HARRIET GREENSPAN TALKS ABOUT CASTING YOUNG PEOPLE

Known for her canny ability to find and cast terrific young actors in films and television, Harriet Greenspan is happy to share some of her casting stories and her coaching successes.

How and when did you get started in casting?

It was an accident! I actually just fell into casting. Let me explain: I wanted to be an actress growing up in NY. I never thought about casting or any other area of entertainment. I got accepted to the High School of Performing Arts, but never went. My dream was to be in show business. My parents sent me to college in Los Angeles, so that I would be closer to achieving my goal. When I graduated, I got a job working in a production company as a receptionist. My uncle, Arne Sultan, who was a successful comedy producer and writer, was working on a show at the time and set up the interview. Needless to say, I got the job. During the season the casting director quit and the assistant took over. I became the casting assistant. Thus I fell into the casting arena. I loved reading with the actors since it gave me the opportunity to act. I enjoyed the whole casting process and felt excited by it. When the show went on hiatus, I left the company and found a job with a casting company that worked on feature films and television. That was even more exciting. I worked for the biggest casting director at the time, Lynn Stalmaster. I started on the bottom, doing contracts and paperwork and gradually made my way to casting director. After four years with Lynn, I was offered a job at ABC where I became a casting executive, overseeing shows like Dynasty, Loveboat, Fantasy Island, Bosom Buddies, Three’s Company, Happy Days, Too Close for Comfort to name a few . At ABC, I had the opportunity to work with amazing people who have become some of the biggest producers, top television executives and movie moguls in entertainment.

You Seem To Specialize In Kids. How did that evolve?

After ABC, I left Los Angeles and moved back to NY for personal reasons. Upon returning to LA in the early 90’s, with a 3 year-old daughter, the business changed drastically and there were more casting directors moving into the neighborhood. More casting directors meant more competition. I freelanced when I realized I couldn’t go back to a corporate or staff job. I worked on movies of the week for Vin Di Bona and Kushner Locke. I took on a number of partners, but after a few years realized that I wanted to try it alone. I did independent features, also. One of the movies we did gave Denise Richards her SAG card. Also, Scott Wolf and Sean Whalen, to name a few.

About 8 years ago, a manager friend of mine set up a meeting for me to meet Sharon Chazin-Lieblein, who is the head of casting at the Nickelodeon network. A month later, Sharon called me and gave me the opportunity to work on a movie with her. I did and the rest is history! She hired me continuously and gave me the chance to work on wonderful kid-oriented projects. Thus began my niche of specializing in kids. I cast Ned’s Declassified School Survival Guide, Unfabulous and the pilot of Drake and Josh. I did a few movies of the week for Nickelodeon as well. Acting schools across the country asked me to come out and audition their students and teach workshops. I have been doing that ever since. On one of my trips I found an amazing 8 year-old girl named AnnaSophia Robb. After one month in LA she booked a national commercial and after a few more months she booked the lead in the movie “Because of Winn Dixie.”

About 4 years ago, I started my relationship with the Actorsite in L. A., where I teach workshops; I just finished teaching a week-long actors camp for kids. I realized that so many of the kids auditioning for me here in LA weren’t prepared for their auditions. I found myself spending more than 5 minutes with many kids, coaching them and getting them in audition mode, while others who were prepared anxiously awaited their audition in the next room. That’s when I started teaching in LA. Agents started to call me to coach their clients as well. I cast, I coach and I teach.

What problems do you have dealing with stage parents?

I don’t have an issue with stage parents. I cast the roles and I’m rarely on the set. I have wonderful relationships with the parents of the kids I cast but remember – once they’ve been cast my job ends. I get along with almost everyone, but if I feel someone is overstepping boundaries, I handle it diplomatically.

How can stage parents be the most helpful to their kids and to the casting world?

