NYCastings

NYCastings - Advice - Spotlight on a NY FILM Success Story - Slamdance Award Winner - WELCOME TO PINE HILL

Mon, 30 Jan 2012 11:25:00 GMT

About to win the hearts of all actors reading this story, NY's Writer/Director/Editor Keith Miller just won Slamdance's Grand Jury Prize for Narrative Feature for his latest film - WELCOME TO PINE HILL.

WELCOME TO PINE HILL began as a short film after filmmaker Keith Miller and star Shannon Harper found themselves arguing over a lost dog one night in Brooklyn. Now a feature, the story delves deeper into the complexity of a reformed man who chooses to not argue with himself over the harsh reality of his own life about to be lost.

Sounds dark! And no doubt this film does yank minds into a vulnerably raw place. Yet in speaking with Keith Miller, I found the opposite.. I found so many illuminating thoughts.

A true actor's director, Keith Miller nurtures and embraces both truth and talent. Here is the story on his award winning journey...

Q&A with Keith Miller - Writer/Sirector/Editor of WELCOME TO PINE HILL.

Q: Writer/Director/Editor - seriously? How does one juggle that?

Be stupid and poor.

- insert both Keith and Kelly laughing. Then a pause for the full answer -

I've always directed and edited my films. I essentially cast as well because I see each as organically related but also autonomous. For every script... I write the script, cast it, shoot the movie and edit.

Q: Do you use casting sites?

Yes, I use casting sites. Some people came to audition for this film through casting sites.

Q: And what are your thoughts about casting sites?

I have very strong feelings about headshots.

For one film I did, I was trying to cast a woman and she sent a photo that was magic. I thought, "That is the face I am looking for." Then she came in and was beautiful, and 150 pounds heavier. If she had given me the photo of her 150 pounds heavier, I might of still thought to use her because she had a nice presence. But getting a headshot that reflects who you are when you walk in the door, that's crucial. And if you have a weird look in any way, admit it to yourself. Quirky is good. People send in headshots and they all look like a beautiful young actress, but then they walk in and are plain looking.

Your presentation should not be who you wish you were, but who you are. If you do 'stoner slacker' well because you like to smoke weed and hang out - come in as that. If you admit who you are and are true to that, when we see you we will think, "Yes! They are even more of the type we wanted than we thought."

You can't fool people into your being something else.

Q: What do you hope actors will realize about the casting process?

For the casting process, I hope all actors realize that the casting process happens long before I do the sides. If I meet someone and get a good feeling about them, I will keep them in mind. And a good feel for an actor can make a part change. I could think, "Oh, I was thinking of this character as a really mean person, but she has a bit of sweetness to her. Yes, sweet and mean. That's better."

Letting the actor kind of inform the part is a very big part of it for me. I let the actor inform the part and then when I am shooting I let the situations that are happening inform the idea for the scene. And then when I am editing, I look at what is actually in front of me. I'll see that I thought the film was going to go one way, but it was meant to go another.

In Pine Hill, the scene with the mother, that was meant to be a little more angry. But the immense amount of distrust she had experienced and the heartbreak that was etched into her nature pushed the scene a certain way. In the moment, their interactions were informing the scene in a much deeper way than I thought of originally.

For me, being informed by the realities on the ground is how I do it. So to have someone else edit would be weird because a lot of it is decided by my reactions. Another editor would be able to edit the movie, but they wouldn't edit this movie.

Q: You teach at NYU Gallatin School of Individualized Study. What do you teach?

At Gallatin, we create our own classes so I teach theory heavy courses like 'First Person Present Tense' that is inspired by this type of experience (the way he filmed Pine Hill). I take real experiences and put it into video, whether it is narrative, documentary or webisodes, where people are engaged in the real world.

Some professors have a specific style and students come out with modified versions of that. My style is based on the students. A lot of times I see a student doing something I would never do and I'm like, "All right, let's push this further." I make sure it is what they want to do, not what they think they should do. Just because you can do it, doesn't mean it is your voice. Make sure you are thinking clearly and honestly.

Q: You sound a lot like an actor's director, very aware of the individual. Is that true?

I find the process of acting challenging and I am very protective of my actors on set. Shannon said that he felt totally safe on set. He felt as if he could go anywhere. I try to set up the situation where it feels so real, where you can take risks.

And when it comes to editing, I get upset with editors who make a person look stupid. Everyone says "uh," but if you leave it in at the wrong time that is just mean. I work hard to make sure that you really go with the characters. Like with the mother (in Pine Hill), I didn't want anyone to laugh at her. I wanted to make sure that they were with her the whole way. It was important for me to edit and maintain the deep sense of humanity for each character that the entire movie is supposed to have.

I care a lot about the people that I work with. I think as a viewer it is weird if you don't like someone. Even the complexity of a bad person is interesting, so to limit that complexity, the layers of it, I don't see why you would do that.

WELL.... I see why WELCOME TO PINE HILL received such a strong response at Slamdance! A huge thank you to Keith Miller for sharing his unique way of thinking about actors and filmmaking.

To learn more about WELCOME TO PINE HILL check out www.welcometopinehill.com

NYCastings - Advice - Sunny Days Are Here Again! - 10 reasons to keep going in this business

Thu, 26 Jan 2012 11:32:00 GMT

^{Written by: Kelly Calabrese}

^{Neither rain,
nor sleet, and certainly not snow...}

^{Nothing can stop a dream from
happening for those who are truly passionate - according to these 10 creative peeps
that NYCastings met up with at the Sundance Film Festival where a ton of
snowflakes 'Sundanced' along with us.}

^{Here are 10 reasons to keep going... or as one
actor says... to, "be like a buffalo in the snowstorm."}

^{RASHIDA
JONES - On realizing that hard
times bring new gifts}

^{Q: Why do
you continue through the harder points in this business?}

^{You learn how much you love something by the
amount of adversity you face in trying to make it happen. We faced a lot of
that with this film (Celeste and Jesse Forever). Every time
something went wrong, we got another gift. We got a wonderful group of people
who came together just because they wanted to make a movie.}

^{Rashida
attended Sundance as a co-writer and star of Celeste
and Jesse Forever.}

^{Synopsis: A divorcing couple tries to maintain
their friendship while they both pursue other people. Check it out: Celeste and Jesse Forever.}

^{JOSH
PAIS - On re-engaging}

^{Q: Can you
share a time that you wanted to give up - but didn't - and the reason / what
pulled you through?}

^{I have been doing this for a couple decades. And
I certainly have had times where I have said to myself "Done. Not doing
this anymore." The beauty in those moments is that when I did re-engage, I
had less ego attachment and was more focused on the creativity of the art form,
and less attached to reaching a certain level.}

^{Being overly focused on getting somewhere other
than where I was never serves me.}

^{It's important to 'quit' thinking that if you
reach a certain level that everything will be better.}

^{Start by playing that you've already arrived and
the universe will align around that vibe, and you will book great jobs.}

^{Josh
attended Sundance with Price Check and Arbitrage.}

^{Check out Price
Check: Pete Cozy is having trouble resolving a happy marriage and
family life with rising debt and a job he hates.}

^{AND Arbitrage:
A troubled hedge fund magnate desperate to complete the sale of his trading
empire makes an error that forces him to turn to an unlikely person for help.}

^{DREAMA
WALKER - On trusting instincts}

^{Q: How do
you keep up your positive energy without getting sidetracked?}

^{I am still very much in the mindset that I like
to work on things that I am passionate about and care about. I carefully select
projects and trust my instincts on who I can work with and jive with. And I
find that if you are passionate about your work... it is magic.}

^{Q: Ever
second guess yourself?}

^{Absolutely. For a long time my focus was to break
into comedy and I kind of forgot that as a kid I would sing 'Le Mis' into a
mirror and cry. I forgot that I am innately very aware of my emotions and I
love dramatic acting. I was excited to do this film (Compliance).
To prepare, I went back to Stanislavski, revisited and tried to think a lot
about humans and the way we adapt when we are put in traumatic situations and
the stages of grief we go through.}

^{Dreama
attended Sundance with Compliance.}

^{Synopsis: When a prank caller convinces a fast
food restaurant manager to interrogate an innocent young employee, no-one is
left unharmed. Based on true events. See
what the controversy is all about: Compliance.}

^{HUGO
ARMSTRONG - Creates his own work}

^{Q: Your film
(OK, Good) is set against the backdrop of being an actor in Los Angeles and the
toll it can take on your soul. What is your advice for actors? How/why should
they keep going?}

^{Acting is really hard on your soul. It can
completely stomp you down into someone that you never thought you would be, and
not in a good way. This film (Ok, Good) is an examination of that. Dan and I
have known each other for a long time and I would come back after a
de-humanizing auditions. For example, at one audition everyone was asked to put
dirty wastebaskets on their head and tromp around. It was people just hoping
and begging for one place, in one job, that I wouldn't imagine they would be
proud of anyway. You have to decide right then if it is that important to
literally turn yourself into garbage for a national corporation, to be a part
of their campaign. If there is something else you would rather do - then you do
not have to feel like a jerk for not wanting to feel like a jerk all the time.
You should feel good that you went through the experience. For people who are inclined
to continue with it, if you have any desire to write your own stuff - that is
the way to go.}

^{Hugo
Armstrong came to Slamdance with OK, Good.}

^{Synopsis: A series of demoralizing auditions and a
cultish movement workshop push a struggling actor towards the edge. Check out: OK,
Good.}

^{BRAD
DRYBOROUGH - On having nothing else to
fall back on}

^{Q: Your
film, Doppelgänger Paul, has a
lot of melancholy moments in it... what advice keeps you going through the
harder times in this business?}

^{Mine comes from the David Mamet quote, "Those
who have something to fall back on, invariably fall back on it." I have
nothing to fall back on. I do other things, I write and direct but it is all
within the thing that I want to do, which is film. And the part I am most
passionate about is acting. There is nothing that is going to fulfill me in the
same way. It is about commitment. And I never set out to be a star. I set out
to make my living having fun. It's important to know that anything that you do
will have ups and downs. You will want to quit anything you do.}

^{Also, find good people to surround yourself with because
you are auditioning for a lot of odd stuff and feel like a meat puppet. It can
suck your soul. So find that group, those people that can help you feel good as
you are fulfilling yourself.}

^{Brad
attended Slamdance with Doppelgänger Paul.}

^{Synopsis: The unlikely relationship of two lonely
men whose connection sets off a chain of events resulting in the loss of a
thumb, the theft of a manuscript, and two appearances on a popular morning talk
show. Check out: Doppelgänger
Paul}

^{TYGH
RUNYAN - On being like a
buffalo in a snowstorm}

^{Q: What
keeps you going as an actor?}

^{There is a lot of commerce involved in film and
television and that complicates things because there are a lot of people who
aren't passionate about the craft, who just want to be famous. For me, it is about
self examination... "Do I need to do this?" and I am like "YES,
I love it."}

^{Unless you do love it and have a passion for the
craft, for telling stories, collaborating, and surrendering - then there are a
lot of easier ways to make money and easier ways to be famous.}

^{If you do feel passionate and have a love of acting
but feel stuck - just never, never, never give up. Be like a buffalo in the
snowstorm. They lower their head and they keep walking. If you feel like acting
is your purpose in life, you have no choice so enjoy!}

^{Tygh
attended Slamdance with Doppelgänger Paul}

^{ADRIAN
BUSTAMANTE - Finds the positive!}

^{Q: Can you
share a time when you wanted to give up - but didn't - and the reason / what
pulled you through the harder times of this biz?}

^{Any actor is going to go through the trials and
tribulations of this business. For
myself, I have heard "No" way more times than "Yes." And I
have been on hold for big films and television shows that I didn't get. The
biggest one was last year with the film "J. Edgar." I was one of three
or four people that were going to be cast as William Monohn (billed as
Gangster) and they dragged it out for a month, not letting me know what was
going on. That situation was disheartening because I was really close to
working opposite Clint Eastwood and Leonardo DiCaprio. But then I took it as a
positive - that this big director chose me as one of the top three or four
people. So, I kept my head high and kept auditioning. Things like that can
really hurt someone because they take it personal. But as actors it isn't
personal, it is just the way it works in the business.}

^{Adrian
attended Sundance promoting his upcoming projects including ABC's "Don't
Trust the B---- in Apartment 23" and Dark
Harvest.}

^{M SHAWN
CRAHAN OF SLIPKNOT - Would die for his art!}

^{Q: Can you
share a time that you wanted to give up - but didn't - and the reason / what
pulled you through the harder times of this biz?}

^{I am an only child and grew up in my own
imagination. I loved my dad very much but he suffered from alcoholism, and in a
way that helped me become who I am. They isolated me and built me an apartment
in the basement at age 4. I ended up teaching myself how to live. I get through
it by trying to love more than hate. It
is easy to hate and do wrong. Every day, art has been trying to kill me.}

^{No matter where the industry is, no matter what
is going on, the bottom line is... You
should try everything. A band shouldn't just sit down and worry what everyone
else wants. If you are doing it just because you love it, you will get
everything you want. Forget about the labels and the requirements. If you are
good and love what you are doing, you will get to call the shots. And love
means that if practice is at five, be there at four. Die for your art}

^{Shawn of
Slipknot (an American heavy
metal band from Des
Moines, Iowa) was at Sundance promoting the launch of their new
company Living
Breathing Films.}

^{MARZ
LOVEJOY - Uses
hard times as fuel.}

^{Q: You
started so early on in this biz, how did you find the strength to keep going?}

^{My mother has been a very big supporter so that
has kept me going and also just a love of the arts. I started early modeling
and with commercials, exposed to music. My father is a DJ and my mom an artist
so just the drive and passion for the arts kept me up. And writing, even when I
feel down. That is the best way to feel up again. Sometimes when I am feeling
my worst, that is when I can get the best work done. I embrace the challenges
and use them as fuel.}

^{Marz began
her journey at two, when she and her mother relocated to California. The
repetitive phase, "Don't tell me no, tell me yes," demandingly flew
from her lips. She came to Sundance with LUV.}

^{LUV Synopsis: Over the course of one day, a shy
13-year-old forms a bond with his troubled uncle. Check out: LUV
and www.marzlovejoy.com}

^{MIMI
JEFFRIES, PRODUCER - On team work!}

^{Q: Tell us about the challenges of making I am John Wayne and how you kept pushing
through it.}

^{We had a young minor, non actor,
riding on a horse through some of the most dangerous sections of Coney Island and
it became a logistical nightmare of dealing with the animal and with insurance.
We went through rounds and rounds of insurance applications with our school and
ended up having to do a 50 page security document including the routes that the
horse would take, how it would stop, and all the child labor laws - every
detail possible. We had a lot of people against us but collectively, as a team,
we felt as if the story had to be told so we fought for it.}

^{Mimi attended Slamdance
as co-producer of I am John Wayne.}

^{Synopsis: A lyrical portrait of 'Taco', a
young urban cowboy struggling with the death of his best friend. Check out: I am John Wayne}

NYCastings - Advice - Short Cut to Film Success - Spotlight on short filmmakers at the Sundance Film Festival

Fri, 20 Jan 2012 09:54:00 GMT

Written by: Kelly Calabrese

Go directly to Sundance!

Boy, does that statement sound exciting. And, although it is NOT that simple to get into the acclaimed festival - in fact some have called getting in "a minor miracle" - creating a short film is one way to cut through the seemingly 'A-list required' feature line-up.

To learn more about what it takes to get a short into Sundance, NYCastings reached out to 3 amazing directors. Here is the truth about their filmmaking road to glory...

Q&A with Director Kyle Henry

FILM: Fourplay: Tampa

Film length: 17 min

Q: What is the Inspiration / reason why you made this film?

FOURPLAY is a series of shorts regarding sexual intimacy that are designed to get adults talking about sexuality. FOURPLAY: TAMPA will certainly do that! My screenwriter Carlos Treviño got the idea for TAMPA from a conversation with gay friends about penis size and cruising. He also used a Tom of Finland cartoon as inspiration for the film’s setup and structure.

Q: How do you view the competition of getting a short into Sundance versus a feature?

I think it's A LOT more difficult getting a short into Sundance. The odds are so much lower than features! I've been entering shorts for over 20 years and this is the first time one of mine is playing. Getting in is basically a minor miracle, so shorts directors should definitely feel like winners!

Q: Do you believe that comedic shorts have an advantage?

There’s not necessarily an advantage in terms of winning the competition. As a filmmaker, it’s more fun to bring a comedy because there’s immediate and audible audience feedback. With dramatic shorts, audience reaction is harder to judge. If you’re doing your job well, you might get a few sniffles.

Q: How did you get such a big name, Michael Stipe, attached to your short?

I was fortunate enough to meet Michael's C-Hundred Film Corp business partner, filmmaker Jim McKay, when he sat on the Austin Film Society's Texas Filmmaker's Production Fund jury back in 1997 and awarded my doc AMERICAN COWBOY a big grant. I sent him the final film (Pointer: always do this when you finish your work!) and he liked it, so we've stayed in touch ever since. I got to know Michael through my feature ROOM, which C-Hundred executive produced. I've never met the man in person, but I gratefully count him as my mysterious benefactor. We’ve swapped email a few times. Thank you, Michael, wherever you are!

Q: You are attending Sundance with your short as a hopeful gateway to a future, accepted feature. How will you go about trying to make that next leap?

FOURPLAY is an anthology of shorts, and TAMPA is but one part. The feature is now complete and awaiting festival acceptance. In the meantime, we’re running a Kickstarter campaign to raise $10K for final sound mix/color correction and publicity for our launch. Please check out this link (http://www.kickstarter.com/projects/kylehenry/fourplay?ref=live) for more info about the feature. For a measly $10 donation you’ll be able to see our outrageous little film online shortly after Sundance.

Q: One of your actresses in a previous Sundance film, ROOM, in 2005 - went on to receive an Indie Spirit Award Nomination. As a director, how do you help to promote your talent?

Actors are everything! Without them, there would be no narrative film. I love putting them in the publicity spotlight when I can and giving them all the credit they are due. For example, Jose Villarreal, our lead in FOURPLAY: TAMPA, is insanely funny and totally heartbreaking in this role. We hope he’ll get some great character work out of this. He’s the kind of comedian/actor that inspires both love and laughter in his audience, which is really a rare gift. He’s a cuddly, Latino Charlie Chaplin/Charlie Brown. We were thrilled to discover him!

Q: Any advice for short filmmakers on how to get into Sundance?

Make a film you’re passionate about, one that challenges you and your audience to their limits and something you know needs to exist in the world because you’ve never seen it and you know it to be true. If you are going to do something as risky, as time consuming, as exhausting and all-encompassing as a film, you’d better care deeply about the message, themes, characters and situations you’re putting forward. That way, Sundance or no Sundance, you really can be happy with your limited time on this planet.

Q: You mention having a "Whole lot of fun" at Sundance. How can other filmmakers / actors make the most fun of HUGE experiences?

First, try to relax. The first time I went to Sundance with my feature ROOM I and lead actress Cyndi Williams were a bit of a mess. It didn’t help, but we got our act together but the middle of the fest and hit our stride when Cannes rolled around. Second, talk to everyone and really engage. Listen and really respond, just don’t wait for your turn to speak. Third, remember to have a sense of what you’ll say regarding your experiences making the film, especially exceptionally challenging and/or funny anecdotes. Clear all this with your directors/producers first, just to make sure no one is accidentally insulted or you’re not supporting the “party line.” Oh, dance, party and have fun! Just take it easy and stick to a one-drink max limit per party. Sometimes too much fun can get you into trouble.

Q&A with Director Andrew Ahn

FILM: Dol (First Birthday)

Film length: 11 minutes 11 seconds

Q: What is the Inspiration / reason why you made this film?

I made this film to come out to my parents. I knew I wouldn't be able to tell them, to say the words "I'm gay." So I cast my family in the film, but never told them that it was about a gay Korean- American man. The filmmaking process both distracted from and prepared me for the inevitable—that I would eventually have to show my parents the finished film.

Q: Why do you believe that your short made it into the festival?

I believe my short made it into Sundance because it has a very specific point of view. I presented a unique personal story and told it in a way that felt honest to me. The best way to stand out is to be yourself! Don’t imitate others.

Q: Does the Sundance team give you insight into why they chose your film?

They tell you a little bit about why they liked the film, but overall the Sundance programming team remains pretty tight lipped.

Q: Do you hope to make a feature of your film?

I would love to! Obviously, I can’t come out to my parents again! But the story still resonates with me; it feels rich, layered, and complex. There’s so much I could only hint at in the short film. With a feature, I could really explore the themes more thoroughly.

Q: What did you learn while making this short - that could help aspiring short filmmakers?

I learned that filmmaking is hard. If it’s easy, you’re not pushing yourself. If it’s easy, you can do better. There were so many opportunities for me to say, “OK, this is good enough!” But I kept going and I think it really helped the film.

Q: How do you plan to promote your film at Sundance - beyond the actual screening?

Press, parties, and the internet! I’m really fortunate -- my film is one of eleven Sundance shorts being screened on Yahoo! Screen. People can watch the short from the comfort of their own home. No need to brave the Utah cold.

Q: What advice do you have for short filmmakers?

Make something personal, something you’re passionate about. If you’re bored making the film, the audience will be bored watching it. And definitely surround yourself with good people. People you trust. People who can give you honest feedback.

Q: What do you most look for when casting actors for a short? And do you keep in mind their potential to support a feature version of the film, in the future?

I’m looking for actors who have similar life experiences to the characters in the film; they don’t need to have a lot of acting experience. They just have to be comfortable with who they are. I definitely keep in mind their potential to support a feature. But in some ways, the short is the more difficult challenge for the actor. You have less time to portray a fully realized character. You can’t afford a misstep.

Q&A with Director Rhys Ernst

FILM: The Thing

Film length: 15 minutes

Q: What is the Inspiration / reason why you made this film?

My goal was to tell a story about a transgendered person in a narrative larger than their identity, and to fold gender into universal themes that any audience member can relate to. Inspiration for the film includes the work of Pedro Almodovar, Todd Haines, and Gus Van Sant, who invoke queer themes while transgressing a strictly LGBT genre, putting forth humanistic, emotionally complex stories that are universally engrossing.

Q: You used kickstarter to get this film up and running - any advice or lessons learned from that?

Kickstarter is great, I've used it twice. Not only can you raise a lot of money, but because it's so public it generates a lot of awareness and interest in your project early on in the process. In my first campaign I went a little incentive crazy. I offered rewards that came from all over the place that became available at wildly different times. It was really difficult to track everything, manage and distribute everything efficiently. It created a lot work in the back end. For my second Kickstarter I kept the incentives really simple. Another mistake I made during my first Kickstarter was that I didn't build in enough buffer money in my fundraising goal to offset the fees that Kickstarter and Amazon collect (up to 9% total). One other tip: always donate to of your friends' crowd funding efforts in between your own campaigns-- what goes around comes around.

Q: You've used Social Media to raise awareness as well - any insight into how important Social Media is for filmmakers and how to best use it?

An example of how I used social media was to target LGBT and especially transgendered communities for casting purposes. One of the lead roles in my film is a transgendered man, and I was committed to casting an actual transman. I held an extensive nationwide search to find the right person and social media was a huge part of it. If you're dealing with niche groups, the most important thing is to educate yourself as much as possible about the community you're targeting. Niche groups are rightfully wary of being exploited or misrepresented by outsiders. It is fundamental that someone reaching out to niche communities educate themselves and be able to demonstrate their understanding in a compelling way. It's more than just email blasts and reposts; you have to gain their trust.

Q: You called Sundance "The Olympics of indie film" - how do you pre-prepare for the events you will encounter out there?

I've been getting as much sleep as possible ahead of the festival, taking vitamins, that sort of thing. I even went to the gym a few times! The other side of it is to prepare and practice your press notes, elevator pitches, sound bites, anecdotes, and so on. Public speaking and being "on" all the time is hard to switch into if you've been staring at a computer screen finishing your film for months. It gets easier with practice so having a few warm up sessions is helpful.

Q: Do you have a feature of your short, The Thing, already in mind or written?

A feature hasn't been written out yet, but there's a great deal more I would like to do with these characters. I feel like I've only scratched the surface. There's a lot more to mine.

Q: What doors have already opened for you by getting into Sundance?

There's suddenly a lot of interest. There's a lot of perks that come with premiering at Sundance-- filmmaker support, discounted services and so on. That said, no one outside of the festival team has even seen the film yet! My hope is that the bulk of opportunities are still to come.

