The Successful Talent: Tips for the Actor & Model

DEALING WITH NEGATIVE FEEDBACK

"Snotty and boring." Those are the exact words a literary agent used years ago to describe a manuscript I'd sent for her consideration. I'll never forget her pointed critique, just as I've never forgotten the reasons a youthful crush gave when he broke up with me more than two decades ago. I was "not aloof enough," he said, somewhat sheepishly, and I didn't wear enough makeup.

Like everyone else I know, I've had some harrowing experiences with negative feedback. I can give as good as I get, too. When I was teaching writing in a university, one of my better students threatened to punch me in the face after we discussed how to improve her thesis.

Who among us can't relate to her reaction? Criticism is by definition something no one wants to hear. At best, it's annoying; at worst, it may seem to threaten our identity, even our very survival. Is there any right way to say it, or to hear it?

Negative feedback is essential for negotiating life and social relations. Despite the feel-good mantra of current self-improvement manuals, much of our growth and development depends on interactions and other experiences that feel bad. Criticism has a hallowed role in nearly every area of human endeavor.

[--excerpts from "A CHIC CRITIQUE" by Karen Wright; published in Psychology Today (Apr 2011)]

But how do we handle negative or critical feedback in any subjective industry?  As a talent, we are constantly bombarded with other's opinions of our value, our aptitude, and myriad other judgments.  If not those from others, we battle our own anxiety and need to excel.  What to do, then, with criticism?

About the only place a talent is willing to take constructive feedback in any form is under the guise of a coach.  But even then, allowing oneself to be vulnerable is a challenge.  Traditional schooling systems train us to expect critical feedback, but only for those things that can be exactly measured (e.g., tests, multiple choice, facts). 

Are any of us really fooled by such sleights of tongue? Probably not. I didn't assassinate my grad student's character when I reviewed the draft of her thesis, and yet she came away mortally offended. People react strongly to criticism no matter how it's delivered. Hearts race, muscles tense, blood pressure rises; the ancient fight-or-flight response kicks in, courtesy of the sympathetic nervous system. It's almost as though our brains are fine-tuned to apprehend negative feedback in any guise.

Are we just being hypersensitive?  Too often, those with the hurt feelings are told to "toughen up" and "get over it".  It may be more difficult than that, as findings from scientific research show.  There's evidence that separate circuits . . . handle negative information and events and they're more sensitive than the circuits that handle positive phenomena. [John Cacioppo, University of Chicago]  Maybe your big girl/boy britches were ALREADY on.

The negativity bias can seriously skew our interpretation of critical feedback. Shortly after I started a new job, my boss sent me an email expressing displeasure with my performance. I remembered it as a scorching harangue, but when I reread it months later, I was surprised to find that the "harangue" included strong encouragement and complimented my skills. It didn't matter; the message stung, even the second time around.

Seeing and hearing negative feedback is hard to do.  Keep in mind that the world is not as black and white as it may seem in the moment.  Even negative feedback has it's silver lining.  More importantly, though, critical feedback taps into our need to be included; our need for safety.  Once we realize that negative feedback doesn't ostracize or endanger our well-being, it's easier to realize that it can instead be an opportunity to grow as a person.  Are you choosing to fear the boogeyman or see opportunity?

POWER IN THE BREATH

Stress affects all cultures, genders, races, and ages.  No matter what level of physical health our bodies may be in, there is always one very simple, highly beneficial and easy exercise we can do to quickly combat the affects of anxiety, fear, and other stressors.

Deep breathing involves flexing your diaphragm while taking deep, even breathes. When done correctly deep breathing can be therapeutic and have noticeable health benefits. With enough practice it can even become your standard way of breathing. Deep breathing is very often used as therapy for problems like hyperventilation and anxiety disorders. By simply adding a few minutes of deep breathing here and there through your day you can greatly increase your health while decreasing your stress.

How does deep breathing help your general health? Well first off it can reduce stress. When stressed people have the tendency to take shallow breathes. Some studies can shown that a fast breathing rate is linked to high blood pressure To relax you do the opposite. In the same vein of thought it can help to clear and focus your mind. Deep breathing can increase your energy level and helps turn off racing thoughts.

Deep breathing also releases endorphines into the system. These are our bodies natural painkillers. This can help relieve general aches and pains, as well as help ease problems with sleeplessness. Deep breathing also relaxes muscles, a major cause of neck, back and stomach pains. Some studies have shown that deep breathing can also benefit asthma sufferers. This is partly because deep breathing can strengthen weak abdominal and intestinal muscles, and who doesn’t want that?

