Another HBO show!

Hey fellow actors! Can't believe it's been ten months since I last posted. The time seems to fly, and we're almost into a new year!

I've been mostly writing and have had a number of short stories published. But this blog isn't about writing, so why am I telling you that? Well, when the auditions (and roles) slow down -- and they always do -- we need some other creative outlet. It can be anything that allows you to have more control over when and how much you express your creativity.

Maybe it's stand-up comedy, or writing some sketches for you and your friends to shoot and post on YouTube. Maybe it's painting, or poetry. Doesn't matter as long as your creative juices get to flow whenever you want.

So, about this HBO show that I mentioned in the title of this post. Well, as usual, I can't disclose the name, or who's in it (other than me), because it's just starting production (I'm in the pilot). I'll post some stuff about it when it drops on the network. But here's the thing. A couple of months ago I auditioned for a role on this show. And after a few weeks I forgot about it and moved on. Just another audition.

Then out of the blue, my agent called and said they wanted me for another part, in the same show, and could I be on set the next day? Well, sure I could. We shot for 13-14 hours. Then the director said they wanted to add another scene with me, and could I come back the next day? Again -- sure I could. That's a great reason to do our best even if we don't think the role might be perfect for us. And why we want to make interesting choices in our auditions -- we never know what other role we might be considered for.

It was a fun shoot, on location, and it's the fourth show I've done for HBO. I've had co-star, guest star, and recurring roles with them, so it's beginning to feel a bit like home. Now, if they'd just hire me for a regular gig!

In the meantime, here's my view from inside the truck I was driving in a scene.

As for commercials -- I asked my agent why auditions had been slow for most of this year, and he informed me that the majority of commercials being shot in Los Angeles right now are non-union. That's a drag. But for some reason, I've had three commercial auditions in the past two weeks.

That's what I mean about how this business can be busy, then slow, then busy, etc. And to keep our sanity, we need to do some creative work that we have control over.

Cheers,

Michael

The Actor's Guide To Auditioning

“On hold,” “On avail,” “Pinned.”

What’s the difference between "On hold," "On avail," and "Pinned"? In reality there is little to no difference between those three phrases. But let’s take a closer look at them.

“On hold” and “pinned” are the same thing. They are used mostly for theatrical projects: films and television shows. The word pinned comes from a time when actors submitted hard copy headshots.

After the auditions, the casting directors would “pin” the headshots of the actors they were interested in up on the wall of the casting office. They might have two or three for each role and it allowed them to study the headshots side by side. For whatever reason, in our digital age, the term is making a comeback. After years of not hearing that phrase, my agent has sent me a number of emails stating that a casting director has pinned me for a role.

Being pinned might mean that it’s between you and one other actor, or maybe two or three others, but usually not more than a total (including you) of four. It’s a good thing – it means you are seriously being considered for the role. But, if you don’t get the role, it can also make you frustrated, knowing that you were so close.

I'm on hold (same as pinned) for a big role right now, and part of me wishes I didn’t know that. It makes me a little nuts every time I get a call or text and it’s not my agent. Last year I did six auditions for different TV shows in a couple of months and I was pinned on four of them. Didn’t get any of the four. But after another one of the auditions during that two month span, my agent simply called to say I'd booked it – no hold or pin.

As for “avail,” it is usually (but not always) used for commercials. It simply means that the casting director is interested in you (along with two or three others) and has called your agent to check that you are available to work on the days of the shoot. Or during the period when the shoot is taking place. They may be shooting for a week, but only need you for a day or two during that week. They may not know the exact day you’ll be working but want to know that you are available during the entire week they are shooting.

None of the terms mean you are booked, or that the producers are obligated to pay you if they don’t use you. The terms simply mean you did good, and are in the running!

As always, if you have a question, drop me a note and I’ll do my best to answer it.

Cheers,

Michael

The Actor's Guide To Auditioning

More about ADR, Dubbing, Looping, and Voice Over

Hello dear readers,

Last week I wrote about my ADR recording session. Since then I've been asked to define what those terms (ADR, looping, voice-over, and dubbing) really mean. Sometimes we use these words to mean things they don't cover. In fact, I've seen a few show-biz websites that have slightly incorrect definitions for these terms.

So, let's take a look at how they are defined by SAG-AFTRA.

All of the terms involve the use of an actor's voice. Sometimes one actor at a time, and sometimes (as we'll see with looping) more than one actor at a time.

ADR stands for Automatic Dialogue Replacement. The original dialogue may need to be replaced if there was any kind of problem with the recording of the actor's voice on the set - such as a passing airplane, wind, crickets, etc., or the actor's voice was too low. Yes, the person recording the sound can raise the level, but that raises all the other background noises as well.

At the post-production facility, the actor will watch the scene that needs ADR and will have to match his lip movements exactly. That means the actor has to do the dialogue at the same pace as they did it on the set. If the scene involves another actor, the one doing the recording will hear the other actor's lines in their headphones.

