The Successful Talent: Tips for the Actor & Model

VERSACE IN NASHVILLE

Versace graced Nashville runways this past week.  A peak at this past winter/fall campaign in the video below may . . . or may not give us insight into what was brought to Music City.  You can be sure The Avenue's high fashion models rocked the new and exciting trends that were launched!

 

Who was chosen to grace Versace's runway?  Check back soon to find out!

Congrats Melodie Thomas!!

LOCAL DESIGNERS LAUNCHED INTO SUPERSTARDOM!

Last year, Julianna Bass presented her Autumn/Winter 2011 collection at Nashville Fashion Week. She is the recipient of the inaugural Nashville Fashion Forward Fund award, made possible with the proceeds from Lexus Nashville Fashion Week 2011. Bass was born in Pulaski, Tenn. and attended Middle Tennessee State University in Murfreesboro where she studied apparel design and costume design. She now lives in Brooklyn, NY. See her runway show from NFW 2011 and hear about her inspiration behind the pieces shown. Photography by Tony Beasley of Studio One Production.

To see Julianna's line from last year and hear about her inspiration, check out this video, which includes an interview from Nashville Fashion Week 2011.

 

Another local Nashville designer, Lauren Leonard, is the creative mind behind Leona. Leona is redefining the term southern belle with fashion girls from Manhattan to Tokyo. Every piece of Leona achieves the perfect balance of whimsical detailing and sophisticated silhouette. Since Leona's debut in the spring of 2008, it has quickly gained a faithful following and is sold at more than a hundred of the most discerning and renowned retailers internationally. With celebrity fans like Taylor Swift and Giuliana Rancic, sightings in Lucky, Elle and People magazines, and hit television shows Gossip Girl and 90210. Since being featured in Nashville Fashion Week in April 2011, Leona has opened up it's own storefront in the 12th South neighborhood in East Nashville. Visit them from your computer at www.leonacollection.com. 

What is Ms. Leonard up to in 2012?

 

WERE YOU THERE?

Nashville Fashion Week is wrapped up!  Designers rocked the streets of downtown with their latest creations.

This year hosted the likes of T Rains, White Rabbit, and Versace, plus many others.  Watch for more to follow on The Avenue's models who are taking to the runway this year.

Couldn't be a part of Nashville Fashion Week last year?  Check out what T Rains did last year . . . and hold your breath for the public peak at what he brought this year!

 

For more videos, visit http://www.nashvillefashionevents.com/features/nashville-fashion-week-2011/video/70

 

ARE YOU IN YOUR OWN WAY?

Everyone agrees that choosing to live and work in a completely subjective industry is at the least daunting (and most often entirely overwhelming).  Few people sympathize with talent moreso than actress Colleen Wainwright, has been hitting the payment for over three decades.  Colleen would tell you that over that time she has seen talent make the same five mistakes to the detriment of their careers. 

Desperation is an extreme state and we can all smell it from a mile away.  Talent can smell it on other talent, so of course we as industry professionals sense it coming, too.  There are few things listed as a bigger turn off than coming across as needy.  (Take dating for example.  The good guy rarely gets the girl not because he isn't as wonderful as the bad boy, but because the bad boy just does his thing, regardless of whether or not the girl ends up being "his".  When it comes to human nature, being chased is always better than chasing!)

Here, Colleen shares the #1 mistake all too common for the well-meaning talent . . . being needy.

It's no secret that many of us gravitate to this business because we're a little bit wonky inside. For whatever reason, we need more love, approval, and attention than the average civilian, and we think that waves of love from strangers will fill that big, black hole inside.

Well, relax, because I'm not going to try to talk you out of this one. Chances are good you already know it's nuts, and are in some state of working through it. What I'm talking about, need-wise, is the stuff that gets between you and getting the job.

Need is a gigantic turnoff when it comes to moving your career forward. Yes, you need/want the gig, no matter how poorly paying it is. But while that need might fuel you, it gets in the way in the room.

So do what you can to address it. Financially, it may mean a Stupid Day Job that pays well enough or reducing expenses. Physically, it means making sure your body is in good working order. Emotionally—well, that's kind of up to you and your particular mess. Be gentle as you work on this, but work on it.

