THE FINALE! THE ENTIRE JOURNAL IS AVAILABLE, BELOW.

When we found out that an actress we know from the mid-west was planning a trip to Hollywood in preparation for a move here, we asked if she’d be open to keeping a journal and sharing it with our readers. She was and she did – and it’s entertaining AND informative. Here is the first installment; more will follow every few days, so stay tuned!

Saturday, August 15, 2009-

It is 7:10am and I’m sitting at Gate C9 at Cleveland/Hopkins Airport, anxiously awaiting my turn to board the plane, which they will start doing in about an hour. They tell you to check in two hours before your flight and I’m glad I came early…the line at the security point check-in was long and even though he confiscated my (2) water bottles, the security guard did so in a very charming way, and was extremely “hot”, so we flirted with each other and that more than made up for the whole getting up at 4:30am to be here at 6:30am thing. I’m wide awake now! LOL! I did get my ticket cheap, since I purchased it early thru AAA more than 2 months ago, so I can’t complain too much. I’m all about shopping around and getting the best deal, whenever possible. My roundtrip ticket from Cleveland to LA was approx. $350 plus the $15 for each bag you check in, each way. Yes, most airlines now charge $15 per bag for anything you check in. So, squish all your stuff into (1) bag and don’t make it too heavy or they will charge you extra.

I’m now on the “cattle car”….I mean, plane. I swear they’ve crammed in a couple extra rows of seats to pack as many people in this plane as possible. What’s the maximum capacity, again? So, we wait patiently, with our knees up to our chins, for our turn to go. But, I’m getting way ahead of myself here. You’re probably wondering who I am and why I’m even on a plane heading for LA, right? So, let me start at the beginning….

My name is Patricia Valestin and I am a working Film/TV actor from Ohio. I’ve been pursuing my dream professionally for nearly four years now, (though I haven’t left my day job, yet.) I still like AND need that steady paycheck, along with my benefits, if ya know what I mean? My first paid acting gig was as an extra on the set of “Spider-man 3”. Since then, I’ve been training with my acting coach, Maureen Dempsey (on-camera scene study), aggressively auditioning/working and building up my resume. I knew I wanted eventually to make the move to LA, but after hearing all the horror stories about people (other actors) moving down there on a whim with no money, no job, no training (yes, they do look at your training), no demo reel, no business cards, no decent CURRENT professional headshots to speak of and no resume (that has been put in the correct format). In other words, they basically had nothing to offer but their “good” looks and the “stars in their eyes”. Thus getting no agent, no auditions, no jobs, no money and having to return home with their tails between their legs, so to speak. Wow! I didn’t want to be one of those people. I wanted to do this the right way.

About a year and a half ago I came across a web-site called Hollywoodpassport.com. It is a web-site devoted to actors looking to make the move to LA. It’s an unbelievable site, loaded with all the info. you can possibly need to help your transition be an “easy” one. Now, don’t get me wrong. It does not “sugar coat” anything. It tells you how it really is and what to expect. It is definitely not for the squeamish or the faint of heart. It’s geared towards the serious actor. After all, acting is an industry, like any other, that should be taken seriously. It was just what I was looking for. Yes! So, it was then that I started…. getting organized, that is. I got a new passport, (yes, people, you need a passport). You have to be ready, at a moment’s notice, to leave the United States if you are required to film in another country. You don’t want to be left behind or even worse…replaced! I also up-dated my headshot to a colored one with natural light. B&W is definitely OUT! And it had better LOOK LIKE YOU! NO glam shots here! I had a demo reel created and my own web-site up and running with the help of a good friend and a damn fine filmmaker, Steve Pallotta. Thanks, Steve!

Hollywoodpassport.com suggests taking a couple of weeks to go and explore LA and any and all opportunities to get acclimated to the area. So, I started saving my money for the trip out West. My boss at work would only give me two weeks off, so I knew my time out in LA would have to be planned very carefully, down to the last detail, so that I would get the most out of my time spent there. Hollywoodpassport.com suggests doing as much at home as possible before leaving, (demo reel, headshots) mainly because it’s less expensive. They also suggest making appointments/meetings, and registering for classes before leaving the comforts of home. So, I ordered the latest copy of Samuel French’s “The Agencies” to get current addresses and phone numbers of all the LA/Hollywood agencies. I then started sending out promo packages (headshot/resume, with demo reel and a personalized cover letter) to those agencies that were accepting new talent in my age range. Some of the agencies wanted you to e-mail the before mentioned packages, so that saved me a few dollars. “The Agencies” book lets you know what info they want, how they want it sent and to whom it should be directed. Get all this work done at least six weeks out from your trip to give people plenty of time to get back with you. After all, you can’t go to LA expecting to knock on doors and just walk in. The reception would not be a friendly one, most likely. In my case, there were about 60 agencies listed that were looking for new submissions in my age range. Some of those 60 agencies only had phone numbers and no address. So, I started cold calling the ones that had no other information and to my surprise, I was treated graciously and given either an e-mail address or a mailing address for me to use to send my information. Just remember to BE POLITE and don’t keep them on the phone too long. They are extremely busy and really don’t have time to chat on the phone, so don’t take it personally. You need to get a thick skin anyway before going out there, people, so start now.

I ended up sending out 48 promo packages and e-mailing a dozen or so to the ones wanting e-mail submissions only. To my surprise, I had eight agencies contact me, five of whom were definitely interested and wanted me to contact them when I arrived in LA to set up a meeting. So, with the hardest and most time consuming part done, I then began calling the acting teachers, classes and workshops suggested by Hollywoodpassport.com. One agency, who had contacted me after viewing my resume told me that I really needed some commercial training. She gave me the name of one such class: Mike Pointer’s “Hey, I Saw Your Commercial”! I researched it on the internet and it was actually rated as the #1 commercial training class in LA right now. So, I called and signed up. Yeah! My first class would begin on the day I arrive in LA. After all my phone calls were done and the dust had settled, I had enrolled in a commercial workshop, an on-camera workshop and set up an audition for a showcase through One On One Productions. All of this was done BEFORE leaving Ohio.