Voice over is used for narration or in animated films. In an animated film, the character's lip movements will often be drawn after the actor does his lines - this makes it much easier on actors because they don't have to match lip movements on the animated characters.

Looping is used for things like background voices. For example, if a crowd of background actors need to be shouting, as a group, "Go team!" or "Grab that guy!" then a few actors will be brought in to the post-sound studio to record that "wild dialogue."

Dubbing is used mainly for creating dialogue in a different language than the film was originally recorded. So, if a film was shot in Italy and the actors spoke Italian, and now the producers want to release it in the United States in English, they'd dub it. Actors consider this the most difficult of the voice jobs, because you have to act a role that you haven't performed before. You have to capture the mood and emotion of the original actor, as well as the pacing. Dubbing used to be done a lot more than it is today. Thirty or forty years ago very few English speakers were used to reading subtitles on films. Nowadays audiences that go to see foreign films usually expect to see the film with the actors speaking the original language, with subtitles in English (or whatever language of the viewing country is).

There's one more type of recording that falls into the category of "pick up" scenes, and it's part of what I did in my last recording session. I recorded an entirely new scene - one that I hadn't shot on the set. It was a phone call. The other actor - the one who made the call - was shot on film, calling me, during the original shoot. But I wasn't recorded on the set. In the post-sound studio, I watched, and heard, the other actor speak, then I did my lines in between theirs, so it sounded like a natural phone call.

So, how come this isn't simply called "voice-over" since you only hear my voice - you never see me? It's called a new scene, because it's a brand new scene. It doesn't matter that it's only my voice - it's still a brand new scene for me. It falls under the general category of "pick up" scenes, where a new scene is done after the main production of a film or TV show has wrapped.

Hope that gives you an idea of the difference between these voice categories as they are defined by SAG-AFTRA.

As always, drop me a line if you have a question. And thanks for reading.

Cheers,


Michael

Let's talk about ADR, Looping, and Dubbing.

Hello!

Today I'm going to talk about ADR (Automatic Dialogue Replacement), also sometimes incorrectly referred to as looping or dubbing. 

For a film or TV show, ADR is often done because the original dialogue wasn't clear or there's some sound that we could hear in the background. For example, if the shoot is on location, there may be a bird, or a distant plane, or the wind in the trees -- it could be anything that interferes with a clear, crisp dialogue soundtrack. It could even be the fact that the actor was mumbling too much.

The reason I'm using ADR as a subject today is because I have an ADR session in a few days. It's for a TV show that I worked on 10 months ago!

I'm not allowed to reveal which show - but it's on Netflix, and it's on this screen shot:

I've got to get into the same character with the same emotions as I had on the set when I was working with the other actors. Except this time I'll be alone on a sound stage with just the sound crew and the director. They'll play the scene on a big screen and I'll have to match my original lines to the movement of my lips on the screen.

So, besides the technical requirements of matching the dialogue, how does the actor reconnect with their character from months ago? Well, for me it means pulling out my sides (dialogue) from the shoot -- which is why we should always save our scripts or sides after the shoot is done (and have a place where we put them so that we can find them if needed).

I'll study the scene(s) again and picture the scene as we shot it. I'll remember how I responded to the other actor(s) and hear their lines as well as my own. And if possible, I'll try to have the same body language as I had when I did the original scene.

One last thing - unless directed to change your reading by the director, you'll want to do the role (and the emotion) the same way you did it on the set. Don't come in with a whole new (better?) way of doing the dialogue. For all my ADR sessions so far, the director has not changed my way of doing the dialogue -- they've always wanted it the same way as I originally did it.

PS - See my next post for more on my recording session.

As always, if you have any questions about ADR work, or anything else, drop me an email.

Cheers,

Michael

What's new & a great free film script site.

Hello all,

Been busy on some projects, so I haven't posted for a while. Was on the new Jane Lynch show, Angel From Hell (4th episode). And it got cancelled after the 6th show. Last time I shot scenes for a new show, it got cancelled before my episode aired, so I guess this time was better ...

Except - that means no residuals. If you're on a network show that runs for a while (as a co-star or guest star), you can expect to pick up another couple of thousand dollars in residuals when the show re-runs. If it gets cancelled, the pay checks end for everyone - star and extra alike.

Sold a short story I wrote, but since that has nothing to do with this site other than maybe what I've talked about in other posts - which is to get into something that goes along with acting - like writing - so you can create your own stuff and not always wait for the phone to ring with a call from your agent.

Anyway, for those of you who follow this blog, here's a nice link. It goes to a site with over a hundred, mostly new, film scripts. And it's free! Check it out for some scenes you can do in class, or as a great course in how to write a script that sells.

http://gointothestory.blcklst.com/free-script-downloads/


Cheers,


Michael

When you don't fit the character description

Last Monday I had an audition for a role that I was sure I wouldn't get. I was younger than the description in the breakdown, but since it was for a casting director who I liked and who has called me in for other roles - several of which I've booked - I went off to Paramount Studios in Hollywood.