To try deep breathing you must draw air into the lungs while expanding the stomach rather than your chest. Sit or lie down somewhere quiet and get comfortable. To be able to feel the difference between your regular breathing and the deep breathing you can place one hand on your stomach and the other on your chest. This will let you feel when you are breathing correctly.

Take breathes that are long and slow. This gives the body the ability to absorb more of the inhaled oxygen. Breath in through your nose, nice and slow. Exhale through pursed lips just as slowly. As you breath feel the motion of your stomach. If your rib cage is expanding, keep trying and focus on breathing with your diaphragm. Relax and repeat until you are comfortable. If you don’t get it right away, don’t worry. This is supposed to relax you, so do not let it cause stress. Try again later if you become frustrated.

After you become comfortable with the exercises, take them on the road. Try to make deep breathing a habit. You can do it while driving to work, sitting at your desk working, waiting in line sitting, while watching television, just about anytime. at the computer, standing in line at the grocery store, sitting in traffic. It can help deal with the stress of daily life.

The video below from Lance Armstrong's Foundation, Livestrong.com, has more information on deep breathing.

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INTERVIEW WITH NY AGENT, NOLE MARIN

Nole Marin, top New York agent and founder of AIM Model Management shares his thoughts with journalist Emily Rogers on where his career started, the highlights, and what motivates him today. 

 

What were the greatest obstacles you faced on your rise in the fashion world?
The way I see it, any setback is two steps forward because that means you are learning something. Every time you fall down you must realize that this is actually a time to grow.

What advice do you have for an aspiring model?
Be completely honest with yourself. Look at the industry (such as magazines and websites) and how the measurements and body structures of models compare to your own. You do not need to have a generic look, but you do NEED certain qualifications.

I school all my models and teach them everything about the industry. If they are smart, they will soak it all in. For example, there is a time to work and a time to play. Do not party before a show and do not let your clients see you partying. Models must be careful of their image. No one is going to pay thousands of dollars for a Mercedes that they see driving through the dirt and mud.

It is your choice if you choose to take advantage of the tools to success and apply them to your life, or not. Modeling is all about being your own business. Your level of success is all up to you.

It is important to dream BIG. After all, who told you to dream so little? The world is full of negativity and doubts. If you allow that to override you, it will eat you up and spit you out. As soon as these types of thoughts enter your mind, you need to push DELETE. Every day when you wake up, there will be challenges, but the energy of the world will not give them to you if you cannot handle them. There is always lesson to be learned and you may not see if now, but months from now you will look back and think, “I made it through.”

You have to know what you want and see yourself achieving your end goal.

What was it like being a judge on America’s Next Top Model? What was it like working with Janice Dickinson?
I had a great time. I was working with great friends and making a difference. I was honored to be part of the show. Viewers got a kick out of the disputes between Janice and me, but Janice is an amazing woman and we knew what we were doing. We knew that it was good comedy for the show.

Who are your role models?
Life is about finding people that inspire you.

My biggest role model was my friend Claudia who I met when I was 15 years old. She was a model/actress and was actually one year younger than me. Meeting her was like water finding the beach. We knew we were soulmates within the first few days of knowing each other. To this day, I have not met someone that I felt such a connection to; it was unreal.

Claudia taught me that I was not crazy to dream. She believed in me and she helped me to believe in myself. Although she was tragically killed in a car accident a few years ago, she is still my mentor to this day.
Family and friends are amazing but they can often be afraid to support you because of their own fear of seeing you fail. By being afraid that we may experience pain, their fear can actually hurt us more. Because of this, there are only a few people in this world who actually allow themselves to dream and to reach their potential.

What has been your fondest career memory thus far?
I have a few great memories; to have one is so limiting!

Claudia Schiffer was the first person to help me with styling. She nurtured my styling skills and helped me find myself as a human in fashion. She took me to the VH1 Fashion Awards for my first red carpet event and I remember thinking how wild, interesting, and powerful this experience was.

Also my work with Tyra Banks for my television debut and working with Grazia Riverditi of Glow Artists were great memories. Both women taught me so much.

Another fond memory came after filming ANTM, when Jay Manual and I were visiting Japan. We were just standing on a street corner and a group of young school girls ran up to us asking for our autographs. We were both thinking, “What is happening? I guess we are famous?”

