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Senin, 09 Februari 2015

Rock Your SELF-TAPE AUDITIONS!

Video Taped Auditions are happening more and more often. It is CRUCIAL you learn how to master the technology regarding this very important audition skill. This is one of the very best articles I have ever read on SELF TAPING and I thought I should share it with you. This was written by my friend JACK TURNBULL owner of Actorsite in North Hollywood. Jack is responsible for training and building more series regulars than any one in the industry. If you are looking for acting training for your child sign up for classes ACTORSITE.

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Video auditions are IMPORTANT and getting MORE IMPORTANT all the time. - Jack Turnbull

Shooting your VIDEO AUDITION:

BEFORE YOU TAPE YOUR AUDITION, BE SURE TO PRACTICE YOUR SCENE AT LEAST 50 TIMES OUT LOUD! All of this preparation won’t help if you suck at your acting, so BE SURE TO PRACTICE IT OUT LOUD at least 50 times. Most scenes are just one to three minutes, so that means that an hour of prep will help you ROCK YOUR AUDITION! PREPARATIONS is the MOST IMPORTANT ASPECT!

1. BACKGROUND: Keep a simple background but DON’T USE WHITE. I like shades of blue and gray, but browns are great too! Keep it simple and not too busy, but not white.

2. CAMERA: Use your IPHONE or SAMSUNG phone. Be close to the phone for good sound, about 3 feet or so. Make sure you are in a room with curtains and carpet for better sound, they keep the room noise down. Don’t be 4 or more feet away, as the sound will be lost. Remember, on a film or TV set, the sound recorder needs you to speak loud enough to record, don’t swallow your words thinking you are being emotional. Emotions are expressed, not suppressed in film/TV. If you use a camera, be sure you are close for good sound or use a separate microphone. I like the phones better because they have super microphones.

(There are many selfie stands available at AMAZON)

3. TRIPOD: Use a SELFIE STAND on a table or mount on a tripod. Tons of these at amazon.com . They are cheap and very effective.Five head light from Target…use 100 W CFL Bulbs.

4. LIGHTING: Use a huge window if you have one—no direct sunlight, only reflected light, or use a SOFT light source like the 5 head lamp at TARGET. Put 100 W CFL lamps in it and you have a super light source. Place it behind the phone/camera so it lights the face from the front, not the side. Or, if you wish you can order a softbox set like those shown here:
http://www.ls-photostudio.com/shop/lighting-kits.html

Sample audition framing….

5. Frame your audition in a head and shoulders shot, unless directed otherwise. Make sure you don’t leave a lot of space at the top of the frame. The top of the head should be close to the top of the frame.

6. Go right into your scene at the beginning. No photos, no title, etc. Go into your scene. Don’t try to be cute, it’s your PERFORMANCE they want to see, not a photo montage or other time wasting items.

7. The READER should stand 3-4 or more feet BEHIND the camera, so your eye line as you read with the reader is good. The reader should NOT be closer to the camera than the Actor, because their voice will be too loud. Actor should look at the READER for the audition, and at the camera for the SLATE. You should be able to see the actor full face but not looking into the camera, but at the reader. Don’t look at the camera during the audition, only in the slate.

8. USUALLY you SLATE at the end of the scene. SPEAK SLOWLY AND CLEARLY. Usually they want NAME, CONTACT INFORMATION, HEIGHT, CONTACT INFO and sometimes they request other information. If they want a full length shot in the slate, scan the body up and down quickly! If you want to put a slate card with your contact information, this is when you put it up. Some auditions, they want you to hold a paper with your info in the video, make sure it is clearly written and do a close of up of it.

9. NAME YOUR VIDEO: TITLE-ROLE-YOUR NAME. For instance, if the ROLE is SAM and your name is SUZY SMITH and the project is call ICEMAN, name your video ICEMAN-SAM-SUZYSMITH.m4p. Use abbreviations if the title is too long.

10. If you are uploading or emailing, be sure to include your CONTACT INFORMATION in all correspondence. That would include your PERSONAL CONTACT if you are not represented, and your AGENT and MANAGER if the tape is for them. If it’s a personal submission like on Backstage or LACASTING, most agents and managers don’t want their info listed, so put your personal information. They can’t hire you if they can’t find you. You would be surprised to see the fantastic audition videos sent in without any contact info.