I did my audition and two days later my agent called to tell me I had booked the role! This isn't the first time I've gotten a role when the breakdown description sounded really different from who I am.

We have to remember that a casting director isn't going to waste their time calling in actors who are not going to be considered for the role - especially if the CD knows you.

We can end up sabotaging ourselves with negativity before we even get close to the audition time with stuff like: the breakdown says the character is six feet tall, but I'm only 5'10", or it says blonde and I'm a redhead, etc. (Or, in my case, it says "full head of hair," and I'm bald.)

And even if it turns out that the CD can't convince the director to change his mind about how tall the character should be, or whatever, it still gives you a chance to do your thing in front of a CD. And if you give it your best, they will usually remember you and call you in for something else.

There's also been several times that I've read for a director and when I was done, he handed me the sides for another role and asked me to take a few minutes while they auditioned other actors and then come back in and read for the new role.

And then there are times when I'll use the negativity for the character (if he's a negative type guy), or to take the edge off an important audition. But, you really have to know yourself, and have enough experience, to use negativity in a positive way. Otherwise it can mess up your whole performance.

It's best, especially when starting out, to carry a positive attitude into every audition. Remember, out of dozens or hundreds or - in the case of professional auditions in Los Angeles - maybe thousands of submissions, the CD has called you in to read for the role. That alone should give you a boost of positivity.

Cheers,

Michael



P.S. - Next time, I'll talk about getting physical on the set.

My film's in the theaters!

Hi Dear Readers,

It's been awhile since I last posted. I've been working on a post-production budget for my feature film, Night Tour," as well as writing some sketches for my friends and I to shoot for Funny or Die.

Last week I went with a friend to see the film I'm in - "Little Boy" - that's been playing in theaters around the U.S.

I'm Gilliam, the owner of the general store

Going to see the film

I had a few good scenes, but they also cut some of my stuff. And that happens to many actors, both unknown and known actors. There's all sorts of reasons why that happens: sometimes the film is simply too long and the filmmakers need to shorten it, or maybe it just drags during the subplot that you're in. Dropping a slow subplot is an easy way to cut a chunk of time from a film. It usually has very little to do with your acting, and more to do with the editing of the film.

A friend of mine - a very good actor with lots of television credits - was hired for a TV role a few months ago. After they shot it, the producers had to trim the show down to fit in a half-hour format (usually about 24 minutes). And, you guessed it, they had shot a bit too much and just chopped out my friend's scene.

Because of this, I'm usually careful of how many friends and relatives I tell about my new role. It can be embarrassing to have all your friends tuning in to see you, and you're not there! But that's the nature of the business - sometimes it happens. And it can happen in a TV show, a film, or a commercial. I usually wait until I've seen the TV show and then send a link if it's online somewhere - and most TV is online someplace. 

If it's a film, I might check it out on opening day and then tell my friends. Or, if you've been called in to do some ADR work after the film is shot, you can be pretty sure you're going to be in the final version.

Anyway, it was fun to see myself up on the big screen, because I've mostly been doing TV since my last film, "Priest."

Don't forget - if you have a question, feel free to write in the comments, or email me, and I'll get back to you with an answer. And thanks for reading this little blog - I do appreciate it.

Cheers,

Michael

A "Modern Family" audition

This post is late because I was preparing for an audition for "Modern Family." The scene is a funny one with one of the stars. The audition sides came in at 6 p.m. and the audition was the next day at 10 a.m. Fortunately, memorizing the sides was easy, because the writing was great (and funny) and because the scene was fairly short.

Deciding whether to "dress" for the audition took me a little longer. Many times I go to theatrical (film and TV) auditions fairly casual. Just a regular shirt and slacks. But sometimes a voice in my head tells me to dress a bit more in character, especially if the character is a bit weird or offbeat.
So, wearing a bow tie and an old cardigan sweater, I headed off to 20th Century Fox Studios in West Los Angeles. Unfortunately, President Obama was visiting on the Westside and the streets all around the studio were blocked off. I got a little nervous about being late (which I definitely was going to be) until I realized that everyone else was going to be late as well.

20th Century Fox - Stage 22

When I finally got to the casting offices, the CD told me that they were also late getting in, so no worries. The audition itself went very well. Don't want to jinx it, but I may be a bit younger than they're looking for - we'll see.
The lessons from this audition are - listen to the little voice in your head. It's your instinct trying to tell you something.

And don't sweat the things you can't control (like the President being in the neighborhood).

Cheers,

Michael 

What are some tips for editing a demo reel?

It used to be that you were supposed to keep your demo reel to no more than five minutes. Things have really changed in the past ten years or so. Now, it's really about them not being over two minutes. With agents and casting people getting huge amounts of demos sent to them, they simply don't have time to watch more than a couple of minutes.

