Nancy
Berwid, the founder and acting teacher of First Take; provides teaching
and coaching for aspiring actors so that they can advance in their careers while in Los Angeles. Nancy, who is known best for her insight about the industry, has provided insight into what makes a great headshot.
So what is a good headshot?
A good headshot captures your essence, your uniqueness, your
personality, and your specific type. It makes it easy for a Casting
Director or agent to see what roles you would be right for. A good
headshot looks like you. It should not be overly glamorized, and you
should [always] look like your headshot when you walk into the casting office.
If your headshot has been airbrushed to make you look ten years younger
and you can’t produce the same look in the audition, the Casting
Director will not be amused. In their mind you just wasted their time
and took a time slot another actor could have filled.
A good headshot shows your face but your entire face doesn’t fill
100% of the frame either. A good headshot has good lighting, is in
focus, does not distract with odd clothing, costumes, patterns,
accessories, or any other potential oddity that could take the attention
off of you. The headshot should be pleasing to look at and convey
information about the actor, such as a specific type that could be
easily cast right now. The goal should be to move the Casting Director
to say something like, “I could see her playing______”.
Taking the time to ensure you have a good headshot is crucial to your success. Your headshot is the first impression you make and can open or close doors to casting quickly; but it is also the LAST impression you leave when decision makers are ready to book. If they feel confident that you are professional and the perfect fit, they may pass on another talent with a less professional or reassuring headshot -- even if that other talent may have given a better read in the casting room. By this point, nuances in delivery have been long forgotten! Nancy gave great suggestions to consider while working towards getting headshots taken or retaken.
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?
With only a couple of days away from the 85th Academy Awards, the intensity is at a high. As showtime is quickly approaching and viewers plan for Oscar parties, the Red Carpet, and performances, nothing can compare to the moment the winners are announced. The question is, who amongst the nominees has what it takes to take home the gold?
Here is a list of the Nominees:
Actor in a Leading Role
Bradley Cooper in "Silver Linings Playbook"
Daniel Day-Lewis in "Lincoln"
Hugh Jackman in "Les Misérables"
Joaquin Phoenix in "The Master"
Denzel Washington in "Flight"
Actor in a Supporting Role
Alan Arkin in "Argo"
Robert De Niro in "Silver Linings Playbook"
Philip Seymour Hoffman in "The Master"
Tommy Lee Jones in "Lincoln"
Christoph Waltz in "Django Unchained"
Actress in a Leading Role
Jessica Chastain in "Zero Dark Thirty"
Jennifer Lawrence in "Silver Linings Playbook"
Emmanuelle Riva in "Amour"
Quvenzhané Wallis in "Beasts of the Southern Wild"
Argo which is based around the Iran hostage crisis of 1980, is
the true story of six Americans who barely escape the United States
embassy after being overrun by an army Iranian rioters.
After escaping, the Americans take refuge inside Canadian Ambassador Ken Taylor’s (Victor Garber) house. They remain stuck there for two years before CIA operativeTony Mendez (Ben Affleck) developes a plan to get them out as a American film crew scouting for shooting locations. [Read the full review on Shorthorn.com.]
Critics have said that Argo is probably one of the best drama films of the year. The movie will keep you on the edge of your seat with its suspense, drama and humor. Considering its success, Argo is nominated for seven Oscars for the 85th Academcy Awards show. It's comes as no surprise that Argo has its number of nominations, however; I question whether or not they will win all seven. To find out if they do, tune into the ABC Channel on Sunday February 24th, 2013 at 7:00 p.m. Eastern.
Is Argo going to win all seven nominations? If not, which nominations should Argo win?
What can you do to book more jobs? Every talent asks this question and although a lot is dictated by outside variable and other decision makers, some of the easiest things a talent can do are frequently overlooked or dismissed as unimportant. You are already working on your skill set, building your resume or reel, and developing a bigger network of contacts. What else matters?
