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My thoughts on Postcards: Part 2

2011-05-22T22:19:00Z

OK, so here’s Part 2 of: My thoughts on Postcards….

As mentioned in Part 1, I would not suggest sending postcards, nor any marketing material, to a Casting Director if you don’t have an agent. Direct your time, money and materials towards getting and agent. That said, you can send post cards to prospective agents.

Whomever you send post cards to, send them when you have real news to announce (“I just booked XYZ”, “I’m appearing for the next 2 weeks at HIJ”, “I just signed with a new agent at BIG FANCY AGENCY”), not just to say, “I’d love to audition for your series”.

Send postcards to say, “thanks for the callback”, “thanks for the booking”, “congrats on picking up the casting work for SeriesX” etc). I also think most actors have to adjust their expectations about the results they can expect from a postcard campaign. So, I have to get into some basic “marketing 101”.

The simple fact is that casting directors don’t have the time to go to every link to watch your reel and it's not realistic to expect ot be brought in for evey role or show. It may only take thirty seconds, but multiplied by the hundreds of postcards which say “watch my reel”, and they would never get anything done. Just as actors are vying for parts in a competitive field, your postcards are vying for valuable real estate on a casting director’s desk, and the field is just as crowded. Make your message brief, informative and be consistent with new messages over time (in other words, don't send a postcard mutiple times telling them about the same role/gig) .

Here is a reframed “marketing 101” example using COCA-COLA. The executives at COKE want you to drink as much COKE as you will. When they run a commercial on radio for example, and you hear that “pop….glug-glug-glug….fizz” and a familiar jingle while an announcer tells you how cool and refreshing COKE is, the executives at Coke don’t really expect you to bring your car to a screeching halt and head to the nearest store and buy a COKE. They’d love it if you did. But they’ve learned that all they can do is plant an idea, create an awareness, so that the next time you’re thirsty you might just choose a Coke.

Same holds true for an unsolicited actor’s postcard, or mailing, or demo…all you can expect is to create an awareness.

Then, in “marketing 101-part 2”, there is something called the “rule of seven”. It loosely implies that research has shown that the majority of customers don’t become aware of a product or service until they have heard about it or seen it at least seven times…some less, some more, some many, many more times. And that’s just to create a brand recollection, an awareness of the product/service. Actually motivating them to buy requires not only the brand awareness, but that the customer have a real need.

So what does this mean to actors; It means you…

1) can’t send postcards once and then say, “Well I sent postcards and I never heard from anyone or booked anything”;

2) must plan to send postcards every 6-8 weeks, or when you have real news booking/agency or other to share;

3) can’t expect any reply saying “Oh I got your latest postcard”..it just won’t happen;

4) can’t be upset when you hear a CD say “Yeah, I look at them then I throw them out”…that’s the point they look at them, they grasp some info about you that tucks into their heads..done;

5) can’t follow up and say “Did you get my postcard” – you just have to let it do it’s work, over time to create awareness about you;

6) can’t expect and immediate booking or audition. It’s like the flyers…this spring I’m getting tons of flyers for repairs of leaky roofs and basements…but if my roof is not leaking, then my roof isn’t leaking…I don’t need basement repairs…but if it starts to leak next week or next month…hey, I know who to call. Same with casting, if they’re casting your “type/hit” this week, then they’re not casting your type or hit until they’re actually casting your type or hit.

I’ve no doubt, the casting office (and agency) garbage cans are littered with the chipper happy faces of hopeful actors that were glanced at for mere moments…sad but true. So, all you’re doing and all you can expect from postcards is to create top-of-mind awareness…a postcard is not a memento to be held and cherished forever. And after all it’s a Casting Directors job to quickly glean your hit/type and tuck you in the back of their minds for when the right casting opportunity comes along…that’s all you can hope for.

All of this said, I feel postcards need to be one aspect of a mutli-media campaign of targeting and reaching a Casting Director, and clearly there are a lot of “dos” and “don’ts” regarding postcard content.