And as someone who has talked to a lot of agents and casters, as well as made my own and other people's demos, I can tell you that those agents and casters feel they can get a good sense of your acting and your characters very quickly. It's true - if you've watched enough demos, you can tell within two scenes whether the actor is good or not.

With those things in mind, you will want to put your best stuff first. And I know that if you have a couple of great scenes that run about two minutes each, you may feel like you should put all of that in the demo. Don't! An agent doesn't need to see a two or three minute scene to "get" you.

Remember, a demo reel is just that - a demo. It's a business tool, like headshots. It's purpose is not to entertain agents and casters. It's so they can get a quick feel for your acting ability as well as the kind of characters you are best at portraying.

Remember what I said about keeping it short? Imagine this - you've got two long scenes that you're really proud of - now if the caster is only going to watch half of the first scene, then that second one never gets seen, right?

And because I've directed a bunch of stuff, I've received actor's demos with really long scenes. The worst are when the scene goes on and on and there's really no change in the character's emotion. An agent or caster doesn't need to see us be sad or angry or happy for two or three minutes. After 30 seconds, we get it - time to move on.

As an actor who has some good, long scenes on my computer, I know the feeling of having to edit them down to what seems like a too-short piece for my demo.

If you only have two long scenes, then make your demo one minute. Scenes should be between 15 and 30 seconds long. I know - it seems really short, but that's all the casters and agents need.

As for the rest: I open with a quick text card that says "Michael D. Nye" and under that "Demo Reel" Then at the end I put "Contact (my agent) and his phone number and email. And keep it short - if they need to write down the info they can pause the demo. Of course if you don't have an agent, just put your contact info.

If you have other questions about demo reels, drop me a note and I'll answer them.

Cheers,

Michael

Do you need a publicist?

This subject comes up often when actors start getting some roles - either in film or television. Here's my experience with the one publicist I had.

A few years ago I was in a futuristic vampire film - "Priest" - and the film was going to be opening in theaters in a few weeks. So, I decided to take advantage of that and hire a publicist on a "trial" bases for two months and see if it was worth the expense. He was the publicist for a friend of mine who was a writer. He was very excited about using my role in Priest to get me some gigs at sci-fi conventions where I could make some extra money by telling stories about the shoot and signing copies of posters and stuff.

But he really didn't come through with all the things he said he would do. For example, he wanted some publicity shots of my character, from the film. He asked me to call the production office and have them send me copies of any publicity shots that I was in. 

Here's the problem with that: If an actor - who's not a star - calls the production office, he's probably not going to get anything from them. Why? Well, it's extra work for them, and since I wasn't one of the stars of the film, they would most likely drag their feet getting me shots. But, if an actor's publicist calls, that carries a lot more weight as far as getting the shots. It's like an actor submitting himself for a role, verses having an agent submit you for the role. Your chances of getting an audition are much better if your agent submits you - it just makes you look more legitimate to casting directors.

It was like this with other stuff as well - he wanted me to be doing the work that I was paying him to do. So, after two months of him not coming through with anything, I dropped him.

Would I hire another one in the future? Maybe. A publicist is good to have if you're doing a major role in a big film, or have just been hired to be a regular on a TV show. But, since they can cost you anywhere between $400.00 a month to several thousand per month, you need to not only have the money to spend, you need to have something substantial in the way of a role in order for the publicist to really do anything for you.

And what do they do for you? Get you interviews in entertainment mags (hard copies or online), get blurbs in the media about what you're up to in your real life - like going to charity events or doing unusual physical stuff like skydiving or earning your black belt in martial arts - that kind of thing. They might get you on TMZ by calling the production offices and telling them you're going to be at a certain trendy restaurant on a certain day and time.

So, the short answer for most of us regular working actors is - no, it's not worth the expense of hiring a publicist. But if you decide to try it, do what I did - don't make a long-term commitment until you see what they can do for you.

Cheers,

Michael

Could I get hurt doing this?

I was talking to a friend of mine, S.B., who is a good actress. She just wrapped filming on a project and had an experience that I've also had (and I'm sure many other actors have had as well.

While filming, you are asked to do something on camera and you're not sure whether it qualifies as a stunt. My friend was pushed aside as another actor shoved his way through a crowd. The actor who did the shoving did it really hard, knocking my friend into the side of a building. And this scene was shot several times, so she came home with a few bruises. On several films I've had to fall down sideways (out of frame) onto a pad.

We all know that if you take a dive off the top of a building, or drive a car really fast in a chase scene, that these are stunts which are almost always performed by a trained stunt person.

But the question is - are my falls, which are really only a few feet, and my friend getting shoved into the side of a building, stunts?

When I've had to take those short falls, I've never asked for a stunt double. I also didn't ask for stunt pay to do those things. I knew I wouldn't get hurt, and that they were safe and simple to do. Now, if the director decided that he wanted me to hang over the side of a tall bridge, I would say "No." I don't like heights and if I had been told ahead of time (like before I signed the contract to play the part), that I would have to hang off the bridge, I would have told my agent that they would need to get a stunt person to do that - or find another actor.