11. Casting likes uploads to sites where they can download the video if they like your performance and send it to the producers with their other videos. That’s why we recommend VIMEO or GOOGLE DRIVE for your uploads. You can post a comment if you have good luck with other services. I personally like YOUTUBE to view videos, but they aren’t easy to download, just the link.

SUPER! NOW ROCK YOUR VIDEO AUDITIONS!
All the best,

COACH JACK TURNBULL
https://www.actorsite.com/

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Produced by Robgraves Productions, Los Angeles

I also think every child actor who is starting out should have a Slate Shot, Personality Clip and a Commercial or Monologue like the one above uploaded on their Actors Access, Casting Frontier and LA Casting Accounts. To watch click here: https://www.youtube.com/watch?v=wZkZRMcTXxc&feature=youtu.be

A 30-second sample like this gives casting directors a clear idea of your child's personality, the way they talk, look and speak. As you start submitting your child for different commercials, student films, short films and music videos - you can add these clips to your submissions to INCREASE your auditions.

Once you start getting work you can replace the monologue and commercial demos with actual footage from the jobs your child books. I have partnered with Robgraves Productions to create great HD demos to use with your child's submissions. $175 for 3 clips. Please contact me to set up your child's session with cinematographer Kent Hargrave. (818) 203-6080 or wawentertainment@yahoo.com

See you on the Red Carpet!

Wendy Alane Wright
The Hollywood Talent Manager
WAW Entertainment
http:///www.secretsofahollywoodtalentmanager.com

Senin, 12 Januari 2015

Where do Managers and Agents look for new talent?

"Wendy I have a question. Do you have any advice on the iPOP showcases that seem soooo "too good to be true"? I can't imagine any reputable agent in the Los Angeles area is starved for talent and that they would rely on attending these showcases to replenish their stock. But maybe I am wrong? - Bruce Klimoski

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Well Bruce that's a great question. Here is my answer; yes Agents and managers look everywhere for new talent. IPOP and IMTA showcases, acting classes, plays, open calls and workshops. We really do look everywhere for new talent. I know this because I attend tons and tons of events every year and I see top agents and managers at them all the time.

The problem with some of these events that bring in talent from outside of the LA market is that these people don't live in LA, and most of them are not planning on living in LA. They come to LA for a week, or a weekend and show us their headshots, resumes and talent. Of course we get excited about it the good ones and want to sign them and start getting them auditions but the auditions are here in LA. To get that ball rolling we ask 'are you planning on moving here to Los Angeles?' Or " Can you come out here for a 3-4 months block of time?" And the particpants often reply, 'I hadn't thought about it' or "well if you have something I'll move there." But that's not how it works. That just tells us these people in attendance weren't told how it really works.

If you live in Arkansas and we love you and put you on our roster and then we say okay you have an audition next Wednesday, and then you have another one the following Thursday, and then another one next month, how you going to get to them? Are you planning on coming back to LA three times a month? Are you planning to fly in and out every time we have an audition? Seriously, how do you think it works?

The facts are if you don't live in LA, or if you aren't here for a 3-4 month block of time, and we get an addition for you tomorrow in Hollywood the actors who live here are going to be at the audition. Actors need to live here in order to take advantage of the opportunities that we create here for you. It really doesn't work if you don't live here, or aren't here for at least a 3-4 month block of time. It takes times for casting to get to know you. It may take years of coming out here for 3-4 months before you actually audition for a part that is really right for you and you book it. Success in this business does not happen over night. As much as you wish it would. It's expensive and very, very, VERY competitive.

Every year hopefuls pay thousands of dollars to come to LA to attend showcases but no one at the showcase companies tell the people that almost every single Agent and Manager in the room is going to ask them to either move here to Los Angeles, or come here for 3 to 4 months at a time. So these participants are always very surprised at the end of their showcase and the participants go from agent to agent, to manager to manager at the call backs, all hearing the same exact thing: Are you planning on moving to Los Angeles or do you plan to be here for 3 to 4 months at a time?

Unfortunately the showcase companies don't tell everyone that unless they live here in LA they can't really get very far. If they told the participants that upfront, these participants would never pay the $5,000 -$14,000 to attend these weeklong showcase events and seminars. I've been to these event and if you have disposable income and these amounts are no hardship for you they are fun. But you will by no mean be guarateed that you walk away with anything more than a few new friend, a couple of seminars, a banquet or two and an exciting week in a beautiful hotel. Most kids don't get representation because most kids aren't trained enough before they attend and must do t move here or come here for 3-4 months block of time every year.

