Mock Sides

Ran across this website today : http://www.mocksides.com
they have scenes for workshop use and claim to be free –
let me know if you’ve used them and what you think.

Atlanta, Hollywood of The South

I was born and raised in Atlanta and was a child actor there… this was a long time ago… the industry has changed a lot. I am still represented there and I still submit auditions on tape there and I go home often, and sometimes even work there. Which is why I belong to different message boards and Facebook groups for Atlanta Actors and Productions. I saw the following helpful conversation pop up in a group and figured if you were contemplating a move to another market from LA or NY or anywhere really, this could be helpful advice.

“Actor #1: Saying Hi, I was looking into going where the ‘work’ is at the moment and it looks like Atlanta is it. Is it a good decision to migrate down there, get in with the casting offices and try getting some work? The South in general looks like that’s where the new tv series and new movies are being filmed. I did want to make it out to L.A. one day, but it looks like there are other cities that are getting more and more work. Any advice on making a move to Atlanta? I know it won’t happen overnight, but there is a lot more work down there than Philly. Thanks

Actor #2: As someone who lived in LA for a decade and then returned to Atlanta, here’s what I can say on the matter:
1. GA is the #2 production hub in the US now, with $4.5B in economic impact for 2014. There are a TON of episodic shows and films that shoot here.
2. It will continue to see an uptick in production because of liberal tax incentives, because NC has lost their tax incentives, and now, there is a full infrastructure here for studios, including Screen Gems, Pinewood, Sony, and Tyler Perry to name just a few.
3. The busiest airport in the world, coupled with a lot of geographical options make it a good option for productions.

Now, a bit of reality:
1. There’s at least 5,000-10,000 actors based in Georgia who already have agency representation. So you’d be competing directly with that.
2. There are hundreds of LA based actors who have “local” representation and who self-tape and fly in for callbacks. So, you’re also competing against them.
3. If you’re committed to moving to Atlanta for a solid length of time, making the connections, developing the relationships, and becoming part of the community, it’s a very feasible and doable situation. If you’re planning on just “trying it for a year” as some people think they can do, then you won’t see much success a)because of the competition and b)because of the fact that 90% of auditions are self-tape and it’s hard to create relationships via taping.
4. Finally, the reality is that here in Atlanta you’re going to have opportunities from Maryland, south and out to New Orleans which is a plus, but that also increases competition. The types of roles you can expect to audition for are co-stars for tv and quite small supporting roles/day players in films. Once you’ve built some credits and relationships, you could expect that to increase to guest star roles or recurring roles, but the film roles will remain on the smaller level. Hope that helps.

Actor #1: I didn’t realize Atlanta was that huge So I’m guessing it would help me to have representation before getting there. I’ve been submitting for a few background stuff in Atlanta and I’m in PA, do the casting offices even consider out of state actors for that work? I’ve been thinking about it for some time, watching the work that is starting down there, rent prices etc. I’m also a musical theater actor and v/o artist. I’m also looking for a place where I can completely start over, where no one knows me and I can take the classes I need to, network, go to workshops etc. Are there actor friendly ‘day jobs’ available? I’m not looking to star in anything just yet, just to get my name and face out there and land some background work.

Actor #3: Namaste. Move to #Bollywood. India is where all the international action is.

Actor #2: it’s like anything else, you can definitely make it work.

I know a lot of people who have actor friendly day jobs-you just need to be a valuable employee. Plus there’s the service industry too, of course. CD’s won’t consider out of state talent. There’s no need to do that when the market has more than enough actors here. The key is to learn the market, move to the market, get settled, get a job, then get involved. It won’t happen overnight.

Actor #1: Thank you. I’m very impatient and want things to happen right away, but looking at friends of mine that ‘made it’ they worked their butts off for years and now it just seems like it happened overnight for them. Very helpful advice.