The sheer number of non role specific submission s a casting office receives in a week makes the odds of getting noticed very slim. And casting directors don’t usually find or bring in talent based on flipping through postcards. Send them to people you’ve already met - there’s a chance they’ll stop a moment longer someone they don’t know, but they’re more likely to notice someone they’ve brought in (or whose postcards they’ve now seen 7+ times) for a reading before. In this regard, postcards are a quick reminder to the casting office of what you’re up to, and that you’re still around. What they don’t do is properly introduce yourself in a memorable way.

Don’t send multiple copies of the same postcard to everyone in the office.

Don’t send them in lieu of a real headshot and resume as a submission to a specific project. An office usually has a space or box to collect submissions. Postcards neither fit neatly, nor do they look professional as submission material.

Really now, I think I've said all I can on postcards.

My thoughts on Postcards: Part 1

2011-05-22T22:08:02Z

Well thanks for the kudos and the GREAT question!!! LOL…I only “LOL” because I’ve entertained this question a lot recently and I don’t know if I have a “perfect” answer…but I do have my 2cents, and it’s probably more like a bucks’ worth… so here we go…

Let’s start with the affirmations…”yes”; for the most part postcards are popular in the US. Dozens of the US casting directors I’ve worked with are fans of postcards, tell me they LOVE them because they take a moment to read, provide a quick visual reference/reminder of an actor, typically provide an update or info, don’t involve time lost to opening envelopes, are environmentally friendly and are relatively cheap and efficient for actors…makes sense. And true enough, there’s the odd US Casting Director that doesn’t like nor want them.

And, and unfortunate negative affirmation is, “yes”, the Canadian Casting Directors I’ve asked tell me they “hate them”…”I don’t have time”, “I don’t have space and resources to deal with incoming mail”, “they go right in the trash” etc. I honestly have yet to hear one Canadian Casting Director say “Great! Love postcards!”.

As I like to do, let me reframe this situation; if all the companies that deliver promotional flyers to my home asked me if I actually wanted their flyers…I’d probably say no to 90% of them, or be very selective about the ones I wanted to get. As much as I hate those junk-flyers that come to my house…I do look, albeit quickly, at most of them and they do indeed (most of them) go in the trash. But, after a number of repetitions of seeing the same branding or message, I may actually purchase a product or service. At the very least, the availability of these products or services sits in recesses of my mind until needed. Sometimes, I’m even grateful for some of this material because it comes just as I am trying to deal with an unexpected or unusual household repair for example.

So, it’s interesting to me that on the one hand we’re constantly reminded by teachers, agents and even Casting Directors about how actors should behave like a small business and we’re reminded of all the various things we need to do to be professionals. But then we’re asked (or told) not to market ourselves?!?!?! Something’s wrong with that picture. What entrepreneur, small business owner doesn’t promote themselves? If a professional dentist sets up a clinic in your neighborhood…he/she is going to at least make you aware of their services through various means.

Many a Casting Director would probably say, “…save your money and put your money and effort into seeking a great agent who will create a relationship with me and make me aware of you…”. To some extent, depending on where you are in your career (ie agent-less and at the beginning of a career), I agree with this advice. If you don’t have an agent, there is probably little use or value in sending materials to a Casting Director.

But what if you do have an agent? I find many actors I work with find, and many agents will agree, that agents simply don’t have time to do much more than deal with the current role submissions and related booking communications.

So I’m in the camp of feeling that actors need to market to Casting Directors. Relative to self-marketing materials in general, I personally feel there needs to be a cultural shift in the Canadian industry. I long for Casting Directors to accept and expect that we are going to market to them. Every uncast role is a “problem” looking for a solution…what if that solution just happens to cross your desk? Doesn’t that make the job of casting a solution a wee bit easier?

When you ask a Canadian Casting Director if they want to receive something, especially marketing materials, I think their reflex answer will always be “no”. And, I think the answer will be “no” because some of what they say is true (no time/space etc). But really, not enough Canadian actors are sending postcards so that the CDs can actually start to appreciate their efficiency and content value. Moreover, we actors aren’t using them properly or in a way that makes them effective.

So to quickly and simply answer the question; Don’t not send postcards because a Casting Director says they don’t want them. If you want to send postcards, and if postcards are the right vehicle for you at this time in your career, send postcards. There is absolutely no denying the value that US casting directors see in postcards: they take a moment to read, provide a quick visual reference/reminder of an actor, don’t involve time lost to opening an envelope, environmentally friendly and are relatively cheap and efficient for actors.

