Hand Model Adventures

Out there at the end of my slashes - actor/teaching artist/voiceover/on-camera/hand model - is the one that provokes a lot of giggles. At least for me anyway.

I'm a hand model.

Genetics plays into this tremendously.  I've got long thin fingers, strong fingernails that don't break, and that are so white at the tips, that manicurists have thought I was already seen by someone else who gave me a french manicure.

Hustle plays into this too.  Before I had a hand modeling portfolio, I had a 3 quarter headshot with my hands in frame.  This photo was enough to book me my first hand modeling job - which was for an instruction manual for a medical device that was kind of like an asthma inhaler, but had these removable parts that needed to be cleaned in a very specific way.  I found that job on Craigslist, and I made sure I kept the photographer's contact info so that I could get a copy of the finished product.

I used those photos to start a 'portfolio' and booked another hand modeling job, also from Craigslist.  This time, my hands stood in for the hands of some fictive super hero character, and I pointed at the 2 DVD's you'd get for free if you bought a certain video game.  Again, I made sure I got copy.

Around this time, I signed with an agency in San Francisco.  Although I initially went in for their on-camera and voiceover divisions, I let the print division know that I'd done what I've learned is called 'parts modeling' and gave them the photos I'd collected so far.

After taking a look at other peoples' portfolios on my agent's website, I realized that I could ask a photographer friend to shoot some additional photos and round out my portfolio.  I brought some props - a camera, a bowl of fruit, a notebook and pen, and we took some additional shots of my hands holding things.

Throughout this time, I've got on auditions/modeling calls for my hands.  The basic formula of these calls goes like this: show up in the right place at the right time, hold something, someone takes some photos of it.  Sometimes, there's video involved.  For one audition, I was shown how to work a fancy-schmancy juicer and filmed doing that.    Doing hand model auditions has really helped me get over a lot of audition baggage.  You either book it or you don't.  There's not a lot involved beyond that for the auditioner.  It's entirely about the client making a choice between the available options.

When I book hand model work and I'm not the only talent for the project, it's always a weird experience.  For most of the people on site, I don't look like the talent (who are in wardrobe and makeup), and I'm not crew because those folks have all been there for hours.  Someone will inevitably want to introduce themselves and reach for my hand, and I usually can't shake because I've got makeup on. "I'm the hand model" I say, and hold up my hands for them to look at. "Oh, right" is the typical response, and they've get a satisfied look on their faces because they've figured it all out.

A few other goofy hand model things: since hand modeling is rather far down my list of slashes, I'm not in elbow length gloves all the time, like this woman is.  But I do think about sunscreen and hand tan lines, use a fairly high end hand cream on a regular basis, and wear gloves when I ride my bike.  When I schedule a job, I usually don't do any dishes for the few days before I do it, and get really paranoid about cooking burns and paper cuts.

On the day of the booking, I spend as much time as possible with my forearms vertical, elbows down, hands up, to minimize the size of the veins in the back of my hands.  This used to mean funny looks on public transit as I sat like a surgeon about to go into the OR, until I realized I could just stand and hold the rail or strap.

In the end though, I get paid for the work I do, and getting paid for a few hours of holding things while someone shoots photos or video keeps the roof over my head and food on the table so that I can take on the acting projects that may not compensate me as well financially, but feed me artistically.

Thoughts on Changing Agents

Monday night I taught my 'Navigating the Actor's Career Path' class for the Theatre Bay Area ATLAS program.   I promised the folks who attended that I'd answer additional questions from the class via my blog.   This is one we didn't get to.

How do you leave your current agency and move to a new one?

Sidebar: agency representation in the SF Bay Area is way different than in other cities.  Agents don't represent actors for live theater (like NYC), and you don't sign with multiple agents for different types of work (like LA).  Here, one agency can represent you for on-camera work both industrial/commercial and film & tv, and also for voiceover work and modeling.  Some agencies don't have all of those divisions, but if your agency does, then you're repped for all those things.

Full disclosure: while I've wondered if I would get better treatment or more audition opportunities if I changed agents, I haven't navigated the change myself.

