GETTING AHEAD
First Time Actors
You’re in the business of being an actor. Simply say it out load, "I am an actor." Silly as it may be, it takes being able to say it, in order to take the appropriate measures of becoming one. It takes commitment to pursue that which most only dream of. Many allow their ego to step in to protect themselves from failure. The trade off, in many cases, is procrastination. Do not allow your ego to be your excuse because your ego can’t buy back lost time. Learn to fail if that’s what it takes to move ahead, but move ahead. If you don’t take the initial steps how are you ever going to know?
In most cases, many are intimidated by the challenge of the overwhelming odds. But first steps are first and realizing that everyone started off at the bottom is a comfortable beginning. Before they were famous, Harrison Ford was a carpenter and Michelle Pfieffer bagged groceries. Whatever you do, you are an actor.
Now that we have established your position, you need to begin marketing yourself. Getting your name and face out there is what it is all about. The more you do, the more likely your chances grow toward landing an acting gig. First get a headshot professionally made or shoot it yourself, whatever it takes. Get the trades, sign up for onlinetalentagents.com and start submitting your headshots for roles whether or not you have an agent. We would like to help.
BACK TO TOP
The Process
The OTA Network system is built to help you the actor or model
retain control of your career. It not only provides a few methods to
help you gain exposure but also provides insight to where you stand in
the casting selection process. The system is also built to help the
casting decision makers be more efficient in their responsibilities to
find you as well as to expedite the casting process. All in an effort to
centralize communication from client, to casting director, to agent, to
actor.
One of the central functionalities of this service gives casting
directors the ability to search for actors and models for upcoming
productions. The system is designed to allow them to select criteria
based on physical attributes and experience to find a look. A "look" is
something casting directors and directors/photographers are searching
for to help sell the part. It means that all different types of people
need to be found within our database.
Search capabilities are only one function to help get you in front of
casting directors. The OTA Network system enables talent submissions to
be made to posted production breakdowns. Once the submissions have been
reviewed the system enables for direct communication of materials with
their clients. This introduces enormous efficiencies in getting you to
set.
Our service is provided to clients/studios, producers, director and
agents who are involved in everything from television to commercials to
feature projects. This system gives them the ability to cast talent in
not only major metropolitan areas, but in remote locations as well all
across the United States. Access and convenience of finding you is
executed within minutes versus days. The days of having to overnight
headshots are a thing of the past.
Having a centralized resource, such as OTA Network, of direct breakdown
submission capabilities increases the capacity of getting your headshots
in front of more casting decision makers faster and more effectively.
This effortless process also shortens the turn around time on getting
recommendations in front of clients which means it benefits agents as
well as it does you. After all, everyone likes to save time and money.
BACK TO TOP
The Audition
When you are contacted for an audition you will be sent to a casting call with other actors. At this time you will be asked to look over “sides” which hold dialog and/or a one sheet of the characters background. This is your audition. It is the same as an interview where by the casting agent and/or director will make their selection based on your performance and physical characteristics. You will be asked to provide your insight to the character and reveal how he or she will act for the part. So ask questions if you are unsure of the dynamics of what they are looking for.
Something else to know, each casting call works slightly different from project to project. On a whole the audition will have “call backs.” This is where a select group of actors are brought back for another look at your performance. Each performance will be video taped with the selected candidates sent to clients for approval. The approvals are what grant you that paycheck.
On a commercial call, you will be given an idea of the type of character if there is no dialog. They may need a young dad or mom, a college student, business executive, etc. Wearing the look helps to sell your performance. If it's a business professional they're looking for, wear a suit, even carry a briefcase.
For example:
You are a 30 year old historian buff, a nerdy individual, obsessed with the controversial Arron Burr, Thomas Jefferson's Vice President. You have found and obtained every artifact related to Arron Burr, even the actual bullet that mortally wounded, Alexander Hamilton. You calmly enjoy a peanut butter sandwich, when the phone rings. The radio announcer offering a prize has called you and asks the question "Who shot Alexander Hamilton?" You try to answer but can not get the words out clearly. Bring a peanut butter sandwich, your pen pocket protector and some nerdy glasses.
On a television sitcom or feature, an agent or production coordinator would send you sides. “Sides” is an industry term, which means a portion of the overall script. This should be learned and memorized for the audition. An example of what sides may look like is provided in the next section.