When we're on a set we often get caught up in the thrill of filming and are ready to do anything. However, not thinking carefully about what we are being asked to do is how actors get hurt on the set. Some directors get an idea on the set, and because they are inexperienced, or devious, will ask you to do something dangerous. (A really devious director may wait until your last shot to ask you to do the dangerous thing.)

I once had a director ask me to run barefoot through a dirt lot that had a bunch of broken bottles and rusty sharp metal pieces in it. I said no way. The director got really pushy. Again I said no, making it very clear that I was not going to do it barefoot. When he realized I meant it, he got the wardrobe people to bring me some old tennis shoes. And the shot worked great and he even thanked me afterward, admitting that he got a little carried away with the idea.

As much fun as making a film or video can be, we really do have to watch out for ourselves. Don't take foolish chances just because you don't want to seem like you're a wimp, or that you're being "difficult." Remember, if you get hurt, you might not be able to finish your part.

We should work with joy, not fear.

Cheers,

Michael

"...what are my chances of getting an 'upgrade' to principal?"

Cassie M. asks "If I do extra work, what are my chances of getting an 'upgrade' to principal?"

Great question, Cassie. Unfortunately, the answer is not so great. And I'm saying this as someone who got into SAG (before it was SAG-AFTRA) that way!

Before I joined the union, I was cast as an extra in a feature film. The producer and director were still trying to fill one last principal role, and so they took a look at the interview tapes that the background casting director had made of us. The director liked my "look" and brought me in to read for the principal role and I got it. But, that was a very big stroke of luck!

It just doesn't happen very often. Let's take a look at the different mediums.

Feature Films: The roles are cast before the film starts and the director has a "shooting script" with all the parts. That will rarely change because it means that they are going to add a role that is not in the script to begin with. Rarely, but sometimes, a director will get the idea on the set that he wants a non-speaking actor to say a line. Example - a friend of mine was doing a bit part (background with a specific bit of action). He was working in a lunch wagon and was supposed to simply hand the star a sandwich that the star had ordered. However, the director decided it would be more natural for my friend to say "You want anything else with that?" after he handed her the sandwich. Boom! Instant upgrade and SAG eligible. (Ironically, the scene was cut from the final edit, but my friend still got his upgrade and SAG card.)

Television Shows: Upgrades pretty much never happen. TV shows are on a very tight schedule, and there is rarely, if ever, a deviation from the shooting script. Because time is so tight, the director will usually stick very closely with the script and not make changes. Possible exceptions might be on a sketch-type show, or if an actor has been a long-time extra on a show and is finally given a line.

Commercials: This is usually the best place to get an upgrade. Although still rare, it does happen more often than on films and TV. This is because you don't actually have to say a line in order to be upgraded. All that has to happen is that once on the set, the director decides, because of your "look," he wants you in the foreground where you are recognized.

A tip - if this happens on a commercial, ask the second AD about getting the upgraded contract right after the shoot, while you're still on the set. Yes, you could still get downgraded or cut from the commercial, but it's always better to get the new contract right then instead of waiting to see if you are still a principal when the commercial airs (because it might not even air where you can see it). It's often a big hassle to get the upgraded contract after the commercial airs. Besides, even if you are cut in the final edit, you're still owed principal pay for the shoot.

Web Shows: This can be another place to get an upgrade, but the show must be working under a SAG-AFTRA agreement to begin with. Some web shows are very tightly scripted and some are very loose and improvisational. The latter type will increase your odds of an upgrade.

Final word of advice - never, ever, say something (even one word) without being told to do so by the director. In order to qualify as an upgrade, you must be directed to say that line (or word, whatever). Shouting out a word or two while you're in a big crowd of extras will not get you an upgrade and could even get you kicked off the set. 

Cheers,

Michael

New agent, but not getting out on auditions?

Justin B. asked the question "I've got a new agent, but I haven't been out for auditions in six months. Should I start looking for another agent?"

Hey, Justine - thanks for reading my blog. Before you can really make a smart decision about dropping your agent, you'll need to figure out the answers to some questions.

Here, in no particular order are things you have to consider:

Is the reason you aren't getting auditions because of your headshots?

Is it because your agent isn't doing a good job of submitting you? And if he isn't, is it because he's lazy, or doesn't really believe in you? Does he have other clients in your category who have better credits, so they are the ones he's submitting? Or is he submitting you for parts that are not right for you - based on your headshots and credits (or age, ethnicity, etc.)

If you have very few (or no) professional credits, your agent's going to have a hard time getting you in for guest star or major supporting film roles. So is he submitting you for co-star roles that will build up your résumé so that you can eventually be considered for the bigger roles?

As you can see, unless you get answers to some or all of these questions, you run the risk of getting into the same situation if you go to another agency.