With my money set aside and everything coming together, I had nothing left to do but wait for my upcoming trip. I still kept working on acting projects, locally, right up to the week before I was to leave, to keep my skills sharp and to add more credits to my resume. If anyone knows me, they know that I like to stay busy (acting) and “stay in the loop” so to speak, even though I have a full-time job, as well.

That brings us back to my flight, which went smoothly without a hitch. I arrived just in time to pick up my rental car, which I had reserved when I bought my plane ticket. YOU DEFINITELY NEED A CAR IN LA! Do NOT rely on the bus system, taxi cabs or friends. They are all unreliable. You need to be independent and get where you need to go and be there ON TIME! Hint: Being on time really means, BE EARLY!

I had a workshop scheduled at 1:00pm with Mike Pointer’s “Hey, I Saw Your Commercial”. No problem. I picked up my rental car at 11:30am and headed straight to the class from the airport and with the help of my GPS, (a “must have” to get around) I made it to class on time. Coach Mike is an awesome commercial acting coach and my first class with him was unbelievable! I had so much fun and learned a lot at the same time. Can’t wait to go back for my next class with him, which is on Thursday evening. The class ended at approx. 4:30pm. So, I had just enough time to get going and check into the place I would be staying called, The Oakwood. It’s referred to as temporary housing (apartments) and is centrally located (very important) in LA. It was mentioned on Hollywoodpassport.com and I liked the idea of it only being 5-10 minutes from basically everything. It will help me save on gas, during my stay. Looks like gas prices are averaging $3.05-$3.15 out here. Yikes! Anyway, I rented a furnished studio apartment which is plenty of room for me and I really like having a kitchen, so I can prepare my own meals and save more money. It is comfortable, clean and secured 24/7 (gated community). This is a nice feature, especially for a woman traveling on her own.

Sunday, August 16, 2009-

This is my “free day”. I had nothing scheduled, so I used today to do my grocery shopping and explored the area to familiarize myself with my surroundings. I also picked up a copy of the LA times to check out the ads on permanent housing available in the area.

Monday, August 17, 2009-

I got up bright and early. This is the morning I was to make all my phone calls to the agents/casting directors that were interested in seeing me after reviewing my promo packages I had sent out BEFORE leaving Ohio. I’m sorry, but I can’t stress how important it is to do your “leg work” BEFORE leaving home. I left messages with receptionists and left voice-mails on others. Remember to talk slow, clear and concise. About an hour or so later, I began to get returned calls and also some e-mails. The first casting director, Dean Fronk, called and was still very interested in meeting with me on Tuesday. Yeah! It wasn’t even lunch-time and I had set up my first meeting! The next call I received was from TCN (The Casting Network). My contact was Marsha and she told me to register on TCN’s web-site ASAP and to come to the showcase she was having tonight at 7:30pm with guest Casting Director, Matt Lessall. Hint: A legitimate showcase will have you audition before being invited. Anyway, Marsha said that the showcase would be considered my audition for TCN and that I could participate in the actual showcase in front of a working LA casting director. The fee was $30. I know you are probably saying right about now, “You should never pay for an audition!” People, don’t whine about the fee. I’ve known actors who have paid upwards of $1000 to work and/or audition in front of so-called casting directors and/or coaches and there are plenty of them out there that will gladly take your hard-earned money and give you nothing in return.

When I arrived at the showcase EARLY (around 7:15pm), the place was packed. Remember, the traffic is crazy in LA, so always give yourself plenty of time. It is frowned upon to walk in late. DON’T DO IT!! This is where having a GPS comes in handy. NOTE: If you are running late, and this does happen to everyone from time to time, all the workshops/showcases have what’s called a “Late Line”. This is a separate phone number to call and leave a message to let them know you will be late and your approx. arrival time.)

Matt Lessall, the guest CD, actually ran the showcase tonight and he worked with each one of us on sides that he had supplied for us. We had 10 minutes to go over the sides he’d chosen for each of us. After a brief Q&A session before beginning, we then started going up one by one to deliver our lines. He worked patiently with each of us, giving us direction to see if we could change up the scene with his adjustments. My thought on this: He was seeing how well we could follow directions. Even though it was my first showcase ever and I was a little nervous, I thoroughly enjoyed the workshop and learned a lot. It was well worth the $30 I spent. At the end of the evening, about 4 hours later, I was told by Marsha that I did very well but that I needed to work on a couple of things, which I noted without offense. She also told me that I had passed my audition and welcomed me to TCN. I was thrilled! If you’re contemplating attending showcases, please remember, as an actor, you need to put yourself out there in front of actual working casting directors that really don’t know you or your work. These showcases give you the opportunity to be seen by casting directors that normally would not give you the time of day. So, check your ego at the door and have some fun!

Tuesday, August 18, 2009-

Woke up early (once again) so, that I wasn’t rushed.I had my meeting with Casting Director, Dean Fronk, at 11:30am and I did not want to be late.I arrived there about a half an hour early, so; I decided to go ahead and at least check-in for my appointment.Again, being early is not frowned upon…it is expected.I entered the building and headed for the elevators when a gentleman at the desk asked, “May I help you”?I responded, “I have a meeting with Dean Fronk”.He replied, “Oh, that would be the Penthouse”. He opened the elevator and pressed the PH button.I thanked him and he told me to have a nice day.Even though I was calm, cool and collected on the outside, as soon as the elevator doors shut, I was screaming to myself on the inside, “The Penthouse?Oh my God”!!