Lastly, there was a time when a 16 year old kid randomly came up to me and expressed how much he admires me, looks up to me, and listens to all my criticism. He said that he really respects who I am and his statement brought a tear to my eye. I was not aware how much I was changing young kids’ lives.

ROSACEA

From the magazine Real Simple, author Janet Carlson Freed helps us stop seeing red.

What Is Rosacea?

Learn how to identify and treat the symptoms with a few changes to your diet, lifestyle, and skin-care routine.

People with pink cheeks are considered the picture of health. But it’s one thing to have a rosy glow and quite another to have five-alarm fiery spots that just won’t fade or that spread to your nose, chin, or forehead. If this sounds familiar, you could have a common skin condition called rosacea.

What’s the Blush?

Experts aren’t sure exactly what causes rosacea, but most believe it’s an inflammatory response triggered by an overactive immune system, says Diane Berson, a dermatologist in New York City. It’s most common in women over 30, in those with fair skin, and in people of northern European or British descent, says New York City dermatologist Macrene Alexiades-Armenakas. The first step in figuring out whether you have it is to identify the triggers that make your skin flare up. Common examples include the sun, alcohol, hot temperatures, and foods that cause vasodilation (blood-vessel expansion under the skin), such as shellfish, peanuts, eggplant, soy sauce, avocado, and spices like cayenne pepper. If you notice redness in response to any of these, see a dermatologist for a definitive diagnosis, and avoid the foods if you’re feeling flush.

Simple Treatment Strategies

To keep skin calm and to minimize redness, use daily a gentle cleanser and moisturizer that contain soothing ingredients, says Berson. Look for aloe, chamomile, niacinamide (a B vitamin derivative), or pumpkin seed. (Dr. Brandt’s No More Redness Relief, $35, drbrandtskincare.com, is one moisturizer with pumpkin-seed extract, while Olay’s Total Effects Daily Moisturizer, $21, drugstore.com, has Vitamin E to hydrate the skin and niacinamide to soothe it.) Follow with a zinc oxide– or titanium dioxide–based sunscreen; these mild physical blocks won’t irritate sensitive skin. Some doctors recommend also taking a fish-oil supplement for its anti-inflammatory properties. Camouflage flushing with a little makeup magic: Primers with a green tint counteract redness, and gentle mineral foundations can help even out skin tone. Try Physicians Formula Mineral Wear Correcting Primer Brush ($11, drugstore.com), which you can brush on before applying makeup.

More Intensive Options

Rosacea can progress from flushed cheeks to broken capillaries to acne-like bumps. If the measures above don’t work, a dermatologist can help. Prescription topicals, such as Finacea (available by prescription only) and Metrogel, contain anti-inflammatory ingredients. Intense pulse-light lasers can painlessly shrink visible capillaries (you’ll need several treatments, at around $550 a session). And in some cases, “oral and topical antibiotics, or even Accutane, may offer relief,” says Richard Glogau, a San Francisco dermatologist.

THE PROMOTIONAL TYPE

Knowing where one fits in the industry is the first step to success.  Once a talent can embrace their physical characteristics and where they will be most readily accepted, a career can begin to prosper.

One of the most common and accepting types of work in the modeling world is home to the promotional model.  Promotional models are almost always attractive, but are not discriminated against due to height, dress size, or features.  Typically, promotional models are pleasing to the eye, have engaging personalities, and feel comfortable conversing with strangers.  

These models are most often found in convention centers as representatives of major corporations, but can also be at other live events, such as fairs, seasonal festivities, and even your local mall.  Mall fashion boards utilize attractive teenagers as freeze models in store windows and runway models for home-town shows.  Promotional models are also sought after for live product demonstrations, where the model may have extensive script to memorize or become the subject to showcase an infomercial product.  More high profile examples would include the Budweiser girls or the Dallas Cowboy Cheerleaders.  Promotional models can be booked for a day, a few weeks, or even employed full time to travel for corporations like Ford or Honda.

Promotional modeling is a facet of entertainment where a girl (and in some cases, even guys) with above average looks and an open personality can stay busy.   Outside of those minimal requirements, promotional modeling has very few limitations and much opportunity.

COMMERCIAL ACTORS SHOULD NEVER...

