It's a tough decision. You grew some bangs. You changed your hair. You just want to do something different. So you say, "That's it I'm going to buck up and get some new pictures."Where do you start?
1. Don't go where your friends went, unless your friends look like you.
2. Go onto Argentum, they list all the photographers and have links to all their websites.
3. Look for pictures of people LIKE you. Maybe they do edgy really well. Maybe they do girl next door. Maybe their commercial shots are outstanding. What do you need? Look for that.
4. Absolutely demand a meeting. Anyone that won't take a meeting with you isn't worth your time.
5. Take all your old headshots for them to look at, tell them what you liked, didn't like, what you're trying to do differentl. The more specific you can be, the better job they will do. Think about going to the hairdresser, if you say cut it, who knows what they'll do, go in with ten different pictures from magazines, chances are they'll do a better job of what you want.
6. If you don't like them, don't shoot with them! This town does not have time or space for feeling nice or guilty. Move on.
7. If they're too expensive really think if you need three looks, can you make it work with just two? Can you be specific enough and clear enough to get it done with two?
8. Ladies do not skimp on hair and makeup. It's just not worth it.
9. The day of, just go and have fun, and stay focused on your goal. If you see a test shot and it's not right, speak up, it's your money!
Next..... how to pick the headshot.
Tuesday, November 19, 2013
Thursday, October 31, 2013
Figuring out breakdowns without breakdowns
So maybe you get them. Maybe you don't. They're helpful sure. Maybe you see a role you're right for, you can bug your agent. maybe you see a CD you used to know really well moved to a new office. Great. But it doesn't matter what roles they have it matters WHO THEY CAST.
How can you figure that out?
One of the best untapped resources out there is still IMDB Pro.
Any time I'm deciding whether or not to take a worksop one of the first things I"ll do is go to IMDB Pro. I'll look at the show they're casting and look at every guest and co-star actor they've cast in as many episodes as I can have access to. I'll look at their credits, I'll look at their representation, you look at enough episodes you'll get a sense, "are they bringing in people like me?"
How can you figure that out?
One of the best untapped resources out there is still IMDB Pro.
Any time I'm deciding whether or not to take a worksop one of the first things I"ll do is go to IMDB Pro. I'll look at the show they're casting and look at every guest and co-star actor they've cast in as many episodes as I can have access to. I'll look at their credits, I'll look at their representation, you look at enough episodes you'll get a sense, "are they bringing in people like me?"
Tuesday, October 29, 2013
Spending Money on Auditions
A very interesting thing is happening in the world of actors now.
More and more you can continue to pay more money to have a better audition.
What do I mean by that?
You can tape yourself in your living room. Or you can go to the place down the street, or have a friend film you.
Or you can spend the money and go to a professional place, work with a coach, be lit, miked, and turn in a professional level tape for an audition.
So what do you do? Part of you is like - why am I PAYING my own money to audition? That doesn't seem right.
You're right. But neither does not getting the role even if you were fantastic because you remind the producer of their second cousin they no longer speak to. There are a lot of things that "aren't fair" about this business, and we do it anyway.
And here's the truth: once people do start spending the money on coaches, and professional tapes, etc. let's be honest - their tape is just gonna look better.
So what's a girl to do?
If you're going to spend the money - make sure it's well spent - make sure it's at a place who puts out good quality, make sure it's a place where you feel comfortable, if you're going to put something on tape, make sure it's a place where they'll let you do it 30 times if you want because why not, make sure there's a mirror, make sure they have what you need to make it the best possible tape it can be.
More and more you can continue to pay more money to have a better audition.
What do I mean by that?
You can tape yourself in your living room. Or you can go to the place down the street, or have a friend film you.
Or you can spend the money and go to a professional place, work with a coach, be lit, miked, and turn in a professional level tape for an audition.
So what do you do? Part of you is like - why am I PAYING my own money to audition? That doesn't seem right.
You're right. But neither does not getting the role even if you were fantastic because you remind the producer of their second cousin they no longer speak to. There are a lot of things that "aren't fair" about this business, and we do it anyway.
And here's the truth: once people do start spending the money on coaches, and professional tapes, etc. let's be honest - their tape is just gonna look better.