Actor #4: Reality shows are popular (In Atlanta)….so I’ve heard…

Actor #5: I moved to Los Angeles from Charlotte, NC (my home town) about 3 years ago to pursue tv/film acting. I was only doing community and regional theatre at that time, as well as singing in a small a capella group and in a choir. It is tough out here. I am working part-time, in part-time Grad school getting a Master’s in PR/Advertising and acting as well. Sometimes I wish I had moved to ATL to launch my TV/Film career before coming out to LA as it’s a smaller market to conquer. I consider moving back (to ATL, not NC) all the time, but now that I’m in school out here in LA, I’ll at least be out here a couple more years. If things continue to look good in ATL for us actors (I assume it will only get more competitive), that’s my next move due to the lower cost of living (a lot lower!!) and the plethora of work. I think a lot of agencies in GA require you to have a GA address to truly be considered a local hire. That being said, I’m one of those LA actors pursuing SE rep while living in LA, which is also tough – I have friends and family all over the south, but even the ATL agents want actors with TV creds! (Or at least the big ones do) My plan is to build my resumé/credits/training/connections as much as possible out here in LA for the next 2-5 years, and then see where the market is. If it’s still ATL, I will see you there!!!! Good luck with everything I say build your training up and do theatre/industrial work (community, regional) where you are before making any move. Also, create your own content as well. Once your technique is solid and you know your type, have your headshots/reel/website, you can start networking, bc, really, that’s the key to getting any role, a one liner or a recurring, I’ve found. I’m not an expert, just spitting out my story from 3 years out here and a lifetime of pursuing acting (though I’m relatively young). You can do it!”

There you have it — the truth is in every story you hear from most working actors — do as much as you can – create your own content – be self motivated – work hard and then focus on your location – if you have stuff going on for you, people will want to work with you no matter your location. 

Advice to live by

“Talent: These days you have a better chance at your “big break” by putting yourself on camera and building an audience than you do getting headshots, finding an agent, auditioning 1,000 times, attending countless casting workshops, spending thousands each year and waiting, waiting, waiting. You can do both, but I bet 99% would get that break via your own work (if you have talent and are focused). Look around the industry at the people who have made their own careers. Same amount of hustle, but why (only) put your career in someone else’s hands?”
-Kristen Nedopak

Casting Director Round Table from The Hollywood Repoter

Why Atlanta? Why are the film and TV industries leaving Los Angeles?

My brother is a filmmaker – and he made this documentary about the film industry’s growth in Atlanta, GA. If you were wondering what’s going on down there and why.

Audition Tapes

As Much as I hate companies selling audition tapes because that’s just wrong – enjoy some of these and see what you can learn about auditions from them. Be in the moment. Find the characters voice within your own.

Luck?! P’shaw.

Booking Commercials – What are they looking at?

The 4 Factors of Booking Commercials

By Carolyne Barry
Feb. 11, 2014
From Backstage

“You get a commercial callback, and 10-25 actors are up for the same role as you. You either do a great job and don’t get booked, or you do a “so-so” job and you get the commercial. Rather confusing, right? You have to ask yourself what is going on in the minds of those making the decisions. How are they judging the actors and their auditions? Who gets booked—is it luck? Wonder what the factors are that lead to that casting choice?

Based on all my experience as an actor, casting director, and teacher, I do believe there is a casting formula utilized when booking actors for commercials. It is only my educated opinion, but I really believe that this is the formula and value percentages.

It’s 30 percent what you look like. Since there is some agreement between the ad execs and the director on the aspirational and/or inspirational looks of those being called back, your physicality is still important, but now since it is still subjective, it is about 30 percent. What’s also relevant in the looks area—especially at the callback—is when it is necessary to match actors with spouses, friends, colleagues, or family—do you look like you belong together. And often in commercials featuring several actors, it is important to have a variety of physical and ethnic types, as well as different ages of people.

Then, 40 percent is talent and creativity. What you do in your audition, how you take direction, your creativity, and talent now become the prominent factor.

About 20 percent is your attitude, personality, and essence. Those behind the table at callbacks are watching everything you do from when you walk in the room until you walk out. How you take direction, what questions you might ask, and how you relate to the director and others actors you might be auditioning with. Those decision makers are checking to see if your personality and essence is right for the role, and if there are any reasons why you would be difficult to work with.

The last 10 percent is wildcard factors. These could be anything from your wardrobe (which one of the decision-makers really likes for the spot) to any of the execs or director having subjective preferences or dislikes. I’ve heard so many wildcard reasons, i.e. one of the clients, not choosing an actress that everyone else wanted because she reminded him of his ex-wife. It could be the smallest thing like shaking hands with the director whose hands are sweaty which makes the director uncomfortable. There are too many subjective wildcard factors to cover here, but I am sure you can imagine others.

These considerations are just parts of the casting equation and are all considered. Know that if you are a great physical type for a particular spot and do a great audition, but come off arrogant or too silly then you probably won’t get the job. Also, if you have a really great personality and essence and are the perfect type, but don’t do a good job with the material or scenario then again, you probably will not get booked.