We all love our own kids and want to see the best happen for them. This is a very competitive business and we are dealing with children. Remember they are kids and you are their leader! When your kid makes a decision to be an actor, he or she must have a tough exterior, because there is so much rejection. A good stage parent should be supportive of their child’s career. Be their biggest cheerleader and build a healthy support system for them. It’s an acting career so when they aren’t acting or it’s slow for them, keep them in acting classes so that they can continue working on their craft while they are trying to get acting work. It keeps them fresh. When you take them to auditions, be excited and positive. Don’t make a big deal about the audition. It’s just an audition and not brain surgery. If they do well, pat them on the back and move on. If they feel it didn’t go well, then reassure them that there will be other auditions and it’s not the end of the world. When your kid gets an audition, make sure you get them all the material they need. It’s up to them how long and hard they prepare for the audition. You can only remind then once, but really shouldn’t have to remind them at all. If it’s truly their passion, they will automatically work hard to prepare.

Many parents obtain information from other parents about auditions. Roles that are right for your child might not be right for another child who is the same age, same hair color, etc. One might have an edge where the other might not. If you trust your agent or manager, let them make that decision. It’s not yours to make. Hopefully you have a representative that can get your child into any audition he or she is right for. Leave the pitching to them and just be a parent.

You also manage. Is that rewarding?

It’s very rewarding. I love to find new kids and watch their growth as an actor. I love to see where they go. Between my travels and teaching, I am constantly seeing amazing talent and I try to help them all. I don’t actually manage per se. I don’t call casting directors and pitch. I don’t deal with the daily activities of the clients. I’m more of a talent scout. I work directly with one management company. I bring them clients when I find someone terrific. They make the choice as to whether or not they want to work with them. If they don’t, then I might suggest another company, but I don’t work with other companies. I want to help everyone. I just can’t. I do coach my management clients for auditions if it works with my casting schedule.

What are you casting and for whom?

I have been working at Warner Bros this year with their new division, Warner Premier. We are casting the new book series The Clique. It’s a tween book series that has set the teen world on fire. Alloy Entertainment, which does Gossip Girls, is also producing. We cast the first movie early this year and we are starting the 2nd and 3rd in the fall. We just finished casting “Scooby Doo, The Prequel” with Warner Premier and the Cartoon Network. We also recently finished a few roles on a George Lopez movie for WB. We are starting a new series for Nickelodeon next week called “True Jackson V.P.”, with KeKe Palmer, that we are so excited about.

Producing:
My goal (and passion) is to produce features. I have 3 projects that are currently in development. The first one is “Stand By Love,” a romantic comedy written by Vincent Angel and being directed by Lesli Linka Glatter. We’re also working on film versions of two books, “A Summer of Kings” with AnnaSophia Robb and Corbin Bleu, and “Bloody Jack” also with AnnaSophia Robb.

How can actors reach you for coaching, etc.?

I teach workshops at the Actorsite in Sherman Oaks once a month. I don’t take more than 16 kids in each class, so you have to sign up early. We do 2 classes a day. I take children who can read up to 11 in one class and 12 and up in the other. The Actorsite email is: actorsite.support@gmail.com. If anyone is interested in private coaching, I can be reached at either harrietgreenspancasting@gmail.com or 818-601-6698.

THE CARE AND FEEDING OF WILD AGENTS

Let’s assume that after a long and exhausting hunt, you finally managed to bag that elusive beast…an AGENT. You knocked him out (with your charm and talent) and dragged him off to your lair, where you figured a few fluffy pillows and some See’s chocolates were all he’d need for the rest of his life. Well, sorry - it doesn’t quite work that way. It’s now your responsibility to keep him happy and well cared-for. A happy agent will repay you in spades…or at least with some decent auditions.

Despite what the handbooks may tell you, it really isn’t all that difficult to look after a domesticated talent agent. They require very little maintenance and only eat as much as you’re willing to give them. Here are a few handy-dandy dos and don’ts:

- Whining noises (“Why aren’t I going out more often?”, “My neighbor down the street has an audition. Can you get me in on it?”, etc.) are like fingernails being run down a chalkboard to agents. Do it too often and they will bolt, and even if you’ve inserted a LoJack chip, they may never return or love you again.

