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Introduction

What a life Andy Cohen has! Andy is the executive producer at BRAVO TV and host of the late night show “Watch What Happens: Live”. I want his life! Eating and drinking around New York City, working with a personal trainer and weekends in the Hampton’s. Sign me up! After reading “The Andy Cohen Diaries”, I thought it would be good to try this myself-give a shot at writing and hopefully inspire actors with stories and share insight of the daily grind that agents go through. Here’s to you helping me help you. Let’s work together to make this your best year ever! Enjoy…trust me I can’t make this stuff up!…Traci

The Agent Diaries – December 2015

Tuesday, December 1st

My motto for the first day of December…

December 1

Wednesday, December 2nd

Casting director Kathy Laughlin is a graduate of the American Academy of Dramatic Arts in New York City, a member of “The Casting Society of America” and also a member of SAG-AFTRA.  Kathy has been casting and teaching since 1979 in Tampa.  She has booked actors on too many jobs to count and has been a driving force in Florida.  She strives for perfection in actors and we both hold the same philosophy of “No Excuses”!

Special thanks to Kathy for her contribution to “The Agent Diaries”

I have been asked to write an article regarding the importance of character development.

As a casting director and acting teacher here in Florida since 1979, I have seen things change and change dramatically.  We used to have time to send out a breakdown, set the casting, cast and then do a callback.  In some cases, we can still do that but, with the advent of uploads and the expedience of the casting process a lot has changed.

I send out the breakdown to the agents.  I also use social media sites and wait for agents to respond or I can request actors, if I know the talent and trust the agent, otherwise we will review headshots and resumes.  If you have a reel or website, we will also look at that to make a determination as to whether or not we will proceed any further to the next step but, here comes the rub…

What if your audition does not show you in different energies and you are the same in everything you do?  This brings me to my point, let’s talk about the importance of your character development.

Watch European actors and you will be able to see that they can develop involved and dynamic characters.  HOW?  Most work in externals.  Now what is an external?  Simple explanation is:

1)      An animal
2)      Insect
3)      Another person
4)      An inanimate object

Now I understand that I just confused you.  When I first met and worked with Eric Morris, I also was confused.  I read his book ‘Irreverent Acting” and it started to become clear to me but, it was in workshopping with my students and pushing them to work in all of their subpersonalities that it became obvious to me about the importance of character development.  Example, I have some actors that I have trained that I call “Pussy Cats” BUT, they book in darker energy all the time.  As a graduate of the American Academy of Dramatic Arts in NYC, I can and will recommend that you read good books on related subjects as to character development then get into an ongoing class and work with other actors.  Keep a journal on the characters that you are developing and how you are doing it.

I recently received an email from a casting director in Louisiana who told me she had a chance to see one of my students in an energy that she had never witnessed or expected from that actor.  As a result, she requested the actor to audition.  Up to that time, she had only seen him as a bad tough guy but, after seeing his work in a showcase, she gave him a chance to show off his comedic skills and he booked the job!

To be honest, I have read most books on acting and I highly recommend “Irreverent Acting” by Eric Morris (Johnny Depp studied with Eric).  Watch the film “Black Mass” and you will understand why developing a character is important for an actor as well as the casting director that may someday recommend you for a part.

Please stay in a class and grow. I always tell my students that “acting is a lot like playing tennis, the more you do the better you get BUT, you can’t play tennis alone”, YOU CAN’T ACT ALONE!  Actors who consistently train are able to work on different energies to develop characters to keep in their library which they can from pull for auditions.  The audition IS NOT the place to stretch, class is.  An actor prepares, now work on yourself and prepare!

Thursday, December 3rd

The “IT” Factor.  Do you ever wonder why some people have “it” and others don’t. Bill Clinton, George Clooney and Jennifer Lawrence have “it”.  It is a mysterious factor that makes people like you.  People with the “it” factor stand out in a room like a magnet, command attention, have positive energy as well as personal charisma, have genuine appeal and the ability to draw attention without trying.  It can be a combination of personality traits you are born with that makes you radiate from the inside out.  I also believe that pheromones play a major role.  Pheromones is a secreted or excreted chemical factor that triggers a social response in members of the same species.  You are either born with it or not.  If I could bottle and sell pheromones I could retire. While you may not have been born with the pheromone gene, there is a lot you can do to draw attention to yourself in a positive manner.  Besides good body language, actively listening and caring what other people have to say and give them your full attention.  Make eye contact.  Conversation is a two-way street.  Remember a person’s name and use it in the conversation. First impressions count.  Always keep the three P’s in mind, polished, poised and prepared.  While you might not get the job, leaving a positive impression at an audition or callback will ensure the casting director and/or producer will not forget you   I will quote Maya Angelou, “People will forget what you said, people will forget what you did, but people will never forget how you made them feel.”

Friday, December 4th

It has been a great week at the agency!  Alkoya Brunson is in Atlanta working on the feature film “A Meyer’s Christmas”; Robert Herrick worked on “Ballers” in Miami this week and Steve DuMouchel booked a role shooting next week; Will Haze and Vivian Fleming-Alvarez are working on “Bloodline”; Mary Rachel Dudley booked a recurring role on the new show “Greenleaf” shooting in Atlanta. It sure paid off for Mary Rachel to change her flight plans to attend the callback.  Ali Flores, Owen Harn, Vincenzo Hinckley, Derek Roberts, Lance Tafelski and Kristin Wollett booked the independent film “Random Tropical Paradise” filming on the west coast of Florida and Steve Garland is returning to work on “Bloodline” next week. I love it when a role ends up recurring!  BTG actors are doing fantastic!  Keep up the good work!

Vivian Fleming-Alvarez ready to rock & roll on “Bloodline”

Vivian Pic

Monday, December 7th

Casting director Jackie Burch is a force to be reckoned with.  I love her fighting spirit and enthusiasm for the business.  Her long list of credits include “The Breakfast Club”, “Sixteen Candles”,  “Coming to America”, “Die Hard”, “Million Dollar Arm”, “Iron Man 3”,  “Ant Man”, TV show “Constantine” and the blockbuster box office dynasty “The Hunger Games: Catching Fire” and “The Hunger Games: Mockingjay 1 & 2”. Jackie has been nominated numerous times for The Casting Society of America’s “Artios Award”.

Special thanks to Jackie for her contribution to “The Agent Diaries”

Tell us about your background and how you got into casting.  

I was a teacher for the deaf in my early twenties, in LA, and a friend of mine liked my disposition and asked if I would be his assistant.  And it was a really lucky, natural fit.  Within a few years I was casting my own movies and I LOVE WHAT I DO.

I left LA after my youngest graduated high school, I just felt done with it, wanted a new experience.  A friend had mentioned Wilmington as being both beautiful and a place with industry so I took a redeye there, bought a house and moved.  And then when the incentives were killed in North Carolina it lead me to Atlanta, which has been great.

What do you like best about casting?
Finding talent.  It’s the most exciting thing to find someone new, give an actor their first break.

What recent projects have you worked on that have you found rewarding and challenging?
I was really happy with my work on Bessie (HBO)–Dee (Rees, writer/director) was fantastic to work with, and it was such a large cast.  I thought everyone did a really wonderful job.  But I always treat every project the same.  If it’s a blockbuster comedy or an independent drama–I want the very best people in every role, even down to the one-liners.

What advice do you give to actors just starting out?
Study.  And do research– make sure you’re studying with teachers that actually know what they’re talking about.  There are a lot of unregulated hot shots down here that are being paid to give bad advice. And watch movies!  Watch great old movies with great actors.  Have an appreciation for the industry in which you’re trying to be part of.  If you look at AFI’s list of best 100 movies and haven’t seen most of them then you aren’t doing your job. That’s just the tip of the iceberg.

What are some things you do not like actors to do in taped auditions or in the room?
I do not like actors to be broad.  If you’re auditioning for me, I want you to be natural.  Always.

Do you think improvisation skills are important?
Absolutely.  And not just comedic improv. I see that more and more, directors who want actors who can think on their feet.  A lot of times it’s not about the specific lines, it’s about the character, and if you can inhabit them in a natural way.

Other than talent what do you look for in an audition?
Essentially only talent.  And if someone has an obviously bad attitude (or seems a bit crazy) then that’s important too.  I don’t ever want to send an actor on set who will be problematic.  I’m the first person they call when that happens – but it’s rare.

Do you fight for actors, when they are rejected by the director or producers?
Yes, very much, always have.

What type of headshots grab your attention?  How much does a headshot help an actor get selected to audition?
Most of the headshots here are not good.  They’re too posy, silly, cutesy.  I see over a thousand people per movie, so I’ve learned to not judge by a headshot because even good actors here that I know are good will look like bad actors in their headshots. But yes, having a good one will stick out and I would always include.  A good headshot is simple, straight on, where it looks like you, where your eyes are connecting.  The ones of, “this is me as a nurse, this is me scary” etc., are very silly.

How do you like actors to communicate with you?  
When I have a project, I release it through Breakdown and I accept submissions that way.  There are a lot of great agents in the Southeast and it is not hard to get an agent here.  In LA it can take years.  I don’t like getting mail, save some trees.

Any advice for actors who don’t book as much as they want to and avoid burning out?
I think I would say to really take a look at why you want to be an actor.  If it’s because of money or fame, that’s not sustainable.  You need to love the process.  Every audition is an opportunity, take it seriously, even if it is just for one line, and then forget about it.  Once you audition it’s no longer your business.

Any general advice or pet peeves you would like to share?
Don’t shake someone’s hand if it’s sweaty.  Do theater.  Don’t get swept up in the nonsense.  Be natural.

Tuesday, December 8th

I have made a new discovery today.  I got out of my funk and depression over the non-union commercial market by working on two SAG national commercials for “Master Card” and “Lay’s” this week and booking SAG extras for a “Disney” commercial.  It worked!  I checked email this morning at 6:30, read the Lay’s breakdown, jumped out of bed to boot up the computer and went to work.  Best therapy ever!  Congrats to Tamara Austin and Tim Pulnik for booking “Master Card”.  A, big thank you to the actors who had a 5:00 AM call time this morning to work as an extra at Disney. It brings back memories of the good old days and I know the actors were happy to see each other.  One day an actor is working on film or television and the next day they are on set doing extra work for fun, money and health benefits.  Oh, the life of an actor! Live long and prosper!

Ian Poulter and Tim Pulnik working on “Master Card”

Ian P and Tim P 

Wednesday, December 9th

Congratulations to two films with Brevard Talent Group actors that were accepted for their world premiere at the Sundance Film Festival.  It is every filmmakers dream to have their project accepted at Sundance.  It is a life changing opportunity and I am thrilled for all of the actors who will have the opportunity to be seen by important movers and shakers.

“The Birth of a Nation” cast by Lisa Mae Fincannon, directed and written and by Nate Parker.  The film is set against the antebellum South. The story follows Nat Turner, a literate slave and preacher whose financially strained owner, Samuel Turner, accepts an offer to use Nat’s preaching to subdue unruly slaves.  After witnessing countless atrocities against fellow slaves, Nat devises a plan to lead his people to freedom.  Cast: Nate Parker, Armie Hammer, Aja Naomi King, Jackie Earle Haley, Gabrielle Union, Mark Boone Jr. AND BTG actors Alkoya Brunson and Hank Stone.

“Kate Plays Christine” cast by Mark Mullen and directed by Robert Greene.  This psychological thriller follows actor Kate Lyn Sheil as she prepares to play the role of Christine Chubbuck, a Florida television host who committed suicide on air in 1974. Christine’s tragic death was the inspiration for Network, and the mysteries surrounding her final act, haunt Kate and the production.  Congrats to BTG actors Zack Gossett and David Mackey.

Thursday, December 10th

Today has nothing to do with the biz. I want to talk about another one of my passions.  My friends don’t call me “The Product Queen” for nothing!  Trying out new products is fun and my daughters have no problem taking what I don’t like.  I wanted to share a few of my favorites with you.

Clarisonic:  Yes, it is expensive but, by far one of the best investments you can make to improve the quality of your skin.   Recently they came out with a version especially for men.  I have had mine for years.  I don’t recommend a cheaper version from a different company.  Treat yourself, your skin will be glad you did.

Clinique Brow Shaper:  The first one I bought lasted me over ten years.  The brush wore out before the product did.  Cost is under $20.00 and comes in a variety of colors.

MAC Blot Powder:  Whenever I watch an actors taped audition and they have a shiny face I think to myself “They need MAC blot powder”.  It absorbs oil without leaving any color and gives your skin a nice matte finish.

Lush Bath Bombs:  You can buy online or in stores.  A hot bath is good for the soul. My sore muscles look forward to “lush” time after sitting all day in front of the computer.

Masks:  My two favorites are – Rose Face Mask by Fresh and Pumpkin Enzyme Mask by Peter Thomas Roth.  They are a little pricey but, last a long time, smell delicious and are worth every penny!

Baby wash cloths:  They are smaller and softer to wash your make up off at night.  I use a washcloth to remove makeup before I use my Clarisonic.

Obagi Professional Skin Care Line:  This works great for fair skin and draws out any dark spots and brightens your skin.  It is approximately a three-month plan that is best to use when you are not planning on being in the sun a lot.

Friday, December 11th

Lesson for the day:  Learn to become proficient in skyping.  Do not skype on a wireless device, i.e., iPad or iPhone.  Make sure you are plugged in to a hard line so you have the best reception possible.

Two of my young actors had skype sessions today.  One for a film in New York starring Richard Gere and Marisa Tomei and another for a film with JK Simmons shooting in Los Angeles.  Pretty awesome, huh?  Having the ability to skype saved the cost of airline tickets to attend the callback in person.  If that is not a reason to learn how to skype, I don’t know what is.  I would suggest using a skype name that is your own name, giving you another way to brand yourself.

It has been a great week for BTG actors!  From working with a golden globe nominee, to having films with BTG actors selected to premiere at the Sundance film festival, to Julia Jordan attending the Directors Guild of America student film awards in New York City to MRD being approved by Oprah’s production company, Harpo Productions, to a skype session turning in to an in-person chemistry read.  Life is good!

Mary Rachel Dudley on the set of “Greenleaf”

Mary Rachel

Monday, December 14th

Alkoya Brunson, a member of SAG-AFTRA, is having a great year!  Alkoya’s instincts are always spot on and I love his old soul.  Thanks to his supportive parents, Nikki and Alfonso, I have no doubt Alkoya will have a long career in the entertainment business and will be successful on whatever path life takes him.   

How old were you when you started in the business and why did you want to pursue acting?

I started my career at the age of 7. I always wanted to be on TV ever since I was a little boy.  I always watched the Disney and Nickelodeon stars.  I’ve always had a passion for entertaining people.

I heard you are having a great time working on the feature film “A Meyers Christmas” in Atlanta.  Tell me about your experience and about playing the role of Cameron.

I’ve had an amazing experience working with an all-star cast.  I’ve learned a lot of new acting techniques.  Cameron is a bookworm who likes a little humor here and there.  I could relate to that character because I love to laugh and I do a lot of reading being homeschooled.

What do you like best about being an actor?  The least?

My most favorite thing about being an actor is I get the chance to play different personalities and it gives me a chance to use my imagination.  My least favorite thing about being an actor is leaving a fun set.  I wish those type of jobs could last forever.

You have racked up quite the resume for a young performer.  What has been your favorite project that you have worked on and why?

“A Meyers Christmas” is my favorite project.  All the cast bonded like are family.  We became more than co-workers, we actually became a family.  My set parents really treated me as if I was there very own son.

What are your goals for the future? 

My future goals include becoming a well-known actor, finish college, and eventually become a director.

What are you grateful for?

I am grateful first to God for allowing me to have such a successful career at the age of 13, my parents, an amazing agent, all of the casting directors, and directors that have helped me along my journey.