So what's a girl to do?
If you're going to spend the money - make sure it's well spent - make sure it's at a place who puts out good quality, make sure it's a place where you feel comfortable, if you're going to put something on tape, make sure it's a place where they'll let you do it 30 times if you want because why not, make sure there's a mirror, make sure they have what you need to make it the best possible tape it can be.
Sunday, October 27, 2013
Finding Good Scenes for Prepared Reads
What works:
1. A scene with an arc, with a beginning, middle and end.
2. A balance in dialogue
3. A character that is not only reacting but also actively involved in the scene (ie. interrogation scenes are fine, but don't pick one where all they are doing is reacting, pick one where they have an active objective in the scene ie. hiding something, trying to manipulate someone etc)
4. A nice opening beat, and a good button at the end
5. Levels
6. A clear relationship
What doesn't work:
1. "overly charactery" it runs the risk of putting you in a very very sharp box, it should highlight a side of you, and capture some of your essence, where you can bring yourself not allow the CD to box you in
2. multiple people in the scene. keep it simple.
3. any hospital scene (it's fine if you're just sitting in a bed, or they draw blood, but not something that involves the words "stat" etc.)
4. where the reader starts and establishes the pace of the scene, unless you trust your reader you could be setting yourself up for failure. you should be the active character in the scene.
5. an interrogation scene that is designed to further the arc of the series regulars not you. because then you're just exposition.
1. A scene with an arc, with a beginning, middle and end.
2. A balance in dialogue
3. A character that is not only reacting but also actively involved in the scene (ie. interrogation scenes are fine, but don't pick one where all they are doing is reacting, pick one where they have an active objective in the scene ie. hiding something, trying to manipulate someone etc)
4. A nice opening beat, and a good button at the end
5. Levels
6. A clear relationship
What doesn't work:
1. "overly charactery" it runs the risk of putting you in a very very sharp box, it should highlight a side of you, and capture some of your essence, where you can bring yourself not allow the CD to box you in
2. multiple people in the scene. keep it simple.
3. any hospital scene (it's fine if you're just sitting in a bed, or they draw blood, but not something that involves the words "stat" etc.)
4. where the reader starts and establishes the pace of the scene, unless you trust your reader you could be setting yourself up for failure. you should be the active character in the scene.
5. an interrogation scene that is designed to further the arc of the series regulars not you. because then you're just exposition.
Friday, October 25, 2013
Getting Feedback: Is it Worth it?
So you had a great audition. After 20 hours or so you haven't heard. Then you start to do the dance. Is it worth it calling to get feedback? You don't really want feedback, you just want a reason to call your agent and remind them about the audition and maybe spur the gods into giving you the role.
So you call.
And say: "hey it went great, would love to hear what they thought."
Then you think: wait, that was dumb. What if it wasn't good? What if they tell my agent something bad? What if I was going to get it but now they think I'm needy and they're going to give it to someone else?
After about a day of worrying (by the way, you have definitely by now not gotten the part)
You still haven't heard.
Your agent isn't calling you because it's bad. You're positive.
So you call and say: "hey did you get that feedback?"
And they say: "Yes, they thought you were great, you just weren't the right fit."
So. Was it worth it?
So you call.
And say: "hey it went great, would love to hear what they thought."
Then you think: wait, that was dumb. What if it wasn't good? What if they tell my agent something bad? What if I was going to get it but now they think I'm needy and they're going to give it to someone else?
After about a day of worrying (by the way, you have definitely by now not gotten the part)
You still haven't heard.
Your agent isn't calling you because it's bad. You're positive.
So you call and say: "hey did you get that feedback?"
And they say: "Yes, they thought you were great, you just weren't the right fit."
So. Was it worth it?
Tuesday, October 22, 2013
New Guests
We all know the steadfast workshop rule. Take workshops with guests that are working on projects that you'd be right for, bla, bla, bla.
Well I wanted to take a minute to talk about the exception to that rule. Because there are always exceptions to rules.
ALWAYS ALWAYS ALWAYS take a workshop with a NEW guest. Always. ESPECIALLY if you haven't seen them frequently around town in other places. Even if they are doing something that not in a million years you would be right for.