My meeting with Mr. Fronk went very well.He’s from Ohio!Very cool!We talked for a while and I gave him my current photos, resume and demo reel, as he had requested the day before.He thanked me for coming in and told me that he would definitely watch my reel and get back with me at the beginning of next week to set up another meeting.So far so good….and it’s only Tuesday!Wow!

In the evening, I had another class….an on-camera workshop that I was invited to by an industry professional that I had been networking with.Network, network, network BEFORE leaving home.Get in touch with other actors and industry professionals that have either been to LA or happen to live in LA.This is so very important.Again, I had signed up for this class BEFORE leaving Ohio.Even though there was no fee for this class, I was forewarned that this would be a 3-4 hour intensive session and I was somewhat apprehensive but looking forward to it, as well.When I got there, I signed in with the registrar, Johni Hurst, giving her a blank VHS tape with my name on it, as requested and was given my sides, which were pre-selected for me, in return.We were given about 10-15 minutes to go over them.The acting teacher, Tim Lampros, was refreshingly honest and did not hold back one bit.When it was time to go up to perform our sides, he would immediately let us know what mistakes we were making, if any, and what to do to correct them.He taped each one of us so that we could see our performance and rate ourselves.What better way to learn about your individual acting skills.I loved it!He then gave us a lot of great information on the business aspect of acting because that’s what it is….a business.He also stated that Hollywood is getting tired of training actors on the set.As an actor, you need to know your job, i.e. knowing where you’re supposed to direct your lines to.It’s called your “eye-line”.If you don’t know it….ASK!Also, know your lines.The director doesn’t want to have 50 takes of you performing your one line.No one wants to pay their production crew OT (over-time), especially in this economy.Besides being costly, they don’t have time.He may have offended a few actors in the room by being so brutally honest, but no one stormed out or anything like that, even though he did mention that some actors had done so before.It was an awesome class and I will most likely sign up for the 16 week workshop.I highly recommend this class, Actors Certified Training or (A.C.T.) to everyone.But, remember, once again, to check your ego and your “attitude” at the front door.He will notice and will point it out to you and the rest of the class.Tim Lampros takes his job seriously and so should you.If you’re not serious, do NOT WASTE HIS TIME!

Wednesday, August 19, 2009-

I woke up early again.This isn’t a vacation.Sleeping in would be disastrous, to say the least.I had a few more phone calls to make to agents who had contacted me before I had left Ohio.They had instructed me to contact them when I had arrived in LA to set up a meeting with them.Immediately after my phone calls, I had an appointment for an audition for another cold reading workshop, One On One Productions.Again, I had made this appointment BEFORE leaving Ohio.There was no fee for this audition, but once again the audition process is necessary to weed out the actors who don’t have the confidence and the ability to execute a cold read.Hint:Brush up on your cold reading skills before you sign-up for a cold reading workshop.

I signed in and was given my sides and assigned another actor to read with me.We had about 10 minutes to go over our sides and then we were called in.I was lucky enough to have an actor who was experienced and comfortable with cold reads.We not only made the right choices with the characters, but we were both pretty much off page so that we could concentrate on the acting and not the words so much.Next, we were told to wait outside while they made their decision.A few minutes later, they called us back in the room individually to give us their feedback on our performances and if we were eligible to become members.We both ended up making the cut and we were officially welcomed to the workshop!Very cool!So, now I am a member of (2) workshops in under a week!These workshops that I auditioned for are extremely important because they give you the opportunity to attend showcases that are run by actual working LA casting directors.

Later in the evening, I received a phone call from TCN (The Casting Network), for whom I auditioned on Monday night, inviting me to attend another workshop/showcase tomorrow night.They said the guest CD is looking to cast character actors for some feature films (horror) coming up and they thought I’d be perfect.So, of course, I said “yes”.Horror is one of my favorite genres and I’m really looking forward to meeting this particular CD for this showcase.

Audition for and attend as many workshops and showcases as you can.It’s so important to get yourself out there in front of actual LA casting directors.Don’t make the mistake, like so many others have done, and shrug workshops off.Agents, as well as casting directors do attend workshops often.You never know who may be watching you.

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Thursday, August 20, 2009-

Got up early, once again.I’m talking 8:00am.I keep mentioning this because I am on a working vacation and I’m not here to lay by the pool or go to the beach.I haven’t done either one.Not only because I don’t have time, but I think it would not go over very well at my auditions and/or meetings if I showed up with a deep dark tan or burnt to a crisp.In other words, I WOULDN’T LOOK LIKE MY HEADSHOT!HELLO!Keep that white, pasty mid-western skin, (if that’s where you’re from).It’s a refreshing change from all the hundreds of actors they see everyday with a savage tan.Keep your hair the same style as it was done for your headshot and your make-up to a minimum.They (the agents and casting directors) will recognize you almost immediately because you wouldhave already sent your promo packages to them BEFORE leaving home, (hint, hint).Most of them have excellent memories.So, stay the “real you” and don’t get all dolled up.

Wardrobe:Know what colors look best on you and bring them.Stay away from red or prints of any kind.They rarely look good on camera.Don’t wear any flashy jewelry that is going to distract them from concentrating on your acting.I, myself, wear only a watch, a simple (very small) pair of hoops or silver or gold studs, or no accessories at all.DON’T wear bracelet, bangles, necklaces, toe rings, thumb rings, etc. or anything that makes any noise when you move.Again, it’s TOO DISTRACTING!When you go to an audition or meeting, it’s usually casual, so don’t overdress for the occasion, unless otherwise specified or reading for a particular role.Business casual or a t-shirt and clean jeans is fine.DON’T wear flashy fingernail/toenail polish (clear polish is O.K.).Again, it’s VERY DISTRACTING!When going to meet with a casting director or an agent at their office, wear a pair of dress slacks and a dress shirt.If you want them to take you seriously….dress seriously.