Q: What is the thing - that you most look for in actors, while casting?

I respond to a naturalistic approach to acting. I hate it when actors are too showy, self conscious, or performative. If someone comes to me with that kind of showboating, I try to break it down and get them to authentically connect with the material and drop their facade. For us to get there together, the actor has to really be willing to work and go there with me and be willing to build trust.

Q: What did you learn about short filmmaking specifically - that could help other filmmakers?

I'm really happy with The Thing and the kind of film it is, but it took up an incredible amount of time and money. It was shot on super 16 with a whole crew on location. It's a very specific way of working. That said, I'm in the middle of a new short that has a completely different process. It's being shot very casually on a 5D. The shoots have been spread out over several months until it's convenient to pick it back up. The script is really lose and there's a lot of room for spontaneity. I don't plan on working in this way on every project, but it's been really liberating for the time being. It's kind of like getting out of a super serious relationship and having a fling with someone totally different from your ex. I would recommend short filmmakers to work in ways that are foreign to them and try totally new methods. You never know what will stick.

NYCastings - Advice - What it Means to be at Sundance - Pre-festival expectations and networking agendas

Wed, 18 Jan 2012 10:20:00 GMT

Written by: Kelly Calabrese

Regarded by attendees as "influential," "amazing exposure" and "a whole lot of fun" - Sundance 2012 is about to kick off in Park City, Utah and NYCastings has the pre-festival scoop for you! Starting with what it means to attend this prestigious festival... it's personal significance and career boosting potential.

Once you read this VIP glimpse into the minds of Sundance's hottest actors, filmmakers, and industry gurus - you'll want to leave on a jet plane and bask in the heat of Sundance too!

11 share their Sundance stories with you....

1. Kyle Henry, Director of Fourplay: Tampa

FOURPLAY: TAMPA - from Executive Producers Michael Stipe (R.E.M.) and Jim McKay, a surreal, slapstick comedy set in a public bathroom about a gay Latino "Charlie Brown" looking for love in all the wrong places.

Q: What does it mean, to you, to have a film at Sundance?

FOURPLAY: TAMPA's screening at Sundance first means a whole lot of fun for me and the crew! It's a Chaplinesque "NC-17" short about a Charlie Brown type guy looking for love in all the wrong places ... in this case a Tampa, Florida, mall restroom. All I can safely say is that Sundance audiences will have never seen anything like this and if previous screenings are any guide, l look forward hearing some squealing, hooting and hollering.

But seriously, we're also looking for distribution for the compiled FOURPLAY feature film, an anthology of shorts regarding sexual intimacy, executive produced by Michael Stipe. Distribution for the feature will go a long way to boosting the career of every actor involved in the project, especially TAMPA's lead Jose Villarreal, who gives a comedic performance worthy of Chaplin or Buster Keaton ... in a mall bathroom ... with a lot of other guys looking for love.

Q: How can going to Sundance boost a career?

I know Sundance can boost a career because I've been there before with a feature film, ROOM, in 2005. That film's lead, actress Cyndi Williams, got an Indie Spirit Award Best Actress nomination and was able to also attend the film's screening at Cannes' Directors Fortnight. That allowed Cyndi to acquire an agent and get gigs in projects such as HBO's "Temple Grandin." For up-and-coming actors, Sundance and Cannes can really open a lot of doors through the amazing exposure and industry presence in attendance scouting for talent.

CHECK OUT: Trailer: www.fourplayfilm.com/fourplay_trailers.htm

2. Eve Lora, Actor in Red Hook Summer - Spike Lee

Q: What It Means To Have A Film At Sundance?

In general, it is a huge accomplishment as Sundance is the largest Independent Cinema Festival

in the US. Personally, it is an epic moment in my career, as not only is the Director of the film Spike Lee - but Red Hook Summer is a personal project of his that has received big head Lines for its

participation at the Festival.

Q: How Can It Boost Your Career?

Immensely, the event showcases projects from America and International Independent Filmmakers. Your face and name will be recognized to the veteran Directors & also the Rookies that, tomorrow will become our veterans.

CHECK OUT: http://www.imdb.com/title/tt1989593/

http://facebook.com/evelora

3. Adrian Bustamante, Actor - ABC's "Don't Trust the B---- in Apartment 23, "

Q: Why are you attending Sundance?

The reason I am going to Sundance is to meet as many people in the industry as possible. I believe that you do not have to have a film in the festival to go. I still go to Sundance to get myself out there and talk about the projects I am working on. The projects are not a part of the festival, but they are a part of the industry and you never know who you will meet there. And people have their guard down. They are not worrying if you are trying to pitch them, so it is easier to meet people. And you never know what will come out of the meetings.

Q: Why did you hire a PR person?

I don't like talking about myself. I have a hard time doing it. I use the PR person to talk about me, to open the gates so I can walk in and it has been good. Josh is a hard worker and he has a mouthpiece on him so he is a good PR person for me. (Josh Mitchell http://wickidpissapublicity.com/)

Q: Do you go in with a set meetings?

Josh set me up with certain people and meetings with writers and producers . Everything is in close proximity there, it is easy to meet up. I go in with my set list and then that list quickly grows.

Q: Do you have a particular goal?

My particular goal is to be able to meet a lot more people in the industry that can affect my career and leave there with a few more people knowing who I am.

Q: So, going to Sundance can boost your career?

Yeah. I have some actor friends who have gone to Sundance and they met the right person who got them an audition or ended up getting them booked. So, there is proof in the pudding. Especially in this town and industry. You are always one conversation away from doing something that is going to expand your career.

Q: You're career is really rolling. What advice do you have for actors on how to present themselves as they network at a place like Sundance?

Anytime I go into a conversation, unless it is a specific meeting about a project, I just go in as I would when I normally meet people. You have normal banter about what are you doing at Sundance and during that I'll say, "I am an actor promoting a couple of shows and films that I am working on."

I take a soft approach versus actors who say, "You should put me in your show." That may work, but I am the type of person where I will have a conversation with you versus going in aggressive.

Q: Do you bring marketing materials?

Just business cards. For the most part, what I have noticed is that everyone is out there for a specific reason and everyone is walking around. So the last thing you want to do is give them a bunch of stuff. You just want to give something that they'll remember you by. Last year, I just asked for their email. I typed it in my phone real quick. Sometimes, that is the better way to go about it because I am being pro-active by reaching out the them. And that way I know I can keep in touch at another time.

CHECK OUT: http://www.adrianbustamante.com/blog.html

http://www.adrianbustamante.com/index.html

4. Colleen Davie Janes, Director/Producer

Q: What do you hope to get out of attending Sundance?

I get so much work done in one week at Sundance it's just wonderful. This year I am working on attaching myself as director to a feature, and with the assets I can bring to the table I look forward to finding a possibility at this Sundance. That said, I am also reaching out to Lit agents for top unproduced screenplays that speak to me as producer and/or director. I'm looking for powerful, commercial, moving and unforgettable stories. And commercial does not have to mean big budget.

Q: As a Director, how can actors best present themselves as they network with you at Sundance?

Actors can relax and have fun and talk about anything but themselves. I of course love to know who someone is, what brings them to Sundance, but in a chance meeting I want to know who you are. I also am there to meet producers, financiers, other Filmmakers - so actors who understand that are ahead of the curve.

Q: Have you ever scouted talent from a festival?

Only to the extent that I will see a film and remember a talent, or if I miss someone's film whom I meet they will follow up with a screener or invite to a live performance. Never from meeting at a party.

CHECK OUT: www.DavieJanesLocker.com

http://pro.imdb.com/name/nm1638633/

twitter: @scarletfurie

5. Andrew Ahn, Director of DOL (First Birthday)

DOL (FIRST BIRTHDAY): A highly personal twist on the coming out story, set in the Korean-American community of Los Angeles.

Q: What does it mean, to you, to have a film at Sundance?

It's amazing to be a part of an institution that has been so influential in shaping cinema. For small films like mine, Dol (First Birthday), to have a festival like Sundance screen your film is amazing. Small, intimate films can be important too! These films may not have special effects or big Hollywood stars, but they can be emotionally expansive. Sundance does the hard work to find these films and they give us an audience we normally wouldn't have.

Q: How can going to Sundance boost a career?

Going to Sundance will definitely give me the confidence to take risks, not only professionally but also artistically. I can tell riskier stories, try inventive cinematic story telling techniques. I hope that my risk taking helps diversify and enrich the medium.

CHECK OUT: Trailer: http://vimeo.com/23904100

6. Fuad Omar, Producer, Get Down Brown Productions Limited

Q: Why are you attending Sundance and what do you hope to get out of it?

The main aim of this trip is to meet certain people that is pre-arranged and also scout talent.

I'm very aware that Sundance is a film-lover's paradise so the reaction of the audience to talent is a good barometer of what people want to see. I'm also on the look-out for scriptwriters to commission some work to as we have a large number of projects and some that are delayed year on year, it'd be great to allow fresh blood to have a stab at it.

Q: How can a screenwriter make the best impression on you when networking at Sundance?

Be prepared and know your craft. When I speak to someone, I want to see passion and knowledge about the art of screenwriting as well as appreciation for commercial viability. If I meet someone and they can't follow through with a sample of their work which grabs me within a short span of time then they've wasted an introduction. I meet a lot of 'potential' screenwriters with a great idea for a story. We have treatments ready and are looking for scriptwriters to listen, understand the story we're trying to tell and ones that have the ability to make their mark on the story.

Q: Will you be looking for actors for future films while at Sundance, as well as scripts?

Sundance is an opportunity to make a great first impression. If you thrive in your work environment then you're soaked in it because of this event. You're surrounded by filmmakers, actors, crew and everyone else. If you're an actor and are eager to make an impression, don't let a moment pass you by because film festivals are one of those places where 'the hunger' is evident. Those hungry for work, enthusiastic about getting roles they can sink their teeth into and dedicated to making it happen are easily identifiable compared to those who are waiting to 'be discovered'. Have your showreel ready, follow up to ask what someone thought of it and ask to be kept informed on any relevant roles. You never know. I'm not looking for actors but if someone makes an impression on me I won't miss the opportunity to see them shine.

CHECK OUT: www.getdownbrown.com

7. Laurence Thrush, Director of Pursuit of Loneliness

Pursuit of Loneliness: When an elderly woman dies in a Los Angeles county hospital with no known next of kin, four strangers search for her family.

Q: What do you hope to get out of attending Sundance?

I am hoping to meet other filmmakers, directors, cameramen and producers. That is my main hope, to come away with a couple of people that I may keep in contact with; other writers and likeminded people.

Q: As a first time Director in the NEXT category, do you have any advice to future filmmakers on how to make a film on a budget?

Yes! I never do a budget, that's the main thing. Whatever it costs, it costs. If I ever did a budget and looked at it on paper, saw what it would cost me, I may have never done it. So, that is my advice.

CHECK OUT: http://www.pursuitofloneliness.com/

8. Marshall Lewy, writer/director of CALIFORNIA SOLO.

California Solo: A former Britpop rocker who now works on a farm gets caught driving drunk and faces deportation after living in Los Angeles for many years. His efforts to stay in the U.S. force him to confront the past and current demons in his life.

Q: What does it mean, to you, to have a film at Sundance?

CALIFORNIA SOLO is my first film to premiere at Sundance and I am honored to be included at the festival. Having a film play there has been a dream of mine for a long time, and it feels a little like being given a spot on the independent film all-star team. Sundance is very supportive of independent filmmakers and personal filmmaking at a time when it's tough to get those movies to a wider audience. I hope that by premiering CALIFORNIA SOLO there, it will get the chance to reach a wider audience so everyone can see the great work that was done by the cast and crew.

CHECK OUT: Web: www.californiasolo.com

Twitter: @californiasolo

9. Rhys Ernst, Director of The Thing

THE THING: A moody and mysterious road trip adventure about a trans-man and his beautiful girlfriend.

Q: What does it mean to have your film at Sundance?

Going to Sundance is like going to the Olympics of indie film. It's a ridiculously large affirmation of your work, but will no doubt be also be a humbling experience to be among some of the best filmmakers in the world.

Q: How can going to Sundance boost a career?

Just to be able to say your film has played there is huge. Before my film even premiered a number of doors opened for me. You're suddenly a contender.

CHECK OUT: Trailer: http://www.facebook.com/#!/TheThing.film

10. Selen Uçer, Actress in 'Can'

Can: A young married couple live happily in Istanbul, but their decision to illegally procure a child threatens their future together.

Q: What it means, to you, to have a film at Sundance?

I always thought Sundance as a very unique festival, it is kind of a 'myth'. Many directors that I am a fan of -Jim Jarmush, Tarantino and many others - started up their career with Sundance.

Being the leading role of a competitor movie at Sundance is a 'once in a lifetime' opportunity. Especially for me it is meaningful, since I am one of the very few Turkish actors who did a masters in acting in US. I lived almost 4 years in Chicago-New York. Especially in New York, as I was an intern at Ensemble Studio Theatre, - so I was a 'struggling' independent NY actress for a while- There was a joke between some friends, while we were rehearsing a scene-or auditioning for a show. We used to say: 'One day at Sundance, we will laugh about these days.' And it is happening for me now...It is a dream come true, what more can I say.

Q: How can going to Sundance boost a career?

I will see that after Sundance :) But I am aware of the fact that Sundance is the heart of new directors, new projects, international movies. So I am hopeful. This was my aim when I started my career, that's why I came to US for graduate acting program, to get a universal point of view and practice for acting. With ARA, previous movie in 2008, (I played the lead and got the Best Actress award at Adana Golden Boll Festival in Turkey) I travelled throughout Europe via couple of festivals. And now with CAN (dir by Raşit Çelikezer) at Sundance, we will be introduced to a worldwide network. I am grateful!

CHECK OUT: http://www.selenucer.com/

11. Raúl Castillo, Actor in MY BEST DAY

Q: What it means, to you, to have a film at Sundance?

For me, having a film at Sundance is about so much more than just what happens in Park City. Yes, being there means you are part of a legacy

of independent filmmaking of the highest caliber and that is an incredible honor. But it also means that the rest of the world will now stand up and pay attention to your film. People generally associate Sundance with a certain quality of filmmaking. It means our story will now reach a wider audience because of it. It gives the film a visibility and respectability.

Q: How can going to Sundance boost a career?

My first time at Sundance was in 2009 with Cruz Angeles's feature Don't Let Me Drown. It was at an after party for that film that I met My Best Day Casting Director Allison Twardziak. Here we are three years later, she brought me on board for MBD, the whole thing has come around full circle. So, yeah, this project, for me, is a direct example of how going to the festival can boost your career. Also, for a New York actor, it's a good opportunity to meet industry people from the West Coast; from all around the world for that matter.

CHECK OUT: www.smithyproductions.com/mybestday/index.html

NYCastings - Top Bookers - NYCastings Top Booker of 2011 - Sandra Palmeri

Wed, 11 Jan 2012 10:07:00 GMT

Sandra Palmeri breaks through - and - breaks down barriers.

Written by: Kelly Calabrese

HEAR YE - Get ready to believe that it's never too late to go after your dreams.... because this year's Top Booker for NYCastings has only 3 years of acting experience AND is female over 40!

Whoot! Toss Confetti!!!

Now please join me in a huge round of applause for this year's Top Booker - Sandra Palmeri who raked in 92 days of work, totaling over $25,000 just from submissions through NYCastings.

Indeed this is one fiercely inspiring success story. So without further festive rambling... here is how Sandra Palmeri made her magic happen...

Q & A with NYCastings Top Booker for 2011 Sandra Palmeri

Q: WOW, congrats. What helped to make 2011 so impactful?

One of the big changes that I made this year is to put a reel up on NYCastings. I originally put up a four minute reel. Then, I changed that to two reels - one for commercial and a separate reel for film. After that, very recently, I changed it again to one single reel, under two minutes, with everything from film and TV to modeling. I think that really helps because people can see who I am very quickly and they can make a decision in the first couple of frames... Do I like this girl? Do I want to book her?

Also, I always have my Blackberry on me and I try to submit as soon as possible. Sometimes I am busy working, but on the days that I have the liberty to submit right away, I do. I think it helps.

Q: Any other NYCastings tips that helped you book a ton?

Yes. Probably every month or so I update the pictures and even move them around. Sometimes I'll have one headshot up for a couple of months, if it is getting a good response. But then I'll move on to another. I think it is important to keep your headshots as current as possible with a range of looks.

Q: How often do you get new Headshots?

Once every year and a half. Also, I am always getting new tear sheets from jobs. I just got one from a medical shot and it's not a headshot but it's really pretty. I put that picture up on NYCastings right away.

Q: Do you use images, like the medical shot, when submitting?

When I submit, I keep it basic - please view my reel, resume and photos - and then just say thanks, Sandra. So I am asking them to view the photos and people do look at your pictures on NYCastings. I've booked a lot of jobs just off pictures. People will say they really liked a certain picture or they liked a jacket in a certain picture and want to know if I will bring it.

To me, the key thing in our business is the pictures. If your pictures don't look good, you are not going to get the call. That is your one chance. Even if the picture is an inch by an inch on the screen, it has to pop and make them want to learn what you are all about.

Q: How important are online casting sites to your success as a NY actor?

To me, I have to submit online. I can't just rely on my agent. I have to make my own work. It is pinnacle. It is the most important way I book work and for a potential client to see me. If I relied just on my agent, I'd book a much smaller percentage.

Q: Sounds like you are always at it. You have tenacity!

As far as the tenacity, I do keep at it. And once I book a job, I follow up with my clients. If I work with them once, I let them know that I am still around. If they are open to it, I send emails once every three months. I usually try and put something catchy in the subject line like "Sandra just booked an E.L.F. campaign for 40+ models." And then I start with something about the day and quickly get to what I'm up to with a link below to see more images or the commercial or whatever I've just worked on. I never ask for more work. It is a soft sell. Though, I did have one client ask me to stop. So I did. You've got to respect that.

Q: It doesn't intimidate you that a person asked you to stop?

No. You know, it's kind of funny. I was just analyzing my life the other day because I am reading "Eat Pray Love" and I was thinking of the apple falling close to the tree. My father was very creative. He was a cabinet maker and a dreamer. And my mother worked for an electronics company in sales and was always traveling and analyzing. And somehow, I got both their traits. I am creative, yet I look at this as a business and strategically look at how to achieve my goal. I take in what everyone says and let it feed me. It gives me more energy to move on.

You always have to look at the bright side. If you don't, in this business, you can get down quickly. Especially with the audition that I have this week. I had to memorize the script for the audition and I have been rehearsing. I know how many hours I am putting into it but I don't know what the casting director or producer will see - if they will realize the work I am putting into it. But I still work hard. I have to work hard to memorize and get into character and know who the charter is so I am prepared.

Q: Sounds like you live and breathe acting. Is it you full time job?

Some of my income still comes from my sales job, but I would say that I am a full time actor with other sources of income because on a daily basis I am working on my craft. When I am not applying for roles, I am working. This morning I had a booking for modeling, so last night I had to make sure that my nails were done, clothes laid out and nothing was left to last minute.

Q: Do you ever feel unprepared?

I did when I shot a travel rewards program. I was playing the host and I got the script at the shoot, after my makeup was done and it was four pages without a teleprompter. I had worked with them before and they thought I could just do it. We worked it one paragraph at a time. My throat was so raw by then end of the day, I couldn't even speak. And my mind was constantly working to pick up the line and deliver it to camera.

Q: How do you keep your nerves from taking over?

Sometimes the nerves are there, but I allow my personality to take over and shine through my nervousness. For the film I shot over the summer, "The Class Reunion," I originally auditioned for the Principle - a stern role. Then, the director called me and offered me the role of Cindy because I was more flirtatious and a little more righteous than the character I read for. My personality just came through. I thought I gave them what I thought they wanted. But really, I gave them me. And the role was perfect for me. I saw some of the film and I am very pleased with my work and my co-workers. The film looks amazing.

Q: You just let yourself shine through and that works?

Yeah! Of course, sometimes it doesn't. A few weeks ago I got an audition and a callback for a national commercial, but I didn't book it. For me, I just always keep rolling with it and try to not get discouraged.

It's difficult sometimes when I speak with people who are not in the business because they think that I must be so disappointed when I don't get a role and I think... yeah, but there is another job around the corner.

Q: That's a great way to look at it! And it must help to not seem desperate?!

That is something I learned early on - you don't want to let them see you sweat. I have always been a big believer of "fake it until you make it." I learned that when I was a hairdresser. The owner told me that "you can be a great hairdresser with a horrible personality and have no one in your chair. Or you can be an OK hairdresser with a fabulous personality and you will work all the time." I worked all the time.

Of course, it is a very fine line of knowing who you are speaking with and reading them the best you can. Don't try and say what someone wants to hear, that would be fake. But if you see that someone is stressed out, don't sit there and make small talk. It's about knowing what to say and what not to say.

Q: So... You got discovered while working as a hair dresser, right?

Yes. I am going on my third year in this business as an actor but I got discovered as a model while hairdressing. I was modeling full time in my late twenties early thirties.

Q: What brought you to acting 3 years ago?

The economy changed and the company I worked for decided that everyone was no longer going to get a salary. All sales people were going to work on commission. So I decided to start modeling again and get back in the business. I called one of my old agents and spoke with my booker and got new pictures. I also started submitting to acting jobs and started booking background. And I remember I was on the set of "Ugly Betty" and someone backstage asked if I was an actress. I said no I was a model. But then they gave me a monologue to read and they told me that I was an actress. So, I declared myself an actress.

Q: How often do you study acting?

I am currently studying with AFTRA and they have classes for scene study, on camera and voice technique. I take them all on a regular basis. At least once a week. I also work with a couple of different actors from AFTRA on scenes. We met every week over the summer to help each other.

I feel that networking and getting a core group of actors together to see what works and doesn't work - really helps.

Q: And you often book repeat business?! Like for BLUM and FINK - you worked a lot with them this year.

Yes. I originally booked BLUM and FINK through NYCastings. They liked me when I met them. They thought I was the perfect personality, age and height. Also, because I have the sales background, when I am in the showroom I know how to work with the high-end customers. I don't say much. But when someone does ask me a question, I know what to say.

I feel as if I put a good reputation out. That if you booked me once, even if it was a year ago, you will remember me.

Q: Sounds like you have your act together!

I do have my act together and I don't know how! I guess, I observe people and try to make the best choices in situations.

In life you have a choice. You can choose to be one way or another. Every day you have choices from how you dress and take care of yourself to how much sleep you get. I also read a lot. That helps too because you can get a collective idea of what works.

My fiancé calls me a spin doctor. He says that I can spin something out of nothing,

With your imagination anything can happen.

Q: Any advice for NYCastings members for 2012?

I would wish for everyone to just keep trying and really learn from mistakes. Look at the opportunities not the negatives. That's really how you get through life the best way.

In my world, bright and shiny wins the race.