WHY? You say.
Because it's probably one of their first workshops, or one of their first ones in a long time, so before they get inundated with a million postcards, a gazillion phone calls and pitches and emails of "I met you at... blank" be the one they'll remember. Those first few people they meet. They'll remember you, and that can make all the difference.
Well I wanted to take a minute to talk about the exception to that rule. Because there are always exceptions to rules.
ALWAYS ALWAYS ALWAYS take a workshop with a NEW guest. Always. ESPECIALLY if you haven't seen them frequently around town in other places. Even if they are doing something that not in a million years you would be right for.
WHY? You say.
Because it's probably one of their first workshops, or one of their first ones in a long time, so before they get inundated with a million postcards, a gazillion phone calls and pitches and emails of "I met you at... blank" be the one they'll remember. Those first few people they meet. They'll remember you, and that can make all the difference.
Friday, October 18, 2013
Great Audition Days
I'm curious. We've all had them. Really really great audition days. It's been awhile, and then you get the call, or maybe two calls, and you think, WOW it's all happening.
You're pumped, you're prepped, your hair looks great, you nail one after the other.
And then you wake up the next day.
What does everyone else do?
How do you spiral down into depression? Stay up? Stay distracted? "MOVE ON"
Someone once told me that Bradley Whitford would go to the bathroom after every audition rip up his sides, throw them in the trash can and literally "wash his hands" of it. I've tried it. It doesn't quite work for me.
What do you guys do?
You're pumped, you're prepped, your hair looks great, you nail one after the other.
And then you wake up the next day.
What does everyone else do?
How do you spiral down into depression? Stay up? Stay distracted? "MOVE ON"
Someone once told me that Bradley Whitford would go to the bathroom after every audition rip up his sides, throw them in the trash can and literally "wash his hands" of it. I've tried it. It doesn't quite work for me.
What do you guys do?
Wednesday, October 16, 2013
Nuns?
Did anyone see the new pilot that was just bought? About a nun / lawyer? Yeah....
Alexa's New Plan for How to sell a network TV show:
1. Take two jobs and combine them together. nun/lawyer, doctor/mob member, shoe store/lawyer, ghost/cop
2. Call it a "new kind of procedural"
3. Grab an aging movie star
4. Promise ideas about having viewers choose endings and plot lines while still promising really engaging stories.
5. Get a mega star to guest star as your victim in the first episode
6. Sell it for lots and lots of money.
Alexa's New Plan for How to sell a network TV show:
1. Take two jobs and combine them together. nun/lawyer, doctor/mob member, shoe store/lawyer, ghost/cop
2. Call it a "new kind of procedural"
3. Grab an aging movie star
4. Promise ideas about having viewers choose endings and plot lines while still promising really engaging stories.
5. Get a mega star to guest star as your victim in the first episode
6. Sell it for lots and lots of money.
Thursday, October 3, 2013
Why Trophy Wife is Going to Get Canceled - And Why That's Wrong
Anyone watch Trophy Wife last night?
Normally I don't watch episode #2's of new shows. It's the first episode they shoot once they've been picked up, everyone's coming in with their own baggage, things have been reshot, roles recast, everyone had a summer off, maybe they were hoping it wouldn't get picked up, maybe they were, anyway, it's usually a mess.
By accident my DVR recorded episode #2 of Trophy Wife. I said, "eh I'll watch it" then I said: "But what if I do and it's a standardly awful episode #2, and then I won't stick around for #3?" But there was nothing else on, so I pushed play.
And guess what? Not only was it pretty good for a episode #2 of a new show, it was actually just pretty good in general.
It has great actors, top to bottom, a really cute kid, Marcia Gay Harden and Bradley Whitford just being fabulous, and Malin Ackerman is endlessly like-able, and there's some really genuinely sweet moments, and some actually genuinely funny not trite, predictable, overplayed, classless or gross moments.
And I was so excited, and I said, my God, this is really cool, this show actually has potential, I mean with pretty good writers, great actors, imagine where it could go?!
