Nay Sayers

“People who are too weak to follow their own dreams will always find a way to discourage yours.” -stolen from someone who stole it from twitter.

4 Things Never To Say In An Agent Interview

It’s better to have a few things prepared that you want to ask a prospective agent than not to. Remember in many ways you are hiring them to join your team… Not the other way around. You make them money and they work to find you the best job opportunities. An agent is basically a head hunter. You want to be professional and make them excited to find opportunities for you. So, here is an article I found about what not to say in an agent meeting.

By Brian O’Neil
For Backstage
May 10, 2013

“Normally, I put most of my efforts into making suggestions about the things actors should do, but many actors make mistakes during an interview. Here are the most common questions to avoid asking.

1. Can you tell me who else you represent?
They can, but they probably won’t, at least not begrudgingly, unless they are courting you. In any scenario, actors should do their homework by researching the client list of an agency with whom they are meeting. This is easily done with the assistance of a free-trial offer on IMDbPro.com where each agency’s clients are listed. The client’s name is a link to his/her profile, which lists their credits in film and television. Often there will be a bio, which sometimes, but not always, includes theater credits. The east coast actor may want to do a broader search of any given client.

2. Do you have any clients who might conflict with me?
This one is designed to drive an agent up the wall, unless, once again, they are courting you. Even if this is the case, the best one can usually hope for is, “We don’t have anyone like you”, which may not be wholly true, but what actor doesn’t want to hear those words? Less polite is a slightly chilly, “If we had anyone who conflicted with you, we wouldn’t have called you in.” Either way, you won’t learn anything.

3. Which casting directors do you have relationships with?
Don’t worry too much here, because most of the time they’ll ask you first. In any case, if it’s a top-notch office, they’ll have relationships with anyone who can move your career forward. If it’s not a top-notch office, they’ll still probably have relationships to some degree or they wouldn’t be able to maintain an office. So the answer you’ll get is, “Most all of them.” In any case, no one is going to sit there and rattle off a laundry list of offices they do business with and they’ll resent you for having asked.

4. I’m going to make a lot of money for someone.
Yikes! Believe it or not, some actors really do say this. An actor’s ability to “make a lot of money” for someone is the agent’s call, not the actor’s. I’m not saying an actor shouldn’t think this way, only that he or she shouldn’t say it, because saying it doesn’t build the actor’s cache a whit. Aside from the fact that an agent only gets 10 percent of an actor’s gross and therefore an actor would have to make a ton of money before an agent could make a lot of money, the real problem here is that agents know that whoever actually says the words, “I am going to make a lot of money for someone” never does.

Brian O’Neil is a former agent and best-selling author of “Acting As a Business: Strategies for Success” which was hailed by Entertainment Weekly as a “show-biz industry bible.” An acting career coach and an audition coach, he teaches at many of the country’s top acting training programs including The Juilliard School. For more information, please visit http://www.actingasabusiness.com.”

Want To Get Your Film Into Sundance? Secrets To Successful Submissions

Ok, so we are actors, right? Why do we need to know tricks on how to get films into Sundance? Because knowledge is power! Actors that write & produce are “the norm” these days and you need all the knowledge of the entertainment industry you can get. Every time you learn a new facet or skill in the industry you make yourself more valuable & you gain knowledge that helps you understand what everyone around you is doing which in turn helps you focus more clearly on your task of telling the story. Sundance is a great way to launch your career into the next phase. So why not understand how to get your project shown there?! The following article is from Film Independent, Enjoy!

“Submitting to festivals can be a daunting process—especially when you’re aiming at the internationally renowned Sundance Film Festival, which received 12,000 submissions last year vying for a select number of coveted slots. With this year’s deadlines fast approaching (August 26 for shorts; August 30 for features), Film Independent asked Sundance programmers Kim Yutani and Lisa Ogdie to give us the scoop on how the process works and tips to help filmmakers give their films a fighting chance. Yutani, who first came to Sundance while working on Gregg Araki’s The Doom Generation, and Ogdie, who learned the ropes through seasonal work before transitioning to programming at SFF, sat down with FIND’s Paul Cowling to share advise and dispel misconceptions about applying to Sundance. Here are the top five take-aways.

1. Focus on the film.
What is the most important part of the submission package? Do press materials make a major difference to programmers? Yutani and Ogdie can’t emphasize enough that a director’s focus should be on the final film and not on supplementary materials. Most of the paperwork gets separated from the actual film or discarded during processing. Don’t waste time with excessive packaging, DVD design, or elaborate credits, says Yutani. If you’re submitting a hard copy using Withoutabox’s Secure Online Screener system, be sure to test your films and provide a backup link to a password-protected Vimeo or YouTube video online. If you’re submitting a short film, keep in mind that longer shorts (more than 25 minutes) are more difficult to program since Sundance likes to screen six or seven films in each shorts program and keep total running times between 90-100 minutes.

