CD MICHAEL DONOVAN DISCUSSES LIVE THEATER

Michael Donovan is one of a tiny handful of casting directors in Hollywood who specialize in live theater and as such, he is a very, very busy man. After earning his degree in theater arts from the prestigious St. Michael’s College in Vermont, Michael began his acting career in New York, where he found considerable success both on stage and on camera. At the urging of various friends and mentors “in the know”, he decided to leave New York back in the ‘80s in favor of the greater film and television opportunities afforded actors in L.A.

“I made many of the classic actor mistakes when I left New York,” Michael tells us. “Instead of remaining with my agents there, I foolishly closed that door and quit them. It never occurred to me that I could maintain that relationship long-distance and better yet, that they might have been able to introduce me to some agents in Hollywood.

“Of course, I had to buy a used car when I got here – I couldn’t afford a new one! – and it instantly needed about $800 worth of repairs. Even though I had brought $5,000 with me (a small fortune in those days), it was very quickly eaten up: The car, the first-and-last month’s rent, classes, L.A.-style headshots, etc. So…I became a waiter. Nothing wrong with that; it’s really an ideal job for an actor and it allowed me to continue pursuing my career.

“Several years later, I directed a play. The wonderful commercial casting director, Beth Holmes, happened to attend a performance of that play and was so impressed by my directing abilities, she asked me if I’d like to help direct some of her casting sessions. Well, I’m no dummy – it was a paying gig working in my area of expertise – so of course I took the job. I eventually went into partnership with another great CD, Megan Foley, and continued pretty much specializing in commercial casting, as well as some TV and film. Eventually, I decided to give up acting completely and I’ve never looked back.”

We wondered how it happened that Michael made the transition to legit casting several years ago.

“When the huge and awful commercial actors strike happened in the late ‘90s, there was literally nothing for me to cast. As a SAG member myself, I refused to cast any project that had originally been union and there weren’t enough new, never-union spots to go around. When someone asked me if I’d like to cast a play, I thought, ‘Sure. Why not?’ After all, the legit stage was my first love and by this time, I knew hundreds of terrific actors who were dying to do theater.

“Today, I cast for the International City Theatre (ICT) in Long Beach, the Hollywood Bowl, Reprise and loads of other houses. One of my favorites is The Pasadena Playhouse, which, unfortunately, has recently been forced to close its doors, due to financial problems. I can’t wait for it to start up again! Of course, I still cast films and commercials, too, but it’s live theater that is my main focus.”

We asked Michael why he thinks it is important for actors to work on stage, even if it’s in Equity 99-seat contract (i.e., virtually non-paying) theaters.

“Are you kidding? As far as I’m concerned, no one can call himself An Actor if he doesn’t do stage work and doesn’t have theater credits. Stagecraft is the basis for all other facets of acting. I realize that acting is acting, but…without the basics, you simply aren’t a pro, in my opinion.”

Michael was happy to share some insights and tips for actors regarding the audition process for theater. Some of this may seem obvious, but we all know that unfortunately, far too many actors enter the audition room poorly prepared, which is a waste of everyone’s time and an embarrassment to everyone involved, particularly the agents who represent these non-pros.

“I wish I didn’t have to mention this kind of thing, but you wouldn’t believe how many so-called actors come to auditions totally unprepared. But instead of listing all of the things they shouldn’t do, let me just give you some basics of what they must do.

“Let’s start with the play itself. If it’s a published and/or well-known piece, it is the actor’s absolute responsibility to be familiar with the entire play. In other words, get of copy of it and read it before coming in to audition for us. This isn’t TV, where you might get to appear in one scene and really don’t have to understand much about your character, other than the obvious. A play is an entire story and you’re going to be part of that story for weeks to come, should you book it. The more you understand about your character and the other characters, as well, the better chance you’ll have to show us that you’ll be able to handle a whole play.

“Now, if this is a brand new play and you can’t obtain a copy of it, try to look at the sides for all of the other roles. They will give you a much better sense of what’s going on than merely going by your own character’s sides.

“Never, ever ad lib your lines at a play audition. I’ve actually had people ad lib Shakespeare and we couldn’t get them out of the room fast enough! The writer’s words in a play are set in stone; they do not change, unlike the scripts for TV and film, which are constantly being rewritten. Stick to the script for a play.