…undervalue reputation.

by Casting Director, Laurie Records

 

According to Merriam-Webster:

rep·u·ta·tion noun [rep-yuh-tey-shuhn]

1 a : overall quality or character as seen or judged by people in general

b : recognition by other people of some characteristic or ability <has the reputation of being clever>

2: a place in public esteem or regard: good name <trying to protect his reputation>

Commercial actors should never underestimate the importance of guarding their (good) reputation.

One of my fundamental beliefs for actors is that they must guard their reputation… religiously, passionately, totally and completely, at all times.  In an industry built on relationships, in a city (for me, specifically Los Angeles,  but insert your own major market city here) where masses upon masses of talented people congregate with the same, and let’s face it… challenging goal as you, your reputation, many times, is a deciding factor in getting or losing the job.  And, you should know you are building it daily with the big (obvious) and small (not so obvious) actions you take.  How’s that for applying the pressure?  Pursuing a career in this industry is not for the lazy or faint of heart.

Pre Audition.  Before/while auditions are rolling in, no doubt there are many things actors do to help/harm their reputations with their agents.  I am not an agent; therefore, I find it difficult to do anything but speculate.  But it isn’t rocket science to know that your reputation with them is ridiculously important on the road to receiving regular auditions… and becoming a consistently working actor. From a casting director perspective, something I can speak about, actors are building (for good and for bad) their reputations with casting, before they ever walk in the door.  Imagine what lying on your resume does to your reputation, confirming/not confirming your audition appointment at all or in a timely manner, calling the casting director for directions to the studio (let me be clear… a complete no-no), consistently asking for timeframes/never asking for timeframes, booking out/not booking out with your agent (leading to last minute cancels, or no cancellations), inappropriate/non professional headshots/great headshots, going over the casting director’s head to contact the producer or director about the job… I could go on.  There are big and little things you do to build a good or not so good reputation, before you ever cross the threshold. 

At the audition.  The stakes go up in the “reputation building realm” at the audition.  I still hear the rumor (and see it regularly played out) that actors can be lackadaisical about being on time to a commercial audition.  It’s just a commercial after all… and no one really notices as long as you are there within the hour, right?  Well, it pains me a little to say this could be true, occasionally.  I can also say that you won’t get away with it forever, and it’s very likely noticed and noted (if just mentally) without you knowing it.  Just because you weren’t lectured by the Casting Director for being late doesn’t mean your good name is still intact.  A lack of a phone call to your Agent doesn’t mean your absence wasn’t a problem.  Commercials are a whirlwind.  There is no time to challenge an actor about their tardiness and inform them how it has negatively impacted the day… it’s a waste of breath.  But, it’s highly likely, we notice.  Simply put: on time, prepared (wardrobe and copy) and good-natured = good reputation.  No show (gasp!), late, not looking like your headshot, wrong wardrobe, lying on tape about your skills, no prepared copy = bad reputation.  I just cast a job where an actor did not book the job because they were late to the callback.  When asked by the client whether or not they were late to the first call, my answer was yes.  The assumption was the talent would be late to set, and the client went with someone else.  Your reputation is established that fast.

On set.  Being brilliant on set is perhaps the most effective way to secure future work.  We all want to work with fantastic people we know, like and have worked with in the past.  Proven actors (actors the director/production have worked with previously) are the preferred actors to have on set.  It’s less risk and more fun.  Being a jerk (yes… I’ll define) on set is perhaps the quickest way to ensure you won’t be hired back.  Early arrival, rested, prepared, attentive, professional = good reputation.  On time (which means late), inattentive/distracted, non approved friend visits, not easily found, needing repetitive direction, flirting with production/other actors, [unable to follow directions], demanding/high maintenance = bad reputation (yes, that’s my “jerk on set” definition.  It isn’t all-inclusive, but you get the idea).  Again, on my last job, I witnessed an actor not get the job because the producer had him on set, previously, and he/she was flirting relentlessly, instead of focusing on the job at hand.  The producer didn’t want to risk a repeat performance of the same behavior, so another actor was hired for the role in the commercial.  I don’t need to say this decision represented a loss of many, many thousands of dollars for that actor.

Because I enjoy being positive, your good, GREAT reputation will positively influence your career every… single… day.  True, I sited a couple of real examples of reputation from a negative standpoint. You should also know that I have been a witness for many actors who have been hired, as to the talent, kindness, professionalism they consistently show.  Reputation is a serious factor in getting or losing the job.  It’s up to you which way yours influences your career.

Guard your reputation… (in the spirit of keeping it simple, yet truthful) your good name is all you have.