But with that said, I feel there are some important caveats and we need to set up realistic expectations around the outcomes of sending postcards.

See Part 2 of: My thoughts on Postcards.

URLs & WEB LINKS

2011-05-22T15:50:25Z

Hey there...don't bother posting web links or URL links in your comments that don't relate to the subject matter of this blog HELPING ACTORS. All comments are reviewed and approved prior to posting. If you have submitted a comment with a web link to content not related to acting or helping actors it simply won't be approved....so move on and spam elsewhere.

“I have an agent, but I haven’t heard from them in months (or years)...”

2011-05-11T17:28:00Z

Here we go…TOUGH LOVE ALERT….

I keep hearing various versions of this scenario; “I have an agent, but I haven’t heard from them in months (or years)”. This statement also implies that you’re not communicating with your agent.

Let me reframe this situation. It’s like saying, “I have a boy/girl-friend but I haven’t heard from him/her in over a year”. A-hem…uhhh…sorry to tell you…but you don’t have a boy/girl-friend. And if you haven’t heard from your agent in more than four months… I question whether you really have an agent or not. I's question it after four weeks of hearing nothing.

If YOU’RE not reaching out to your agent to communicate and discuss a weekly/monthly/annual agenda of practical and professional discussion items…you don’t have an agent, or you don’t have an agent that is working very hard for you (nor should they be if YOU’RE not reaching out). At best you have a very bad client/agent relationship and, here’s the real tough love, you’re actually the one at fault. It’s YOUR CAREER TO MANAGE!

Now let me reframe this again; I'll assume most of you have worked some place where you had a "manager". And I'll make a broad assumption that if not you yourself, then you saw other people slack off a bit when the "manger" wasn't around and wasn't there communicating expectations, wasn't there to give thanks; to give praise; to offer guidance. Imagine if the manager was absent and didn't communicate for weeks, months or a year. How hard would anyone be working for that manager at that point.

Since we don't have "Talent Managers" in Canada, YOU are the manager of your career. That said, your agent is a business partner and helps to play a role in the management of yoru career - but it's your lead!

You need and your agent each other. Neither of you makes money if you’re not working. And, at the end of the day you pay them. They may write and send you the cheques… but they’re sending you YOUR money, not theirs! So, you’re partners, but you need to take the lead. You don't work for them, they work for you. Now that dosen't mean you can be rude, demanding and bossy...you're still partners...and you need to be graciosuly aggressive when you need to hold them accountable. And you need to be grateful when they find you opportunities.

Now when I say YOU need to communicate with your agent, I’m not talking about calling or e-mailing like a squeaky wheel to whine and moan about how slow it is…that will get you nowhere fast! I’m talking about proactive and practical communications that help them do a better job for you, and graciously aggressive communications that make them professionally and reasonably accountable for updating you as to what is or isn’t happening as far as auditions and bookings.

Weekly: You need to e-mail or call your agent with your availability for the following week. Now that said, some agents expect that you be available for whatever/whenever…but sometimes that just isn’t possible, and sometimes if they know when, for example, your shift at the bar is or when you absolutely have to be out of town or otherwise unavailable, they can book around it. Sometimes. Sometimes they can’t and you have to pass, or you have to change your schedule. But, this is a practical and professional way to stay in touch with your agent. If you haven’t communicated your unavailability, it’s entirely reasonable for your agent to expect you to move mountains to make the call. And even if you have communicated your unavailability and they present you with a conflicting opportunity, it’s still pretty reasonable for them to expect you to try make the call (but if you have communicated the conflict, then they need to accept it and decline for you…you can’t blame them for trying and don’t be angry with them).

Monthly: If it has changed, YOU need to be sending your agent a new, updated ad properly formatted resume every month. If it hasn’t changed you need to find a way to change it for next month by adding a class(es) or a credit(s).

