Not Getting Seen, Not Getting Cast: A Message to Actors

I recently posted on the Bitching Post section of Audition Update in response to all the frustration I was seeing in the posts on the site about the current audition season. I received such a great response to it that I decided to re-post it here in blog form. If you like it and you know someone who needs to hear it, please pass it on.

In light of the frustration that is almost palpable lately, I would like to give you all my humble opinion. I know how hard this is. Every actor on this page knows. I often see the Union vs. Non-Union divide being illustrated on Audition Update, but I am here to tell you that it is frustrating no matter what your union status. My site is not a site for non-union actors. Nor is it a site for union actors. It is a site for ACTORS.

People look up to actors. They do so because they recognize in them the part of themselves that they wish they didn't compromise, and for one small moment, they are once again dreamers. Look at the face of the out-of-towners and how they light up when they find out their waiter is an actor. That happens because no ever grows up dreaming of being a customer service representative. Each and every one of you has done something so extraordinary. You closed your eyes and you leapt. No safety net, no parachute, you just jumped and you had faith that you would figure how to fly on the way down. The problem is that you SURROUND yourselves with others just like you and so you lose sight of how special it is because the people you are with every day are just as brave. What you have to remember is that most of the world is not like that. Most of the world is not that brave. That sort of bravery is EXHAUSTING! It depletes you physically, mentally, and spiritually. YOU NEED TO TAKE A DAY OFF. You need to not only rest, but to recharge you soul. If you don’t, there will not be much of a soul to bare when you eventually do get on stage.

There is a huge difference between skipping an audition because you are being lazy and skipping because it is what your art needs you to do to be better prepared for the next opportunity. PLEASE stop beating yourselves up over taking time off. And if you are beating yourself up for not getting seen, for God’s sake, I say take a day. Feed you spirit. We have all been where you are. We have all sat on those benches. Take comfort in knowing you are merely warming the spot of the person who will sit there after you and you are just there waiting to fill the seat ahead of you.

Stay strong, stay brave, and please remember that nothing worthwhile was ever easy. If nothing else, please know that I respect you all for what you put yourself through, because I have been there myself.

How Social Media Marketers and Actors Are the Same

“Successful people do what unsuccessful people are not willing to do.” – Jeff Olson

 You have probably asked yourself this question. Am I doing everything you can for your acting career? And you have probably answered it saying:

I got my headshots.

I look over Backstage weekly. 
I check and submit to the online casting sites numerous times a day. 
I am at Equity calls at 6am and wait all day to audition.
I am rehearsing for an Equity showcase play.
I am taking an acting class.
…a dance class.
…an on camera class.
…a casting director workshop (apparently called seminars in New York)

While all those things are necessary, and you should be doing them, the problem is the rest of the actors are doing the exact same thing.  I was in a low-budget feature film and during the cast party I was sitting with the producer asking him about his process from start to finish in creating the film. There were two leads in the film and about six major supporting actors.  He said for each role he had about 2000 headshots. Television casting directors say that they get between 1500-1900 headshots for a one-line co-star role.  So you say you submit online for roles, well so are the other 1999 actors that fit that role.

The question becomes, what are you doing that those other 1999 actors are not doing? What are some things actors do not do regularly?

Send a thank you card after every audition.

Have a regular mailing schedule to industry professionals.
Mail something other than an 8x10 headshot and resume.
Maintain a master industry contact list.
Be of service without expecting anything in return.
Commit to the profession longer than a few years.
Create Target lists.
Build relationships with producers and directors.
Consistently read the trade papers (not Backstage)
Commit industry professional names to memory (and I don’t mean the big names)
Do Drop-offs.
Have a long-term plan of attack.

