A Bad Theatrical Experience

July 15, 2015 bethmelskyacting, actors, actors perspective, actress, actresses, agents, assistants, auditions, bethmelsky, bethmelskycasting, BMC, callback, career, cast, casting, casting director, communication, director, directors, theater, theatre, theatrical, writer2 Comments

I’d like to switch to an area that I never talk about – theatrical. The reason I am bringing it up is because, of everything stressful that went on last week, this was the worst. I was witness to the most unprofessional thing I have ever seen.

I know a young (and new) actor, who took a part in a play for virtually no money, but for the experience. He was promised a lot, none of which came to fruition. The young actor made one mistake; he expressed his frustration to someone he should not have. The director/writer (who has been doing this for a long time) should have been the professional. She should have had a meeting with the actor and they should have discussed their issues. Instead, the show ended, the actor was frustrated, and the director was angry.

I will not tell you how it ended. But I will tell you, this is a small business and what goes around comes around. I don’t care if you are the young new actor or the seasoned professional – act professional. In this case, the “professional” did not act that way. Do not assume that because the actor is young that he is not connected. You never know and it is a small business when it comes to reputations. The actor made a “new actor” mistake, but still put on great shows. The professional acted very unprofessionally in every way possible. Instead of stepping up and being a mentor, she tried to ruin him emotionally, as well as threaten his career.

As an actor starting out and taking projects without agent representation, you trust everyone involved to do what they have promised. All I can say is do your homework. Check out all the people involved. Make sure they are who they say they are. If you are not happy, finish and walk away or talk to the person directly.

I do not wish on anyone what this actor had to endure when the show ended. He learned a simple lesson the hard way. I cannot imagine what this director/writer could have learned.

Next week, back to my world.

To All Graduating Actors That Need Help Starting Out

May 15, 2015 bethmelskyacting, actors, actors perspective, actress, actresses, agents, auditions, BA, bethmelsky, bethmelskycasting, BFA, BMC, callback, career, casting, casting director, casting session, college, commercials, directors, e-mail, excuses, graduating actors, headshots, LA, non-union, NYC, producer, SAG, script, talent, talent agency, talent agent, unionLeave a comment

A lot of young actors are graduating in May and have to try and navigate their lives and concerns through a business that has more actors entering the biz than job opportunities right now. Truly, “pound the pavement.” If you wait around hoping for someone to just show up at a showcase and find you, you may end up very disappointed. Anyone you know, any connection or advantage you may have, jump on it. That’s just how it is right now. You must be talented, but that’s not enough. Managers and agents need a bit more to go on. Lots and lots of showcases with actors graduating from undergraduate or graduate schools need a little something more to make them stand out. It is important to use a name connection, maybe a casting director or even an actor friend who already has an agent that can put in a good word for you. Don’t be afraid to use that, but never in a bragging way. Always stay humble in whatever you do and be grateful for whatever you get.

The next important thing is making yourself available. What that means is if you don’t have a trust fund or rich parents to support you through this process, get a night job, so you can be available for auditions. Set realistic goals. You will know if you should keep going or make acting a hobby. Graduating is just the beginning. Never have an attitude over material, unless you do not feel you can do justice to the part.

Leave your schedule open to not only auditions, even if they’re last minute, but also available to do the job if you book it. If it’s a commercial audition, make damn sure you ask when the callback is and when it shoots before you come in to audition. We understand if an acting job comes up after you come in to audition, but no other excuse is going to work and you could ruin your chances of ever being called in by that casting director again. Even though you are actors, that doesn’t mean you shouldn’t handle your career professionally.

If you want to do theater, even showcases, do it. Those are opportunities to help your craft along. Don’t sit at home and wait for the big famous bus to hit you. Try and do a “fringe” show. Agents and managers go to them and respect them.

If you need to make money, then take a weekend job, or a flexible restaurant job, or even a sales job that allows you to set your own schedule. Even seasoned actors that have been able to earn a good living as actors for years are finding it harder and have to figure out ways to supplement incomes. The biggest problem with that for their agents and casting directors is that the actors are trying to do multiple professions. They don’t want to tell their agents that they have a job because they don’t want to stop being submitted for acting jobs. Then they pick and choose what auditions might be worth their time to take off from work for. We need actors that want to audition and book.

Agents not knowing their clients’ schedule leads me to prep a job multiple times. If you’ve made acting a hobby, then your agent should know that and will submit you accordingly. Acting in this environment should not be a hobby, but I also get people’s need to pay rent.

