ones with snotty-sounding receptionists throw you off. Remind yourself (and maybe them, if they’re too obnoxious) that you are the paying customer here and as such are entitled to some polite behavior on their part. You won’t always get it, of course. This is, after all, real life as it exists in Hollywood, like it or lump it.

One other point: We urge everyone to sooner rather than later take some improv classes, in addition to all other types of acting classes. Even if you aren’t the funny type, you must learn to think on your feet and nowadays, most casting people expect to see improv training on all actors’ resumes. There are a number of excellent improv schools and classes in Hollywood; once you establish yourself here, you can easily locate them, since virtually all of your new actor friends (you know – the ones you will so happily be acquiring from your acting classes…!) will already know about them! Just (here we go again) ASK!

CASTING DIRECTOR COLD READING WORKSHOPS

Before we explain these to you, we want to warn you: DO NOT ATTEMPT THIS UNTIL YOU HAVE REACHED A CERTAIN LEVEL OF COMPETENCE, WHICH YOU CAN ONLY ACQUIRE AFTER HAVING TAKEN SOME SERIOUS ACTING CLASSES IN HOLLYWOOD. (See ACTING TEACHERS/COACHES/SCHOOLS.)
Here’s how these all basically work:

1. You audition in order to be allowed to join the workshop. Do not join a group that doesn’t ask you to audition; it means they’ll let anyone in and that can lead to disaster.
2. Once you’re a member, you will receive a calendar of events, usually a month to two months per calendar. Each “event” is a session with a casting director, talent agent, or occasionally, a producer or director.
3. You choose the ones you wish to attend and sign up as quickly as possible, since they tend to fill up rapidly. Each session is paid for separately (the various groups offer different ways to pay and some include discounts if you buy “tickets” in advance).
4. The casting people (CDs) usually bring their own sides and after a relatively short Q & A (by law in California, they cannot take your money if they don’t give you a “lesson” in return, thus the lecture or Q & A), they hand out the sides, pair you up with a scene partner, and give you about 15 minutes to rehearse. You return to the room and perform your short scene for the CD.
5. In the case of agents looking for new clients, they are not expected to provide the sides. The group may provide them from a stash they’ve kept, or allow you to bring in your own material.

 
It’s that simple. The purpose is obvious: To give actors a controlled way to meet casting directors who might otherwise never call them in for an actual audition, since they have no idea whatsoever what the actor’s talent level may be. The hope is that the workshop will eventually lead to a real, live audition. Many actors are disappointed when they begin to realize that it can take months, sometimes years, before these workshops start to pay off, but for the well-trained, diligent actor, they almost surely will. A single booking at the day player rate (upwards of $750 in 2008) will pay you back for the 15 or 20 workshops you may have taken.

Look at it this way: There are no guarantees in life. You have two choices – you either do these workshops and hope for the best, while doing your best, or you don’t and let your competition (yeah, that’s what they are, folks – the competition) do them, without you to impede their upward climb. The casting people will get to know whomever of you actually shows up for these very necessary workshops. So, who’s it gonna be? Them or you?

Another little warning: There are a lot of whiners and nay-sayers in this business. You will hear the occasional high-and-not-so-mighty moaner and groaner grousing about what a “rip-off” these workshops are – how actors shouldn’t have to pay to audition – blah, blah, blah. Well, guess what: We ALL thought that same thing when they first started back in the 1990s, but there have been far too many positive results for us to continue to worry about any of that.

You came to Hollywood to act, right? Well, these workshops are an opportunity to do just that. If you’re going to attend them, do it with the right attitude, because if you walk in the door with a chip on your shoulder, you will blow any chance you had to favorably impress the casting person, agent, or director who is spending his or her time to get to know your work. So what if they’re making a little money at the same time. That is really none of your business, now is it? After all, you don’t think you’re the only person who wants to earn a little bit more money, while still doing what you love, do you…?

As for our first warning…casting directors are like elephants: They never forget…a bad performance or an unpleasant attitude. That’s why we urge you to wait until you are truly ready before participating in these workshops.

A few of the best:

ACT NOW! www.actnownetwork.com
ACTORSITE www.actorsite.com
IN THE ACT WEST (ITAW) www.itaproductions.com
ONE ON ONE www.oneononeproductions.com
SIGNATURE STUDIOS www.signaturestudiosla.com

Please note: There is no good reason on earth to pay a high fee just to join one of these groups. Most of them charge a nominal processing fee after they accept you into the group, but there are a couple out there (not on our list!) who charge several hundred dollars just to join. We’re not talking about paying in advance for the workshops; we’re talking about a fee to join. Shall we say that one more time? A. Fee. To. Join.

Do. Not. Do. It.

Needless to say, your own cold reading skills must be excellent. If they aren’t, start working on them now, so that when you are really ready to start meeting the people who will influence your entire career, you’ll know and they’ll know that you are, indeed, a pro.

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