Do you notice something about this list?  None of these activities will directly get you a job.  What they will do is help you build long-term professional relationships.  And relationships are worth more…in the long run.  That is the key…the long run.  If you can’t see your career past the end of the year, then you will never get to the second list.  If you have goals for your career 5 years or 10 years from now, you might some of those things to your daily actor to-do list.  This mind shift change automatically takes your craft into a career.  And once you are in a career mind set you can look at other people and how long it took them to get where they are at.  As other small business owners that are successful.  How long did it take them to get where they are?  My guess is 10-15 years.  But they were hustling the whole time and thinking long term.

So you want to know how social media marketers and actors are the same?  Watch the below video from Gary Vaynerchuck and every time he says social media marketer, replace it with actor. Here is a hint: Don't act like a nineteen-year-old dude and try to close too early.

http://www.youtube.com/embed/Wovzuy7Jxgw



Dennis Baker is an actor, teacher and web developer based out of Los Angeles. He is also the owner of Website for Actors, where he writes about the business at WFA’s Biz for Actors Blog. You can find him on twitter, @dennisbaker.

Diary of a Director Girl: The Story of "Diary of a Chorus Girl" From the Director's Perspective

On January 3^rd I had the tremendous honor of having my first feature documentary, Still On The Road, screened at Lincoln Center. The film is about The Acting Company, which travels around the United States bringing classical theater to places that don’t normally get to see it. Established in 1972, the company started out of the first graduating class of the Julliard school (incl – Kevin Kline, Patti LuPone, David Ogden-Stires, etc).
 

The screening was amazing. A bit overwhelming, but amazing. Two days after the screening I got a Facebook message from Amanda Taylor, who had acted in a couple of shorts I’d directed. Amanda said she had been at the screening and loved my work, and that she started a new You Tube channel called DanceOn and she’d be interested in talking to me about potentially directing something for it. Now, I think of myself as relatively “hip” to technology, after all, I’m only 28. But I had NO idea what the hell she meant by YouTube channel. So, we met up for drinks and chatted for about 3 hours. (By the way, a YouTube channel is like a TV channel, but on the internet, and YouTube helps promote them.) I loved the idea of DanceOn.com, a channel that matches choreographers and directors together with a piece of music, and allows them to create dance videos. Having partnered with choreographers before, I was very excited about this prospect. We parted ways, I e-mailed her “thanks” and hoped that we’d be able to work together soon.

After 3 weeks of silence, I decided to e-mail Amanda about an idea I had for a dance video…still nothing. THEN about a week later I received a phone call from her. YES! An actual phone call -- not an e-mail, not a Facebook message, a phone call. She told me that Alex Ellis, who’d been doing voice over work for DanceOn,was offered two Broadway roles on the same day -- one for Catch Me If You Can, and one for Sister Act, -- she took Catch Me If You Can AND it was to be her Broadway debut. AND…Amanda wanted to know if I like to direct a web-series about Alex! I said “ummmmm….yes please”. And thus “Diary of A Chorus Girl” had a director/editor/cinematographer.

I went on vacation for 5 days, and on the last day received a frantic e-mail from Amanda that said “I just got a very last minute email to shoot a dance rehearsal for Catch Me tomorrow from 3-330. Can you be available to shoot?” I shot the day I got back. It was just me and the PR company filming the rehearsal, and I was able to film Jerry Mitchell choreograph what would then become their hit song “Don’t Break The Rules”. That night we had a meeting with Alex, Amanda, Phil Byron (the producer), and Allen DeBevoise (the co-founder of DanceOn), and they seemed to love my ideas for the 10 episode Web-series. We decided that Alex would use a Flipcam to film herself talking about the day (aka “vlogging”…another word I learned on this job) and I would film all the rehearsal footage, interviews with the cast and crew, and celebrities at Opening night. BUT because of equity rules, only Alex would be able to film back stage. However, she could film all she wanted. In the end this was great news, but I had to wrap my mind around the fact that I wouldn't be filming it myself and that I would have to direct from afar. We has some initial logistical issues to work out -- how to get the footage to me, how to direct via e-mail and text message rather than in the room, and as in any documentary, how to tell a good story.