If it's been a few months - six at most - and you haven't had an audition through your agent, it's time to schedule a meeting, either on the phone or better yet in person. If they swear they've been submitting you, then discuss the possibility that it's your headshots or credits that are the problem.

As for TV roles, realize that breaking into television is probably the hardest area in which to get a start. That's because they work fairly fast and don't have time to take a chance on someone with very little credits (especially if they have no TV credits). It's a kind of catch 22 - you need TV experience to get TV roles, but you can't get experience unless you have a decent résumé.

The thing is, you can do something about those kinds of problems. Like, get new headshots, or doing student films, videos, online sketches, plays, etc. to build up those credits (and get more experience).

As for whether your agent is actually submitting you, that's harder to figure out. If you're in a theatre company, or around a group of actors in your category, you should ask them if they're getting auditions. This will give you an idea of whether the business is just slow, or your agent is not working very hard for you.

I've been getting a lot of theatrical (TV and film) auditions, but very few commercial ones, so I asked some actor friends who do a lot of commercials (and who are my type), if they were getting out and they said that it's been very slow for them as well. So, that tells me it''s not my agent's fault - it's just slow for character actors my age in commercials.

Just don't let a lot of time go by without talking to your agent. That doesn't mean call them every month, but if I had six months of no auditions, I would be on the phone with my agent asking what was going on.

Hope this helps - let me know how things go if you talk to your agent.

Cheers,

Michael

What do the terms day player, co-star, guest star, recurring, regular recurring, and recurring regular mean?

Let's start with the ones that are clearest in terms of their use among professionals in television.

Day player and co-star are the same in terms of the work that is done. The only difference is that one term (day player) is contractual, and the term co-star is a credit.

If you are hired on a TV show to speak a few lines (usually between 1 and 10), and perform in 1 or 2 scenes, your contract will be a day player contract, meaning you are paid by the day - usually the SAG-AFTRA scale, plus ten. Day players with several scenes in different locations, or over a number of days, will sometimes be given a weekly contract.

A guest star is usually on a weekly contract (they are paid a weekly salary) and their credit is at the "top of the show," meaning it's at the beginning of the show as opposed to a co-star which is at the end of the show. As you might guess, a guest star has a bigger role that is an integral part of the story line.

A recurring role can be a co-star or guest star who appears in more than one episode as the same character.

Regular recurring, and recurring regular are a little less well-defined, but here's my take on the terms.

Regular recurring is a co-star who shows up on a somewhat regular basis. They may be in episode 2, then in episodes 5, 9, and 13. (In a 13 episode cable series.) Often this actor is not "on contract," meaning they are not critical to the story and if not available they could be written out of that episode.

A recurring regular is a character who is more central to the on-going story. For example, he may be the owner of a soda shop where the characters hang out and there are scenes at the shop every 2 or 3 episodes. Maybe he gives a few words of advice to the other characters. This actor may be given a contract because the producers want to be sure that he is available whenever they need him.

Hope many of these roles are in your near future.

Cheers,

Michael

Making choices at an audition.

I had an audition this past week for a popular procedural show - one of those long-running crime/mystery shows. And the character I was reading for was a really intense character. But, it could have been played a couple of different ways. So, what did I do in the few days I had to rehearse it?

First I looked at the different choices and what clues I could get from the dialogue. For example, if another character asks your character - "Do you know Jeremy Jones?", and your response is, "I ain't got no knowledge of that person," you can assume that your character is not an educated person. Now, if the line is the same, but he adds, "… so just leave me alone." What does that add to the character? He's hostile? He's a loner? He doesn't like the person asking him the question? Maybe the person asking him is a cop and he doesn't like any cops.

The casting people don't want you to be asking them what they want - or what they see as the character - they want to see what you bring to the audition. If you're a beginner, you might get told what to do, but if you want to move up the ladder and get better roles, you will be expected to bring a fully realized character to the audition.

At my audition, not only was the casting director in the room, there was also the show's director, the producer, and the writer. And since this was for a TV show, they simply don't have the time to have a conversation with every actor about the character. This is why no one asked me if I had any questions. If they had given me an adjustment after my first read, then I could have asked a question to clarify the adjustment.

As actors, we aren't just puppets, we are expected - most of the time - to be creative and to make the choices ourselves. And believe in them and commit to them. There are some exceptions, mainly in commercial auditions, where the casters will usually tell us what they want from the character. Since I talk about that in another post and in my book, I won't go into it in this post.

The one thing you want to avoid in a film or TV audition is trying to play all the possibilities. You must make a choice and stick with it! Then if the caster wants to see a different take on the character, they will give you an adjustment. If, in the above example, you were a little too angry, they might say, try it again more frustrated than angry. And this is why you want to go through several possibilities when you are rehearsing, so that you can make a change if they give you an adjustment. You just don't want to try to play all your choices in the hope that they will see something in your audition, because all they will see is an actor who has not committed to a choice.