This information should help you to not take it personally or think you did a bad job when you don’t get a booking, and it should help you have the insight you need to put the odds in your favor for booking commercials. And by the way a lot of this is also applicable for booking smaller roles in film and television

For more information about commercial callbacks watch part 1 and part 2 of Commercial Audition Callbacks that feature four top L.A. casting directors.

Carolyne, a casting director, working actress, and director, is considered by agents, casting directors and students, the best Commercial Audition Acting Coach in Los Angeles. Since 1982, the Carolyne Barry Workshops have been one of the most successful, full training Acting Schools. Ms. Barry and her coaching staff have trained thousands of professional actors. The comprehensive acting, commercial, hosting, and musical theatre workshops and the teachers offered in her programs have often been voted the BEST by the Backstage readers. Follow Carolyne on Facebook and Twitter.

www.carolynebarry.com
www.mastertalentteachers.com“

Comedy Casting

I went to a Comedy Casting Panel at the SAG Foundation in Los Angeles all of the panelist are very accomplished professional casting directors that work on major TV & Film projects. The following is what I took away from what they said…

Their Favorite part of casting :
“I’m a People person i love working with actors & working with people”
“Fitting the puzzle pieces together – making sure it’s a balanced cast”
“I just Love working with the actors”

“Casting has changed we read with one person for a sitcom then we will tape it either producers choose from the tapes or sometimes its rare for multicam to have a live in person audition”
“We prefer an on tape audition because we can give you direction and get that perfect audition”

“On or off book doesn’t matter – always hold your sides!!!”
“Don’t bring in an iPad or phone as sides”

Mistakes :
“Don’t give a Disclaimer” – “no excuses”
“Don’t bring outside drama” – “don’t mention anything that happened to you outside of the room”
“An Actors job is to audition so focus on the audition and move on”
“Do the best you can”

The Best way to start over in an audition
“Just Keep going when you make a mistake”
“No one notices if the words are wrong – for single cam or taping”
“But in multi cam producers session you can’t do it again so do it right the first time”
“Don’t fight with a casting director”
“we want every audition to be the one that books it” “our glass is half full”

Pilot casting –
“look at the tone of pilot” – “look up past work of producers and directors”
“If you have questions ask agent/ manager / casting office”

“Pilots are harder to cast – setting the tone – building chemistry as opposed to fitting something small into a working puzzle – pilots are 10 weeks of casting – casting directors have to prove themselves and court the shows”

How to get on their radar –
“postcard that has a reason behind it (what I’m doing right now)”
“Don’t care who rep is if you look right” – “invites to comedy show” – “forget hard copy submissions”

Pilot season advice – “be available all the time” – “DO Not drink” – “be happy” – “be prepared”

“Don’t say you haven’t seen show / don’t say you don’t own a TV / I only watch films”
“Watch the show so you know what it is…” “Watch 10 min of every show on TV so you know what they ALL are”

Likes dislikes of headshots – “should look like you” “best version of you” – “most current you”
“Always staple together” – “bring headshot & resume”
“Have it out & ready to give don’t waste quality time”
Pet peeve – “perfume”

what we look for on a resume “don’t lie on it” “do comedy” – “comedy experience”

“Watch TV & imdb pro them”

“UCB – Eugene & Ben”
“Groundlings ”

Do you like improved button after dialogue ends – “feel it out”
“On tape ask … For live producers ask casting director first”

“Make it your own – doesn’t mean improv – just be you – give it your take”

Best advice – “do your audition – leave it in the room – it’s your job – do it right – make sure you do everything right – watch every show – do your best job – then let it go”

“Each experience you have brings you to the next
Don’t bring nerves or fear – just have fun – dont put pressure on yourself
Act every second that you can
YouTube, commercials, funny or die, classes act as much as you can”

“Book the room – just be you & be the best you – they are on your side & rooting for you”

“You got brought in because you are right”

“These 2-8 min are yours – take them & make them yours”

“Be confident & prepared”

Camera Ready for Auditions

Are You Camera-Ready for Pilot Season?

By Gwyn Gilliss
Feb. 18, 2014
From Backstage

“You control your audition—don’t let your appearance get in the way of your performance or lose you the job!

If you’re cast in a daytime or primetime series, film, or even a major market commercial, there are professional teams of people to make you look great. But if you’re on the set of a low budget indie, a non-union industrial, a Web series, or auditioning for a pilot, there may not be anyone to give you a professional camera-ready appearance. You have to do that on your own.