[As a side note, I want to say that it was really great that I got to work with my brother, Max Wolkowitz, who’s a motion graphics artist, on the credits and other graphic designs. We've worked together before and it’s always awesome to have the opportunity to collaborate on a project.]

Production began Feburary 3^rd and the first Episode was to come out March 16^th. This did not leave us with very much time to shoot and edit. Also, it was a bit of a challenge to figure out how to give the documentary a through-line without having all the footage upfront, since I was getting it piecemeal over the course of two months. I was able to direct Alex from afar, and she did a fantastic job of filming and understanding my random requests, that were necessary to flesh out the story.

Alex also understood that with documentaries things can come up at any moment, and she was ready and there with her camera. I would get text messages from her such as “You’re gonna love me. That’s all I have to say”. And she was right. She got footage that I never imagined she’d be able to get. One of my favorites was when Robin Williams came into the room to talk to some of his friends involved in the show. Alex was able to get one of her castmates to film her excitement about the fact that Robin Williams was in the room. It was the perfect opener to an episode. However, once I got the footage into the cutting room, the following thought enters my mind – “we got it, but will we be able to get Robin Williams to sign a waiver for the footage”. My producer Philip Byron worked his magic and Robin Williams signed the release. And then when we were interviewing him on the Opening Day red carpet, he remembered the clip and knew who we were. I think we got a bit more out of him because of that.

Another one of my favorite moments was working with Jack O’Brien. He graciously gave us an hour of his time to have a filmed conversation with Alex. I e-mailed back and forth with him a bit about the conversation he’d have, and I don’t think anyone could have been supportive of her (other than her wonderful family, who I met, and who are also awesome). It was encouraging to see an experienced director still very excited about someone’s Broadway debut. We filmed their conversation at Sardi’s, and it couldn't have gone any better. They were both so open and honest about everything.

Directing and editing “Diary Of A Chorus Girl” was really fun, and figuring out how to produce a new form of media was interesting and challenging. I wanted to make a 5 minute documentary series work for the web, without it being a “reality show”. And I think I did what I set out to do. I’m a little nervous that I’m now being pigeonholed as a documentarian of theater, but maybe that’s not such a bad thing…

Sara Wolkowitz is a freelance film and theater director. You can find out more at http://www.sarawolkowitz.com/. You can also find Diary Of A Chorus Girl at http://www.youtube.com/show/diaryofachorusgirl?s=1. You can also workout to a video of dancing poodles at http://www.youtube.com/watch?v=-UaW6zYQDQE

You Get What You Pay For: My unlikely opinion on paying for seminars.

This is an interactive blog post. I encourage you to click the hyperlinks as you read it to get the full experience. 

There has been what I will diplomatically call a” gentle debate “on the Bitching Post section of Audition Update these past few days. It concerns the perceived preferential treatment a casting director (CD) here in New York gives to auditioning actors at their calls if they have paid to take part in one of the CD’s classes. Since I neither know this CD personally, nor have I had the experiences described by those taking part in the debate, I will not comment on the manner in which they conduct themselves, for better or worse, in their auditions. I am an aggressive, opinionated, loud-mouth jerk, but a FAIR, aggressive, opinionated, loud-mouth jerk. The debate did, however, get me thinking about the often controversial practice that has become so popular in our industry as of late; paying our hard earned money to take classes or single-night seminars with industry insiders as a means of getting seen by casting directors, agents, and managers. I mean, come on, a single night seminar can cost $30-40 dollars. That is the equivalent of an entire lunch shift at a BR Guest Restaurant (two if it’s August and they are filled with heavily cologned tourists!).

I feel strange writing about this topic because I count among my personal friends individuals who have conducted these classes and seminars, but I feel that this fact will keep me honest and force me to examine the issue from both sides of the topic and not just from my broke-ass actor point of view.  That is, however, where I will begin.