COMBATTING ANXIETY

The Six Best Ways to Decrease Your Anxiety

We all know the uncomfortable feeling of anxiety. Our hearts race, our fingers sweat, and our breathing gets shallow and labored. We experience racing thoughts about a perceived threat that we think is too much to handle. That's because our "fight or flight" response has kicked in, resulting in sympathetic arousal and a narrowing of attention and focus on avoiding the threat. We seem to be locked in that state, unable to focus on our daily chores or longer-term goals. As a Cognitive-Behavior Therapist with more than 15 years of experience, I have found a variety of techniques that I can teach my patients with anxiety disorders such as phobias, panic attacks, or chronic worry. Some are based on changing thoughts, others on changing behavior, and still others involve physiological responses. The more aspects of anxiety I can decrease, the lower the chance of relapse post-therapy. Below are six strategies that you can use to help your anxiety.:

 

Techniques to achieve inner peace of mind

(1) Reevaluating the probability of the threatening event actually happening

Anxiety makes us feel threat is imminent yet most of the time what we worry about never happens. By recording our worries and how many came true, we can notice how much we overestimate the prospect of negative events.

(2) Decatastrophizing

Even if a bad event happened, we may still be able to handle it by using our coping skills and problem-solving abilities or by enlisting others to help. Although not pleasant, we could still survive encountering a spider, having a panic attack, or losing money. It's important to realize that very few things are the end of the world.

(3) Using deep breathing and relaxation to calm down

By deliberately relaxing our muscles we begin to calm down so we can think clearly. If you practice this without a threat present at first, it can start to become automic and will be easier to use in the moment when you face a threat. Deep breathing engages the parasympathetic nervous system to put the brakes on sympathetic arousal.

(4) Becoming mindful of our own physical and mental reactions

The skill of mindfulness involves calmly observing our own reactions, including fear, without panic or feeling compelled to act. It is something that can be taught in therapy and improves with practice.

(5) Accepting the Fear and Committing to Living a Life Based on Core Values

Acceptance and Commitment Therapy (ACT) is an approach that encourages people to accept the inevitability of negative thoughts and feelings and not try to repress or control them. By directing attention away from the fear and back onto life tasks and valued goals, we can live a full life despite the fear.

Soothing & healing strategies for your mind

(6) Exposure

Exposure is the most powerful technique for anxiety and it involves facing what we fear and staying in the situation long enough for the fear to habituate or go down, as it naturally does. Fear makes us avoid or run away, so our minds and bodies never learn that much of what we fear is not truly dangerous.

Published on June 28, 2011 by Melanie A. Greenberg, Ph.D. in The Mindful Self-Express

THE ART OF IMPROV (Part 2)

Talent frequently find themselves asking, “how much can I improv to change the script?” The answer is “it depends.”

 

Let’s start with the actor wanting to improv to make the script more his own.  If the spot is not humorous at all, don’t change any of the copy just to be creative.  Let your personality (your chosen attitude) do the work.  Commercial scripts have been legally approved and have quick transitions.  The transitions are usually written well to move it from a beginning, middle and end.  You might just throw a word or a phrase in that interrupts the flow, and the transition does not work as well.  You also might change something that was put in there to satisfy legal specifications.  You don't want to be the talent involved in a breech of contract, so stick to the script and respect the boundaries you've been given!

 

The funnier the script, the more room there is to improv.  On union productions, CDs have to adhere to SAG improv rules and be cautious that we don’t cross over the union guidelines.  The SAG guidelines state “An ‘ad Lib’ or 'Creative Session Call' is a work call involving ad lib or improvisational performances where no script is provided, or when a principal performer is required to deviate substantially from a prepared script in a manner created or conceived by the principal performer or to invent situations which he/she performs.  The principal performer shall be paid for such services”.  This rule came into effect many years ago stemming from the complaint of some actors that something they “created” in an audition ended up in the final spot on air.

 

On a non-union set, however, there are no protections for creative or intellectual property a talent may use in an improv casting session.  Here it is best to showcase your skills and personality rather than spend time rewriting the client's copy.

 

The conundrum arises, how does a casting director give you the best chance of showing how creative and funny you are reading someone else’s words.  The answer is: When the script is high comedy, in order to really let out who you uniquely are, you want to make it your own and you can do that by changing  more of the copy.  We can’t come out and tell you to improv, but we can invite you to add your own unique comments to the copy to make it more of your own distinct performance. It is then your choice.  Obviously the more you make it your own the more you are showing who you are.