2. First-timers do stand a chance.
First-time applicants, take heart. While some think that having close ties to the Festival equals an automatic invite, think again. Having connections doesn’t give you a guarantee. “If you know someone, you might get a personal rejection letter,” Ogdie says. Even having a sales rep or distributor doesn’t serve as an advantage, says Ogdie, adding that they have “so many relationships with people who rep films that it would be impossible for us to take everything they present to us.” Sundance alumni shouldn’t expect special treatment either. While Sundance does keep in close contact with alums and their current projects, programmers can “almost be harder on those films,” according to Odgie “because then they’re taking up a slot for someone who’s a fresh new talent and someone we’ve never heard of before that we want to introduce to the Sundance family.”

3. Premiere requirements vary.
When it comes to world premieres, Sundance is more lenient with shorts that have already played at a festival or even online. However, programmers are stricter when it comes to features. All U.S. Competitions slots are required to be world premieres. Nevertheless, Sundance’s Park City at Midnight and Spotlight sections, which in the past have featured prominent films such as Jeff Nichols’ Mud (2012) and Denis Villeneuve’s Incendies (2010), do not have to be premieres. If another festival accepts your film and its dates are before Sundance, make sure to inform programmers by contacting them at programming@sundance.org. While they may not be able to provide a definitive answer on whether your film’s been accepted, they can often let filmmakers know what your chances are so you can make the most informed decision on what’s best for your film.

4. Your film will get the attention it deserves.
A filmmaker’s greatest fear is that your film won’t get the attention it deserves by a festival screening committee. However, Yutani assures that as Sundance has grown, so has its programming staff. The Festival retains eight features programmers and ten shorts programmers to accommodate all the submissions. In addition, they rely on trusted industry professionals as pre-screeners to analyze and rate features before passing them along to the programming staff. How can you be sure programmers are motivated to be meticulous and watch films from start to finish? Yutani promises that it’s of prime importance to their dedicated team, especially since “the worst thing you can do as a programmer is to pass on a film and not give it the careful attention you should have and then it turns up at another festival and breaks out there.” Furthermore, if there is an oversight, she adds, programmers will return to their records and look to see who watched the film, so there’s always a level of personal accountability involved.

5. Remember, Sundance is not the end of the road.
If your film isn’t accepted at Sundance this year, it’s important to keep perspective and act graciously. Avoid burning bridges with the programming staff since they can also be your greatest advocates. Sundance does, in fact, accept resubmissions as long as filmmakers have made significant changes to the new version. Yutani also reminds filmmakers that, “there are so many great festivals out there. I know a lot of people set their sights on Sundance, [but] it isn’t the only festival that can help you and help your career and be a great place for you to show your film.” The festival circuit is such a close-knit community that if Sundance programmers see a film that has a lot of promise but doesn’t quite make it into the lineup, they will gladly pass it along and recommend it to colleagues at other leading festivals, including Film Independent’s Los Angeles Film Festival.
By Laura Swanbeck / Guest Blogger”

Spend Your Money & Time Wisely

I personally am an actor that takes a portfolio into workshops and does maintain a facebook “fan” page. I have always thought that proper marketing and presentation is good for your career and makes you stand out from the pack when your work is of equal quality, is that the wrong point of view? I found this article from Backstage that makes me question all I am being taught.

Why the IMDb STARmeter Rating Isn’t Getting You Auditions

By Secret Agent Man
On Backstage
July 22, 2013

“My experience has been that actors spend way too much time worrying about things that don’t really matter.

For example, why are actors always checking their STARmeter ranking on IMDb? Do you really think that number means anything? It’s just a rating based on Internet searches by the website’s users. In theory, the rankings are supposed to graph your popularity in the entertainment industry—but trust me: No one cares except for narcissistic movie stars and their publicists.

To prove my point, a 35-year-old actor named Shannon Guess recently held the number one position for more than a week. This dubious accomplishment had nothing to do with her acting career; Miss Guess was at the top because she was arrested for allegedly sending envelopes laced with poison to President Obama and New York City Mayor Michael Bloomberg. The notes inside read, “You will have to kill me and my family before you get my guns. Anyone who wants to come to my house will get shot in the face. The right to bear arms is my constitutional right and I will exercise that right till the day I die.”

Wow! That’s the ultimate cover letter, isn’t it? I bet agents all over town were scrambling to get a meeting with this future star.
Sadly, there are companies out there you can pay to help raise your ranking. I know that sounds absurd but these places do exist, so some of you must be handing over your credit card number. I guess the hope is that no one will notice the lack of training and credits on your résumé when you’re that popular on IMDb. And maybe that’s why so many actors mention their ranking when they’re submitting to my agency.
Here’s the bottom line: Even if these companies deliver on their promises, none of you are getting a deal or an audition or representation because of a spike in your STARmeter ranking.