Also, always have at least (2) headshots with resumes attached (no paper clips) and ready to go.Coming in unprepared or asking for a stapler makes you look like an amateur.Always be nice, polite and receptive.Say hello to at least three other people before going in to your audition/meeting/workshop, etc.DON’T be a diva!Remember, people are ALWAYS watching you….you just don’t know it.Check your ego and your personal problems at the front door.They don’t care that your cat just died or you just broke up with your boyfriend.If you consider yourself to be an actor….ACT!!Paste that smile on your face and go in there and BLOW THEM AWAY!!!But, most of all, be yourself, act normal and have fun!Believe me, I’ve seen quite a bit while I’ve been here and I’ve only been here for five days.O.K., I’ll get off my soapbox now.But, I do hope the information has helped you in some small way.

I attended another TCN (The Casting Network) showcase tonight.The CD was Marisa Rodrigues.She helps to cast “The Young And The Restless” (Day-time Soap) and is also involved with some feature films in the horror genre.We handed our headshots in before class began, as usual; that’s why it’s important to be early.It gives the CD a chance to pair you with a partner or have you read a specific scene on your own.There was a brief Q&A session and then the CD assigned our sides and we had 10-15 minutes to go over them and to get off page as much as possible.We went up one by one and the CD would critique our performances and let us know if there were any adjustments we needed to make, and then after a few minutes, we’d perform the scene again.She gave me a scene from Y&R and I went up and messed up on one of my lines but kept going without a pause and was off page for the rest of the scene.Hint:If you make a mistake, don’t stop and apologize and ask to start over.Just keep going as if nothing happened or as Coach Mike from “Hey, I saw Your Commercial” would say, “make it a beautiful mistake”.Anyway, Ms. Rodriques told me that my read was very good, but that I needed to make a few adjustments.So, I went out for a few minutes, while someone else read, and then came back in and performed the scene again, totally off page with her suggestions.She then told me “excellent job” and I was done.After everyone had finished, she asked us fordemo reels or a web-site to view our demo.I approached her, gave her my link to my web-site, said “thank you” and that it was a pleasure meeting her.Don’t just bolt for the exit afterwards.It looks like you don’t really care.If you have to leave early, make sure you get with a staff member or the CD beforehand.It’s considered extremely rude to just get up and walk out.

Friday, August 21, 2009-

This was a free day for me, so I did my grocery shopping, laundry, filled my gas tank and “chilled,” basically.I checked my e-mail first thing, as usual, and good thing I did. The showcase I signed up for on Sunday with Casting Director, Nan Dutton (Miami C.S.I) wanted hard copies of our headshots and resumes beforehand.She wanted us to drop them by her office in Encino ASAP.So, with the help of my GPS, I made sure and did as she instructed.Then, I had the rest of the day to myself.I heard back from all the agents that had contacted me, except for two…even after doing a couple of follow-up calls.But, that’s O.K.I know it’s nothing personal.So, it’s all good.

Saturday, August 22, 2009-

Got up early, had to be at my commercial class by 9:00am.I made sure to pack a lunch…I was warned it would be a long day, since I’m actually taking two of the commercial classes today.I have a Level II class in the morning and a Level I class in the afternoon.Mike Pointer is awesome…not only a great coach, but a great person.He’s doing all he can to make sure I get his full 4-week workshop completed during my short stay here.He’s an actor, as well, so he understands my drive and ambition.Anyways, the Level II class was fun.There was more improv and I love improv.He also had a great guest speaker at the end of class.His name was Adam Collis, a successful LA Director.Coach Mike said that it was a good idea to get to know him because he knows a lot of people in the industry and besides that, he’s one of the “good ones”.He had a quick Q&A first, then gave us some information about on-camera film classes that he was going to be having for actors.He was in the middle of a workshop right now and his new one started in the Fall.But, I didn’t let that stop me from inquiring.At the end of class, Mr. Collis was hanging out in the lobby, talking to some students.So, when I saw my chance, I introduced myself, handed him my headshot and resume and asked if there was any way he would be able to squeeze me in a class before I leave on August 28^th.He had me write down my name and contact # on a piece of paper and I figured he was just being polite and stuff.I really don’t think I’m going to hear from him, again. Hey, but you never know, unless you ask, right?

What, exactly, does that phrase conjure up for you?  Someone you see every week on television?  A name above the title on a couple of feature films each year?  Or perhaps an actor, teacher and author such as Adilah Barnes, who is a whirlwind of activity, year in and year out.

Adilah may not be a native Angelena, but she is a native Californian, having grown up in a tiny town called Oroville, in the Sacramento Valley.  “Oroville is the closest thing to a southern town you can imagine, both in terms of its redneck faction and its gentility.  It was a very interesting place in which to grow up and I experienced “the South” without ever leaving California!  In my particular neighborhood, it truly was like the proverbial village, where everyone helped raise everyone else’s children.

“In my own family, for example, you had first generation southerners from Mississippi, Texas, Arkansas, etc., who had come to the Golden State, looking for a better way of life.  But they also brought the best that they could with them from the South, too.”

We wanted to know if Adilah was encouraged in her artistic pursuits as she was growing up, not only by her immediate family, but by her friends and neighbors, as well.  After all, acting probably was not the first thing on anyone’s mind in those days.