Sandra's Jobs booked:

Date   Job                                        Rate           Hours     Total
1/1/11 Concept TV                             300 day              4      $300.00
1/1/11 St. John show                         150 hour              3     $450.00
1/2/11 Jimmy Fallon show                  150 day             3      $150.00
1/3/11 Tri Star- chopper                      200 day              4      $200.00
1/5/11 Tri Star- genie Bra                   225 day             8      $225.00
1/19/11 The Good Wife                      144 day               8      $144.00
2/5/11 Aluma- Wallet                         150 Day              3      $150.00
2/8/11 Rachal Ray Show                    473 day               2 hours fitting/3 hour shoot $473.00
2/8/11 Rachal Ray Show                    354.75 Residuals         $354.75
2/8/11 Rachal Ray Show                    165.55 Residuals         $165.55
2/14/11 Blum and Fink                     300 day              4     $150.00
2/15/11 Blum and Fink                      300 day               4      $150.00
2/16/11 Blum and Fink                      300 day               8      $300.00
2/17/11 Blum and Fink                      300 day               8      $300.00
2/11/11 Tri Star - Salad Chopper         400 day               8      $400.00
2/9/11 RMA NY Shoot DR                 125 day               5      $125.00
2/13/11 Out of a Clear Blue Sky Film 25 day                  1       $25.00
2/18/11 Jewelry Shoot                       100 day               4      $100.00
2/24/11 The Good Wife                      144 day            14.6   $325.66
3/1/11 Blum and Fink                        300 day               4      $150.00
3/2/11 Blum and Fink                        300 day               4      $150.00
3/3/11 Jordan Fashions                     100 hour              2      $200.00
3/7/11 Eden TV Pilot                         144 day               8      $144.00
3/9/11 Blum and Fink                        300 day               4      $150.00
3/10/12 Blum and Fink                      300 day             12     $300.00
3/16/11 Blum and Fink                      300 day               4       $150.00
3/20/11 HBO Go                               400 day               8       $400.00
3/21/11 Blum and Fink                      300 day               4       $150.00
3/23/22 St. John show                       150 hour             4      $600.00
3/24/11 Blum and Fink                      300 day               1      $150.00
3/24/11 Georgetown TV Pilot             144 day             12.8    $336.93
3/30/11 Blum and Fink                      300 day              4       $150.00
3/31/11 Rachal Ray Show                 473 day              2 hours fitting/3 shoot $473.00
3/31/11 Rachal Ray Show                 165.55 Residuals          $165.55
4/1/11 Blum and Fink                        300 day               4       $150.00
4/7/11 Leggiadro                               150 hour              2       $300.00
4/14/11 e.l.f shoot                             500 day               8       $500.00
4/22/11 The Good Wife                      144 day              4       $288.00
4/23/11 Lichi shoot                           500 day              6       $500.00
4/24/12 Board to Death                      144 day            14.5    $342.30
4/25/12 Board to Death                     144 day             14     $300.00
4/27/11 Blum and Fink                      300 day               4      $150.00
5/2/11 Blum and Fink                        300 day               4      $150.00
5/10/11 Blum and Fink                     300 day             10      $350.00
5/11/11 Empire Gold and Pawn        350 day              6       $350.00
5/31/11 Blum and Fink                    300 day              4      $150.00
6/2/11 Leggiadro                              150 hour             2      $300.00
6/5/11 Jordan Fashions                   100 hour             6      $600.00
6/6/11 Jordan Fashions                     100 hour            5.5    $550.00
6/8/11 Blum and Fink                        300 day              4      $150.00
6/14/11 Conair Show                         200 day              2      $200.00
6/23/11 Human Relations Media         175 day              8     $175.00
6/29/11 Satin Smooth Conair              400 day            10.5 $550.00
7/20/11 Blum and Fink                      300 day              4      $150.00
7/21/11 Blum and Fink                      300 day              2      $150.00
7/21/11 Concepts TV                        200 half Day        4      $200.00
7/25/2011 The Class Reunion Film     2% of sales         6      $-
7/26/2011 The Class Reunion Film     2% of sales         4      $-
8/3/2011 The Class Reunion Film       2% of sales         4      $-
8/10/2011 The Class Reunion Film     2% of sales         4       $-
8/14/2011 The Class Reunion Film     2% of sales         8      $-
8/1/11 Jordan Fashions                     100 hour              2      $200.00
8/2/11 Person of Interest                   147 day               4      $147.00
8/4/11 Concepts TV -Pedi Spin          100 shoot            4      $100.00
8/15/11 Voyage.TV.com                    250 day              4      $250.00
8/16/11 Concepts TV Mat Shoot        250 half day         4      $250.00
8/18/11 Amber Alert PSA                  Free                    3      $-
8/18/11 NYAC show                         175 show             2      $175.00
8/22/11 The Good wife                      147 day             13.3    $351.35
8/24/11 Kavoo/ Eagle Air                   250 day               8      $250.00
9/8/11 Leggiodro                              150 hour              2       $300.00
9/11/11 Scenes for the Eproch film     100 day              3       $100.00
9/15/11 Bloomdales show                 300 show             2      $300.00
9/22/11 AHRC Show                        175 show             2      $175.00
9/23/11 THE READING HOSPITAL AND MEDICAL CENTER 1200 day 8 $1,200.00
10/7/11 The Good wife                      147 day             14.5    $341.29
10/17/11 Uber Stock                         300 day            3       $300.00
10/18/11 Gerard's Garage Door Shoot 450 day              2      $450.00
10/19/11 Gerard's Garage Door Shoot 450 day              2      $450.00
10/25/11 Voyage.TV.com - Travel Rewards Host 1500 day 9.5 $1,500.00
10/28/11 Sandra Lee Friendsgiving with Baileys 500 day   3.5   $500.00
11/3/11 Bloomdales show                  150 show          3      $200.00
11/8/11 Pan Am                                147 day            14.5 $495.30
11/17/11 The Good wife                     147 day            2.5     $147.00
11/30/11 Womens Wellness shoot for Image source 150 day 8 $150.00
12/1/11 Leggiadro                              150 hour            2      $300.00
12/3/11 Leggiadro                              150 hour            2      $300.00
12/6/11 Rachal Ray Show                   473day             3      $473.00
12/8/11 The Good Wife                       147 day            8      $186.36
12/11/12 Jordan Fashions                   100 hour          8      $800.00
12/12/11 Jordan Fashions                   100 hour           5      $500.00
12/13/11 The Good Wife                      147 day           7.5    $186.00
12/14/11 Corp Shoot for Live World       50 hour            1     $50.00
                                                                           Total    $25,840.04

NYCastings - Advice - So... Tell Me About Yourself - What this question REALLY means - agents weigh in

Tue, 20 Dec 2011 11:21:00 GMT

written by: Kelly Calabrese

Tell me about it, stud...

This legendary statement made by Olivia Newton John in Grease, packs quite a punch because she says so little - and yet so much.

In many ways, actors are expected to make the same kind of swift impact when they engage in conversations with agents. Actors need to share who they are while being "honest" - "confident" - "contagiously passionate" and "themselves" at the same time.

Sounds simply tricky. For sure!

To help... NYCastings sought insight from four agents on how to answer the infamous one liner - "So, tell me about yourself."

Anthony Higgins - Print Agent, MSA Models

Q: When it comes to the question, "So, tell me about yourself" - what do you really mean?

Typically, this is a chance for the agents to see how these people will react when they are in front of clients. If they are nervous, avoid eye contact or can't "sell" themselves to me, how are they going to impress our clients.

Q: What do you want to know?

I want to see how they present themselves, more than knowing all about them. It takes time to get to know people.

Q: Do you have a TIP on how actors can best present themselves when answering this question / meeting with you?
Just to be confident, make eye contact, be easy and comfortable. We can smell desperation and it's not attractive. We also don't typically like cockiness either. Sometimes the sense of entitlement that people have when they walk in the door for a meeting is overwhelming. The modeling business owes these folks NOTHING, and they need to know that until they are prepared, easy to work with and exactly what the clients want they will constantly be subjected to proving themselves in a very competitive world.

Craig Holzberg - Agent/Owner, Avalon Artists Group

Q: When it comes to the question, "So, tell me about yourself" - what do you really mean?

I don't really ask this question specifically, I asked more pointed questions to get to know the actor.

Q: What do you want to know?

Where are you from, how long have you been in NY/LA, why do you want to be an actor, what are your dream roles, etc. This gives a very good insight into who the person is.

Q: Do you have a TIP on how actors can best present themselves when answering this question / meeting with you?
I think that they should be honest first and foremost and focus on the interesting characteristics, what makes them stand out from all the other actors.

Jim Daly - Agent, Bloc Talent Agency

Q: When it comes to the question, "So, tell me about yourself" - what do you really mean?

I've been the victim of a response like "Well, when I was 4 years old..." A long detailed history of why you're in the business is usually not what we're looking for.

Q: What do you want to know?

I am interested in what you are passionate about today and what you're doing or have done recently to come closer to the goals you've set.

Q: Do you have a TIP on how actors can best present themselves when answering this question / meeting with you?

Your passion should be contagious. Before you leave, I should want to join your team and help you achieve your goals. The best way that's going to happen is for you to have a positive attitude and confidence in what you bring to the table while avoiding sounding overly confident.

Carole Ingber - Commercial Agent/Owner, Ingber & Associates

Q: When it comes to the question, "So, tell me about yourself" - what do you really mean?

I would not ask that question. When I meet with people, I look at their resume and I'll ask, "Do you go out commercially?" Every agent does things differently. That is why some people are with me and some aren't. It is all a case of what people are comfortable with.

Q: What do you want to know?

Wherever the discussion goes is where it goes and that will give me a sense of the person. Today, I met with a girl who talked about how she grew up on a farm. I learned about who she is and where she is from. Through conversations is how you learn who your clients are. It is about the relationship.

Q: Do you have a TIP on how actors can best present themselves when answering this question / meeting with you?

To be who they are. To be themselves. Don't be who you are not.

What helpful insight from Anthony Higgins, Craig Holzberg, Jim Daly and Carole Ingber.

Thanks for sharing, studs ;)

NYCastings - Advice - Dressing for the Part - Advice from Agents and Actors

Tue, 6 Dec 2011 09:58:00 GMT

Written by: Kelly Calabrese

As we all begin to Deck the Halls and get decked out for Holiday parties, it seems like the ideal time to also chat about dressing for a part when it comes to auditioning for print, commercials, theatre or movies!

"Dressing for the part, when requested, can definitely up a person's chances of getting the role," shares Charlie Winfield - who is part of a dynamic commercial print division team for kids/teen and adults at FFT/ FunnyFace Today, Inc .

However, if an actor gets the wrong information it "can seriously affect their chances at the audition," according to agent Peter Coe of Peter Coe Talent.

To weigh in on the pros and cons of getting decked out for a potential job, NYCastings asked Charlie Winfield, Peter Coe - as well as three New York actors - to share their insight and experiences with us...

Insight from Charlie Winfield

"When it comes to the actual auditions, when the client requests it, we do have them try to look a certain way whether it be in scrubs, or a specific wardrobe request," Charlie shares.

To make sure that the actor dresses to impress, "It is really about them paying attention to the specifics as much as possible. If we say we want you to come casual, we mean casual not business casual to business to upscale and so forth."

"Dressing for the part can definitely up their chances of getting the role but it can sometimes become a hindrance," says Charlie. "If they are dressed too specifically, it can actually talk them out of a job."

"You have to be careful because people have a vision of what they think the casting director is looking for, but they don't really know. So, if you are going to dress very specifically, it better be flawless and perfect to what the client is looking for. If it is not perfect for what the client wants, it can hurt your chances. And, the casting director may want to see you change it up at the audition. So you don't want to marry yourself to one specific thing. You want to be able to show adaptability."

"I think actors can get too caught up in the wardrobe, in the look," says Charlie. "The biggest thing for actors is to not think too much. We want to see you be the role. Put yourself in the situation and just be."

"It's not just about looking the part, it is about being the part," shares Charlie Winfield.

http://www.fftmodels.com/

Insight from Peter Coe

Q: Do you believe that looking the part can help up an actor's chances of booking a role? - any examples of when this worked for someone?

YES. You want to play the role as much as possible at the audition. One guy had to play a boyfriend to his girlfriend in a Longhorn Steak House audition. During the audition he got down on one knee and proposed to the actress playing his girlfriend. He booked it on the spot. It was National SAG

Q: Can an actor go overboard with dressing the part - any examples?

If they are not given proper wardrobe by their rep, it can seriously affect their chances at the audition.

Q: Any general advice regarding 'looking the part' that could help NYCastings actors book more jobs? Ask your rep all the right questions about the role and the character. Or if an actor is called straight by the CD, make sure they ask them the same questions. Know as much about your character and role as possible.

On becoming the part... with actor, model Matthew Perella

"I once dressed up as a Jersey Shore Guido for a big spot in a Gap Campaign and had to not only look the part but act the part too," shared Matthew Perella. "I went into the audition with my hair super gelled, big silver chain around my neck, silver bracelet, silver watch, diamond earrings, wearing a wife beater and tight crazy looking jeans. I had to act super cocky with my attitude and with my body so the clothes that I wore really helped me get those personality traits across, and I ended up booking the job out of hundreds of other men."

"Another time when dressing the part helped was when I had an audition for an independent film to play the role of a military soldier. I dressed up in my Marine Corps fatigues and rocked it out. A lot of people didn't go dressed in uniform. I was, and with my military background I was able to make the uniform and character come to life in front of the casting directors. I ended up booking the part."

Q: Do you feel that dressing for the part ups your % of booking?

I do feel that it helps because it gives the casting directors a better idea of how you would look while doing the actual character they are trying to book.

Q: What specific marketing materials do you have with your "look(s)" if any?

Cowboy, Dad, Business Man, Fitness Guy, Jersey Shore Guido. I try to have material that will help me look the part for when I audition.

Q: Do you have any other uniforms you use like... Cop, EMT, tuxedos? If so - how have they helped you?

I have a Marine Uniform, Tuxedo, Baseball Player and many more. Only a few of them have helped me in the past. I feel that just wearing the correct uniform doesn't give me the full advantage. It's taking the uniform and becoming the character in it - making it real and believable - that gives me an advantage.

Q: Any advice regarding 'looking the part' that you can share with fellow actors?

Look the part but become the character.

On becoming the part... with actor Robert Keiley

"My thing is this, when an actor has an audition they have to dress the part because that's the first thing the casting director is going to notice when the actor walks in the room," shares Robert Keiley - an actor who also shared advice in a NYCastings Spotlight.

"With me, as an actor, I have made the decision to focus mainly on my type, which is blue collar. A lot of actors in my opinion submit for everything. And maybe that works for them. But for me, I know who I am and I know my type so I go directly for those blue collar roles. Most roles that I play are cops, construction types and firemen so when I submit, I try and use the uniform that the character would be in. If I am submitting for a cop role, I use my cop uniform. And when I get the audition, I show up in that exact look. "

"Also, when a film is looking for a cop, I make sure to mention in my submission that I have a full cop uniform. If I was submitting for a military type , I would make sure to mention that I have that necessary uniform. There are so many companies out there that supply uniforms. For an actor who is submitting for a role, for anything from a cop to a doctor, that actor should have a photo in that uniform and have the uniform available for casting."

"I strongly feel that an actor has to look the part at the audition," shares Robert. "And I know that looking the part has helped me book several national commercials, films and shows. I definitely use the advantage of my real life experience as a cop, firemen, and Marine to mesh with looking the part."

http://robertkeiley.com/

On becoming the part... with actor, model Billy Freda

Q: How does dressing for the part up your % of booking?

Because casting directors don't usually get the final decision on selected talent, producers or marketing clients do... it helps them to be able to visualize the talent, the needed character. Hence, it helps you as an actor, to help the decision maker.

Q: What specific marketing materials do you have with your "look(s)"?

Well, since almost everything today is electronic and email, my main marketing materials are my online portfolios. And basically the more looks you can "pull" from, the more specialized you can customize your submission.

Q: Do you have any other uniforms you use like... EMT, DR or nurse garments, tuxedos? If so - how have they helped you?

I tend not to "dress" in a uniform or costume unless requested or suggested. I have access to Police, DR, Tux, Priest etc.

Q: Any advice regarding 'looking the part'?

Sure...."tweak" yourself to fit the character, but don't force something you're not....it'll show in the audition!!

Thanks to Charlie, Peter, Matty, Rob & Billy for dressing up this article

with your sharp insight!

NYCastings - Advice - How to Book Repeat Biz.- Advice from successful NYCastings members

Mon, 14 Nov 2011 09:44:00 GMT

Written by: kelly Calabrese

I repeat, I repeat... If you want to score more acting jobs - book the company, not just the gig.

As an actor, you know the work that goes into getting auditions. Every day, you pour your soul into training, submitting and audition prep-work. When you land a job, it's total victory! And... a chance to book repeat business.

So... to help NYCastings members make the most of every opportunity, we asked fellow members to share how they've turned their "one day gigs"... into long lasting RELATIONSHIPS!

Q&A with NYCastings Repeat Bookers

LINDSAY-ELIZABETH HAND

Since moving to NYC two years ago, Lindsay-Elizabeth Hand has been lucky enough to be cast in over 50 different Union and Non-Union projects here in NYC. Acting has been her only job since last June, and her main goal is to ride this wave as long as she can.

As of late, Lindsay-Elizabeth is putting all of her energy into her new theatre company that she just started this summer – Edge In Motion Theatre Company. However, to arrive at this point in her career - Lindsay Elizabeth made many lasting impressions.

Here is her repeat biz story & advice for fellow NYCastings members...

Q: What client(s) invited you back?

Repeat customers include – College Humor, Oxford Shakespeare Company, a Casting Director from Women's Entertainment Network (WE), a director who is at Nicu's Spoon Theatre and Identity Theatre Company, and up and coming film directors Daniel DiFilippo and Jean-Louis Fragnay, to name a few.

Over the course of living here for the last two years, I have developed a network of people in the industry – through auditioning, attending showcases, industry mixers, etc. Because of this - I have a base of indie film and theatre directors, who pass my name around because they had a positive experience working with me.

Q: How did you come across the audition notice(s)?

I find a lot of my auditions on NYCastings - actually some of my favorite gigs that I have ever booked, I found at NYCastings. I booked all my College Humor shoots, my most recent play, a Keds Spec. commercial that eventually went National, and an Apple and Eve commercial – all from NYCastings.

Q: Did you stay in contact after the shoot(s)? If so, how?

I always stay in contact with people after a shoot. I want them to remember me for their next project! I bring business cards to the shoot so I can pass them along to anyone interested. I always follow up with a cute and short email thanking them for the opportunity. If it's appropriate, I usually add them on my favorite social networking site, and I always check back in every 3 months. It's good to make friends or at the very least – be friendly.

Q: Why do you think they wanted to work with you again?

I stay caffeinated, happy, and organized. I respond to emails quickly, I am always on time, and I am a positive person when I show up. In other words, I strive every day to be PROFESSIONALISM, and to conduct myself as my own business. Over time, your network grows, and I like to find a way to connect people in my network with each other. If I hear someone saying, “Oh no, our editor is backing out last minute!” I will chime in with “Hey, no problem! I know a great editor. Would you like her number?” Hopefully, that good karma comes your way later on (and even if it doesn't, you still really helped them out).

- Great advice! For more info on Lindsay-Elizabeth Hand check out www.lindsayelizabethhand.com

JONATHAN DWYER

Prior to acting, Jonathan Dwyer expressed his artistic inclination as a portrait painter. His deep interest in the human condition led him to the heart of Manhattan's theatre district where he was accepted into Catherine Gaffigan's two year method acting program. Since then, Jonathan has continued to advance his training while working in Film and Television.

The roles he goes out for are so varied - from commercials, shorts, and features to comedies, thrillers and romance. "As an actor starting out," Jonathan shares, "you have to be open to all roles and take each and every opportunity that comes your way."

With regards to Jonathan's goals, he wants to quite simply continue to find success, challenge himself as an actor and most importantly, have fun!

Q: What client(s) invited you back?

I have been called back by numerous clients, most recently “Shock Blocker", a sports aid for tennis and golf players. This was an all media commercial shoot and they have invited me back for a new shoot commencing this month. I have also worked repeatedly with “Porsche Design NY” - having first found the casting on NYCastings.

In addition to this I have also been invited back for principle roles on TV shows “Celebrity Ghost Stories” and "Celebrity Close Calls” as well as two additional short films which are currently in pre-production. I am also on hold for two additional commercial shoots.

Q: How did you come across the audition notice(s)?

ALL found on NYCastings.

Q: Did you stay in contact after the shoot? If so, how?

I also ALWAYS take a moment after each and every shoot to personally thank members of the crew for the opportunity. I have received so many emails from crew members and directors alike asking for my availability for additional roles, and also friendly notes just saying 'thank you' for being part of their project.

Q: Why do you think they wanted to work with you again?

I would like to say it's my professional and reliable attitude but to be honest it could come down to me looking and sounding the part for certain roles. I do believe; however, the simple gesture of a thank you, and giving them the best you can give, goes a long way. And of course, always being friendly and personable with everyone on set.

- Thanks Jonathan! To learn more about Jonathan Dwyer check out www.jonathandwyer.net

SANDRA PALMERI

Sandra Palmeri kicked off her career as a professional hairstylist. From there, she was quickly discovered and soon became a Fashion Model working with several top designers. Acting professionally for just over two years now, Sandra is loving it. Her goal is to land a recurring role on a Prime Time Show or on a commercial as brand spokesperson - like the T-Mobile girl or Progressive gal. In fact, a few of her customers already say she's "their face on film."

Sandra's belief in herself and the things she can control are her driving force. "Remember," Sandra says, "never beat yourself up today for what you can learn tomorrow."

Q: What client(s) invited you back

Several clients have invited me back to work with them again and again including Voyages.tv, Bloomingdales, Tri-Star Products, Concepts TV, Reading Hospital and Medical Center, Conair and CHANEL and several Directors such as David Winkfield for "Anatomy of the Lonely" and Gerren Daniels for "Penitence."

Q: How did you come across the audition notice(s)?

On NYCastings.com and Actors access, I got the audition and just won them over :)

Q: Did you stay in contact after the shoot? If so, how?

Most definitely! The key is staying on their radar without over doing it. Every three months or so I send out emails with some updates of what I have been doing professionally, with links to some of my current work. This always generates feedback and sometimes a new booking.

Q: Why do you think they wanted to work with you again?

My talent and looks! And, also, I am easy to work with. I am very professional. I show up on time, with the right attitude, right clothes and I know my lines.

- You rock Sandra! To learn more about Sandra Palmeri LIKE her at http://www.facebook.com/pages/Sandra-Palmeri-ActressModel/262456797114039

LINNEA SAGE

Originally from Boston, Linnea Sage was a part of the film scene there for about five years. She moved to NYC after college and has had a great year and a half acting in independent feature films, commercials, and new media. Linnea has also been very successful with voice over!

Q: What client(s) invited you back?

I was invited back by Baskin Robbins to host their training industrial. Originally, I was hired as a model for photographs about training etiquette but the producer liked me so much that six months later she invited me to narrate and host the entire training video! I didn't even have to audition.

Q: How did you come across the audition notice(s)?

A casting director in New Hampshire, John Campanello - who I've booked a lot through, got me the audition! I only submitted my headshot since it was for a print modeling gig and I was hired on the spot!

Q: Did you stay in contact after the shoot? If so, how?

I didn't stay in touch. I didn't have their contact info. One day, I just got a call from the casting director again asking me to host for them! I suppose I made a great impression on them!

Q: Why do you think they wanted to work with you again?

I am cute and articulate. Professional and nice. Not a diva. I can read from a teleprompter. I'm fun and humorous.

Honestly, the only advice I have is that it's not about talent, because at some point you reach a level where everyone you are working with is the same amount of "talented." It's about being a nice person who is easy to work with. A lot of times it's in the best interest of the director/producer to rehire their favorite talent because they know what they are going to get and they enjoy the company and they already know they have great chemistry.

- Awesome info Linnea! Hear more from Linnea Sage at www.LinneaSage.com

NYCastings - Advice - Insiders Guide to NY Acting Studios - The William Esper Studio

Thu, 3 Nov 2011 15:40:00 GMT

Written by: Kelly Calabrese

Become Alive!

To be a really good actor, in your heart and soul, "You have to want to be alive," shares Bill Esper of The William Esper Studio. "You have to want to be able to discover how to create real life inside yourself and live at a very intense level."

“Acting is a creative art and the very best actors are teachers, teachers about our own humanity. It is a very noble undertaking.”

Bill Esper is an internationally recognized authority on the work of Sanford Meisner, as well as the co-author (with Damon DiMarco) of The Actor's Art and Craft: William Esper Teaches the Meisner Technique, published by Anchor/Random House in 2008.

After studying with, and teaching alongside, Sanford Meisner, Bill Esper opened his own studio because he "felt a lot of actors weren't able to take a full time conservatory program but still thirsted for the kind of training he could offer.”

Today, along with 20 other teachers, Bill Esper teaches acting as well as voice, speech, movement, script analysis, and stage combat. They offer, "a really full program with students who come from all over the word."

If you want to learn more about how to come alive as an actor, check out this lively conversation with Bill Esper of The William Esper Studio.

Q&A with Bill Esper

Q: How does your acting technique help actors come alive?

Our school has a particular identity in that we are the leading institution, we believe, in the world really that is dedicated to the Meisner based actor training. We are fiercely dedicated to truthful acting. An actor doesn't pretend that he is playing the character, he is actually living through the inner emotional experience, as well as the external.