Sometimes the difference between booking the role and being told “You’re so good but we’re going with someone else,” is knowing a few simple things about make-up, hair, and lighting. No matter what project you’re appearing in or auditioning for, you need to look good. Being camera-ready for interviews and workshops is also important—especially if there’s a possibility that you’ll be meeting top industry professionals.

We recently had a marketing intensive workshop with a slew of a-list agents, network executives, and television producers on a panel. When asked who in the room of 25 actors they would call in, represent, audition, or hire for their series, they looked around the room, conferred with each other and said, “None!”

The attendees were in shock. Why wouldn’t they be considered for a contract or even a guest-starring role? The high powered guests hadn’t even seen their work since this was a no-audition networking/marketing workshop. Obviously, it wasn’t just about the audition or talent.

The answer? No one was dressed appropriately, looked fabulous, or gave the impression they were ready for a major role. No one appeared to be a star in the making. Since it was a weekend workshop most actors chose to come casual, even though they knew they would be meeting some pretty heavyweights in the business. Wearing jeans, sweats, t-shirts, no make-up for some of the girls—the general impression was that they were students in a class, not networking with a-list movers and shakers. First impressions count! Most pros decide in the first 10 seconds if they want to audition or hire you.

Here are some tips so you can always be camera-ready.

1. Bring your own make-up. Guys included. Powder is the secret! Everyone looks shiny, greasy, or sweaty on camera! It’s either the hot lights or your own nervous energy creating that non-stop sweat oozing through your pores. Unless you’re playing a long distance runner or are doing a remake of “Broadcast News”— remember Albert Brooks who was so nervous he had “flop sweat” when reporting the evening news—you don’t want to let them see you sweat. Use pressed powder in a compact. It has a flat, round, soft cotton pad that smoothes the powder on your skin—especially on your nose, forehead, and chin where actors appear to be the shiniest. Or you can use natural mineral grains with a large brush—both available at drug stores and cosmetic counters. You’ll be the actor who looks the coolest and the most professional.

2. Bring hairspray, gel, mousse, etc. Whatever you need to control your hair. Unless you’re running into the wind in a shoot, your hair will inevitably get in your face, your mouth. Nothing wrong with long hair, you just don’t want to be pushing it constantly behind your ears or flopping it back. It’s annoying to those network executives watching you audition.

3. Avoid bold lip colors. Ladies, avoid the deep red, black, wine, fuchsia, orange, purple, or other extreme shades of lipstick. (If your skin tone is very dark, you are the exception and some of these shades might work.) But most broadcast quality cameras are highly sensitive and will actually exaggerate the color and make it appear darker. You will look odd, bloody, or like a vampire. If that’s what you’re auditioning for—great! Try to go for a more natural or warm color of lipstick with a small amount of gloss. Be warned: heavily glossed lips aren’t good either.

4. Avoid certain colors of clothing. If you’re bringing your own wardrobe, avoid wearing red, white or black—especially for a commercial or on-camera audition. On a lower budget set, the lighting may not be too flattering so red may glare, turn orange, icky pink, or look like the color of blood—not very attractive. Black just looks dull and absorbs all the light and energy. White may “ghost”—that’s a thin green line that appears around you so you look ghostly. Dark wine, navy, evergreen, and dark grey all make you appear to be conservative, dull, or portraying a depressed character. If you’re forced to wear dull or dark shades, counter the effect by bringing a bright scarf, accessory. This could be the finishing touch to creating a unique character and performance! But these are just guidelines…follow your instincts for any audition.

You can impress any director, producer, or industry professional if you’re not only a brilliant actor but look like you’ve already booked the role! Being camera-ready is the secret!

As the founder and executive director of The Actors’s Market, Gwyn Gilliss provides free monthly info seminars, agent/casting director interview tele-seminars, weekly marketing tips, as well as many coaching programs to help actors break into both the NY and L.A. industries. Gwyn has tremendous success with her private career coaching clients. More than 90 percent get agent representation launching their careers with performances in feature films, Broadway productions, and Emmy-award-winning primetime TV series, such as “The Good Wife,” “White Collar,” “Grey’s Anatomy,” “NCIS,” “House,” “Law & Order,” “30 Rock,” “Criminal Minds.”

Email her to request a free 15-minute career session: coach@theactorsmarket.com.“