Through out this process we want you to keep positive. It helps to get through it in the long run by not counting on getting every part. What we mean is, do your best in the audition and be happy about what you brought them that day. If you’re an actor be happy to be performing. Allow auditions to be fun and if you get the part then it’s simply icing on the cake.
BACK TO TOP
Sample Sides
"Sides" is an industry term, which means a portion of the overall script. The sides for a temporary position, for example on a television episodic, would include a supporting character role that most likely is featured for one or two shows. The casting director would send the sides to you in order for you to understand what is said when, and the environment that it is said in. It is literally a few pages cut from the overall script, which includes only scenes that your character is revealed in. Highlight the lines and memorize them extremely well. Run your lines with a friend by having them read the other character so you can get a feel for your timed responses. We recommend, NOT to learn your lines with preconceived emotions.
The bottom line is, do what works for you. May we suggest, when learning your lines have an idea of the emotions that may be expressed but do not practice them with a friend. It is different if you have a scene partner, who is part of the cast that will help to extract the rehearsed emotions.
Consider this before you get into a routine of preparing for a role. If you practice an emotion with a friend it may not compliment or congeal with another actor. If you anticipate a rehearsed emotion and are provided with something different it may throw your performance. It is what we call being organic. If you learn your lines extremely well and have an idea of the emotions needed to carry the scene, you will be able to create a natural exchange of words when you audition. This natural exchange will allow for a range of emotion instead of a preconceived and rehearsed emotion. This may only come from knowing your lines really well.
The following pages are a sample of sides from the television show "Star Trek." They are not from an actual show but help to show the characters that may be created temporarily. The HENSON on the bridge and the HENSON on the away team could be one day played by you. If so, these pages would be sent to you to learn. Break a leg.
|
STAR TREK: VOYAGER
|
|
"Name of Episode"
|
FADE IN:
EXT. SPACE - VOYAGER
The starship circles near the orbit of a distant planet, Xerot.
|
| |
JANEWAY (V.O.)
|
|
| |
(V.O) Captain's Log, Star-date 4965.2.
We're presently in Orbit around Xerot. A small planet in the BC quadrant. A small
reconnaissance team is scouting the planet’s surface for evidence of a time traveler, named Shaneto.
| |
EXT. PLANET SURFACE
In a sun-dappled glade, PARIS and a young female HENSON make their way through the
under brush of strange and beautiful vegetation. They stop to watch NEELIX picking flowers.
|
| |
NEELIX
|
|
| |
Smell that, Tom. Isn't it exhilarating?
|
Neelix walks over to some flowers and plants and picks a selection.
|
| |
NEELIX (CONT'D)
|
|
| |
Don't you think these are beautiful, Tom?
|
|
| |
PARIS
|
|
| |
I wouldn't go that far.
|
|
| |
HENSON
|
|
| |
We shouldn’t linger here much longer, it seems as if there is a chemical impurity close by.
|
|
| |
NEELIX (CONT'D)
|
|
| |
Don't you think these are beautiful?
|
|
| |
HENSON
|
|
| |
Yes, we should move.
|
|
Off of Neelix' blind side a gas is released from a nearby plant sending Henson to the ground
EXT. SPACE – VOYAGER
Still in the planet's orbit a cloud seems to form.
INT. BRIDGE
HENSON is sitting at the bridge console. JANEWAY enters and goes over to TUVOK, stationed at the science console.
|
| |
JANEWAY
|
|
| |
Problem, Mr. Tuvok?
|
|
| |
TUVOK
|
|
| |
None Captain.
|
|
| |
JANEWAY
|
|
| |
Henson, any report from the away team?
|
|
| |
HENSON
|
|
| |
No, Captain. They are to report in shortly.
|
|
She looks worried as she views the hand monitor reading the planet's
surface. The red gases that cover the outer regions of the planet's
surface prevent any view of the planet’s green surface.
|
| |
JANEWAY
|
|
| |
It seems to have a protective shell hiding the livable conditions, but why?
|
|
| |
TUVOK
|
|
| |
Captain. There seems to be a small cloud off to our starboard side.
|
|
| |
JANEWAY
|
|
| |
What are the readings?
|
|
| |
HENSON
|
|
| |
I am not getting any organic matter, yet the mass seems to be moving in a
non-linear path.
|
|
|
BACK TO TOP
How to Shoot Your Own Headshot
If you are financially at a crossroads you can follow the following instructions on getting a headshot without the expensive process of hiring a professional. It’s better to get out there than to find another excuse such as not having money. However, a professional photographer is more than worth the money.
