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.
Showing posts with label industrials. Show all posts
Showing posts with label industrials. Show all posts
Sunday, March 18, 2012
Saturday, January 7, 2012
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!
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!
Tuesday, December 6, 2011
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.
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.
Sunday, November 20, 2011
Agents and the Bay Area: The Basics
Based on some questions I heard recently, I thought I'd post some info about how actors and agents interact in the San Francisco Bay Area.
1) where do I find a 'good' agent?
Depends on your definition of good, of course. SAG (Screen Actor's Guild) lists agents here. Scroll to the bottom of the page, and then select 'San Francisco' as your city. There are 9 franchised agents, and one listed as non-franchised. I'm not sure that franchised/non-franchised makes a big difference for non-union talent. Given that SAG has chosen to list their contact info, I don't think any of these agencies are going to scam you. Some only rep very specific types, so doing a little further research into each agency and who they represent before you do a submission would help you know who to submit to.
2) can I have more than one agent at once?
While this may be the practice in other markets, where one agent reps you for commercials and another for voiceover, that doesn't really happen in SF. Your agent is your agent. Some people do move from one agency to another as their career grows and changes, but they still only have one agent at a time.
3) do you need an agent to audition for theater in SF?
Nope! If you're looking for theater auditions, start at Theatre Bay Area, but also check the websites of the theaters you want to audition for. Many hold general auditions at least once per year, often open to anyone who signs up.
I've been repped by an agency for close to 3 years now. They mostly send me on auditions for on-camera industrials and commercials, but I also audition for voiceover work (again mostly industrial and commercial, every once in a while a video game voice), and sometimes for print - not high fashion runway stuff, but projects where people are supposed to look 'real'. I also work every once in a while in print as a hand model.
I think a big assumption that a lot of folks make is that once they get an agent, they can sit back and the auditions and jobs will just roll in. Even with agency representation, you'll still need to work to build relationships, practice skills and develop craft. The difference is that now you've got someone else on your team who can put their foot in the door for you, and negotiate better compensation when you do get a job.
1) where do I find a 'good' agent?
Depends on your definition of good, of course. SAG (Screen Actor's Guild) lists agents here. Scroll to the bottom of the page, and then select 'San Francisco' as your city. There are 9 franchised agents, and one listed as non-franchised. I'm not sure that franchised/non-franchised makes a big difference for non-union talent. Given that SAG has chosen to list their contact info, I don't think any of these agencies are going to scam you. Some only rep very specific types, so doing a little further research into each agency and who they represent before you do a submission would help you know who to submit to.
2) can I have more than one agent at once?
While this may be the practice in other markets, where one agent reps you for commercials and another for voiceover, that doesn't really happen in SF. Your agent is your agent. Some people do move from one agency to another as their career grows and changes, but they still only have one agent at a time.
3) do you need an agent to audition for theater in SF?
Nope! If you're looking for theater auditions, start at Theatre Bay Area, but also check the websites of the theaters you want to audition for. Many hold general auditions at least once per year, often open to anyone who signs up.
I've been repped by an agency for close to 3 years now. They mostly send me on auditions for on-camera industrials and commercials, but I also audition for voiceover work (again mostly industrial and commercial, every once in a while a video game voice), and sometimes for print - not high fashion runway stuff, but projects where people are supposed to look 'real'. I also work every once in a while in print as a hand model.
I think a big assumption that a lot of folks make is that once they get an agent, they can sit back and the auditions and jobs will just roll in. Even with agency representation, you'll still need to work to build relationships, practice skills and develop craft. The difference is that now you've got someone else on your team who can put their foot in the door for you, and negotiate better compensation when you do get a job.
Tuesday, October 25, 2011
Reel Resources
Bonnie Gillespie answered some questions yesterday about actor reels in her terrific Showfax column, and linked to some great resources worth checking out - additional info as well as links to docs that actors can get filmmakers to sign to specify details about the copy they'll be providing.
I'm pretty happy w/my recently edited reels, which you should be able to see here. The editor I worked with is Deva Blaisdell-Anderson. I had a great time working w/her and she was very helpful, insightful and knowledgeable about the tech side of things.
I'm pretty happy w/my recently edited reels, which you should be able to see here. The editor I worked with is Deva Blaisdell-Anderson. I had a great time working w/her and she was very helpful, insightful and knowledgeable about the tech side of things.
Sunday, October 16, 2011
The actor's closet
I've written about wardrobe and wardrobe choices a bit before.
But because of some recent industrial work, I'm thinking about it again.
I'm thinking about how it's helpful for an actor to know what colors they look good in, and to know what colors and clothing styles work well on camera. Lots of us know this already but thanks City of Alberquerque for spelling it out so clearly! To their page I'd add the following: avoid logos/writing/images on your clothing, but everything else they're saying is spot on.
For industrials in particular, it's helpful to know the difference between formal business attire and business casual. This page has some great descriptions and images, maybe a little bit more for women than men. Here in the Bay Area, with Silicon Valley's influence, we're sometimes asked for a slightly more hip version of business casual, so you may need to ask for clarification if things aren't clear. Another great way to figure out where your current project or audition falls on the formal to casual spectrum is to go to the website for the client company or to companies w/a similar culture/industry, and see what the people are wearing in photos on their site.
I'm not the most conservative dresser in my everyday life, but I keep a few pieces on hand for things that I'm often asked to do. I have my mom slacks (light colored khakis) and a few sweaters, as well as a few business suits, with the appropriate accessories. I've watched for when the suits go on clearance at department stores, and taken a few runs through places like Nordstrom Rack, H&M, etc. to round out what I need. Clothing swaps with friends have also helped me round out these areas of my wardrobe.
I make sure that I keep all of this stuff clean and ready to go too. It sucks to have to spend extra money on a rush turnaround at the dry cleaners.
And last of all, I've got a garment bag for hauling too and from set! It's always surprising to me when people show up w/stuff jammed in grocery bags, or just carrying a bunch of shirts on hangers in from their car. Both you and the clothes look better and more pro when you can bring it all in in a good bag.
But because of some recent industrial work, I'm thinking about it again.
I'm thinking about how it's helpful for an actor to know what colors they look good in, and to know what colors and clothing styles work well on camera. Lots of us know this already but thanks City of Alberquerque for spelling it out so clearly! To their page I'd add the following: avoid logos/writing/images on your clothing, but everything else they're saying is spot on.
For industrials in particular, it's helpful to know the difference between formal business attire and business casual. This page has some great descriptions and images, maybe a little bit more for women than men. Here in the Bay Area, with Silicon Valley's influence, we're sometimes asked for a slightly more hip version of business casual, so you may need to ask for clarification if things aren't clear. Another great way to figure out where your current project or audition falls on the formal to casual spectrum is to go to the website for the client company or to companies w/a similar culture/industry, and see what the people are wearing in photos on their site.
I'm not the most conservative dresser in my everyday life, but I keep a few pieces on hand for things that I'm often asked to do. I have my mom slacks (light colored khakis) and a few sweaters, as well as a few business suits, with the appropriate accessories. I've watched for when the suits go on clearance at department stores, and taken a few runs through places like Nordstrom Rack, H&M, etc. to round out what I need. Clothing swaps with friends have also helped me round out these areas of my wardrobe.
I make sure that I keep all of this stuff clean and ready to go too. It sucks to have to spend extra money on a rush turnaround at the dry cleaners.
And last of all, I've got a garment bag for hauling too and from set! It's always surprising to me when people show up w/stuff jammed in grocery bags, or just carrying a bunch of shirts on hangers in from their car. Both you and the clothes look better and more pro when you can bring it all in in a good bag.
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