Here is a list of simple things that successful talent do on a daily basis that set them apart from their peers:
1.) Pick up the phone. The talent on The Avenue's roster who book the most work consistently
answer the phone when the agency calls. It may sound trite, but being able to access a talent quickly means being able to respond to the client more quickly -- and in many cases, the early bird books the job. Case in point, last week I called a talent and left a message early in the morning. I didn't hear back from the talent until very late that night. The job had already been booked and the late caller not only lost the opportunity, but lost a little of my confidence. As an agent, we want to know to that we can count on the talent to do their part of our partnership, so the talent who readily respond are always going to be our go-to pick when we are in a pinch!
2.) Follow directions. You always follow directions right? Of course, you do! Well,
you mean to anyway. Best intentions aren't good enough when it comes to following directions. As an independent contractor, you have many different clients asking for similiar things with different details. Should you bring 1 headshot or 3. Did you wear black pants when you were supposed to wear khaki? Can the CD count on you to listen and then nail their direction in front of the director? I recently witnessed a well-meaning and very talented actor submit a taped audition for a big role. The audition was phenomenal, but the file was not sent according to the directions that had been given. Casting did not realize the tape was there until after the role had already been cast. A very sad day for the talent who nailed the audition and was never even considered for the part -- and now has created the impression with casting that he/she can't follow directions.
3.) Be able to submit a taped audition from home -- immediately! Our digital age is exciting
and has opened up opportunity to a lot of actors outside of the biggest markets. Those who are self-reliant and respond quickly are booking work all over the place! The talent who rely on another person, another person's technology or expertise, or even someone they hire for help are missing the boat. Sure, your agent may be willing to tape you, but do you really WANT them spending time burning down audition tapes? No, they should be working to get you more opportunities! Self taping has become so simple that every home has access to some sort of video recording and computer burning device. It may vary from person to person, but the end result is the same. The talent who don't make excuses and figure out a way to make it work are the talent who are working. They are also the talent who the agent is going to call first and when under pressure or time deadlines. Don't you want to be that first call?
4.) Be willing. This is an industry of unknowns. Models are doing taped submissions for jobs today as often as actors are. The models who are willing to try working with a video camera instead of a still camera are the models who are working. And the added bonus is that a lot of them are booking jobs that pay residual, which means they are making a lot more money than they have in the past. Being flexible and willing to try something that you
Sometimes your bottom line profit is about more than your abilities as a model or actor. In this high drama industry, everyone is looking for the easiest way to keep their set functional and friendly. Are you making their life easier and giving yourself an advantage?
The hallmark holiday of love is heated topic in entertainment. As consumers, we tend to either make it a grandiose holiday or ignore it altogether. Rather than doing either extreme, have you thought about how passionate you are towards your career? Or maybe what emotions the valentine's holiday conjures up for you? These are great questions to take stock of now for future characters, story lines, or shoots! Or could you just use the holiday to get a whole lot of hits on YouTube and become an overnight sensation?
So this is the industry asking politely . . . will you be it's Valentine?
"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.
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.
Recently The Avenue's Quentin Plair was honored as one of Atlanta's "Top 10 People in the Film Business You've Probably Never Heard Of But Should". Quentin has spent the last year building strong relationships with powerful casting directors and is repeatedly asked into their casting rooms. From an agent's perspective, Quentin is reliable, easy to work with, and goes out of his way to make sure he does his part, allowing the agency to continue putting it's full force efforts behind his endeavors!
Written by Darla Clarkson: Posted on Monday, December 31, 2012 8:03 AM
So this is the time of
year to make lists...things I'm going to do differently in the next
year, people I want to work with, things I want to accomplish, etc. But,
I thought I would take a few minutes and list some of the people I know
in the film business who you may or may not know, but you need to!
These are quality people who do their job extraordinarily well and give
Atlanta a good name in the film game:
Quentin Plair, Actor
It
is so rare to find that combination of good looks, acting chops and the
ability to cry on queue that Quentin deserves mention here. I think he
is a true undiscovered talent in the industry and you will be seeing
more of him very soon. His IMDB
is pretty sparse, but after having worked with him on two different
projects, I can tell you he is a complete professional and has all the
right stuff to go ALL the way!
Backstage columnist & CD Todd Thaler thinks you should consider leaving certain things behind at an on camera audition. Below are his suggestions.
