The Successful Talent: Tips for the Actor & Model

UNDERSTANDING RESUMES AND HEADSHOTS

Commercial Print Instructor, Scott Powers provides us with an understanding of the resume and headshot controversy.

There has been this lingering great controversy/debate simmering under the surface that needs to be addressed once and for all.  Closure.  End of discussion. 

Namely, how to attach your résumé to your headshot.
 
Assuming you have a dynamite glow-in-the-dark headshot that looks just like you on your best day AND is 8"x10", in color, matte finish (not glossy), with borders and name on front; you would like to keep the elegance of your promotional material.  Interestingly enough, a bad job of attaching your trimmed 8"x10" résumé can gum up the works, pun intended.  And cheapen the product - you.  What are the options, plusses and minuses?
 
1.       Glue stick.  No.  Glue sticking a   résumé can dry out and a résumé separates and floats to the bottom of a file drawer, joining the other orphan résumés bearing traces of glue stick.
 
2.       Rubber cement.  Will create more wrinkles and lumps than you ever thought.  Old before its time.  How you will look when you're 85.
 
3.       Staples.  Long considered the industry approach.  Often because they are not aware of a better, simpler, more elegant alternative. [Coming up on that.]  Think about this: you have a beautiful headshot and it gets punched through by clunky staples.  AND, if you update your résumé and remove the old staples, then add more staples and more holes.  Starts to look a bit chewed up.  Also, a hard copy headshot/résumé could get filed in a file drawer usually overstuffed with other headshots/ résumés.  Forced in, ripped out.  And every other one in front and behind yours gets the same treatment.
 
What, oh, what to do in these perilous times to solve this crisis?
 
4.       Permanent double-sided Scotch tape.  1" on each corner is all it takes.  No lumps, no bumps.  If you have to replace your résumé, just peel off the old one, put the new one on.  AND, it preserves the elegance of your costly headshot.   Beware: there is now a removable double sided Scotch tape version now on the market.  Be careful not to buy this by mistake.  It will not hold your resume and make for résumé rage.  Make sure what you buy is permanent double sided Scotch tape.  Staples has it; Duane Reade has the one you don't want.
 
As they say, the devil is in the details.  People are either consistently superior on all fronts, or consistently mediocre on all fronts, or consistently substandard on all fronts.  Being consistently superior on all fronts presents a professional actor, one that shows that they are competitive and hirable.  This is just one little contributing factor that cumulatively adds to your luster.
 
Of course, this advice is only helpful generally speaking.  There are always cases where a particular casting director will rather you use staples or some other method, so always follow the advice of your agent prior to an audition. 

Does your presentation meet the standard that makes us happy to pass your headshot along to the decision maker?

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OUTSIDE OF ACTING

You mean to tell me there are other jobs in entertainment besides being an actor or model?  Yes, Virginia, this industry is not run by Santa Claus!  You may realize there are people working with and for your benefit as the talent, but are you aware of what their daily grind is like?  Most likely, you have misconceptions without knowing it.

What does that CD who always seems so stressed out (or nonchalant) deal with every day?  Find out from our fellow industry professional Scott Powers!

It is vital that performers know not only how to act and market themselves, but how the business works from all sides.
 
One of the approaches that we have recommended with great results to abolish this situation is - ready? - go for an internship or be a reader.  Internships are basically unpaid or low-paid or transportation/meal stipend paid positions.  They can be a few hours a week, on a daily basis or for a specified period of time.  Interns open the morning mail and email, field phone calls, file headshots, watch the actors/models coming in and out of the office, interface with the industry, discover what problems the business has to grapple with day in and day out, maybe even sit in on the decision making process.  You will have a great first-hand to generally/specifically observe how the industry - the "other side" - REALLY works.  What a great opportunity you created for yourself!  And if you know THAT, your pursuits and career will absolutely benefit.
 
Being a reader for auditions at a casting company gives an actor first-hand experience on how the casting process works.  What works and what doesn't.  Talk about an eye-opening experience!
 
Are interns all really young?  No.  If you're, say, over 30++, don't worry about it.  You bring to the position certain life experiences and approaches that someone younger hasn't had yet.
 
