Pilot season can seem to go in two different ways depending on who you are. The first group are the actors with top agencies who are going out all the time. These are the actors that are going out so much that they actually complain about it. Seriously, I've heard them complain, ugh.
The second group of actors are the ones who desperately want to be going out for pilots, but are not getting called in for anything. The ones who maybe don't have as much experience or aren't with one of the big five agencies. I am in this group and as a member of this group I can say it sucks. Pilot season will seem to last forever with maybe an audition or two if I'm lucky. So, the question is how do you make the most out of being in the second group?
Here is how I am handling Pilot Season. I help out at my agent's office and make sure I go in at least once a week. The day I go in is one of the days that they have their pilot meetings and I get to sit in on that. This allows me to keep very up-to-date on where the pilots are in their casting process.
I also got a copy of their pilot grid which gives you tons of information about every pilot being produced or that they are considering to produce. It tells you what network is producing it, the plot summary, character list, the casting director, and more. I use the grid to figure out which pilots I might be right for and then get those scripts. Pilot scripts are rarely secret (unless it's a JJ Abrams or Joss Whedon show) and floating around all over the place. I can usually get them from my agents, but if you don't have an agent ask around to your friends.
Once I have the scripts of the shows I am interested in, I work on the role I want - just like I would if I was called into the office for an audition. If I can get a hold of the actual sides, I will use those. If there aren't sides available I will just use my favorite scene. Then I put myself on tape for the role. I send that on to my agent who can pass it on to casting.
Will this get me into casting rooms? I don't know. I am getting a lot out of just watching myself on tape - working on my on-camera skills. And you never know what can happen.
How are you handling pilot season? What are you doing to get yourself out there?
Monday, January 28, 2013
Thursday, January 24, 2013
A Magic Pill for Success?
With all the (not-so-surprising) news about Lance Armstrong's doping admission, it makes me wonder what I would do if there was a magic pill that would guarantee me an Oscar. Would I take it?
I don't know. I mean, it would be tempting. Plus, there is the thought that if such a pill existed I am sure most of my competition would take it (which was one of Armstrong's rationalizations.) I know people in the business who seem to be willing to run over their own grandmother if they thought it would get them ahead. It can be so cutthroat and people will take any advantage.
But then, I think about the energy, time and hard work I have put towards this dream. At the times that I have found success, there is a satisfaction in the fact that I didn't come by it easily.
Since there is no magic pill. I'll keep on going to class, reading plays, watching movies, keeping up with the trades. And, working as much as I can as an actor.
This weekend I get to act in two plays at Playhouse West. Saturday night I'm in a preview of Boy's Life and Sunday night we are bringing back the hugely popular A Mixed Tape. Hope to see y'all there!
I don't know. I mean, it would be tempting. Plus, there is the thought that if such a pill existed I am sure most of my competition would take it (which was one of Armstrong's rationalizations.) I know people in the business who seem to be willing to run over their own grandmother if they thought it would get them ahead. It can be so cutthroat and people will take any advantage.
But then, I think about the energy, time and hard work I have put towards this dream. At the times that I have found success, there is a satisfaction in the fact that I didn't come by it easily.
Since there is no magic pill. I'll keep on going to class, reading plays, watching movies, keeping up with the trades. And, working as much as I can as an actor.
This weekend I get to act in two plays at Playhouse West. Saturday night I'm in a preview of Boy's Life and Sunday night we are bringing back the hugely popular A Mixed Tape. Hope to see y'all there!
Monday, January 14, 2013
The Camera as an Extension of Self
Finally saw "Zero Dark Thirty" and got a bonus Q&A with Golden Globe winner, Jessica Chastain. I found her so inspiring because she spent years struggling in LA and working hard before she became a working actor. Helps me to see the light at the end for me.
She spoke about working with Al Pacino in "Salome" and some of the lessons she learned from him. One that I really loved was something for all stage actors who have made the move to film. She said the camera always made her a bit nervous since she had trained on the stage.
Pacino told her to think of the camera as an extension of herself. The camera sees you in a much more intimate way than even your acting partner can and you can't hide anything from the camera. Ms. Chastain said she began thinking of the camera as an extension of her soul and as a tool in her acting. Eventually, it becomes something you don't think about and it is just another appendage like an arm.
I do wish to learn to use the camera in more powerful ways and plan on using this pilot season to really develop the skill by self taping as much as possible.
She spoke about working with Al Pacino in "Salome" and some of the lessons she learned from him. One that I really loved was something for all stage actors who have made the move to film. She said the camera always made her a bit nervous since she had trained on the stage.
