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

Am I owed more money?

Dear actors,

This is a long post, but an important one. As actors, we have to be aware of what we’re owed for our acting work. Too often we think that because we have a union contract, we’re going to get everything that’s owed to us. But although mistakes happen, most of the pay shortages are honest mistakes, not a producer trying to cheat us.

The three examples that follow all happened to me while I was working under SAG-AFTRA contracts. If you’re working on a non-union project, you’re kind of on your own, but you might be able to use some of what follows as a guideline to negotiate for more money.

I was on a premium pay cable show, working as a day player. I worked on a Wednesday, Thursday, and Friday. However, they didn’t get one of my scenes shot that week, so they asked me to come back the following week and work on Wednesday (I ended up also working that Thursday, as well). So, how many days of pay did they owe me? Five? When I got my paycheck that’s what they paid me for, based on the paperwork the assistant director turned in to the payroll company. And many actors, especially if they’re new to union work, would be very happy with the check.

But ... they owed me for two more days. They owed me for Monday and Tuesday of the second week (even though I didn’t work those days). Why? There’s a union rule that if you work (as a day player) and the gap in-between your work days is less than 6-10 days (depending on the type of project), you have to be paid for the days off (not counting weekends). That’s so that a production can’t string you along working one day this week, then a couple of days the following week, then another day a week later, etc. That kind of schedule can foul up other projects that you might be able to work on. Would the union have caught the error? Maybe, but maybe not.

I called the payroll company, who then contacted the production company and got it straightened out within a day. They apologized and I got the check for the two additional days a couple days later.

Another example: I was working on a major film and as we were shooting, the director got this idea. He wanted me to be jerked off camera at a particular moment in the scene. So the stunt guy came over and put a harness on me, under my coat, with a leash that he would use to pull me out of frame.

Of course, we actors want to be good sports and do whatever the director wants. And, it was an easy stunt – no danger – but it was a STUNT! That means stunt pay. I jokingly said as the harness was attached – “So, I guess I'm doing stunt work, huh?” The director got it and turned to his assistant saying, “Make sure Michael gets stunt pay for this.” Everything was friendly – no hassles – but if I hadn’t mentioned it, I wouldn’t have gotten what was fair for the work I was doing.

One last example: I was called in for some post-production work, for what I was told would be ADR (Automatic Dialogue Replacement). That pays a half day’s salary (what I got per day on the shoot). But they had me do some new scenes – with dialogue only. And that pays a full day’s salary because it’s a new scene – doesn’t matter that it’s only dialogue.

Finally, be aware that if you’re doing background work, there are a number of “pay bumps” you’re due for working under certain conditions, like if you have to work in a scene where they’re using smoke. Even though it’s fake smoke, you should get a little extra pay for that. There are some other bumps as well – just ask one of the other extras; they know all that stuff. And no – principal actors don’t get the same bumps as background actors get.

This was along post, but I like knowing that we actors get what is fair for our work. If you finish shooting, and then realize that you should have spoken up about something that might be extra money, first call SAG-AFTRA to verify it, then call either your agent, or wait for the check to see if they paid you the extra, and if not – call the payroll company.

And be nice – they’re only going off the paperwork that production sent to them. Payroll companies are usually very good at taking care to get you your full pay.

Cheers,

Michael

The Actor's Guide To Auditioning

You have an agent, but no auditions. What’s up?

What are some steps you can take if you have an agent but aren’t getting out for auditions? Maybe you have a bad, lazy agent and it’s time to get another one. But ... before you take that drastic step, let’s explore a few other reasons for a lack of auditions and what you can do about it.

Your headshots. Do you like them? Did you spend a lot of money on them? Unfortunately, those things count for very little. (See my post on “What makes a strong headshot?")

Your headshots need to fit in with what your agent is submitting you for. A friend of mine is an example of headshots that might not work for her. Her shots are technically beautiful. She is beautiful in them – in fact she looks like a model. But there’s two problems with her using those shots.

First, she had her hair and makeup professionally done for the shoot. This is not something she will want to duplicate for every audition. And second, the shots don’t really match her demo reel. In her dramatic clip, she plays a girl next door type – very down to earth. A second clip also shows her without makeup – pretty, but not at all glamorous. And these are the kinds of roles she wants to get, but she’s not getting called in on them, because her pictures don’t match the type of roles she wants to be submitted for.

Note: Because she’s in Los Angeles, even if she wanted to pursue glamorous or model-type roles, the competition is fierce. There’s just so many beautiful people for casting directors to choose from, which means she still might not get called in often. (There’s a way to deal with that that I’ll address in a future post.)