Be pro-active.  You contact them.  Most offices have a continuous need for interns.  You can approach a company in general or target a specific person.  Want to get in good with an agent?  Offer to intern for them.  Want to get in good with a casting director?  Offer to intern; be a reader for them.  Send them your headshot via email or snail mail and on the outside, mark "INTERN APPLICATION" or "READER APPLICATION" (or on the Subject line if email) and inside have a BRIEF cover note. Tell them what qualities you can bring [to the potential partnership].  Tell them what times/days of the week you are available and how long you can be available.
 
[An experience like this can] change your outlook forever.  Not only will you have a much better understanding of the business, but you will have a much better appreciation of it as well (and there would be a lot less moaning and groaning out there!)
 
Of course, if we could only get the agents and casting directors out on a few auditions and go-sees to see what the actor/model goes through, we might have a nearly perfect world....

And that reminds me of a bet I lost once with an actor.  My pay up was to take Caroline Locorriere's scene study workshop for a month.  It was mostly fun, but also great insight into what our actors grapple with every day.  Learning can go both ways, but you can only choose to learn for yourself!  Internships aren't limited, so think outside the box and find something that interests you as well.  It may be photographry, television, publicity, management, etc.  Your options are only as limited as your imagination!

Where could you intern and how could having done so help you in the casting room or on set?

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LETS GET PERSONAL

All too often I hear actors and models make comments about things they wished they had said or done in the casting room after the fact.  Actors get caught up in trivial things, like missing a line in a script or interchanging words.  The truth is that no one cares if you miss a line or forget to say thank you when you leave.  What you should REALLY be focused on is whether or not you are presenting the character we are interested in watching -- both on the screen and the runway!

So how can you make your character more personal and relatable?

Brian Timoney says that personalization is a technique used by method actors to help them give ‘real’ performances without the need for imitation or inspiration. By simply fueling your performance with real feelings and real emotions, you are able to give performances that can be more convincing than if you had months to invent these feelings and emotions.

Let’s imagine a common scenario. You are in an audition and you are required to play a character who’s in a complicated relationship with a member of the opposite sex. You are required to play a scene in which the relationship is coming to an abrupt end. Now, this would be very difficult to prepare for in just a few minutes, especially if the actor opposite you was someone you’d never met before. However, by using personalization you would project the personality of someone from your own past onto your fellow actor. By carefully and accurately projecting the image of someone you’ve been in a doomed relationship with and recalling your own feelings at the moment it all came to an end, you will be able to give a thoroughly authentic performance at almost a moment’s notice.

This is a great technique for any acting scenario but it’s particularly useful for auditions. One of the best things about this technique is that it can be completely internalized. This means that those that see your performance won’t know that you are using personalization to fuel your performance. They won’t know whose image you are projecting onto your fellow actor and they won’t know about the raw, evocative emotions that you felt as you gave your performance.

All they will see is an actor giving a great performance with only a few moments to prepare!

How can you maintain your focus on the emotional life of your endeavor rather than the trivial things?

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CAN YOU FEEL THE VIBE

Commercial Print Instructor, Scott Powers makes us think past the skills in the casting room.

Just as you give off a vibe to everyone around you and it effects how they interact with you, so does an audition or an office give off a vibe.  Learning how to instantly and effortlessly adjust your approach to what you are taking in can make a difference in getting a job or being passed over.

In the waiting area at an audition:

Always be pleasant and nice, no matter what you're facing.  Some waiting areas can be chaotic, others are more organized; the casting assistant snarly or semi-pleasant or non-responsive.  Rise above the fray.  Remember the rule that your audition begins when you walk through that door.  Sometimes a pleasant smile to the frazzled person behind the desk can work wonders.  Never send out the put-out look if there's a wait or the temperature's too warm or the water cooler doesn't have cups or no one offered to take your coat.  We always say come in looking like six million bucks (even if your today's net worth is six cents).  It always works, and always to your advantage.