“Even if you’re one of those actors who can memorize very quickly,
keep the sides in your hand when you audition. For one thing, if you don’t, you make it seem as if you’re giving a ‘performance’, not an audition. For me, personally, if I see that the actor doesn’t have the sides in his hand, I’m subconsciously waiting for him to go up on the lines. So, instead of concentrating on his audition, I’m looking at the sides in my own hands, in case I have to prompt him. Obviously, that can really work against you.
“This may sound like a no-brainer, but I cannot emphasize it enough: Always, always bring several headshots and resumes with you to every audition, not just the ones for stage. Even if you think that electronic submissions have you covered, you never know when someone in the room is going to say, ‘Wow – I have another project you might be right for. Can I have your pic and res for that one?’ Besides which, what does it hurt to always have them with you?”

We asked Michael for some information about the mysterious world (to many of you) of musical theater, knowing that he casts quite a bit of it.

“I suppose it can seem slightly scary. Just because someone has a great singing voice does not mean she knows how to prep for a musical audition, so this should help:

“Most, but not all, musical auditions request that the singer bring in two pieces: 16 bars each of an up-tempo number and of a ballad. You should find out what the tone of the show is (‘The King And I’ vs ‘Rent’, for example), so you can bring something that would demonstrate you can sing the appropriate type of music. You can even ask if it’s okay to sing something from the show itself. Sometimes it is and sometimes it isn’t, but it can’t hurt to ask.

“Bring your own sheet music, in your key. Do not ask or expect the accompanist to transpose the music for you. That isn’t his or her job.

“Know your vocal range. If we ask you what your high or low note is, know the answer. If it’s a mystery to you, we know instantly that you aren’t a pro.

“If you really want to work in musicals, spend the money on a singing coach who can help you find the answers to those issues. A coach can determine your key, your range and help you choose appropriate sheet music that will serve you well in various auditions.

“OK. So, if we need a double- or triple-threat, the audition process will start with the area that’s most important to us. If it’s the singing, that will be your first audition. If we need strong dancers, we start there. If you pass the first phase, whatever it may be, then we call you back for the second phase. Usually, the acting audition comes last, after you’ve shown that you can handle the singing and/or dancing.

“Speaking of dancing…for heaven’s sake, bring your dance shoes with you. Again – a no-brainer, right? Well, guess how many so-called dancers show up with either no dance shoes at all or the wrong type for what we plan to do. You can’t tap dance in jazz shoes, folks! And no – we do not want to see you dance barefooted! (Yes – that has really happened. Unbelievable!)

“A note about how to dress for a musical audition: Guys should wear an appropriate shirt – usually a dress shirt – and clean, pressed slacks. If you must wear jeans, make them a stylish-looking pair, not something you’d use to change the oil in your car. Women should always wear high heels and a skirt or dress – we need to be able to see your legs. Hopefully, you’ll already know how to walk in heels,” Michael smiled, “because we really don’t want you toppling over as you cross the stage!” And for both men and women…for heaven’s sake, never, never, never wear flip-flops to an audition. We do not want to hear you literally “flip-flopping” across the floor. Guys – we really don’t want your ugly, naked toes staring us in the face! And ladies (this should really make my point), flip-flops make your feet look fat!”

We asked Michael if he agreed with us that for an audition, makeup should be kept to a minimum. “Absolutely,” he said. “I realize that an actress may feel a bit “naked” for a stage audition, knowing the lighting is different and there are no ‘close-ups’, but try to keep it as natural as you can. For on-camera auditions, we want to see the real you, not the you that comes out of a cosmetics bag. If you’re hired, you’ll have a pro applying the appropriate makeup. Before that, think of yourself as an empty canvas, waiting for the casting director to paint you as he or she needs you to look.”

Michael summed up his advice with this little gem: “No matter what type of project you’re auditioning for, behind the table in front of you there might be 4 or more people – the casting director, the director, a couple of producers, writers, etc. – all of whom, throughout their own lifetimes, will be going on to do many, many jobs. Now, doing some quick math: Let’s say there are only 4 people there that day. If each one goes on to do 25 more projects –and that’s being conservative – you have just auditioned for 100 possible jobs!

“You may not have booked that particular job, because it simply wasn’t your turn. But…if you gave a solid, professional audition, you left an excellent impression and believe me, you will be remembered and those 4 people are going to want to see you again and again. I hope that gives the actors reading this insight into the bigger picture – that it isn’t just about this one, particular audition of the moment.