 

The one thing that makes my heart sink when I hear a talent say it -- "I really want to get this one!"  In a decade of booking, I have yet to see a talent who really wanted a gig, get booked on it.  I'm sure one day it will happen, but the reason why a talented model or actor wouldn't book a job they really want is simple.  Those nerves that keep you focused and on par in the casting room go on overdrive and then you come across as desperate.  They can smell you coming!  Learning to approach each opportunity from a level perspective is not something learned overnight.  But the bottom line is that you should put the same amount of effort into auditioning for local director Joe Blow's music video as you do when going to read for Steven Spielberg or meet with Tommy Hilfiger.

After all, you may know their name, but they are still just people like you who have worries, fears, and challenges, and are just doing their best to make it through the day and do their job, right?

 

 

Are you getting in your own way?

CAPTURING THE 'IT' FACTOR

Alexander Ayer has exhibited around the world (including art meccas like New York) and was recently quoted on the power of what makes a phenomenal photograph and defines his work.

When Ayer was in his early teens, he knew that famine was all over the news, but it wasn’t until he saw a photo of a starving man in Sudan, by James Nachtwey, that truly hit home. This photo struck him in a very strong way, “it was the first time I realized how powerful photography could be, and how a single image can speak more than a thousand words. It taught me that a photo, however beautiful, exotic, or technically perfect, it is only as good as the emotion it triggers."

Ayer's idea is true to the world of talent marketing as well.  As a model -- and as an actor -- the viewer is asking you to move him or her in an emotional way.  The "it" factor referred to as the star quality that some people have (and others do not) is nothing more than this ability to emote.

Your portfolio as a model and your headshot as an actor have to move the designer or director to a point where they become interested and want to know more.  It's not just great photography, quality lighting, flattering makeup, and the proper wardrobe that bring life to an image.  It's the undefinalbe quality of what is going on behind that model or actor's eyes, where our emotions are given life, that intrigues both the analytical and creative minds around us.

An amazing headshot, for both the model and the actor, can open doors and lay the world of entertainment at your feet.  Given that all the other industry demands have been met, the fine print that makes a celebrity or leaves someone on the B-list is the ability to emote.

What are you saying to the world?

THE DECISION MAKER?

Many talent fear the audition process -- and those along the way -- only because they lack understanding.  At least once a week, I hear a talent tell me that a certain casting director never books them.  It's a conclusion that makes perfect sense from where the talent sits; but that perspective doesn't make it fact.  Here, casting director Ken Lazer, spells it out for you in his words.

In today’s casting session, I had an actor say to me after the audition: “Thanks, I hope you’ll consider me for the job!”

I wanted to remind everyone that it’s not up to Casting Directors  whether or not you book the job. It’s up to my client and their client  as well.

My job as a casting director is to present the best talent choices  that fit the description of what my client’s needs for their project  are.

So the next time you look fearfully at your agent . . . at the casting director . . . at the ad agent sitting in during callbacks . . . stop and remind yourself that they don't make the decisions.  They are there to support you as a possibility that will please the person who is signing everyone's paychecks!

That said, it's not a bad idea to thank them for seeing you.  It is their room and time, after all!

BEING ON SET PAYS OFF!

"Mom, I'm the one in the T-shirt!"
 
 
Almost every actor has experienced being on a set with lots of downtime waiting . . . waiting. What happens too often? Lots of moaning, groaning, gossiping, spreading negativity, and staring out into space.
 
Look, you can't go running around town, or be in a workshop or otherwise do the myriad errands we always have to do. So what's the best solution? Turn lemons into lemonade, as the saying goes. Turn this "paid confinement" shoot to your advantage. So by the end of the day, you'll have a great sense of accomplishment, while given the opportunity (hopefully) to do some fun work and earn (somewhat of) a salary, too. Can't beat that!
 
(1) Bring your laptop - if you can keep it in a safe place when you're on set and if WiFi is available. Work on your career. Check out the casting notices, look at Actor's Access and your other online profiles. Visit some totally trashy website (set a time limit on this one!)  Work on that long-overdue new monologue. See #2 below.

(2) Need to get a new or additional monologue? Now's the perfect time to work on it. It's recommended that actors have four monologues always at the ready for auditions. Two comedic (one classical) and two dramatic (one classical). This is also a good opportunity to time their length. If you need a one-minute monologue, make sure you have one that is! Nothing destroys an audition quicker than being called "TIME" during an actor's monologue and seeing the embarrassed offender slink off.