Any advice you can share with other young performers?

My advice to other young performers is to have passion, dedication, get your education, and keep working hard until you succeed. I would like to thank Traci for giving me an opportunity to share my story with other young actors.

Alkoya working on “A Meyers Christmas” with Danny Glover and Mo’Nique

Alkoya

 

Tuesday, December 15th

Another day in paradise!  Same story, different day.  Work, work and work until the sun sets.

Wednesday, December 16th

I had a great dinner last night with Robert Herrick.  I wanted to pick his brain about stunt work and how an actor should handle a booking which ends up involving stunts on set.  Robert has been an actor and stunt performer for 27 years and a proud member of SAG-AFTRA.  If an actor reads the script or sides and sees there’s something that they might be asked or required to do, e.g. fight, getting shot, falling and they feel confident they can do that, then they should ask their agent BEFORE the shoot to contact production and ask if they would receive additional compensation or what is known as a “stunt bump”. The stunt coordinator might call the actor to ask about their experience and ability to do the stunt. On a legitimate production, no actor is going to be forced to do something they are uncomfortable with. They should speak up if they are but, the time to negotiate for additional pay is not on the set.  Anything that requires some physicality with even a small risk of getting hurt is a stunt. The stunt coordinator will, more than likely, have a stunt person on standby to double the actor but, they might ask the actor if they think they can do it. The stunt coordinator is responsible for his stunt team, not the actors.  The stunt coordinator has a set budget to work with and seldom, if ever, would give an actor a stunt bump. Be honest with the coordinator on your abilities. Don’t try to be a super hero and agree to do something you know you are not qualified to do. If it’s agreed that the actor can perform the stunt, then that’s the time to negotiate. Safety is number one. Stunt performers have spent countless hours training for that purpose. Don’t listen to other actors or stunt guys who think you should receive a bump in pay. Their opinion does not count or hold any weight.  Actors have to pre-negotiate stunt adjustments or upgrades, and that grievances for such adjustments or upgrades have a 90-day expiration date to file a claim with the union. Don’t be upset if you do not receive a stunt bump.  Look at this as an opportunity to learn something new and hopefully open doors for future work.

Thursday, December 17th

Ricky Wayne started in professional theater at the age of seven but, did not break in to film and television until 2008, when he was cast in the SyFy channel movie “House of Bones”.  This would be his first lead role, playing a character named Tom Rule.  Ricky is a member of SAG-AFTRA and Actors’ Equity and the proud father of Stefan.   It is an honor to represent Ricky.  He is always prepared and never makes up excuses on why he did not do his best. He always meets deadlines without failure.  A DREAM FOR ANY AGENT!

Special thanks to Ricky for his contribution to “The Agent Diaries”

Preparing the Audition – One to Done

I asked Traci if I could write something for “The Agent Diaries” that might help actors that have been in the business for a short to moderate time (from a month to a year) and are relatively new to going on tape. This is also for those actors that have been doing it for a while, not booking and need a reminder.

Besides being an actor, I run a taping service in the Tampa area. It started out as something I did to help my fellow actor friends who needed to be put on tape for auditions; over time it grew into a business that I pretty much do full time between bookings. Thanks to the advent of self-taping, the process of auditioning has changed. Gone are the days you have to travel hundreds of miles for pre-reads in order to get a callback and then booked. However, I have noticed, that this is changing how the actor approaches the audition.

Now more than ever, actors have to be self-motivated and disciplined when it comes to preparing and executing their auditions. But they also have to have a quality about them when they go on tape that says they did not do 20-30 takes. A relaxed, confident and centered persona that almost always bleeds through no matter what type of character they are playing. Lately, I am noticing a huge difference in actors who are FULLY prepared and the actor who gets the copy and memorizes it 70%, works on the character a little bit but pretty much wings it when they get into my studio. There are a handful of actors that I have taped that can pull this off. But even those actors are selling themselves short from achieving the full richness and dynamic quality of their tapings to the fullest.

But the differences, due to competition out there, are making a difference. The actor that is unprepared, lacks certainty. It’s no wonder actors want 10 to 20 takes. They have to process in their mind what they think they would have wanted had they been prepared. About three years ago, I started noticing the habits and quality of actors that came in and knocked their auditions out of the park and/or were booking. I kept a mental log in my mind of what their qualities were. The commonalities among them were simple. The ones that were prepared, did one to three takes, were relaxed and focused, were the ones that were booking. But there was also another quality. They had fun doing it. There was a quality in them that said, “they need me more than I need them” and “this is effortless and fun”. Then when they were done, I could tell they were on to the next thing in their life. They were not worried if they would or would not book the job. I found this incredibly inspiring.

As a taping service, my job is to get your audition down on tape, render it to the CD’s specs and send it to your agent. My job is not to teach you how to act. I can help you establish eye lines, help you set some limited blocking that keeps you in frame, give you my opinion when asked and read for you. But I cannot teach you how to act in 30 minutes. Much the same as you cannot learn how to act in a weekend workshop. Or even in a month.  (CDs do these to give you some basics of the business but, they are not meant to teach you a whole process of creating a character. I think most CDs will agree with me that this is not the purpose of a weekend intensive workshop.) To become a master in your craft, you have to study. You can’t bullshit your way through this. So if you have any question if you can act, this is going to affect your audition. I strongly recommend you get into an acting class right away. Develop and become intimately familiar with your own process. Until you do, you will never book consistently. And if you aren’t booking and are doing this, at least you know it’s not because you did not do your work to the best of your ability. If you’re not booking, go to class! Perform. Work. It will come when you stop putting out the NEED to book. If you put out good work in class and your auditions, you will book. I can honestly say, I have rarely seen an actor that does not study and fully prepare not book at least once a year. But I digress……

So you get that audition email from your agent. You think this could be THE big one. The first thing you do is….continue to do whatever it is your doing and think about it later. Wait….what? Too many actors are putting off their auditions and waiting until they have time which always ends up being the last minute. If you want to be a working actor, make your auditions a priority. While you are out and about doing your life, other actors have already sent in their tapes and might have already been seen by the CD. I can’t prove this, but I honestly believe in some subconscious way, those first actors that get their tapes in are helping to shape little by little what CD will pass and accept and how they see the embodiment of the character more clearly, beyond what the director and show runner may have told them.

You’re an actor. THIS is your job. Auditioning. For now. Get yourself into a position in your life that when you receive an audition you start the slow shift of dedicated, mindful thought about nothing else but that audition. Yes. It’s important to have balance in your life. Yes, it’s important to follow through with your day job and commitments. But I have noticed with other actors that I respect and admire, that there is an obsessive checklist that happens in their minds when they get that email. They start the process of doing these things without realizing it. You should not stop thinking about it consistently until you are walking out of the audition taping studio. So, what do you actually think about?

I’ll get to that. But first, allow me to try to give you a paradigm shift in your mind about this whole process. First of all, do yourself a favor:  stop calling it an “audition”. Call it what it is: It’s creating a character. The word “audition” intimates a test. It’s not a test.  It’s a recording of you doing your one sided interpretation of the character from the a 1 to 3 scenes from the script – with none of the stimulus, other actors, sets and director. Look at it as an opportunity to show the severity of your ability to create and make it believable without all those distractions I just mentioned. Your focus should be on creating this reality on camera. Right out of the gate, you have a lot to overcome that has nothing to do with creating the character. But character is the bulk of the work. You have to create this living breathing person. If you don’t know how to create a character. Meaning, how to make this person real and true and personal to you, then get into an acting class. Immediately. Every actor should be constantly studying.  I have studied the Eric Morris Process at Performers Studio Workshop for the past 8 years. Kathy Laughlin introduced me to the process and I have never looked back. This has been the foundation of my craft for over 7 years.  If you DO know how to create a character, then you are in that group of actors that has a craft. It’s a good bet that if your agent  has signed you, you know, on an instinctual level at the very least, your craft. That’s great. But instincts might get a you few bookings, but they will not help you to have a long career.

So what else, besides character, do you “think” about. I use that word loosely. Take notes. Do a video or audio log or diary. Here are some things: the tone of the show or director of the show or film you are auditioning for. What you are going to wear. When do you need to have it done by and is this going to be possible with your busy schedule.  All of these things have to be flushed out in your mind. But, acting is doing after all. This is true. But there is something to be said for putting your best foot forward. Productivity is the basis of morale and the enemy of actors is fear. Worry. Stress. There is a meditative nature to thinking about The Work (yes I said it and yes it is overused) and checking them off in your head that relieves anxiety and stress. If it doesn’t relieve your anxiety and stress as you do these things, find a different business. Running a taping business going on 6 years now, I have seen so many actors who just simply don’t prepare. So here’s a checklist, a guide if you will, that you can use when you have an audition and make sure all of your bases are covered.

 1. READ THE ENTIRE EMAIL. Don’t scroll over it. Read it. The breakdown. The deadline. The slating requirements. Who’s directing. Who’s starring. Where does it shoot. Get a picture in your mind of this ENTIRE project and the scope of your character within it.  Are you pivotal to the whole script? Or are you helping the antagonist and protagonist propel the story forward by selling them a cup of coffee? Once you know all of this, and it is something you can do, respond and accept or decline the audition. My opinion: With the amount of actors moving to the Southeast and Atlanta poised to surpass New York in filming in 10 years (in my opinion), at this point, you should not be declining any auditions. Ever. Do every single one. Even if you feel you are not right for the role or if it’s too small. Just do it. Remember, it’s your opportunity to create a character. To show what you can do. To act. Which is what you want to do. This is the endgame. When I started looking at bookings as my blissful work vacation/reward for all of the hard character work I did with my auditions, I enjoyed the audition work so much more.

 2.  SET YOUR CREATING AND TAPING TIMELINE.  Every taping service has their own requirements but, I prefer actors text me with a date and time preference right out of the gate. A schedule it based on the REALISTIC amount of time you will need to create the character, memorize the lines, research the project and do the taping. The goal is to get done within 24 hours. For me, I know that for every page of copy, I estimate about 30 minutes of prep time for everything. So, for a 5 page audition, I will plan 2.5 hours of prep time. Sometimes it’s an hour a page, sometimes 2. It all depends on how deep you want to go. But the deeper you go, the more confidant you will feel when you walk in to do your audition. If I know I will busy that night, I will set the time to tape AFTER I have blocked off 2.5 hours to prep the next day. This is important. If you do a little preparation research you will discover A LOT about the project. I can promise you this will change the audition had you not done any of the research.

3. RESEARCH. Once you have set your appointment, now you need to research the project. Start with:

a. SYNOPSIS OF THE PROJECT. This should be in the email. If it’s not, Bing and google are our best friend. Identify the overarching purpose and themes of the show. If it has not come out yet, take a look around currently airing TV and film, you can bet that this project is dove tailing off a vibe that another popular show created. Use that show as a reference point. Who do you think the target audience is going to be? What’s the genre? What channel will it be on? This is also a good time to research the writer a little. But I have found that most writers are so diverse in their voice, especially in TV, it is hard to see them through their writing. Some TV writers, have an unmistakable rhythm to their work (Aaron Sorkin). But most are really good at fitting into the rhythm of that show. Once you’ve done this little bit of research, then make some assumptions about the grit or lack thereof that needs to be in the character.

b. DIRECTOR AND/OR THE SHOW. Look up some clips of other things that same director has done. This is especially important for film. In TV, most directors are a road warriors jumping from show to show, so this is not as important. But, I always like to watch one or two things that director has done in order to check that directors ability to think outside the box and if they like actors or not (yes, you can tell). If you do not like watching TV shows, figure out a way to get yourself to like it. I can tell you, ACTORS THAT WATCH TV/FILMS BOOK MORE THAN ACTORS THAT DON’T. Some shows are slower paced in method and unraveling the story (Bloodline). Some are all about getting out information well (CSI). In some, character is paramount (The Vampire Diaries). And even still, some shows are all of these things. The important thing is to get the TONE of the show. Take for example the show Rectify. I call this a tone poem of the south. There is a cadence to the show that is unmistakable. It is nuanced and hyper realistic. It takes some thoughtful intention to really get what this show is about as a whole. This will affect how your character fits in this particular show and the choices you make when you go on tape for it. This is an example of a less is more approach. Nuanced subtle choices in the character. Clean and effortless.

c. THE BREAKDOWN. Underline the active description words in the character breakdown. Words like joyful, scary, brave, cut throat, etc. Don’t cling to these words for dear life. Just make sure you know their definitions. Then let it go. The character and script you create should do this work for you. Read it over and over again. Read it out loud. Read it to your reader.

d. OTHER ACTORS IN THE SHOW. 

e. THE SCRIPT. If your agent sent you sides for other characters, read those too. Jot down little notes that help you understand what is happening, help set the tone for the project and where you see the story going. This will help you to understand how important, or not, your character is to the story. The other thing this does is helps you to see the other character(s) you might be talking too. This might shed some light on their relationship with this world the writer is trying to create and by proximity, their interactions with you. Read all stage directions, notes, stuff that’s crossed out. Knowledge is power.

4. CREATE THE CHARACTER. Everyone has their own process. I’m not going to go into how to create characters. So assuming you have created the character, one thing you MUST do is live IN the character for a while. Drive to work in that character’s mindset. Go to Target. Walk around in it. Smooth out the edges. It should feel cleaner and effortless the more you do it. Many actors come and get into their wardrobe when they arrive to tape. I understand the practicality of this. However, you would be surprised how much wearing your wardrobe choice for an afternoon or night will throw you into the character. Just something to think about. Your ability to feel at home in a nurse’s uniform, a waitress’ apron or a District Attorney in an expensive suit, speaks volumes to your confidence. Try it. There is a social obligation that people have that prevent them from doing this. But, your ability to pull that off in public is a kin to some family’s ability to watching you on TV. So screw the social obligations. Book the role. This DOES not mean go out and spend money on costumes. Obviously, there are some exceptions to this and it just can’t be done. But most of the time you can. And it is fun! Arrive in wardrobe to your tapings.

5. COMMIT THE COPY TO MEMORY. Memorize the lines. Know them backwards and forwards. Memorize them with someone else. Part of memorizing the lines is knowing the other lines, or your cue lines with it. Do not memorize the lines before you create the character. Rather, use the lines as jumping off point when you create the character and then fine tune it when you memorize. You will be surprised how much easier it is to memorize the lines if you have created the character first. I am often shocked how people think that 99% of the taping is just being able to say the lines without messing up. I tell you that an ounce of character work is worth a pound of memorization. All of that being said, make sure you are memorized. It is not the person who is taping you job to help you memorize the lines.

 6. ESTABLISH YOUR EYELINES. This is critical. Stand a broom upside down. That’s the camera. Now place the 1, 2 or 3 people you are talking to on either side of the camera. Get to know them. Make sure you know their names. Then practice this with the copy. Establish, set and confirm your eye lines. Sometimes it’s best to put people you are talking to on both sides if you are talking to two or more people. But the main thing is, we MUST see your eyes. So they can’t be too far away from the camera. Everything you do has to favor your eyes in a taping. Everything has to be cheated. If you are talking to a patient in a bed, the patients bed has to be higher than normal for the purpose of being able to see the eyes. This also speaks to the time and place. Establish the place you are in and cheat your relation to others in that room to favor your eyes always being toward frame. Also, and this is a biggie, work on not blinking. Practice it. Often. Watch Juliana Margulies in The Good Wife (one of my favorite guilty pleasures). She never blinks. She is so dialed into this character that the inner life of the character and the wheels turning is always there. You don’t see it when as much when actors blink. Blinking is a sign of insecurity.