Pacino told her to think of the camera as an extension of herself. The camera sees you in a much more intimate way than even your acting partner can and you can't hide anything from the camera. Ms. Chastain said she began thinking of the camera as an extension of her soul and as a tool in her acting. Eventually, it becomes something you don't think about and it is just another appendage like an arm.
I do wish to learn to use the camera in more powerful ways and plan on using this pilot season to really develop the skill by self taping as much as possible.
Monday, January 7, 2013
How to Navigate the Casting Director Workshop Dilemma
Right now, the idea of Casting Director workshops is a very divisive issue in Los Angeles. I'm a bit nervous to even bring it up because the passions can be so high on both sides.
Most actors will tell you it is very tough to get into casting offices these days and virtually no offices hold "general meetings" with unknown actors unless you have a very persuasive agent. What workshops do is give you a way to meet with casting directors without having to be selected for an audition. For those of us who aren't getting the auditions we want or for those who don't have an agent it seems like a great way to get your foot in the door.
But, there are some downsides. Workshops are expensive and if you go to multiple workshops in a month, it really adds up. Also, workshops are not really supposed to be an audition and if you read the fine print on any workshop website you'll see the ubiquitous disclaimer that this is just for educational purposes and there is no guarantee of employment. Of course we KNOW that, but let's be honest, we go to these workshops because we want the casting director to eventually hire us.
Plus, we've all heard the stories from friends who have gotten called in or even booked a role from doing a workshop. If it can happen to them, it can happen to us, right? Well, I'm here with some bad news - the numbers are not in your favor. The percentage of actors who actually get called in and book work off of workshops is very small, but there is always that chance.
What I suggest is to attack workshops in a methodical way. Figure out what TV shows or movies you WOULD be cast in very easily and who casts those. From there you have a target list of casting offices you should try to see. Make a budget each month of how much you are willing to spend on workshops and limit yourself to seeing only those offices that are on your list.
Try to see the decision makers in the offices - sometimes it is the head CD who calls people in, but in other offices it might be the associate who generally works on the submissions. To find out who the decision maker is - speak to your agent or ask friends who have been in that office in the past.
There are a lot of different types of workshops out there. I know quite a few people who prefer intensives that go for multiple weeks with the same casting director. Personally, I like workshops that allow you to prepare your scene in advance and provide you with a reader instead of a random partner when you get there. Feel them out and see what is best for you.
Please tread carefully. There are a lot of people in Hollywood whose only job it seems is to separate actors from their money.
Lastly, remember workshops are not really considered classes and should not take the place of your regular training.
Most actors will tell you it is very tough to get into casting offices these days and virtually no offices hold "general meetings" with unknown actors unless you have a very persuasive agent. What workshops do is give you a way to meet with casting directors without having to be selected for an audition. For those of us who aren't getting the auditions we want or for those who don't have an agent it seems like a great way to get your foot in the door.
But, there are some downsides. Workshops are expensive and if you go to multiple workshops in a month, it really adds up. Also, workshops are not really supposed to be an audition and if you read the fine print on any workshop website you'll see the ubiquitous disclaimer that this is just for educational purposes and there is no guarantee of employment. Of course we KNOW that, but let's be honest, we go to these workshops because we want the casting director to eventually hire us.
Plus, we've all heard the stories from friends who have gotten called in or even booked a role from doing a workshop. If it can happen to them, it can happen to us, right? Well, I'm here with some bad news - the numbers are not in your favor. The percentage of actors who actually get called in and book work off of workshops is very small, but there is always that chance.
What I suggest is to attack workshops in a methodical way. Figure out what TV shows or movies you WOULD be cast in very easily and who casts those. From there you have a target list of casting offices you should try to see. Make a budget each month of how much you are willing to spend on workshops and limit yourself to seeing only those offices that are on your list.
Try to see the decision makers in the offices - sometimes it is the head CD who calls people in, but in other offices it might be the associate who generally works on the submissions. To find out who the decision maker is - speak to your agent or ask friends who have been in that office in the past.
There are a lot of different types of workshops out there. I know quite a few people who prefer intensives that go for multiple weeks with the same casting director. Personally, I like workshops that allow you to prepare your scene in advance and provide you with a reader instead of a random partner when you get there. Feel them out and see what is best for you.
Please tread carefully. There are a lot of people in Hollywood whose only job it seems is to separate actors from their money.
Lastly, remember workshops are not really considered classes and should not take the place of your regular training.
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