And then I thought, oh right. That means it's going to get canceled. Because that's what this town does. Instead of allowing a show to grow and develop and find its audience, which it will take time for Trophy Wife to find its audience, because it's not hit you over the head "categorize it as this or that kind of show" with "this or that kind of humor" the network isn't "going to get it" and it'll be gone.
Now, look, I really hope for their sake, and the sake of the future of network television that that doesn't happen, but who out there thinks I'm right?
Normally I don't watch episode #2's of new shows. It's the first episode they shoot once they've been picked up, everyone's coming in with their own baggage, things have been reshot, roles recast, everyone had a summer off, maybe they were hoping it wouldn't get picked up, maybe they were, anyway, it's usually a mess.
By accident my DVR recorded episode #2 of Trophy Wife. I said, "eh I'll watch it" then I said: "But what if I do and it's a standardly awful episode #2, and then I won't stick around for #3?" But there was nothing else on, so I pushed play.
And guess what? Not only was it pretty good for a episode #2 of a new show, it was actually just pretty good in general.
It has great actors, top to bottom, a really cute kid, Marcia Gay Harden and Bradley Whitford just being fabulous, and Malin Ackerman is endlessly like-able, and there's some really genuinely sweet moments, and some actually genuinely funny not trite, predictable, overplayed, classless or gross moments.
And I was so excited, and I said, my God, this is really cool, this show actually has potential, I mean with pretty good writers, great actors, imagine where it could go?!
And then I thought, oh right. That means it's going to get canceled. Because that's what this town does. Instead of allowing a show to grow and develop and find its audience, which it will take time for Trophy Wife to find its audience, because it's not hit you over the head "categorize it as this or that kind of show" with "this or that kind of humor" the network isn't "going to get it" and it'll be gone.
Now, look, I really hope for their sake, and the sake of the future of network television that that doesn't happen, but who out there thinks I'm right?
Tuesday, October 1, 2013
Episodic Season in Full Swing
How to Make the Most of Episodic Season:
First of all, watch EVERYTHING on television. I watch at least one episode of every single show on television that is casting in the fall season, and keep one additional episode stored on my DVR. (Tones in shows can change from pilot to episode 3 or 4, always valuable to have a later episode, especially with new shows)
Theoretically you could wait until you have an audition to go find the show and watch it, but there are two problems with this:
1. You get the audition on Monday you have to be there Monday afternoon. Do you really want to spend your time scrambling to sign up for 30 days on Hulu because the show isn't available on Netflix or On Demand and there's only clips available on the website, or, wait, maybe if I go to YouTube then I can- no, just have one on your TV.
2. If you watch one episode of every show on TV when they come out at the beginning of the fall season, then you know which casting directors to target for workshops, because you can pretty quickly figure out, I fit on this show or I don't.
Do you have an episode re-airing? Or something new that you just booked? As the season gets busier and busier, and scripts start coming later and later CD's turn more and more to their files, it's a perfect time for a targeted mailing.
Try to stay in town over the major holidays, so many people leave town, that even if you weren't top of their list for an appointment for a role, if you're in town you just might get in the room, seems silly, but it totally works!
Be in class. Have a coach. As the turnovers get shorter and shorter, because scripts are later and later you don't have a lot of time to prep, sometimes they may be day of. Have a class that you are taking so you are fresh and prepped and tuned up, and have a coach lined up for those last minute emergencies in your back pocket that you can call at a moment's notice. (And have a back-up in case they're busy) Find it ahead of time, you don't want to spend your audition prep time, looking for someone who can help you.
Further - have someone lined up that you can go and put something on tape with, again so you don't have to spend your audition prep time calling around finding someone who can squeeze you in. (And have a back-up in case they're busy.)
Good luck!
First of all, watch EVERYTHING on television. I watch at least one episode of every single show on television that is casting in the fall season, and keep one additional episode stored on my DVR. (Tones in shows can change from pilot to episode 3 or 4, always valuable to have a later episode, especially with new shows)
Theoretically you could wait until you have an audition to go find the show and watch it, but there are two problems with this:
1. You get the audition on Monday you have to be there Monday afternoon. Do you really want to spend your time scrambling to sign up for 30 days on Hulu because the show isn't available on Netflix or On Demand and there's only clips available on the website, or, wait, maybe if I go to YouTube then I can- no, just have one on your TV.