Some actors like to use the reader, as one of their eye lines, some don’t. Some actors are so good at imaging their personal choices in front them, that I step aside and let them do their thing. Some actors need the stimulus. I think it depends on the actor. Some people will say that you HAVE to be looking at someone, and I used to think the same way. Then I spent 3 weeks acting in a film where, due to the nature of the shoot, the other actors I was talking to were off and not present for my coverage and I had to eye line a PA, tree, dark of night, whatever. Often times, I did not know this was the case ahead of time and at first it was nerve racking. But it grew my ability to see people with my imagination so well that I no longer judge an actor who can do this.

 7. PROPS. In general, actors like to use props. I think it helps them see and feel the environment. There is also something to be said for an actor keeping busy. After all, how often do you see someone in real life not multitasking with something in there hands nowadays?  Some CD’s don’t care about props. Others are strict about no props. If they say not to use props, then don’t use them. But if they don’t care, use props that help you fulfill the obligations of the copy. But don’t overdo it. Keep it simple. I feel there are 3 examples that are exceptions to this. Guns, smokes and phones. I find it very distracting when an actors entire scene is spoken into the cell phone and they don’t use a phone. Or pointing a gun, and using their hand. Or the breakdown says, she is a “chain smoker” and the actor doesn’t show they know their way around a cigarette. Your ability to believably smoke or handle a gun (or not be handle to a gun in some cases), if you are playing a terrorist for example, is a huge part of the audition if the breakdown and script specifically call for it.  Just make sure the gun is not in your face, or real. I have a fake gun loaner that actors can use. Always ask yourself, what is more distracting, having the prop, or not having it. This also goes for earrings, make-up, patterns and logos on shirts and entrances and exits. If it is going to shift my eye down from yours while I am watching your tape as a CD, avoid it.

8. TECHINCAL STUFF. when you come to tape your audition, I need to know 4 things:

a. Slating instructions: this means what you say in the slate and where it goes in relation to the audition. Get it down before you arrive.

b. File labeling instructions: this means how the file I am sending to your agent is to be labeled.

c. How many takes do they want.

d. How they want to files prepared. Takes in separate files? Slate separate? Etc.

 9. RELAX. Before you arrive. Take 5 minutes. Take deep breathes. Relax. If you’re prepared, it SHOULD be fun. It will be fun because you are doing your bliss. Do this even if you are late. (please try not to be late.) Relaxation causes you to dial in on your vision. This will allow you to come in and knock it out of the park. Also, in regards to number of takes. If it takes you more than 5 takes to do the scene, you did not prepare enough. I do not charge by time. So we do it until you get where you want it to be. But, you should know exactly what you want to accomplish before you tape. What you want it to look like. Feel like. What you want the reader’s cadence to be. You can direct me as the reader. I don’t mind. But you should be able to visualize everything. Anything less than that is still preparing and not meant for the taping room. So the only reason to do take after take is if it’s not what you wanted from a technical stand point. Other than that, you watching it pretending you’re the casting director, or from the director’s mindset is a waste of time. You have no idea what they are thinking. You never will. In my opinion, the definition of talent in this day and age is being able to prepare the audition FULLY and completely in the time you have allowed yourself to tape it.  It is not enough to be good. You have to be a good time manager as well.

10. FORGET ABOUT IT. After your done, text or call your agent and let them know your audition is done and on it’s way and then, do not think about it. I don’t even watch my auditions unless I am told I was way off the mark or they want a re-tape. You should watch your tapes back to make sure they were prepared properly, etc. But other than that, Let. It. Go. Don’t ask for feedback. Consider your invitation to tape again from that CD as feedback that they like you and want you to try something else. If you did your best, worked hard on preparing the audition and had a good time, there is nothing left do. If you are second guessing yourself after the fact, you did not prepare enough. If you are a wreck waiting for the call to see if you booked, you are in the wrong business. If you feel you were not “in it” enough and wish you could redo it, then you are responding to a fear. Give yourself more credit that you can hide that better than you think. But all you are doing is saying that you have not perfected your craft enough to feel confident enough that you can book. If you feel like you are entitled to a booking because of how much you go on tape, you’re missing the point. THE WORK is the preparation. The preparation is the hundreds of characters you will create over the course of time. Getting to spend a week or two on set is just an elongated version of creating that characters you prepare in auditions.

Thanks for reading this. I hope it helps. Attack those auditions with your time and talent. Don’t put them on the back burner. -Ricky Wayne

Friday, December 18th

It is the time of year to start thinking about your “New Year’s Resolutions”.  We can all count on personal resolutions such as taking better care of our health but, you also need to think of business resolutions so you can start the new year out by challenging yourself in 2016!

The following are some resolutions I would love for all actors to make:

Quit procrastinating.  JUST DO IT!  Get your auditions in as soon as possible. It never fails the same actors that get their auditions in at the last minute are the ones I can bet that there will be issues such as file size, not following instructions, bad quality…the list goes on and on.  DON’T BE THAT ACTOR!  If you want your agent to believe in you and continue to represent you, do everything possible to make their job easier.

Sign up for an acting class and/or workshop. If you are pursuing auditions for film and television you MUST train or you will not be able to improve and become a better actor.

Do not contact your agent after 3:00 on Friday unless it is an emergency.  This goes for text, email or phone call.  Ask yourself, can this wait until Monday?  If the answer is yes, then by all means wait until Monday. The job of an agent is mentally challenging and never ends.  Not having to deal with nonemergency issues after 3:00 on Friday will give your agent time to wrap up the week so they can start their weekend, regroup and look forward to next week.  I will speak on behalf of all agents who need time away from their job and a life outside of the business, giving your agent time off is the best gift in the world!

Take care of business. It is your career, not your agent’s.  If you need new headshots, your reel and resume updated, whatever it might be, please take care of it before your agent asks you to.  I have had an actor, this entire year, that needs to have his reel updated.  I frequently remind him of this and it still baffles me as to why it has not been done. It takes nine months for a baby to be born but, in 12 months, a reel is not finished?  Trust me, actors like this are going to be left in the dust and they are the first to whine “Why am I not booking more?”  It just might be that your agent is tired of waiting for you to take charge of your career, when the actors who are, are the ones who end up booking and keeping them in business.  Remember show business is two words!

Get busy…start planning your resolutions TODAY!  A new year is right around the corner! 

Monday, December 21st

Lori Wyman has been a casting director for film, television and commercials since 1979.  Lori is a member of the Casting Society of America and has given thousands of actors the opportunity to work and get their SAG card. Casting credits include “Ballers” and “Bloodline” currently shooting in South Florida, “Graceland”, “Burn Notice”, “The Glades”, “Magic City”, “Dolphin Tale” and “Dolphin Tale 2”, all shot in Florida.  For a complete list go to www.imdb.com.  Lori is a great teacher and motivational speaker, a Florida native and a proud mother to Ali.  I credit Lori for encouraging me to be an agent and become SAG-AFTRA franchised.  

Special thanks to Lori for her contribution to “The Agent Diaries”

Tell us about your background and how you got into casting.
I have been in casting since 1979, when I started working for one of the biggest talent agencies at the time, ACT I. I was fresh out of college and this was an entry level job. The job description was “filing and typing” but, I knew that you had to start somewhere in order to get into the film business and that’s where I wanted to be so, I was thrilled to take the job. Filing and typing turned into filing, typing, calling actors for castings, doing comp pulls, putting actors on tape and booking actors.  I learned so much. After five years of working in the agency, I wanted to become a casting director. I wanted more of a hand in deciding who would actually be submitted to the clients. After that decision, I started to work for the casting company that was handling the Miami Vice television series. I worked for that company for two seasons and then the producer approached me directly and said, “Leave there and I guarantee you the ‘Vice’ account!” The rest is history!

You recently received your master’s degree in Interdisciplinary Arts with a concentration in drama therapy. Why did you decide to go back to college and have you been able to use your new degree in casting and teaching?

I went back to college because I had always wanted a doctorate. I had to start somewhere. My goal was to get a degree in something that I could use to benefit actors with their audition anxiety. Over the years, I find the biggest problem the actor faces when auditioning is himself. I have seen actors completely blow auditions when they should have booked the job because of what that little voice in their head is telling them. When I visited NSU in South Florida, they told me about this program in drama therapy and it really resonated with me. I was casting three TV shows at the same time so, I only took one class at a time for my masters. It took me three years to complete and I proudly got a 4.0. I have used many of the tools that I have learned with actors. It is amazing. One girl came to me who, all of a sudden, got nervous on sets. We spoke for maybe 1/2 an hour and she left my office. She contacted me a few weeks later telling me that her set anxiety had been relieved. The drama therapy is pretty powerful stuff.

What do you enjoy most about casting?  The least?
Of course my favorite part of the casting process is when I get to book an actor for a role. I am currently casting Bloodline for Netflix and Ballers for HBO. I have had the opportunity to book so many local actors for roles on both shows and many of these roles have turned in to recurring roles. The joy and excitement these actors exhibit really delights me, too.

The least? When an actor messes up an audition or doesn’t book and blames it on ME. I always tell the actor, LOOK IN THE MIRROR! I am not the reason you didn’t book. Really I’m not!

What advice do you give to actors just starting out?
STUDY, STUDY, STUDY!!! Take any role you can, to start out with. Watch and listen when you are on the set. Don’t chat with everyone. Watch what the AD’s and the director are doing. LEARN!!!  Make sure everything you do is with professionals in the business. For example, get your headshots with a professional headshot photographer. Don’t try to save money by using your friend’s brother’s uncle who happens to be handy with a camera. Do it right!!!

What are your favorite projects you have worked on that were rewarding and challenging?
One of the best projects I’ve worked on was HBO’s RECOUNT! This was the story of the 2000 presidential election. I cast over 80 roles, which is huge for a local casting director. Many of these actors had to look like the role they were portraying. For example, Al Gore, Ruth Bader Ginsburg, George Bush, and so on. So not only did I have to find great actors, they also had to look like the roles they were portraying. I was nominated for an EMMY for this show and I won the prestigious ARTIOS casting award.
I also loved working on Dolphin Tale and Dolphin Tale 2. The film was so sweet and so many people were hired. The director and producer were very good to work with.

I remember when we went to the location expo and the American Film Market in Santa Monica years ago.  Back in the day when film commissioners attended the convention to pitch locations, not when it was about the best incentive programs. Did you ever think when you started casting, when Florida was third in the nation for film production, that our state would turn into the market it has become? What is your opinion on the future for the sunshine state?
I think everything is cyclical – meaning, it will come back. Back in the early 90s Georgia was booming. They had so many TV shows and films. And then, it all dried up. Georgia had nothing going on in their state as far as filmmaking. It was even rumored that the unions would never work there again. HAHA! Now look at them!  I do believe Florida will hit their stride again. People LOVE filming in Florida. The weather, the locations, the flavor. We have so many interesting locations all over the state. They will be back!

How do you like actors to communicate with you?  (Postcards, social media)
ALL of it! I am on Facebook and I cannot tell you how many actors I have cast from Facebook. If I am not getting the submissions I need from the agents, I will post what I am looking for on Facebook. Last season on Bloodline, I was looking for a couple of younger versions of certain actors for flashback scenes. The agents didn’t seem to have anyone for this. I posted on Facebook and, like magic, the submissions poured in. I found everyone I needed. I do not mind if actors want to email or snail mail me postcards or notes. I’ll look at it all.

Any advice on actors for under-five roles?
Well, you never know what a few lines can lead to. We have several recurring roles on Bloodline, for example, that started out as just a few lines. There is no such thing as a small role. You just never know where it will lead. BUT, if you say NO, then it will lead NO where!

Do you have any suggestions for actors taping their auditions to help them make the next step in being sent to producers for consideration?
Make sure the tape you send in is a good tape. Clean background, no outside noise, GREAT reader with the actor (very important), good lighting, good sound. Recently we had an actor send in his self-tape. I have cast him numerous times over the years so, I presumed his tape would be good. Apparently, he didn’t have anyone to read with him and he asked his wife to do the honors. She, quite obviously, was NOT an actress. She was so bad that it brought the whole audition down. My associate was watching the tapes with me and her comment was, “WOW, how to shoot yourself in the foot!” and he had! Actors don’t realize how very important it is that the person reading with you from behind the camera really makes a difference.

Any advice for actors who don’t book as much as they want to and avoid burning out?
I don’t think any actor books as much as they want to – including Hollywood stars. We always want more and more. I say do NOT give up. You just never know when tomorrow is your time to book. Yes, it can be very discouraging to tape and tape and tape with no results. I get that. But if you stop taping you are sure to fail. If you keep on going after it, the law of averages says you will get something.

Any general advice or pet peeves you would like to share?
Of course I have a few pet peeves. PLEASE do not come into a casting office with perfume or cologne on. I am finding more and more casting directors discourage this as many people are allergic. ALWAYS be memorized when you go on an audition. Your audition will look SO MUCH BETTER if you don’t have to keep looking down and up. PLEASE BE ON TIME for your audition if you are going in to meet the CD.
AND….do not disrespect your agent or the casting director on social media and then wonder why they don’t want to see you in their office anymore. Once you put anything out there on Facebook, for example, many thousands of people will have access to it, you cannot take it back once you hit send. Think twice before you do that.

Tuesday, December 22nd

This is one of the reasons I love being an agent, making a difference in someone’s life

Alana 

Wednesday, December 23rd

Acknowledgments

This is the last day for “The Agent Diaries”. Writing the blog has been very cathartic for me.  This would not have been possible without my editor, Mary Rachel Dudley.  She made me delete some bad language, let’s be honest, a lot of bad language I wrote when I was mad and venting but, I insisted on keeping the word “balls” in once, maybe twice.  I also want to thank Tom Hillmann for posting the blog, the guest contributors Jackie Burch, Lisa Mae Fincannon, Tyler Grasham, Tom Hillmann, Tracy Kilpatrick, Kathy Laughlin, Chase Paris, John Peros, Peggy Sheffield, Ricky Wayne and Lori Wyman; the twenty members of “The Agent Diaries” fan club and David and Krista Kelley.  Without their support and enthusiasm, I would have thrown in the towel a long time ago! THANK YOU to the hundreds of actors I have represented throughout the years and to the parents of young performers for being on this wild and crazy ride together!  And, to the amazing friends I have made, you know who you are.  I hope you have enjoyed reading the diaries and learned valuable information that will help you be the best “you” in your career.  I made a pact with myself in January that I would make it through the year. Today is the last day I am in the office before the holidays so, I will say, “It’s a Wrap”.  Best wishes to you and your loved ones for a joyous and safe holiday season!

Cheers to 2016!  May it be your best year yet! Traci

The Agent Diaries – November 2015

Monday, November 2nd

It isn’t often that a producer takes the time out of their busy schedule to call and let me know when a show will be airing so I can pass on the message to the actors.  Out of the blue, Rob Schneider called to give me an update on his show, “Real Rob” that he produced and shot in Orlando.  The show started out as a webisode and will be airing December 1st on Netflix.  This goes to show that anything is possible!

Tuesday, November 3rd

One thing I know for sure, every actor would love to book a SAG commercial.  Non-union commercials are good – union is better, since the actor is paid holding fees and residuals.  In case you do not know the basic information about union commercials, I thought I would enlighten you.  From auditioning, to callbacks, to first refusal, to being booked or released can stress actors out, agents, too!   At the initial audition, give the best performance you can, make it real and let due process happen. Booking a commercial is subjective.  If you do not get a callback or book, it doesn’t mean you did not do a good job.  It means you were not the right fit for the commercial and should not take it personal.  There are a lot of chiefs and indians involved in the selection process, including the creative team at the ad agency, producers, director, writer(s) and the client who most likely has the final say on who gets hired.  The best advice I can give an actor is, after you walk out of the audition – FORGET ABOUT IT and move on to your daily business in life.  However, if your agent gives you the news that you booked the job, jump up and down with joy because it does not happen often.  The contract you will be required to sign is for 21 months, which is broken up into 13 week cycles.  Every 13 weeks a holding fee will be paid which gives the client the right to run the commercial.  You cannot do another competitive product or service as long as holding fees are paid.  The client has the right to release you at any time during the 21 months.  Depending on how the commercial will air, usage can include network, cable, wild spot, industrial and internet.  These are the main ways commercials are run, but there are many other possibilities.  It is important that you keep track of your holding fees.  Between 60 – 120 days prior to the end of the 21 month term, your agent is required to get permission from you to renegotiate on your behalf for a new 21 month contract.  If the ad agency does not receive notice, then the client has the right to continue to run the commercial at scale and the agent does not receive commission.  If you are no longer represented by the agent that books you, then you can have another agent renegotiate on your behalf.  The goal is to renegotiate for more than scale.  I hear time and time again that agents let renegotiations slip, which is not good for both the actor and agent.  The only guarantee you will have when you book the commercial is your session fee.  I have seen actors downgraded, outgraded and extras upgraded.  Don’t count your chickens before they are hatched and make a big purchase until the money is in the bank!