BUT IMTA and IPOP are 100000% legit and certainly not scams. They are very well organized events that give exceptional exposure to talent. They legitimately put talent in the room with MAJOR agents, managers and casting directors. I LOVE that. They people who do decide to move to LA or come here for an extended period of time can do VERY well and even go on to become stars. IMTA and iPOP certainly do their part. But they either accidentally or conveniently left out the fact that we are going to want them to live here in order to work with them.

What I hate is that is is such a waste of time because the people we see don't relocate or get to La for block of time so there isn't much we can do for them. I think we all prefer to find talent that already lives here or is going to make the effort and the expense to come here. If people were told that in advance we would get to see talent that is really prepared to work with us, but then these big companies wouldn't be making all that money off the dream.

Because this question comes up so often I spoke with Casting in the office of a huge hit Disney Show to find out what they think about self-taping.

WENDY: IS IT A PIPE DREAM FOR PARENTS TO THINK THEY CAN LIVE OUTSIDE OF LOS ANGELES, PUT THEIR KIDS ON TAPE AND BOOK WORK?

CASTING: It's 90% a pipe dream...however, the reason it's worth it (if the kid has real talent), is that we hope eventually they will make a trip to LA and we can meet them in person.

WENDY: DO YOU OFTEN GIVE THE JOB TO KIDS OUT OF STATE WHO GO ON TAPE OR IT IS VERY RARE AN OUT OF STATE KID GETS THE JOB?

CASTING: I've booked 2 people from out of town on work just from their tape, one was an adult on a Lifetime movie and the other is an actress from Florida who is huge now and her talent was so obvious from the very first self tape we got.

WENDY: DO YOU STILL DO GENERALS?

CASTING: Only if we have a good reason. If I've seen a mediocre kid for a year on tape I'm going to have zero interest in meeting them in person. An actor from a hit TV series we cast on DISNEY had another person who would always tape and you always just loved him, but never wanted the headache of giving him the part since he's from Canada. Also it’s a huge workload for a guest star, but then when the pilot for t his hit show came around it was definitely time to meet him in person. You won't be able to get a general for just anyone, they definitely have to have a star quality or be very special.

WENDY: EVEN THOUGH THE ODDS ARE LOW, DO YOU ENCOURAGE SELF-TAPING?

CASTING: I always encourage self-tapes because I'm dying to find that one where you just can't take your eyes off of them, but it's hard! Even a great self-tape can't beat out a great actor in the room.

WENDY: DO PARENTS NEED TO REALIZE THEIR CHILD WILL WORK MORE IF THEY ARE IN LA?

CASTING: Parents definitely should be aware of the reality of it. They need to come to LA even for a few weeks. It's all about getting to know the talent (especially for kids). They kids might be great for years and not book because there just isn't that one part, them bam, there's
the part and they book!

To summarize, I say try to get the work anyway you can. If you don't live in LA build your career right where you are. To learn how to do that you need to read these 2 books:

"How To Be A Star Right Where You Are" and "How To Be A Singing Star Right Where You Are." In these books I inform you of exactly what you and your child can do in the state you live in.

To get my books visit : http://www.secretsofahollywoodtalentmanager.com
See You On The Red Carpet,

Wendy Alane Wright
The Hollywood Talent Manager

For more helpful Tips watch over 300 +videos on my You Tube Channel SECRETS OF A HOLLYWOOD TALENT MANAGER

Jumat, 02 Januari 2015

How Do I Become A Famous Actor?

Actors don't realize that they way to become a success in the acting business is to keep working, building your resume and connections. It takes years of never quitting to get established. And after you are established, it takes years of never quitting to STAY established. Denzel Washington isn't the success he is by doing one film. There is a very definite way to success in this business. If its going to happen it will likely happen like this:

You do a play, then another play, then another play, then a role in a webseries, then a small role in a student film, then a bigger role in student film, then maybe the lead in a student film, and another play. You do another webseries, then a small role in a short film, then 3 small roles in short films, then a role in a webseries, then a small TV co-star role, then a webseries, then a few small roles in student films, then maybe the lead in a student film, another play, another webseries, then a small role in a short film. Then you book another small TV role, then a lead in short film, a small role in a feature film, a small TV co-star role, a recurring role in a TV pilot, another play, a guest star on a TV show, roles in 3 more short films, a bigger role in a feature film, a play, a series regular for 1 year in a TV show which gets cancelled, a play, 2 more short films, roles in a couple of feature films, you book another small TV role, then a lead in short film, a small role in a feature film, a small TV co-star role, a recurring role in a TV pilot....GET IT?