“Here’s a little secret: I do not always agree with the final casting decision on every project. I may have preferred the 2nd choice, but of course, the producers have the final say. However, the next time I need to cast someone in that category, I’m going to remember my preference, Actor #2, and will be sure to bring him in.

“The point is, it is the actor’s job to give the best possible performance at any given time. That’s what all of us on this side of the table are hoping for and that’s what we will remember the next time your headshot or name come across our casting desks.”

Michael will be casting, along with Margery Simkin, Neil Patrick Harris’ production of “Rent” at the Hollywood Bowl this summer (2010) and he’s really looking forward to that new project.

Michael Donovan teaches acting at UCLA and offers occasional seminars elsewhere throughout the year. Find out more about this very popular casting director at www.michaeldonovancasting.com.

JOURNAL OF A 2-WEEK EXPLORATORY VISIT TO HOLLYWOOD

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 would have 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 for demo 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?

L.A. TIMES IMPORTANT ARTICLE ON UNIONS 8/31/09

SAG members look to end dissension in election for president

The potential merger with the smaller AFTRA is a key issue in the balloting.

By Richard Verrier | August 31, 2009

When members of the Screen Actors Guild cast their ballots for president in the coming weeks, they will be voting for a leader who can best repair the damage inflicted on Hollywood’s largest talent union over the last two years.

With 125,000 members, the 76-year-old SAG is still the mightiest union in Hollywood. But its clout has been diminished by internal bickering, a divided boardroom and a disastrous power struggle with a smaller union that represents actors as well as broadcast journalists, disc jockeys and recording artists.

SAG has become so weakened, in fact, that the union once led by Ronald Reagan and James Cagney may have to merge with the American Federation of Television and Radio Artists to maintain its leverage. The potential merger is a central issue in an election that will be decided by Sept. 24, when results from a mail-in vote now underway are announced.

The SAG election is one of two contests this fall that could set the course of industry labor relations over the next two years. The other is at the Writers Guild of America, West. Both elections pit candidates who advocate a hard line in negotiations with the studios against so-called moderates who favor a less confrontational approach with their employers and sister guilds. Although moderates are favored to win at SAG, the WGA race is much tighter.

Both unions’ contracts expire in summer 2011, potentially giving the guilds power at the bargaining table if they can coordinate a strategy with the Directors Guild of America, which has set the pattern in bargaining in the past.

Relations between the major studios and the labor unions could not be more tense, after a 100-day strike by the WGA and a nasty contract dispute with SAG that dragged on for months and ultimately forced out Executive Director Doug Allen.

Among the most startling signs of SAG’s weakened state is its grip over prime-time television. SAG’s contracts cover only 16% of the new scripted prime-time TV shows on the major broadcast networks, down from 86% a year ago. When it appeared SAG might strike last year, the broadcast networks took their business to AFTRA, which now controls 84% of new prime-time shows. AFTRA suspended its longtime bargaining partnership with SAG last year after a dispute over turf, freeing the union to negotiate directly with the studios for prime-time TV contracts.

Although SAG continues to dominate prime-time TV, the shift of work to AFTRA is taking a toll, reducing contributions to the actors’ health and pension plans and eroding union dues, which were already depressed because of last year’s production slowdown.

The guild had a nearly $6-million deficit in fiscal 2009, which ended April 30, thanks to investment losses, a drop in member dues and excessive expenses. That included funds spent on a fruitless campaign to oppose AFTRA’s contract because SAG’s former negotiators felt it contained too many concessions and undercut their own negotiations.

The guild laid off 35 workers this year to balance its $60-million budget. Although it has more than $20 million in reserve, SAG has projected a $4-million deficit for fiscal 2010, people familiar with the guild’s finances said.

SAG’s decline comes as actors are having a tougher time finding work. Studios cut back production because of the sagging economics of the business, and networks have replaced more scripted programs with less expensive reality fare, game shows and talk shows. Actors have seen a steady slide in their income from residuals, the extra fees they get from reruns, as fewer shows repeat on the networks or are sold in syndication. Networks increasingly repeat shows on the Internet, where residuals are a fraction of those on network television, or on cable TV, where pay rates are lower.