Wednesday, November 4th

Listing special skills on your resume can open up more opportunities for actors, as well as being a conversation starter with producers and directors.  Special skills are what you are proficient in and you should be able to do that skill if it is required for a role.  If you are certified in any skill make sure you list your certification, such as Scuba Diving (PADI Certified).  The list is endless on what you learn but, following are some of the skills that I thought of:  Firearms, Sword Fighting, Dialects, Precision and Stunt Driving, Foreign Languages, Dialects, Dancing (list what types), Martial Arts, Juggling, Improv, Sign Language, Photography, Chess, Bartending, Snorkeling, Kayaking, CPR, Musical Instruments, Motorcycle (list if you have a current motorcycle stamp), Horseback Riding, Driving a Boat, Pilot License, Skating, Teleprompter, Any Sports.  Get busy – what are you waiting for?

Thursday, November 5th

Actors that post negative comments about agents and casting directors on social media are flat out stupid!  Do they really think their opinion matters and they have to post on social media to feel relevant?  You can count on the fact that anyone who spends their time doing so is not talented, has too much time on their hands and is an angry, bitter person.  This is the equivalent to career suicide.  Keep your opinion to yourself and don’t bite the hand that feeds you.  I found out recently that an actor, not represented by Brevard Talent Group, was posting negative comments about a casting director, whom I also consider a friend.  I bet that actor burned a bridge that can never be rebuilt.  Don’t be that actor!

Friday, November 6th

Six words – I am glad it is Friday!

Monday, November 9th

I am starting out the week catching up on emails, sending out and uploading auditions.  The TV show “Bloodline” is on hiatus for the month.  Buzz is if the second season looks good, production for the third season will start not too long after season two wraps.  Keep your fingers crossed!  Adam Vernier booked a role today on “Ballers”.  Liam Tomasiello is in Atlanta working on the feature film “Bastards”.  I was at a funeral on Saturday and received a text in the middle of the eulogy from casting letting me know that Bill Kelly was approved to work on the new comedy “Detour”.  I have to give Bill Kelly credit…booked on Saturday…went to his son’s wedding and got up early and drove to Atlanta to work yesterday.  This is the life of an actor in the southeast.  “The Walking Dead” is shooting the last episode for season 6.  I am forever grateful to the producers for filming in Georgia and hiring Florida actors to work on the show.  You know it has slowed down when casting directors are asking me what is going on.  While I am busy working and catching up on odds and ends, I wonder what actors are doing for their career today.  A day should not go by without doing something productive for your career.  When it is slow take advantage of those days.

Auditions for FSU student films were held over the weekend.  Best of luck to “BTG” actors who auditioned.  The film, “Isa and The Frog Prince” starring Julia Jordan and Matthew Kosto won the “21st Annual Director’s Guild of America Student Film Award”.  Who said working on student films is a waste of time?  Not me!

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Tuesday, November 10th

“Tax Information for the Performing Artist”

Tax season is around the corner.
Special thanks to Joseph Danielle, owner of “Income Tax & More” in Melbourne,
For his help in updating the information below.

Actors and other performers in the entertainment industry face many challenges when trying to prepare their tax returns and what qualifies as a legitimate deduction.  There are many common mistakes actors make when it comes to appropriate tax write-offs.  The following are general guidelines but, always check with a certified tax preparer because tax codes change frequently. Don’t make the mistake of listening to your fellow actors on what you can write off.  Unfortunately, the Internal Revenue Service might have a differing opinion–and that opinion prevails at audit time. It is important to keep good records and receipts in case you are audited.  You will be prepared with everything you need to prove your deductions. Also, keeping good records does a whole lot more for you in an IRS audit: It validates the time, effort, energy and money you put in to your career.

It is vitally important to keep excellent tax records and do it on a regular basis.  This means keeping every receipt you plan on deducting.  The reason is, if you are ever audited, the absence of records and receipts could potentially cost you thousands of dollars. But, a bigger reason is that if you do not keep good records, you are very likely to cheat yourself out of income from deductions you can rightfully claim.

The most important thing for you to do is keep track of your income and expenses.  You can always hire someone to professionally prepare your tax forms, however, good tax preparation and recordkeeping is crucial. Even the best tax professionals cannot save you money or keep you out of potential trouble with the IRS if you don’t have good records. Make it a habit of keeping your records well organized and your receipts and ledgers easily accessible. Create a ledger on your computer as well as keeping a hard copy as a backup. It must show the date of the purchase, the purchase amount, and the business purpose. A business log can be a record of your choosing such as daybook, calendar, or notebook – whatever works best for you.  Invest in a scanner so you can also keep a digital record and don’t forget to back it up.

You can go to an office supply store and buy a large accordion-style file box with as many individual slots you will need. Then label the slots by categories listed below under deductible expenses. On a weekly or monthly basis, list your expenses in your ledger and put the written receipts into the appropriate slots. If you are using credit cards, it is a good idea to use one credit card for business use only, so that everything charged to it is business-related. Don’t forget to write purchase details on the back of the credit card slips.

You are the CEO of your business and that includes being in charge of the “Accounting Department”. Stay on top of your tax records and remember show business is “two words”.  Being a great business person will help you get the most out of your deductions and be prepared in case you are audited by Uncle Sam.

Independent Contractor vs. Employee

Independent contractors get paid by cash or check with no withholding of any kind. This means that you are responsible for all of the Social Security and Medicare normally paid or withheld by your employer. Independent contractors will file a “Schedule C” as part of their regular 1040 income tax form (this is where you report all the 1099’s you received last year). The performer may also file form 8829 for the home office deduction and will be required to pay self-employment tax (Schedule SE) on their net income (profit) as well as federal income tax. All these forms are part of the year-end 1040 income tax filing. The self-employed performer will also usually be required to pay estimated quarterly taxes on Form 1040-ES (if the annual tax liability is expected exceed $1,000). The performer will have W-2 income from union jobs where taxes are taken out of their paycheck. On W-2’s you might often have extensive expenses that will be deducted on Federal Form 2106, which is reported on Schedule A (Itemized Deductions). This means that a performer with BOTH W-2 and self-employment income will have to separate or allocate expenses between the two types of income:

Common Questions

Is my clothing tax-deductible?

This can be one of the first things an IRS auditor will look at and might draw attention to other possible deduction mistakes. The Internal Revenue Code states, “Clothing is considered to be a personal expenditure if it is suitable for street wear.” Even though you have purchased clothing for audition purposes only, if you can wear it any other time then it is not deductible.  Wardrobe deductions are largely limited to true costumes: a police officer’s uniform, surgical scrubs, a clown outfit, historical period pieces, etc. Formal wear, for both sexes, is also generally deductible. If you purchase such an outfit, take a photo of it to document its character and keep the receipt. However, you can deduct the cost of dry cleaning or repairs to business related clothing.

Are business gifts deductible?

You can deduct business gifts in the amount of $25.00 per person, per year. The law does not limit, of course, the amount of the gift but, only the first $25.00 for each person is deductible.  On your receipt make a note including the date of purchase, item description, name of the person receiving the gift and the business relationship/reason.

What meals can I deduct?

Personal business meals which do not involve other people are only deductible when overnight travel is involved, or if you must travel to a different metropolitan area, even if you do not stay overnight. However, business meals, where you pay for someone else’s meal are deductible. Here are some of the reasons for deducting business meals. You must have a receipt showing date and time, who was present, amount of the bill and the business purpose. Business MUST be discussed at the meal–not before or after. In addition, the meal must take place in an atmosphere to conduct business–any restaurant or even a night club will suffice.

Meals when a group of actors get together and discuss career paths, agents, etc., are far less clear-cut. All business expenditures have to meet the test of being necessary, and the tax courts have ruled that business meals shared by colleagues are not necessary. This becomes particularly true if the meeting is regular, and people take turns paying. Limit such “colleague” meals, and always explicitly note the business purpose on the receipt. Only 50% of all meals are deductible.

Can I deduct my gym membership?

Body image is an important and integral part of a performer’s image, and staying in good shape is important to a career in the performing arts. Most gym and workout costs are considered to be personal expenditures and therefore are NOT deductible. In case of a special circumstance where it is required for you to “buff up” for a project and the producers do not pay for this cost, then you can deduct the fees paid to a gym and/or personal trainer.

What personal grooming costs are deductible?

Every day costs for makeup and routine haircuts and/or or color are personal expenses and are not deductible. If you have to change your hair cut and/or color for a specific audition or role, then the costs relating to a specific incident are deductible. Theatrical makeup is deductible because it is not normally used as street wear. If you pay a makeup artist for a headshot session or an audition, that specific set of costs is deductible. Manicures and pedicures are not deductible unless you are a hand model or a foot model with a specific audition or booking that would qualify as a deduction.

Can I deduct admission to movies and plays?  

This can be a gray area to the IRS so it is extremely important to keep good records. Always keep a written receipt and/or ticket stubs. Staple them to a sheet of paper, and next to the ticket, put a solid business reason why you saw that particular movie, such as observing the director’s dialogue technique or researching current trends. The IRS is not keen on allowing movie or theatre admissions as a deduction, but with good records and good reasons, they may.  You need proof that you are going to see movies and theater as part of your job and not entertainment. They also are not fond of cable and satellite costs either but, you can argue for taking the deduction. Don’t claim your full bill as a business expense. Take a reasonable percentage as business and the balance as personal. Much more than 50% tends to make auditors suspicious of your reason on why you deserve the deduction.

What are allowable mileage and transportation deductions? 

Your car is a major expense as well as a major source of tax deductions and is probably one of the most common deductions for performers. You do not have to have receipts for mileage but, you must have good records. This means keeping a mileage log. Thanks to technology you can download an app to keep track of your mileage.  By keeping a log it will dramatically increase your possible deductions, because you won’t overlook miles driven for business and you will have the necessary records if you are required to produce them. You cannot deduct personal miles such as driving back and forth to your day job. However, going from your day job to an audition is a deductible expense. Any trip you take to pursue work would be deductible. This includes auditions, call-backs, casting visits, trips to acting classes, appointments to see agents and managers, etc. Keep a record of your total mileage for the year. Make an odometer note on January 1 and again on December 31st.  Check each year on www.irs.gov for the current mileage deduction rate.

What are deductible expenses? 

The goal is first and foremost to lower your taxes! The performing artist has a number of tax deductions that are unique. For the IRS, all deductible business expenses are those that are:

  1. Incurred in connection with your trade, business or profession
  2. Must be “ordinary” and “necessary”
  3. Must “NOT be lavish or extravagant under the circumstances”

Business related expenses include: 

Advertising and Publicity: Headshot sessions and reproductions, business cards, stationery, postcards, professional registries, such as Actors Access or Casting Networks, demo reels, website development and hosting fees.

Apparel: Uniforms, costumes, special shoes (not suitable for street wear) theatrical makeup and wigs.  Cleaning, alterations and repair of work-related apparel.

Auto/transportation expenses: Keep track of your round-trip mileage to auditions and receipts for airfare, bus, car rental, lodging, parking, taxi and subway fare.

Equipment:  Equipment can include computers, printers, ear prompters, etc. Equipment purchased is generally “depreciated” and written off over five to seven years. These “depreciable lives” are defined in the IRS code. The IRS also allows taxpayers up to a certain amount to write off and depreciate the full cost of the purchase in one tax year instead of a longer time span. Discuss with your tax preparer how much your equipment is used for personal and business use and what is the best way for you to take your deductions.

Gifts: Business related.  Only $25.00 per year per person is deductible.

Home Office:  If you use a room (or rooms) in your home exclusively for your business you will probably qualify for a home office deduction. The room can be a rehearsal space, teaching space, home recording and/or video studio, record keeping for the business, marketing, etc. The home office deduction utilizes a formula based on the square footage of the business portion (the home office) of your home vs. the total square footage of the house or apartment and applies that percentage to all associated costs. The costs could include apartment rent, mortgage interest, real estate taxes, condo fees, utilities, insurance, repairs, etc.

Legal and professional fees: Commissions to agents and/or managers, attorney fees, tax preparation, required licenses, union and professional dues for organizations.

Meals:  Necessary business related meals are 50% deductible; they must include direct business discussions. They can include breakfast, lunch or dinner meetings with agents, fellow actors or performers, directors, film producers, etc. If a direct business purpose is documented then the deduction would be allowed.

Training: Acting, voice, dance lessons or other education related to improving or maintaining your performance skills.  This also includes rental fees for rehearsal space.

Supplies: Ink cartridges, headshot reproductions, mailing supplies, make-up, fax and photocopy fees, postage and subscriptions to industry publications.

I hope this information helped you.  Don’t forget, if you move let your agent know your new address and contact any paymaster company that you have received a check from to change your address.  Don’t be that actor who calls on April 15th asking how much money you made and where your tax forms are.  This is your job to take care of your business, not your agent.

Wednesday, November 11th

Tyler Grasham, talent agent at Agency of the Performing Arts in Los Angeles, is a native of California.  He moved to Los Angeles to attend USC and has worked at APA for thirteen years.

Special Thanks to Tyler for his contribution to “The Agent Diaries”

How did you decide to get into the industry and become an agent? My buddy Bryan Singer introduced me to an agent named Ed Limato.  He represented Mel Gibson, Denzel Washington, Richard Gere and a few other movie starsAt that point, I was obsessed with the thought of being an agent and working with actors.  My other buddy Jeff Davis had just created a TV show called Criminal Minds and he used to tell me I should be an agent. I guess everything aligned right as my buddy Bryan introduced me to an agent at APA and the rest is history. I have been here nearly 13 years.

What do you like best about your job?  The least?  I love every aspect of the job.  From reading a script and knowing I have a client that is right and getting them in the room and getting the artist in the mix.  Winning is a lot of fun in this business. It gives you a lot of pride in what you do.  And in who you represent.  The least.  I hate giving bad news.  And sadly we give much more of that.  But for every “no” I always think you are getting closer to a yes.

What qualities does an actor have that would interest you in representing them?  Passion and talent.  I want to represent the type of person who is confident and genuine.  Someone you want to have lunch with.

I am excited that you represent Florida actors Austin Abrams and Owen Teague. I have represented both Austin & Owen and by far they are two very talented actors from Florida. Do you represent any other actors from the Southeast?  I represent Matt Lintz, Makenzie Lintz, Kennedy Brice and Katelyn Nacon.  They are all such talented artists.

How do you find new talent? I am very lucky in that I work with great agents on other territories and countries that trust me with their talent.  This is a business where trust and respect go hand in hand

What should actors do to prepare before making the move to LA? I think actors need to be talented and know what kind of actor they want to be.  Moving to LA is very expensive. Thus, I don’t just suggest that someone with a headshot move here.  Be patient.  When my client Hayley Orrantia booked “The Goldberg’s”, she was living in Texas.  I told the family that it is best to self tape until you get a producer interested in you.  In this case, she got a series that is going strong.