In the audition room:

This can run the gamut from laid back friendly, with only the casting director or even just the assistant to a room of 15 people, including the client -- none of whom may look especially warm and barely acknowledge your presence.  Sometimes the room can be so thick with tension you can cut it with a knife.  Well, it can happen on a set, too.  Know when to be more friendly, when to just do your job, but always be pleasant with a "can-do" attitude - just different shadings of it.

Your job is to do your professional best, no matter what you face.

And remember, don't extend your hand to shake hands unless they extend their hand first.  I actually saw a casting director with an industrial size of Purell on her table, facing the actor, to deal with this situation.  Don't you be the one to make her use it.

When walking into an audition, whats your vibe? Are you leaving behind a good impression?

 

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JUST TWO LITTLE WORDS

Commercial Print Instructor, Scott Powers provides information that just may help advance your career.

How ridiculous. What's that got to do with their success? A lot more than you think. There are many elements that go into the making of a successful career and a career profile and this is an unusually important one. It's always part of a successful actor's career.

They learned a long time ago that hiring is subjective. How competitive it is, how many clones of themselves there are out there. How to get the upper hand? Shave points in their favor? In a business notorious for the "me, me, me" syndrome by too many less than courteous individuals, they turned it around: choosing to focus on how to help the person who can hire them or represent them and show appreciation back. They didn't HAVE to be called in, after all, and they have never lost sight of that.

That's why they find ways of thanking those who are in a position to hire them or represent them. In person during an audition or interview - Thank You! Or, Thanks for giving me this opportunity! and then again in a postcard and/or email after that audition or interview. You would be amazed how a little appreciation goes a long way. You catch more flies with honey than you do with vinegar.

There may also come a day when you might need a favor from one of "them." If someone's been consistently appreciative, "they" will be far more willing to do that much needed favor. "They" may be less inclined to do something like that for a taker.

Lesson to be learned: two words pack a big wallop in this business: Thank You. Find a way to use them as often as possible. You'll be pleasantly surprised by the results that start coming your way.

Leave the boatload of excuses, attitude, bitterness, meanness, self-entitlement, revengefulness and other manifestations of negativity outside the door. "They" have their own set of problems, "they" don't need or want yours. Why do you think therapists were invented? They get paid to listen to peoples' problems and tales of woe, all wrapped up in a thunder cloud of negativity, for a price.

PS: What's the companion to "Thank You?" "Be nice." So simple. Be nice to those who can hire or represent you.

PPS: What's the companion to the companion? We heard this from an actor we recently booked on a movie: "Thank you for the work." Those words cut through all the day's clutter. A beam of white light. So sweet. We stopped to appreciate what we just heard. And we'll hire him again.

Too often you don't know who can help you or who can hurt you. There is not one actor out there who cannot be replaced. We see this in action every day. Make "them" want to hire you, to be part of their universe. We track actors' successes (or failures) and these principles are always in their successes, or missing in their failures.

You have the choice.  We all write our own books. Your book should be on the Best Seller list, not on the remainder pile. And, you can do it. And as a parting little secret, there are more "industry people" out there who are behind you -- rooting for you and want you to succeed -- than you would ever know. Now go knock it out of the park.

These two words can open up endless opportunities and most importantly create a domino effect on society.

What have you experienced after saying the words "Thank you"?

 

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YOUR INNER DEMONS

NYC and Nashville casting director Kim Petrosky shares her perspective on Risa Bramon Garcia's blog post on BackStage.

"Great article by Risa Bramon Garcia. My personal #1 most important thing an actor can do -
Do you your own personal work. YOU are who you bring into every audition, every situation, every relationship in your life. By making the choice to be an actor you are choosing to be in relationship…with other actors…script…director...with all the other creative and technical aspects of the experience. If you have personal issues that may be holding you back (and I’ve never met anyone who doesn’t) become aware and do whatever you need to do to explore them…heal them…find the tools or whatever is the right choice for you. Self-exploration is a life long process and cannot be overlooked. Because trust me…I see this as the biggest obstacle in every actors success," said Kim Petrosky in her Casting Facebook post recently. 

Risa Bramon Garcia's "15 Things Actors Do That Make Me Happy" full article is pasted below.