And how do we make those choices? We do it by supplying our own answers to to our questions. For example - is the character angry or frustrated? Try it both ways. Which way feels most right? Go with that. You may be wrong, but you'll be strong. And strong and wrong is far more interesting than weak and blah.

Cheers,

Michael

Do people still get "Discovered?"

Jason from Harrisburg, PA wrote in and asked this question, Do people still get "Discovered?" And if so, where?

Hey Jason - thanks for your email. Discovered is a tricky word. If you mean do people get discovered for films and TV when they are just sitting around somewhere, hanging out? Or walking down the street? Maybe one in a million. 

Seriously. In the old days, even before my time, the studios had talent scouts that went to beauty contests and sporting events to find potential talent to be tested at the studio. And sometimes they even found talent at a soda fountain or by simply walking down the street. 

But those days are long gone. You can figure that anybody who approaches you in a mall or somewhere and asks you if you want to be an actor / star, is probably going to try to scam you in some way - usually for money or sex.

But if you mean do people get offered representation, or parts in a film or show, if they are seen performing in something? Yeah, that happens. In fact it's pretty much the only way it does happen. You have to be doing something in order for someone to discover you. Let's take a look at what that means.

Below is a list of the types of things you can do to get "discovered." I've listed them in order of their strengths, but some of them are very close. Having a good role in a feature film (even a ultra low-budget one) that does well at festivals will probably get you some real attention. Doing extra work or short films are the least likely ways to get discovered. There are exceptions to this, but not many.

Note: I was an exception to this - I was interviewed for an extra role and the producer saw my interview and brought me in to read for a principal role, and cast me. But like I said, it's really rare for that to happen.

So, here's my list:

Making your own ultra low-budget feature video and entering it in contests and festivals

Doing stand-up comedy 

Doing your own thing on the internet (mainly YouTube or Funny or Die.)

Performing in a play

Doing improv and/or sketch shows

Modeling

Singing in a club / cabaret

Doing extra work on films and TV

Doing student or short films

A last note about the list - the stuff has to be of good quality. If you're doing stand-up comedy and you suck (sorry to be blunt), you're not going to get discovered. If the film you're in is horrible (and not in a good way), it's not going to help your career. 

And finally, even if your web series on YouTube is great, people have to see it, which means you also have to promote the hell out of it. Felicia Day went all over town putting up fliers for "The Guild" before it took off and helped her career.

Cheers,

Michael

How the little things can make a difference

6:30 a.m. - House of Lies base camp - downtown Los angeles.

(the food and coffee - very important - is just left of center) 

Hey all,

Yesterday was fun - even if I did have to get up at 4:45 a.m. for a 6:15 call time. I shot my scenes for the Showtime series, House of Lies. Got to work with Don Cheadle and Kristen Bell. Everyone, from the stars to the crew was nice to work with.

We shot on the 11th floor of the Biltmore Hotel in downtown Los Angeles.

And what did I learn? Well, the acting part was pretty straight-forward, but I did get a reminder to check myself in a mirror after scarfing down a crumb donut during a break. Yeah, I still had a crumb or two around my mouth when we got ready to shoot. The makeup person was like. "What's that on your mouth?" And that was just before my closeup, so I'm glad somebody caught it.

We sometimes forget that when we're on a break, we can mess little things up - makeup or wardrobe wise. When I washed my hands after using the restroom, I managed to get a few drops of water on my shirt cuffs. Fortunately the break was long enough that they dried before we shot again, otherwise I would have had to ask the person in charge of hair and makeup to use her blowdryer on the cuffs.

Why am I talking about this kind of stuff, instead of the more "important" acting stuff? Well, because your best acting stuff might not get on the screen if the editor sees something like water spots or crumbs when they are editing the film. For example, with the crumbs on my mouth - if they had shown up in my closeup and nobody caught them until they were editing, the editor would probably drop the closeup and just stay with the long, wide shot where the crumbs didn't "read" on camera. So, because I didn't check my face, I could lose my closeup!

Bottom line is - even though most hair, makeup. and wardrobe people are good at checking us out before we shoot, ultimately, we - the actors - are responsible for making sure we are ready to shoot. Yes, knowing our lines and blocking, and motivation is very important, but when it comes to being on camera, everything is important and can make a difference in what ends up on the screen.

Cheers,

Michael

Are you getting your full pay?

A few years ago I worked on a feature film and about nine months after I wrapped, I was called in to do some ADR work (I had to add some dialogue to my part). Okay, great - I get a nice check for an hour or so of work.

But, when the check came, it seemed a little light. I had done some ADR work a few months before, on another project, and the pay was more. Of course that was a TV show and this was a film, so maybe the pay was different.