There are no shortcuts in this business.

Here are a few more examples of actors burning way too many calories on activities that don’t really matter.

I have an editor friend who works on a lot of demo reels. He recently told me that an actor wasted 10 minutes in his studio trying to figure out which font to use for his name.

When I attend a workshop, actors often hand me elaborate portfolios stuffed with more information than anyone could possibly want. I always feel bad when I throw them away. What a waste of time and money. If I’m meeting you at a workshop, all I really need is your headshot and résumé. Save the rest for your AFI career retrospective.

I’ve been told that actors spend hours and hours working on their Facebook fan pages, just in case someone like me wants to learn more about them. I hate to burst everyone’s bubble, but I’ve never done this, and I doubt I ever will. Why would I? There are only so many hours in the day.
That applies to you too. It’s like Gordon Gekko said, “The most valuable commodity is time.” So use it wisely. Learn some basic marketing skills. Get in great mental and physical shape. Put yourself in social settings that create contacts. Focus on your craft. Become the best actor you can possibly be. Doing this will serve you better than focusing on all that other nonsense that adds up to nothing more than wasted energy.

And that’s it for this week, gang. I have to go submit on some breakdowns. It seems like everyone is looking for a Shannon Guess type”

Jealousy

Be genuinely happy for others & try not to be jealous. Jealousy does not help you. I doesn’t make you feel better. Build people up for their successes don’t bring yourself down

The Most Glorious Words An Actor Can Hear

“Are you available the following dates?”
“Crafty is over there”
“Did you know we’re in overtime?”

Rejection

Others might hurt you or upset you but you can’t let that you effect you. You must go on being you and being better than that. Continue being the person you are because people will eventually acknowledge and respect you for all your gifts. If you allow people to make you stray from your path then so many will miss out on what you have to offer. You are you, you are the only you. You are unique and special. You are good. You are deserving.

On that note…

The following is an article from Backstage’s Secret Agent Man Column written anonymously by a top industry talent agent.

5 Tips on How to Handle Rejection

By Secret Agent Man
Aug. 12, 2013

“Actors are such sensitive creatures. You take every rejection personally. When an audition or meeting doesn’t go well, you respond like the apocalypse is knocking on your door. It must be an exhausting way to live.

Remember back in high school when every heartbreak felt like the end of the world? Part of growing up is learning that wounds heal and life goes on.

Case in point: My stupid girlfriend dumped me two weeks before the senior prom. I went to a dark place for a few days, and then I came out swinging and started dating Gina DeMarco from the drama department. We performed a scene together in the prop closet that still makes me grin. Actually, that encounter might’ve fueled my interest in working with actors.

(Note to self: Bring this up during next therapy session.)

Anyway, dealing with disappointment is a necessary skill if you want to be an actor. You have to understand that rejections are like speed bumps on the road to success. So here are a few words of wisdom that might help you drive over them without breaking an axle.

Learn to accept rejection
An acting career is a strange thing. You spend more time looking for work than actually doing it. By that standard, you’re going to be dealing with a lot of disappointment in your life. Auditions will not always lead to bookings. Agents and managers will pass on you. Critics will attack your work. That’s just the way it is. So learn to accept rejection as a way of life, and keep moving forward.

Don’t ignore your feelings
When someone rejects you, it’s natural to feel bad. You can’t just shrug your shoulders and groove on down the road to your next disappointment. That’s how spree killers are born. So feel free to wallow in misery for a little while. Knock back a few drinks. Shake your fist at the sky. Do whatever it takes. But then you have to move on. Nothing is gained by dwelling on the negative.

Most rejections aren’t about you
If a casting director doesn’t give you a callback, she might be rejecting a choice you made in the room. Or maybe you’re too young for the part. Or too old. It could be anything, but I’ll tell you what it’s not. It’s not you. The casting director doesn’t think you’re a despicable human being who shouldn’t be allowed to grace her precious set. She’s just making a choice. And the same is true for guys like me. Agents pass on actors for all kinds of reasons. The quality of your soul is rarely one of them.

Turn rejection into motivation
Next time you’re face-to-face with a major career disappointment, download the music from “Rocky” and start focusing on your next move. Get pumped. Set goals. And if you think the rejection was valid, use that energy to make changes and improvements for your next encounter.

Keep acting!
The best way to get past rejection is to focus on the part of your career you like the best, which is acting. So put up a scene in class that allows you to shine. Strut your stuff. Remind yourself that the art of acting and the business of acting are two separate monsters that don’t always hold hands as they skip through the park.