What is the best time to move to LA?  Pilot season is all year now.  February and March will be busier. However, there is no time that is better than the other. If you are talented you will get in rooms.  And you will get callbacks and there will be someone who wants to hire you.  Every casting director wants to be “The One” that made the big discovery.  All these people are going to champion that actor if they are talented.   

What is the best way to look for representation in LA?  I would say referrals.  Also, workshops can help.  But I suggest knowing someone that can get feedback.  I don’t think self-submissions are the best way of going about it.  We don’t accept them at our agency

What are the west coast preferences when it comes to actor’s reel footage? We like actual footage from film and TV.  Unless you have none.  In that case, maybe your best self tape audition.

What are your pet peeves with actors in general?  Actors that are not prepared, who are late and need to move appointments.  Also, people that get in the way of other actors.  When you are in a room, sit quiet, be patient and just have your head in the right place to go book the job.  Just because you are the new guy in the room and you see someone you know or might recognize you can still get the job

Any parting words of wisdom to share? I just think that if you are a talented actor then others will see it in you.  You can be successful in this business.  If you are new and people say you are green but, have potential,  just keep working on your craft.  If this is your career path, then like any other, it takes a lot of time.  Enjoy every moment of it.

Thursday, November 12th

Adam Vernier worked on “Ballers” this week and I wanted him to concentrate on his work and enjoy shooting before I let him know that his footage was cut from the USA network show “Satisfaction”.  This has not been the first, nor will it be the last time an actor hears the painful news that they were left on the cutting room floor.  Adam took the news well letting me know this has happened in the past.  Keep in mind you were the actor that booked the job.  Seldom does it have anything to do with the performance.  It is more about how well the footage does or does not fit in the final product.   And, since you can’t worry about what you can’t control, move on and realize your bank account was happy the day you deposited your check!  It is important that you let your agent know if your footage was cut.  That way they can inform casting and continue to submit on the project if it is still in production.

Adam on the set of “Ballers”

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Friday, November 13th

I have had the honor of representing Peggy Sheffield for years and asked her to share her experience last weekend casting for FSU student films.  Peggy graduated from FSU with a BFA in acting and studied for a year as an intern with the Burt Reynolds Institute for Theater Training.  Peggy continued to work with Burt in various aspects and thanks him for casting her in her first SAG film “Sharkey’s Machine”.  Peggy has spent time in Los Angeles and New York acting and teaching before moving back to Florida. 

Student films are a great way to get footage for your reel and revel in the creative process of creating a character.  Actors have been spoiled taping auditions and seldom have the opportunity to be in the room for a live audition.  Whether it is for a studio or student film, you have to give 110%.   The directors you work with on student films today are the future filmmakers of tomorrow and could very well become the next Steven Spielberg.

Thanks to Peggy for her contribution to “The Agent Diaries”. 

A wise woman once said if all producers wrangled extras for one day and all actors sat behind a casting table for one day, it would change the industry.  Traci couldn’t have been more right.

I’ve happily been an actor and acting coach for a long time and am grateful for it every day.  I love it.  I’ve also had the pleasure of dabbling in other areas of production, including casting.  One fall several years ago, the FSU Film School contacted me for help in filling several difficult roles.  I offered to coordinate a more professional casting session than the open calls they’re used to and the results were stunning.  The following spring they asked if I’d be willing to do it again, and we have maintained the relationship for about seven years now.  I organize agent-referred-role-specific-by-appointment-casting sessions in Orlando and Tampa Bay, and have been told for years that they book more actors from our two sessions than the castings they hold in several other cities combined.

I love the opportunity it provides for so many of our talented Florida actors. Throughout the year I’m contacted by actors, union and nonunion alike, asking when the auditions are being held.  Great things have resulted for many of the directors and actors involved.  It’s a lot of volunteer time on my part but incredibly rewarding.

The painful part is watching actors make the same audition mistakes over and over, sitting though far too many auditions from actors not in the least bit ready to be there, marveling at the poor attitude some bring into the room, and knowing most have no idea what – and sometimes how much – they’re doing wrong.

I’d like to touch on a few of those mistakes in the hope that it might give actors that casting table point of view.  I’m using the FSU Film School auditions as my example but most everything I’m sharing applies to any live audition an actor will attend…

-Most sides are two pages, some one page and a very few may be three pages.  I schedule actors well in advance so there’s no excuse not to have the dialogue memorized.

-Please do not whip out your phone to read your sides.  Wait until you can memorize the dialogue before attending a live audition.

-Breakdowns and sides are provided ahead of time, so please don’t arrive asking for sides and then standing there, face down to read them. Again, wait until you can better prepare yourself for an audition.

-Being off book is the very least an actor should do, but it’s not enough.  It takes so much more than that.  As soon as you’ve committed to an audition, take the time to truly develop your character and scene, then tell us a story.  Even if we’ve heard the scene dozens of times, we’ll sit up and take notice when an actor breathes real life into it.  Those who don’t are quickly forgotten.

-Please be on time (meaning a few minutes early) or if you aren’t able to make it cancel with enough notice to allow your time slot to be filled by someone else.  Emailing an hour before your appointment saying you have a conflict with another gig might as well be a no-show.  We had a couple of cancelations this past weekend from actors who provided plenty of notice (thank you!) and although we were sorry to have missed them we surely hope to see them next year, or I’ll do what I can for them to still be included for consideration in the current round of films.  And if you think we don’t remember flat no-shows, you would be mistaken.

-The standard arrangement for headshots and resumes hasn’t changed for eons, so I’m baffled by the number of actors signed with agents and/or managers who arrive with a nameless photo and no resume, oversized or undersized photos, unattached resumes, resumes with no contact information, resumes stapled or paper clipped in a single corner facing the same direction as the photo rather than securely attached and facing the opposite direction…and the list goes on.  8”x10”, meaning both your photo and resume, fully secured with staples or glue, back-to-back, or printed right on the back of the 8”x10” photo.  It’s simply more professional but anything else also risks your information – and you – being lost along the way.  If you’re new and don’t have professional headshots yet that’s absolutely fine, but the general format can still apply.

-Parents, please do not coach your children.  Make sure they understand the scene, the character and that character’s relationship with anyone else in the scene.  Be sure your child can pronounce and understand all of their character’s lines. If your child is serious about wanting to act, then they need to be taking great on-camera acting classes somewhere, not just an occasional workshop.  If you’re going to have them read for dramatic roles they need to be aware of what’s happening in the scene.  If they have no idea and come in with a clueless audition we are not going to take it upon ourselves to explain the darker side of the story or characters involved.  That’s your job.  Make sure they haven’t arrived hungry and tired.  And, please be sure your child actually wants to be there.  It breaks my heart to see kids who would rather be anywhere than in a casting room, going through the motions because they have to.

-An on-camera audition, whether it’s for film, tv or commercials, is not the same as a theatre audition.  We can tell immediately if an actor is in a class where they go on tape regularly as opposed to classes without the benefit of regular tapings.  The lack of camera technique or even camera awareness is one of the biggest deal-breakers we see.  If you need to set up the entire scene with chairs and props then we’ve already begun to look at who’s coming in next.  If you are compelling as an actor none of that other stuff will matter.  If you see it, so will we.

-If you’re going to ask how you’re being framed, please, for the love of Pete, do something with that information.  It’s so much worse when you ask and still stand stock still, facing flat to the camera and act from the neck up.  It tells us – no, screams – that you not only haven’t had any camera training but that you’re not connecting the dots when your question is answered, or that you have been taught the question but not what to do with the information.

-Nerves are a nasty little thing to struggle with during an audition but there are several successful techniques you can apply to deal with them allowing you to be strong, confident and focused when you come into the room.  Ask your acting teacher for help or do some research so they can be a thing of your past.  After all, this is supposed to be fun, right?

-In a live audition you’re going to have 1-2 shots to show what you can do, how you see the character and what you can bring to the role, that’s it.  Be prepared, bring your best, and have fun in the room.  We all want the same thing, for you to be perfect for the role and to be someone great to work with.

I love actors, love watching them work.  It pains me to see well-meaning actors make easily avoidable or easily remedied mistakes.  As actors, deep down we know when everything feels right and when it doesn’t, so try and sort out exactly what isn’t working for yourself and make it a priority to improve in that area.

You can be entirely forgotten moments after leaving the room or you can be one of the actors we talk endlessly about at lunch, then again at the end of the day.  You can be the actor we’re on the phone telling others about, like Demi Castro and Kristen Wollett this past weekend.  Demi and Kristen weren’t the only two standouts but they were each prime examples of doing everything right.  They owned the room, we could have watched them all day.  They were so entirely prepared that it was easy to play with their roles and redirection.  They made everything they did seem effortless.  They were relaxed and easy to be with, they were fun.  They listened.  They brought so much more to their auditions than was on the page, more than the writer/directors could have asked for.  They may not book the roles they came in to read because casting has so many moving parts, but they made a huge impression that will last well past the 16 films we were casting this past weekend.

Monday, November 16th

Congratulations to Luc Campeau for his film “Turtle Tale” receiving the “Top Applause Award” voted by the audience at the International Family Film Festival in Hollywood. This is a great family film that I hope you will have the chance to see one day.

Director/Producer Luc Campeau, Lily Cardone, Mary Rachel Dudley and Noah Schnacky 

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Tuesday, November 17th

Casting director Tracy Kilpatrick and her associate Blair Foster drive thousands of miles each year in search for actors.  A few of Tracy’s credits include feature films “LBJ”, directed by Rob Reiner;  “Bastards”, currently shooting in Georgia starring Ed Helms, J.K. Simmons and Owen Wilson; the HOB film “Confirmation”; mini-series “Bonnie & Clyde”; “Dallas Buyers Club”; the tv show “The Red Road” and the highly anticipated upcoming mini-series “Mercy Street” airing on PBS in January. 

Special thanks to Tracy for her insight and contribution to “The Agent Diaries”.

Hello Actors,

As a casting director who works primarily in the SE region – I know how lucky I am to know so many amazing people who are working very hard and want to work.  It is certainly not a given – it takes so much heart and soul.

Over the last 20 + years, I’ve learned so much daily and hope that the people that I work with (actors, agents, producers, writers, directors) do the same.  We all learn so much from each other.

The one thing that I see as a major part of the business/my world and some of the biggest obstructions for actors is that change is the only constant that we can rely on – ON EVERY LEVEL.

When I started out 20 years ago, foolishly I thought there was a formula and way that things happened and when it didn’t happen that way it threw me off my game.  Now that I SOOOOO believe in rolling with the punches and actually relish it – I see actors resist change and try to control and there is NO CONTROL in life and certainly not in this business.

Actors should never look at an audition or role as any finite situation – IT IS NOT – it is, in fact, an opportunity. If you don’t audition you are RARELY going to get a role.  It’s like regular life – you don’t sit at home and have someone come knock on your door and offer you an opportunity.  Every role and audition puts you in front of casting, producers, directors and it can turn into anything – but only if you show up and are compelling.

We must always believe that you belong in the world that we are placing you in.  A lot of that is my job and my belief in you as an actor – but you have to follow through.  Quite often I think that actors JUDGE, and give away the story as they walk into the room – I think actors are so ego-centric that they forget that  their entire job is to tell the story truthfully and anything else is NOT what we are looking for.  If you look at actors who do well – they will realize that we are not thinking about the person, but the story – actors who are confident enough to tell a story truthfully and allow themselves to be vulnerable to whatever the situation – that is what I look for.  I NEVER want to see “characters” or more importantly “charicatures” – because there is a sense of judgement and making fun of people.  This makes me angry.  We should always have empathy and understanding and if we do that and are honest and not judgmental, we do a great job.

Breakdowns are an outline and not finite – if a casting director asks for you to read for something that is different from what you perceive the role to be – that is part of the creative process and trust me – they know more than you, the agent or breakdown knows.  AND ONCE AGAIN IT’S AN OPPORTUNITY.

Actors are their own worst enemy.  Remember the best thing you have is YOU.  No one else can bring that to the table – so don’t forget to bring yourself to the table.

We are all different – casting, directors and producers – show up, have a GOOD attitude, LISTEN, LISTEN and pay attention and have fun.  In some ways it’s a percentage thing, but in other ways, it’s really about truth and what you are willing to give of yourself.  In all parts of life I believe the truth will set you free.

Improv is a necessary skill.  Not the game kind of improv, but actually becoming a part of the story – who knows where that can take you.

Don’t be needy.  Don’t complain.  Don’t boast. If you can be yourself and comfortable and honest you will be a happy person and therefore a better actor.

We want you to succeed!  We have to trust that you are not a pain in the buttosky for any department, that you will show up, be on time, hit your mark, listen to the director and hopefully fall into an organic place that makes amazing moments.  I have a policy of disclosing to directors that someone is an “asshole”, “needy” or any other sort of negative.  Negatives generally cost time, which is money.

This is a great life and while you don’t work every day and there is SO MUCH rejection – you must remember you are not now or ever digging ditches for 12 hours.  Be grateful that someone wants to see you as an actor and make it rock!  It’s pretty deluxe.  Go for it and love it!

I love every day and my opportunities as a casting director but I MUST believe you, trust you and want to work with you.  You not only represent yourself, but your agent and ME and it’s important to trust that.

Rock and roll, rock and roll – enjoy, embrace, love your life…Tracy Kilpatrick

Wednesday, November 18th

Burt Reynold’s book “But Enough About Me: A Memoir” is hot off the press!  Mr. Reynolds has been a big influence in Florida film production.  After graduating from Palm Beach High School, Burt attended Florida State University on a football scholarship.  His football career ended after an injury and automobile accident.  When life threw him a curve, he decided to start a career in acting, including starring in the TV show “B. L. Styker” that filmed in Florida.  Burt was the #1 Box Office Star Award for five consecutive years (a record unmatched in Hollywood) and has numerous nominations and awards for film and television including an Emmy and Golden Globe award for “Evening Shade”.  Burt continues to pursue work in show business but, his real love is teaching actors at the Burt Reynolds Institute for Film and Theater in Jupiter, Florida.  I had the honor of meeting Burt and attend one of his master classes.  I told him his students are fortunate to have him as a teacher.  He responded, “I am fortunate to have them in my life”.  A class act!  A BIG THANK YOU to Burt for inspiring actors to follow their dreams!

BurtReynolds 

Thursday, November 19th

It has been slow this week gearing up for Thanksgiving so I took the time to start prepping for taxes.  I contacted Brendan Dalton to get his new address so I could send a 1099 form in January.  Brendan moved to New York to work as a member of the Blue Man Group and pursue other opportunities.  I wanted to share this with you:  And on a quick personal note, I just wanted to say thank you for everything you did for me this past year. Though it may not seem like a whole lot, I’m beginning to understand how difficult it really is to get someone to look twice at you up here in NY. The fact that you even agreed to meet with me, let alone decided to take a chance on me really means a whole lot. So, thank you for looking twice.  It isn’t easy getting a good agent in a major market like Los Angeles or New York.  If you are planning on moving to a larger market take full advantage of working in the Southeast, where it is easier to have representation.

Not too long after I received Brendan’s email, I received a submission via email (first strike – since I do not accept online submissions).  The actor stated that he had submitted numerous times and sent a link to headshots, resume and his reel.  After reviewing his materials, I wrote back thank you but, I will pass.  His response was “Tracy (second strike –make sure you have the correct spelling of the person’s name.  It is not that hard to do with the help of google), WOW, big mistake passing on me (third strike – the reason is obvious)”.  First impressions count and last a long time. He went on to explain that he is updating his reel.  Actors, when you are submitting to an agent make sure all of your materials are up to date.  If you can’t do this, then apply at a job that does not require common sense!