As an actor starting out, your priority must be getting seen, keeping your skills up, continuing to learn, and figuring out a way to pay your bills. To me, any theater job, paid or not, is experience (unless of course it’s just a terrible project). Any commercial booking is worth doing.

New actors are not generally SAG yet. Take advantage of that and go out on non-union auditions as much as possible. Once you’re union, your opportunities will change and you can no longer do non-union. Your choice of agents will change and SAG projects might be better and pay better, but these opportunities right now are fewer than non-union opportunities.

Years and years ago, people would say to me, “I’d like to do commercials to make money,” as if it was an easy acting gig to get while pursing the “real stuff.” My answer to that now is that commercials are a career choice, not an easy fix. Commercials don’t ruin your chances of moving up, doing episodic, sitcom, or even film. Commercials are not looked down upon. They are not just an easy default to pay your bills. I can give you a list of very well known actors and actresses that started out in commercials or were even seen in a commercial and were requested by a producer or director. Good commercials are a great stepping-stone for your career.

If you are a strong improv/comedic actor and people see you in a really funny commercial, it could easily help you get an audition for a sitcom/pilot. It really has happened. People know that the people we cast in the commercials that run during the Super Bowl are not only directed by the top directors in the world, but we do tons of casting with well trained actors that have studied at the top level, UCB, The Pit, The Magnet, etc.

We are a great resource for up and comers that are talented and well trained in improv and that belong to improv groups. Commercials can be used as a great platform for actors to be seen and advance their career. A comedy commercial that is directed by a top comedy director is something that comedy/improv actors can really use to get seen.

You are going to “them.” “They” are not coming to you. Again, many of these actors have gone on to do big things. Even in some cases, they end up doing so well that by the time they are being asked to do a commercial, it is because people know them, love them, and they are doing commercials at a celebrity level with great offers. If you think hard, you can come up with a bunch of those actors on your own.

The last thing for now is don’t be afraid to put your comedy training on your resume. If you don’t want to present yourself in that way in your legit career, then you should have two resumes and two headshots. Have your agent submit the one that is right for the project. A lot of actors can do both, but I find most often that when starting, you have your preference and your strong points.

Quite often, lately when I ask for resumes for a comedy spot, I get them with no comedy training. I will call the agent and ask why they submitted them when they only have theater on their resume. The answer is the resume is for “legit” and legit wants to see theater training. I do not agree. I think your resume should reflect everything that you do “for real.”

Even when I cast film, I want a truthful resume. Your agent or manager makes that decision, whether they think you should have one or two resumes. I believe that great training of any kind is important. I believe any work of quality should be on there. I think young actors starting out might be stronger at one thing than another but give the casting director options. Not everyone can do comedy/improv. If you can’t and you don’t enjoy it, then don’t put it on your resume. From a commercial point, I’m looking for comedy more often than heavy theater, so make sure that you’re noting everything on your resume. It can cost you an audition. Good luck to all those graduating! As always, thanks for reading.

An Actor’s Perspective

May 4, 2015 bethmelskyacting, actors, actors perspective, actress, actresses, agents, auditions, bethmelsky, bethmelskycasting, BMC, callback, career, casting, casting director, casting session, commercials, communication, directors, e-mail, non-union, NYC, SAG, script, talent, talent agency, talent agent, union3 Comments

This week I asked actor Mark Gessner, who works a ton and is one of the best in the business, to contribute to my blog. I did not edit this. I allowed him to tell us things that I talk about every week, but from an actors’ perspective versus a casting director’s. I think it’s important that all sides are heard. I hope opening it up helps everyone reading to understand the big picture.

Remember like six months ago when people were constantly writing “open letters” all the time? It was just after the time goats were a big deal and a bit before things being “on fleek” started? That’s kind of what I’m doing here, but not annoying hopefully. I want to talk about the business of acting and our responsibilities as actors in said business.

FULL DISCLOSURE: Beth Melsky asked me if I would write something from an actor’s perspective. Also I should note that, while she is intimidating and tough as hell and frequently used to scare the ever-living shit out of me, I happen to like her very much. So when she asked me, I said sure. I did not write this because I feel like I have some sort of deep wisdom you’d all be lucky to have. Frankly, I owe her. For her part, Beth just asked me to write it and said she’ll present it as is. So here goes.