Every 3 months: YOU need to meet your agent in person and in a graciously aggressive way ask them to be prepared to review the submissions they have made for you in the last three months (they can easily pull lists from the Breakdown Services and Casting Workbook services). Together, you look at what auditions you got or didn’t, who is seeing you, who isn’t, look at what you booked or didn’t. Discuss strategy for the next 3 months for getting into the rooms you aren’t being called into. What were the roles; maybe you need to (re)define your hit/niche, narrow or broaden the submission scope. If you’ve unsuccessfully auditioned several times for a CD (meaning after 4-6 unsuccessful attempts) and haven’t been booked, or aren’t getting callbacks, maybe they need to get some feedback for you.

Annually: You do call or e-mail your agent on or around the anniversary of joining their agency, right, so you can thank and acknowledge them for all they do that hasn’t yet yielded any commission…? You do call them and wish them Happy Birthday/Happy New Year etc…right? And you do book a meeting (maybe a lunch, at least a coffee at your expense) in the first 6-8 weeks of every year to discuss what worked and what didn’t last year, what needs to change this year, define goals/roles and identify “perfect projects” and review your marketing tools (pics/rez/reel).

Breathe. Everyone OK? Did you know you had that much responsibility with your agent? Now you do.

Take all of this with a gran of salt, as all of your are at different places in your careers. This is a very broad and generalzed post, BUT, the root message still holds...you and your agent are partners and YOU need to take the lead in the relationship.

LTD!
Kevin

“How Can I get A Casting Director to See Me...”

2011-05-11T17:24:20Z

This is the million dollar question. The easiest way…take a Casting Directors’ workshop if they offer one.

Where workshops are concerned, invest time and money wisely and never expect a workshop to result in an audition/work opportunity. It rarely might – but the most valuable learning is about how to audition and how that particular CD likes to run their auditions. So remember what you learn might be very unique to them and may not apply to or work for how you audition for other CDs. Make sure they’re still an active Casting Director and aren’t capitalizing on a career that has seen brighter days years ago. Be wary of “famed Hollywood Casting Director” or “Assistant to famed NY casting Director”…make sure they are legit. And know that with foreign CDs, you’ll learn audition technique, but don’t expect it to boost your audition rates here in Toronto, unless you can work in the US or they’re casting something shooting here. Just be smart.

Canadian Casting Directors don’t typically do general meetings or “meet n greets” like many US casting directors do…that’s not a judgment statement, it’s just a reality. They’re too busy. Casting is working so quickly and on such limited budgets these days that there just isn’t the time/money to bring in as many people as even the Casting Directors would truly like…it’s just a fact. And when they do have work (they struggle for gigs too!) they need to satisfy their clients (producers/networks/directors) by bringing talent that meet the character criteria, and the talent that can deliver.

The CD’s objective is to bring in talent they believe could all book the role. That said, if there’s only time/money to see ten actors for a role…it’s only natural that they bring in people they know will deliver…it’s just a (sad) fact, a reality. There’s little room for risk, unless the role is very unique.

So how do you get seen…train, keep the resume fresh with no-low paying gigs have a GREAT reel. If you have an agent, ask them to “pitch” you, not just “submit’ you…that means they pick up the phone a go to bat for you. And when you do get called in BE PREPARED and simply give the best audition ever.

Invite them to plays or screenings. If they don’t come, they may send an associate who gives them feedback.

You might choose to snail-mail postcards/resumes to Casting Directors…but…don’t expect responses, and don’t follow up with calls and e-mails (they’re simply too busy). These marketing materials are just like the “dry cleaning” flyers you get at home…they’re not met to be cherished mementos from you that elicit an immediate response…they eventually end up in the trash. That said, like the dry cleaner’s flyer, they do create a brief impression and you might eventually get called in…so if you do send things, keep it brief, original, cheap and to the point. You really need your agent to be submitting you and pitching you for the right roles.

Sending pictures and demo reels… risky and expensive unless coming via your agent (or from you if unrepresented) in support of a submission to a specific and currently casting role (in other words, don’t just send in generally…you risk getting put in a pile that might get reviewed in a year if not trashed on arrival). Demo reel content is a whole ‘nother course and opinions as to \suitable materials for a demo reel is very broad and subjective to each CD.

LTD!
Kevin

“I can’t afford classes and workshops...”