2. If you watch one episode of every show on TV when they come out at the beginning of the fall season, then you know which casting directors to target for workshops, because you can pretty quickly figure out, I fit on this show or I don't.
Do you have an episode re-airing? Or something new that you just booked? As the season gets busier and busier, and scripts start coming later and later CD's turn more and more to their files, it's a perfect time for a targeted mailing.
Try to stay in town over the major holidays, so many people leave town, that even if you weren't top of their list for an appointment for a role, if you're in town you just might get in the room, seems silly, but it totally works!
Be in class. Have a coach. As the turnovers get shorter and shorter, because scripts are later and later you don't have a lot of time to prep, sometimes they may be day of. Have a class that you are taking so you are fresh and prepped and tuned up, and have a coach lined up for those last minute emergencies in your back pocket that you can call at a moment's notice. (And have a back-up in case they're busy) Find it ahead of time, you don't want to spend your audition prep time, looking for someone who can help you.
Further - have someone lined up that you can go and put something on tape with, again so you don't have to spend your audition prep time calling around finding someone who can squeeze you in. (And have a back-up in case they're busy.)
Good luck!
Wednesday, September 25, 2013
Fall Television
Premiere week is like a really bad Christmas.
You're all excited for snow, presents, caroling, egg nog, family and fun.
You're met with smog and a random heat wave, a bunch of crap you have to return, a failed caroling trip because everyone's too busy watching the voice to hear carolers outside, egg nog that's not spiked because everyone has kids now, a big fight with your mother over your hair, and fun, what fun.
That's what the 2013 premiere week has been.
Anyone spotted anything out there with an ounce of creativity, intelligence, wit, uniqueness or interesting point of view? If so please tell me, because I'm dying here, and bordering turning into the Grinch.
You're all excited for snow, presents, caroling, egg nog, family and fun.
You're met with smog and a random heat wave, a bunch of crap you have to return, a failed caroling trip because everyone's too busy watching the voice to hear carolers outside, egg nog that's not spiked because everyone has kids now, a big fight with your mother over your hair, and fun, what fun.
That's what the 2013 premiere week has been.
Anyone spotted anything out there with an ounce of creativity, intelligence, wit, uniqueness or interesting point of view? If so please tell me, because I'm dying here, and bordering turning into the Grinch.
Monday, September 23, 2013
Bad Workshop Scenes
We've all had it happen. You are super excited to meet a guest, because they're doing some hot new drama, that you think you're totally right for.
Then they hand you a scene from some 90's sitcom, playing the lead character, who went on to win five Emmys for the role, and it's not even that funny.
You spend the first couple of minutes venting at your crummy luck, then you spend another couple of minutes trying to figure out how to get the voice of that actor out of your head, then you spend another minute bemoaning your life and how they're ever going to see you when all they'll be doing is hearing how much you DON'T sound like that famous actor, then five minutes rehearsing the scene where you feel not funny at all, and then you sit in the back dreading your turn.
Happens right?
I don't have the answer. I don't think there is an easy solution. Except this: Throw It Away.
If you come to every workshop hoping for the perfect scene that is gong to match that breakdown you just saw come out yesterday, and they'll bring you in tomorrow you're coming for the wrong reasons. It's a place to stretch, to have fun, to work with your peers, to jump up on stage and be fearless, to be brave, and put the very best of you out there. The more in your head you get about the scene you've been given, the less that becomes possible, and the more likely you will be unmemorable.
Then they hand you a scene from some 90's sitcom, playing the lead character, who went on to win five Emmys for the role, and it's not even that funny.
You spend the first couple of minutes venting at your crummy luck, then you spend another couple of minutes trying to figure out how to get the voice of that actor out of your head, then you spend another minute bemoaning your life and how they're ever going to see you when all they'll be doing is hearing how much you DON'T sound like that famous actor, then five minutes rehearsing the scene where you feel not funny at all, and then you sit in the back dreading your turn.
Happens right?
I don't have the answer. I don't think there is an easy solution. Except this: Throw It Away.