AFTRA and SAG have tried to merge before. Attempts in 1999 and 2003 sputtered over issues of control. Whether they can heal the bad blood between them is an open question.

AFTRA President Roberta Reardon has reacted cautiously to the idea, saying SAG needs to sort out its internal disputes first. A first step would be to revive the “phase one” bargaining partnership, in which the unions jointly negotiate contracts terms, that was suspended last year.

The two unions have about 44,000 members in common, but they have very different cultures that could make a marriage difficult. SAG represents actors who also work in feature films, while AFTRA does not. Many of AFTRA’s actors work in daytime television.

Nonetheless, merging the two unions is a central goal of a coalition of SAG moderates, backed by Tom Hanks, George Clooney and other celebrities, that won control of the board in election’s last fall. The group, called Unite for Strength, led the ouster of Allen and installed a new negotiating team and Allen’s replacement, David White, who has worked to improve relations with AFTRA.

Their candidate for president, Ken Howard, a veteran character actor whose credits include the HBO drama “Grey Gardens” and the TV series “Crossing Jordan,” said combining with AFTRA is necessary to prevent studios from playing one union off the other.

“Part of the reason we want to merge is to be in a situation where we don’t get undercut,” Howard said. “We’re in a situation where the threat of a strike plays right into the hands of producers who have this whole other side, which is AFTRA. It weakens us totally. We’re helping management with a notion of divide and conquer.”

In addition to pushing for a merger with AFTRA, Howard is campaigning to unify the guild internally, rejecting a “go-it-alone approach” by improving ties with other guilds and adopting a less combative stance with the studios. “The last two years we’ve been in attack mode, fraught with emotion and posturing. I can reason things through and be businesslike, which is something we sorely need.”

Running against Howard is Anne-Marie Johnson, SAG’s first vice president, who is backed by Membership First, the group that swept President Alan Rosenberg into office four years ago.

Johnson said she favors merging only the actors who are members of both unions. Only three-quarters of AFTRA’s roughly 70,000 members are actors, compared with all of SAG’s.

She contends that combining the unions is a bad idea because they each have so many types of members.

“I don’t believe larger is better,” said Johnson, star of “In the Heat of the Night” and “That’s So Raven.” “We as actors have completely different needs and concerns than broadcasters, recording artists and disc jockeys.”

In fact, Johnson, who was recently elected to the AFTRA board, has been among the most vociferous critics of AFTRA for being a compliant union that shortchanges actors in contracts. She advocates reviving the bargaining partnership and combining administrative services between unions to reduce overlap.

Johnson, however, faces an uphill battle given her close association with Rosenberg, who waged an unsuccessful campaign to defeat AFTRA’s contract, fiercely opposed a SAG contract that was overwhelmingly approved by members, and lost a battle to keep Allen in his job. The two sought a court order to overturn Allen’s firing. A judge denied their request, which they have appealed.

Johnson said that although she shares Rosenberg’s goals, she has a different style. “I’m a little more pragmatic than Alan,” she said. “I don’t take this as personally.”

Two other candidates running as independents are actor Asmar Muhammad, a relative unknown, and Seymour Cassel, the veteran character actor who recently received a lifetime achievement award from the Downtown Film Festival and who nearly defeated Rosenberg two years ago.

“I’m running for actors, because nobody cares about actors,” Cassel said. “I’m campaigning to get actors fair wages and to stop spending money frivolously, which the
guild does.”

Cassel’s candidacy, however, took a hit recently when a union trial board found him guilty of conduct unbecoming of a member for allegedly sexually harassing three female staff members. He was given a two-year suspension. Cassel appealed to SAG’s national executive committee, which postponed a ruling on the matter until the national board could consider the appeal.

Cassel said the allegations are without basis. “They don’t like me because they know I don’t like David White,” he said, referring to the interim executive director.