2011-05-11T17:24:00Z

OK, deep breath everyone… tough love coming at you!

I hear you when you say “I can’t afford classes and workshops”. I totally get it. I do. But, I have to be Dr. Tough Love here and say you have to find a way. Read the rest of my blog response by clicking here…

You can’t just decide you want to be an actor and walk into a lead on stage or TV just because you have some raw talent, a dream and you’re passionate. I wish you could, but the reality is you can’t.

People still get “discovered”, sure, but it’s not a practical way to hope a career will unfold. Look at the stadiums full of passionate people with dreams that are rejected on the “idol” style reality shows. With all your talent, dreams and passion you have to train.

Let me reframe this….

Professional doctors train; they go to school, it takes years and it cost thousands of dollars intuition and hours of interning. They don’t just march into a hospital and say, “I want to be Chief surgeon tomorrow because I’ m passionate about saving lives”.

Professional lawyers train; they go to school, it takes years and it cost thousands of dollars in tuition and months of being a clerk. They don’t just march in and say, “I want to be a judge, because I’m passionate about seeing justice done”.

Professional Plumbers train; they take courses, they learn on the job and it can take years to become good enough to earn a steady income. They can’t just say “Well I know s#!t flows down, so I’m going to call myself a plumber”…they know much more…they trained!!
Professional actors train and keep training themselves.

Now, YOU CAN, become an actor without “formal” training at a college or university. But for myriad reasons, it takes a long time to build a career this way. Instead of spending on tuitions, you’re going to pay class and workshop fees. On top of that, you’re going to be competing with actors who did train formally and who are also training in post graduate classes and workshops right along beside you. Building a career this way is doable, but you have to do it and accept the time and costs.

If you really have no money or little money, then you must do student films and community theatre until you’re blue in the face. Volunteer for indie films. Create your own projects for the web and theatre. Start a performance troupe. Start an improvisation troupe. Pull sides from the web and start a cold reading and audition group. Take any free workshops or seminars you can find…it all helps…but, here comes the tough love again; it may not be enough upon which to build a career. You’ve really got to train in a proper class with an objective and skilled instructor.

And here we go again…”I can’t afford it”… then you have to Save/Budget. Get a better “joe-job”. Get another “joe-job”. Ask your “angels” for help. The funny thing is, I find when I commit to a class or workshop, no matter how strapped I am…the money comes. I don’t always know from where…but I get through and I get by. I’m not implying you abandon all caution and sign up for everything. But make some investigations as to what’s out there and make some judicious decisions, plan accordingly and proceed with due financial caution.

Breathe. Everyone OK? I’m just trying to keep it real for you, so you can adjust your expectations and approach to the biz and LTD!

Kevin

“I’m not getting the auditions I want...”

2011-05-11T17:21:00Z

This will probably sound silly, but does your agent know what mediums you want to work in? If you were added to their roster because you’re a triple threat on stage – don’t assume you’ll be sent out for TV/Film and commercials. They may assume you just want stage work. And, vice versa; if you’re a Film/TV/commercial actor - don’t assume they know you want stage work. If you’re a stand-up, don’t assume that they know dramatic roles interest you, or that theatrical stage, film, TV or commercials appeal…they might erroneously think you’re happy booking stand up.

LTD!
Kevin

“I’m not getting auditions…”

2011-05-11T17:20:00Z

(May, 2011) It has been slow, but it’s hasn’t been 100% dry. Maybe you need new pics, a new resume or need to evolve/update training with new classes and add new credits by doing some no/low paid gigs. Maybe you’re submitting or your agent is submitting you for the wrong things and need to communicate and (re)define your “hit”/niche or refine your look. If you’re self represented – you need to submit FAST…so make sure you’re set up to be getting audition notifications sent to your email from AACTION and are checking CastingWorkbook several times a day. And remember, you’ve got to cut your teeth. You’re not likely to get a lead in an episodic or film until you’ve done an extensive number of under five line-roles (…you know…“Woman in Bar”, “Man at Counter”, “Cop #2”, “Juror #5”…etc). Most commercials are SOC, and you won’t likely get the few commercial roles with lines until you’ve done quite a bit of SOC work.