1. You show up every day. You make no excuses.

2. You love the work wherever and whenever you’re doing it and you don't complain. None of the “I’ve been a series regular for six years, and I’m only working one day/week for $40,000.” Or “I’m so ready to work, but I’m home all day with nothing to do.” You bring your love of acting to the audition room, set, rehearsal, class, and you carry your love of the work into every experience. You relish it.

3. You do everything you can to be prepared. You know your lines. You do your homework. You do it to get out of your own way.

4. You’re generous to each other, and you’re generous to yourselves. You give yourselves a break. You manage your expectations.

5. You don't apologize, and you’re willing to applaud yourself. You turn limiting beliefs into empowering ones.

6. You focus on others, not on what they think of you but on what their needs might truly be. We are all your audience, and you’re there to offer yourself and your work to us in performance, in collaboration, in a shared adventure.

7. You train. You study. You work out. You continue to develop your craft. You get that being in shape is what gives you the edge to compete and the freedom to fly.

8. You live full lives.

9. You’re proactive and deeply creative. You take responsibility for your work, your success, and yourself.

10. You’re willing to fight for it.

11. You understand the power of fear, that it’s a force, not an impediment. You take risks in spite of your terror. You let it fuel you. You do what Yoda says: “Feel the force!”

12. You’re courageous. You embrace the struggle and find a way to love it, knowing that the creative spirit grows from battling through the night, that this is the force with which we create. You're willing to do whatever it takes.

13. You’re about the work first, knowing that career will follow and not the other way around. Dedicated work leads to good work. Good work leads to great work. Great work is thrilling. Great work is noticed. Celebrated. Hired. And money follows bliss. As Steven Pressfield wrote in "The War of Art," "The most important thing about art is to work. Nothing else matters except sitting down every day and trying."

14. You know how damned lucky you are to have chosen this thing, this thing that is generated from the fire within you. You’re blessed to be on this journey.

15. You have faith.  My happiness isn’t really determined by an actor’s decision to take care of him or herself. This is my own checklist for artistic sanity and success. However, when I do see fellow artists show us and embrace these actions, I’m gratified. We conspire together in our pursuit of happiness. 

There’s further to go in the exploration of each of these commitments... For now, let's embrace them. Let’s look at where each of us shows up, where we might have to recalibrate how we approach our creative lives. Our careers and our joy depend on it.

Risa Bramon Garcia has just started up a new Studio in L.A. with partner, Steve Braun, called The Bramon Garcia Braun Studio, dedicated to actors’ whole journey, connecting craft with career. Visit Risa’s website, active and inviting for actors and other artists alike is:Risabg.com.

For the past 30 years Risa has worked consistently as a director, producer, casting director, writer, and teacher, collaborating with some of the most groundbreaking artists in the world.  Having directed two feature films ‐ the cult classic, "200 cigarettes," and most recently, "The Con Artist" in Canada - Risa’s also directed for television, including multiple episodes of "The Twilight Zone" for New Line/UPN, and shows for HBO, Lifetime, and Comedy Central. She’s directed dozens of plays in New York (The Ensemble Studio Theatre, Second Stage, Manhattan Theatre Club) and in Los Angeles. Risa’s casting résumé includes more than 65 feature films, classics such as "Something Wild," "At Close Range," "Angel Heart," "Fatal Attraction," "Wall Street," "Talk Radio," "Jacob’s Ladder," "Born on the Fourth of July," "JFK," "The Doors," "Sneakers," "The Joy Luck Club," "True Romance," "Speed," "How To Make An American Quilt," "Dead Presidents," "Twister," "Benny and Joon," and "Flirting With Disaster;" and numerous television shows, including "Roseanne," "CSI:NY," "The Cape," and most recently "A Gifted Man" for CBS and the pilot "Rewind" for Syfy. She’s about to start casting the Showtime series, "Masters of Sex." Risa served as a producer on Oliver Stone’s films "Heaven and Earth" and "Natural Born Killers," movies she also cast.

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THE BIG WINNERS!