Copyright © 2009, The Los Angeles Times

IMPROV EXPERT ‘SPLAINS IT ALL

What’s all this talk about improv? It’s the buzz nowadays in the acting community. It’s a must-have for auditions and something every casting director is looking for on your resume. Just listen to what Cynthia Szigeti (Improv Guru) says: “It’s crucial now. More and more shows are using improv as content. It’s essential in commercials, not just for auditions, but also on set. It frees you to take the constant challenge of creation. Once you become comfortable improvising, nothing throws you. It’s very liberating…”

Cynthia believes that improv is an imperative training tool that you need to carry in your actor’s toolbox. It is looked for more and more on a consistent basis at auditions. When casting directors see hundreds and hundreds of actors auditioning for the same commercial, you can only imagine how boring this can become. You would be surprised to see how many people come in and do it the same way as everyone else. The casting director is looking for someone who sticks out – who makes them wake up, and shows, “Hey look at me! I am good and I am different! I am what you are looking for!” They want someone (and something) new and unique. If you come in with something special, something just a little different, that makes you stand out from the rest, especially by making them laugh, then your chances are a lot higher of getting booked for that job. Cynthia confirms that she always uses improv at her auditions. “It’s not just about the words, it’s about the moments, and, as an improviser, you are always open to letting those unplanned miracles happen. I love the mistakes, ‘cause in my world, we consider them opportunities!”

There are many lessons from the world of improvisation that can help you find focus and inspiration in your auditions. Cynthia always encourages her students to, “Amuse yourself! This way, at least one person is guaranteed to have a good time!” She says it is simple. Cynthia encourages you to use a process, called AIM:

A – Agree to agree. Denial can come in many forms: not agreeing with what someone says; not noticing a physical or verbal offer; and contradicting an idea. These are all forms of denial and will STOP the forward movement of the scene. Start by practicing to saying, “YES!” If your partner starts the scene by stating that you are in a home improvement store looking at a stove, don’t contradict by saying it’s a refrigerator. Example: “YES, it’s a stove, AND??????” (Here is the fun part, where you can add information such as the brand, the color, the price, etc.)

I – Imagine. What do you SEE? Where are you? Visualize the details of the location of the scene: – What is right in front of you? – What is in the distance? – What are you wearing? – What is your partner wearing? – What do you have in your pockets? Now that you have agreed to agree, feel free to make assumptions about the details of the scene. Focus on answering the following questions: 1- Who are you? 2- Who are you in relation to the other person? 3- Where are you? 4- What are you doing?

M – Make it happen. It is always important to LISTEN to your scene partners, to listen to any instructions you are given before the audition, and, most importantly, listen to yourself. If you can’t repeat verbatim the last sentence said, you are not listening. Listen and respond…the best place to go is where it is going. But you are always responsible for making things happen. Everything you say is “the best thing anyone has ever said!” Trust your vision, your voice, your talent, your instincts, and your imagination. That is why you are in the room in the first place.

– So, open your eyes, open your heart, and take AIM—It’s fun!! – Cynthia Szigeti

Now, for the inside scoop on this quick-thinking, funny lady:

Cynthia got her first real dose of improv after graduating from UCLA with her MFA in acting. She had to find a job to pay the bills (as so many of us do while pursuing our careers) and was hired as a waitress at a club called, “The Pitchell Players.” Cynthia tells us that “ the Pitchells were a fabulous improv troupe directed by the incredible Ann Bowen. Other sketch and improv greats from Second City (Severn Darden and John Brent), as well as from The Credibilty Gap (Harry Scherer, Michael McKean and David Lander), and Franken & Davis also performed there.” She says that Ann, the director, wanted her (still a waitress) to “go up.” She was terrified at that point, even though she was a highly trained actress. She still “…wondered in awe night after night, standing in the darkened room with her beer-soaked drink tray.” That’s when she learned of L.A.’s now-famous comedy troupe, The Groundlings, through a friend, Stan Roth.

Back then, they had improv classes for just $45 a month! Wow, what a deal…! Cynthia said she had the most fun she ever had at the theatre, when she attended one of their scene nights. That is when they would, “show material and try new stuff out.” She was hooked!! So she began immersing herself in improv. After auditioning and getting accepted into The Groundlings, she trained four nights a week at the school. On the nights she didn’t have class, she would sit on the balcony and watch the others train. She was fortunate to have worked with many, “…brilliant and creative instructors, Gary Austin, Phyliss Katz, Tracy Newman, and Tom Maxwell”. “The talent there in the 70’s – WOW! – you knew you had arrived when you could get a laugh out of that room.”

She continued her improv journey, later, when she left to work at The Comedy Store with Robin Williams, Taylor Negron and Marty Short as part of The Comedy Store Players. She had quite a different experience, working there: “At the Groundlings it was all about wigs, rehearsals, and costumes. At The Store, it was immediate, topical, and edgy.”