Other reasons: Have you been talking “smack” about other actors, other CDs or past projects in the waiting room? Did you not listen to and apply the redirection you were given on a re-take? Have you had to be asked more than once to be quiet in the waiting room? Are you chronically late for auditions? Are you being too familiar or chatty in the audition room? Did you wear perfume or cologne that polluted the audition/waiting room. Did you bring a posse of people or unruly kids with you to an already crowded audition? Did you come unprepared or in totally inappropriate wardrobe? All of this gets back to people and you get pegged as “challenging” or “difficult” and they may not tell you/your agent, they just stop calling.

LTD!
Kevin

“I’m auditioning but not getting callbacks…”

2011-05-11T17:15:00Z

Maybe you need an improvisation, acting , on camera or audition skills class or a commercials workshop. Now that said, if you’re getting auditions CELEBRATE! It means you’re on the radar and there are a million reasons beyond your control why even the best audition doesn’t get the booking. Your turn will come, but make sure your skills are sharp and your “hit” is on target to what you’re being submitted for.

Other reasons: Have you been talking “smack” about other actors, other CDs or past projects in the waiting room? Did you not listen to and apply the redirection you were given on a re-take? Have you had to be asked more than once to be quiet in the waiting room? Are you chronically late for auditions? Are you being too familiar or chatty in the audition room? Did you wear perfume or cologne that polluted the audition/waiting room. Did you bring a posse of people or unruly kids with you to an already crowded audition? Did you come unprepared or in totally inappropriate wardrobe? All of this gets back to people and you get pegged as “challenging” or “difficult” and they may not tell you/your agent, they just stop calling.

LTD!
Kevin

Free eCourse

2011-05-06T19:49:00Z

Hi everyone! I've created a FREE e-course called "WEBSITES OF A WORKING ACTOR"...check it out at DramaDepartment.ca, then go to the FREE STUFF link at the top of the page!!!

LTD!
Kevin

Ask Kev Your Question

2009-09-03T03:45:00Z

Hi, and thanks for checking in with dramadepartment.ca and Kev's Blog!

I set up this site and blog to help other actors, especially those just starting their career. It's my way of "paying it forward", for the help I've had with my career, and the support I'll need going forward. I don't have all the answers, but I promise I'll tell you what I know. If I don't know, I'll tell you that too, and I'll try help us find an answer for you.

Your questions help me. Together, we help other actors who have the same fears, worries, questions, dreams and hopes that we all do.

Please ASK YOUR QUESTION(S), by submitting a comment using the link just below this blog entry (or any other blog entry for that matter).

I'll reply, as soon as I can, to you directly. I may then use your question and the answer as a future blog entry, especially if I'm seeing your question or a variation of it a lot.

I can only offer an opinion and advice from my point of view. Please consider it just that; "one guys point of view". What I offer is by no means the "only" answer out there, but hopefully it's something for you to start with, something to help you start...live'n the dream.

I look forward to hearing from you!

Kev

Ask Kev a Question

2009-09-03T03:43:15Z

Hey Gang! Thanks for checking in with the blog and with the dramadeparment.ca web site, I really appreciate it and value your questions.

I set up dramadeparment.ca and this blog for other actors with questions, and especially for those just starting their careers. It's my way of "paying it forward" for the help I've had with my career, and the help I may need down the road.

Giving you answers to your questions not only helps you, it helps me. Together, we help other actors who may have the same worries, questions, frustrations, hopes and dreams as you, or any of us for that matter!

Please, use the "comment" link below this entry to ask your question(s). I'll reply to you directly, and may use your question(s) as the basis for a blog entry. (Please note, I respect your privacy, and will not post personal contact info if using your questions as a blog item).

Elaine Overholt - Big Voice Studios

2009-08-17T21:44:00Z

Question:
Hey Kevin,

I noticed that both you and Natalie have taken lessons from Elaine Overholt (I love facebook, yes I do!). I've been looking for vocal lessons for some time. I am by no means a great singer; I sing when I play the piano and guitar, but have wanted to find someone good to give me some technical basics. Do you think it would be a good idea for me to go to her or is it overkill - i.e. - is she really better suited for people who are professionals...??