You are creating a life. The life of an actor. The destination is the work. The journey is the work. Trying to make a living at it is the goal. If you get more than that you are simply... lucky.

Most successful actors aren't thinking about becoming famous. They are thinking about getting paid enough money to pay the bills so they can do what they love doing. Fame is not the goal. Working as an actor is.

Wendy Alane Wright
The Hollywood Talent Manager
http://www.secretsofahollywoodtalentmanager.com

Selasa, 30 Desember 2014

DO I NEED A DEGREE IN ACTING?

TODAY'S ACTOR QUESTION: SHOULD I GET A BFA in ACTING?

HERE IS MY ANSWER: The younger you get into the business the easier it is. Kids ages 4-18 have the easiest time breaking through. As you get older it gets more difficult. Your training and being an EXCEPTIONAL actor is the leverage you need to beat out the competition and get the jobs. You have to be the best in your age category and type. Most actors needs exceptional training to become great actors. Some are natural born talent with no training. What is the TRUTH about your skill level? You must get honest with yourself.

Whether you get a degree in Acting, or not doesn't determine your skill level. Hard work and training with excellent teachers in -or outside- of a Degree Program is very necessary for most actors. Some actors train in degree programs and are technically good actors but have no understanding about how the business work so they never make it. Others have strong Business and Networking skills and aren't the best of actors but they understand how the game is played and they are well liked. They often work.

An Alternative Degree idea is a Degree in Business as this is Show BUSINESS and understanding business is a MUST in this business for SURE. No one can tell you what path your life is going to take or where you are going to get your acting jobs from. You may produce and star in your own short films or webseries or feature and win awards of never get noticed.

You can get a degree in Theater and still not work much. You can have no degree and work a lot. Nothing is set in STONE. There are exceptions to every rule. I have seen actors win or fail with and without degrees. This business is based on LUCK, Preparation, timing, talent, training, charisma, and the ability to take directions and give people what they need. Team work, perseverance and an unwillingness to quit are your best assets.

There is a lot to learn at film school, things that will make you great at your craft and the technique of film making. I just suggest if you do go to film school keep auditioning for short films and try to meet casting directors and build relationships even while you are in school. Submit to projects through Backstage and Actors Access and Casting Networks. Don't wait until you graduate to start your acting career. This business is always easier to get into the younger you are, Also use the resources and students around you to collaborate on every single project you can and create your demo reel and a webseries with YOU in them. Get the degree if you want it, but don't wait until you have the degree to start building your resume and contacts. Do short films, go on auditions, network with filmmakers and casting directors. It's the journey.

I interviewed Actress Tierra Peters who sharec her experience, "Everybody is different and they need to figure out what is right for them. After high school, I got my degree in Acting, and for me, it was the right thing. I wouldn't change it for the world. In those 4 years, I learned independence, commitment, drive, how to deal with rejection, work ethic and a hustler's mentality. I accredit all of those skills to my college days. I personally wasn't ready to make the jump from high school to L.A. College was a nice transitioning period for me. However, I know some people who were ready to tackle Los Angeles right out of high school. So it really is a personal choice that everyone has to make for themselves. But regardless of if you are in LA, college, or a small town, you should also be creating, and building your resume. Just because you are in a small town town doesn't mean you have to think small.

I agree with Tierra, You have to determine what is right for you. Pray and ask your higher power what His Plan is for YOU. The answers will come from within if you know how to be quiet in mediation and listen.

Stay close to me!

Http://www.secretsofahollywoodtalentmanager.com/

Wendy Alane Wright
Talent Manager
WAW Entertainment

Minggu, 31 Maret 2013

Advice from Casting Directors On How To Get More Acting Jobs.