In the 80’s, she did get to return to The Groundlings, but this time she came back to run the school. She directed and trained the teachers there. Afterwards, she started the school at The Acme Comedy Theatre in L.A.. She confesses, “ I know this might sound silly in today’s world, but back then, the world of improv was the one place where they didn’t run from the scary, smart girls!”

Cynthia is currently teaching improv classes at Talent to Go and she occasionally teaches students from around the world in Master Classes for Bernard Hiller. She had the chance to teach many well known actors including, Lisa Kudrow (friends), Conan O’ Brien (The Tonight Show), Adam Carolla, Joel McHale (The Soup), Will Forte, Cheri Oteri, Julia Sweeney (SNL), Alex Borstein (MadTV), Leslie Grossman (What I Like About You), Mike Hitchhock (Waiting for Guffmann, Best in Show) and many well known writers and producers on Friends, The Simpsons, MAdtv and other television shows and features. Cynthia’s students were also on many ads this year for the Super Bowl, which she exclaims, “was a lot of fun to see!”

She also has some warnings for future improv stars: “I am opposed to teachers who just throw people up without concentrating on the basics first. It’s like giving someone who doesn’t know how to drive the car keys and telling them to go to San Diego! So beware of the scams and make sure you do your research, before signing up for an improv class.

“Good luck with your search, and enjoy your journey on your road to success, my fellow actors!”

For information about Cynthia Szigeti’s improv classes, email bigsinD@hotmail or www.talenttogo.net

TV & COMMERCIAL CD FRANCENE SELKIRK-ACKERMAN

Casting director FRANCENE SELKIRK-ACKERMAN comes by her interest and enthusiasm for the casting process naturally.  Originally from Astoria, New York, Francene’s father was a ukulele player in the heyday of vaudeville and her mother was pretty and talented enough to be a contestant in the Miss America pageant.

“Show biz was in my blood”, Francene tells us.  “I went to the High School for the Performing Arts; joined the New York City Theatre Workshop, where I was able to study both traditional and avant garde theatre; studied and performed with an African dance troupe, as well as other avant garde dance groups.  I attended Pace University, in New York, and then…traveled around the world!

“Like my dad, I play the ukulele, but unlike him, I knit (very soothing, by the way) in my down time.  I’ve also raised two terrific children.

“Professionally, I’ve cast a gazillion commercials over the past 17 years, as well as a number of television shows, including “Significant Others” (a semi-improv show for Bravo); “Free Ride” (another semi-improv show, this one for Fox); “The Naked Trucker and T-Bone” (Comedy Central); and currently “The Spike Feresten Show” (Fox); as well as pilots for Oxygen, Comedy Central, etc.

“Before I began casting, I was a freelance commercial producer.  I got into casting with the help of a director, David Wild, who believed that I could “talk ” to actors. I love him for that. He was very generous. He gave me my first 2 jobs and I never looked back.  Mick Dowd, an old friend and amazing casting director, gave me non-union or real people jobs that he was too busy to do. He’s the bomb.”

We asked Francene to describe some of the common mistakes she observes in her casting office.  “This may surprise you, but I find that many actors sabotage themselves in the waiting room, before the casting director ever sees them. They see someone who looks like the storyboard, they’re already nervous, and they get into a negative frame of mind. Then they don’t do their best work. I think actors should come into the waiting room, assess the situation, see where to go, be prepared (if the script was available beforehand, know your lines – if not, arrive early and learn them there), see if there is any paperwork to do…then go in and rock the audition!  Work on the script – know where you are, whom you are talking to, and what you can add to the scene!  Not clear?  Ask a question…!

“In a commercial audition, we don’t have time to edit the tape that we present to our producers very much.  That’s why we want the best actors…the most skilled actors…coming in making us look good.  An actor will get a callback IF:

1. They have a good look for the part
2. They have done a great audition.

“It is usually the Director and the Advertising Agency who decide who comes to a callback.  If I think they have forgotten someone, I will ask if I can add that person back in. I take a lot of chances in commercials to see new people and present those great new faces to my producers and directors.”

When it comes to theatrical projects, Francene knows from experience that the stakes are much higher.  She cannot send anyone to producers unless they are, as she says, “pretty darn good”.