From the point of view of an artist, the opening of the unconscious is a very important thing because that is where the most rich and profound material is for an artist. 90% of the brain is beneath the surface, with 10% above - like an iceberg. To get to the unconscious, we work with basic improvisational exercises and evolve from day to day. It is a carefully laid out progression of work, and throughout it we are always doing everything we can to force the actor into complete spontaneity. The worst thing that can happen to an actor is to get stuck in their head.

Q: How do you help actors – get out of their heads?

We constantly force their attention off themselves so their whole energy, and concentration, is always consumed by something outside of them. Usually, it is another actor. Sometimes, it is an object. When all the attention is off yourself, then a lot of truth starts to happen because you are not using the controlled responses that you already had in line. The actor is no longer trying to be who they think they ought to be, which may be very different from what they really are. When an actor finds out who they truly are, that is when the work becomes exciting. We also use wonderful physical training with music, sound, movement, and fantasy - to promote a kind of emergence of the true person.

Q: Should an actor pay attention to the 10% above the surface?

The actor has to always be self aware, but not self conscious. They aren't really watching themselves, but they are aware of how they are acting and responding. And, as always, they are working on leaving themselves alone and not trying to make things happen.

Q: How does your technique stand out from others in the form of helping actors succeed long term in this biz?

We believe there is such a thing as the professional craft of acting, and we teach it. We give students a craft they can depend on for the rest of their lives. When you talk about craft, you are talking about condition, about habits - and that is true in all forms of art whether you are acting or dancing or playing music. You have to rely on the habits that were trained into you in the studio. For example, a good actor doesn't think about listening because they can't help but listen. In a certain way, it is just a part of them and once they learn how to process the experience inside of them, and follow the basic principles, the work stays inside of them forever. Most actors we work with for 2-3 years and then we want them to get out into the world. They seldom seek additional training. They may seek to do a workshop or training for a certain part, but their basic work is done. The habits are ingrained in them. Adler said, "You can't have art without craft," and the craft is meant to be forgotten - with the habits carrying you through.

Q: How does your approach give New York actors an edge at auditions?

The best impression you can make when you go into an audition... is to show them that you are a really good actor. They will pick that up by the way you walk into a room, the way you act while holding a script, and the way you make choices. If you help someone to have a habit of listening, to know how to really listen, that is going to improve their auditions right off the bat. It is a small thing, but also huge.

We teach auditioning at the studio as well, at the end of the process.

Q: Do you encourage actors to audition while studying with you?

It is an individual thing. If you have an actor who has an ongoing career with an agency, you can't say, "don't act for two years." The continuity of the work is what is important. We do everything we can to help actors maintain that continuity. Most jobs are short, 3 days or 4 days, so we can work around that and help the actor maintain the continuity until their work is over and they come back into a day program.

Sometimes, when people are in the middle of learning, it is better to not audition. Suppose you play a halfway decent game of recreational tennis and then you go to a tennis pro and they say, "look how you are holding the racquet." Then, of course, your game gets worst until a new habit is made. So it depends on where someone is in the process and how good they are. You don't want someone to go out with embarrassing quality work. Better to wait until it improves. So, our advise differs from actor to actor.

Q: What type of person is best suited for your style of training?

I think someone who has a real artist in them, who has a dream of being an artist and wanting to create life - wanting to do things that have real quality to them. Sometimes the industry can force you into doing other projects, but there is always that sense of aspiration, someone who wants to be all they can be and experience themselves in as many facets as they can.

I love it when someone comes in and says they saw one of my students in a play and had to come to my studio because they want to act like that person did. I know we will have a success story with that actor because they are not just looking for "A" acting class.

A couple of months ago, I had a young kid come in who found my book in the library (The Actor's Art and Craft) and it set him on fire. He had to come to New York and study with me. It was a very moving thing.

Q: If you were to choose Theatre, Film or TV - what would you say is your niche? What are you the GO TO studio for?

We train actors for everything. We train them to be able to improvise with enormous confidence and security, to walk onto a stage or set and let each moment unfurl - one unanticipated moment to the next unanticipated moment. The people we train are able to recreate that whenever.

I don't think you can just train people for theater today because it is very hard to make a living. The big mistake about film is that you don't want to put actors on camera in the beginning of their training. In the beginning of their training, it is all about freedom and you don't want to put them into a little box. You want them to be free to jump and roll on the floor and do whatever their impulse tells them. And once that is done, and you have a very alive actor on your hands, then you can pull that in.

Q: Any inspirational words of wisdom or advice to share?

In terms of training… I would say be careful as a consumer - look out for yourself. You have to seek out the training that is really valid and good and speaks to you.

In terms of passion… Acting is very difficult, not an easy life, but it has very rich rewards for the person who makes that journey.

THANK YOU BILL ESPER - for helping this article come alive!

For more information on The William Esper Studio go to http://esperstudio.com/

NYCastings - Advice - 10 ways YOU can make more $ - Pulling in advice from those who WORK for a living!

Fri, 21 Oct 2011 13:40:00 GMT

Written by: Kelly Calabrese

I think I can, I think I can, I think I can...

For certain - you can!

You can keep chugging up this mountain called YOUR ACTING DREAM... no matter how high it seems. Of course, it helps to get insight from those who have already faced the same formidable journey - and have succeeded at performing as an actual living.

So, to keep your engine going, go ahead and fuel up with this advice on how to make more money and keep your career in motion...

Julie Alexandria

Currently A TVHost/Personality and Sports reporter for Big Ten Network & MLG. Julie has hosted for MTV's The Seven, Mets Weekly, Spike TV, and has recorded a ton of voiceovers!

1. To get more work... One of the things I did when I was starting out was to be a promotional model/booth host at trade shows. The experience is twofold: you get to learn about a product, and "sell" the idea to buyers (as Actors that comes quite naturally to us!), and, you never know whom you will meet!

Because most trade shows/conventions take place over the weekend, the time commitment is minimal, and usually won't cut into precious auditioning time. In one instance I was a promotional model for an accessories company where I forged a good relationship with the owner. Every time she had a trade show in LA/NYC, I was her go to model for the booth. After a few shows, she asked me to be the cover model for her seasonal catalogue. Since then, I have appeared in every Spring/Fall catalogue, as well as her website.

You never know when a company is looking for a spokesperson, a "face" for their brand, or a host for their demonstrations. I've ended up travelling all over the country and internationally with some companies; (from Medical device sales to handbags!) as they more often like to cast someone who is familiar with their brand, and someone who can sell their concept, as well as the item itself.

My tip: familiarize yourself with the brand/company before you work your first day on the convention floor. They always like to know you did your research. Find out who attends these expos; what kind of people will you be meeting? talking to? or selling to? Conventions/Trade shows are all about networking, so there really is no better place to do so!

Follow Julie Alexandria:
FB: http://www.facebook.com/julie.alexandria
Twitter: @JulieAlexandria

Lauren Francesca

Recently cast in the movie Catskill Park and just completed acting in the movie, Bad Parents. Also working with Mark Mangold - an award winning music producer who is helping her produce her first Album.

2. To get more work... One interesting thing I did to get into more acting work was shooting my own projects. I started working as a production coordinator. Two webseries that I worked on were picked up, one to Atom.com and the other to BET. I then went on to produce content for YouTube, and a short film that was accepted in to Cannes last May.

Follow Lauren Francesca:
FB: http://www.facebook.com/Laurenisfunny
Twitter: @laurenfrancesca
www.youtube.com/lauren

Christina Calph

Currently appearing in the movie Tower Heist playing a snoody Victoria Secret's saleswoman. Recently appeared in Arthur, alongside Russell Brand. Next up, Christina is working on new videos for her web series, "XXX : A Bad Girl's Ball," while dancing with her hip hop group, "Truckstop Dancers" and doing industrials for Intel.

3. To get more work... I stopped looking for approval and started playing by my own rules. Instructors, other actors, and teachers sometimes offer insight that causes the entertainment industry seem like it's untouchable. The "Golden Enterprise" so to speak. I started treating it like I did my survival jobs...not on such a high pedestal. Started taking chances and making bold choices. I also found the nuances in the text and in the audition room really made my interpretation of the scene come to life. They want to see actors that can hold their own and don't need to be spoon-fed with directions. With that said, I've learned it is important to ALWAYS work on your craft. I tend to book work most when I am in class fine-tuning my work. I also started researching past work. Going to see plays/musicals when I can and watching anything and everything I can get my hands on. I live at the Lincoln Center Library. You must do your homework.

Follow Christina Calph:
http://www.youtube.com/user/XXXBadGirlsBall

Summer Crockett Moore

Currently starring in Reading Under the Influence, traveling the festival circuit with award-winning short film A Younger Man, and awaiting the world Premiere of her movie Junction .

4. To get more work... I became a producer! I work pretty steadily as an actress, but found that I was craving more creative input, so decided to become a producer as well, so that I could have more control over some of the jobs that I was acting in. What it did was widen the playing field for me, and allowed me to showcase myself in a way that I think would have been harder to break into, as some of the roles I have played in projects that I have produced, at first glance, appear to possibly be outside my wheelhouse, but are things that I knew I could do. As a producer, I have done many projects, but as a producer / actor, I have done 4 Off-Off Broadway world premieres, 2 Off-Broadway World Premiere plays, 2 Regional Plays, and recently two films. This not only was great fun for me, as I got to work from the ground up on great projects with great producing partners, but it also helped my agency and casting directors see me in a new light as well.

Follow Summer Crockett Moore:
FB: http://www.facebook.com/pages/Choice-Films-Inc-Choice-Theatricals/264232936771
Junction the Movie: http://www.facebook.com/pages/Junction/265823313448835
Reading Under the Influence: http://www.readingundertheinfluencetheplay.com/

Annie Edgerton

Currently appearing in "Mamma Mia!" on Broadway through the end of January - in the ensemble and covering the roles of Donna, Tanya and Rosie. After that, Annie will be playing Paulette in "Legally Blonde" in Indianapolis through April.

5. To get more work... The biggest piece of advice I have is that you have to revel in who you are and keep doing the work to pursue what you love - because of that I booked my next gig without even auditioning for it: As part of "doing the work," I routinely look over the photo/resume request section of the AEA website, and a few months ago I submitted myself for a show in Indianapolis for which I was called in to audition. The role was a little bit outside of what I typically aim for, but I went in prepared for it and was 100% me. The Artistic Director told me I wasn't really right for the role... BUT he thought I was perfect for something else he was doing later this season and he'd call me in for that when they were auditioning that show! (Fantastic 'rejection', right?) Well, a few months later, my agent called me with an OFFER for the role - when I said I hadn't auditioned for it yet, she said, "I know - he's coming into town for auditions next week and hopes you accept the offer so he doesn't have to audition anyone else for it." Makes a gal feel pretty darn great, and I love that story because things can - and do - really happen that way!!

6. To get more work... In the same vein, I am now in a Broadway show because I went to a run-of-the-mill required chorus call years ago - at the time I had no agent, no major credits, and was in a dry spell, but I was what they were looking for and one thing led to another. You have to be an ARTIST, not just an actor, singer, dancer... you have to take classes, and create your own projects and collaborate with other artists CONSTANTLY. For all of these great stories that people are sharing, there are hundreds of thousands of stories of NOT booking a job, so you really need a foundation - not just to get you through the tough times but to put your whole career in perspective. (Because if you don't want a CAREER, then go find something else you're passionate about and go do that.) But if you're willing to commit to this above all else, then do it - and it will become a joyous experience, not just simply a series of auditions.

Follow Annie's Journey!

Annie is working on a project to sing the national anthem for every Major League Baseball team and hope to surpass the halfway point next season.

http://www.facebook.com/#!/pages/Annie-Edgerton-Anthem-Quest/398786458091

Herman Chavez

Recently appeared on Pan Am, Suits, The Good Wife and in the short film Una calle sin salida, which premiered at Cannes. He also coaches on The Mental Game of Auditioning.

7. To get more work... One interesting thing I did to get more acting work, was first to be specific as to what genre of acting I wanted to work in. Once I knew it was film and TV, I figured let me go to the source. So, I started taking class with a casting director, and submerged myself working practicing, just like an audition [because the practice needs to parallel as closely as possible how you're going to execute it in the real world], exclusively on scenes from T V episodics, Feature films, and sitcoms. I knew I needed to not only own my product but know it and my customer, inside and out, because I know casting directors who get annoyed when an actor comes into their office and wants to impose their theatre theory, or scenes from plays theory and are unaware that there is a different pacing rhythm, subtleties to film and TV, actors spend so much time working on scenes from plays, when most of them want to work in film and TV. It's like being trained in classical music and walking into Russell Simmons' or Jay Z's office to impose your theory on them... and then getting pissed because you're not getting work as a hip hop artist. To me, all actors are salesmen/ or women. We sell acting performances (auditions) to the customers (casting directors and directors). Either they buy it or they don't. And if you can't find a casting director you feel comfortable with, try to learn from someone who is a working actor, someone who will give you that inside information because success leaves clues. At the end of the day, you can do all the networking that you want. It is going to come down to the actors read at his or her audition.

For more insight from Herman Chavez:
Sign up for coaching classes, starting soon: www.thementalgameofauditioning.com

Keisha Omilana

A Supermodel and super woman - Keisha just booked a deal with AVON! She also walked for Pamela Dennis and Monique Lhuillier during Fashion and Beauty week NYC. And recently shot a cover for Vogue!

8. To get more work.. I have been told for years "Your nail beds are so long and beautiful. You have nice hands!" So, I said, "you know what... If I have a 'nice/beautiful' face and can get paid for it why not see if I can make money with my so called 'nice hands!'" I called and submitted to the Parts modeling agencies in NYC and two called me in. I did not work immediately, but I put myself out there, built my Parts book, and within 6 months I booked Maybelline, Veet, editorials, and a Band aid commercial! The extra money quickly stared rolling in from that point on!

Keep up with Keisha Omilana's modeling and philanthropy work here:
Twitter: @komilana
Facebook: http://www.facebook.com/KeishaOmilana#!/profile.php?id=620829759

Sarah Lowe

From NYC... Sarah is currently appearing in Jersey Boys Las Vegas, while working as a backup singer for Penn Jillette's (Of Penn & Teller fame) NoGod Band, and performing with The Apple Sisters.

9. To get more work.. Honestly, the one thing I did to get more acting work was take improv classes. It gave me the opportunity to have more confidence and connect with commercial casting people. Also it allowed me to perform on a regular basis. I didn't get paid, but I didn't have to pay - and, in the long run, I was able to invite casting directors to my show, or at the very least always had an interesting talking point when I got in a room!

Check out Sarah Lowe's Performances:

www.applesisters.com
Facebook: http://www.facebook.com/#!/profile.php?id=673697882
http://www.jerseyboysinfo.com/vegas/cast.html

Elizabeth Merendino

Originally from New York, Liz is currently traveling, performing theatre in London, Tokyo and Hong Kong. Her one-woman show "Seasons of Liz" just played at the Edinburgh Fringe Festival. And, Liz runs her own music education consultancy firm, Overture Limited.

10. To get more work.. I market myself! I made a Facebook page and asked all my friends to Like it - this way their friends see your upcoming performances as well, and they might keep you in mind for future gigs. I also twitter about performances I am doing. I attended parties where I knew there would be people I could give my card to. I sing for charities to get my face and name out there. I developed a one-woman show. And I keep up my acting website, so people can learn more about me and hire me!

For more on Elizabeth Merendino:
http://lizmerendino.com/
Facebook: http://www.facebook.com/pages/Liz-Merendino/227665703937664
Twitter: @LZMerendino

NYCastings - Advice - Be Who You Are - Commercial Print Headshot Advice with Agent Rick Miller

Thu, 13 Oct 2011 14:50:00 GMT

Written by: Kelly Calabrese

Movie stars and glamour queens may grace the pages of magazines, but when it comes to commercial print work... "natural and approachable" people snap the real money shots.

"There is a difference between what someone wants to see themselves as, what their family and friends think is a pretty shot, and what works in this industry," shares Commercial Print Agent Rick Miller, owner of Rick Miller Agency, Inc. "Natural works. I cannot emphasize it enough. People look at glamour magazines and see airbrushed pictures, but those are celebrity pictures. It's celebrity hype. Commercial print work is all about relatable people."

With over fifteen years of commercial print experience, Rick Miller can look at any headshot and "determine in 5 seconds who is marketable, who will book the jobs consistently."

Rick Miller's insight has helped NYCastings before in an intro to print work feature ARE YOU DELICIOUS.

This time around... he's about to reveal how much an awesome, commercial print headshot - can affect your chances of getting auditions.

Q&A with Rick Miller of the Rick Miller Agency - Taking Headshots - Head on!

Q: What makes an awesome commercial print headshot?

When an actor is looking at their headshot, in terms of commercial print, it is about people who are warm, friendly, approachable, and photograph well. There are some people who just happen to have a very marketable look, who are warm, friendly, and approachable - with substance. They look right into the camera with a confidence. They are relatable and have features that photograph well.

Q: How is a commercial print headshot different from a legit headshot?

First of all, the lighting for commercial print headshots is usually very crisp, clear, and on the bright side as opposed to legit shots for theatre and film, which can be more artsy looking. Commercials, and commercial print, tend to have people dressed in non-provocative clothing. They look very J.Crew, very relatable, very familiar. Sometimes, I will receive headshots that are clearly legit by the shadowing or the mysterious, serious look. The majority of commercial print work is not looking for that. They are looking for very relatable people and clear, focused pictures.

In commercial headshots, there is also a connection in the eyes. The person has such a connection with the camera that you can see into a person's soul, and it is a very positive message. Most of the time the picture is a smile, showing teeth, but not cheesy. We want to see warmth, someone who is very comfortable in their skin, who we want to get to know.

Q: What clothing choices should a person make for a print headshot?

The clothing should look appropriate for a print shot, very neutral, very girl next door or guy next door. I am not saying that everyone has to wear a J.Crew turtleneck and a sweater, but overall, for the main headshot, you want to keep it neutral. The clothing is the dressing on the salad to sell yourself, to say this is what I am. It is bringing the type who you are, to light in that picture. I do have a guy who has a great shot with a business suit on. But if you're a woman, who is the perfect suburban mom type, you would not be dressed in a suit. If you are a soccer mom, you will have on sweater. You would have a soccer mom kind of feeling to your clothes. For people with an amazing body, a body shot would be great. But I wouldn't use it as the main picture because ninety percent of commercial print is everyday people who photograph beautifully. If someone is going strictly for fitness magazines, then the guy should have his top off or the female should wear spandex. But that is such a specific category. Overall, those types of shots should be secondary.

Q: What is the most important element of a print headshot?

The most important thing is that people don't skimp on getting the right kind of shots. If someone wants to do print work, they are going to have to do it right, the right way. Your picture will get you into the agency, to the casting director, to the eyes of the people who are booking the jobs. There are photographers who shoot people so well for commercials. They shoot money shots. It is so hard to know these nuances unless someone like me talks about them from years of experience. I know who will get called in from a shot, when the casting director doesn't know about them. Agents intuitively know what their clients are looking for.

Q: So, a high quality shot is essential to getting auditions?

The reality is… this is such a competitive field, I cannot stress that enough. When I speak in seminars, so many people apologize for their picture and I think to myself, off the bat, that there are so many faces and it is so competitive. When someone gives me a headshot and all of their elements are in play - when it is warm, and friendly, and crisp, and in focus - there is a much greater chance of someone calling you in. Also, my clients know that I provide a certain caliber of clients, I've got an amazing roster.

Q: How should the print headshot be cropped? Any different from a legit headshot?

There is not much of a difference in the cropping. Sometimes, with acting headshots, especially in programs of Broadway shows, there is a lot of face in those pictures. For a good commercial headshot, it should not be cropped so close. Pull back. Have the headshot end a little above the chest without cropping off your head. I am also fond of a 3/4 shots where someone looks comfortable, has their arms crossed, and is looking into the camera as if they are saying, "you love me and want to get to know me."

You should get a little sense of someone's physique in a headshot, because the picture can be deceptive. By showing a little of your physique, a casting directors can get a better essence of you as a person.

Q: In regards to touching up a print headshot, what are the protocols?

I would say that for commercial print, touching up should be mild, mild, mild. If someone is an opera diva, they can have false eyelashes. But especially when I am speaking to the mature people, the 50's into the 80's people, I tell them to not go crazy with the make-up. Particularly the women should not go crazy with touch ups. We want to see who you are. We want to see your age, with very light make-up. We want to see people who photograph well, and who do not look artificial. If a client wants someone without wrinkles, they will go with someone twenty years younger. So, be who you are. There are so many beautiful older women who have wrinkles, who look like they have lived life, and they are still very appealing. A good commercial photographer knows how to photograph you naturally, while also making you look delicious.

Q: Do you present information differently on a print headshot resume?

No. You put the same information on the front of the headshot. It should have your name on it. The back of the resume shouldn't be different either. Except, there is no need to list print work. You should say, "print and TV commercials upon request." If people list their print ad experience, it could knock them out of the running. The appropriate protocol is to say, "upon request."

Also, many times, people ask me if they need a resume when they go on casting. I always say, yes. The majority of casting calls these days say "commercial print caliber talent... we want actors." So, if I am sending out people who have theatrical credits and film credits, it shows that they are not off the street, that they have experience.

Q: Is there any difference in the quantity of headshots you order for print?

These days, you do not need to order as large of a quantity as you used to. The days of ordering 500 pictures aren't happening anymore. Gone are the days when I need 30 pictures. I do not require more than 5 hard copies because I am not messengering copies anymore. I scan them in my system, and they are all sent via email. You should be pretty ok with ordering around 100 pictures. That cuts down on copies, but you should still have an ample supply because you should bring a copy to each audition. Even if the person doesn't take the picture, you should bring it.

Also, my observation has been that although comp cards are great, they are not necessary anymore. I take people on constantly who just have one great headshot where I see that warmth, that message in their eyes. It's not about the quantity, it's about that one great headshot.

Q: How much does an awesome new headshot affect getting auditions?

Your picture is your calling card I can't stress that enough.

There have been people who I've met that I knew could do better with their headshots. I just sent a guy, whom I knew had a good look, to a photographer who takes amazing commercial print shots. I was blown away. They guy instantly got an audition for a coca cola commercial.

The connection is so important, the photo has to be crisp, clear and professional. Sometimes, people ask me for a name of a photographer or two, and I always mention that I have no ties to any of them other than the fact that I love their work. There is no other reason. There are just some people, in particular, whose work I know is great. I know that when people go to the right photographers, for the correct pictures for this venue, I say, "Oh my god now you have money shots, now you are a contender."

And, I know that if I am interested in these people my clients will be interested as well.

Q: Do you have any advice for those actors who are looking to get started, get print headshots and delve into commercial print work?

Embrace who you are, get the best quality pictures for this venue, and just keep putting one foot in front of the other. Keep submitting.

THANKS RICK! That is very encouraging information and advice!

For more information on Rick Miller, visit http://www.rickmilleragencyinc.com/

NYCastings - Advice - Film Spotlight: 'The Senator's Daughter' with Director, Juan Reinoso

Mon, 26 Sep 2011 12:47:00 GMT

Written by: Kelly Calabrese

Filmmakers, "you never have to give up." If you are passionate about a project and know what you want, "you can always get it," says writer, director Juan Reinoso who is about to shoot a film called The Senator's Daughter, a politically charged short written by: Dianne St George.

Juan Reinoso has over fifteen years of filmmaking experience and believes in working on socially relevant stories. "Everything that I do has to do with the human condition," shares Juan. Some of his past films include Down the Road, Approaching Heaven, The Vedict, Snowfall and Flowers for Norma.

To help NYCastings members learn more about filmmaking, passion and the human condition, we decided to spotlight Juan's latest directorial mission... The Senator's Daughter.

Here is a behind the scenes look at the film's pre-production stage...

Q & A with Juan Reinoso, Director of The Senator's Daughter:

Q: How did you become a part of this project?

I am always looking for new projects and one of the things that I had wanted tackle was a gay themed project. I had a friend email me about this film who said that they were looking for a director. I sent them my reel, I read the script and spoke with the writer, Dianne. The very next day, I had the job.

Q: How does this project compare to others that you have worked on?

The biggest difference is that I normally write and direct my projects. This will be the first film that I am doing that I didn't write. Two of the three features that I have coming up I didn't write, but this is the first one.

Also, I have a producing team and normally do it all myself. So it has been an experience working with the creators of the project. In a way, it is like working on a commercial where you have the creative people, the clients and are trying to please everyone while at the same time make sure that your vision gets worked in. You guide the process but also put your own stamp on it. You speak with everyone about what they want and then compromise to make sure your own vision gets put in there because or else it becomes a job for hire and is not creatively stimulating.