“The answer to that is ‘No’, Adilah tells us.  “I didn’t even know myself that I was going to be an actress until I left home and went away to college.  However…when I was 16, I wound up in a summer program at Chico State (College), called Upward Bound.  It was for kids who were considered financially ‘disadvantaged’; a 3-summer program, designed to prepare them for college.  During my first summer there, I performed in my very first play – I was The Queen in ‘The Ugly Duckling’.  Interestingly, it was cast multi-racially, so I began my career with non-traditional casting.  My husband was Caucasian with brown hair and eyes; our daughter was a blue-eyed blonde; and her suitor was African-American.  As I mention in my book, I referred to us as ‘mix-n-match majesty’!

“You see, my first play exposed me to the idea that anything is possible.  We were cast by the director according to who he thought best fit the part and it had nothing whatsoever to do with race.  It was truly a wonderful beginning.”

Back at her high school in Oroville, it never occurred to Adilah to become involved in the drama department – and to this day, she isn’t quite sure why.  Instead, she became one of the class valedictorians, senior class secretary, Girl of the Month, editor of the school paper, and she joined several service clubs.  But she preferred to pursue her acting interests elsewhere.

Perhaps Adilah’s thankfully short bout with petit mal epilepsy affected her self-confidence and belief that she could shine on a public stage.  It struck when she was in 5th Grade and lasted through 8th Grade or thereabouts.  Very few people have much knowledge of this form of epilepsy, but in Adilah’s case, it manifested itself in sudden trance-like states, which left her not knowing where she had just been.  Imagine how frightening that would be for a child.  It certainly wouldn’t lend itself to a feeling of security that one could handle a part in a play; this may well have been the root cause of Adilah’s reluctance to participate in school plays.

“By the time I arrived at Upward Bound, my self-esteem was pretty low.  But they apparently saw me as a diamond in the rough and they really nurtured me, and cared for me, and encouraged me.  I ultimately became a real leader there and transferred what I learned in that wonderful environment to my life in high school.”

Adilah took more acting classes at Chico State the following two summers.  After graduating from high school, she went to the University of California Santa Cruz, where she concentrated on acting.  As a child, she had always thought she would wind up being an English teacher, but her acting experiences at UCSC, where she also co-founded the Black Magic Theatre Company, became her ‘aha!’ moment, when she decided that acting was the field for her.

Back at home, Adilah’s mother was somewhat surprised by her choice of careers.  “She wondered why I would choose a life where the divorce rate is so high and the success rate is so…iffy.  Plus, no one in my family had ever even thought about pursuing a career like this.  But once I began to be a successful working actor, my mother became my biggest cheerleader.  She was incredibly proud of me.”

One of Adilah’s most notable achievements is her highly successful one-woman show, “I Am That I Am, Woman Black”, which has toured throughout the country and to several foreign ones, as well.  She explained how it evolved:

“Back in the mid-80s, I was touring the country with the African-American Drama Company, out of San Francisco.  We were doing two separate shows in repertory:  I was in the version about historical women and the company director was in the one about historical men.  He and I would perform these shows at various venues together.  There came an occasion when I was sent on the road by myself, for some reason.  Well, when they handed me the envelope with the check for that performance, it happened to be unsealed.  I opened it up and when I saw the amount of the check, all I could think was ‘Oh, my god.  That’s what he gets for me?!’  Comparing it to what he was paying me, I realized I’d better create my own show.  So, I did!

“Shortly after moving to L.A. in the early 90s, I happened to notice an ad calling for applications for something called the Window Grant (sorry, but it no longer exists).  It was being offered by the Cultural Affairs office of the city.  One of the items that was required to be submitted was a letter from some organization stating that, should you receive the grant, they would allow you to perform at their venue.  I decided to go after senior citizen centers for two reasons:  One, they were being underserved; and two, they would be my least critical audience, which it turned out they were, because they just loved my show.

“Well, after that first grant, I obtained another, so that I could take the show to children’s venues.  From that point, it took on a life of its own.  My niece joined me and we formed Adilah Barnes Productions, which allowed us to sign on with booking organizations, and they started booking my show anywhere and everywhere.  We concentrate on the college circuit.  To date, I’ve performed in 41 states and on three continents.  I’m trying to maintain enough juice to make it to all 50 states and I only have 9 more to go!”

Financially, touring with her own production has been a tremendous boon to Adilah.  “I once participated in a showcase, through the National Association of Campus Activities, that resulted in 38 bookings for my show!  Thirty-eight!  From one regional showcase!  At that point, I thought, ‘Oh, my.  If I’m ever going to buy a home, now is the time to do it.’  And so I did.  The down payment on my house – the one I still live in – came from my one-woman show.  Whenever work might seem a little slow, all I have to do is look around at the four walls that surround me and remind myself (and anyone else within earshot) that it is, indeed, possible to make a living as a performer.

“I point that out (and there’s an entire chapter in my book about touring), because I want other artists to know that it is possible to create your own vehicle and to get that vehicle to serve you, so that you become autonomous.  This show has not only empowered me; it has supported me for many years.”

In addition to the financial benefits associated with touring a show such as this, Adilah rejoices in the caliber of students and audience members she has been fortunate enough to meet.  “These young people represent our future and I am so impressed, especially during the Q & A sessions that follow the play, by their inquisitiveness and lively interest in the subject matter.  Additionally, I have had the wonderful experience of portraying seven African-American women who have contributed greatly to the fabric of our society.”  The tour has also, as would be expected, provided Adilah  with the opportunity to travel and see parts of the country – and the world! – she might otherwise have missed.  In fact, as we write this, she’s making plans to return to Holland for another run of the show, and to conduct workshops and acting classes.