Usually when we hear the phrase “personal responsibility”, it’s Mitt Romney or Ted Cruz saying it, or it’s Thanksgiving and your “guns should have more rights than women” uncle is saying it. But it does apply to us as actors and to the careers we are trying to build. And I speak for myself here, but I feel comfortable generalizing in some ways. We all want to audition one million times per week and we all want to be on a show or in movies or on Broadway and not have to work at a bar or restaurant where we have to answer questions like “Um excuse me, what part of the cow does the sea bass come from?” We’re over that. And if we work hard and get a little lucky, we can pay our bills a different way. We can do it just acting.

For me, that was always the dream. I wouldn’t mind being rich as hell and still have plenty of plans for when I am, but in the mean time I will be more than happy with acting simply being how I pay my way in the world and how I feed my kids. And it’s tempting to feel “past” things. For example, one of the biggest challenges in my career was finding a good agent. It took yeeeeeears. But I have found where I belong now. And that hurdle having been cleared makes it seem like in some ways your work is done. I would submit to you that your work begins now. You can actually focus on your career and skills and craft in a different way because you’re not obsessed with finding an agent. It is my firm belief that we are the captains of our own team/brand/career/reputation. And as such we have the responsibility to empower those around us who are tasked with helping us to achieve our dreams and goals. Earning a career in this business requires a large amount of self-focus. We have to know ourselves very well, we have to work hard to find parts that are in our wheelhouse, etc. But it is not a good look when self-focus becomes self-involvement. Everyone hates that like they hate gum in their hair. Don’t be that dude(tte).

Do you like lists? Tough shit if you don’t because I have kids and so I don’t sleep anymore and I need lists or I can’t function. Here’s a short list of things we can actually control that will make us less of a pain in the ass:

TELL YOUR AGENT WHEN YOU’RE UNAVAILABLE. It’s not a crime to take some time away from NYC or to take a few days off here and there. You might need to do that just to remember why you love this crazy ass place. Or this crazy ass business, frankly. You are allowed to do this. You are a grown adult. But the city and the business bustle along briskly without you and people still work on projects. These same people may even want YOU to be in their project. You will cause a disproportionately large problem if you don’t book out and your agent tells a casting director you’re available. It seems so simple and it seems like so not a big deal. It seems like so not a big deal because it’s not YOUR time getting wasted and it’s not YOU getting cursed out because multiple schedules are effed up because a two-line email re: your schedule wasn’t sent. That is a bad reputation to get. If you’re unavailable, cool. TELL SOMEONE!
SHOW UP AND WORK AND DON’T BE A TOOL. Show up on time because Read the copy. Don’t write on it. It’s not yours. But read it and know it. Don’t annoy other people with long bro-ey phone conversations and fake “no YOU’RE so pretty” conversations in the waiting room.
LISTEN TO THE PERSON WHOSE JOB IT IS TO HELP YOU BOOK THE FREAKIN’ COMMERCIAL. We are overwhelmingly treated to excellent casting pros in our city. This is a tough city in which to succeed. That goes for casting directors too. So if you are dealing with a casting house here that has been around for a while, chances are they know what the hell they’re doing. So please listen. And do what they say. They don’t follow you around all day shouting advice and telling you to take things again. They help you for maybe 4 minutes. Focus and listen and do what they say because, apart from being generally good people who love actors, they have a vested interest in you succeeding. Also, realize that they are seeing literally hundreds of men and women all damn day. Value their time. They keep things moving and reasonably on schedule and that alone is a miracle.
REALIZE AND BE OKAY WITH HOW LITTLE CONTROL WE HAVE. As actors, we have control over precisely two (2) things. Two. We have control over how well we prepare for the opportunities we receive and whether or not we quit acting. That’s literally it. We’re not in casting, we’re not studio execs, we’re not producers, we’re not directors. We’re actors. I write all that with the full and proud knowledge that many of my colleagues and friends brilliantly do most of those things, but during the moments when we’re auditioning, we’re “just” actors. We don’t get to make big, fancy decisions. We are workers. Until we’re A-Listers, we get where we get by working and working and working. We show up sick, sad, injured, hungover. We show up no matter what. Or at least we better. Your control begins and ends with your work in the room. So crush it in the goddamn room. Crush it. Leave no doubt.
BE KIND TO EACH OTHER. Please? Can we? This business is brutal sometimes. And it’s not usually because of our fellow actors. We should lean on each other and be worthy of being leaned on. Be nice. FFS, it’s so much easier than being mean.

Thanks for reading! If you see me around, say hello! Keep following this blog and if you have questions about casting, ask Beth. She actually answers!

Next post will include an interview with a talent agent. There’s always at least three sides to every story. Thanks for reading. Makes me feel like people are learning and maybe some change will happen to help the process, which, in turn, will help the business.