FAQ FOR BEGINNING ACTORS

What are Agents (or Casting Directors, Managers etc.) looking for?

All actors basically exist on something called the PYRAMID OF DESIRABILITY. This is a measure of what (generally) most people in the industry are looking for in choosing actors in their 20's (the age most beginning actors are). The higher you are on the Pyramid, the greater chance of success you are likely to have in the biz.

A no-brainer. Of course, what everyone wants are the beautiful people who can act well. Jodie Foster, Julia Roberts, Ben Bratt, etc.... but what you might not expect is just underneath......

It's just beautiful people with something a little extra. Hate Pamela and Antonio all you want, they have something more than just beauty. Call it charisma, or intensity, or sex appeal, it is nonetheless what keeps us watching them while the Cindy Crawfords of the world go back to magazine covers, humbled.

And down at the bottom, comprising the vast majority of people trying to act, are the people whose sole virtue is they act well. So in asking what to do with yourself, ask where you fit on the pyramid. The higher up you are, the greater your chance of getting in the door. So what does this mean for practical purposes? The following general rules of thumb apply.

1. You need to be in the best shape of your life. If you don't have the discipline to work out regularly and keep your weight under control you don't have the discipline to be in this job.

2. Each time I say this, at least one brave soul ventures the following...

"But my (teacher, coach, director) said I'm a character person."

Regrettably, in our youth and beauty oriented culture the Camryn Manheim's of the world are the exceptions. The VAST majority of work for people in their twenties is for leading roles, in ALL mediums. It is MUCH harder to succeed if you're some other basic type. Success in this business means more often than not playing to the rule. Not the exception.

The pyramid is not quite as rigid for actors of color. Especially those who have classical training. Classically and formaly trained actors are the smallest minority of actors and much sought after. Thus many need not be quite so high on the pyramid to maximize their chances.

GO TO GRADUATE SCHOOL!!

(sound of jaw dropping)

It's sad but true. People who come to New York often spend years toiling in awful jobs, acting in terrible showcases, and struggling to get the intern of a casting director or agent to show up. Most of the people they meet are other struggling actors. And what do they have at the end of the day? A series of credits that no one cares about and a long list of student films.

In the time they spent toiling, they could have been helping their career immeasurably by going to a good MFA program. Why? For about the same price in money and time as three years in New York they get...

1. A series of good roles in shows with good budgets (sometimes in actual LORT theatres) and decent (sometimes working) directors.
2. A network of graduates to rely on for support who might actually be able to help their fellow alumni.
3. A much more nurturing environment than NYC (NYC sucks if you're an unagented actor)
4. Potentially an Equity card.
5. Good Training
6. And at the end of it all......the showcase.....

While the education you get from the various programs offered by New York teaching spaces might be just as good academically, NYC programs simply lack the access offered to actual BFA/MFA programs. This is for a very simple reason.
ANYONE can get into ANY NYC program. I don't care how exclusive they say they are. Between 'summer' programs and special classes and seminars, anyone with the right amount of cash can add the name of any program to their resume. So as a result, we don't expect or usually see the same level of talent and quality.

If you're already a graduate student facing the aforementioned showcase, examine some GRADUATE SHOWCASE TIPS.

Look for the following things.

1. A showcase in either (or both) LA and NYC.
2. Alumni who are actually working.
3. A LORT theatre that is affiliated with the Program.
4. Teachers who have been in the world more recently than ten years.
5. A small program of under 20 people or so per year.

Expand a little on some of what you wrote in the chart. What do you mean by "Make a Personal Connection?"

The vast majority of new clients are signed as a result of some personal relationship being involved that elevates the actor in question from one of the anonymous talented masses to someone to take seriously.

i.e. Someone who knows somebody.

However if you can't swing a referral from someone the agent cares about (See The Perfect Submission Letter for more on this.) try to find some way to make the agent care more about speaking to you. Ways that might work are;

1. You went to the same college, high school, 12 step program or whatever. Never underestimate the strength of the old school tie. Many people LIKE to reminisce about the alma mater and feel more charitably inclined towards alumni.
2. Same hometown. For similar reasons.
3. Anyone in common. Same hairdresser, tae-bo teacher, or priest.
4. Forget about the 12 step program. That was a joke.