An interesting benefit of portraying these historical figures was revealed when Adilah was cast in “Iron Jawed Angels” on HBO.  “When I auditioned for this, I was so prepared for the role of someone like Ida B. Wells, that she was just a natural fit for me.  When the booking came through, I really wasn’t surprised, since I had so much experience playing historical African-American figures.”

Adilah is very proud of the Los Angeles Women’s Theater Festival, which she co-founded in 1993.  She no longer performs there herself, preferring to leave space for others, since she has the international tours to keep her busy when she isn’t performing on-camera.  “We have now produced over 400 solo artists from around the globe.  We also have an arm of the festival that sends teaching artists into schools, both during and after school hours, and we’ve served over 3,000 kids thus far.”

Many actors have had the benefit of Adilah Barnes’ teaching.  Her classes consist of students at all levels.  “For one thing, I have very little time for teaching nowadays, so I can’t spread the work out to too many students.  But more importantly, I realized long ago that actors learn from each other.  The beginners learn early on that they must strive to keep up with the more advanced students in the room, which can accelerate their learning curve.  The ones at “the head of the class”, so to speak, are role models who have to accept the responsibility that goes along with that distinction.  I know that some other acting teachers might disagree with that concept, but I have found that this dynamic works for us.”

When asked to share some insights into dos and don’ts that she encounters with various students, Adilah said, “One of the things that I see – perhaps not frequently, but often enough to notice – is people who claim that they want to be working professional actors, yet they do not commit to the responsibility that goes with that.  I mean by that studying; keeping their acting chops in shape by using the classroom like a gym for acting;  doing their homework, so that their characters are well-shaped; etc.  There are those who think that because they have a natural talent, they don’t have to work at it.  They apparently don’t understand that they might be limiting themselves to certain kinds of roles because they don’t challenge themselves by doing some hard work.

“I encourage all actors to support each other and attend each others’ performances, be it on stage or on camera, because I believe you can learn a lot by observation.  Some actors just don’t get the value in that – they’re of the “it’s all about me” mind-set, not about the craft, not about learning, stretching, growing.  Sometimes, actors become comfortable where they are and that’s where they stay.”

Coincidentally, Adilah teaches a class called “So You Want To Come To Hollywood” when she’s on the road.  Just as we at HollywoodPassport.net do, Adilah strongly suggests that actors from outside of Hollywood prepare as much as possible before coming here.  “Do the research”, she says, “Get a copy of the ‘Working Actor’s Guide’, which is like the bible for actors, and ‘The Agencies’, which lists all of the L.A. agents and their specialties.  Also be sure, before coming, that your instrument is well-oiled and that you’ve gone as far as you can go in your particular home town.  You may be living in a place that doesn’t offer anything in the way of on-camera work or even training, but your stage work counts for a lot.  Make sure your resume reflects all of that hard work.  If you’re lucky enough to know someone who is already pursuing an acting career here, ask them for their advice and opinions, at least if you trust them.”

If you’re interested in applying to join one of Adilah’s classes, you have a couple of choices:  You can go to her website, www.AdilahBarnes.com, where you’ll find more information about the classes; or you can call (818) 679-2086.

You can purchase Adilah Barnes’ lively book, “On My Own Terms” (http://www.onmyownterms.net/),  at Amazon.com: http://www.amazon.com/My-Own-Terms-Adilah-Barnes/dp/1425790089

Finally, if you’re a writer yourself and a woman (sorry, fellas), Adilah has created a literary retreat in Atlanta, called The Writer’s Well.  “We provide a very serene and inspirational environment for women writers.  There is information about that on my website, too.”

Adilah Barnes.  Working actor.

EDITOR’S NOTE:  This week, 4/27/09, Adilah will be in Washington, D.C., as an invited guest, as the White House unveils a tribute to Sojourner Truth, one of the historical women Adilah portrays in “I Am That I Am, Woman Black”.  For more on this, click here: http://www.latimes.com/news/local/la-me-artislane28-2009apr28,0,4818660.story

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
JOE FEDIO	http://jfediophotography.com
VANDIVEER	www.jvimages.com
GUY VIAU MARK BENNINGTON JEROME DUCHANGE	www.guyviauheadshots.com www.benningtonheadshots.com www.jeromeduchange.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?

ANOTHER NOTE:  If you’re going to send out jpegs of your headshots for any reason (and there are plenty of ‘em!), for heaven’s sake, take the time to put your name on the label of each one.  There’s nothing worse for an agent or casting director than finding a jpeg floating around your computer of someone you vaguely recognize and the only identifyer is the number of the photo.  DON’T BE LAZY.  Do a cut-and-paste of your name and add it to the photo number.  That way, each shot can easily be identified.

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…!

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

(1/19/10 – Haitian actor, Max Eugene, would like to share the following information with anyone who wishes to help the people of Haiti, during this terrible disaster:

A list of charitable organizations active in Haiti.
http://www.msnbc.msn.com/id/34834553/ns/msnbc_tv-rachel_maddow_show/from/ET

SEND ANY KIND OF SUPPORT TO AID THE RELIEF EFFORTS IN HAITI THROUGH REPUTABLE ORGANIZATIONS SUCH AS  UNICEF AND THE AMERICAN RED CROSS. YOU  CAN DONATE TO UNICEFUSA.ORG OR 1-800-4-UNICEF OR TO THE RED CROSS AT 1-800-REDCROSS. ALSO A $10 DONATION GOES TO THE RED CROSS WHEN YOU TEXT “HAITI” TO 90999. THIS DONATION WILL SHOW UP ON YOUR NEXT MONTHLY PHONE BILL.

MAX)

Bilingual actor Max Eugene was born in Port- Au Prince, Haiti, once hailed as the Pearl of the Caribbean by the Spaniards for her richness in beauty and natural resources.