Thanks!

Petra

Answer:

I have studied in both classes and privately with Elaine. I started a year ago and I had not sung in almost 12 years since my last show. I had no voice left per se. Elaine helped bring it back. Exactly a year later she, and others at Big Voice Studios, helped me prepare for a Broadway audition. They didn't just help me sing, they helped me find confidence I'd lost.

Elaine is one of the warmest and most generous coaches I've encountered, as are all of the teachers and coaches at Big Voice Studios. I suggest buying her Big Voice DVD as an intro to her musical method and philosophies and they work with singers at all levels.

Elaine, obviously, costs more than other coaches at BV, but she's worth every penny. They all are. Elaine is in great demand, and she's currently working on a TVshow which is demanding of her time. A great way to get some time with Elaine is to check outtheir workshops. Their fall semester should be posted soon. All of the coaches subscribe to Elaine's Big Voice methods and ideas, and if Elaine herself does not conduct the whole workshop series, she usually pops in.

Natalie and I both also work with Gillian Stycek @ BV, and I also work there with Melody McShane. Melody was the Musical Director of "Phantom of theOpera" when it ran here! Melissa Shriner is also an awesome coach. The coaches all have differnet schedules and rates, currently from about $80 dollars/hr on up.

Check out www.elaineoverholt.com for the DVD and class updates.

LTD!
Kev

Resume - Special Skills

2009-08-17T21:04:00Z

You have no acting credits, professional or otherwise, to your name. Well you’ve lived right. So, in my books you have life experiences that you can draw into your performances to make them more authentic. In the business we often refer to these as “Special Skills”.

Your special skills may get you the job! They may also rule you out of getting the job, but that's better than being hired, then showing up on set and not able to perform.

So what are “Special Skills”? Quite simply it’s the life skills, physical experiences and abilities you have acquired or developed in non-performance areas that can and will enhance your performance. For example; if they need a juggler for a circus scene, they don’t hire someone to act like a juggler, they hire someone who can juggle, and juggle very well if in fact the character is supposed to be a good juggler. If you don’t juggle, and the character your auditioning for is supposed to be a bad juggler, then you might be perfect. Do you follow me?

List your special skills. Do you play hockey? How well? Can you roller blade? Do you juggle? Do magic tricks? Can you fence? Are you a competitive swimmer? Can you cook? Are you’re a trained chef of a comfortable home cook? Can you and hand toss pizza dough? Have you waited tables? Can you rock climb? Do you surf? Board or body surf? Are you a yodeler? Are you a professional dog walker? Have you run a video camera? What kind? Have you supervised people? Can you drive a forklift?

Also list…

List your allergies. You’re not going to be happily biting into 50+ burgers for a fast food commercial if you’ve got a gluten intolerance, playing the bee keeper if your allergic to a sting, or selling the latest peanut butter if you have a peanut allergy.

List your fears and phobias. For example, I list no “arachnoids or reptiles”… I’d freak! Unless of course that’s the real reaction they want, but I certainly wouldn’t be calm or comfortable. But again, if that’s the reaction they want my character to have, then I might be perfect (it would certainly be real!). You might list a fear of heights or flying lest you be harnessed for a flying scene or stunt effect.

Do you have a valid passport? List it (Just list "Valid Canadian Passport" and do not list the passport number). Why? If the shoot starts in Hungary, day after tomorrow, they want to know you’re good to go.

Do you have a work permit or visa permitting you to work in another country? List it.

Can you drive standard? How well?

Regular cigarette smoker? Cigar smoker? Strict non smoker? Ex smoker, willing to smoke for the shoot? List it.

Do you have a Driver’s license? What class is it? You may not be comfortable (or allowed) to play the “bus driver” or the “18 wheeler truck driver” if you can’t drive the vehicle even a few yards for a shot.

Do you see where I’m going? If you’re starting, even if you're experienced, a wide and diverse list of special skills can make you an attractive talent to an agent.

LTD!