To shoot your own headshot will require the assistance a 35mm camera and a friend. You can use regular household lights. To create soft lighting use a couple of strong lights in front of a white sheet. A mirror reflecting the sun into the sheet from behind will work great. Make sure that you can not see the light source from where you are sitting, just the white sheet. This is called in direct or diffused light. This will require that the light source be close to the subject matter, in this case you. Make sure to have enough light for an exposure.
If you do not know about exposure read the owner’s manual to you camera. Most cameras have auto setting, which requires you to simply set the ASA, read the internal camera meter and shoot.
Framing – You are most likely going to be cropping the photo afterwards so be generous with the amount of space you leave around what you want. Do not capture the details from great distances either. You will want to pick up detail in your facial features, which means you should be framed to about the waistline.
Lighting – a light coming from the same direction from over your camera lens is ideal. To create a little contrast move the light three feet to the left or right of where your camera is positioned. The placement of the light source in relation to you and the camera will determine the amount of contrast. Do not bring the light closer and make sure to have enough exposure. The most ideal lighting is soft light. It is as simple as placing a lampshade on a bulb versus shooting without it. The lampshade diffuses the light making it a softer light source to accentuate your features gracefully.
Now place a light with a stronger intensity one without a lampshade about ten feet behind you. Your friend looking through the camera lens, should be able to see the light hitting a portion of the side of your head. The light should not, however, go so far around that the light hits the side of your nose. It should just outline the shape of your head without coming around the side of your face.
If standing outside have the sun behind you and use the white sheet to reflect the sun back into your face. Remember to protect the lens from the sun so you do not create a flare.
Film – Use a black and white film. When purchasing the film visit a photography store where they know more than just your average drug store. Ask for a black and white portrait stock that has softer forgiving features. They will ask what ASA you would like. In which case you are looking for an ASA around 100 for better detail. If you have low light situations you may need a 200 ASA.
By using black and white film you avoid color processing. Color negative is a much tougher format to get a great headshot with if your doing it yourself. Please do not be discourage from using color, just realize your results will be more versatile and easier to grab in a black and white format.
Lab Processing – Professional film labs will always turn out the best results when processing film because they monitor the machine or process settings unlike your local film processor. Your local processing, one-hour store will be cheaper but your results should turn out significantly better with professional care. You may ask your local photography store who they may recommend. Simply ask for a pro lab that processes black and white film.
Posing – You are trying to capture a look that captures the eye of someone looking for you. The trick is to capture an emotion albeit it subtle in some cases it speaks volumes of ‘who’ you are. Close your eyes, think about the emotion, have your friend operating the count to three and open your eyes on three. Sometimes add a head turn to the process so that you are looking away to begin with and turn toward camera on three. Just make sure your friend waits a beat after three. Be relaxed and focused on your emotion and forget about the lens.
BACK TO TOP
How to Select a Photographer
A professional photographer is your best bet for capturing a great headshot. As easy as it seems or as easy as they make it look, a good photograph can make all the difference. Even if the difference means splitting hairs.
When looking for a photographer, ask to see their portfolio. Their portfolio is a record of their past work. Of course the portfolio will only have their best work. There is no way of telling whether they shot 20 rolls or 2000 rolls to get these photos. Get a recommendation from someone who has had a great experience with a photographer. If you don’t know of anyone that can give you a solid recommendation, ask the photographer to give you the names and numbers of previous clients. It’s simple. You want an objective point of view of how it is to work with them. If they give you any attitude, thank them for their time and leave. You don’t want to show up on the shoot day and be nervous about the interaction between you and your hired hand. It’s your money spend it well.
Be sure the photographer does not intend to keep the negatives after they have taken the photos. You will need the negative to reproduce your headshot. Also, it happens with even the best, albeit very seldom, but you may have a batch of photos that do not meet to your agreement. If this occurs, negotiate before the shoot what happens in this situation and what to expect. If the batch of photos is average the photographer should re-shoot your headshot and charge you for only the processing and reprint costs. And put it in writing. A good photographer knows when they get the shot and when they don’t.