“I know there are actors moving to Los Angeles and Hollywood every day, just as I did. Why can’t it be them that get booked and have a career here? I suggest studying, taking lots of classes, understanding the business, marketing themselves, getting an agent, getting in the unions, being pro-active…!”

We asked Francene to share her thoughts on improv.  She didn’t hesitate:  “I think every actor in Los Angeles should take Improv classes. Most commercials that I cast, even if improv is not specifically asked for, the actor knows that by ‘being improvisational’, meaning loose and not afraid to take chances, they can show their stuff, their talent, to producers and directors. I am fortunate to be able to cast commercials and TV, so the actors that I bring in want to do more than commercials, I presume, and I do a lot of comedy.  Needless to say, the more comfortable they are with improv, the happier we all are with their performances.”

Francene was also quite adamant about the importance of having the right headshots and shared her insight about how selections are made from among the hundreds of submissions that are made on-line.

“Headshots are as big as a thumbnail on a computer screen. If the casting director is interested, he will want to look at the resume and other pictures. The Main Shot is the most important, because that may be what we run across when we’re searching for a ‘type’ (meaning when no actual submission was made). Look at lots of photographers’ websites before you decide who you want to shoot your headshot.  Color is in; black and white is out. Let your agent (if you have one) help you pick your pictures. New actors always think they have chosen the right photo, but most of the time it’s a picture for the family. Never look away from the camera.  Work the camera.  Have a secret or a joke going behind your eyes.  And this is very important: Know your type.”

All of this information and much more is shared by Francene in a class she teaches with Judy Kain, a working professional actress who books both commercially and theatrically. They are about to begin offering intermediate and advanced classes for all ages.

(Judy Kain also runs Talent To Go, in which talent takes scenes right into a casting director’s offices, to help actors be seen by offices that might not otherwise call them in.  Francene has used the service herself and is very much in favor of it.)

If you’re interested in finding out more about Francene and Judy’s classes and/or Talent To Go, you can contact their coordinator, Pat, at (818) 704-1817.  Here is a link you could check out, too: www.talenttogo.net

VOICEOVERS DEMYSTIFIED

HUCK LIGGETT, OF BURBANK’S THE VOICECASTER, ON THE ART OF VOICEOVERS
The Voicecaster has been casting voiceovers for TV & radio commercials, animation, video games, narration, industrials, toys & games for over 30 years.

Working with the top ad agencies and producers in the country on over 15,000 union, celebrity, foreign language and non-union projects continues to make them one of the busiest voiceover casting facilities in the world.

Huck Liggett is the owner and head of casting at the Voicecaster, and has worked in New York, Chicago and Los Angeles both in front of and behind the microphone. Huck takes pride in bringing clients the most competitive talent available for all casting projects.

Do the preparation.

We at the Voicecaster get calls or emails on a regular basis from aspiring talent asking us “How do I get into voiceovers?”

Get the proper training; lay the right groundwork. This means taking voiceover classes/workshops from a reputable facility…even better…study with a casting facility, if possible. Why? Because casting companies are on top of the current trends & changes in the market. We’ve got an inside edge by dealing with ad agencies and producers daily. So we know what advertisers are looking for.

And by studying with a casting facility, you’ll be ‘getting your foot in the door’ of a place that could possibly consider you for casting projects. Part of our job is to seek competitive talent for our clients and we often find new talent by working with actors from workshops.

Do your homework to find the right facility first, so you’re not wasting your time and money. There are far too many people charging for instruction who just don’t deliver.

Once you’ve done the prep, you’ll need a competitive demo…key word here is ‘competitive’. Go to the right people to get the right product. Again, this is where experience prevails.

Part of our process as a casting house is to screen demos on a regular basis. After decades of experience, we know what the agents are looking to hear. Finding the right ‘fit’ with a demo producer is important. Make sure you work with someone you trust. After all, your career will depend on the result.

If you don’t know what should be on a commercial demo…get into a class to find out.

Submitting a demo:

Today, demos are submitted to agents and casting facilities either by CD or online via MP3. The VORG (Voiceover Resource Guide) is a great resource for information on these places in LA. You can access the VORG online.

When contacting an agent or casting house, be brief and precise. Mention reputable instructors and/or facilities with whom you’ve studied or worked, in order to bring positive attention to your submission. If you don’t get a response initially, then a follow-up via postcard or brief note is advised. Be positive and professional. Often it’s a matter of timing.