If you come to every workshop hoping for the perfect scene that is gong to match that breakdown you just saw come out yesterday, and they'll bring you in tomorrow you're coming for the wrong reasons. It's a place to stretch, to have fun, to work with your peers, to jump up on stage and be fearless, to be brave, and put the very best of you out there. The more in your head you get about the scene you've been given, the less that becomes possible, and the more likely you will be unmemorable.
Wednesday, September 18, 2013
Are webseries the new indie film?
Webseries are the Indie Film of the 90s. So I've been told. What does that mean? Here's the best way I can figure it out:
1. There were a lot of really bad indie films in the 90s. There are a lot of really bad webseries.
2. There were some amazing indie films in the 90s that revolutionized the way films are made in this town.
3. There are some amazing webseries that are revolutionizing the way we watch content.
4. If you wanted to get discovered in the 90s, you went through indie film, now you go through webseries.
5. The caveat to that, is that never worked unless you landed in a good indie film, and it doesn't work now unless you land on a great webseries.
So what does all this mean for the working actor today?
It means the simplest truth about the business still holds true today:
Find meaningful, electric, exciting, fresh, well-written content.
How do you know?
You know. Do you turn off a terrible TV show after ten minutes and then it gets canceled a few weeks later? See you know. You have taste. Use it.
If webseries are the indie films of the 90s then be smart, trust your taste, and your instinct and find your way into the next Run Lola Run, Swingers, Clerks or Usual Suspects.
And while you're at it, take Pamela Frazier's workshop on Saturday!
Your thoughts on webseries?
1. There were a lot of really bad indie films in the 90s. There are a lot of really bad webseries.
2. There were some amazing indie films in the 90s that revolutionized the way films are made in this town.
3. There are some amazing webseries that are revolutionizing the way we watch content.
4. If you wanted to get discovered in the 90s, you went through indie film, now you go through webseries.
5. The caveat to that, is that never worked unless you landed in a good indie film, and it doesn't work now unless you land on a great webseries.
So what does all this mean for the working actor today?
It means the simplest truth about the business still holds true today:
Find meaningful, electric, exciting, fresh, well-written content.
How do you know?
You know. Do you turn off a terrible TV show after ten minutes and then it gets canceled a few weeks later? See you know. You have taste. Use it.
If webseries are the indie films of the 90s then be smart, trust your taste, and your instinct and find your way into the next Run Lola Run, Swingers, Clerks or Usual Suspects.
And while you're at it, take Pamela Frazier's workshop on Saturday!
Your thoughts on webseries?
Monday, September 16, 2013
Picking a Class
Picking a Class
A lot of times we stay in a class for years out of comfort, familiarity, or maybe we haven't been in class for a long time, so we want to go somewhere safe.
Sometimes we're referred to a class with a fancy name or a fancy teacher, because we think it will look good on our resumes.
Or we don't go to class at all, because we think we're done learning.
Does a ballet dancer stop practicing? Does a painter stop painting? Does a musician just show up at the concert hall?
It is a required part of our job to be constantly training.
So how can you be sure you're in a class that is helping you achieve your goals?
Here are my: "Top Five Things To Look For To Guarantee You're In The Right Class":
1. Are there people in the class that are better than you are?
2. Are you scared to go every week, because it's hard AND leave class every week feeling great?
3. Does class energize you?
4. Does your teacher relate the work in class to the real world of life as an actor?
5. Are your fellow classmates working actors?
Any you'd like to share?
Thursday, September 12, 2013
Giving up?
There was a great piece on NPR about students in the United States versus other countries. They took a sample group of high school students from the US and various other countries around the world and gave them an unsolvable math problem.
The American students on average lasted 30 seconds before giving up.
On the other end of the spectrum, after 2 hours, every Japanese student in the sample was still trying to solve the problem.
What does this mean?
My thoughts on the American education system aside, I think this is really important as regards our work as artists.
We forget the struggle. We forget that the struggle, the journey, the process is the best part. THAT is where the reward comes from.
The industry constantly pushes us to place our value or self-worth, our energy on the end goal, the Oscar, the series, the money, but how critically important is it to not lose sight of the joy that comes from the process, and the struggle.
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