But here's what I think: the first thing is to assess why you want to make the move - articulate for yourself why you are unhappy with the current situation.  It might be that you want to do voiceover and your current agency doesn't submit for voiceover.  In that case, you've got a legitimate reason to move agencies.  You can check in with your current agency, break up with them, and start the process of trying to get an agent all over again, targeting agencies that do what you want.

What if what you're unhappy about is something that could be solved at your current agency?  They don't submit me enough is I think a common complaint.  Set up a meeting and figure out how to work together more effectively with your current agent - it might be that your agency has a new person booking auditions who doesn't know you yet.  Maybe your headshot doesn't represent you effectively and a different image would get you more of what you want.

I met with my agents in December, and I think they were surprised by the meeting.  I came in asking them questions like 'how am I doing?' 'what can I do better in the way we communicate and interact?' 'I'd like to go on more calls for film projects - how can I help you accomplish that for me?'  I think that often actors approach this conversation with more of a  'why don't you send me out more?' or 'my friend got this audition, why didn't you get me that audition too?'  This framing sets up a blaming/adversarial relationship instead of a partnering one.  Agents only make money when the talent make money.  It's a tough job.

If it seems like your agency is unable or unwilling to partner with you after you meet with them, then maybe it is time to move on.  Thank the current agency for their time and assistance with your career, and start working your way towards representation elsewhere.

Like I said above, I haven't tried to switch agencies - so if anyone reading has a story about how they successfully navigated this transition, please post in the comments.

Likeable female protagonists & Patton Oswalt on gamechangers

Must Read #1:
Stealing the Herd by playwright Carolyn Gage over on Howlround is about 'likeability' of protagonists in Broadway musicals, and it's fantastic.


Here's a few quotes:

It would appear that there exists a significant double standard for what is deemed acceptable behavior for male protagonists and female ones.

And:

What they know, and what I am learning, is that “likeable” means feminine. Even if the protagonist is the world’s greatest sharpshooter, she must still throw a match to get her man and take a number that says “I enjoy being a girl.

Fantastic - go read it!

Must Read #2:
Patton Oswalt delivered the keynote at Montreal's Just for Laughs in Montreal a week or so ago.  If you haven't seen this yet, it's got some great thoughts for any creative art maker - just substitute what you do any time he uses the word 'comedian'

He writes 2 letters, one to the 'comedian in 2012', and one to the 'gatekeepers':

I need to decide more career stuff for myself and make it happen for myself, and I need to stop waiting to luck out and be given. I need to unlearn those muscles.

 Our careers don’t hinge on somebody in a plush office deciding to aim a little luck in our direction. There are no gates. They’re gone.

Highly inspiring - check it out 

Super-hero Work

A sudden thought this week - being an actor is at times like being some kind of double agent or super-hero.  You're at the day job or somewhere in the middle of the daily routine and the call comes in, often w/a great deal of urgency and a significant amount of money on the line.

"Tomorrow morning, be at x address at x time.  Dress like a career woman.  Be ready to speak these words." (on camera industrial audition)
"By 5pm today, send me digital pictures of your hands, fronts and backs." (hand modeling for a SAG National commercial)
"Record these words and email an mp3 by x o'clock." (voiceover for a regional radio spot)

Somehow, you've got to immediately fold this incredibly urgent task into the next 24-48 hours.  You've got to always be ready for it.  You never know when the next summons could come or what it will be for. 

So the actor skill sets need to stay sharp, the mom sweater needs to always be clean, the recording equipment & camera need to be in good working order, and the communication devices are up and running.

I am so thankful for the understanding people in my life - friends, family, loved ones, and employers and work colleagues.  Without them, none of this would be possible.

Me and my agents: how we met

For years, I sent cover letters, headshots and resumes to different agencies in the Bay Area.  With very little success.  I would get a thank you form letter saying that they had enough of my type, then I would grumble about how I was a real artist and didn't need to sell myself, and go back to doing theater for another year or so, and then repeat the whole process.