Anyway, it might be time to talk to your agent and see what they’re submitting you for, and how each of you sees you and the potential roles you want. If you don’t see eye-to-eye on the roles, that’s a bad sign.

Something else that may be the problem. What are you doing to help your agent get you in the door of casting directors? Your promotional work doesn’t stop when you get an agent. Are you doing plays, short films, stand-up, sketches (for YouTube or Funny or Die), improv shows, etc.? Find the performing areas that help you get more experience and exposure.

You also need contact your agent for a meeting (a meeting that takes place, if at all possible, in person or on the phone – not by text or email).

Note: My agent likes to hear from their actors (but only every once in while, like every few months). I notice my auditions go up after I say hello by phone or in person. If I have an audition nearby their office I might let them know this and ask if it's okay to drop by after the audition.

When you do talk - instead of asking them why you’re not getting called in for auditions, ask them what you can do to help them get you more auditions. Getting angry or upset at your agent won’t help your cause. But by asking them what you can do, you avoid accusing them of not doing their job. And you make it sound like it’s the two of you working together – which is what you want from your relationship.

When you do talk to them, your agent may have two answers for you about why you aren’t getting auditions. 1) They are submitting you a lot, but the casters aren’t calling you in. Or 2) The agent isn’t seeing many roles that fit you. Ask what he thinks you can do to change that.

If they are submitting you a lot – it may be your headshots. Talk to your agent about those. You want to make sure your headshots fit the roles you're being submitted for, so, you need to ask them about that. Do they need other types of headshots, like ones that are more commercial? Or do you need more credits? Time to get yourself more short film roles. Join Actors Access and sign up to receive notices for short films or low-paying feature films that your agent may not be submitting you for. 

Finally, if nothing else works, it may be time to talk to another agent. When you contact them, you don't have to say who your current agent is, just that you're looking for new representation. And don't bad-mouth your agent - just say that's it's not a good fit, then ask them what roles they see you auditioning for, andif they can get you into those auditions.

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

You want me to do what!!? When does a physical action become a stunt?

A couple of years ago I booked a nice role on a fairly big feature film. After we had shot for about six hours on the first night, and done most of my dialogue, the director walked up to me and introduced me to the stunt co-coordinator. Why was I meeting the stunt guy I wondered. I had not been notified about doing any stunts when I auditioned for the role, nor had my agent been told about any when he negotiated the contract.

This happens a lot - especially on films. The director or writer gets an idea to add a small stunt for your character during the shoot. Not a big, dangerous stunt like driving a car through a ring of fire, or jumping off a four-story building onto an air bag. I'm talking about things like jumping into a cold lake, running a sprint, or doing a somersault.

We actors hate to look like a wimp on a set. With the crew standing around, it's difficult to say "No" to the director. Especially when he or she applies pressure - "You can do this." "It'll look great!" "Come on - be team member, we won't let anything happen to you."

First, even the simplest of stunts should be done under the watchful eye of a stunt coordinator. He's the one who can tell if something could go wrong (unless of course he's really new to the job).

Too many inexperienced directors, especially on low-budget films, have no idea what the difference is between a big, obviously dangerous stunt, and one that seems mild, but on which you could get hurt performing. In fact, because professional stunt performers are hired to do the big stunts, it's usually on the small ones that we actors get hurt. Cuts, sprains, pinched nerves, muscle tears, lung damage (from smoke and dust), etc. are some of the things that can cause short or long-term health problems.

So, how should an actor handle it when he or she is asked, while shooting, to do something physical that isn't in the original script?

First, you need to have a clear understanding of what they want you to do. Sometimes they'll start small, and then ask you to do it faster, longer, higher, etc. If you agree to do it, but it starts becoming too much for you - say "That's it, no more."

Next, you need to have an honest idea of what you're physically in shape to do.

Lastly, you have to have the confidence to stand up for yourself. On many films and TV shows, you will be the only one to do that. I've seen actors get hurt - actually bleeding - and the director says "You okay for one more take?"

Last thought - be extra careful if the director springs this new stunt or physical action on you on the last day of shooting. If he thinks you might get hurt and not be able to work for a while, he may do this physical action at the end of your scenes, so that if you do get hurt, it won't interfere with the film's schedule. Does that sound like the director is a real a**hole? Yeah, but not necessarily intentionally - often he just wants to get whatever ideas he thinks are "cool" onto the film or video.

NOTE: This same issue comes up with nudity. It gets thrown at you on the set. Ultimately, we have to protect ourselves. That means reading our contracts, getting enough sleep, water, food, etc., and saying "No" when something doesn't feel right.