Wendy Alane Wright is a Hollywood Talent Manager with WAW Entertainment. Her clients have appeared in numerous national commercials, movies, webisodes, short films, and on television networks such as ABC, NBC, Comedy Central, BIO, Lifetime, plus many more. Previous to being a Manager and a Talent Agent at Burn Down Entertainment, she assisted many high profile Managers, Agents and Publicists in the careers of Neil Patrick Harris, Johnny Galecki, Sarah Michelle Geller, The Four Tops, The Bee Gees, Meatloaf, Whoopi Goldberg, Steve Guttenberg, The Cranberries Michael Jackson, Barbra Streisand, Kenny Rogers, and Neil Diamond. Wendy is also a Recording Artist, Actress, Author and Music Producer all giving her a 360-degree perspective of the industry.

So you have your headshot, you have your growing resume. And you think I just need auditions. Once I get in the room and the see how great I am and how much talent I have they are going to hire me for the job. I don't need audition training, I am just going to wing it!" Yikes!!! Does that sound like you? I hope not. But the truth is, most beginning actors sound EXACTLY like that.

As a Talent Manager in Los Angeles, I feel it is my duty to tell you that is wrong! And make sure you have a change in your thinking right now, ASAP.

You studied acting in college or with a private teacher or in an acting school. Now that you have graduated it's time to put that that good acting training to use. So you move to Los Angeles or New York and are convinced people are going to hire you just because you are you. But, alas, that is not how it works. Auditioning is a very specific skill set. Unfortunately they do not teach it in college or in most acting schools. But being ignorant of the law, does not abolish the law. And the law of acting professionally means you will audition 90% of the time and act 10%. Therefore you must train extensively to become adept at auditioning. It is a skill you must master if you want to become a working actor.

When someone asks you what is your job? Your answer should be "I am a professional auditioner, who occasionally gets to act, and even more rarely, gets paid enough to pay my bills with it." (Until you are a well paid working actors that is).

So how do you become a well paid working actor? First, you have to get an audition, then you have to get a callback, and then you have to nail the call back (1, 2, 3, 4, or 5 of them) and then you get into the final running for the job and have to book the job! Once you get into the audition room its ALL about your audition skills. It is not about your talent because there are talented people all over Los Angeles and the majority of them aren't booking the jobs. The actors who have a strong audition technique to go along with strong acting techniques book the jobs. The skills go hand in hand.

COMMERCIAL AUDITION TRAINING

How may hours a week do you take On-Camera audition classes and Cold Reading class? How many hours in the last 365 days have you taken On-camera audition classes and Cold reading classes? I hope your answer is at least 1-2 classes per week and minimum of 200 hours per year.

If you are serious about becoming a working actor, then you need to get serious about becoming an expert at auditioning. Don't even think of "winging it" - that's a recipe for failure and you will likely be one of the thousands that flock back home after a failed attempt of trying to make it in Hollywood. Don't let that happen to you. You have talent, don't be ;lazy, cocky, or arrogant and think you can do it without very specific training. You can't, unless you want to be a broke actor who has to make their living from their day job.

If you a have Commercial Agent you should be taking an on-camera Commercial audition class every week with any of following expert teachers: (If it was me I would take one right after the other so in 2 years I would be 100% confident in my audition techniques, which would make my agent 100% confident in me)

Judy Kain
Carolyne Barry
Francine Selkirk
Stuart K Robinson
Scott Sedita
Terry Berland
Killian McHugh

I would read many books on auditioning, including:
"Breaking Into Commercials" by Terry Berland
"Making It In Hollywood" by Scott Sedita
"How To Get The art Without Falling Apart" by Margie Haber
"Hit The Ground Running" by Carolyne Barry
"How To Break Into Show Business; Secrets Of A Hollywood Talent Manager" by Wendy Alane Wright

THEATRICAL AUDITION TRAINING

If you have aspirations to work in television film (and by film I mean not student films), you need to have SERIOUS audition techniques. That's what separates the big boys from the wannabes. Novices without intensive scene study, audition technique and cold reading training fall apart along the way because they do not have solid audition skills to keep them in the game. A working actor has master of the audition room. They know who they are, what they have to sell, what is unique about them, how to break down a character quickly, how to play the opposites, how to make bold choices, not safe ones (and they know the difference between the two.) They also know the appropriate ways to interact with Casting Directors, how to dress for auditions, for the callback, when to make changes, when not to. Your audition techniques need to be as familiar and feel as natural to you as your breathing.