- Not keeping them well-supplied with the materials they like and need (your headshots and resumes, bookout dates, new phone/cell/email info) tends to irritate them to no end. It’s so much more fruitful to simply give ‘em what they want without having to be asked

- Ringing phones remind them of their former lives as somebody else’s put-upon assistant. Try not to call them unless there’s a very good reason to do so. Particularly grating are those “I’m just checking in to see if anything’s going on” calls which imply that you think the poor creature has completely forgotten who you are.

- Behaving as if you are their only master. Even though you were very proud of yourself for having caught this agent, you have to face the fact that there are probably several hundred others in his “stable” who feel the same way about him. You must learn to share!

- Come the holidays (or when you just plain want to pat him on the head), don’t be fooled into thinking that yet another box of those same chocolates is going to make your Snooky-Ookums of an agent feel special. Put some thought into gifts. Ask his assistant what he prefers: Scotch or apple cider; blue mittens or movie tickets; coffee or tea. Get the idea? And while you’re at it, for heaven’s sake remember that more than likely it’s his staff that’s doing the lion’s share of the day-to-day work on your behalf. Ignore them and you’ll regret it. (Also bear this in mind: Agents and their young, when no longer out in the wild, tend to sit around on their behinds all day, thus gaining weight. Do not encourage this by only bringing them sweets. A nice fruit basket says the same thing and is a lot healthier.)

- Although your agent may appear to be lonely, don’t provide a mate (meaning a new manager) without consulting with him first. There needs to be some chemistry in any new family arrangement and blind dates don’t always turn into love affairs.

- At some point down the line, you may feel the need to enact the “release” part of “catch and release”. Be nice. If you have the guts, do it face-to-face. If your guts are tied in a knot (yes, we know this is stressful), then phone the agent. But please, please, please do not send a perfunctory “per SAG rule such-and-such” drop letter unless, that is, you absolutely detest said agent and never want to hear that voice again. Always thank them for their efforts on your behalf, even if you don’t think there were any (!).

- Should you be on the receiving end of the release program, continue to be nice and don’t start bad-mouthing your former agent. Dropping clients is usually just as hard on them as it is on the dropee and sooner or later, that bad-mouthing gets back to them. Then guess who develops the bad reputation…!

There, now. Don’t you feel better? If you follow this advice, we just know your agent will be purring and your reputation as a very good client will be forever intact.
We will leave you with the following:

My Agent? I Love Him, Man!

I always ask my agent
Lots of questions about him –
Like “How’d you like my photos?”
Or “Ya think that I should join a gym?”.

I don’t ask how his weekend was,
Of if he has the flu.
(Though I worry ‘bout his nasty cough –
If he drops dead, my career is through!)

I heard he just got married
And I even know the bride.
Did I send a card to say congrats?
Are you nuts? I’ve got my pride!

He’d think I’m kissing ass for sure
If I show him that I care.
Treat my agent like he’s human?
Nah! – I’m really not that square.

But in every conversation,
I am sure to let him know
He’s not doing quite enough for me
And I just might have to go.

Yeah, man – that keeps him on is toes
And interested in me,
His most important client…!
And I’ll book my first gig someday –
It’ll happen – just you wait and see!

- K.D.W.

THEATRICAL CASTING DIRECTOR, JACKIE BRISKEY

Longtime theatrical casting director Jackie Briskey has had a fantastic run of enviable assignments over the years, but like most casting people, she didn’t begin her career in that particular end of the business. Jackie spent several of her early showbiz years performing management and public relations duties for (are you ready for this?!) the Smothers Brothers, Kenny Rogers And The First Edition, and many others.

Jackie segued into casting when she was hired by MTM Productions, in the 1970s. Her very first show was “WKRP In Cincinnati”! From that auspicious beginning, she went on to cast the pilot for “The Bob Newhart Show”; “Gloria”, starring Sally Struthers, for the great Norman Lear; “Valerie”, starring Valerie Harper; “The Hogan Family”; “Perfect Strangers”; “Midnight Caller”; 5, count ‘em, five Danielle Steele Movies of the Week; and countless other pilots and episodics. In 1999, she took the plunge into daytime television as the casting director of NBC’s wild and crazy soap opera, “Passions”, where she has remained ever since. (This candid shot was taken on the “Passions” set. You’ll just have to guess which actor has his arms around Jackie.)