Kev

Resume - Training

2009-08-17T20:52:00Z

I know talent with next to no working credits on their résumé who have an agent. I know talent with tons of working credits who can’t get seen by an agent. I know talent who have an agent, but have been out on an audition for years (I’ve also no idea why people stay with these agents or why agents hold onto them). I grow more and more convinced getting an agent has more to do with your hit, your ongoing passion and your continued training than your actual experience. Of course, experience helps, but what I’m saying is it may not be critical to getting your first agent.

So you’ve got credits. GREAT! Sure, there are agents who only want established talent. But there are many agents who want new faces, new talents they can nurture. With no credits to your name you have two things you can start with. Training and life experiences.

Always list your training. Keep the freshest and most recent training on the resume. If your training is old you need to be honest about it and seek current training. Now that said, I know as much as anybody, training costs money. So, just like a business (and you are a small, self employed business person - or you should be treating it this way) you have to come up with a budget and a training plan that is reasonable within your financial resources and available time.

If the last (and only) class you took was a year ago…good luck. There are thousands of actors who are continually polishing their craft, why wouldn't an agent choose them. (I know you're "gifted" or "special" and yes, a rare few of you will get agents).

But if you’re last acting class was a year ago, and then you took a movement class two months later, and then you took an improvisation class a month after that, and then you took a training break but are now half way through a six week voice class , all over the course of the last year…then you’ll have a better chance.

Working or not, the best actors are perpetually training in something related to the craft. It let’s the agents, and the Casting Directors know you’re sharp and ready to go. You commitment to staying on top of your game says as much if not more about you than your working credits.

However, if all you have is a few high school or college productions under your belt and a movement class that was three years ago, then list them and go for it. My two cents, if this is you, I’d highly suggest you be enrolled in something related to the craft, anything, during your agent search so that you show renewed commitment and interest. And, so you have something to talk about with them should you get an interview.

No matter how many credits you have or do not have, train. Then train some more. Training will put you ahead of the pack who does not train or keep their training up to date. Regardless of your working credits, By training you prove yourself interested in your craft, and that makes you interesting to an agent.

Getting An Agent - Your Hit

2009-08-17T20:43:00Z

Remember how we we’re all taught first impressions count? Well they count as much or more in this business.
Good or bad, this is one industry where the labour and racial discrimination laws of our country do not apply. Your “hit” is a visual first impression of your character. Agents and Casting Directors are flipping through hundreds, if not thousands of photos and resumes. So your “hit”, your first impression, must be clear and must match what they’re looking for in an instant. Time is money.

So what is your “hit”. Your “hit” is a combination of a number of things; your perceived and believable age. No cares you’re really 26 if you look 18, and no one cares you are 26 if your look 34; Your apparent or playable ethnicity (real or perceived); Your apparent or playable class (lower/middle/upper; educated/uneducated; working class white/blue collar) and your perceived geographic origins (city/country, domestic/foreigner).

You need to know your “hit” and an agent needs to have a hole in their roster for your “hit” before they will consider taking you on. You may have a great “hit”, but maybe they just don’t need your “hit” at this time. So, they may in fact set your package aside for future reference. When someone leaves that agent, or gets out of the business you could get a call, any time, even months after you send your package out, to fill that “hit”.

Your mother cannot tell you your hit, nor can your lover or your best friends. The best people to tell you your “hit” are people with who you have a new relationship in the context of our craft as actors. In other words, I don’t suggest you ask your next blind date, but ask people the people you connect with in your next acting class, or your coarse instructors – but do it early on (1^st or 2^nd class) for the most pure interpretation, before the real and possibly contradictory truth about you permeates their knowledge about who and what you really are.

Here's what to ask...

1) Perceived upper and lower extremes of age range;

2) Perceived ethnicity;

3) Perceived social status (ie lower/middle/upper; educated/uneducated; working class white/blue collar);

4) Perceived Geographic Origins city/country, domestic/foreigner;

5) Roles you could play (ie pilot, thug, dancer etc)

6) Actor who's career you could emulate.

Understand, accept and embrace your “hit”. No matter how great you can act, if they want "a Caucasian male in his 20’s, to play a lower class, rural farmer type with a dark side", they can find that guy. They’re not typically going to bring in a buff, 30 year old, metro-sexual, middle-upper class hipster for the role (unless, maybe, he is a celebrity already).

LTD!

Kev