Each year, The Avenue Agency gives away valuable prizes to the talent who have set themselves apart from their peers in some way.  There are those who are brave enough to be competitive at the holiday party games, as mentioned in earlier blogs.  But more importantly, there are the hand full of talent who go the extra mile to give 100% to their career.  These talent are known to submit requested materials without having to be asked.  They frequently track details on their opportunities and approach their craft as an organized business professional.  They have the initiative to seek out advice and support their skill set with great marketing materials.  They do not offer excuses when things don't go their way.  These talent not only bring value to our partnership, but they also bring peace of mind to me as an agent when pitching them.

Some have worked for years and finally seen their preparation met with opportunity as they reap the rewards of success.  Others came on board ready to go from the start and were quick out of the gate.  The annual MVPs may change from year to year as we cannot honor ALL of the special partnerships at one time, but their work ethic and determination are consistent across each year.   I'm so thankful to announce the winners and MVPs on The Avenue's roster in 2012:

Emily Landham will receive a free one hour personal training session with Jennifer McCoy, BS ACSM, of One Body. One Life. Health Fitness Specialists & Personal Trainers (to contact Jennifer, email jennifer@body1life.com)!  Emily's earlier year was wrought with challenges when she broke her foot while giving back to her community on set for a non profit, but she still finished strong ending the year with multiple feature films, industrials, and a principal role in BET's The Game!

Joel Diggs will receive a complimentary three look modeling photoshoot with photographer Michael Gomez.  Joel came onto The Avenue's roster with a strong presence and has shown commitment and follow-through that put him among the top money earners in his demographic.

Steve Caviness will receive a complimentary space in acting coach Caroline Locorriere's The Actor's Studio in Nashville, TN.  Steve started 2012 traveling for an ad campaign that padded pockets and kept him busy in the new year.  He showed that he knows how to build relationships, as clients continue to come back to him and ask for him by name.

Rusty Whitener will receive a complimentary two look actor's headshot session from Michael Gomez.  Rusty took a hiatus in the first half of the year as his Christy Award winning novel was made into a movie.  In the latter part of 2012, he showed his strength and presence by booking principal roles in the hit series "Nashville", and leading roles in several movies to be released in 2013-2014.

Stephanie Gamonet will receive a complimentary 30 minute private coaching via skype with Casting Director and coach Holly Allen (a $60 value).  Stephanie's dedication and persistence are proof that hard work does pay off!  The past year saw her book the lead female role in a feature film as well as a national commercial spot!

Diana Moseley was 2012's child MVP and will receive a complimentary "Acting in Commercials" workshop with acting coach and working actor, Alan Dysert, of The Actor's School (a $125 value).  Diana was quickly welcomed into the market when she started, but this year faced her most challenging role -- playing a tomboy.  She'd rather be in pink dresses, but says "it wasn't so bad."

Alice Raver will receive a complimentary 60 minute massage from massage therapist to the country stars, Deanna Porterfield, of Balance Massage.  Alice's incredible flexibility and focus has brought her business of acting to a new level in 2012 by booking commercials, print work, and feature film roles.

Jared Carter will receive a free one hour personal training session with Jennifer McCoy, BS ACSM, of One Body. One Life. Health Fitness Specialists & Personal Trainers (to contact Jennifer, email jennifer@body1life.com)!  Jared has maintained an established career for years alongside The Avenue.  His most exciting role in 2012 was playing David Byrne in the movie CBGB (set to be released in 2013), alongside legendary actor Alan Rickman.  Getting his picture and an interview in the Rolling Stone wasn't so bad, either!

Congratulations to our recipients in 2012.  The Avenue is excited about helping invest in your career to continue your success into 2013!  Contact Melinda via email for details on how to go about collecting your prize.  Were you not one of the celebrated MVPs?  Stay focused in 2013 and be sure to schedule your End-of-Year Review so Melinda can give you personalized attention and help you set goals for the new year!

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2012 Holiday Party!

2012 HOLIDAY PARTY!

This year's holiday party was a blast.  We celebrated a roster of talent who had amazing years, break-through moments, and of course, of MVP money makers!