Needless to say, Jackie has witnessed both the sublime and the terrible in her casting offices over the years. When asked to share some of her thoughts on the dos and don’ts of auditioning, she didn’t hesitate.

At the top of her list of don’ts…too much perfume or cologne. In fact, like most of her fellow CDs, Jackie would really prefer it if no one ever entered her office smelling of anything but fresh air! Even after an actor is hired, the problem can persist. Many a time she has had to go to a set and as diplomatically as possible request that an actor refrain from wearing any more of his or her way-too-potent cologne, because it was giving everyone else a headache.

Chewing gum during an audition. Don’t.

Props are never necessary during a cold reading. They make the actor look amateurish and they distract from the performance. She said that the same applies to “indicating” with one’s hands. The moment an actor starts using a prop or his hands to indicate something, the casting director, the director, and the producers will all find themselves looking at the prop or the hands, instead of where they should be looking: The actor’s eyes.

As a matter of fact, Jackie emphasized several times that in her opinion, the eyes are the most important tools that an actor has at his disposal. The people who will decide whether an actor is hired or not - the casting directors and the people who hire them - want to see what’s going on behind and through those eyes. She also noted that if a “reader” has been provided at the audition (someone who is there to feed the cues to the one who’s auditioning), the actor should make eye contact with him or her.

Another distraction for both men and women is too much or just plain unusual jewelry. Ditto clothing that’s so eye-catching it almost forces the viewer’s attention away from the performance. Never wear clothing that has words or logos written on it; even a pro like Jackie has found herself more interested in interpreting what’s written across an actor’s chest than in how he is interpreting his scene!

Actors should always have their sides in their hands during their auditions and should be turning the pages as they proceed. There’s nothing more embarrassing than going up on the lines and not being able to locate them on the page, as well.

Ask questions before you start the audition - that is, of course, if you have any. Jackie knows that not every single casting director will offer to answer questions, but the actor should take the initiative if it’s a pertinent, serious question.

Always be on time. If you know you’re going to be delayed, have your agent call the casting office and let them know. Or rather, ask if that’s going to be all right. If you were scheduled for the last slot of the day, guess what: It will NOT be all right to arrive late.

Remember to always take a headshot and resume with you, even if you think the CD already has one. Do not put your home address on the resume - it’s dangerous. If you don’t have representation, just put your cell phone number (not the home phone) on there; otherwise, you should have your reps listed.

Now, here’s a suggestion that a lot of actors, both young and old, should take to heart: Stop talking so much. A lot of actors, perhaps out of nerves or perhaps in an attempt to ingratiate themselves with the CD, rattle on about totally inconsequential things that have nothing to do with the task at hand, which is their audition. Nobody really cares if there was a lot of traffic on the way over, or that you had to take your cat to the vet this morning, or how tough it is to be…an actor! Just enter, be polite and warm, do your job and try to exit gracefully. If the CD wants more conversation or to ask questions, let him or her take the lead, not the other way around.

Jackie says that most actors are good judges of how they did in an audition, be it good, bad or indifferent. “Over the years, I’ve had many agents call to tell me how well their client thought he did and how excited they were. That is, until I had to tell him how awful his client was. On the other hand, I’ve had agents call to apologize for a client who was sure he’d done horribly in the reading and I had to interrupt to tell the agent that I was just about to call to hire that client!”

Jackie’s advice is to simply do your best, say “thank you” and move on.

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

A few acting schools:

BEVERLY HILLS PLAYHOUSE http://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: Unless you only want to become a standup comic, even sketch/improv people need to study…acting. The reverse is also true and we urge everyone to sooner rather than later take some improv classes, too. 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!