Here are some of the most common complaints Casting Directors have about actors in the audition room. Quotes are from the book: "Getting The Part" 33 Professional Casting Director Tell You How To Get Work in Theater, Films, Commercials and TV" by Judith Searle

"The biggest mistake actors make sometimes is stating anything negative before they have begun. I have found that no matter what you say thereafter to try and win back favor, the director has formed an impression and most of the time you can not get him (or her) to think differently. And it doesn't mean the person in not a good actor. But half of it is the acting, and half of it is the way the other person feels." - Pam Dixon, Casting Director

It's terrible when actors come in unprepared. Actors don't read the scripts when they are available. "They do not bother to take responsibility. You can make excuses, but you hinder yourself when you do things like that. You're not taking advantage of the things that are presented to you." Al Oronato, Casting Director

"I hate when actors come in for an audition loaded with props." - Barbara Claman, Casting Director

A lot of people are disturbed when actors come in and say, 'do you mind if I have two minutes to prepare for this?' Don't do that. Come in prepared to do it. People are looking at two things in auditions, They're not only looking at your talent, they're looking to see whether or not you're going to make problems." - Stanley Soble, Casting Director

Not being genuine. "The slate needs to be simple. I wouldn't pitch myself, like in music, more than a half step above how happy I feel on that particular day. You know what I am saying? Sometimes people come in and go "hiiiiii!" (With yards and yards of teeth.) You know they don't mean it; you know they're not feeling it. Some directors are so cruel - they just fast-forward from the slate. They don't look at the performance. So you could have given the greatest performance of your life on tape, but if they hated your slate you're gone. -Danny Goldman, Casting Director.

"Don't hang out too long. It's a business. Everybody's got a limited amount of time. Get in, do your thing, get out. Present yourself the best way possible: make sure your clothes are fresh, make sure you have a fresh face on, you are well mannered, you are polite to everybody - and just do your thing. I find it terribly disarming when an actor comes in - in character, because you don't know what that person's like and the camera is not always rolling. And if this person is in character, you have no idea who they are. So I like to see a line of demarcation between the person who comes in and the performance. Probably the biggest mistake actors make is when they start off on a scene, find themselves floundering because they've lost concentration, and keep going because they are afraid to stop. You have to stop yourself and say, "I'm sorry. I want to start again." - Pamela Basker, Casting Director

"They talk too much. I think it's nervous talk. There's never anything wrong with an actor asking a question that is pertinent to the material before them, discussing an approach to the material - making it concise and moving along. But a lot of times actors are too chatty. They are trying to ingratiate themselves and for that purpose, for the audition purpose, believing that saying the words effectively is what is going to get them the job. Seventy-five percent of the time the reason an actor is not chosen for a job has nothing to do with their skills. So most of the time I think your concentration should be on preparing and looking at an audition as an opportunity to act, an opportunity to show (us) that you belong in the business because we do so many projects that if you want it and you're working in the right way at it, it will happen." - Eugene Blythe

Lateness. Never - I repeat, never - be late to read for a casting director in a studio, for producers or writers, because if you keep them waiting they're not going to be in a good mood when you are seeing them. - Robin Nassif, Former Head Of Comedy Casting at ABC, Talent Agent

"I think the biggest mistake actors make is not respecting themselves enough. And that includes trying to do what you think is wanted rather than what your instincts are telling you to do. Caring too much about getting the job has a tendency to undermine your work. I think if you are good your work will ultimately be recognized. I think actors who get into a comfortable place with that in themselves bring that into an audition. They are not apologetic, they are not overly solicitous, they're not angry. They're just good and they know it." - Lacy Bishop, Casting Director

"Not taking enough time to prepare and being late...and being harried and having their minds somewhere else - on the next audition, or the fact they're going to get a ticket, or the fight they just had with their girlfriend. The inability to concentrate on the job at hand - the audition, that moment. When you're dealing with this kind of money, you can't let the fact that you didn't get any sleep the night before or somebody flushed your cat down the toilet or your car is totaled get in the way. Your job is to make these people (in the audition room) feel comfortable. They want you to be good. - Beverly Long, Casting Director