A special thanks to the generous professionals who donated their services for prizes this year, including:

1. Michael Gomez Photography, who donated a free 2 look headshot shoot and a 3 look full modeling portfolio shoot. (Check out WestLight Studios on Facebook.)
2. Alan Dysert, who gave a free commercial workshop class. (To work with Alan, visit The Actor's School.)
3. Caroline Locorriere, who opened a spot on her wait list for her scene study workshop at the Actor's Studio in Nashville. (to work with Caroline, visit www.nashvilleactingstudio.com)
4. Holly Allen, [Casting Director, Actor, and Coach] who donated a free 30 minute skype coaching for audition prep.
5. Steve Flanigan, who opened a spot in his 12 week acting workshop class.
6. Deanna Porterfield of Balance Massage gave two free 60 minute massages to relax those nervous & tense muscles. (To relax with Deanna, contact Balance Massage on facebook.)
7. Jennifer McCoy BS ACSM, personal trainer at One Body One Life, who agreed to work with two talent for free 30 minute training sessions. (To work with Jennifer, email her at jennifer@body1life.com.)

The Avenue Agency's talent who stood out this year include Alice Raver, Holly Allen, Stephanie Gamonet, Emily Landham, Diana Moseley, Jared Carter, Steve Caviness, Rusty Whitener, David Ditmore.  Each one of these talent stood out as a high money earner, had a break through that brought them to the next level in their career, or booked a major project, so keep an eye out for them on your favorite tv shows and moves yet to be released!

Check back for updates on who the lucky winners of our holiday party prizes will be!

Thank you to each talent, producer, director, freelance staff member and industry professional who graced us with their presence this past weekend.  We look forward to another great year in 2013 with each of you!

The Avenue Agency's David Ditmore and Stephanie Gamonet.

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THE GATE KEEPER

Before you storm the castle with swords ablazing, do know who guards the gate?  He or she is more than you might give them worth!  Who is the gate keeper, you ask?  He or she is the person you go through in order to get in contact with the actual person you are seeking.  This might be a coach, a casting director, an agent, a director, or someone at an ad agency.   That person answering the phone, responding to emails, or setting appointments can be your best friend or worst enemy.  Usually, that choice is up to you!

We encounter gate keepers in our every day life, which is a great forum for practice.  If you trip up and lose your temper, it's better done with a postal worker than with someone that might hold the power to help move your career forward.  Keep in mind that whomever you are first exposed to when seeking someone's attention, they are not just a receptionist or assistant.  Anyone who has ever had an assistant or similar help can tell you how important that person becomes to the employers' daily success.  In sales, one of the first things we are taught is how to communicate with our friend, the gate keeper.

An industry professional shared this story with me recently:  My assistant was out on leave temporarily, so I was answering her emails.  One of them was from [names will be spared, so we'll call him/her Tracy].  The email was very hateful and demanding about why they hadn't been able to set an appointment with me.  The emailer accused my assistant of being incompetent. 

Of course, this simple action put Tracy immediately in bad graces with his/her hopeful new relationship.  If and when they ever meet, every action afterward will be tainted with the reminder that Tracy lacked tact and professionalism.  If they never get to meet, it will only be Tracy's own fault.  Sadly, Tracy probably won't ever know why.

We all tend to be on our best behavior with those people with whom we want to maintain a positive relationship and show our best face.  Sadly, we don't always share that same respect with their staff and helpers.  Change your perspective to approaching those who can help your career -- right along with their entire staff and circle of acquaintances -- with the utmost respect.  A friendly gate keeper on your side can ease the transition to getting what you really want in the end!

A TALENT'S LIFE MANTRA

This post is courtesy of NYC CD Scott Powers, who says . . .

This week's tip is an exercise in simplicity that packs a big wallop:
 
Just before you interface with someone who can hire you or represent you or call you in for an audition: stop, take a beat, and tell/remind yourself: "My job is to make their job easier." Then: "Is what I'm just about going to be doing or saying, making their job easier?  Or not?"
 
Sounds deceptively simple.  It isn't.  Try it a few times until you get the hang of it.  This is one of the great principles of success in dealing with anyone in a position to select you.  It has universal application out in any marketplace.
 
Once this practice becomes embedded in your thinking process as second nature, you will start almost immediately to see the results. You will be in awe of how fast your career (in fact, any career, not just acting) will move ahead beyond all expectation.

Van Morrison even agrees!