Q: So it is important for a new director to make sure that they get their vision included?

Yes, but there has to be a balance. Many times, they will go overboard. They will not realize that they have other people to answer to and they can get themselves fired because they try to control everything. You have to work together and there is a fine line. Either you could not put enough into it or you can try too hard and you wind up alienating the people that put you to work to begin with.

Q: What are some of the things you looked for in location scouting?

The most important thing is that the location serves the film. In the case of this story, we wanted to make sure that the house serves the purpose of the principle characters who live in it. It had to look senatorial. It had to look like it belongs to a political dynasty and this one did. Location scouting can be one of the most mind numbing things, but this place was close to perfect and definitely workable for our means.

Q: Any tips on how to make location scouting less mind numbing?

It is hard for it to not be mind numbing - unless you have money to hire a location scout who takes your criteria and finds places for you to see. One of the key things for limited budget projects is that you need to be able to show that you're passionate about the project so you can get people to come on board and not have to pay money. You have to never give up. If you have a specific place you want, you can always get it. If you want a mansion, you can get it. You just have to come up with the right way to pitch it to people. The more you know, and the more you excite the people who will have to uproot their lives for however long the project is, the more they realize that they will be honored to give up their space to be a part of the project.

Q: Most unexpected part of pre-production so far?

The project has been smooth. Most of that comes from my experience beforehand plus we had so much time on this project. We had the same amount of time as you would have on a feature film so there were no hiccups. Also, it is about the people you hire around you and I have a core group of people around me that understand me and the way I work. They have experience and know how to do everything. I am fortunate because I have more than fifteen years of experience and connections that allow projects to happen for virtually no money, or a lot less than it should. It goes back to passion... especially for those starting out with less experience. You have to have a lot of passion and then surround yourself with people who have more experience than you. That will make things go smoother.

Q: What obstacles do you anticipate, if any, in the upcoming shoot and how do you plan to overcome them?

I already have the whole film edited in my head. Part of the thing with projects I choose is that I have to love the script. If I am passionate about it, then in my brain, I automatically see everything visually. I sit down and write the shooting scripts because I know the core shots and everything that I want. Then, I discuss it with the cinematographers and producer so they all help me get what I need. And when they day comes, I like to be in the moment and take it organically. The plan can adjust but we have already anticipated 95% of the challenges that may come up. Being prepared allows you to come up with more creative options in the moment. The less prepared you are, the less opportunities you have to make creative options or else it will all fall apart on you. This goes back to getting the best, experienced crew around you as possible.

Q: What are you most looking forward to about the shoot this coming weekend?

What I am most excited about is the opportunity to tell this story. One of the challenges for me is that the script had an element that I felt was too heavy handed. I made changes on this portion because I wanted to make it more universal. When it comes to gay rights, one of the problems is that people are ignorant. And. because people are so extreme about the topic, I wanted to make this film open eyes. I want everyone, gay or straight, to really come away from watching this film with more understanding. I am hoping that some person who may be "morally" against gays, will see the film and understand a little more. I hope they will find themselves a little more accepting. For me, I am excited to tackle that challenge. I am kind of a kid in a candy store as soon as we show up on set. It is my favorite place to be. I just love making films.

For more information on Juan Reinoso check out his IMDB page...

http://www.imdb.com/name/nm0718254/

To learn more about The Senator's Daughter go to:
http://www.kickstarter.com/projects/614249806/the-senators-daughter

and like the film at...
http://www.facebook.com/#!/media/set/?set=a.108636225894977.17190.108636139228319&type=1

NYCastings - Advice - Insiders Guide to NY Acting Studios - Stella Adler Studio of Acting

Tue, 6 Sep 2011 11:24:00 GMT

Written by: Kelly Calabrese

NATURE vs. NURTURE...

When it comes to that age old debate... both nature and nurture are equally impactful for actors looking to reach their highest artistic level.

"Growth as an actor and growth as a human being are synonymous," shares Stella Adler's Artistic Director - Tom Oppenheim. "Our training will nurture their depth as actors and people."

Stella Adler dedicated her life to preserving and expanding the highest level of art in the theatre. The youngest daughter of Sara and Jacob Adler, Stella began her career on her father’s stage at the age of four in a production of Broken Hearts. In 1949 she establish her own studio called the Stella Adler Theatre Studio (later renamed the Stella Adler Conservatory of Acting and finally the Stella Adler Studio of Acting). She went on to teach some of the most prolific stage and film actors of the 20th Century.

Of course, the history of the Stella Adler Studio of Acting includes more than the teachings of Stella Adler. It also bears inclusion of Konstantin Stanislavski, Jacob Adler, Harold Clurman and the Group Theater... and Tom Oppenheim oversees it all.

For the past 15 years, Tom Oppenheim has continued Stella’s tradition and has built upon it, adding components that emphasize social outreach and the potential for theatre to influence society. Tom was born in New York City and studied acting at the National Shakespeare Conservatory and with his Grandmother, Stella Adler.

To find out more about the nature of their nurturing approach at the Stella Adler Studio of Acting (and it's LA division - The Art of Acting Studio) NYCastings spoke with Stella Adler's Grandson - Tom Oppenheim.

Q & A with Stella Adler's Artistic Director - Tom Oppenheim

Q: How does Stella Adler studio nurture the ability of an actor?

We do that through our mission... that growth as an actor and growth as a human being are synonymous. The mission is to create an environment that nurtures theatre artists so that they value humanity, their own and others, as their first priority while bringing art and education to the community - which is a greater community.

When I took over the studio 15 years ago, my first goal was o answer the question... "What does it mean to be a student of Stella Adler today?" I didn't want the school to degenerate into a kind of wax museum devoted to Stella Adler's memory. That could lead to choosing less gifted teachers over more gifted teachers. So what do we follow as our guide? That is where we came up with growth. When I watched my grandmother teach, what seemed like the through line present in every word, is that actors have to develop ways of nurturing their humanity. That acting is, in a way, bigger than acting.

Q: What is Stella Adler's vision of an actor?

Someone who is passionate about acting, who wants to scale the heights of dramatic literature. But, also, an artist and an evolving human being. Our mission entails a number of different things - including excellent teachers and a well organized curriculum. Our primary programs are conservatory programs, programs that are 2, 3 or 4 years. Our conservatory program is 30 hours and we have a full time evening program that is 30 hours. Our objective, in terms of following our mission, is to identify the best possible teachers, a world class faculty, and then organize our curriculum in a way we feel empowers out actors.

The environmental part of the mission is to create an environment, an intricate swirl of extracurricular programs which involve the presentation of art forms - including but also extended beyond the theatre. For example, when Stella was around, the actor was compelled to not only study acting with great passion and to reach for the highest standards but to read literature, poems, to listen to great music, to study history to go to the museum.

The idea that growth as an actor means growth as a human being compels action. It compels the actor to become engaged culturally in the world and get engaged with other art forms, to understand what is in the greater family of artists and to draw on the arts as a whole.

At Stella Adler, we have the Harold Clurman art series that includes a lecture series, a symposia, poetry reading series with Nobel prize winners, a concert series in which we present primarily jazz and classical music and our students study in this kind of environment where there is a constant presence of cultural activities.

Q: How does your technique help actors succeed long term in this biz?

Part of the key to longevity is, in fact, to resist the market inclination to pigeon hole you - in that which, in your youth, makes money for you... which is your meal ticket. What we try to communicate to actors is that who they are includes the daily, habitual self and often it is the daily habitual self that is your 'type' and how people see you. It includes that so you can exploit it - sell toothpaste or be on a sitcom - but it includes a great deal more. As you grow, you are able to include more in your work and present it.

Q: How does your approach give New York actors an edge at auditions?

In terms of the mission, I feel that when you are grounded in the great depth of yourself, you are able to present yourself with great confidence... this is who I am. You have a bigger purpose. I have heard casting directors say that they are attracted to actors who do not bring into their room that desperateness, that their sense of worth depends on them getting that job.

I think that if you help actors see a higher vision, they bring a profound confidence into the audition - and that is attractive.

Also, at the end of our daytime conservatory, we focus on production and performance. At that point, we put what they learned into practice and focus on audition techniques. We simulate as many types of auditions and interview situations as possible. And we have PROS - professional resources outside of school. That is the nuts and bolts... teaching students how to audition with monologues for theatre, for film, cold readings, multi camera, introducing them to agents and showcasing them.

Q: What type of person is best suited for your style of training?

People that are passionate, have endurance and want to learn how to be actors from the ground up. People who have the passion to learn voice and movement and improv. Who want to spend all day and night in the studio. Our students who do 30 hours a week with us, that is just class. They are really here 50 hours with rehearsing and all.
I often ask actors, "What do you love other than acting?" And I am looking for those actors who are engaged in life in a number of different ways. I love when they say they are into poetry or hiking or are inspired by the idea of growth as the actor and human being. People who want to be in that kind of environment.

Q: Are you primarily a school for theatre training?

We believe that the best trained actors are stage trained actors, that is true. Particularly in the first year we focus on the three dimensional reality of the stage. Film is a two dimensional world and there are different rules for that. The profound questions that an actor has to ask, we feel are best addressed when there is no reference to a camera. Who am I? What am I? What are the life and death stakes of the character? What is this play about?

But, we do very much acknowledge that young actors need to feel very comfortable in front of a camera and in a studio. In the third year, we very much include this in the PROS class and encourage our actors to understand that their lives will include film and television.

Q: If you had one word to sum up why someone should study at YOUR studio - what word or saying would you use?

Growth as an actor and growth as a human being are synonymous. Our training will nurture their depth as actors and people.

Q: Can you share some inspirational advice that you got - from your family?

I remember being in class with Stella and she described the gesture of bowing, of why actors bow. She said that when an actor bows to an audience, it is in the way a servant bows to royalty. Actors serve humanity. That is our objective. We have a service which is to reflect humanity to itself.

To learn more about the services at Stella Adler Studio of Acting and how to grow as both an actor and human being.... visit their New York and LA sites.

NY: http://www.stellaadler.com/
LA: http://www.artofactingstudio.com/

Thank you to Tom Oppenheim for his studio insight!

NYCastings - Advice - Back to School - Mastering Monologues and Acting sides with Janet Wilcox

Mon, 29 Aug 2011 09:29:00 GMT

Written by: Kelly Calabrese

School is never out... whether it be for summer, fall or winter... for actors who must always be prepared to spring into auditions!

Learning, "How to Audition Success fully for Both Traditional and New Media" takes constant re-assessment. Luckily, actors have a new tool to help them prep... a book called "Mastering Monologues and Acting sides," by voiceover industry veteran Janet Wilcox. The book is everything an actor needs to land a great part in today’s rapidly changing performing arts industry.

Janet Wilcox wrote the book primarily because she "was inspired by voice actors and the fact that so much of what they do is a monologue." And because she "went to the bookstore and saw that acting books haven't changed much."

"I wanted to create something that was more modern - a modern guide to the working actor," shares Janet.

For today's actors, looking to add extra credit to their auditions, here are some bonus points, beyond the book...

Q&A with Janet Wilcox

Q: Just like in school, performing a monologue is a lot like taking an exam. The actor often has to sit still through the intense moment, and not let their eyes wander too much. Do you have any helpful tips on how to master this?

When you are on camera doing a monologue or scene where you are stationary, in a medium shot, and not moving... as an actor you need to make let your imagination work for you. Create a scenario where you have to be very still. Your character may be in a situation where there is not a lot of movement. Use it to your advantage.

Also, you can move all you want when you rehearse to add colors that will be there for you when you are still. I just had a student for a voice over animation audition - they moved around, did their blocking and then went back to the mic, because you can't move off mic in voice over.

Q: How can actors learn to get more comfortable with that 'imaginary spot' on the wall?

Use it like your fourth wall on the stage, put things there and let your imagination be fluid. It can be a window at one moment. It can be a picture the next moment. The imagination is very fluid so use that as a window for your character in a visualization process.

Also, as long as you are in the make believe world, you are fine. When you leave that, is when all the bad things come up such as... they are not listening to me. Or... I don't know if I nailed that last line. You have to live in that imaginary world and you are fine.

Q: Many times actors try to be a 'Jack of all trades' and perform monologues or sides of all different types. Should an actor focus on a particular type or have a range on hand?

Your type does come into it. Aside from what is dictated - comedic, dramatic, classical and so forth - you want to find something that really shows you off the best. It is finding the characters that are a good match for what you bring to acting. An audience wants to see you as a certain role. When you go against type, you have to prove to us that we want to see you do this character. For example, maybe an actor isn't someone with a leading character's looks so they have to overcome that for us to be entranced by their performance. So you may like being a certain role but lay it in a way that we believe it and can see you doing it. It is like the perfect wardrobe. When you wear something you look fabulous in, you feel fabulous.

Q: Your book seems to be a master class in astrology - with many key points about studying the stars. How can an actor learn from an acting pro... viewing them as a study versus entertainment?

Go into it with that mindset that you are watching it to learn. Tell yourself there is going to be a quiz. You say, "I am going to watch this movie to see how this person created this character." Or, "I am going to see how this actor deals with listening and responding." Maybe you want to watch them on the phone, which is a real technique thing. That takes a lot of imagination because there is often no one there with you.

Watch for their moment of inspiration.

Q: You mention that actors should grade themselves, record their practice and decide if they should have landed a part? How can an actor do this without bias?

I think distance is a great thing. If you record something, and look at it right away, you are more connected to it. A week later, you have more perspective. As a voice over artist, I have to record and send my auditions out all the time. So, I often listen a week later to see if I still believe it was a good audition.

Q: How can actor's see their performances as shades of grades versus pass or fail?

Any time you are facing fear, in motion, making acting choices and pushing yourself beyond your comfort zone, you grow. So, you think... Maybe it wasn't an A, but it will lead to another part that you will book.

After an audition, you could write down all your feelings as a means of remembering the ideas that you want to learn from. But other than that, it is in the past. You have to take away what will help you and not belabor the mistakes you made. Mistakes lead to success. If you learn from them.

Q: When actors have a day of personal tests, one audition after the next, how can they get from say... a C to an A mindset?

Self reflect on what you won't do again. It's like when you are on stage and you make a mistake in front of an audience. That is one of the best teachers, because you made a mistake in front of a lot of people. So, again, be a little objective but also take the sports model of shaking it, get rid of that negative thing you did and tell yourself that you are going to do better. A lot of it is psychological.

Also focus on your imaginary reality so you are drawn there and not distracted. It is no different than being on stage. If you go out and are not the character, then the audience will let you know it. Or, at least you feel it.

Q: Just like in the classroom, auditions have incorporated many new styles of multimedia. How has the Internet changed auditions?

I am a voice actor and we've been dealing with that for quite some time now. It does take a lot of energy to juggle everything. For example, taping your own auditions for an actor is difficult. Perhaps you find a friend to help you. Staying on top of industry trends in important and you have to learn to adapt your skills to the medium. Improv skills can come in handy for webisodes. Everything is becoming tech savvy. I think it is good to have a network of people and support systems that will help you stay abreast of the new trends.

Q: You create a real classroom setting in your book. What were your reasons behind that?

The reason why I created a classroom setting is because I have taught online education and online education is based on students working at their own pace. Also, people in all parts of the country can benefit from a class taught in Los Angeles and New York by having contributors from both costs.

Q: When an actor is learning from a book, versus a class, how do you recommend they best absorb the material? A chapter a day and let it soak in? As much as they want? Etc?

There are two methods to do this book. One is to take the chapters in at your own pace. The other is to select material that is needed for your immediate audition needs. It is both linear, with building blocks of knowledge, but you can pick and choose what you need when reading it.

And, if possible, do exercises and record them. Because then, they can be a bit more objective with exercises.

Q: What inspirational advice schooled you, personally, the most?

You have to believe that you're sharing something important with others. And really love acting. Creative plays and scripts help people make sense of their lives and you are helping people by being an entertainer. You are giving a lot of yourself, but don't forget to take care of yourself too.

Q: What would be your CliffsNotes advice on how to not freak at auditions?

It is a play, so play! It really is about enjoying the make-believe and the play of it. It's fun. Have fun. So many people are accountants. This is the most fun you can have. You have to allow yourself the ability to enjoy it. The hard thing for actors is that they have to support themselves as well, while they are doing it. That is the challenge. But give yourself permission to take that time. You've earned it!

Earning... is certainly what this acting world is all about. What you put in - you get back!

Thank you to Janet Wilcox for her time!

Mastering Monologues and Acting sides - is available for pre-order on Amazon and allworth.com

The Official release is Oct 4th. Come to the book signing... and see monologues performed.

The New York book signing and reading will be on Saturday, October 22nd at Actors Connection from 2:30 to 4:30. (Actors Connection630 Ninth Avenue, Suite 1410 - between 44th & 45th)

The L.A. Book Signing: October 13th from 7PM-9PM (Book Soup 1818 Sunset Blvd. W. Hollywood, CA)

NYCastings - Advice - Revamp Your Hosting Reel - With Mark Turner of Abrams Artists Agency

Wed, 17 Aug 2011 11:05:00 GMT

Written by: Kelly Calabrese

Hello! And welcome to Revamp Your Hosting Reel.

I'm your writer, Kelly Calabrese. Today, I'll be revealing all the nitty-gritty details about what agents look for in hosting reels with insight from our expert - agent, Mark Turner.

As part of a visionary team in the the Host/Broadcast Division of Abrams Artists Agency, Mark Turner represents quality hosts, anchors and reporters for all areas of reality based television in both NY & LA with a specialization in pitching and packaging TV shows.

By the end of today's article, NYCastings members will have all the knowledge they need to make or make-over their hosting reels.

So, let's get started! Tell me Mark...

Q: What are your overall expectations when viewing a hosting reel in terms of content, length, variety...

As a general rule, it has to show off a person, their personality. A good demo reel can be three minutes in length, with different looks, edited in a way that you are not on one segment too long. And, if someone is an expert, make sure you are showcasing your knowledge in your area of expertise. But most important, is personality. The reel should grab the viewer right off the bat.

Q: How long should each segment be?

Pretty quick. I wouldn't stay on any one clip for more than ten seconds. To clarify, this is for hosting reels, not news reels. News reels are a different story. For hosting reels, I would not have an interview go on for a minute straight. You can do more than ten seconds of an interview, but cut it up where you see bits and pieces rather the whole interview straight.

Q: You mentioned having "different looks" on the reel - What do you mean by that?

It means that the reel should show diversity. It can have an interview bit, a straight-to-the- camera bit, an in-the-field bit. Show different sides of who you are. It should be diverse in showing your qualities and attributes. It doesn't have to do with what you look like or wear. When you interview someone in a field - that is a look. Reading from a teleprompter- is a look. You should show all sides of your personality... being comedic, being serious. Be versatile.

Q: What stands out to you on a hosting reel?

I would use the term charisma. A sense of humor. You need to be a big personality without coming across as phony, or unnatural. Or else it looks forced.

Q: When watching a reel, how long does it take for you to spot the kind of charisma you want to represent?

Very quickly. Within the first 30 seconds.

Q: What are some common mistakes that one can avoid on a hosting reel?

I see people putting things on their hosting reel that shouldn't be there - like commercials or infomercials or something that looks really homemade. In today's world, the video has to look professional. It can't look like you made it in your basement.

Q: Since having a niche is important in hosting - How should a reel showcase a niche if the host has one?

If you are solely an expert, say someone is a scientist, then their reel should be solely about that. However, if someone has multiple areas of expertise, they should make it metered to that. So... If someone is a general host and also a real estate expert, they should make a general reel and a real estate specific reel. These days, we want to be as specific as possible.

Q: If a person has a niche and wants to become a host in it - does a self-made reel interest you even if the person as no actual hosting experience?

It does. And the reel doesn't have to be perfectly professional but it can't look so homemade.

Q: When creating a reel to specifically showcase a niche, can the reel have one sample clip /show or should it have several, quick moving segments as you mentioned earlier?

The model should be the same as for a hosting reel.

Q: If an actor has hosted for industrials, should they include that on the reel?

Truthfully, I don't do many industrials. That tends to be much more straight-laced. Infomercials don't usually showcase a lot of your personality. If someone sends me an industrial reel, it is not usable for getting most jobs. You might want to put some of your industrial work on your reel, if it shows a different side of your personality. But in general, industrials tend to be more on the serious side.

Q: Should a host keep in mind a target audience that they hope to host for?

I think you just want to be who you are. Be authentic.

Q: Any advice on how an actor can sharpen their hosting skills?

You can take classes to help you with interviewing and teleprompter, but hosting is something that you either have the personality for or you don't. It is hard to teach charisma. The best hosts are the ones who are most comfortable in their skin.

Q: Once a person peeks your interest with a reel, what should they expect when they meet with you?

They should be themselves. Have a conversation as opposed to an interview. Tell me who you are, what you do and have a realistic understanding of the types of shows you are right for. Never say, "I will do anything." Realize what your strengths are and tell me why you are right for certain shows.

Q: What types of hosts are trending right now?

Outdoors. Survivalist. Military. Therapists. Scientists. The auction collectable space. Therapy. Parenting. Tech.

Q: What does it take to break into entertainment, food or travel? The kind of hosting gigs that everyone seems to want to get into.

Well, that is the million dollar question. When you talk about fashion and food, those are crowded spaces. They have been done extensively. To break in, a lot of it is based on personality - what you have that is not already out there. And success. A major chef, who has written books and owns major restaurants, is going to go a lot further than someone who just graduated culinary school.

Q: How hands-on are you with your client's reels?

We don't create reels here. We advise as to what should and shouldn't be on one and refer hosts to editors.

Q: Do you watch non solicited reels?

I look at everything.

Q: How do you prefer to see hosting reels? Online, DVD?

Online links. Vimeo and YouTube are ideal

Q: What is the most rewarding part of representing hosts?

When someone works hard, is marketable, and I am able to book them on something - that is very rewarding. It makes me proud.

Well... I'm proud to share this advice with NYCastings!

Thank you so much for joining us, Mark.

For more info on Mark Turner and Abrams Artists Agency, check out abramsartists.com

NYCastings - Advice - Film Set Survival Guide - Best practices & advice with CD Harley Kaplan

Wed, 10 Aug 2011 14:14:00 GMT

written by: Kelly Calabrese

Taking the leap from an audition on to a film set can sometimes feel like Indiana Jones diving into the snake pit. But do not fear. Just...

"Think of being on the set as a continuation as the audition process" shares CD Harley Kaplan of Powers/Kaplan. "You got that part because of your confidence, your ability and your geniality in the actual audition. Don't lose that. Come in the same way. If they have any changes, they will address it to you. But don't lose your confidence after the audition, because they were happy with you. Never forget that."

Remembering what got you on set is golden advice, for sure. But what about the protocols beyond your lines? For that, NYCastings and Harley Kaplan bring you... A film set survival guide.

Having worked on all facets of a film set, Harley Kaplan is now one of the two Casting Directors of the newly formed Powers / Kaplan Casting, consisting of Harley Kaplan and Brandon Powers. Prior to Powers/Kaplan Casting, Harley was part of the casting team at PalmStar Entertainment and he worked for New Line Cinema, Hopkins, Smith and Barden, and Jennifer McNamara, working on films and television series, such as, The Cider House Rules, Boys Don't Cry, Any Given Sunday, and Sex and the City. In addition, he also writes and produces his own short films.

Here is his solid advice / must-have tools for any film set...

Q&A with Harley Kaplan

Q: When stepping on to a big film set, versus an indie, what should an actor know about the differences? What to look out for?

With big features, you really have to keep your eyes open. Don't bump into anything. There are so many safety issues, like wires and unions grips and best boys. You trip over one thing and you can't move it because everybody is union. It can be frustrating. But I think, from the actors perspective, you should be really aware of all your surroundings. Have a 360. Don't walk backwards into things or sideways into something. And it's really good to know who everyone is and what they are doing.

On a huge film, you may have a trailer and be held there all day until you walk out to work. Your stand in has done everything with lighting and blocking and you can feel like an outcast and just appear out of nowhere to do your thing.

On the smaller stuff, even stuff that I've produced like Death 4 Told, we had the actors sitting around watching. I love when the principle actors want to watch the stand ins so they're more aware of everything and know who everybody is. There is much more of a collaborative feeling on independent films. I like when ADs and writers are open to the suggestions of the actors as to what feels more natural and organic rather than dictated beforehand to follow like paint by numbers in your head.