In the not too distant past, a casting director narrowed down selects
by doing prescreens. The director and producers would then certainly be
present for callbacks. Nowadays, a callback, an integral aspect of the
process, often does not occur. The opportunity to meet the "deciders"
face-to-face has been eliminated. With the advent of technology,
pre-taped auditions are how actors are very often cast. This is
especially true in television casting. In this scenario, you are sadly
deprived of any ability to show any aspects of your off-camera
personality that could possibly sway an ambivalent director or producer
into choosing you. Last year, with the production of TBS’ "Are We There
Yet?" which was based in Stamford, CT., it was impossible for the
directors and producers, who were busy shooting current episodes and
writing future ones, to be at auditions at my office in Manhattan. My
sessions were videotaped, uploaded, and emailed for their review. There
were never callbacks. There were no meetings with directors and
producers. Only after actors arrived in Connecticut did they get to meet
anyone other than me!
Ed Harris, on "Inside The Actors Studio," was asked what the
difference was between acting in the theater and acting in film and
television. His answer was, “Acting is acting is acting. It’s the
‘adjustment’ you need to make when acting for the camera.” What is that
adjustment? It is hard to avoid the old cliché, “less is more,” but it
is completely true in this instance. Theater acting must be "big" so
that it works all the way to the back row. Film and television acting
can be much "smaller" and much more natural. The camera captures
everything, thereby making it a more subtle, private, and intimate
experience. I am convinced this skill-set can be taught, learned,
practiced, and perfected.
This is why a greater awareness of "what you leave behind" is so
crucially important. If you have little or no on-camera experience, you
probably have no idea if what you do in the room works on tape. These
days, there are a multitude of classes and workshops for
acting-for-camera. (I have been known to do a few myself!) But, like
auditioning, it is something you only get better at by doing as much and
as often as possible. Since auditions can be few and far between, you
must practice on your own. The easiest way to accomplish this is to park
yourself in front of your laptop camera, your phone camera, or a video
camera! Find someone to read off camera. It doesn’t even need to be an
actor! Watch it back. Is it natural? Is it truthful? Is it real? Is it
simple? Or is it theatrical? Broad? Too "big?" Is it “schmacting?”
Todd Thaler is a casting director, acting teacher, and private
on-camera audition coach. In addition to casting, he is currently
teaching at NYU/Tisch, Brooklyn College, and the Atlantic Theater Acting
School. His credits include: Luc Besson’s "The Professional," Todd
Field’s "Little Children," Sidney Lumet’s "Running on Empty," Ed Harris'
directorial debut "Pollock," Barbra Streisand’s "The Mirror Has Two
Faces," John McNaughton’s "Mad Dog and Glory," Gavin
O'Connor's "Tumbleweeds," John Turturro’s "Mac, Illuminata, Romance
& Cigarettes" and "Fading Gigolo," James Mangold’s "Heavy" and "Cop
Land," and Wayne Wang’s "Because of Winn-Dixie" and "Maid in Manhattan."
For television, TBS’ "Are We There Yet?," ABC’s "Wonderland," and NBC’s
"Ed," for which he was nominated for the Emmy Award.
Blogger and writer Jonathan Handel brings to light the political challenges of making an expected box office hit in New Zealand.
As fans of The Hobbit scanned the red carpet at the film’s premiere in Wellington last night, some New Zealand activists are still bitter about the outcome of a failed unionization attempt in 2010, even as NZ Actors Equity is finally making progress in negotiations with the country’s producers association.
Meanwhile, the government continues to resist publicly disclosing a key legal report, despite having apparently provided copies to Warner Bros. and producer/director Peter Jackson’s Wingnut Films. That stance may change, as government officials are meeting on the matter December 5, according to a local press report.
“I’m bloody angry,” said NZAE vice president Phil Darkins at a conference last week at Victoria University. Referring to New Zealand’s uniquely non-unionized film industry, he said caustically “New Zealand is the only English speaking nation on the planet where professional performers ply their trade at the mercy of their lords and masters. And they are supposed to do this feeling nothing but enormous gratitude for the fact that there is even work available.”
In an email to The Hollywood Reporter, a NZAE organizer struck a different note. “We're having productive discussions with SPADA,” said Anna Majavu, referring to the country’s Screen Production and Development Association, “and look forward to reaching a mutually-agreeable conclusion.”