(3) Read the trades. The trades should also include Variety, The Hollywood Reporter - to set your acting aspirations higher (the "go to" people read them, the stars read them, shouldn't you?) and even Advertising Age - to get a feel for upcoming trends in commercials and print ads.  Know who's doing the hiring and getting the jobs.

(4) Always had a hard time finding time to send out your headshots (with those pesky cover notes) or picture postcards? Not now! What better time to get that chore done.

(5) Watch the shoot! The big name actors and models you recognize know every detail about how a shoot is done. Now it's your turn. Think of it as paid education. And they put this who production on just so you can see how things work!  And, be politely in front, if possible. Let the decision makers see you showing interest. When the time comes to think of who would be a good stand-in, photo double or upgrade, that face time of yours will come in pretty handy.

(6) Quality of Thought. Use this time to focus -- a clear channel of white light -- on your career and strategize on its future and how you're going to get there. Really have that inner dialogue with yourself - which is especially difficult for actors because they work mostly in the land of make believe. But, we all have to do it once in a while and this is as good a time as it gets.
 
With these options, you'll be amazed how fast the day goes, how much you have accomplished and even made a few bucks in the process. Now that's working smart!

What do you spend doing during your down time on set?

WHAT DOES 'ON TIME' MEAN ANYWAY?

Production only sees two types of talent.  One talent type is always early . . . while the other talent type is always late.  Surprisingly, both quandaries cause issues for production.

Obviously, we all know that being late ruffles feathers in the casting room and on set, but what qualifies "late" exactly?  If your call time is 10:20 and you arrive at 10:19, you're late.  It may sound harsh, but call times are the hard and fast dial on the clock when you are expected to be entering the casting room.  What will cause you to be late walking in the door at 10:19 is administrative - paperwork, snapshots, signing in, etc. 

The stuff that most talent enjoy the least, right?  But consider if you don't take time to sign in, fill out your paperwork, and submit your headshots/snapshots, what might happen a few hours later.  Without that administrative step, the director(s) and producer(s) and/or ad agent(s) aren't able to communicate about who they want to book -- it might have been you!  But you would never know because you wouldn't get the job.  I make a ridiculous point because you know you have to help everyone stay organized, but don't make the mistake of undervaluing it's purpose.

What some talent don't realize, is that showing up early is a big problem as well!  A call time is set for a reason -- to keep the day flowing smoothly and everyone on task.  Executing a flawless casting or production is nearly impossible!  When a talent shows up to a casting or a set 30-45 minutes early, some of the same challenging problems arise.  They create a distraction for those talent who are trying to stay focused.  They take up space that is too limited in everyone's world, cramping those who are trying to stay focused.  They blow their agents phones up because no one is there yet or they interrupt something important because no one is expecting the extra body, noise, presence, distraction.

On time is tricky, but not impossible.  A wise talent knows that arriving early is never a problem.  Where they convince everyone else they are a professional is by not entering the call space until 10 minutes before their call time.  They sit in their car and read a book, play a game on their iphone, listen to music, and use the time to focus on their character.  They don't make their presence known until it's time to do administrative tasks that will prepare them to do their job as a professional.

So the blog begs to ask the question -- are you a professional?

REMODELED ON THE CW

The CW is set to air the first six episodes of REMODELED starting on Jan 17 @ 9:00pm as reported in The Hollywood Reporter.  The Avenue Model & Talent Agency is a member of The Network, which the show revolves around.  Catch it and keep up with the excitement!

10:13 AM PST 12/9/2011 by Lesley Goldberg

The CW is betting big on Remodeled.

The young-skewing network has delayed the midseason returns of Sarah Michelle Gellar's Ringer and 90210 to make room for two airings of the new modeling reality series Remodeled.

Featuring modeling industry veteran Paul Fisher as he attempts to create one "Network" of smaller agencies, the CW will air the show's premiere on Tuesday, Jan. 17 at 9 p.m. following the return of 90210, which has been pushed back from its original Jan. 10 return.