And what about the stunt I was asked to do on that film a few years ago? After talking it over with the stunt coordinator, I felt I could do it with no problems. However, I declined the stunt coordinator's help, so that I would be in control of the stunt - how hard I fell - instead of having him jerk me to the ground using a leash. It worked great, and I didn't get hurt. (But I still was not happy that it was sprung on me at the last minute.)

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.

The frustration of too many directions.

Hi

It's been awhile since my last blog and it would be great to say I've been so busy acting that I haven't had time to write. But the truth is we're just getting out of the slow casting season (April - July). Finally things are picking up for major auditions. Yeah!

What I've been doing these last four months when things get slow is the same thing I advise others to do - stay busy doing creative stuff. Writing sketches, doing some improv work, reading an acting book, watching good films, updating resumes and headshots online, that kind of stuff. I've been teaching an improv class out in beautiful Malibu - and I join in on the warmups. That way I get paid to teach, and I get to keep up my improv skills.

Anyway - today's post is about the frustration off getting too many confusing and conflicting directions from a casting director (or more likely, a session director).

Okay, you have an audition - co-star role, three lines. What do you do if, when you enter the room, the CD says something like this:

"Okay, the character is angry, but not too angry, and we really want to see that he's actually vulnerable, but with an edge."

There's no way to do right by all those emotions in three lines. In fact I just recently had an audition like that. So, what did I do? I did what I thought was right for the character and picked the one direction the CD gave that jived with what I had been rehearsing. When I was done the CD said, "Okay, let's try it again and bring out the edginess a little more."

Once the CD saw my interpretation of the role, he was able to narrow down his direction a little more, which helped me on the next take.

So, in those situations, pick one or two character emotions, especially if it's a short audition, and use those. If you commit to them - and that's key - the CD will almost always do another take with you. And that's a good thing - CDs are seeing a lot of actors and they are not going to waste their time doing multiple takes with an actor they think sucks. In fact, in most cases, the more takes they do, the more interested they are in casting you. If they see something they like in your first take, they will work with you to get the role on tape that the producers want.

As always - enjoy the journey. And send your questions!


Cheers,


Michael

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

SAG-AFTRA Code of Conduct for personal managers

For those of us, and I'm one of them, who are thinking about whether or not to get a manager, SAG-AFTRA now has a list of managers who have signed a "Code of Ethics & Conduct" agreement.

Since there are no rules for personal managers - unlike the rules that an agent has to follow - this is a great way to find managers who you can trust (or at least trust more than the ones who haven't signed the agreement).

If you are in SAG-AFTRA, you don't have to sign with a manager who has signed the agreement, but it does offer some protections that you don't get with your average manager.

To see the Code, and other info about manages, follow the link below to go to the SAG-AFTRA website's Manager section. (Anyone can visit the site, even if you're not in the union.) Besides the Code, they have "Do's and Don't," "FAQs," and a list of managers who have signed the agreement.

There is good info on here about what to look for (or lookout for) when thinking about signing with a manager. See the menu on the left side of the page.

SAG-AFTRA Personal manages section


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 

Question: "I always wanted to be an actor ..."

Hi and welcome to my acting questions blog.

This week I got an email from Ali, 16, who lives in Denmark and writes:

"I always wanted to be an actor since I was like 12-13. I'm now 16 and want to start at like 18 or something. So my question is do you know where to start?"


Hi Ali. First, I might ask you a question - why do you want to wait 2 years to get started? There are things you can do now to get started. But if circumstances are such that you need to wait, then now is a good time to start doing research. I Googled acting schools in Denmark and found several that you might want to check out. 

You could also get together with a few friends and do play readings. Even professional actors do play readings here in Los Angeles - it opens you up to new plays, it gives you a chance to work on different types of characters, and it's a fun way to get together with other actors.

Also, I have a couple of posts on this blog about getting started in acting and I've put the links below. You might want to read these for ideas on how you can start an acting career. Most of the things I write about can be used no matter where you live, or what age you are.

Thanks for your question and the best of luck in your career, Ali.

Acting Questions Blog: Starting out as an actor


Acting Questions Blog: How do I get started on a career in acting?


And if you want to know about auditioning, may I humbly recommend my ebook, "The Actor's Guide To Auditioning."

The Actors Guide to Auditioning

       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

What kind of training did I have?

I sometimes get asked this question. At first I didn't think it would be a good subject for this blog because we all have different teachers and methods that work for us. What may get my creative juices flowing might not work for someone else, but here's a brief outline of my training:

I took theatre arts in college and did a few plays in Northern California. I then got interested in improv and joined a troupe that performed at all kinds of different venues. And I wasn't very good because I didn't have any real training - although I had lots of fun with the troupe.