But, just to satisfy my curiosity, I called the theatrical contracts department at SAG-AFTRA. And this is what I discovered: if the film has a regular contract (not low-budget, or student), you get a half day of pay if you are called in to do ADR work LESS than 6 months from when you wrapped. Which is what the payroll company had sent me. But - as in my case - if it's been MORE then 6 months since you worked on the film, they owe you a full day of pay for the ADR work!

I called the payroll company and they said they'd check that rule and call me back. And, about an hour later someone called me and apologized, and said they'd get another check out to me right away to make up the difference (which they did). Were they trying to cheat me? No, I don't believe so. (After all, it's not their money, they're just hired to write the checks.) The person making out the payroll just wasn't aware of that rule.

Was this a big deal? Well, yes - the difference in pay was $400.00 and that was worth making a few calls.

The lesson to me was - check your checks! Most union producers and payroll companies are honest, but every time there is a new contract negotiated between SAG-AFTRA and the producers (every 3 years), there are rules that change, so it can be difficult to keep up (although the payroll companies should try to be up-to-date on all the rules that affect payments).

And don't worry - no one is going to "blacklist" you for trying to get what's owed you (and hey, if that producer won't hire you again, ask yourself - do you really want to work for someone who doesn't pay you what you're owed?).

Like I said, most professional people in this business are honest, but mistakes happen. And if you think this has happened to you, it's probably best to call the contracts department at SAG-AFTRA rather than your agent, who may also not be up on all the rules and regulations of a contract. 

Cheers,

Michael   

Do you like your roles?

Well another week, another audition. A new Comedy Central show and another weird character. This seems to be my calling - to play weird, offbeat, or grungy roles. which is cool - they are the roles that are often remembered. I'm not knocking actors who play the straight roles like doctors, lawyers, etc., or the roles that give important information - called exposition roles. These are important parts because they give us information that we need in order to advance the story. But I like the more offbeat stuff - like playing the Baker on Eagleheart, or my latest role of The Undertaker on Westworld.

Here's a link if you want to see a scene with me as The Baker:

Eagleheart - The Baker

We actors sometimes have to make a choice in our careers between who we see ourselves as, and who others - especially casting directors, agents, directors, and producers - see us as. Are you the funny guy who gets cast as the angry guy? Maybe you see yourself as a leading young lady, but keep getting called in to play the nerdy best friend.

So what do you do? Well, you can try and change the way people see you by doing the type of theatre roles that are more how you see yourself, and making your own videos where you play the type of characters you see yourself as and hope that others will come around and see you as that as well.

Or you can be happy that you are being called in and cast and are able to support yourself as a performer. I write and play songs, but no one's paying me to do that. However, the money I make doing my "weird" roles allows me to spend time on my songs. But I'm also lucky because I really like performing most of the roles in which I'm cast.

You can always do your own stuff on the side. For example, if you're the funny guy who is cast in dramatic roles, go to comedy clubs and do stand-up. Charlize Theron, known for her dramatic roles, has been doing comedy sketches on Funny or Die to show her comedic side. Will that get her cast in a comedy film? Maybe, maybe not, but at least she gets to express her funny side.

There's enough to deal with in our acting careers without being unhappy with the type of parts we get to play. You have choices and ways to fulfill your inner spirit. So embrace the paid work and give it your all, and then go do some unpaid work that feeds your soul. 

Cheers,

Michael   

Heat, dust and horse shit

I was standing in the middle of a hot, dusty, dirt street. All around me crew members were going about their jobs setting up the next shot. My shot. My scene. And I took in every second, as they adjusted the huge lights, set up three cameras to shoot the scene, got horses into place, informed the background actors where they would be standing or walking, etc. An AD said that I could go sit in a chair off to the side while they did all this setting up, but I wanted to drink in every moment of watching this fantasy come to life. Especially since I had spent a good deal of the day in my trailer, waiting.

I wish I could share pictures, but as on many sets, taking pictures is forbidden (except by the publicity people). And I understand - they want to keep an air of mystery about the project until it's released in theaters or shown on TV.

Now that my time working on Westworld is finished, I'm back to working on my own projects and auditioning. I know I've talked about this before, but it's so important to keep being creative in between our paid acting jobs.

Of course I'm hoping there will be a few more acting jobs before the end of the year. I just had an audition for "Parks and Recreation," but didn't get it. That's a part of our business - dealing with rejection - doing our best and then not getting the role is definitely not the fun part of this business, but it's something we all must deal with.

After two weeks of being a "working actor," it's a drag to go back to looking for work. One of the many things I love about this business is that when I'm working I forget about almost everything else in my life - laundry, bills, bad dates, and all the mundane errands that we usually have to do. We even get our meals on the set - especially if we're working 12-14 hours a day on a big-budget project.

It's that all-consuming aspect to acting that allows us to get deeply into the role. And the role doesn't have to be some deep, dark, intense character - we can even be consumed by funny characters. Of course not every character or role is going to fill us with passion. But as I noted in the first paragraph, sometimes just being a part of a great production is enough to fill us with good vibes.

Cheers,

Michael