(Haiti became the first independent Black Republic in the Western Hemisphere, after defeating the French Army, which undoubtedly had fallen too much in lust with the island in the late 1700’s and early 1800’s.)

His parents, Max Eugene, Sr., a journalist, an actor and an activist, and Jeanne Montfleury, a nurse, left Max in Haiti at the tender age of one, in the care of his Aunt Nini, to seek a better life for the entire family in America. Aunt Nini treated Max like her own son, leading him to genuinely believe that she was his mother.

As a young boy, Max had aspirations to become a footballer like his Argentine idol, Diego Armando Maradona. Becoming a footballer like Maradona or Pelé was probably the dream of most Haitian boys in the eighties and nineties, as Max recalls. He has fond memories of running barefoot and playing in the streets of Haiti with balls made from water balloons covered in large pair of socks, or lemons, or oranges, or plastic bottles of various shapes. As he puts it: “I’d kick anything back then.” But persuaded by his elementary school teacher to play Jean Jacques Dessalines, a Haitian revolutionary leader, in a school play, Max became infatuated and was later seduced by the adrenaline rush that every actor experiences when they perform before an audience. A series of unforeseen events propelled his passion for acting into a lifelong love affair. It was a love affair that he only kept to himself, because to most Haitian parents, an actor is less than a doctor, a lawyer or an engineer. Nevertheless, Max’s passion grew stronger with his first VHS experience in French of “Le Flic De Beverly Hills”, which translates to Eddie Murphy’s “Beverly Hills Cop.” He started dreaming more and more of tall buildings and snow falling from the sky. America! The land of opportunity. ‘And only in America can pretending that you’re someone else earn you a living as an actor’ he thought. Besides, he had already had enough of Haiti’s political turmoil. He wondered, also, about what it would be like living with his biological parents and a brand new sister, Sabine Eugene.

Finally, Max thought his dreams had come true when he was awarded a green card to come to America in the summer of 1992. But his parents insisted that they did not intend to let him stay and live with them in Brooklyn, NY, simply because in Haiti, Max had a village looking after him, which would be the opposite of life in Brooklyn, for both parents worked night jobs. Therefore, coming to America would only be a visit and not a permanent move. During a brief summer visit in 1993, his parents were faced with a difficult choice on the day of his departure to Haiti. As they were leaving for JFK airport, they heard on the radio that armed gunmen had once again taken over the streets of Haiti, that there were no flights arriving to or departing from Haiti since the gunmen were using the airport as a de facto headquarters. Right then and there, he recalled his mom saying to his dad: “My baby is not going back there.”

The next day Max found himself in a classroom filled with English-speaking students at Samuel J. Tilden High School in Brooklyn. Armed only with French and Creole, he found it hard to communicate in the English language at first. But as he kicked into survivor mode, he quickly mastered the language with the help of his teachers; music and reading out loud any newspaper articles that he could get his hands on sealed the deal. Furthermore, Max’s love for the art of acting took on new meaning when he was introduced to William Shakespeare. He became more confident and self-assured when he performed as Duke Orsino in Shakespeare’s Twelfth Night in his high school play, his first performance in English.

In 1997, Max graduated valedictorian of his high school class. He continued his education in upstate New York at Hobart and William Smith Colleges and graduated Cum Laude with degrees in Philosophy, Theatre and Dance. It was in college that Max informed his parents of his commitment to acting, knowing “that acting would not be an easy girl to bring home to his mama”, to echo his words. Neither parent objected to Max’s choice, although they certainly had their doubts. Aunt Nini, however, was certainly disappointed to learn that Max had now declined to pursue a career in law, after she had just come to terms with the fact that he wouldn’t go to medical school even if it were free. Knowing that acting had already had a strong hold on Max’s heart, Aunt Nini uttered: “ Take it easy and just be careful.” Still, the battle with the parents was not over until they attended one of Max’s performances in Luigi Pirandello’s play, “To Clothe The Naked”.

After completing college, Max sought to make his dream a reality. He spent a year working at Children’s Aid Society in New York City as a drama specialist, before embarking on his graduate studies in acting at California Institute of the Arts (also known as CalArts) in California. In 2002, He landed in California with two bags, little money and no place to live. With the help of his peers during orientation at CalArts he finally found a room to rent and was able to purchase a car, which he paid for with a student loan.

At CalArts, he deepened his love of acting by following a rigid regimen of acting, voice, speech, and movement classes on a weekly basis for three years. Following his graduation from CalArts, he was fortunate to acquire an agent in Los Angeles through diligence, hard work, and persistence. Since then Max has toured with a play in France; worked at Sundance Theater Lab; performed at the Roy and Edna Disney Theater (also known as THE REDCAT) in downtown Los Angeles; performed at the Ford Theatre in Hollywood; and starred and co-starred in a few independent film projects, including an experimental film with Hollywood movie director, Elias E. Meridge (Shadow of The Vampire and Suspect Zero). Max currently works at Oakwood School and as an administrative assistant to a Family Therapist. And, of course, he continues to attend acting classes and casting workshops in the Los Angeles area, while he researches the Haitian Revolution, the subject of his own ambitious film project, and adds to his tan under the SoCal (a.ka. Southern California) sun.

This face has become recognizable throughout the world over the past 4 or 5 years. If you love movies and television – and the interesting projects that this terrific, versatile actress has performed in – you’ll understand why.