The term “payola” is often thrown about when taking on this topic. If you are not familiar with this term, payola is a contraction of the words “pay” and “Victrola” (for those not familiar, a Victrola is what grandma and grandpa used to call a record player (a record player is what mom and dad use to call a CD player (a CD player is what your older sister used to call an iPod))). It refers to the once legal habit of large record companies paying radio deejays bribes in order to get their songs played on the radio (a radio is that thing you only listen to when you are in a car (a car is that thing that causes you to say “it feels sooooo weird to be driving” when you go home for the holidays and realize that you are now faced with the conundrum of going out OR getting drunk, but not both; but I digress)). Payola is now the term that is used in a situation when you are describing the action of paying a third party that has influence in the free-market on how you and your competitors make money. It is not so much a bribe, as they are not the ones who decide how the money you seek to make is spent, but they certainly have influence.  So is that what is going on here? Are we unfairly being forced to pay to get a leg up on our fellow actors or are we just conducting smart business?

I am not going to lie. Every time I have confirmed my credit card number over the phone for the actor/receptionist on the other end at Actors’ Connection or The Network, I feel kind of dirty. Not the good kind of dirty that involves handcuffs and a safe word. The bad kind that makes me feel like I just willingly took part in something that might be wrong because “what can you do, that is just the way things are.” But is it wrong? Do we get something out of it other than the opportunity to slap our headshot and resumè in front of them and give our best interpretation of some monologue, tired standard, or up-tempo rock cover because, you know, it shows them you are totes right to be called in for the American Idiot tour (by the way, the last section of that sentence was dripping with disdain for the use of the word “totes.” Can we all just agree that this word, like hipsters, is an awful phenomenon that makes everyone around you not involved in your conversation want to beat you to death with a dictionary)?

We do need to examine the other side of the scenario though. We need to really examine those rich, powerful, and mysterious individuals on the other side of the table and find out where the hell they get off charging ME to meet with THEM.  I mean they should be going to every showcase and off-off-Broadway production they are invited to, every night, because it’s is their job to find new talent damn it! Well, that might not be exactly true. For starters, if you think that your agent, manager, or CD is Bentley rich, or even BMW rich, you need to back away from the Season 4 box set of Entourage that your dad got you for Christmas because he wanted to awkwardly show you that he supports your career choice, even though you both know he wishes you had double majored in finance. That just isn’t really the case. The hard truth is that those people on the other side of the table are probably just as poor, or in some cases, even more so than you are.  Yes there are a few big CDs and agents in the city that probably scratch out a decent living for themselves, and probably make more than mom and dad. But mom and dad don’t live in the city (I want you all to take moment to think about, while they may be wonderful, how terrible it would be to have your parents live in the city. After you recover from that thought and possibly pour yourself a glass of wine to help get over it, you can return to the blog). The CDs or agents tax returns are not necessarily reflecting their quality of life. For the most part, they are also trying to get by doing something that they love.

What those individuals may lack in Benjamins, they make up for with a wealth of knowledge about the dos/and don’ts of the biz. Do they deserve to get paid for that? I can honestly say that I have taken at least some pieces of knowledge from the majority of the seminars that I have been to, aside from just having the chance to stick my 8X10 in their face. Now of course there have been a few that were, how shall I say this delicately, money-grubbing whores, but they have certainly been the exception and not the rule.  I took a class from Paul Russell a while back on marketing myself as an actor. Now, I could tell you that the whole reason I took that course with him was to gain a better understanding of how to market myself, but that would make me a big, fat liar. I know I really took the course to have access to a CD once a week for a month and then to have access to the agents he put me in front of afterwards. And I am sure he knows that too. But, I DID learn a lot on how to market myself, and he got paid for his knowledge and everyone came out ahead (by the way, that is a good class).