When you know the situation is broad humor and we are looking for someone who is great at improv, go for your best audition and don't worry about someone stealing your material.  Ad agency writers are hired by the ad agencies because they are good at what they do.  They have big egos and as a rule, they are not looking for anyone else, such as yourself, to write their material.

 

Be true to your performance and what is best for your audition.  Know your technique and with that knowledge, don’t limit yourself with worries, concerns and what if’s.  Be the best you know how to be in the moment of auditioning! 

 

What is the most confident you've felt after an improv audition?  What choices did you make that made you feel confident?

THE ART OF IMPROV

To improv or not to improv?  That is the question!

Improv dates back to the 15th century in Europe where street performers improv-ed with people passing by.  Being good at improv-ing eliminates second guessing and self doubting oneself, resulting in loose, creative choices. 

Even the names of improv groups are creative such as “God’s Been Drinking”, “Name Change ending”, “Oui Be Negros”, “Three Hole Punch, “Lincoln’s Bedroom" and “Mission IMPROVable”, just to name a few.

Casting Directors for commercials look for improv on a resume, as you always have to expect the unexpected. Being good at improv means you are good at thinking fast on your feet, and are not likely to feel self-conscious with whatever you are asked to do.

There are two kinds of improv for commercials.  One being the scenario where there are no lines in the final spot.  In auditions for non-verbal spots, an improv audition is set up revolving around the situation of the spot to see some personality, movement and ease of relationship.  Some examples might be: you are with a bunch of friends sitting around a restaurant table, you are with friends at a casino, in a car showroom or with someone in a store buying a new TV.

The second type of improv are the spots that have copy and we are looking for talent with humor.  Obviously, the more you add to the copy the more the spot becomes unique to you.  In this case, the actor needs to bring him/herself to the copy, as the creatives are looking for a personality, not someone just saying words.  They are using you as a vehicle for their sell and you have to use what they give you as a vehicle to let out who you are and how you feel.

Many actors fear the improv setting.  Not having a character to develop or script to disect and memorize takes them out of their comfort zone.  The truth is, most of those same actors and models are using improv in their daily life.  The good news is that it probably comes naturally; the bad news is that you might be uncomfortable being put on the spot.  For situations where there is no script, it could help to develop a character based on what you know of the client, product, or casting director you'll be seeing. 

The bottom line is that improv is a part of being in entertainment, no matter your title or abilities.  If you aren't practicing and honing improv skills, you are selling yourself short.  So what is stopping you from getting into an improv class and building those wit driven muscles?

GROOMING

Monkey’s do it!  Humans should, too.  And although it should go without saying, apparently it needs to be said.  The basics of grooming are imperative to any talent’s success.

We’ve beat a dead horse discussing all the visual ways in which a talent is judged.  Although no one likes it during the casting process, the talent chosen for any booking is usually first narrowed down by physical appearance.  Our physical appearance is forefront in publicity, in portrayal of character, in marketing, and in everyday life.  Psychology studies have found that humans make judgments based on what they see within five seconds.  The scene will be set in that 5 seconds for the next 5 minutes, 5 hours, or 5 days you will spend with that client.  Oddly, talent focus so much on other details that sometimes grooming habits take a back seat.

Before walking into a casting or onto a set, check your teeth.  The breakfast you ran out of the door eating may not highlight those pearly whites.  Brush your hair.  It’s not uncommon to see talent with tangled locks or frizzy ends.  Wash your hair.  Snapshots are likely to be taken and shared with decision makers later on.  Oily hair or skin is likely to be what they are looking for.  Paint your nails.  Women with chipped polish or unattractive feet who dare to wear strappy sandals anyway are not putting their best foot forward – literally.  Maintain your skin.  Dry and flakey skin is unattractive no matter where it is.  Using lotion and plucking unsightly hair growth is a must.  (That goes for the men, too!)  And please shave!  Cultures may differ, but entertainment maintains clear boundaries on body hair across cultures – it’s not acceptable.  You don’t have to like it, but you do have to do it if this is the business you are building.  Underarm hair, five o’clock shadows, gruff that hasn’t been cleaned up well, and even out-of-control eyebrows need to be manicured.

There.  I said it.  We are all guilty of letting something go when we get busy, but don’t let it be your grooming before an audition or shoot!

When have you seen a talent auditioning or on set who needed the grooming patrol to step in?