Q: What are some of the aspects about working on a film set that come with experience?

The more you work on a film, the more experienced you are, the more aware you are of your lighting. I watch really seasoned actors and they just know where their camera angles are, where the mic is. Everything and it is so natural. It comes so second hand.

Q: What should an actor know about their role / function on a set?

I've worked with actors who have extensive theatre backgrounds or television backgrounds and they don't realize that they are not that important most of the time. They are almost peripheral. Everyone else is so focused on their job. It's funny, that old saying how... "Actors act for free. They are paid to wait." In theatre and TV, they do not realize the whole scope of the film production. Especially big, big films. When I worked on Die Hard Three, I felt like a nothing. Nobody could have cared less. They had so many different ADs and stunts going on. So on these sets, you really have to know how to manage your time. You have to be able to turn off and focus on something like reading. I do not advise having headphones on. When you are sitting there bopping to the music and someone is saying something, you should really listen. Things change all the time too. Shots change, schedules change. Keep your eyes and ears open and try to be polite and listen. But you could be there a day and not even shoot. So do something where you can listen and know what is going on, but still have your mind semi-occupied.

Q: Is it OK for an actor to occupy themselves with their cell or internet?

No. Of course you are going to have to answer some calls and hopefully you will know when you are not needed for a couple of hours. But they can come and get you in one second. The old fashioned book is a great choice.

Q: Are there any actions that can be viewed as offensive on set?

Just be nice and polite and appreciative that you are there. I know that jobs are getting harder to come by. And I think a lot of people still don't realize that no matter how long, our how short, they say the day is going to be... you have to clear your whole schedule. Think about your dogs and kids and your other job and spouses and social life and everything else beforehand and get it ironed out. Let people know that they just can't bother you.

Q: What if an emergency happens?

That seems to happen a lot. Actors have to make money but when they say their job called and they have to go, or the dog walker didn't show up, or they have to get somewhere to get keys... all these little things affect the production. You can't think of it as just you. You are part of this gigantic piece of heart at this time and you've got to just let those things go. Hopefully your friends and other job will understand that this is what you are going to do.

But if you do have an emergency, you should politely let the 2nd AD know about it and hopefully they can accommodate you and change a shot order or shooting schedule. But once those things happen you get an unreliable reputation. Even if they seem to understand, it sticks in people's

minds and it gets back to casting. It gets back to your agent.

Q: What are some other mistakes that get back to agents and casting directors?

There are always those actors that you hear about who complain. It could be about anything... the food is too hot or too cold. The room is too hot or too cold. Bring a bag, bring a sweatshirt. Everyone's body temperature is different. I've heard in the same room an actor boiling and an actor freezing. Both telling PAs to turn the heat up or down. It is not all about you at this time. You've got to realize that and all that stuff isn't productive and makes the shoot more difficult for everybody.

Q: When background needs to use the restroom they are supposed to let the PA know. Is that the same for speaking roles?

Definitely. But you don't have to raise your hand and announce it to everyone. And be as quick as you can. If you are going to run off for one second to go to the bathroom, don't think it is a good time to return every call and do your online banking and update your Facebook page. Be focused. Once you get out of your focus and are responding to what people are doing that day on Facebook, then you walk back to set and your mind is somewhere else. I see that all the time. Then you aren't in character anymore and have to get back into it. Everyone else is ready to go and you aren't. You have to be on the same pages as everyone else. Think of it as working in a factory. One person can be slowing down the whole line. And it reflects on the ADs. They are the ones who seem to get yelled at. Really watch your ADs and know that their time is so important. Let little things and problems go.

Also, you see people arrive at the beginning of the day and they are late and make a million excuses. When you are there - be there, nothing else should matter. If you are doing a play you don't get on stage and say, "sorry everyone I was late." You go right into the character. For film, it is the same thing.

Prepare your day the night before. People will say they are late because their iron didn't work or they had to get their makeup perfect at home when it is going to be done on set anyway. They didn't want to show up without makeup but that is what you are supposed to do. Now, they have to take your make up off and put your make up on. Think about the whole production that day.

Q: What about going to craft services? What is your advice on that?

It's funny, I've seen actors stand there waiting for more coffee to get brewed or for sesame bagels to come out. Don't starve yourself just because there is going to be craft services. If you have a temp job, do you show up looking for your breakfast burrito? Do the things you have to do. I've seen people wait around forever and do everything they can accomplish for their normal everyday lives and then they will go to hair and make-up or wardrobe. And shoots get held up because of one person.

If there is a choice of NO breakfast, grab something and go to wardrobe and hair and makeup. I'll see people grab food, sit down and make a smorgasbord for themselves. It's good to eat, it's really important, but if you take an hour to have breakfast - do it at home. Don't come in and say you cannot start your day without coffee. You did. You got there.

Q: What should an actor do if the principle cast talks to you? Should you talk back or keep quiet?

If they are talking to you, be polite. Some people are nervous and they worry, "Should I even respond?" But that comes off as rude. I say, if a person say's, "Hello" - just leave it there and do not get into "I loved you in this film" and "my kids think you are great." I've worked on films where background came up to the leading actors and wanted her autograph. She went and told the director and the ADs got fired in front of everyone. I've also been on sets where there is a clause that background, and even day players, couldn't look the principle players in the eye - which is awful. So don't ever cross the line. Be polite and keep it to a minimum in terms of what is going on in the film. Be genial and open but definitely try not to blab.

But everyone is different. There are actors who are the nicest people in the world and might want to even share a cab afterwards. When I was a stand-in a hundred years ago, I worked with some actors who were so childish and others who were as warm as could be and it didn't reflect who was more experienced. And now in casting, I think back to these people who treated others as crap and you don't want to work with them. And others who were so nice - I still bring in. I was a producer on a film where an actress was vegan but her agent didn't specify anything. We didn't have any vegan options. She just ate a plain bagel and was so great. She hung out with everyone and had the best time. Ended up playing Frisbee with craft services and I'll never forget that. I would call her in for anything. She is a fantastic actress and all those other things make her just right.

Also, it depends on what type of film you are working on. Some of these scenes involve some improv and other actors are just trying to make it more natural. But let them make their move. Think of it as going to a forest and letting the deer come to you.

Q: When it comes to lines, if you have questions - should you try and clear it up the night before?

That depends. A lot of people have questions over lines and whatever they did at the audition was natural enough. Some people want to make things so fluid, but sometimes the writer wrote things that are trying to be natural. If you listen to people talk in real life, half of the things they say have nothing to do with the conversation. There are broken lines. So if they are happy with what you are doing, don't over complicate it. A lot of directors we are working with now, the actors are coming in with so many questions and we are like "throw it away." There seems to be such a trend toward naturalness right now. Too many questions can be a turn off.

But if you do get the sides the day before and have questions, for time purposes you should iron it out before you are on set.

Q: Can you ever improvise a line on set?

I've seen actors blatantly change lines for things they wouldn't normally say, like profanity. If you are really uncomfortable, don't do it in the audition and then try and change your lines. But in indies, I love when an actor adds their ums and ahs and their own words. I like when a director will say, "make it your own, be natural," and they really want to see some improv.

If you see the other actors improvising a little, play with it. If they have a problem they will say something. I've been on sets recently where I thought they were going to stick to the script verbatim. Then, they day player comes in and is asked a question by the lead player and a really good actor is able to pick that up and go right with it. To me that is incredible to watch and I know I've done the right choice hiring them. Other actors are like, "Wait. I don't understand. Your line was supposed to be..." and that never goes well. They act like the lead forgot their lines. They can't improvise and sometimes it costs them the roll.

Q: If you are working on a non-union film and you feel like something is not right, if you are not comfortable, how should actors speak up about it? i.e., about nudity?

Sometimes people think, "I don't want to get fired," and then they sign their life away. There is a character in Jack and Diane who was non union and they asked her to go further than the script implied. She did. I don't think she regrets it but when I heard about it, it made me nervous because I know how vulnerable people can be. They think this is their big break and are in the moment. But the next day they may regret it and there will probably be nothing they can do because they have signed all types of releases. I do not want anyone to regret anything. I think all those things, union or non-union, should come out beforehand in the breakdown and be addressed.

If it does happen, it depends on how small the project is, but it really should be the AD you speak to. I have seen people at the last moment ask for a body double. They can't always get one. I have also seen people fired because they wanted someone a little more daring. I do not think that is right. There are all sorts of situations. You've got to watch out for yourself, regardless of if you have an agent. Over the years there are people like Debra Winger who has stood up for their principles and their work as thrilled me forever. They are true artists. They are not going to be treated poorly. There is a big difference between complaining and being true to yourself.

Q: What advice can you share based on what YOU learned as an actor on film sets?

I remember way back thinking I will memorize the lines and they'll tell me what to do and it should never be that. Be the character. It is not just about the lines, it is everything about you. It is being a real person, in a real world, even though everything is fabricated. So never expect to be told what to do. Just make it as natural as you can. Of course you should know the lines, but things may change that day. You should always be able to learn quickly, on your feet. Once you know who everyone is, and what everyone does, then you are not going to trip over things and step on people. You'll just be comfortable with the other actors.

Also, when you get older, you get a lot more confidence and don't get so nervous. That confidence works. I should note, there is a huge difference between being confident and being cocky. Never be condescending. Just be accessible. Be malleable, yet 100% ready to do your own thing because most of the time that is what you will be doing.

100%... This has been a fantastic film set survival guide. Many thanks to Harley Kaplan for his wise and warm advice.

NYCastings - Advice - In the Best Light - An illuminating glimpse inside a Casting Director's mind with CD Adrienne Stern

Wed, 13 Jul 2011 11:21:00 GMT

Written by: Kelly Calabrese

THE END... of an audition often fills an actor's head with thirteen conversations about one thing - Will they chose me for that role?

Of course, you want the part! But worrying about every detail will only spin you into a dreary tizzy. So hold on tight and prepare to see the light...

"An audition isn't always about getting that part," shares casting director Adrienne Stern.

And, "It is out of your control."

Helping actors put things in perspective, Adrienne Stern spoke with NYCastings about what actually goes on inside a CD's mind during the audition process.

Adrienne Stern is known for working closely with Directors and Producers to secure the types of casts that open doors to major film festivals and distribution packages. Her films have premiered at Sundance, Toronto, Cannes, Tribeca, Berlin, South by Southwest, Seattle and many other prominent film festivals, many taking home prestigious awards.

Currently, Adrienne is working with Circle of Confusion casting Hellbenders, written and to be directed by JT Petty. Also slated for 2011 is Shoedog written by George Pelecanos and to be directed by John McNaughton, starring Sean P. Diddy Combs, Wes Bentley, Heather Graham, Sam Shepard and Kris Kristofferson and A Wake Up Call starring Mira Sorvino, Ashanti and Dan Hedaya

Get ready for an illuminating glimpse inside the mind of CD, Adrienne Stern...

Q: To you, what is an audition truly about?

Even though we know you want that role, an audition is about getting into a casting office and doing a really wonderful audition. If you are not right for that particular part, for whatever reason that is out of your control, then maybe there is another part in that project that you are right for.

You want to get called in over and over again in that casting office. That, to me, is what an audition is truly about. It is about getting into everything that a casting office is doing so that when the right part comes along... you come in, you read for it, you own it and it's yours. Then, the casting team feels very proud that they've really nurtured their relationship with you. That they helped to get you to a point of confidence where you know that Adrienne Stern's casting office is a warm and welcoming environment. Where you know that you will give your best audition and we are rooting for you.

Q: What are you looking for when an actor walks into a room?

The actor should come into the room with a warm energy. Simply say hello, make it clear that you are ready to jump into the audition and always connect with the person reading with you - whether it be the casting director or reader, make sure you say hello to them. Tell them where you are starting. Let them know if you are going to sit or stand so that the camera can follow you. If they ask you to sit, that is something you will have to do. But, if you have anything to ask that is imperative to the audition, make sure you say that ahead of time.

And then, once you begin, know that you own that time. It is about you and all eyes are on you.

Know that you are there because we invited you there. We want you to do a great job. We want to make it easy for you. We want our client to like you. We want our job to be done sooner than later. If you come in and do a great job, then that's all we ask of you.

Q: Do you ever get nervous for an actor?

No, I never get nervous. I understand that an actor gets nervous and I can see that they get nervous. I see the sides shaking in their hands and that they get flustered.

Q: What thoughts go through your head when you see a nervous actor?

If I know someone well and it's not a great audition, I will absolutely give them adjustments. Or, I will ask them to have a seat outside and I will discuss with my producers and the director about the person. How the person is capable, what they've done and suggest we bring them in again and give them another shot. Absolutely, I will do that.

Q: If you don't know the actor, will their nerves make you think they are not ready for this?

You can't overall say one answer. Everyone is an individual. Every actor comes in with something different to offer. Yes, there are people who audition and have the right look but you have to say, "Can a person carry a film for an hour and a half? Or, are they better suited in a smaller role? Or an ensemble? Or as one of five characters in a group that play off one another?" I do make those types of decisions as well.

Q: Do you take note of how the actor relates to the reader? The connection and the chemistry?

I don't. An actor will come in and read with myself or an associate or a reader. They may not read with the person who will play the part opposite them. They might not even be an actor. And I know that when we bring someone in for call backs, and do mixes and matches with other talent, that it takes the audition to another level. They are interacting and playing off another actor who could possibly be cast with them. So in no way does it limit them.

Though, through the years, I see a lot of less experienced actors do something which I call "giving the audition to the reader." Meaning, they come in and they are waiting for the reader to feed them every single line so they can act off it. The actor has to learn not to do that.

For the more experienced actors who come in and audition, the words are just words that are being said to them. They are going to come in and play the way they want to play the scene no matter how the sentence opposite them is read. Many experienced actors don't even connect with the reader in terms of eye contact. Maybe when they first arrive in the audition room, they will say hello and let the reader know where they will start. But once they take off, they take off and they own it.

That's what an actor needs to learn how to do. They need to learn how to own an audition and not make it about the reader feeding those lines.

Q: If an actor comes in VERY focused, without smiling or being overly warm to the room, could that make a poor impression on you?

Not in the least, we completely understand. Some of these roles are very difficult. I am just about to start a film where we will be looking for a deaf boy and I know that many of these actors coming in are going to be prepared the minute they walk in. I do not want to knock that out of them. I don't want them to lose their focus. Then, after the audition is over, if they want to relax and say thank you and good bye that's fine. But we are all aware that they are coming in focused.

Q: In a 'Casting Tip of the Week' of Facebook, you mention that actors should not leave their coats on. What message does that send you?

When someone doesn't take their coat off, I feel as if they are not relaxed. It feels as if they walk into the room and they have one foot out the door. Plus, they are hidden under the coat. It is as if they are hidden under a tent.

Q: Are there other misdirected signals an actor sends out?

Women, more than men, have a tendency to sit in the chair, cross their legs and then lean back. They are so relaxed that they forget they made choices, that they stood while they worked on their sides.

I also think that a lot of actors get very nervous by the third page of the sides and they rush through it. They may have started off the audition very well but they become self aware that they are standing in front of people and so they rush through it and it leaves them flat in the end. They don't know how to finish their sides is what usually happens.

You have to find the fine line. You don't want to speak to slow or rush through it. You have to find a happy place.

When you have all eyes on the reader, waiting for them to feed you a line, maybe instead just make it a voice that is feeding you lines. Pick a place that you are looking at and make that your spot so you are not having to look at somebody that is going to distract you.

Q: How can a less experienced actor get more polished - beyond just getting more audition practice?

I think it doesn't hurt to get together with a group of your actor friends. If someone has a camera, bring all you sides and work on them together. Have someone film you and watch it and see what you do. Time yourself and figure out what your pluses and minuses are.

Q: Do you ever get disappointed that someone doesn't work out as well as you hoped they would?

Absolutely. When we feel someone is almost there we will read them over and over again. We will work with them and give them adjustments in the room. But if they just don't get what we are looking for, there is nothing we can do. If my producing and directing team walk away and feel as if this person wasn't able to bring to the role what they were looking for, then we need to move on and there is nothing we can do. We gave it our best shot.

Q: Beyond the audition, how much does an actor's resume weigh on your mind?

My clients are very eager and interested in watching reels and being familiar with the work that somebody has done in the past. Many actors get offered parts in films based on previous work. But each role is different and there are opportunities for people who are just getting started or people who have done a few things. Every project has different qualifications and reasons as to why we are casting one person or looking for one type of actor over another.

Q: Can you share some insight into the inside of a casting director's mind. How you process thoughts during the audition and decision process?

My mind is a file cabinet. I have a lot of things that are constantly being pulled out of their folders. And, I think that actors have to realize that the film industry is a business. People are investing money to make a film and so decisions need to be made no different than any other business.

Q: Switching from the casting director's mind to the actor's... How can an actor get into the best auditioning mind set?

You need to come in with an open mind. Always remember that we invited you to the audition, we gave you an appointment, and think of all the other people that wish they were there but we chose you to be there. So walk in be happy to be there, do your best and walk out. That is all you need to do, nothing more than that.

As Adrienne mentioned at the start of this article. "Auditioning is about getting on the casting director's list so you are called in over and over again."

"There is absolutely no way of knowing who else they are considering for the part; who else has read before or after you. You just have to go in and give your best job because it is not always about getting that part but about getting a part in that casting office."

It is about creating that... BEGINNING.

Thank you Adrienne Stern for giving NYCastings a glimpse inside your indie mind!

For more wise advice, follow Adrienne Stern Casting on Facebook...

http://www.facebook.com/pages/Adrienne-Stern-Casting/49493369954

NYCastings - Advice - Insiders Guide to NY Acting Studios - Spotlight on T. Schreiber Studio with Terry Schreiber

Thu, 7 Jul 2011 14:00:00 GMT

Written by: Kelly Calabrese

Ever think, "I MUST become a successful, working actor or I'll die!"

Well... taking a class at the renowned T. Schreiber Studio in New York City will help you ignite that passion, not just for acting but for every character.

"I always start with I MUST," says Terry Schreiber, "because I MUST propels you. 'I MUST have Juliet tonight or I'll die.' And I ask you what that means to you, not just intellectually. What does that mean to you in your body?"

Since 1969, Terry Schreiber has helped open up actors with his relaxed, safe and supportive atmosphere. The Studio began with Terry Schreiber teaching classes twice a week to twelve actors in a converted loft on the Upper East Side of New York City. Enrollment increased and the group began mounting productions in what were the early beginnings of New York City's Off-Off Broadway movement and building its reputation of high quality productions and performances. Today, the Studio resides in a renovated multi-use space on the 7th floor of 151 West 26th Street in New York's lively Chelsea neighborhood. Classes and productions run continuously throughout the year.

To help you learn more about T. Schreiber Studio, NYCastings spoke directly with the legendary, passion filled man - Terry Schreiber...

You MUST read this Q & A with Terry Schreiber

Q: In your studio, you focus on removing the tension that blocks feelings. How does this help actors?

In every class we do relaxation exercises. We differentiate between nervousness and tension because if you're not nervous when you are about to go on stage - you are not alive. The tension is what gets in the way. We tend to build up guards to protect ourselves from feelings that we don't want to have. Our exercises will help you to release that without analyzing who you were at what age to block that feeling. That is one thing I am deft on in acting classes is a teacher trying to be a psychologist. We have a class called Body Dynamics and Carol Reynolds is a certified Bioenergetics teacher.

Bioenergetics is really helpful because we lock different areas in our body. Someone who comes from a dance background has a lot of pelvic lock. The whole principle is really learning how to take the energy up from the floor and open up - especially in the pelvic area and the thighs because that is where your power source is located. It is like a fist that tension. It is learning how to breathe into that fist and let it open up.

Enlarging your range is the purpose behind it. Sometimes, the areas you have to go to into in acting are very difficult areas to open up to. It gets into some feelings that have been blocked for a while. It's amazing what happens after that 45 minutes because you are so centered and the concentration is right there and available. It opens up your imagination, your inner life, that organic life that you want to get to.

I talked to Ed Norton about American History X and asked "How could you say those things to Elliot Gould it had to be very hard," because Ed is such a liberal person and Ed said it was. The dialogue can be thick in your mouth but you have to get free with the words because the character is.

Q: How does being relaxed and centered affect how a person portrays a character?

I was working with a guy the other day who is really wired. Out of the relaxation exercises, suddenly his face, which is usually pinched and tight and leaves him as an offbeat character actor, was wide open and I told him, "You've just gone from that character to really being a handsome young man."

No athlete is going to come out and just play a game. They get to the park hours early and warm up. An actor has got to do the same. You cannot convince me that anyone can come to the theatre at 7:30 and be ready to perform at 8pm. There is just too much going on in our personal lives. Look at someone like Mary-Louise Parker who has her own keys to the stage door and gets there at 5pm. You've got to get rid of the day. You can't just walk out there and be ready to go. You've got to be centered in what you are going to do that night. You have to do a gradual warm up and find out where your energy is in your body. Is it high or low? You want to get down to that lower energy.

Q: How does your technique help actors succeed long term in this biz?

For the experienced actor, the actors use it as a gym. They use it as a place to work out, so that the audition is not the be all end all of their career. It is a good opportunity to do the roles they are afraid of, to do writers who have a different rhythm than their own and to stretch. Especially, if they have trouble getting to the things that are called for many times in auditions - the vulnerability or anger. You've got to find that in you because you are your own instrument.

I don't think you can ever just 'as if' yourself through a role without being on top of the role and connected to it. When you see the really good actors they are connected to what they are doing. They aren't doing just an idea of the role. The inner connection comes from you, that you open up yourself and share that side of you with us. Once you are doing it, the audience thinks you are the character and in the classroom you are opening up to that.

Q: How does an actor get started with T. Schreiber Studio?

We do a big orientation here every Monday night for new people for an hour and a half because we do a presentation and individual interviews. You have to audition for any intermediate or advanced classes.

If you begin with the beginner class, we have an intensive that introduces Meisner work. After three months of that, you move to Intensive Two and that adds much more scene work and other kinds of exercises.

We try to create a very safe environment here so people are comfortable taking risks or chances without judgment. I have no auditing for that reason because I think that is a complete violation. If you have twelve new people in class, every time, it is a performance. I don't want that. I want you to really explore your work and fall on your butt a couple of times because out of that comes growth. It's got to be a supportive atmosphere. The minute you have auditors you have judgment either finding out if the class is good enough for them or the teacher.

Q: If someone is trained but not in your style, will they start at beginning or intermediate level?

It depends on the background. If I am interviewing, or Peter is interviewing, we will ask if you've had any Meisner training or Strasberg training with sensory work and physical conditioning. We ask who you have been studying with and what kind of approach did they take because I feel it is very unfair to put an actor in a class over their head. They should feel comfortable yet challenged. As we move along the exercises get more demanding. We try to build through a whole series of exercises where each gives you more courage and freedom. It will still be difficult to jump in but it is about you finding tools that work for you.

Q: How does your approach give New York actors an edge at auditions?

I tell my actors to not get involved in a conversation with someone at auditions. You can say to someone you haven't seen in a while that you'll go for a cup of coffee afterward, but first you have to prepare. You have to get into yourself. You can do drop overs or shake outs through the spine. Sit in the chair and drop over and don't care if some other actor wonders what you are doing. You've got to be willing to do that. There may be people who kid you but you've got to laugh it off and go back to what you were doing. It is key.

Q: What type of person is best suited for your style of training?

Somebody who is open enough to give themselves to this kind of work and want to explore. Some of the exercises will work for you and some not and that's ok because you come out with tools.

It is very difficult to work with someone, even in the beginning stages, who is really locked up. A lot of us go into acting because we have not had very happy home lives and we think acting gives us a good chance to escape ourselves and what we learn is that if you are going to do it well you are going to go deeper inside yourself then you ever have.

When you are really playing an objective your objective plays you and you have to give up control to do that or else you are just up in your head, manipulating it. You are not really taking it on.

Q: Your Studios seems more like a community than a school with all it's theatres. Is it?

Yes, it is a family here. We do a three play season, we just finished a couple of weeks ago with our last production for the season, we are doing a bare bones production in July and will open again in October with Lobby Hero.