A rebroadcast of the Remodeled premiere will air the following night at 9 p.m., in the same slot where the network had initially planed to launch the series. A third airing of the premiere will be broadcast on Friday, Jan. 20 at 8 p.m.

The following week, the second original episode of Remodeled will air on Tuesday, Jan. 24 at 9 p.m. and be rebroadcast Wednesday, Jan. 25 at 9 p.m.

Ringer, which was to return with new episodes on Tuesday, Jan. 10 at 9 p.m., will return to its regular time slot with new episodes starting Jan. 31 with nearly all original episodes through its season finale in May.

Remodeled will air its third episode in its regularly scheduled slot on Wednesday, Feb. 1 at 9 p.m.

The broad exposure for Remodeled comes two months after the CW yanked struggling reality series H8R from its schedule following a handful of low-rated episodes.

An updated schedule of the CW's midseason premiere dates follows.

Tuesday, January 17
8-9 p.m.            90210 (original episodes return)
9-10 p.m.          Remodeled (series premiere)

Wednesday, January 18
8-9 p.m.            One Tree Hill
9-10 p.m.          Remodeled (special encore)

Friday, January 20
8-9 p.m.            Remodeled (special encore)
9-10 p.m.          Supernatural

Tuesday, January 24
8-9 p.m.            90210
9-10 p.m.          Remodeled (original telecast)

Wednesday, January 25
8-9 p.m.            One Tree Hill
9-10 p.m.          Remodeled (special encore)

Tuesday, January 31
8-9 p.m.            90210
9-10 p.m.          Ringer (original episodes return)

Wednesday, February 1
8-9 p.m.            One Tree Hill
9-10 p.m.          Remodeled (original episode)

THE NEW YEAR

 

As we enter 2012, most people are excited about the opportunity of a fresh start.  The new year is a great time to recap the past and set your sights on the future, but tackling such immense and abstract ideas can be challenging to the creative mind.  How are you going to make the most of 2012?

At The Avenue Model & Talent Agency, this time of year is one of my favorites!  We reach out to our talent and get one-on-one time with every face on the roster to help them recap the year and prepare for the future.  The talent who make the most of their time reviewing the prior year and setting goals for the new year consistently show the highest earnings in the next 12 months of work.  As an agent whose income is directly proportional to my partners, I'm thrilled to have this opportunity to pad both of our pockets!

Your review and goal setting can be just as effective on your own!  You can make it as elaborate or simple as you feel comfortable doing -- and the bottom line is that you will reap the benefits of having done so!  Here are the basics of what we find most effective during this season of out-with-the-old and in-with-the-new.

First, take time to really measure the prior year.  (If you do this in the middle of the year, set a clear start and stop time line for consistency.)  I ask talent to clearly tell me what their highest moment and lowest moment were.  These triumphs and challenges are personal.  Sometimes they involve monetary gain; sometimes they are simply personal fulfillment.  However you judge them, they are YOUR high and YOUR low.  Write the down to make them tangible!  Then also make note of any other significant events in the given time-frame.  Did you get new headshots?  Did you have a break-through booking?  Again, make it tangible by putting it on paper for you to see!

Second, take time to really set specific and well-defined goals for the new year.  The hardest part of this step is making the goals specific and measurable.  Common knee-jerk responses are usually, "Make more money" and "Book more jobs."  Well, you can make those your goals if you so choose, but more streamlined -- and therefore, more effective -- goals would be specific steps you can take to get there.  Think about what the year is likely to hold . . . or maybe some time last year where you were unable to meet the demand.  Did you lose a casting opportunity because your English accent comes and goes?  Are you embracing your stereotype?  (Red heads better have good Irish and Scottish accents!!)  Is there a hobby specific to your region in which you don't excel?  In the midwest, riding horses might be important!  Adding to your skills, hobbies, and experience will always help you book more jobs which will in turn, make you more money.  Be specific with your goals so that when you look back at the end of 2012, you can honestly pat yourself on the back for completing the things you said you would.

New Years Resolutions rarely stick -- just don't bother!  Put your hand written list of no more than 3 goals (maybe four for those who are self-starters with high drive) on your bathroom mirror or inside your closet door.  Pick a place where you will see it daily to be reminded of your aspirations.  Then be inspired to accomplish them and dare to launch your career!

How are you going to make the most of 2012?