Friday, November 20th

Another week has passed!  Where does the time go?  Breakdowns have slowed down, thus the reason auditions have slowed down.  I hope this is the calm before the storm, the storm meaning pilot season.  I am helping actors select new headshots and the usual day to day business.  I am proud of “BTG” actors and their commitment to the business.  TGIF!!!

Monday, November 23rd

Time to vent:  Let’s talk about body language.  I recently received an audition for a role of a cardiologist.  The doctor was letting the patient know the results of a test.  In one of the auditions I received, the actor was slumped down in a chair, shirt wrinkled and hair a mess.  I would have bought this, if the scene took place in a bar with a group of buddies discussing the test results but, not in the doctor’s office where the scene takes place. Body language is a kind of nonverbal communication where thoughts, intentions or feelings are expressed by physical behaviors, such as facial expressions, body posture, gestures, eye movement, touch and the use of space.  An actor’s body language in the scene is important. I think this should be second nature for an actor.  So, next time you audition think of the time, place and the body language of the character you are playing.

Tuesday, November 24th

If a casting director requests that you send two contrasting takes or if you decide on your own to send two different takes, make sure they are CONTRASTING.  I see time and time again when actors send two takes that are very similar.  Trust your gut instinct but, think outside the box. Bring up your inner chameleon and create two different ways you think the character would be played. Also, make sure your favorite read is marked as first choice.

Wednesday, November 25th

The agency is closed the rest of the week in honor of Thanksgiving

What are you thankful for?

I am thankful for the hard working actors who keep Brevard Talent Group in business

I am thankful to the casting directors who believe in BTG actors

I am thankful to the husbands, wives and parents of young performers of actors who support them

I am thankful for my family and friends

I am thankful to the farmers who grow our food and the truckers who bring it to us

I am thankful for anyone who makes me laugh

I am thankful to live in America!

Monday, November 30th

Nov30

The Agent Diaries – October 2015

Thursday, October 1st

Fourteen years ago this month, the office was destroyed by fire.  The agency was located in Indian Harbour Beach in Brevard County.   If you want to know who your true friends are, have a disaster like this and you will find out.  My friend, Zoe Boyer, former agent at Susanne Haley Agency, organized a team for Brevard Talent Group to get up to speed as soon as possible, including Mary DeVitto, former agents Terry Hill and Eve Koch pitched in along with myself and Zoe to send out paperwork.  The support I received was humbling to say the least. Actors sent gift cards to office supply stores, Mary Rachel Dudley sent a big box of supplies and Whitney Goin bought a new phone system that I still use at my home office.  Patrick Mickler gave me a framed comic book of “Wonder Woman” that is still hanging in my office.  Note to self: check value on eBay.  The extra’s files were destroyed and I felt it was a sign to quit booking extras on film/TV – best decision ever!  Your life can change course at any minute.  I am grateful that nobody was hurt in the fire and for the outpouring of love.  On a positive note, this was a great way for actors to update their resumes!

Friday, October 2nd

Actors of the week go to…drumroll please…Owen Harn, Jordan Woods-Robinson and Ricky Wayne.  They are all talented actors, a privilege to represent and are members of the “BTG Consistent Closers Club”.  They are smart enough to know that actors go through a roller coaster ride of being busy or slowing down but, they always do what needs to be done in order to strike while the iron is hot.  Ricky worked on “Bloodline” on Tuesday, caught a flight that night to Pittsburg to work the next day, caught a flight back to South Florida Wednesday night to work yesterday and will work finish Monday on “Bloodline”.   Instead of turning down a job, Jordan Woods-Robinson changed his travel plans to work on a pilot in North Carolina.  And, last but definitely, not least, Owen Harn was on vacation.  He planned ahead and brought his taping equipment with him.  Which turned out to be a good decision, since he had numerous auditions to tape.  All of the actors went with the flow and made changes to take advantage of the opportunities they had, WITHOUT COMPLAINING.  Having drive, determination and dedication will move you to the top of the ladder with your agent.

Monday, October 5th

Logan recently wrapped working on fourteen episodes, as a series regular, on the Nickelodeon show “Talia in the Kitchen”.  Logan said, “I’m so thankful for the opportunity to work on ‘Talia in the Kitchen’.  I have met some wonderful people and learned so much.  This experience has helped me to realize how important it is for actors to always be prepared, yet ready to change in an instant.  It is so fast paced, and that is why it is important to always pay attention.  Every bit of the day is scheduled, so when careless mistakes are made, it can cause production to get behind.  I really like to sit back and watch each crew member do their job and see how it all comes together.  I guess the most important thing that I have learned on set, is that I do want to be an actor for a living”.   I am so proud of Logan and all of the hard working young performers I represent. It is not easy handling the demands of the business and school at the same time.  Without Melinda and Todd, Logan’s supportive parents, none of this would be possible.

Logan on the set of “Talia in the Kitchen”

LoganAllen

Tuesday, October 6th

Pilot and commercial season are right around the corner.

It is time to talk about the importance of excellent headshots.

Having a current headshot is a top priority for an actor.  It is your calling card and the first step in the casting process.  New headshots will be instrumental in generating opportunities for actors. Your headshot is one of the most important marketing tools for actors.  It needs to stand out for all the right reasons and none of the wrong ones.  The purpose of a headshot is to showcase that special quality that makes you unique in a natural and straight-forward way.  You will need a new headshot when your look has changed, either due to hair style, out-dated wardrobe or when you look older than your current headshot.

There are two basic types of headshots: commercial and theatrical.  Commercial headshots should be attractive, warm and open.  Always smile for these shots, with teeth showing, if possible.  Theatrical headshots can be more “natural,” and should try to represent your characteristics as a person, your bookable essence and roles you are right for.  Theatrical headshots are non-smiling.  It is a good idea to have both, commercial and theatrical, so you can be submitted for different types of projects.  Reflect those types of looks in your headshots. You can shoot as many looks as you want which will give you and your agent plenty of options when submitting you on projects. Make sure the photographer shoots a headshot only.  Technology has made ¾ and body shots a thing of the past.  Submissions are viewed on a thumb nail size and a headshot gives the casting director the ability to decide if they want to request you for an audition.

Plan out your outfits according to the different looks you are going to shoot.  Bring a variety of wardrobe to your shoot.  It is better to have too many clothes than not enough.  Use layering to create depth and incorporate bold colors and neutral tones.  Shirts with collars work best.  Avoid turtlenecks and shirts with patterns and brand name logos.  Stick with solid colored clothing with a clean, simple look.  Textured clothing can also work because it adds a unique touch to photos without taking the attention away from your face.  Make sure your clothing is clean and ironed before you arrive.  Take a lint brush or lint roller with you since lint can show up on dark clothing in photos.  There are no rules about what colors you can and can’t wear in your headshots but, you should try to avoid colors that are distracting.  A good choice is to remember what color you are wearing when you receive compliments on.  Bring three to six changes per look so you can see what the photographer recommends and what will complement the background being used.  Choose only articles of clothing in which you feel confident and comfortable, and that fit you perfectly.  Bright colors, pastels and earth tones work well for commercial headshots, while darker colors are better for theatrical headshots.  Stay away from fur, velvet and bulky winter clothes.  Non-seasonal choices work best for actors in the southeast. . Makeup can be lighter for commercial and heavier for theatrical.  Jewelry should be kept to a minimum.  Simple stud earrings for women and no jewelry for men, unless the look you want to achieve calls for an earring stud or necklace.  Hair should be clean, healthy and shiny.  If you have colored hair, make sure your roots aren’t showing.  The day before your shoot drink plenty of water, stay away from sodium and alcohol, and get plenty of sleep the night before your photo shoot.  Arrive fresh and ready to go.

Before you take new headshots, ask your agent for referrals and for input and ideas.  You should collaborate with your agent on how to have a successful session, one that you both are happy with.  I personally do not like headshots with hands showing. Request portrait/vertical photos only and not landscape/horizontal.  The eyes are the window to your soul.  Make sure your eyes are centered and not with a big amount of the white showing under your pupil.

Discuss what looks you want with the photographer before your session begins.  You are the producer of your headshot session.  The photographer is the director of photography.  Do not be afraid to be specific on what you and your agent wants to get out of the session.  Don’t be afraid to speak your mind so you have the best session possible and walk away knowing your new headshots should open up more opportunities for you.

Choosing the right headshot can be overwhelming.  How do you begin to narrow down hundreds of photos to choose from?  Start by trusting your instincts and your initial impression.  It takes a lot of time to edit your session down to your top choices.  You can ask your fellow actors or friends to help you.  Most likely your agent will not have the time to edit all of the pictures so, I suggest you narrow them down to no more than a dozen of each look.  After you’ve selected your final choices the photographer will photo shop them and send your final images to you so you can have them reproduced and uploaded on your actors access profile, as well as all of your online accounts.  Don’t forget to send the final headshots to your agent so they can keep them in your file.

Wednesday, October 7th

On my way to work I stopped to buy gas.  I saw a man with one leg walking out of the store who proceeded to get on his bicycle and pedal away.  True story – I can’t make this stuff up.  If this wasn’t a sign for me to count my blessings I don’t know what is.  I got to work and informed select actors that callbacks and bookings went out on projects and then the drama therapy started. The complaints about the cost of taping, why the actor is not booking, blah-bla- blah. Same story, different day.  Actors need to get their priorities straight and realize how grateful they are to be in this exciting business and the opportunities available in the southeast.  Then I thought I should make the book the “Power of Positive Thinking” by Reverend Dr. Norman Vincent Peale or “The Art of Happiness” by the Dali Lama mandatory reading.  There are no limits to what your mind is capable of.  Limits and excuses are what you put on yourself.  Since you are the boss and CEO of your life, you can achieve anything you want – the sky is the limit.  Keep in mind this business is like playing the lottery.  You can’t win if you don’t play, but don’t expect to win every time you play.  Only one actor books the role!  If the joy of being in the business is gone then evaluate your future and what you want to achieve, regardless if it is being an actor or another profession.  Is it possible to banish negativity out of your soul and concentrate on finding happiness?  You are the only one who can answer that question.  But, one thing I know for sure, agents would much rather represent actors who wake up on the right side of the bed and feel fortunate for what they have, not for what they don’t.

Thursday, October 8th

A throwback story for you:  Many years ago my friend and casting director, Terry Berland, worked at BBDO advertising agency in New York City.  I was in the city for business and pleasure and asked Terry if I could assist her for a day.  I love the creative process of casting and took the opportunity to learn that side of the business.  Terry was casting for a furniture store commercial and a voice over for Pizza Hut.  I was busy taking Polaroids (remember those days?) and getting the actors ready for their audition.  One actor stuck around after his audition, for quite a long time, to talk to other actors and hang out.  I thought that he must be a loser and didn’t have anything else to do.  The next night I had tickets to see the David Letterman Show when he was at NBC.  Imagine my shock and surprise when that very same actor from the audition walked out as the top guest of the night.  That actor was Chris Elliott.  I almost fell out of my chair.  That taught me to never assume who someone is and that actors want to be around the energy of other actors.  After all, they are a species within in themselves.

Friday, October 9th

Hi, everyone, this is Lisa Midden filling in for Traci who is off celebrating her daughter’s wedding, congratulations Jordan!  I come in a few days a year, when Traci is out of the office, to try to keep things moving smoothly, one thing Traci does with ease.  Today is a quiet day. I had a chance to get my hot tea early, check emails and gladly call a few people to put them on hold for “Bloodline” and a Florida lottery commercial.  That is definitely a great start to any day!  I will take that over the days that are impossible to explain in just a few words and for that reason, I always say that every actor should sit in this chair at least once.  It is interesting to say the least, what it encompasses to see an audition come to fruition with the success of a booking.  Especially one that may have only originally looked like a small part ends up being something far greater, but that is always the hope, isn’t it?   I’m sure you have read many of those stories here before. It was nice to witness one of those today.  Those are stories that are motivating for crazy days, like having to quickly understand what a casting director needs, to again quickly contacting all the actors for the audition.  And , might I add, doing that with a smile on my face so I don’t  come across short  because I am on a deadline and you cannot even explain that when your goal  is to be sure everyone has what the information they need  in time!!!  Whew, that is so not easy, lol . However, when it is all said and done and it is the end of the day, I must say it never gets old to call with the news, “You booked the job”!!  Glad I was a part of that today.  Let’s smile a little more today! 😊

Monday, October 12th

An Interview with Casting Director Chase Paris,
Co-Owner of Feldstein Paris Casting in Atlanta
Thanks to Chase for his contribution to “The Agent Diaries”

Part 1- A Casting Director Perspective:

You were an agent at the Houghton Talent Agency before you partnered with Tara Feldstein Bennett to open a casting office.  Do you like being a casting director or do you miss being an agent?

There are definitely parts of being an agent I miss, like being closer with the actors, acting as their advocate, and having an office full of wonderful people to see every day, but I LOVE being a Casting Director. There’s a lot of crossover in what the job entails, but the biggest difference is I get to be a part of the creative process as a CD while also engaging in the business side, while an agent can often times be all business. It’s fun, challenging, exciting, and fast paced – all things that Tara and myself live for.

Feldstein Paris Casting is a top casting company in Georgia.  What growth in the market have you seen since you opened the business?

It’s been incredible to see the market grow. Tara and I both started right as the tax incentives really took off in GA and we’ve been able to grow with them. That’s been one of the biggest reasons our company has been able to grow so quickly, so we’re both lucky and thankful. The market has developed to where not only is there a large amount of work coming to GA – more and more each year – but as producers, directors, studios, and networks return they get familiar with the talent and are seeking out familiar faces. Sometimes this simply means getting an extra look when their next project is in town, others are confident to book larger roles with locals. It’s a slow process as most actors have learned, but the market IS evolving and growing, to what level is yet to be seen, but talent today have much bigger and better opportunities than they did 2-6 years ago, and that trend should continue!

What are some of your pet peeves?

– Talent emailing us directly – we’d much prefer all contact to go through agents.

– Late tapes

– Self tapes from a phone that are recorded in portrait (taller than it is wide) – we can’t even present those to producers so it’s a waste of everyone’s time

– From Tara:  Recording your own voice as the reader.  When it’s played back it’s so distracting and you can’t connect in your audition because you’re waiting or rushing to keep in line with the audio! 

Since actors seldom have the opportunity to see casting directors in person, can you share some tips on how actors can nurture a healthy relationship with a casting director.

I think having a “relationship” is unrealistic in the sense some actors want it. What we need is to be familiar with your work and confident in your abilities enough to present you for roles confidently. We don’t do generals because that doesn’t show us anything you can do as an actor, which is the main thing that matters to us. If a talent wants to be more familiar with us, we’d love to get a pitch from their agent/manager with their materials. That’s the best way to get our attention. Other than that, we’ll base our opinion on actors based on the auditions we see, so keep the quality of those high and you’ll make an impression.

How do you prefer actors keep in touch? Email? Social Media? Postcards? Thank you cards?

We greatly prefer all communication to come through agents. When we open the doors to other avenues (email, social media, etc.) then it gets cluttered and everything becomes white noise. If you have a new reel or a big booking that’s about to air or hit theatres, have your agent notify us – we want to know those things! Traci you do a good job of getting electronic postcards out, and I think those are perfect.

As far as postcards or other promo materials via mail: we look at them all, but don’t keep them, and sometimes they get excessive. Again, electronic here is best.

Lastly: thank you cards – these are completely unnecessary! We love what we do, and love to give talent bookings; that’s thanks enough. If a talent INSISTS on sending a card then their agent should have our best address and can send it out for them – but this should be reserved for bookings and not auditions. We sometimes get thank you cards for auditions – can you imagine if EVERYONE did that? It would be just too much, so if you MUST send a thank you card please save it for bookings (though again, even that’s unnecessary!).

BONUS – sometimes talent want to send us gifts. While we always appreciate them sending us gifts is not necessary at all. We both understand the life of an actor, and we’d rather they put any time or money in to furthering their acting career and not sending us stuff – it’s a better use of your money!!