Rejection is going to be part of your life. So next time you’re faced with a huge disappointment, I want you to look in the mirror and remember this: We’re not defined by rejection. We’re defined by our response to rejection.”

Have a Breakthrough Year

4 Tips from Ahna O’Reilly on Having a Breakthrough Year

By Jenelle Riley
Aug. 12, 2013

Though Ahna O’Reilly has been working steadily for the last seven years, 2013 is poised to be a big year for the actor. Perhaps best known for her turn in 2011’s “The Help” as Elizabeth Leefolt, who employs Aibileen (Viola Davis), O’Reilly is currently on screens in “Fruitvale Station,” which chronicles the last night in the life of Oscar Grant, who was shot and killed by BART Station officers in the Bay Area. Next up is a showy role in “Jobs,” in which Ashton Kutcher stars as Apple founder Steve Jobs. Later this year she will also be seen in “CBGB” and an adaptation of William Faulkner’s “As I Lay Dying,” directed by her ex-boyfriend James Franco.

Turn to friends for ‘Help.’
O’Reilly credits her co-star in “The Help,” Oscar-winner Octavia Spencer, for being her career counselor and “guardian angel.” The two met on a tiny independent called “Herpes Boy,” and although they didn’t have any scenes together, they formed a fast friendship. It was Spencer who called O’Reilly and told her about the upcoming film adaptation of “The Help.” Recalls O’Reilly, “She told me there was this amazing movie coming up, and there were so many wonderful roles for women. At the time, I wasn’t anybody; I was not in a position to get in the audition room for a movie like that.” But Spencer endorsed O’Reilly to casting director Kerry Bardem and “slipped me into” the audition process. O’Reilly doesn’t hesitate to say “The Help,” for which the she won a SAG Award as a member of the ensemble, changed her life. “Not only did it do great things for my career to be a part of such a wonderful movie, but I met so many amazing people that have affected my life,” she says.

Pay back your favors.
Spencer was responsible for O’Reilly landing another prominent role—that of a young woman who meets Oscar Grant at a grocery store, then later witnesses his fateful encounter—in “Fruitvale Station.” “Octavia was a producer on it and she called me up and asked if I would do a small part in it,” she says. “And she behaved as though I were doing her a favor, which couldn’t be further from the truth. It was an honor and a privilege to be in that movie.” It was also the first time O’Reilly was offered a role without having to audition, an experience she describes as “flattering and strange.”

Apply for ‘Jobs.’
O’Reilly did have to audition for the coveted female lead in “Jobs,” in which she plays Chris-Ann Brennan, Jobs’ ex-girlfriend and the mother of his child. “It was a pretty standard audition and meeting with the director, Joshua Michael Stern,” she says. “And at some point, they told me they were going to have me come back and read with Ashton.” But that callback never materialized—they ended up offering her the part. So the first time she met her on-screen love interest was at a reading of the script. “We were introduced, said hello, and within minutes we were screaming at each other in a scene,” she remembers.

Keep it real.
In “Fruitvale,” O’Reilly plays a character who is an amalgamation of real people so taking on the role of Chris-Ann marked her first time playing a real person, though she would go on to play director Mary Harron in “CBGB,” due out later this year. “There is definitely a big responsibility you have in portraying someone who is real and still alive,” she says. “Especially if it’s someone you admire as much as Chris-Ann.” To research to story, she says she “devoured” Walter Isaacson’s biography “Steve Jobs,” and also read a piece Chris-Ann wrote for Rolling Stone Magazine about life with the tech guru. Though she wasn’t able to meet her counterpart, she did begin an e-mail correspondence after learning they had a mutual friend. “It was totally out of the blue, I was telling someone I was playing this part, and they mentioned that they knew her through work, then connected us,” she says. “I took it as another sign I was meant to play this role.”

Marlon Brando gets It

“Acting–all of the arts–is about observation. As Tennessee said, it is about being a witness. Very few people can do this. Very few people care enough to do this. The actor, the writer, the artist, the musician witnesses the world and its people–and then he tells the stories he has remembered, overheard, surmised. Always attempt to be a witness. Remember those you’ve loved; those who moved you. In almost every performance I’ve ever given–and of which I’ve been somewhat proud–I’ve had a piece of my mother, overwhelmed by life, consumed by sadness, poisoned by alcohol, but still reaching out to me and rubbing my forehead until I fell asleep. I take that memory and I implant it in every character I play. I honor her efforts through gangsters and emperors and brutes and saints. The loving hand on the forehead, when the fist of life is bashing her own head.” –Marlon Brando Interview with James Grissom/1990

Who’s who on set

This video from vimeo will help you understand.