What are TRITE QUESTIONS?

Ever hear the statement. "There's no such thing as a stupid question, there are only Republicans?" (heh) Well the following questions aren't dumb, they just get asked OVER AND OVER again. So as a public service to my fellow agents, I tell you the hidden wisdom now.

1. What sort of TYPES are you looking for?
   
   Typing (classifying people into simple one-word categories) is really not something done in New York. It's mostly a function of television, in which casting directors have a limited amount of time to cast a lot of mostly one dimensional parts. Agents look for whole people to represent. Always taking into account the Pyramid of Desirability of course.
   
   
2. Do you freelance?
   
   Freelancing, the practice of submitting an unsigned actor on a project, used to be more prevalent. However there are circumstances under which you might end up in a freelance situation.
   
   1. You're a very specific physicality, nationailty, or have certain skills. (Bodybuilder or Frenchman or Martial Artist)
   2. The agent wants to play around a bit to see if there really is something there.
   3. You've got a specific, usually musical theatre chorus-level skill the agent believes he can make immediate cash on by dunking you into a show,
   
   
   Many agents tend to dislike the competition and irritation of freelancing, i.e the calling to clear competition.
   
   
3. How often should I get in touch with you?
   
   You all know the answer to this instinctively. Send a postcard (never call) if you have something to relay ( a new show, a callback of note, etc...) or if it's simply been a while.
   
   
4. Does being a member of a union matter?
   
   NO! Union status doesn't keep you from either auditioning for or ultimately getting the jobs your agents want you to get. All you have to do is join once you book a gig. Not before.
   
   A brief side note: Some people join AFTRA (which allows you to join just by writing them a check) tobecause they believe it will impress agents. It doesn't. Quite the opposite. Remember, there's NO need to join until a job makes it so.
   
   
5. Do I need a manager?
   
   In NYC, you don't really need a manager unless one of the following three situations arise.
   
   
   1. You already have a career to manage.
   2. You can't get an agent and you need someone to submit you or to use their connections to get you an agent.
   3. The manager has certain contacts that your legit agent might not have, such as music industry connections or deep indie film contacts.

      Managers in NYC tend to be unnecessary for most agented actors because the biz here is simply neither big enough nor lucrative enough to require two teams of people working for you. Or to take 25% of your pay.
      It's different in LA, for that very reason. Most agencies have many more clients, and the amount of personal attention you get out there is much less. And there are many more people to know out there. Two teams CAN make a difference in those circumstances.
      
      DISCLAIMER: There's a lot of enmity between agents and managers for many reasons, so always take what either says about the other with a grain of salt. I've met bad managers and good ones.
      
      

   
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   Make My Own Indie Film? Are you nuts?
   
   I always encourage actors who ask about showcases to consider making an indie film instead. This is for the very simple reason that at the end of all the time, work and money you put into a showcase. you are left with nothing save (perhaps) a Backstage review. Nothing to show all the agents and casting directors who didn't go to the Showcase. Which is most of them.
   So why not make an indie? Get a few of your friends together, write a few scenes and try to shoot them. Because what do you have after you've finished shooting a few scenes of an indie film?
   
   A few scenes of an Indie Film.
   Something to put on a REEL. Something that I can request, if I'm intrigued by the p/r you mailed me. So rather than me having to maintain my interest until your new showcase opens (and rather than me having to go at all), I can sit in front of the office TV with my morning doughnut and watch you on tape.
   You never need to actually finish the movie. Most indie films never get finished anyway. Try it though. Who knows if yours is the next Blair Witch or Brothers McMullen
   

   
   

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   Speaking of reels, what should go on mine?
   
   A reel has two purposes. To show us that you look good and that you act good. Scenes should be chosen to accommodate this. The tape shouldn't be longer than 5-8 minutes. It should be all professional work (i.e. don't tape your scenes from acting of film/TV class). And you shouldn't need to have the tape returned.
   
   
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