Note from Tara: I don’t mind tweets from actors, sometimes it’s fun to see them on set or chime in to posts about upcoming airings. 

How often do you use social media to cast your projects?

If we have a particularly specific role where our normal actor pool won’t give us enough options, we’ll post on social media to see what else we can find. It’s not normally super fruitful, but when we need more options, that’s a good place for us to go.

We’ve never cast anything BASED on someone’s social media though. They still come in and audition and (more than not) the best actor is whom we hire.

Does the IMDb “star-meter” influence or affect which talent gets seen/booked?

No, never. Never ever ever. If a CD is using that to see/hire talent then they don’t know what they’re doing (in my humble opinion). 

What do you like most about what you do?

Being able to see specific influences Tara and I have had in the finished product of projects we’ve cast. Our ability to do this depends 100% on how open our LA CDs, directors, and producers are to it, but we believe when we’re given a voice the project is better for it (and when we see the projects we feel vindicated in that belief!)

What do you like least about what you do?

Casting Data Reports. Tara I’m sure would say Taft-Hartleys. Both are paperwork required by the union, which are just tedious tasks that aren’t very fun to do. We don’t really mind paperwork, but these especially are lowest on our totem pole.

Though honestly I had to think a good minute to figure out what I like least – the job is super fun 

Do you miss live/in-person auditions?

YES! I personally love live auditions and wish there was a way to do more of them without sacrificing something else along the way, but alas that’s not the world we live in at the moment. If we do everything live then we go from seeing 20-30 actors regionally per role to 4 locally per role, which limits our options as well as the opportunities for talent. There have been times where we’ve done a mix of tape and live sessions, but doing both a lot of times stretches us thin and leaves us missing people, or creates a perception of unfair advantage for the locals wherever we’re shooting.

Watching tapes isn’t nearly as magical or fulfilling as being in the room, but the opportunities self-tapes give us outweighs that in the current market we live in.

Tuesday, October 13th

Part 2- Tips on Taping:

On the average, how many actors are submitted per role and how many are requested to audition?

This can vary greatly depending on the role description – wide-open roles can have 600+ people submitted, and very specific roles can have as few as 20 – and how wide we release the role. However the majority of roles float somewhere around 150-250 if I had to throw a number out there.

Regardless of how many are submitted, we try and keep our tape requests to 30 or less, though obviously that fluctuates based on needs.

About how many tapes/actors per role do you send to the director and/or producers for consideration?

Anywhere from 4-10, though the sweet spot is closer to 6-8 

A lot of actors get discouraged taping numerous times on the same projects. Any advice for them to continue taping auditions?

I remember when I was an agent, the ongoing joke amongst the actors was to keep track of how many times they had auditioned for ARMY WIVES before they booked. It was silly, but they kept count. I’d talk to Richard Futch and Matt Sefick about what more they could be doing and what was missing, but they said, “the talent are doing fine, but we can only hire one actor per role,” which is good perspective to have. Sometimes we’ll see 20-30+ actors per role. Of those, we’ll present 5-10 up the chain, and still only 1 of those can be hired for the role – so keep in mind, the odds are stacked against you every time you audition. 

If you continue to get called in YOU’RE DOING SOMETHING RIGHT – so take the positive out of that and not the negative; don’t think “Why am I not booking??” – instead think “I didn’t get that one, but they like me because they keep calling me in!”

We understand it can be annoying and tedious to audition over and over again for the same project, but if you hadn’t caught our eye or someone else’s up the chain then you wouldn’t be auditioning. Keep doing what you’re doing and putting in the good work and the odds of the booking coming will increase with each audition. 

Any advice for actors to make their auditions stand out?

A few simple things:

1) FOLLOW THE DIRECTIONS – Read them every time, sometimes there are slight changes, don’t assume it’s “business as usual”

2) GET YOUR TAPES IN EARLY – We normally send our choices up the chain within the hour of a live session or an Eco-Cast expiring, and also review tapes earlier. If you want to stand out get in early whenever you can.

3) BE OFF BOOK – Of course if you have 7 pages we understand, but you should do your best to be off book when you can. There are a lot of acting coaches that say differently, but when you are off book you are comfortable with the material, and that shows in the tapes and in the room.

4) MAKE STRONG BUT APPROPRIATE CHOICES – This doesn’t mean make an off the wall choice for your read – make it appropriate but memorable as best you can.

What is the reasoning behind the “no props” rule?

They’re very distracting if unnecessary. A phone makes sense if you’re talking on the phone, but really most anything else just distracts us from what’s most important in the audition – YOUR PERFORMANCE. The same can be said for costumes. If a prop/costume is going to help you get in the role great, just make sure that when we watch the tape we’re not immediately going to wonder why you have spare nurse scrubs laying around or have our attention pulled to whatever you’re holding in your hand that’s not essential to the scene. ANYTHING pulling our focus away from your performance is going to hurt you more than help you.

OH – and don’t bring a gun in to your audition, even a fake one, especially as a prop. It’s happened…

In your experience, what separates the audition tapes of “great” actors and “good enough” actors?

In general the quality is going to be better, but a “great” actor is “great” whether they’re on tape or in person. It’s true that some people excel on tape vs. the room and vice/versa, but that comfort in the role and in front of the camera just shines through on a higher quantity of “great” actor’s tapes than the others.

Basically the tape doesn’t separate the “great” from “good enough’ – if the actor is “great” they’ll separate from the others more than not.

At what point in the casting process does an actor’s footage come into play?

Do you mean reel footage? If a reel is submitted with an audition (in a separate file, please) we’ll include it in our presentation to producers/director/studio/network. This can only help the talent – a good reel will make a good audition look great and will make a sub-par audition one that get’s considered based on previous work.

They can also come in to play as a substitute for an audition – though the reel has to be pretty strong or recognizable to get the right kind of attention. A lot of LA roles are done in large part through reels, so if you want to be considered with those the reel has to be of their quality and caliber, which can be hard.

What are your preferences when it comes to reel footage?

I’d say under 3 minutes is best unless you have substantial roles that would lead to longer. Always put your BEST and/or MOST RECOGNIZABLE footage up first – time is at a premium sometimes in the decision-making process and CDs, producers, and directors will move on once you’ve lost their attention. Start strong and we’ll keep watching.

ALWAYS KEEP IT UPDATED – we’ve been hiring off of reels more now, than in the past and nothing hurts an actor more than a reel that doesn’t have their latest and greatest on it. It’s worth the money/time to keep it up-to-date.

Many actors wish they could hear individual feedback on their tapings.  What insight can you give actors who crave feedback when the industry allows no time to give it?

Talent can always ask for feedback on tapes. It’s astounding how often this does NOT happen. We are more than capable of giving feedback on individuals if their reps ask us about specific auditions – we save them all so can go look back and give specific feedback. All reps have to do is ask and tell us what roles they want feedback on and we’ll do it as workload allows us.

If an actor is close on a read but missing something and we have time to give a redirect before presenting we will – but again that’s based on time constraints. That’s the big downside to tapes, the personal touch is lost – but without tapes a fraction of the talent being seen wouldn’t even get auditions, so it’s a give and take for sure. 

Wednesday, October 14th

Mr. Depp, you can start writing your Oscar acceptance speech for “Dark Mass”!   I do not know how it is humanly possible how he morphed into playing the part of Whitey Bulger.  The film was filled with plenty of murder and F words, if that offends you, I would pass; if not every actor has to watch this amazing performance!

One of my new favorite fall shows is “The Muppets”.  The series is set in Los Angeles and depicts the everyday personal and professional lives of the Muppets during production of “Up Late with Miss Piggy”; a fictional late-night-talk show starring Miss Piggy, Kermit, Fozzie Bear and a slew of other characters.  The show airs on the ABC network on Tuesdays at 8:00 PM.  If you need a break from the real world, the Muppets are sure to make you laugh!

Another show I recommend for all ages is “The Carbonaro Effect”.  The show is filled with comedy, improv and drama.  Michael Carbonaro is amazing and is a great example of how a talented person can create their own TV show.  The show airs Wednesday’s at 10:00 PM on truTV.  I think you will be as amazed as I am when you watch the show.

Thursday, October 15th

“A Selfie Interview”

Traci: How did you get started in the business?

My mom started “MDM Studios” a school for modeling and acting in Brevard County.  I worked for her and was encouraged to open an agency to book models for runway shows and fragrance demos in department stores.   I am glad those days are over!  I will take actors over models any day of the week!  At the time, the agency was called “Model and Talent Management of Brevard”.  When Universal and MGM Studios were being built in Orlando, I started to transition into developing and booking actors.  In order to apply and take a test to be franchised by Screen Actors Guild, I had to separate from my mom’s business and move to another location.  It was time for the bird to leave the nest.  I changed the name to Brevard Talent Group and incorporated in 1989.    

Traci: What do you like best about your job?  The least?

The creative process of developing actors.  It is exciting and challenging to meet raw organic talent and see them work hard to become a successful actor.  And, giving actors the great news that they booked the job.  That never gets old!  The least is dealing with lazy unmotivated actors.  They don’t last long with the agency.  Telling actors they did not book the job.  Actors who self-tape and do not know how to compress files.  Sitting at my desk ALL DAY LONG answering emails.  They never end.  Not complaining…just sayin’! 

Traci:    Any words of advice for actors moving to Los Angeles?

Good luck and bring lots of money with you. 

Traci:   What happened to the Florida market?

Our business has been decimated under Governor Scott’s administration.  Three years and not one penny being allocated to the incentive program is unacceptable.  There are very few agents in the market that have been in business as long as myself and Melanie Hurt, back in the good ol’ days when Florida was third in the nation for filming and SAG national commercials outnumbered nonunion. Melanie and I have more experience than most of the current agents put together. That shows we are older and wiser.  At least that is what I tell myself!   One day I saw a picture of my client, Dean Napolitano, on a bus in Orlando.  Former casting director, Herb Mandell, God rest his soul, cast Dean in a commercial for “Wet & Wild”.  The client pulled the image without paying Dean.  That set me over the edge!  I worked to form “CFATA: Central Florida Association of Talent Agents”.  The agents got together and made changes putting an end to perpetuity (which means FOREVER) buyouts on commercials and made the market better for the actors and the agents.  Then the economy tanked, new agents came into the market and technology changed allowing agents to put actors on tape, therefore creating less jobs for casting directors.  I blame the agents for accepting low paying jobs and the actors for accepting the terms and conditions and going to the audition.  We are in the theme park capital of the world.  It shocks me what they pay on nonunion commercials for worldwide all media usage forever!  I believe actors should be respected and paid fairly.  After all, most productions need actors, whether for commercials or film and television. 

Traci: What do you miss about the good old days?

When actors made enough money on one commercial to put their child through college.  When young performers made enough money on a Sea World or Busch Garden’s commercial to pay for college. When agents were like school teachers in the summer, the residuals kept coming in, but the work slowed down giving us a break.  I miss going to wrap parties and film premieres.  I remember going to “The Earth to the Moon” premiere a thet Kennedy Space Center.  John Kennedy, Jr. and his wife Caroline Bessett-Kennedy were at the dinner.  My mom wanted to introduce herself and I said, “don’t bother them”.  Now I wish I went with her to meet them both.  What a handsome man and so compelling to watch. YUMMY!  I miss those kinds of perks!  I also miss encouraging actors, when they got to a certain level of their career, advising them to join the union.  Now it does not make a lot of sense to join since the southeastern states are ‘right to work’ and most casting director’s care how talented the actor is, not if they are a member of the union.  I have nothing against the union and I am very grateful for their services but, I hate to see actors struggling to pay bills and choose to pay the membership fee to join. The union is not going to get you work.  That is the actor’s job to audition and be remembered for future projects. The union’s job is to make sure producers who have signed the signatory agreement abide by the rules.

Traci: If you were going to write a book what would the title be?

“Acting Is Just A Conversation”.  I know there is A LOT more to it than that, but in the long run it is just people talking.  The follow-up book would be “Lame Excuses From Actors”.  In the meantime, “The Agent Diaries” is enough writing for me! 

Traci: If you were not an agent, what career would you have pursued?

I missed my calling.  I would have loved to work in production in rock n roll.  What a blast it would be to travel the world and be a part of a concert tour.  There are days I wish I could do volunteer work at hospice.  It is a gift to be with someone who passes.  It sure puts this business in perspective.  However, in the meantime agent it is, until I win the lottery. So far I have not hit the big one!  But, I am very thankful for what I have. 

Traci: Any regrets?

Nope.  Regrets are poison for your soul.  Often I wonder where my life would be if I went to college or took the left instead of the right in the fork of the road.  I also wonder what America would be like if Al Gore was elected President but, that is a story for another day and a bottle of wine – maybe two. 

Traci: What advice would you give actors today?

I would first ask if they are willing to put in the work to be an actor, especially for film/tv.  Most aren’t.  Life gets in the way.  It is hard to make a decent living from commercials, film and television.  Most are not willing or can’t afford to consistently attend class and work on their craft.  Some only dream of fame and fortune and do not have the ambition to become a great actor. In Orlando, actors are fortunate that they can work at a theme park, perform, ,have health benefits and a steady paycheck.  A lot of them do not have the drive and determination to meet audition deadlines and jump in their car to make a callback in another state.  I can’t say I blame them.  But, I am glad for the ones who do. Wanting to be an actor and making a living as an actor are two different things.  Where there is a will, there is a way. Believe in yourself and others will to. 

Friday, October 16th

Catching up from the week: I have almost recovered from my daughter, Jordan, getting married in Key West at the “Ernest Hemingway House” on October 10th.  It was a beautiful wedding and reception despite the heat.  Cross moving to Key West off my bucket list!

I went with Alana Cavanaugh to her ADR (audio digital recording) session for “Sleepy Hollow” at Ideas in Orlando.  I have never had the opportunity to see the process and found it very interesting.  So much for telling Alana I could help her with her math homework.  Algebra in third grade?  When did that happen?  Me + Allegra = Big Fat F.

Dan Bright is in Louisiana working on the feature film “LBJ” starring Woody Harrelson and directed by Rob Reiner. Owen Harn worked yesterday on “Game of Silence” in Atlanta.. Bill Kelly, Gene Michael and Owen Teague were in south Florida working on “Bloodline”.  Chris Dinger, Levi Feldman and Leander Suleiman shot a commercial for “Chuck E Cheese”.  John Connon, Chip delVecchio, Aniria Turney, Gabrielle Ortiz and Scott Whittemore worked on “Florida Lottery” commercial.  Matthew Kosto, Tara McDonald and Zach Robbins are shooting the independent film “Monsters at Large”. Alkoya Brunson booked a great supporting role in the feature film “A Meyers Christmas”.  And, Darla Delgado is headed back to Atlanta to shoot another episode of “Game of Silence”.

Dan Bright on the set of “LBJ”

danbrightLBJ

Monday, October 19th

Often actors will call or email and inquire about an audition they heard about, but were not requested for.  I cannot begin to tell you how frustrating this is when the actor does not have all the facts about the audition, such as age and type.  It is a different situation when an actor is friends with a casting director and may see a casting on social media.  If a casting director suggests you audition, by all means go for it. Many actors develop relationships with casting directors, which benefits both the actor and the agent. Agents seldom receive scripts and are not privileged to all of the information that casting directors have. Casting directors are reaching out and utilizing social media more than ever to look for actors.  Keep in mind that actors and agents are a team and work together, so don’t feel your agent is not working for you if this happens.  It is physically impossible for any agent to send all of the actors they represent to every audition.