The good news is that our clients and the agents are always open to NEW TALENT. The ‘catch’ is that talent needs to be COMPETITIVE. And that can only happen by doing the proper preparation. You can get successful results if you put the time and honest effort into it. Don’t be in rush, as this does take time.

Home Studios:

As voiceover continues to evolve, home studios are popping up everywhere. This allows talent to be a part of the audition process regardless of where they might be located. The majority of auditions outside the larger cities tend to be non-union

Most major casting houses require you to audition at their facility for hands on directing. Some may be open to outside submissions depending on the specs for the job. This could bring opportunity to talent outside the big cities.

The advantage to having your own recording equipment is the convenience of auditioning on your schedule, day or night, and simply submitting online. Some actors even record the actual jobs from their home studios.

The challenge with recording at home is the sense of isolation and absence of outside direction. This can cause a redundancy in actors’ auditions. Find a way to keep your choices fresh. Always follow the specific direction supplied with each piece of copy.

There are a number of LA actors with home studios. In an effort to avoid repetition of delivery and to stay current, many of these voiceover actors will come to the Voicecaster and other facilities to record their auditions. Some come occasionally for fine-tuning, and others (who don’t have home studios) utilize our service on a regular basis. It’s an effective way to stay on top of your game. It’s important to find someone in your area who can help you in the same way.

We offer a service called “VO ‘n GO”, where actors can bring their audition copy to us for an extra set of eyes & ears, and our expert direction. We direct, record and immediately send those auditions via email.

There is certainly opportunity for those seeking work in voiceover …but, like anything else, it takes dedication, persistence and diligent preparation.
The Voicecaster offers voiceover workshops on all levels: Beginning, Intermediate, Audition/Pro and Animation/voice-matching. Classes are taught at their facility in Burbank, CA. They also offer commercial demo production.

Learn more about the Voicecaster on their website at www.voicecaster.com

PUSSYFOOTIN’ AROUND HOLLYWOOD

Be the first on your block…!

Pussyfoot.Com, the brainchild of The Two Matts (Dillmore and Alsberg ), is a brand spankin’ new (8/29/08) web radio TAM (Talk And Music) show, featuring a hilarious film review segment hosted by BLAKE EVERETT (see Blake’s success story on our home page), celebrity interviews and some really cool music. Of course, like everything else here on Hollywood Passport, it’s FREE!!!.

EXTRA! EXTRA! READ ALL ABOUT IT!

If you’re rolling in dough and want to also get the other side of the Hollywood story (meaning not just from the actor’s standpoint), it wouldn’t hurt to subscribe to either Daily Variety or the Hollywood Reporter. These are designed more for producers, directors, agents, etc., but there’s no reason a well-educated actor shouldn’t read them occasionally, too. You really don’t need both, though; they pretty much duplicate the news.

www.dailyvariety.com
www.hollywoodreporter.com

For news about Los Angeles itself – which you really should be familiar with if you intend to become an Angeleno – read the Los Angeles Times online. It’s a good way to begin figuring out which part of this enormous city you may eventually want to settle in. Of course, the old saying, “If it bleeds, it leads” has become a truism for our once-beloved Times, so always keep in mind that most of the crime reports will center on certain areas that are really unsafe. You wouldn’t want to live there anyway, because 99.9% of those areas are too far removed from where you need to be anyway.

A “bonus” feature of the online version of this paper is: It’s FREE.

www.latimes.com

While we’re suggesting reading material, how about keeping up with the current trends by thumbing through the occasional “in fashion” or “people watcher” magazines – and guys, that means you, too! It can’t hurt to know what your peers are up to, even if you have no intention of following suit (no pun intended – well, maybe just a little!). Some trends should be avoided like the plague, but if you hope to “fit in” in the eyes of the casting community, you should at least be aware of what your competition is doing. Can’t afford to keep shelling out for magazines? Then try your local library (remember those?). They carry a lot of them.

SMALL TOWN GUY MAKES GOOD!

August, 2009 UPDATE:  AND NOW HE’S AN EMMY NOMINEE.  This year’s Super Bowl fans loved BLAKE EVERETT’S national commercial and the L.A. Times said is was the best one on the show: www.careerbuilder.com/tv/.  Now, THAT’s a success story!  THE SPOT WAS JUST NOMINATED FOR AN EMMY!!!

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.