I have an arrangement with Actors Equity that we cast strictly from people studying here and alumni. Because if we don't trust our work, what's the purpose. You go study at Atlantic Theatre Company and the whole play is cast outside so then where is the work that's done in the classroom going? Where is their chance to perform? We are 43 years old and I just finished doing The Changing Room and the owner and the locker room attendant are both 84 years old that played those roles. We do have age appropriate casting here.

And we have a commercial class, a voice over class, Peter Miner who has been with me for years teaches on-camera 1 & 2 so if you've never had any experience you can get your feet wet with On-Camera 1. We are going to add a musical theatre class. We also have Shakespeare and the body dynamic vocal classes. We cover everything that you are going to face out there in the world.

Q: If you were to choose either Theatre, Film or TV - what would you say is your niche. What are you the GO TO studio for?

Theatre. I feel as if the best film actors are stage actors. There is an adjustment to make but they are always the deepest, richest work.

Q: If you had to sum up why someone should study at YOUR Studio - what verb, adjective or phrasing would you use?

I think we are really about providing an open and supporting atmosphere to explore the work, to explore the craft. You can feel safe here. And that's a very important thing. Some teachers attack, they strip someone's ego to rebuild them, and I think that's out the window. They are not a therapist and can leave a person in trouble.

After you do a scene at our Studio, I will ask you where that takes you and you will feel the freedom to share and talk about it. To say it reminds you of a time in high school. I just need a hint of where you are going with the role or what you are trying to get inside or share with yourself. Whatever you are playing it's got to come back to you and finding that character within you. Sometimes that is very hard, you can be playing someone who is nasty and you can't judge that character. You've got to play it and let the audience do the judging.

Q: Any advice you have been given that helped you stay inspired?

When I first came to New York I was introduced to Kim Stanley who for me is the greatest actor I've ever seen on stage. When I was leaving her house, she took my hands and said, "Just remember, as you go along with your career you may have to sell out on some things but just make sure you can buy them back." It was a wonderful point about integrity.

I also believe that it is very important to keep growing. When a young person hits it and then stops there, doesn't use a class again for a gym, that's a trap. There is always an opportunity to grow. When you shut off learning and think you know it all that's when the instrument starts to shut down. Look at the actors you admire, like Meryl Streep, and the risks and the chances they take.

IF YOU... must take a chance on T. Schreiber Studios - check out their site for more detailed class info... http://tschreiber.org/

Thank you to Terry Schreiber for his time and insight!

NYCastings - Advice - TO ASK... OR NOT TO ASK? Advice on what to say when meeting an agent, with Bloc's Jim Daly

Fri, 24 Jun 2011 15:06:00 GMT

written by: Kelly Calabrese

Meeting an agent for the first time can feel momentous, as if you should genuflect or feel devoutly grateful but, "We are all just pieces of a puzzle," shares Bloc's Legit Agent Jim Daly. "When that show finally goes up on Broadway or that episode airs on TV, we are all a part of it. We all just serve different purposes. No one is better than anyone else."

So take in a deep breath and get ready to alter the way you view seeking representation. As Jim Daly shares with NYCastings, "It's a relationship that you are hoping to build. You just have to be yourself in these interviews."

"If you are so nervous, all I see are the nerves that are going to come out in the auditions," shares Jim. "So walk in and think, 'this is just another human being that you want to make a connection with.' Be present and see what can happen, what's on the table."

"I've had meetings where we are just busting out laughing because we are having so much fun and the people are just really comfortable in their own skin. Those people are dynamite, very easy to want to rep."

As the head of the legit department at Bloc NYC since late 2007, Jim Daly reps a wide range of talent from young dancers in the ensemble of today's hottest Broadway shows to classical actors on the stage and screen. Jim has worked as an agent, a casting director and earned a BFA from the University of Michigan. He was last seen onstage in Off-Broadway's hit musical, Altar Boyz and has a great deal to share with actors from his years of experience.

Here is what Jim Daly has to say about... that all mighty, first agent meeting.

Q: When meeting with an actor for the first time in your office, should they come in with questions already in mind?

It is a little weird when someone comes in and says, "Actually, I have fourteen questions to ask you." All of a sudden they were very present but then they shut down and pull out a pad of paper. I don't mind if they have two things to ask that pertain to my agency and shows they have done their research, but don't ask a whole list of questions that you would ask to any agency. I like to know that someone has done their work and is looking for the best person out there for them, for the best relationship between actor and agent.

Q: What do agents look for during a meeting?

Agents want to get a sense of the person they are meeting with because it is going to be a relationship for a year, hopefully longer. If I am getting a sense of crazy or desperation that's not good. I want to know that this is a person who will be enjoyable to work with and that we will both get something out of it. I look for someone to come in and be comfortable, know where they fit in the industry and what roles they are trying to get. Have a good sense of where you are, right now. Don't come in as non-union and say you should be seen for a new lead on Broadway because you should know that the industry doesn't work like that.

Actors should also have a sense of the questions that I will ask them... Who do you know?, Who do you have a good relationship with?, Where are places you have worked?, Where are you trying to get into?

I have a spiel that I share with actors about how we work here at Bloc. The actor does their monologue or song and then I go into what Bloc is, how long we have been around and what we call, 'our ideal client.' That comes out within the first ten minutes. After I've given you all the information you can't get somewhere else, I hand the floor to you and ask what you want to know. What do you need to know from me to help you with your decisions?

Q: Bloc has offices in LA and Atlanta, should an actor ask about being sent to auditions in other cities?

People do ask that if they will be going in for episodics in LA, and this is how I feel about it. To be a bi-coastal client you have to already have developed some type of presence on the other coast. There are so many actors out there already. They aren't dying to bring in someone whose not in the city. And the turnaround is so fast in this business. So, you are not going to be submitted for Glee because you would have to be in LA tomorrow morning and you can't just send a video.

I tell actors that, "Yes, it is a possibility in the future. But first we have to build you up in this microcosm of the world and then introduce you to the other side to let people know you are available."

Q: When actors see roles that are right for them, should they call their agent about it or leave the job up to the experts?

It's a difficult line to cross. You have to trust that I do not just have you here to build up my client list. If I have you here, it's because I am looking out for jobs that you are right for and I'm doing my best to get your foot in the door; talking you up. The last thing I want is for everyone to call me and say, "Hey, I hear they are looking for a new Glinda in Wicked and I think I'd be great." What I need is for you to add fuel to the fire. Tell me if you've been studying with an assistant musical director on a show. Or, if you used to room with a person in summer stock who is now the assistant casting director for a show. Tell me things that I don't know, that I may be able to use to get you in the door. Anything that is not just obvious and on your resume. Anything beyond your voice, your height and special skills. Also, on the breakdowns I may not know something like the dance captain off hand or the assistant choreographer who you may be connected with. Let me know that.

When it comes to sharing info...

I always prefer an email because the information you share may not come up until two days later when it's time for me to make a push with casting. Then, I need to find out who you know, the spelling of person's name and how long you've known each other.

Q: When it comes to the question, "Tell me about yourself" - what should actors say?

I don't ever ask that question. I might say. "Tell me where you feel you are at right now in your career and where you want to go. Tell me what you are passionate about, where you are working now and where you want to see yourself in a year." That gives me a sense of the actor and they are very present when they answer. The question, "Tell me about yourself" is so broad it can cause an actor to say, "Well I went to school here." But agents need to know where are you right now. With the help of an agency, what are you hoping to achieve?

Q: Should an actor ask how to best communication with you and how often?

Sometimes I bring that up in our meeting and sometimes not. It is really tough if someone calls me every time because calling makes you stop whatever you were doing to talk to the person. If you have something going on, shoot me an email. I am so on top of my emails. If I am not finished with what I am currently doing, I keep the email open on my screen so I can get back to it in thirty minutes. We pride ourselves on getting back to everyone and having an answer at Bloc. An actor wrote me back yesterday and said, "You've now won the award for quickest agent I've ever had" because I saw the email, answered it and sent it back. I always do my best to make sure that people know I hear them. I want people to know that I value what they want to share with me. It's just that a call interrupts. So, leave phone calls for emergencies, for if something is happening right now.

Q: If you met an actor at an event and showed interest, how should they follow up with you / check in to see if you want to meet with them?

The best things to share is what work you are getting on your own and who is calling you back. I want to hear that you got called back for White Collar or got called back in by Tara Rubin. These kinds of things mean that those people know who you are, that you are out there hustling, doing your job and pounding the pavement on your own. That you are just looking for an agent to team up with. Especially let us know about a call back because it means you are doing something right. It means there is another person out there who is a fan of your work and maybe we should revisit calling you in. If we didn't hit it off the first time, it isn't going to change my mind. But if I'm teetering a bit, if I liked someone a lot, it may.

A casting director told me years ago, "It's ok to just be a fan. You don't have to rep everyone you like. You can just be a fan of their work." That really changed how I view things. When someone moves me in an audition, I have to ask myself if I think the agency is right for them. Usually, I sleep on it and if I'm seeing breakdowns the next day and still thinking of you, then I have to call you in. If I am still thinking of what you would be like as a client and how we would work together, that's a good thing.

Q: Should an actor ever ask why they interested you? Why you called them in for a meeting of possible representation?

That's almost like asking why someone is attracted to you in the dating world. It could be the craziest thing where you thought you looked bad that day but there was actually something so real about you. It's so subjective.

Q: Are there any specific questions that you don't like to hear?

What I don't like is, "Where are you going to put me? How do you see me?" Usually, I've seen one monologue. I can tell them some things from first glance but I am going to build my knowledge of you over time and through feedback from casting directors who share where you really do shine. You may think you are a star in the contemporary play world but you are really a stronger commercial candidate. I get a sense of you over time for where you really do stand out.

To start, I am just looking to get you opportunities. My job is to open as many doors for you as possible. One of the really exciting things about coming to an agency like Bloc is that it gives you so many kinds of opportunities. I left the University of Michigan musical theatre department and came to New York with a very narrow view of what I wanted to do. I wanted to do musical theatre. I didn't have an agent for the first couple of years, I didn't even try to find one. I just wanted to audition for musicals. But coming to a place like Bloc, once you audition with us and we have signed you across the board, you can just as easily be going out for a commercial or TV. As long as you have some of the training and the talent, then I can get you out there and see how you do.

Also...

Don't ask, "What types do you represent? Do you have anyone like me at your agency?" We just built a new website and are filling it with all our clients. You can get a sense of what kind of clients we have by going to our website. That would make sense for anyone to do before meeting an agent. And ask around. See if any of your friends have worked with us. A lot of people know of me or have worked with me and you can ask what their feeling is. Or you can ask a casting director that you've worked with. That will give you a good sense of who to avoid and who everyone has a good feeling about. I think a big part of my job is building and maintaining that relationship with casting directors and I believe they would say, "Jim is fantastic and I really like working with him." And you can find all that out before you walk in the door.

Q: What is the best way for an actor to walk into a meeting or audition?

This was told to me back in college... Walking into any of these rooms, especially into an audition, is like you are hosting your own party. It's like the accompanist is there to play for you and the people behind the table are who you've invited. You bring the energy into the room and it is your chance to entertain the guests. The only thing that will stop you is if you are not prepared with your material. If you feel prepared and can entertain the guests, the whole vibe of the room changes.

The same thing with meetings here at Bloc. If you walk into the room and are not feeling confident about what you have to offer, or it is a new song or monologue for you, the cracks start to show. Why would you waste an opportunity when it could be something great? It is all about the mindset. We are all just trying to get the job done and would love something natural and wonderful to happen from it.

This job can be so rewarding and so much fun. For my clients, I am their biggest cheerleaders and celebrate with them because I know it is a big deal in their life.

Q: From your personal experience performing in Off-Broadway's hit musical, Altar Boyz, do you have any words of advice to share with actors?

Because I had to swing the show, it could never be perfect. It was never muscle memory. I knew the choreography but instead of hitting it on three I might hit it on four and I was always in my brain about it. I grew up a perfectionist and this show didn't allow that for me so it was a stress in the beginning, that I could never get cemented and be perfect all the time. But watching some of my cast mates, especially one in particular, there was a sense of play. It was not prefect every night but it was different. And because I couldn't expect perfectionism, once I dropped that need, I was able to stay more present and play with the boys around me in that show. I dropped the "it has to be" and learned to just be in the moment and fun.

We are not brain surgeons. We are here to entertain people and put on a show. That was a great gift to learn and leave the biz with.

It is a gift to be a working actor. There are so many people in the city. That's also how I feel about auditions. People are like, "I can't believe I wasn't seen for this role," and I think every audition and appointment is a little gift because casting has got a million people that want that time slot. If they think you're so right for it, that your necessary to be seen by the creative team, that is a gift every time one of those come through. It is not something you should expect. It is something you should be proud of.

Proudly, Bloc Talent Agency works with actors, singers, dancers, choreographers, and extreme athletes for feature film, episodic and commercial television, live stage and theatre performances, industrials, music videos, and print. With sister offices in Los Angeles and Atlanta, Bloc specializes in all areas of the performing arts.

For more information on Bloc please visit nyc.blocagency.com

Thank you to Jim Daly for sharing such inspirational and helpful meeting confessions :)

NYCastings - Advice - Score Film Funds! - NY based director Gary King shares fund raising tips

Thu, 2 Jun 2011 10:40:00 GMT

Written by: Kelly Calabrese

"Writing is easy. Living is hard," states the tagline of a musical drama in post-production called HOW DO YOU WRITE A JOE SCHERMANN SONG, written and directed by Gary King.

In this movie, the main character struggles with the harsh realities of show biz - a challenge that rings true for many artists on a journey. Especially, when it comes to hauling an idea from script into production.

To help ease the burden for aspiring filmmakers, Gary King offered up his film making advice to NYCastings, a site that he also uses when casting projects.

"NYCastings is one of the sites that I always use to post my listings because they are very professional and I get such a great response," shares Gary.

In fact, Gary first connected with the lead of this film, Christina Rose, 4 or 5 years ago through NYCastings for a web commercial. "We never worked together but we kept in contact and three years later I emailed her about an audition," says Gary. "I met a lot of great people through NYCastings that I still work with today."

Over the years, Gary King's work as a contemporary DIY American filmmaker has earned him a reputation for powerful performances with an emphasis on a strong, visual style. He has written, directed and produced several critically acclaimed feature films including NEW YORK LATELY which has been hailed by The Independent Critic as “a remarkable achievement” and Row Three as “a beautiful film” making its Top Ten Films of 2009 List.

Here is an exclusive glimpse into how Gary King creates his films...

Q & A with Writer, Director Gary King

Q: Tell us about your process of making called HOW DO YOU WRITE A JOE SCHERMANN SONG, from the production side.

I knew it was going to be a musical and that the scope was going to be larger than my normal type of film so I talked to a few people about viable ways to raise money. There is the traditional way where you find investors or self finance through credit cards. But I learned about Kickstarter and crowd funding through other projects and thought it could be a good way to raise money for the musical. I shot my previous film for $3,000, but for this one we needed to record vocals and dancing. We needed to pay more in order to hire the people for the film and pre-production work.

For the first round on Kickstarter, we raised 31k for the production. All together we raised close to 50k.

Q: How did you raise so much money?

Many films raise a lot of money because they have a name attached to it. They are by a Sundance filmmaker or have a Colin Hanks in the film. We were really proud that although there is no "famous" person in our musical, we have a great fan following and community that believes in us. To raise money like this, we had to foster relationships for years before we even tried.

Q: How do start fostering those relationships?

A lot of different ways. I have other films that I've done. Before this musical, I directed two of my own films and was hired for two others. All of those films have different fan pages. I am also active on Facebook, Twitter and my blog. I don't know the magical formula but I am grateful to have a lot of people believe in me. I think it has to do with being accessible.

One of the coolest things that happened was near the end of the second campaign. I met industry producer Ted Hope and filmmaker Lance Weiler who both donated to the campaign and tweeted about it for me. That brought people in. When someone of that level supports you, other people think your project must be solid.

Q: Speaking of solid, your Kickstarter pitch video is engaging and professional. Do you think that helped raise funds?

With Kick starter, there are two ways to use the site. You can get an invite from someone who already used the site or apply and get accepted. It usually has to be an artist related project that has a finite ending to it. Once you are on the site, you don't have to have a pitch video but I think it is the most compelling part. You get to meet the person behind the project, see their passion and really believe in it. That kind of video can be done with just a cheap camera as long as you have passion to shine through.

For my pitch videos, I had actual clips from the film to show people that their money in the first round of fundraising was put to use. If you show some of your work, people will see you have quality and they won't think they are wasting money.

Q: On your site, you mention that HOW DO YOU WRITE A JOE SCHERMANN SONG, "will not be your typical “song and dance” musical." - Was it important to stress that point when raising money for the film?

It was extremely important because I didn't want people to think I was recycling a story or musical. I do say when people question the tone that it is ONE meets ALL THAT JAZZ. It is a drama with song numbers that make sense when they happen.

Q: Other than Kickstarter, how did you raise money?

We did have some executive producers that came on board because they saw the Kickstarter campaign. These were people that I met at a film festival in Wisconsin. I went there with my first film, NY Lately. It's important to go to festivals with your film no matter the size of the festival so people get to know you.

Q: To help people get to know you, your website offers amazing photo stills, videos, links, a running Twitter feed so much more! Did it take a lot of time and money.

There is a lot of work that goes into it, mainly on the programming side. Some themes I buy for $20 or so, but you can get free plug in themes. I did the content and had someone program the layout, fill in the content, the posters, the images, the videos - that kind of stuff. The only expense is time because it takes a lot of time to do it. If you are connected to a programmer, they can help you for nothing and eventually you will return the favor for them. I did not have to pay out an arm and a leg.

Q: What is the biggest advice you have about scoring funds for films?

First of all, I would say to make the film however you can. Once you know the level of money you have, you can set the scope of how big you can go. As I said, my previous film shot for 3k. If you are passionate about your project, and have friends who believe in you, you can get them on board. Make a project that people will be proud of and you can get people to help. But don't think it's too expensive because once you start doing it people will get on that train with you.

Q: Any advice for approaching people about that FREE help?

For me, what I think helped was that I made two short films before I made my feature. For those short films you aren't asking for a lot of commitment. You can build and foster relationships that way. You can find who you really get along with, make friends and those are the people you bring along to features. The people that I've kept in contact with would jump to help me. It goes back to making those types of connections and friendships so you aren't asking strangers to do things for you. You are asking your skilled friends, people who are know how to use equipment, actors, anyone in the industry who is talented. Those are the people you call in favors from and, of course, when they need help you jump to go help them out.

Q: What did you learn from this musical drama?

We are not fully done yet and this is my first time that I am scoring with a live orchestra, so this is a new learning lesson for me.

In terms of production, for this project we shot the entire film over 32 shooting days and had 4 crew people. I learned that a 4 person crew can make a film. After working on other projects, I learned where to scale back and where not to. I realized that you don't need 20 people if you know what you need and are not being the glory, "I want to be the director and everyone else works for me" type of person. If you are willing to get your hands dirty, you can make it without 20 people as long as you bring together a skilled team.

On my very first short film, I hired every department to do things because I didn't go to film school. The short was my film school. I wanted to see all the departments and learn. But the best way to see what every department does is to PA or intern on a bigger set. That way you can see what you like or don't like. Then, when you make your own movie you can bring in what you like.

THANKS GARY KING - NYCastings likes your advice!

For more information on HOW DO YOU WRITE A JOE SCHERMANN SONG and Gary King visit http://www.joeschermannsong.com/

NYCastings - Advice - Are Dummies the Best Actors?

Mon, 23 May 2011 13:15:00 GMT

by Jason Bennett

To be a great performer you must be well informed, super smart and know a great deal about psychology relevant to acting. The greatest teachers know you can have a solid connection to your intellect…and also be spontaneous, focused on the other actors, unpredictable, imaginative and emotionally filled…all at once! One of the most common insults of the 20th Century came from acting teachers calling actors "too smart" or saying they were "in their heads." In some cases it implies, and in others directly asserts, that a well-developed intellect makes being a great performer harder while performing. That is utter nonsense. Many actors and singers, who have significant previous training, need to hear the liberating message: It is not only ok, it's vital to be smart.

Some might object to what I just wrote by stating the term "in your head" is valuable because it really means not being overly intellectual. However, some acting teachers say actors must be "liberated from thought." Messages are often inconsistent and paradoxical, from the very same teachers. But, if the phrase is supposed to actually mean not being overly intellectual, then most modern teachers are in total agreement. So, let's use phrases and teachings that literally mean what the words mean. Our work is devoted to cultivating a well-rounded approach to performance. Your voice, body and mind is liberated from oppressive rules and tension that block the full expression of who you are -- your talent. You must act from a wider variety of energies and archetypes -- excluding none, but not over-relying on any one, either.

A more careful examination of the specific meaning of "in your head," and the commonly taught rule you must be "in the moment" reveals two things: This vocabulary certainly helps some performers and has been useful. But, it is harmful or paralyzing for many performers if they attempt to achieve literal implementation of these vague teachings, and there is now a much more accurate and helpful way to talk about how to achieve great performance.

In great performer training, there are many phases. In the beginning, for both beginners and even many well-established professionals, the focus should be to enhance and/or facilitate emotional, vocal, and physical freedom; self-awareness and a deep connection to the awesome expanse of the imagination. Without this foundation, great performance is not possible. It is incredibly ironic that often performer training begins with script analysis and performance result work -- a much more narrow, intellectual approach than is helpful for most aspiring performers.

Only after the experiential work that frees the body, voice, emotional and imaginative worlds, should there be extensive training in critical thinking, world events, and in the most current psychology that helps great performers. A highly developed rational intelligence and knowledge, balanced by other "parts" of your personality, is essential. The great performers are some of the most conscious, evolved and informed people on the planet, despite the pop media obsession with the tragic downfalls of a teeny tiny percentage of actors.

The notion a performer must get "out of their head" and be "in the moment" does primitively address a very real issue many aspiring performers "act" from too much rationality. A valid point that must be addressed in actor and singer training. But, the issue is not to insult the reality and necessity of intelligence or thought, even while moment-to-moment performing. It is to teach performers what to DO with the imagination…and how to do it…specifically…clearly…step-by-step…Instead of simply telling actors to get "out of their heads." There ought to be many more acting teachers capable of this kind of sophisticated instruction.

The notion an actor must "be in the moment" is troublesome for many more reasons. What exactly does it mean? You're supposed to really be listening? Sounds good, but very incomplete. You're not supposed to notice yourself while acting? You're supposed to forget yourself or get lost in your spontaneity? Sounds really bad and dangerous. Please don't actually get lost "in the moment" of the circumstance of being a killer if you're on the film set with me. Please, please, remember you're acting.

So, upon scrutiny, it becomes a Zen kind of phrase that while, once very popular, either makes no sense, is impossible or undesirable to achieve. We just don't need this phrase in our work…especially because it harms so many performers. But, we know most actors need exercises that bring them more "in the room and present with the other actors" AND the fact they are acting and creating art.

The idea you must "get out of your head" (a physiologically nonsensical phrase), in part, stems from an historic bigotry that artists are pariahs: sluts, criminals, gypsies, communists, anarchists, traitors, stupid and more. Many of the great 20th Century teachers promoted this self-loathing religion, and it still infects significant amounts of training. I even hear some performers express this kind of thing.

In the 1940s and early '50s, the House Un-American Activities Committee actively promoted this nonsense to disempower artists from being political, informed and helping to change society. This was because actor-activists were effecting tremendous social change in the United States. Artists, just before this era, were having significant impact on the political landscape. And the government and orthodoxies did not like it at all. So, entertainment professionals were hauled before Congress and called communists and socialists and careers were ruined. Even Charlie Chaplin had to leave the United States to continue to get work. It's part of why you still constantly hear people insult actors when they comment about political issues, "They're just actors. What do they know? Shut up and do your job." Things like that.

What we want are actors that are super smart, highly informed, self-aware, emotionally available, physically and vocally free and psychologically very smart -- and available to really be with the other actors. The proof is in the pudding. The best actors are, ideally, constantly working on waking up: to themselves, to life, to their voices, bodies, mind, imaginations, each other, etc. They are always working on themselves. And, once you're connected fully to your imaginative and emotional world, the best actor training includes the most specific line-by-line, moment-by-moment text work one can find. It's intellectual, it's imaginative, it's psychological -- it's holistic and integrative. And it would give those who believe actors shouldn't be highly developed intellectuals the willies.