I moved to Los Angeles, and knowing that I needed to get some real training, I auditioned for The Groundlings theatre company - and didn't get in.

So, I started taking classes with a woman named Dee Marcus at the old Off The Wall theatre. There I got to do improv scenes with Robin Williams, Andy Goldberg, Paul Wilson, and a host of other really talented people. Although I had my moments, overall I was a novice, but I started learning from some good improvisors.

I also took regular scene study acting classes at another theatre, while continuing to do some plays.

After a year, I auditioned again for the The Groundlings theatre company, and got in. There I studied with some great teachers, like Tom Maxwell, Gary Austin, Tracy Newman, etc., as well as had a chance to work with fantastically talented people - some of whom would end up on shows like SNL. I learned a great deal about improv, sketch work, and building characters.

Then I decided that I wanted to learn about directing, so I went to film school and started doing more directing and tech work, both in theatre and film.

After a whole bunch of years behind the camera, I decided to seriously go back to acting. I took improv at several different schools, and got into acting classes that used the Meisner technique. The combination of improv and Meisner was what worked for me. I also took some advanced comedy classes with the wonderful Richard Kline (of Three's Company fame).

I had one more step to take to really feel confident in my work. And I got that step by way of advice from a really unexpected source. I was doing some regular scene work at a small theatre and a substitute teacher was there one night. She was really young - like just out of college - and I was a middle-aged actor who was starting to make a living from acting. I had a bad attitude about her - what could she teach me? Well, as creative people, we always need to listen and be open. Sometimes what we hear doesn't help us, and sometimes it can really kick our butts onto the next level.

And that's what happened one night after I did a scene for this young teacher. She said one thing to me that changed the way I approached acting, and it moved me into a much more personal level of acting. 

Sorry - I won't tell you what she said for two reasons: (1), because I would need to write a whole blog about it (maybe a future blog), and (2) because it was really aimed at me personally, and not a general note. But that is why we need good teachers - ones that can zero in on what we need as individuals - not just treat us all the same, as if we all had the same issues that are holding us back from doing our best work.

I still take occasional classes - especially if there's a long gap between jobs. Most of us will get rusty if we don't keep exercising those acting muscles.

So, there you have a somewhat brief background on my training. It's been a long road, and I'm still learning, but if you're passionate about acting, there's always something new to explore that will help you grow and deepen your craft.

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

First union audition?

Katlin O. writes: "I'm going out on my first union audition. It's for a commercial. Are there any tips you can give me about what to do before the audition so I look more professional?"

Hi Katlin - congrats on your audition! I've done a lot of commercial auditions and I've found these tips to be helpful:

If you haven't gotten any copy (dialogue) before the audition and you're not sure if you'll have lines to say, arrive 20 or 30 minutes early. More and more these days, they will only have the dialogue available at the audition.

When you get there (early), grab a copy of the dialogue, but don't sign in yet. Just find a quiet spot and work on it. Then a few minutes before your call time, go sign in.

Some sign-in sheets still ask for your social security number - do not write it in. If you book the job, they will get your SS# when you sign the contract. You don't need to write you SAG-AFTRA number in either - I always leave that blank. Fill out the rest, including your name, agent, etc. NOTE: If you run into overtime at an audition (over an hour) and you want to claim it, be sure and put your SAG-AFTRA number on the sheet and sign out.

Don't spend a lot of time talking to other actors. Getting caught in the middle of a conversation when your name is called means that you're not going to be prepared and in the right state of mind. Remember, auditions are business time, not social time.

And forget about talking on your cell phone. I was at an audition last week and the woman going in ahead of me was on her phone talking to someone when the casting director came out and called her name to come in and read. The actor had to say goodbye, end the call, and put her phone away in a special pocket in her purse. All the while keeping the CD waiting. This made the actor look unprepared and rude. Not a great way to start an audition!

Most casting offices won't ask for a headshot and résumé, but always have one you can give them if they do ask for one. Most of that stuff is sent electronically from your agent.

Also, be aware that the session director will often call in a group of actors to explain what they want the actors to do in the audition. Don't miss that! It's also a good time to ask questions if you have them.

For me, the main thing I work on before an audition is focusing and getting into the zone. The audition should be the most important thing going on in your life at that moment. 

And don't forget - you can also do some preparing on the way to the audition by vocalizing and doing some visualization exercises. (Although maybe not visualizations if you're driving!)

Hope this helps - and break a leg!

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