However, I also started to build up some independent film credits and some comfort in front of a camera.  I took classes in on-camera/commercial acting (at a school that has closed its doors), and then classes in voiceover at Voice One.  A few different classes at Voice One included 'one session w/a San Francisco Talent Agent!' as part of the class.  I met a person from my agency at one of those classes, and was asked to come in and audition for them, or 'go on tape'

I came in w/a monologue and also got handed a piece of commercial copy to prep on the spot and record on camera.  And I didn't hear anything.  I followed up via email.  A few times.  I heard that they hadn't had time to review my tape yet.  I asked a colleague who was repped by this agency to follow up w/them.  Months went by.  Nothing.

Almost one year later, I took another class at Voice One that had one of those 'Talent Agent sessions!'  and it turned out to be the exact same person as before.  He asked to talk to me after class, said I looked familiar and how did we know each other.  I said that we'd met roughly a year ago, and I'd taped for the agency and then never heard anything from them.  I got a funny 'Oh!' and he asked me to come in and tape again.

So again, a monologue, reading some commercial copy and having these both filmed.  This time I was told to wait, they might be reviewing my tape right away, but then after the session person checked with other folks, it turned out that it was going to take them a few days to get back to me.  By the end of the week, I'd been offered a contract, and started going on auditions. 

And the rest, as they say, is history.

I'm not sharing this story because I think it has a moral or a lesson - each of us is on our own journey through the business.  These are just a few steps of mine.

And hey, if you're into early Eugene O'Neill, and you're out in Danville (home of Tao House, former home of Mr. O'Neill) tonight or tomorrow afternoon, come and see this reading that I'm part of!

Me and my agents: auditions

More thoughts about agents in the Bay Area, this time a bit more personal.

So this is my agency.  They've been my agents for about 3 years, and represent me for on-camera work, voiceover, and print.

Looking back through my audition tracking spreadsheets, while I've had some dry spells, it averages out to about 1 audition every 3 weeks. This past week I had 4 auditions through my agency - 2 voiceover, 1 print, and 1 industrial.

My agency sends audition information via email.  For an on-camera audition, they send me the time, location, character/wardrobe, sides to prepare (if there are sides), potential callback dates, and shoot dates.  Sometimes there's additional character description or direction.  Usually the email comes in the early afternoon and the audition is the following day, and the email has a specific appointment time.  Sometimes, if there is a lot of text to prep, it'll be a day or two before the audition.  But it's up to me to keep my schedule flexible enough that I can fit in those auditions.

For a voiceover audition, I'm expected to record it myself, using my own equipment.  The email they send has a lot of the same info as on-camera does, but instead of telling me when I need to audition and where, it tells me where I'm supposed to send my sound file, how to name it, and when I'm supposed to send it in by - usually I've got 24-36 hours to get it done.

For print auditions I get a similar amount of notice as for on-camera auditions, but sometimes I get a range (show up between 10 and 12) instead of a specific time.   Every once in a while, especially with the hand modeling stuff, there's not even an audition, just a call or email checking if I'm available for the shoot date.  This doesn't mean I've booked it, but that I'm being considered, based on my portfolio.

If I'm not available to do auditions, I 'book out' with my agents.  This means that I let them know I won't be available for auditions between day x and day y.  Usually this is because I'm out of town, but sometimes it's because of a tech or shoot schedule for another project, and every once in a while for an intensive teaching/directing project.  I probably book out between 1 and 3 weeks total per year.

Being available for auditions means keeping track of a lot of things.  I've got to keep myself and my audition wardrobe looking good - regularly scheduled haircuts and other grooming appointments, keeping my business suits clean and making sure they're not at the dry cleaners at the wrong times.  I need to be able to juggle what I've got scheduled for the day - I'm thankful to have employers who understand this part of an actor's schedule, and a day job that's around the corner from a casting agency, which makes it easy to pop out for a half hour, do the audition, and then get back to work.  I need to be able to absorb new material fast - for one of the auditions this week I had 3 hours w/the audition sides before the audition.

I remember asking at a Q&A panel with agents several years ago something along the lines of "what are some of the mistakes actors make after they've signed with you?"  And the answer that they all agreed on was when actors are consistently not available for auditions because of other commitments.