It's time to do away with the bigotry actors should not have "heads" and should just "be in the moment." The great performers I know are extremely smart, know they're performing and use their heads in the moment of the performance. And this reality is a basis of the best training. And it also happens to be in sync with the most current understanding of creative process and great performing. And it's how great performers report that they work!

You just do not hear actors report they are totally "in the moment" and are never thinking and forget they're acting. Although, you do hear great performers express things like this: When it all comes together, there is a feeling of mystery, magic, ease…and some even say it feels like the work is coming from another place…that they are a vessel through which the world of the story flows! This is the result of an ability to open oneself to the infinite world of the unconscious -- and let it do the acting for you.

Jason Bennett is Runner-Up for Best Acting Coach in 2010. And you can read more about his classes and coaching at "The Jason Bennett Actor's Workshop" at http://www.JBActors.com

NYCastings - Advice - PASSION PLAY - Film advice from Indie Spirit Award Nominee Kelly Lynch and Writer/Director Mitch Glazer

Thu, 19 May 2011 11:42:00 GMT

Written by: Kelly Calabrese

Allowing the gritty, vulnerable, raw, truth of a character to overtake you can feel a lot like playing with fire. Passion heats up inside of an actor until an ultimate transformation ignites and takes over.

"Without passion in acting you would be lost," says Kelly Lynch from the movie Passion Play. "It is a love affair with your work."

Kelly Lynch plays Harriet, the Dream Lounge bartender, in the movie Passion Play written my Mitch Glazer, also starring Mickey Rourke, Megan Foxand Bill Murray. Passion Play tells the story of an angel under the thumb of a ruthless gangster who is saved by a trumpet player down on his luck.

Kelly Lynch earned an Independent Spirit Award nomination for her role in The Beans of Egypt, Maine(1994). She also worked on Homegrown, co-starring Hank Azaria and Billy Bob Thornton and Three Of Hearts with Billy Baldwin.

Mitch Glazer, Writer/Director of Passion Play, graduated from NYU and since wrote many films including the cult classic Mr Mike's Mondo Video, Scrooged, Great Expectations, and The Recruit. Passion Play is Mitch Glazer's directorial debut.

To help NYCastings members learn how to keep their passion alive even in tough times, we spoke with Kelly Lynch and Mitch Glazer about the industry and what they learned filming Passion Play...

Q&A with Kelly Lynch (KL) and Mitch Glazer (MG)

Kelly Lynch...

Q: How important is it to have passion as an actor?

KL: You must have passion for acting. I would do it for nothing. When I talk to young people about acting and ask them to raise their hands and say why they want to act some say this horrible thing... they say they want to be famous. I have to remind them that they better love it because it's hard to make a living at it. It is a very frightening line of work. You get a job you see a script and every actor, I don't care who they are, are both terrified and thrilled to play the human condition. After time, when you become a seasoned actor, you know you will find your way. But when something first crosses your path it is a mystery.

Q: How do you keep the passion going toward acting?

KL: It involves saying no to some things and some avenues. When I met Mitch, I was this up and coming movie star. Meeting him changed everything. I went for indie films like Drugstore Cowboy. I turned down Basic Instinct and a lot of work that would have propelled me into a new career but taken away my privacy and ability to play a lot of different charters. I did L Word and played a person who is really like a man and that was a challenge.

It is an easy thing to critisize what we do in Hollywood, but I challenge people to step into our shoes and do it. The world acting is not for sissies or someone who wants to be famous.

Q: As an actor and a model, has it been difficult to have people see you as more than an object of passion of beauty? How can women deal with this challenge of being beautiful but taken seriously?

KL: That's a good question, because it's a funny thing. When you talk about it, people don't feel sorry for you. They think you are just whining. I have lost a lot of work because of looks. I could not play the best friend. Somehow, the second girl has to be twice the size. We have these strange rules in Hollywood. We used to love beauty on screen, Joan Crawford, Marylyn Monroe brought lighting gaffers and cameras with them all the time so they looked like movie stars all the time. It seems to be a threat now. You open magazines and you see who wore it better, we are compared constantly. To be a woman is to never be comfortable.

For guys, if they have a little money in their pocket and it's a sunny day it's all great. When I played Ivan (in L Word) I walked differently. One morning I slept on my face and had bags under my eyes and thought, "This is cool."

In a weird way it is up to us women to let it go. We are harder on ourselves then the men are. They do not worry about how they look the way we do, how we judge ourselves and each other. Maybe because there are 1 million great women for every 2 decent guys. Beauty is a gift just like the ability to sing or intellect, but for some reason it gets put on a pedestal; revered and reviled.

Q: One of the lines in the movie claims that "Everything changes. Everything ends." How have you dealt with change and endings in this every evolving industry?

KL: It is almost like Feng Shui. I could not wait to get out of the bikinis I was wearing in my 20s. If I had one flesh and bone part in my 20's, it was Drugstore Cowboy and I was 29. In my 30's I played the girlfriend role and in 40's the mother. Though, my agent would say, "Don't play the mother yet." I didn't know why but then I read the scripts and it's like everyone hates their mothers. Some people do have flushed out mothers but it is rare. Now that I am 50, and can still wear my jeans, I had a cougar part in Kaboom. I am also doing a TV show that Mitch has written where I get to play a Palm Beach wealthy women. She is complicated and sad and interesting. Very much an adult.

Mitch Glazer...

Q: As a writer/director, how can actors best take your words and convey them with truth and passion?

MG: One of my joys is watching actors elevate the material. It is an exciting partnership. I like having the chance to work with the actors, explore and observe. I am married to an actor. I love actors. Even as my function as a screenwriter, I have been on the set of every movie.

In this movie, there are amazing actors. They were curious and open because I wrote the material. Bill Murray and Mickey Rourke were both really open curious as to how I work. As we were going through a scene, they wanted to find out if it felt true in my sense. The idea of collaborating was important to them as well as me. It felt collegiate and exploratory. Mickey once turned to Kelly during the set and said, "When was the last time you were really directed, having someone talk to you between takes and create a collaborative performance." That was a big compliment.

Q: This is your directorial debut, what truth did you learn from making this film?

MG: Being open, from my end, to found moments. For example Mickey has a reputation of re-writing himself. He was incredibly faithful to the text, yet in one scene he is driving with Megan and she delivers a line while biting an apple and he starts completely improvising. I thought gosh this is the writers dream they are in character, not actors anymore, and the scene is just playing out as it would. Those are the transcendent moments.

Q: In working with Mickey Rourke, Bill Murray, Kelly Lynch and the rest of the cast, what did you learn that you can share with other actors?

MG: Stay open to the process and come prepared. I also think you need to have a certain generosity and openness in trusting the material and other actors.

The process is different with different people. Mickey likes no more than four takes. He feels he is fresher and more spontaneous. Bill Murray, on the other hand, does not feel as if he is in the scene until after four or five takes. Every actor has their own method. Megan Fox, in my mind, never broke character. The woman I met when we did the movie is Lily. I would go into her trailer to do the scene and her off camera stuff was also unbelievable. She gave so much all the time. Mickey was also dazzled by her. She was so supportive. Kelly Lynch and Mickey worked on desperate hours together and we've know each other since 18 years ago and they have a lovely chemistry together and so we built on that in a scene. We knew that together they would be comfortable with each other

Never having been an actor, my director on Scrooge with Bill Murray, which I wrote, insisted that I be in the movie. I felt like an illegal alien. It was awful. So, when I watch actors be so relaxed and comfortable and allow themselves to be guided... it is a miracle.

Q: Besides for the main roles, how can actors blow you away in smaller roles?

MG: There was an astounding actress named Liezl Cartens who plays the tattooed woman in Passion Play. She does a love scene with Mickey, was cast locally and came in and had to dominate the scene. She had to seduce Mickey Rourke and I was blown away by her confidence. Mickey is a force of nature, it's like moving a car and she just came in and took over and seduced him. She was an angel of death and amazing.

To see the amazing passion of Kelly Lynch, Mickey Rourke, Bill Murray and Megan Fox play out for yourself - check out Mitch Glazer's directorial debut...

http://www.passionplaythefilm.com/

NYCastings - Advice - Representing the Next Generation - Agent David Doan on working with young actors

Thu, 12 May 2011 13:05:00 GMT

Written by: Kelly Calabrese

It's a hard knock life for anyone trying to break into the entertainment industry, but does the younger generation have it any easier?

"It is definitely still extremely competitive in the kids market, for sure," shares Agent David Doan from Generation TV, "but perhaps a little less than in the adult market."

David Doan got his start working with kids in Talent Management at J. Mitchell Management. He moved on to Nickelodeon in the Casting Department working with kids and teens before becoming an agent at Generation TV where he works as an Agent handling kids, teens, and young adults for TV, Film, and Theatre.

Since David has had the unique experience of working all angles of the young talent market from Manager to Casting Director to Agent... NYCastings asked him to share what he looks for in child actors and what he watches out for.

If acting is the row your child wants to hoe, check out this insight from David Doan...

Q & A with David Doan of Generation TV

Q: At Generation there are two groups - Generation Model Management and Generation TV - what is the difference?

Generation Model Management was opened in 1984 by owner Patti Fleischer as a kids print/modeling agency. She then expanded the company by adding the on camera division which is known as Generation TV. GenTV has both Theatrical and Commercial departments.

Q: How important is personality for kids - compared to just appearance and talent? Does it differ for modeling versus Generation TV/the acting side?

Personality is really key when dealing with young actors. For young models, a personality helps of course, but it is definitely essential for kids in this business.

Q: What are you looking for in terms of a disposition of a child model / actor?

We are looking for kids that are well behaved and motivated, and that really want to be doing this.

Q: How do you determine which kids you do want to work with?

A lot of it has to do with who I already have on my client list. I try to avoid having too many kids that are the same type, age, race, etc. SO many kids are just not a good fit for this industry. You can tell pretty quickly which kids have that natural “it factor”.

Q: Does how the parents behave / represent themselves affect your decision to represent children?

Absolutely. We deal with the parents a lot more than with the kids. If a parent is a problem or difficult or hard to deal with, it can absolutely affect my decision to represent their child.

Q: To audition as a kid, do they often need to miss school?

For kids, all auditions generally happen between the hours of 3 – 6 p.m. Kids should not have to miss school for auditions. For bookings, they will most likely need to miss school.

Q: What should a child's headshot look like? Do the requirements differ from adults at all?

Headshots should represent what the child actually looks like. Children should never wear make-up or be all glammed up. You want the headshot to accurately represent them. Color shots are standard.

Q: Should a child have an acting website?

I don't think an acting website is necessary for child actors. I don't think it's a bad thing, but just not a necessity. If you do have one, you should avoid putting too much contact information on there, such as home address.

Q: What if a child has a fear of something, like heights, animals or eating a certain food? Does that come up often?

It definitely can. A Casting Director will always alert agents if a child has to eat a specific food or be around animals or anything that should be cleared with parents. If you are auditioning for a Skippy Peanut Butter commercial and the ad agency wants the kid to eat a peanut butter sandwich in the commercial, and the child has a peanut allergy, then you should definitely not go to the audition.

Q: Do jobs often book two kids, in case the child gets nervous or ill?

For younger kids and babies they do often book more than one kid. You never know the temperament of young ones, so they will almost always hire one or more back-ups. They love identical twins as well, so if one gets moody or sick or just tired, the other can jump in.

Q: Do children get paid differently than adults?

It depends on the project and what it is, but sometimes kids do get paid less than adults.

Q: There are work permits and locked bank accounts to protect the children. Are these new protocols or have they existed for a long time?

Work permits have existed and been required for a long time, however the trust account requirements have only been in place within the last decade.

Q: What is your advice to kids/parents for keeping a career going as the kids get older?

Keep training! Continue to take classes and get as much experience as you can, whether it is school or community theater or student films. There will be slow times and there will be busy times. Kids tend to be busiest between 8 – 12 years old. Then it slows down a great deal in the teen years. One reason being that they can hire a legal 18 year old to play teens, so they don't have to deal with Trust Accounts and Work Permits and Child Labor Laws, Tutors, Parents, etc.

Thank you David Doan for your insight.

For more information on Generation TV and Generation Model Management visit http://generationmm.com/

NYCastings - Advice - Get a CUE - Commercial Audition Advice from Casting Director JOAN LYNN

Mon, 9 May 2011 09:45:00 GMT

written by: Kelly Calabrese

Looming in front of you, that giant white poster board holds the copy for your commercial audition. The magical words you'll need to convey with both accuracy and honesty.

Don't worry!

Renowned commercial casting director - Joan Lynn - breaks down the whole process for you...

Joan Lynn is a powerhouse in the commercial casting world with over 28 years of experience casting commercials for major National Advertisers including Disney, McDonald's, Milk, Home Depot, Children's Motrin, Kraft Cheese, GE, Subway, Cheerios, Dentyne Ice, Pizza Hut and many more.

Most importantly, Joan Lynn believes in helping actors have the best audition possible. Hence, she offered to help NYCastings members with her commercial audition insight.

Cue to Cue with Joan Lynn of Joan Lynn Casting

Q: What is the best way read commercial copy off a cue card and take direction?

As far a cue cards go, every casting director has different printing. I am left handed so I always have a good assistant that can print big and neat for the actors because I feel that's important. If an actor comes into the room and the cue cards are tiny and they are squinting, it is going to ruin their performance. They will worry about how they are coming off.

Also, I tell actors, when you go into a room and first see the cue card don't be afraid to ask the casting director to move it closer to the camera or to you. This is your one minute to shine.

Q: Any advice on going off the cue card and improvising?

A lot of times the advertising agency writers like to hear their words. They don't want you to go off copy. But each commercial I cast is different. Sometimes, they will say it's ok for the actor to improvise a little. And at certain points, the copy must be read exactly. Especially, for pharmaceuticals. Every casting director should give information ahead of time to the actor about what they are looking for. When my actors come into the room, I have spoken to the director or ad agency producer, and know what they are looking for so I will give that direction. You have to ask the casting director, if they do not bring it up.

Q: Advice on looking at the camera versus the cue card?

First of all, I have rehearsals. I don't just have actors come into the room and do it. I really care about the auditioning process and who I bring in. I give an actor every opportunity, before I tape, to make them feel comfortable so they can get used to the cue card. I ask if they want the cue card closer and am always very courteous. I love actors and want to help them. I also feel that anyone I bring in is an extension to my resume. I want everyone to do a good job.

Q: What happens if an actor loses their place?

Every job is so different. Sometimes there is a lot of copy and sometimes just a few lines. If there is a lot of copy, the clients are more understanding. If you missed a line on a cue card, you can improvise and catch up with the next line, then read it. They can tell within the first couple of lines anyway, if the person is right for their commercial.

For me, personally, I will stop the tape if the actor gets flustered. If they lose their concentration, it doesn't look good when we post to the director and ad agency people.

Q: What about memorizing versus relying on the cue card?

When actors go to the auditions and see that there is copy, it's not good to overly memorize it because it has to come off fresh, as if you are saying it for the first time.

Q: What should actors do with the 2nd take?

If not given any direction, ask! With me, I am in the room. You get me from soup to nuts. I don't have a taper. I direct everyone, tape them and take notes. Some of my clients ask for my notes and some don't, it depends on the director.

Q: As a casting director, what is the biggest mistake an actor can make in your audition room?

When they come into the room, they should be prepared. I don't like when people are very late and they say, "Ok, I'm ready" and then they come in and didn't realize there was a lot of copy because they didn't time to look at it outside. Also, I like people to be on time because if they are late, I run behind and I don't like to keep actors waiting. It's best to get there early and prepare. When you see that there is copy, don't sign it. Take it, disappear and then come back three minutes before the appointment because we usually have to take a digital picture and have the actor fill out a size card.

Also, actors should know their sizes... hat size, shoe size, waist size, dress size, etc. And be truthful about your sizes, especially for women.

Q: Cue to cue, in the room - what is the best way for an actor to enter and leave?

The thing that I don't like is shaking hands because I see a lot of people. How much of that anti germ stuff can you put on your hands?! And, a pet peeve is in call backs - when there are a lot of clients in the room, don't shake hands. Come in and the casting director will show you where to stand, or the director in a call back.

Also, let's say they are just doing one take. Several hours later an actor will come back to me and say, "I thought about it and didn't like that take. Can we do it again?" And no, you can't, because it is on the DVD already and I can't erase it.

Just say thank you and hopefully it was a pleasant experience.

Q: Can an actor pick up any cues of how well they did, after the read? From your reaction? Anything you say afterward?

No. It is not up to me, I am just the first part of the process. I am step one. It is up to the ad agency and the director. And if there is a call back, I'd consider it a gift. It is a gift for actors, it shows they are doing something right.

Thank you to Joan Lynn for cueing us in!

For more insight from Joan Lynn you can sign up for her upcoming class at Actor's Technique NY

http://www.actorstechniqueny.com/ATNY_ForumList.aspx?ID=280&member=NA

NYCastings - Advice - ROADIE - Magical film advice to-go, from The Tribeca Film Festival

Tue, 3 May 2011 12:24:00 GMT

Written by: Kelly Calabrese

Dreams can take you on a magical journey, or they can take their toll on you.

This truth takes center stage in a film called Roadie, co-written by brothers Michael and Gerald Cuesta. The film shot locally in New York and just played at The Tribeca Film Festival. The cast also stars Ron Eldard, Bobby Cannavale, Jill Hennessy and David Margulies.

In Roadie, Jimmy Testagross (ER's Ron Eldard) has lived his childhood dream: being a roadie for his childhood heroes, Blue Oyster Cult. But the band's Arena-Rock glory days are a distant memory.

The question arises... What do you do when your dream hits a roadblock? Do you keep going? Or give up?

To find out, NYCastings got exclusive insight from the director and lead actor.

Director Michael Cuesta also directed L.I.E. and episodes of Blue Bloods, True Blood, Dexter, Homeland, and Six Feet Under.

Actor Ron Eldard, a former golden gloves boxer, found success on stage, television (ER) and in feature films.

Here is what Michael and Ron have to say about following your dreams and that winding road to film making magic...

Q & A with Michael Cuesta and Ron Eldard

Q: On this filmmaking journey, what is the most important thing you learned?

Michael: You learn something new every time you work with a new cast and make a film. On this one, I learned to trust the material my brother and I scripted. It came together relatively quickly and there were times that I wanted to try something else and Ron said "what are you doing? Why are you fixing it when it's not broken?" He asked to try it first before I changed it.

Ron: Michael co-wrote something great. Often an actor tries to figure out how to make the writing work. Can we change this? Bridge this? For the complete piece, I wanted to just say his words. Even in really good films there is major re-writing on the set. It's a living, breathing thing that changes, it's a collaboration. But on this film, it was a pleasure to speak these words. It worked.

Q: Tell us about the cast, the people who took this trip with you?

Michael: A lot of the directing was in the casting. Once I decided to work with Ron, three quarters of the work was done. I am an actor's director, I come from visuals and am a visual thinker. I have no training in theatre or how to direct actors but think if you cast well you can then get out of the way. On this one I did a lot of that. Ron was always in the character, we talked about things and tried new things and rehearsed, but then I got out of the way.

Q: When is it good to 'pack' light, to not overload?

Michael: There are times when you can sit down and over talk the character too much. The more I make films, the more I learn to just play it. Some actors may hate that and want to know what I'm looking for. Some love that. I just did a project where we did over talk it. It came out great but I remember sitting in the room thinking, 'This is too much, let's just start doing it."

Q: On the road to making a film, how important is it to be real and realistic?

Ron: Michael said something to me when we first met. He said, "I really want this to not be acted. He said I want this to feel like it's just life. I want people to confuse it with real life."

Michael: Because this movie takes its time, not a lot happens and its really intimate, I was nervous that I was relying so much on dialogue. I was afraid because it's the least visual movie I've made. But in a way it is one of the more visual movies because of the power of the close up. We shot for a long time in Ron's eyes. I learned the power of the close-up on this one. My other films were more schematic and incident based.

Q: How do you create magic and carry it throughout the filmmaking process?

Ron: I think you can train all you like, I am a trained actor, but you can't train for magic. It doesn't work that way. In Laurence Olivier's autobiography, he would say the magic comes when it comes. I'll do Hamlet eight show a week and am lucky if in one or two of them I get magic. The rest is craft. This movie had tons of magic and there are magical actors in it. These are people who gave it up. Also, we had a script and a crew that were magic. It starts with you writing something that has magic in it and then you get people who believe in it with skill.

Michael: As far as the filmmaking goes, putting it together is another part of the magic. The tone, the visuals, the editing, the way you cut it. Sometimes one of the things keeps it from being completely magical. Whatever it is, it doesn't all line up. That is where it becomes filmmaking. You hope that in that scene where Ron is singing in the hotel room that he'll lose himself and he did. That was the first time when I was shooting that I became a pure spectator. I couldn't see through the frame. I held the camera on him, hoping it would stay framed.

Ron: I love sports and grew up athletic. Magic happens in sports only when it is done after a million hours of training so that when we are suddenly in a fight, in the game and the pressure is on you are able to just relax and let it happen. Magic comes from instinct, what we know and trust. People ask "How did you do that?" and I don't know. I just did it. It comes from sensibility, it's what defines you. It comes from how you see the world.

Michael: And creating magic in film is even harder because it's such a collaborative thing. I've done movies where I knew there was something magical but when I saw the film either the editing wasn't there or the lighting. It's not just saying action and cut, you need real filmmaking. In the scene where Ron walks home, we had the camera over his shoulder and just followed him. We caught the shot right. Even choosing that house, that was right.

Q: What is it like to film, on the streets you grew up on?

Ron: I grew up in Queens and several of the places where we shot were ten minutes walking distance to where I lived. Some of that, if you can be present for it, you don't have to do much. Film, on the camera, is a different thing than stage. I love stage but it is a different thing. There are great stage actors who are no good on film. And there are great film actors who have no clue what to do on the stage. Cameras do a lot of work for you. It's mostly just relax. Camera's don't lie, you just have to let them in.

Q: How do you handle the ghosts along the way, the less likeable sides of a character you play?

Ron: I would not play a character without dignity, even the worst human being. I've played people who do terrible things but there has to be a moment, a flash, where that person has a redeeming amount of humanity. This guy can lie, be a joke, mess up, be a dreamer and its ok. Everyone is that. Everyone is a mess up. Everyone knows what it feels like to be a loser. Everyone has dreams that didn't work at any age. I had the same feelings when I was ten or eight. I remember moments through my whole life when I thought time was slipping by that it wasn't going to happen.

Q: Did you hit any roadblocks on your acting path?

Ron: When I was a kid in acting school, I didn't know anything about acting, I thought I was going to be an athlete. I looked around and saw there were no blonde actors who were great actors. There were blonde movie stars, but what about great actors? And then I saw Gérard Depardieu and he was a great actor and I thought, "Oh you can be blonde and be a great actor, now I can be serious." It really mattered to me. I thought I'd have to dye my hair.

Another funny thing is I did comedy and stand up. I thought it took great balls to be a comic and so tried it. In school, everyone then thought I could only do comedy. I knew I had to show them I could do other things. Funny enough, now more often than not people think I can only do dark things. Although, I am very comfortable with comedy. Now I'm like, "What do you mean you don't think I'm funny?" It's all those things you have to overcome.

Q: How important are all the other actors on the street / in the room with you?

Ron: I always, in watching movies, notice the background because I can tell when they are not doing a great job and looked stagey. They make and break scenes in a very major way. They are real important and when I'm on set they have to be in the scene with me. Unfortunately, they are often treated poorly, like children. Barry Levinson, when I worked with him, he was the opposite. He would talk to the background and tell them what the film was about and what he needed.

Q: What advice would you give to actors, to take with them on their journey?

Ron: I think you have to be honest about what your dream really is. To quote Stanislavsky, "Love the artist in yourself, not yourself in the arts."

For me, many actors want to be stars to be famous celebrities. That's fine. There is nothing wrong with that. But it is a very different skill set than being an artist. There are very successful celebrity stars and if you watch them you can tell they wanted to be starts their entire life. What they did to get there has very little to do with acting, most of the time.

The most important thing with your dream is to be honest about it. If you have problems in your life, get real. Most people I've been around do not succeed because they have an addiction of some sort - drugs, love, food, alcohol, fame. Then, when the dream comes they lose it because of all that. Be honest with yourself, because that is really the only person you get to deal with. Take care of your life. Take care of your life!

For more information on ROADIE visit, www.roadiemovie.com/