A photographer can’t make you look any different than how you look, so please keep it in mind when looking at proof sheets. They can, however, capture a moment that holds an expression that sells you to others. We recommend getting at least two expressions for different types of roles. That is what you are looking for. A good photographer will be worth the money for this very reason.
BACK TO TOP
Dub House
If you have material that needs to be converted into the appropriate file formats, the best resource is a dubbing house. Please call around for competitive pricing. Also please note, if you have an editing system, many of them have the ability to export files into the appropriate format. Updating plug-in files sometimes help advance older systems.
BACK TO TOP
Nudity in the Business
Nudity is a personal call. Any project that has nudity must make it known to you before you show up to an audition. If they inform you on the day of the audition, our recommendation is to walk out. This industry unfortunately attracts all sorts of people and protecting yourself is more important than getting the part. If a role has nudity ask as many questions as you can think of to better make a judgment call on whether or not to take the role. Is there inaction with others, is there love scenes, how often are there nude scenes, are you exposing full frontals what type of project is it, are only some of the things you should know ahead of time when faced with type of role. Know what you are getting yourself into and get it in writing if you can. You should always consult someone for legal advise on how to best protect yourself and your interests. The suggestions within this document are only here to give you some guidance on how to manage yourself and does not in part or in whole replace the advise and service of an agent or legal professional.
On making a decision to take a role that requires nudity know that each medium, from television to short film, will have different guidelines on what is acceptable and what is not. The most popular medium, with roles that hold nudity, is independent film projects. Independent films will shoot more graphic material in order to attract sellers to the material.
Regardless of the medium or of the guidelines for any given project, remember that you have the ability to say no. If getting the part means that you feel that you may compromise yourself in anyway, your answer should be no. If you are unsure, say no. The problem is that when you leave the door open you may be faced with someone trying to convince you of the appeal to be in the project. Your decision should be made before you get an offer and/or based on the actual expectations derived from the project. Our advise is to make sure where you stand before getting to that offer. Nudity and sex appeal go hand in hand and do sell. Just know that you have the power to make your own choice. Either way, just be prepared before some tries to sway you.
BACK TO TOP
How to Protect Your Privacy
Do not give your home number or address to people you just meet. Use pagers and cell phones and or PO Box addresses as ways of getting a hold of you. If a production does not seem legitimate, please use common sense.
BACK TO TOP
SAG Extra’s
It is more difficult to find SAG extra’s outside of major film cities. For this reason, this site is extremely helpful to producers, directors and agents filming in remote locations. It is in these distant locations that your chances will increase on making it to set if you hold union qualification.
If you are interested in extra work and are a Screen Actors Guild (SAG) member, please make sure to choose the appropriate items from the respective fields in the Selection Criteria option found on your personal page.
BACK TO TOP
Stand Ins
You will have to check with the respective unions on earning hours toward benefits. Depending on the type of union production, stand-ins may receive hours towards keeping their benefits active. A union representative will be able to provide you with more details.
Newer Actors:
Stand-ins are individuals that have similar physical characteristics to the principle actors cast for the lead roles. Their responsibility is to mimic the actor’s performance after rehearsal. First, the actors go through a blocking rehearsal to see where they are to stand when delivering their lines. Once the rehearsal is complete, the stand-ins take their place. They are used on set in place of the principle actors when lighting is taking place, which may take anywhere from a few minutes to a few hours. By using stand-ins, actors are kept out of the hot lights and focused on what they have to do between performances.
BACK TO TOP
Production Extras You Bring
From time to time depending on your involvement in a production, you may be asked or may even offer to make personal vehicles or certain types of clothing available. Specialty items are the things that could possibly bring you additional income. If you are uncertain on what to ask for in regards to these items, ask the producer what they have in the budget. Or better yet, do a little homework. Call a Hollywood or major city rental house and find out what they would charge.
Before you start negotiating, keep in mind the size of the production budget and what is a fare price. Smaller projections will constitute a much more generous compromise from you than larger ones. After all, production companies may negotiate their needs elsewhere. You’re simply making it easier by helping production save, time, money and resources to do the legwork. Negotiate a deal that is fare. The rarer the item the more you can ask for. Keep one very important thing in mind when making this type of commitment. Make sure that the item you allow to be used stays in the exact same condition over the course of it being filmed. It is something called ‘continuity’ in film.
If you provide anything to a production make sure that it is covered by insurance and discuss the responsibilities that you share with the production company before making a commitment.
|