But this brings us back to the idea of “seminars.” I use those quotation marks with the full knowledge of what they imply because, while I acknowledge above that I usually take something away from them, let’s cut the bullshit. YOU ARE PAYING TO BE SEEN BY THEM. Now, is there anything wrong with that? I don’t think so. Before you get you dance belt in a bunch, hear me out. When we go to meet with someone at a seminar, we are asking them to spend time with us above and beyond the normal scope of their office hours. I don’t like working for free, and I don’t think that they should be expected to do so either. Sure, you could take the alternate route of sending submission upon submission, postcards for showcases and such and that would be fine, though more time consuming. I know plenty of actors who have taken that route with great success. But that is not what you want to do. You don’t want to spend a few months getting on someone’s radar, so you are paying for a shortcut.

Now you may say, “Well, that’s all fine and good, but I have been sending so-and-so my headshot and resume and postcards and business cards and showcase announcements and review clippings and Christmas cards and locks of my hair for years now and they have never called me in.” To that I would say, “Why are you talking to a computer screen like a crazy person?” I would also say, “So what. Maybe they just don’t want to meet you.” That may sound harsh, but is an often ignored reality of our profession. You just might not be appealing to them…yet. So you are paying to MAKE them take notice of you, and I think that is fine. Whenever you want something faster, you are going to pay for it. I think that is just how the market works in any situation, so why should ours be any different?

I also think that there is another aspect of this argument that should be examined and that is that it actually helps actors be seen. Imagine for a moment that these seminars were free. Getting in would be almost impossible. Anyone who has been to an open call at the Public can imagine what that scenario would be like on a regular basis. Seminars would also be few and far between because who wants to continually work for free? Even if the CDs, agents, and managers spent those nights going to see your off-off Broadway showcases for free on the nights that they would normally be conducting seminars, they would probably be seeing fewer actors in your show than they could in a seminar. So by paying them for their time, we are actually getting them to see more actors in an efficient manner.

Let me finish this by saying that this opinion (which has surprised even me as I wrote it) is based on the notion that the individual behind the table at a seminar has a reason for being there. We have all heard, “That was great, but we are just not looking for anyone right now.”  Sometimes this is just a kind way of saying that they found you about as entertaining as the dry toast they had for breakfast. But other times, that is the God’s honest truth. They are sitting there without any intention of taking on new clients. If you are one of those people, you are part of the problem and please don’t waste our time by lining your pockets because you don’t have anything to do on a Tuesday. But if not, if you are looking for medium height, medium build, brown hair, blue/grey eyes, well then here is my $33 and I will be performing Jay-Z’s 99 Problems because even though I am whiter than season tickets to the Rangers, I totes think I am right for Usnavi in the In the Heights tour.

Tom Lapke is sometimes an actor, waiter, adjunct college professor, and the founder of Audition Update. He is currently in rehearsals for a series of one-acts with the Brooklyn Labyrinth at the Bococa Arts Festival. He was unfortunately beaten to death with a dictionary after typing the last sentence of this blog post.

Actress, Singer, Writer...Juggler?: Coping With the Balancing Act by Angela Vida

I am half an actor. Some days, three quarters. Others, I forget if I am any part at all.

I've been performing since I was cast as "Woodstick" (they already had a "Woodstock" - the least of the creative liberties) in an 8th grade production of "You're a Good Man, Charlie Brown" at the age of five.  I went semi-pro at 12, singing the National Anthem for NJ Devils and Boston Red Sox games. Have I gone pro yet? I've had my sit-down gigs in other states, my NYC debuts of new works that just fizzled away. The usual paying-of-dues. I would answer "no." But it's also not why I'd say I'm half an actor.

You ever hear that saying regarding acting, "If you enjoy anything else, do that instead" - ? I'm sure we all have. Any of us with varied interests suddenly freeze, thinking "do I like teaching/pilates/traveling/tending to my vegetable garden more than performing??" Then we're left possibly downplaying our other passions, or even wondering if having them makes us less worthy of artistic success.  I am an advocate for laser-like focus. Maybe, for some, that means six auditions a day, dinner at Blockheads, workshop at Actors Connection at night, with stops at Colony and Drama Book Shop. Rinse, repeat. A closet of wholesome dresses, nude pumps, headbands.