The biggest mistake is not understanding what an audition is. The audition really is about only the part at the moment, and performing at a level that can convince the director you are the person for that role. Auditions can't be attempts. They have to be choices carried out, and you have to give the impression that you can deliver. People who are not known (by casting) have to gain that assurance, that trust." - Jay Binder, Casting Director

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Every month I offer a workshop called, “The Winner's Circle" for brand new actors which will help you begin to understand the business and start to develop a plan of action for your success. I teach it along with several important industry friends of mine including a top Theatrical Agent, Commercial Agent, Casting Director, Headshot Photographer, WorkingActor and including Reel Producer. You will learn so much information in this workshop from top people in the business who are all committed to your success! I have been coaching actors for years, and I know new actors need a mentor and professional guidance, so if you are new to this business I highly recommend this workshop. It will give you the "inside" information you need and it will put you miles ahead of the hundreds of other newcomers that arrive in L.A. every year. At the end of this 4-hour seminar with us you will have a game plan for success. The cost is $179 and it's worth every penny. Visit my website and sign up today for the next workshop. email wawentertainment@yahoo.com for more info.

Wendy Alane Wright Smith
The Hollywood Talent Manager
WAW ENTERTAINMENT
wawentertainment@yahoo.com

Senin, 02 April 2012

Relax...Casting Directors WANT To Meet You! (post has 807 views)

An actor's relationships with casting directors in the #1 factor in having a successful TV and film career. Actors who do not have relationships with casting directors rarely get called in for the shows you seen on television or major motion pictures. The old adage is true: People work with people they know. The sames goes for Casting Directors. It is important for a Casting Director to be familiar with you, your headshot, and your work in order to be called in for an audition for mainstream projects.

One of the BEST ways to get to know Casting Directors is to participate in Casting Director Workshops. They are offered at numerous locations throughout LA for approximately $15-159. While most regular auditions only last from 30 seconds to 5 minutes, Casting Director workshops are between 1 and 2 hours giving you valuable time with a CD where they can get to know you, see your work, watch a scene and give you critical instruction to develop your audition skills. Casting Directors workshops are an absolute MUST! I suggest you do the same Casting Directors Workshop two or three times a year so you can build a rappore.

Let's say you attend Scott David's Workshop. Scott casts Criminal Minds. Before you attend he has no idea who you are. After you have attended he is familiar with you and your work somewhat. Now your headshot crosses his desk in the future he will know who you are. If he liked your work he may even a call you in! Wow, you moved from Podunk, Arkansas with big acting dreams and now a real Hollywood casting director knows who you are. You are moving in the right direction. Now repeat this process with numerous casting directors and you are starting to build relationships and contacts. The key here is to be outstanding in the workshops and in the audition room. You may not get that part, but you will make a great impression and likely be called in again and again.

How do you get great in the audition room? Take audition/cold reading classes and read some of the great books about auditioning that are available to you. I highly suggest Casting Director Helen McCready's book, "Audition and Book It." Helen also teaches an AUDITION INTENSIVE WORKSHOP which offers the fundamentals essential to develop the skills necessary to become a working actor. It gives the actor the opportunity to gain self-confidence, and recognize their uniqueness, skills and talent. Actors from beginners to advanced will get the training that they need to audition and book the role! I highly recommend actors attend. Go to her website to join her Email list.

I suggest to all of my clients to target & cultivate a "Hit List" of industry contacts. 1st step: make a list of 10 Casting Directors you need to meet. These are 10 people who cast the shows you KNOW you would be right for. Then start attending their workshops regularly throughout the year. You can research on google where these casting directors are offering workshops likely they are at the following locations:
Reel Pros,
One On One,
Act Now!,
Actorsite,
AIA,
Actors West,
TVI.

ARE CASTING DIRECTOR WORKSHOPS LEGIT?

Actors sometimes ask me are Casting Director Workshops legit? My answer: "Absolutely YES!" Not only does attending CD Workshops help you get called into auditions, but in terms of getting a good agent, your relationships with Casting Directors will be your greatest currency. Think about it this way, when an agent makes a call to pitch a client to a Casting director who will be the easier sell? An actor the CD already knows, or the completely unknown one? Agents always prefer to take on clients that make their job easier i.e. actors with CD relationships. One of my clients Laura Wilson took Paris Barclay's Workshop (Director of Sons of Anarchy) Laura sent me an email saying, "Paris brought me in for a featured extra and he liked me so much, he had me come in to read for a co-star." I hear this all the time so yes, CD Workshops work.