Tuesday, October 20th

The government requires that anyone who is hired to work (both citizens and non-citizens) in the United States fill out an employment eligibility verification form, also known as an I-9.  You must show proof that establishes both your identity and employment authorization.  A passport is sufficient for both.  If not, for US citizens, adults need a driver license or voter’s registration card AND a social security card or birth certificate.  For minors, a school record, report card or doctor’s record with their name AND a social security card or birth certificate. There are other documents that are accepted but, these are the main ones that most people have. I would advise that you make a dozen copies of your document on one sheet of paper and bring it with you when you work.  It is easier than looking for the documents each time you work and not take the chance of losing them.  If you have ever sat in a social security office waiting for a new card then you can understand my logic.  For a full list of acceptable documents and additional information go to http://www.uscis.gov/sites/default/files/files/form/i-9.pdf

Wednesday, October 21st

Congratulations to Luc Campeau! His film “Turtle Tale”,was recently chosen, out of 250 films, to be shown at the International Family Film Festival in Hollywood, California on November 7th.

Lily Cardone, Luc Campeau, Mary Rachel Dudley, Noah Schnacky and Ricky Wayne busy promoting “Turtle Tale” in the Tampa/St. Pete area talk show circuit 

turtle tale

Thursday, October 22nd

“Interview with Nine Year Old Alana Cavanaugh”

How old were you when you started in the business and why did you want to pursue acting? 

I was 5 years old when my mom and dad let me start acting, but I started asking (to be an actress) when I was 2. They finally let me start acting after years and years of begging. I wanted to be on superhero movies and see how they made the makeup for monsters and how they do the amazing things on TV.

The FOX TV show “Sleepy Hollow” airs tonight that you worked on.  What are you plans to watch the show?

I will be snuggling on the couch with my family and enjoying the memories I have from filming the TV show. I will remember all the joy I had on the set.

How did you feel when you heard you booked a guest star role as the character Saffron Paynter?

I felt as amazing as I could feel. When I heard what I would be doing, it was what I have been wanting to do my entire life. I felt sick to my stomach from being so excited.

Can you tell us about Saffron and what you had to do to prepare?

Saffron is a brave, 8 year old big sister of a little girl names Tessa. She gets strangled by a monster and almost gets killed. To prepare, I had to make sure that I was comfortable with having a person with a scary costume attack me and I had to be able to be very strong for the stunts. I also got to work with a stunt coordinator for a scene.

What was the best part of working on “Sleepy Hollow”?

Getting to meet all of the people and getting to experience doing what I have wanted to do for years and years and years! Mr. Tom was very funny. He made me laugh after every single take. He made me really comfortable and really happy. We talked about everything. 

And your least favorite?

There was a part where the monster had to drool on me. It was my least favorite part because it was sticky and gross!

You have worked the last two seasons on the AMC show “Halt & Catch Fire”.  The show was recently picked up for a third season.  Tell me about your experience working on the show. 

Working on Halt and Catch Fire is an amazing experience because I met my best friend Morgan on there who plays my sister. I also get to work with super fun people like Ms. Mackenzie, Ms. Kerry, Mr. Lee and Mr. Scoot. My very first snowball fight was with my “dad” Mr. Scoot. He stole us from set and snuck us out back while no one was looking to play in the snow during the first season. For the second season, my real little sister got to play me in younger pictures. When I heard about the third season, I was at a callback so I couldn’t yell but, inside I felt super excited and was tingly inside from being so happy because I get to go back to our second home, Atlanta, and see my set family.

Any tips you can let other young performers know about being an actor?

One thing you always want to do is to always act natural. Don’t do this to make money, do this for your heart. When you do this for your heart, it will bring your feelings farther and farther because you believe in yourself and you will be able to reach more than you ever thought you could.

Alana on the set of “Sleepy Hollow”

AlanaSleepyHollow

 

Friday, October 23rd

Another week in paradise! At least it is cooling off and fall is at our door.  This has been a typical week at the office, updating files, meeting new actors, sending out auditions, uploading auditions, writing checks to actors, paying bills and dealing with the good and the bad.  It is a great way to close out the week by booking an actor on an Emmy award winning show filming in Europe!

Zach Robbins, Tara McDonald and Matthew Kosto on the set of “Monsters at Large”

monsters

 

Monday, October 26th

I went to see Aubrey Peeples in her first major film “Jem and the Holograms” yesterday.  I am so proud of Aubrey!  Special thanks to her supportive parents Ashley & Wendy!  The film is inspirational for pre-teens and teens.  We need more positive messages and less violence in films.  I am sure many parents are shaking their heads yes.

Wendy and Aubrey at the LA premiere of “Jem and the Holograms”

aubreypeeples

 

Tuesday, October 27th

Interview with Casting Director John Peros

Acting in commercials is a highly competitive and lucrative business.  John Peros has been a casting director since 1989 in Central Florida, casting hundreds of actors in film, television and commercials.  Commercials are a great way for actors to get in the business, make extra money and have fun at the same time.  

Thanks to John for his contribution to “The Agent Diaries”

Tell me how you got started in the business?  

I started acting and modeling when I was in college for extra money. I never really had a passion for being on camera but I loved acting on stage.  I loved the partnership with the audience and I loved the immediate gratification of moving an audience to tears, laughter, thought, introspection, and of course, I loved the applause.  After college, and after a brief life as an IT CONSULTANT, I left the corporate world and started THE OVER THE COUNTER THEATRE COMPANY in NYC.  As the cost of producing theatre in NYC grew, I began looking for areas outside of NYC where I could produce theatre in a creative environment.  That’s why I opened MANHATTAN SOUTH ACTOR’S STUDIO.  We produced a lot of very good theatre and had some great film/TV acting workshops.  We had a great 8-year run and then, at the behest of friends in the industry, I made the transition to media consulting and casting.

I remember many years ago watching the play “Nuts” at Manhattan South Actor’s Studio.  Do you miss directing and running an actor’s studio?

I don’t miss acting as much as I thought I would.  I do miss the intense creative environment of a studio theatre.  I modeled MANHATTAN SOUTH after the great studio theatres in NY that I had known.  It functioned more like a creative gym than anything else and a lot of good work came out of it.  Every now and then I am approached by friends and colleagues with projects to direct but most of my free time these days involves my other passion of travel.  I’ll start directing and acting again when I run out of travel money.

You have so many repeat clients hiring you to cast for them.  What do you think has made you such a successful casting director?

We are lucky to have some incredibly loyal clients.  I think we do a good job and we are always trying to evolve along with an ever-changing industry.  I enjoy the commercial and print world of casting and I think it shows in our work.

What do you like best about casting?  The least?

I love when a talent surprises themselves and books a gig.  I hate seeing someone struggle and beat themselves up at a casting.  

Do you miss casting for film and television?

No.  Next question.

How has technology changed the way you run your casting company?

In many ways it has made casting easier.  When I started casting our delivery system was 3/4″ Tapes and FEDEX.  Now I can cast anywhere with a good camera, a good laptop and a good Internet connection.  I have to say that I do miss having actual conversations with talent agents.  Now everything is done through email and texts.  Who has time for phone calls?

Do you need to be a great actor to audition for commercials?

No, but it sure helps to be, at the very least, a good, honest actor who can take direction.  The words we hear most in the commercial world are: AUTHENTIC, ASPIRATIONAL and ATTRACTIVE.  In the commercial world you are selling a fantasy life associated with a product.  If you understand that concept, it goes a long way.

What is the biggest myth actors believe about the commercial casting world and will you debunk it for them?

THE BOOK-A-LOOK MYTH is total crap.  Commercial Copywriters, Art Directors, Creative Directors and Shooting Directors are all story tellers.  They are always starting with a blank canvas and actors are a means for them to tell their collaborative story.  The difference is the story is told in 15, 30 or 60 seconds not 30, 60, 90 or 120 minutes.  Sometimes the story has dialogue and most times, in commercials, the story is purely visual.

When an audition calls for improvisation, does it mean actors need to be funny? 

I have been asked this question many times and it always puzzles me.  For most people, IMPROVISATION is a learned skill that needs to be nurtured, developed and exercised.  Somewhere along the way IMPROVISATION became equated with HUMOR and LAUGHTER.  IMPROVISATION should be equated with TRUTH ,HONEST MOMENTS and HONEST STORY TELLING.  A good 80% – 90% of commercial auditions are going to be improvisation based.  These all involve truthful moments, relationships and situations that are grounded in reality.  Some of these moments may be funny, some may be sad or poignant, and some may be neutral, but they must all be grounded in truth.

In your experience, what are the qualities of the actors that consistently work/book?

In my experience, the actors who consistently work/book, in commercials, share a few common traits:

1. They know who they are.

2. They know who they are not.

3. They understand the meaning of essence. 

4. They have reconciled the person they think they are with the person that the outside world thinks they are.

5. They read and understand what they read.

6. They listen and understand how to process direction.

7. They are joyful (or know how to fake it). 

8. They are professional team players but don’t take themselves too seriously.

9. They leave their ego checked between “Action!” and “Cut!”

10. They are always growing/evolving.

What’s the biggest mistake an actor can make at a call back?

I am amazed at how many actors go into the call back, unbeknownst to them, having the job and through a series of self-sabotaging moves, leave, unbeknownst to them, losing the job.  A call back exists so that the Director can work with you in the room. The biggest mistake actors make is NOT LISTENING TO THE DIRECTOR/DIRECTION.  I see this time after time from both novice actors and from actors who have been working for a very long time.  

Your thoughts on union vs. non-union actors and fi-core?   

I get asked this a lot and in order to explain it correctly you have to know a brief history of how we got here.  25 states are now Right-To-Work and many of those states are in the South East.  RTW laws have been on the books since the 1940’s.  What does this mean?  In a nutshell, in a RTW state, you never have to feel compelled to join any union as a means of obtaining gainful employment.  You can’t be discriminated against because you are a member or non-member, period.  Years ago the SAG and AFTRA offices got into the bad habit of trying to impose preference-of-employment fines on signatories who were based in union states but were doing business in RTW states and following RTW state law.  Their claim was that a private party contract trumped state law.  Nothing could be farther from the truth.  For a while signatories would just pay the fines and then choose never to return to FL, or GA, etc.  This was one way of trying to intimidate signatories into only hiring in Union states like NY, IL and CA.  For a while, it seemed like talent was always being brought in from LA and NY and FL actors were being shut out. 

When we learned of this repetitive practice, a few of us banded together and publicly called out the union’s bad behavior.  We made the case that this behavior was driving business out of Florida and in time, the practice ceased.  Sometimes a little public shaming goes a long way.

As for whether to join a union, or not, or whether to go fi-core or not, that is completely up to individual talent.  You have to be honest with yourself as to what your own personal goals are.  For some talent a SAG-AFTRA card is a personal goal, and I completely respect that.  If you want to do commercials as well as film and TV in the South East then I would suggest not joining as 80% – 90% of the commercial work in Florida is non-union.  If you want to work in commercials, why would you make the conscious decision to remove yourself from 80% – 90% of the local commercial employment opportunities?  You can always refuse an audition or a booking if you don’t agree with the terms or the rate.  Remember you cannot be discriminated against in any RTW state because of your choice to join or not join.  I know a lot of actors who are SAG-AFTRA members.  Some of them work a lot and many of them rarely work at all.  I also know a lot of talent who have opted not to join a union and they work all of the time in FL, GA, NC and LA.  My advice to talent is to educate yourself and then decide what best fits your needs and goals.

It does bother me that the unions tend to still misrepresent, and in some ways demonize, fi-core status to their members.  When you are a union member and you enact your federal right to fi-core status, you are still a dues-paying member you just can’t vote, go to mixers, and watch the screeners.

For additional information go to  http://johnperoscasting.com/financialcore101.html

You have seen the good, the bad and the ugly part of stage parents. Any suggestions for the parents of young performers on having a successful child in the business and keep their sanity at the same time?

Nurture your child’s focus and imagination.  Most of our clients are looking for young performers who are joyful, unique, attentive, can follow direction, and can work/play well with others.  If your child does not want to do this or if they have focus issues, this is not the business to be in.  As for the parents, keep your chauffeur’s hat on as you are going to be doing a lot of driving.

Can you share any dos and don’ts for commercial auditions?

1. Do be yourself.

2. Do have fun.

3. Do be professional.

4. Do communicate with your agent.

5. Do listen, read and follow direction.

6. Do prepare as best you can.

7. Do remember to breathe before, during and after an audition.

8. Do ask questions.

9. Do remain open and receptive.

10. Do ALWAYS have hard copies of your headshot/resume attached with you.  These are your personal business documents.

11. Do remember A CASTING IS A JOB INTERVIEW.  Please act accordingly.

12. Do not accept a first refusal that is in conflict with a booking.

13. Do not accept a booking if you don’t like the terms.  We recently had a talent who agreed to cut his hair for a shoot.  When the talent got on set, the talent’s mom gave the stylist a hard time.  Better to refuse the terms of the booking up front than to be branded as trouble on set.

14. Do not do business solely on your smart phone.  If you try to conduct 8.5″ X 11″ business on a 3″ X 4″ screen you are going to miss a lot of details.

15. Do not try to “sell” yourself at a casting.  You will immediately be branded as a phony.

16. Do not monitor yourself.

17. Do not linger.  Once your audition is over, leave (or bring us coffee and donuts…)

Wednesday, October 28th

“Info for Actors”

When you label your audition file, make sure the full character name is on the label, not just the first or last name.

Put all audition files on one link. Do not send separate emails for each file.  Have them on one link such as WeTransfer or Hightail.

PLEASE keep your actors access profile up to date.  They have a new feature which allows agents to submit the actors’ sizes when submitting actors on projects.  I AM IN SHOCK with the amount of information that is missing.  Actors may have noticed that I am sending emails letting them know to update their profile and what sizes are missing.  Clearly, this is not your agent’s job and should be common sense when you created your actors access profile, as well as any other online profiles.

Always share the closest major city when asked to state what city you live in.  Instead of stating Ruskin, state Tampa or instead of stating Davenport, state Orlando.  Make sense?

EVERY SINGLE ACTOR AND MODEL NEEDS A CURRENT PASSPORT.  Don’t procrastinate, if you do not have one, apply for one immediately so you do not waste an opportunity to work.  You must be ready to travel anywhere in the world in a day’s notice.  This can make a difference in booking a great job and the perks that come with travel opportunities.

Every time you work do not leave the set without a copy of the release.  Recently, it was brought to my attention that a very large company was using an image of one of my actors from a campaign from 2002.  I found the release in the actors file, which allowed me to pursue a claim.  The actor is very happy to receive compensation and I am happy I can buy new tires with the commission!

Unlike Los Angeles, actors in the southeast can freelance with multiple agents – unless you are in a verbal or signed to an exclusive contract.  When you decide, after all, it is your career, to add an agent to your team at least have the decency to be respectful of your agent(s) and let them know.  Your agent can look on your actors access account and see who you are represented by.  The truth always comes out.  By not being honest, actors are only hurting themselves in the long run, especially when starting a relationship with the new agent.

Thursday, October 29th

Running an agency is similar to working at an emergency room.  Things can be quiet and slow and then, boom, out of nowhere it goes crazy!  A casting notice is similar to a gunshot wound, a priority that must be taken care of immediately.  Looking at new headshots for actors is comparable to being sent to the waiting room to wait your turn.  Actors often ask if it is slow and then five minutes later it is nonstop work.  There are days I don’t have time to go to the restroom and days I can leave the office for lunch, which does not happen often.  Every day brings new opportunities for actors and challenges to agents.  We can never predict what the future will hold and like actors, agents have to go with the flow and take the ups and downs as they come.  Nonemergency emails get moved down the chain.  It amazes me that when I can’t get to an email in a timely manner, the person who sends it seldom bothers to call to follow up and see if it was received.  Don’t be afraid to ask the status or send the email again.  In the inter-galactic universe of the world-wide-web emails are not 100% guaranteed to make it to the in-box.

Friday, October 30th

Oct.30th