It's just not for me. I've always been a multitasker, and I've found, as I'm aging, that I feel more centered when I can assess myself, my being-of-a-person, in a variety of circumstances. Most of these are still creative in a sense. My degree is in Creative Writing, and I have been amassing a collection of personal essays in my quest to give David Sedaris a run for his money. To that end, I love a good story, and have been fortunate enough to work in jobs that were for more than survival - they were for material! I have run a physical therapy facility, made bows at a craft store, freelanced for a newspaper nobody read, danced at corporate parties dressed as a bowling pin, taught voice and dance to children, cared for special-needs newborns...you get the idea. I liked most of these jobs. I even loved some. But I never doubted the road I was on, or what I hoped would eventually consume the majority of my time. However, I find myself justifying my actions to some of my actor friends. So much of being a good actor is knowing yourself, and I know myself well enough to accept my need for balance. Yet I have been told, flat-out, that I must not care as much about success in acting because it is not all I do.  When did being well-rounded become a professional detriment? In such a personal, emotional endeavor, common sense would dictate that the more places we go, the more things we can do, the more people we meet, the more we ARE, the more we can give, and the more we can be. At least that's what I hope.

I moved in with my boyfriend last month. He's an engineer. He owns his home. We live in a suburb. The commute to Manhattan isn't far, but it might as well be another planet when compared with my previous lifestyle. It's what I want - part of it, at least. As always. I'm trying to make sure I'm working towards the things I know I'll want no matter what: a husband, a family. If that means I have to fight a little harder for the rest, it's a price I'm willing to pay. But I'm losing friends. Suddenly, I'm inaccessible. Suddenly, we're not the same. My boyfriend has actually been asked, in social situations where he is the only non-actor "Wait....are you a 'real person'?"

And there it is. I want to feel real. In the business of playing pretend, for many reasons, I want to stay in touch with how the other half lives.  I read what I've written so far to my boyfriend, and he doesn't understand, except to know that he doesn't understand.  He probably never will. It's great.

I even struggled with what name I would use for this post. I have a stage name - because, despite my only five-letters-long surname, it is consistently and creatively bastardized, and also to separate my professional and personal lives. Am I Angela the singer, the actress, the model? Or am I Angela the writer, the reader, the girl who DVRs every episode of "Jeopardy!"  Maybe I'll find a way to merge all my roads. Plenty have done so before me. But it's daunting. I find myself questioning where my energy goes, if I'm making the right choices long-term or looking for quick fixes for circumstances that demand more attention.

This is an incredibly broad discussion to have with myself, so I invite all of you to share your feedback and experiences. What are your other interests, how many professional hats do you wear, and do you feel the need to apologize for them? Have you found yourself a group of supportive actors with whom you can share all your pursuits, without measuring who works harder at one thing or another? If you have, consider yourself lucky....and call me!

Angela Vida (known as Angela Sytko to the Facebook world) is a singer, actress, and begrudging model. She'd tell you to visit her website, www.angelavida.com, but it's still incubating. In the meantime, she's beefing up her freelance writing portfolio, and working on a one-woman musical-esque cabaret-ish kind of show called "Love Love Stories."

Trying Something New

So I thought I would start a blog. But I wanted to do something a little different. Instead of having me run off at the mouth ALL the time, I would like to hear what YOU have to say. So what I am going to do is ask for idea submissions for blog posts. If I like it, I will ask you to write it, I will post it here, and then I will tell everyone about it through Facebook and Twitter. Something tells me that there are a lot of interesting things to be said by my fellow actors and I would like to hear them. I am not sure how this will work out, but I am always interested in trying to go about things in a different way (that is why I started Audition Update in the first place). I will also put up your picture, a bio, and a link to your site or what ever it is you are promoting as well.

So if you have an idea that you want to talk about to a bunch of actors, email me at auditionupdateinfo@gmail.com