Although she’s been an actress and acting teacher most of her adult life, KATHY LAMKIN “broke out” of her safe, Houston, Texas, surroundings only as recently as 2002 when she made the move to Hollywood. Since her arrival – encouraged by casting director and friend, Terry Berland, and agent, Kristene Wallis (who immediately saw immense potential in this “unknown face”) – Kathy quickly grew into a valued member of the Hollywood acting community. Just a few of the very prestigious projects in which she’s made memorable appearances: “Texas Chainsaw Massacre” as the Tea Lady (“Oh, my, my, my, my, my!”) and its prequel; “Astronaut Farmer”, with Billy Bob Thornton; “Malcolm In The Middle”; “Medium”; “Boston Legal”; “Nip/Tuck” (in a 200 pound fat suit, as the unforgettable Mama Boone); “In The Valley of Elah”; and of course, her SAG Award-winning performance in “No Country For Old Men”, opposite Javier Bardem.

We asked Kathy to share some insights about how she managed to make the move here so smoothly and what has made her a director’s favorite. She is living proof that age is not a barrier to beginning a career in Hollywood, provided you have the right background and “do your homework”. Following are some random thoughts from this lovely lady:

I began to think about how the journey began.

First, I had to learn to believe in myself. To believe in myself and my instincts, and to just learn to say “thank you” when someone complimented me (and NEVER point out what YOU think you might have done wrong). What you did at that moment was perfect for the time.

The ability to cry on cue.

Honor the exact words of the writer because it is your job to bring those words to life.

Pay attention to detail and entertainment law.

For two years, I took a group from my Houston acting school to L.A. to get a feel for lay of the land. I knew it was a different set of rules, and yet some things were the same; I needed to know the twists and turns.

I noticed that actors who went to L.A. usually returned defeated. The large numbers going and coming back so fast was a concern for me. Within a few months, their savings were gone. I knew I wanted enough money in savings that I could live at least a year without worry, because so many had to get paying jobs and could not work on their acting. Many didn’t seem to understand that the game was played differently in L.A.

I thought the talent was just stronger and better in Hollywood, so I started taking workshops with L.A. casting directors and getting feedback. I noticed what they liked and didn’t like in the workshops, and realized that I was as strong, or stronger than anyone in the room. A lack of confidence and an over inflated ego were the two biggest drawbacks in actors. Many actors were allowing themselves to be puppets; they weren’t taking control of their careers or their acting.

In order to have control over your life and career, you must have POSITIVE people around you. Listen to advice and do what is best for you. Small example: For many years, I had the same hairstyle and would not change it. One day, I went to a new stylist and came away with all my hair chopped off. I was ready to cry because I had to stop by an agency for some reason. They saw my hair and LOVED it. I needed to be me, but I had been playing it safe.

What did I learn before I went to Los Angeles? I hold the POWER, and second, I USE COMMON SENSE. Thus, I knew that I was the only key to success, because I had the power to control how I went to L.A. Common sense let me know that where there was a will, there was a way. I sought those who give back through teaching and sharing. I attended workshops out of town (or out of state) to check out instructors and learned from those people.

For more information about Kathy Lamkin and a complete list of credits, follow this link:

http://www.imdb.com/name/nm0483541/

BLAKE EVERETT is originally from a small town in Virginia. According to Blake, “When I was 4 years old, I saw the movie that would change my life forever: “Abbott and Costello Meet Frankenstein”. I knew from that day to this that entertaining people was the life I was destined to live.

I performed the Abbott and Costello routines on stage for years, but it wasn’t until I competed in the AMTC (American Model & Talent Convention) competition in July of 2003 that I was finally able to start living my dream. Despite my age at the time (mid-40s), a well-known agent from Hollywood, who was one of the dozens of professional judges at this competition, took interest in me and thought I had “the look” and the talent that would get me noticed.

At the agent’s urging, I made my plans to finally fulfill my dream of moving to Hollywood. I saved money for the next six months (I must admit, though, that I totally misunderstood how expensive life in L.A. was really going to be – I should have come here with thousands of dollars more than I did!) and made the move in 2004.

I won’t say it hasn’t sometimes been a difficult journey, but I have met so many kind and giving people out here, most of whom have encouraged me to keep going, that I feel it’s all been worthwhile.
Whenever I get down and feel like giving up…I book something!

I have booked a number of short films and commercials, including a commercial for the Belgian Lottery (See? Now I’m “international”!); a music video for the Australian group, Bumblebeez, “Dr. Love” (http://www.youtube.com/watch?v=novN-7Qzt_o – you really start to see me at 1:50 on the counter – I’m the “telephone”); a bunch of pretty weird shorts (playing the wacko/zombie/nut job); and now I’m a member of the sketch comedy group, “MyBlueCollar.com”. I also booked a feature film, “Funeral Director”, but unfortunately, my role was cut. That booking, however, did put me in the position of becoming a union member.

I guess my most exciting accomplishment so far was the day this spring when I got to go down to the Screen Actors Guild and hand them a check for (gulp) $2,400. I’d been saving up for that moment the entire time I’ve been in Hollywood and now I’m a proud, card-carrying member of SAG! It “only” took 4 years, but I’m told that’s about average, especially for someone in my age range just starting out here.

I’ve managed to get into some great acting classes and man! do they help! I would never have learned what I know now back in Virginia, that’s for sure. In fact, my booking rate has really gone up thanks to the one I’m currently taking at A.C.T. (Actors Certified Training) in North Hollywood. My first teacher here was the casting director, Craig Campobasso. No one could have been more giving and encouraging for someone like me and I’ll always be grateful to him for giving me a chance to learn from one of the best.

2010 update: I’m a big believer in “giving back”. That being said, I now teach a COMMERCIAL ACTING CLASS: 4 weeks, extremely inexpensive, with basics that are real eye-openers. If you’re interested, call me at (818) 669-3649. (Mention that you found me here and you’ll get a 10% discount.)

www.myspace.com/soyouwanttobeanactor

Or simply go to www.myspace.com and enter “So You Want To Be An Actor” in the search box.