So get out there and start cultivating your most important relationships by meeting these CD's by attending CD Workshops and agent showcases regularly. This is an important key to your success. I can not stress this enough. This must be one of your TOP priorities. Once you get through the 1st 5 CD's, start on the next 5, and keep in touch with all of them. Don't take on more than you can handle. Maintaining relationships is hard work but, it is one of your most important jobs. Holiday Cards, Birthday Cards and Post Card announcements of shows you are in, or jobs you book are mandatory every 3-4 months. These people need to know you. And ALWAYS send a thank you card after every audition you have. If you don't know the CD's address ask the assistant at the audition if they know it. (they may even know the Cd's Birthday)

Listen, a casting director wants to meet you. They need you. They really want you to be good and wants you to get the job. If you get it right their job is done! Don't be afraid of them. Some of them really are the coolest people. Go to every audition with a positive attitude and good energy. Have fun.

Casting Director Melissa Skoff has cast over 100 features, tv shows and has helped launch the careers of some of today's biggest movie stars, and many solid, working actors including Jim Carrey, Jennifer Aniston, Ben Stiller, Vince Vaughn, Lauren Graham, David Spade, Robert Downer Jr, George Clooney, Catherine Bell and Julia Louis-Dreyfus. But you do NOT have to be intimidated by Casting Directors. They really want to see you do well. They want to meet you. Melissa says, "I love casting. I love reading a script and envisioning the cast. I love reading actors and directing them and watching characters come to life. I love to have actors in the room who can make me laugh, or bring tears to my eyes. I love getting goosebumps. And I love helping actors develop their careers. That makes me very happy." Wow, didn't you want to know that? I send most of my clients to Melissa to train because she knows her stuff. I highly suggest all actors take her Cold Reading and Audition Technique Class. For prices and info Melissa Skoff can be reached in North Hollywood at (818) 760-2058 or melissaskoffacting@gmail.com

Want more convincing? Casting Director Mariko Ballentine says, "bring your sense of humor in to the room. Meaning, if you find something funny, laugh! Let us see what is funny to you. We love to laugh." Relax, Casting Directors want to meet you.

Relax and enjoy the process. Yes there is etiquette. Do not shake their hands because they do not want a million germs. It's nothing personal. Do not try and small talk after your audition because they are really crunched for time. Sometimes they are moody. It's nothing personal, they have a lot of pressure and just a small window of time to meet all the demands that are being placed upon them. Just go in, give 100% and at the end of your audition thank them with warmth and a smile, and leave. There is a lot more to it than that so I suggest you get started reading. Read everything you can get your hands on. If you are not, you are simply not going to be able to compete with other actors in the room who have learned more than you have about auditioning. It is so annoying to me when actors don't get that. So many actors think their natural talent alone is enough. It is not. There is a method to all of this. Agents know it, Casting Directors know it and so do we managers. If you don't learn how this game is played, you will be left behind. My job as a manager is to make sure that doesn't happen to you. My direction has a purpose. I am trying to make you successful in this business. Fighting me is defeating your own goal.

Remember, Managers don't make money until you do. If you are an actor who can not take direction from a manager you are going to have a rough go of it. Yes, you have to pay for Casting Directors Workshops. Yes, you may need a 2nd job. Yes, you are going to have one expense after another. Starting an acting career is like starting a small business. There are start up costs and operations expenses to keep it running. Figure the cost of CD workshops into your acting business budget and don't think you can skip this step. Casting Directors are your best friends. They can make or break your career. Without them you have very little chance to succeed.

Lastly, create a contact database for all of your industry contacts, putting their addresses, emails, phone numbers and birthdays if you can find out. Send them postcards announcing your bookings/jobs, Happy Birthday and Happy Holidays. This is very important. You must do it this 4 months like clock work, rain or shine to stay at the forefront of their mind. Producers, Directors, Casting Directors and Agents. Most talent gets lazy and doesn't bother. Here is where I want you to be superior because this distinguishes the actors who work and develop relationships with casting Directors, and those who don't.

As always keep believing in yourself and don't let anyone, or anything discourage you. You are special, unique and have so much to offer.

Break a Leg!

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Wendy Alane Wright Smith
Talent Manager
WAW ENTERTAINMENT
wawentertainment@yahoo.com