Changing Times and We Are All Scared

August 12, 2017August 12, 2017 bethmelskyactor, actors, actress, actresses, advertising, auditions, business, career, casting director, challenges, commercials, director, directors, entertainment, entertainment industry, film, New York, non-union, NYC, schedules, talent, union

This is a plea to actors. Please let’s figure out the future of the business before we give up. Let’s hope that when SAG asks casting directors what we truly think, they listen.

I have not written a blog post in a long time and to be honest, I was not sure I was going to write it anymore. I felt I was writing the same thing over and over and I was helping a certain group of people learn the business but unable to reach the group that casting directors and agents need the most help from. That is the group of actors that have been doing this a long time. They are SAG members that seem to be so frustrated with SAG and the state of the business that they have given up.

The business right now is the most unpredictable that I have ever seen. Every month is a rollercoaster for casting and even worse for agents and actors. There is no consistency in any way for any of us. SAG commercial agent departments are getting smaller and smaller. As senior agents leave, they are not being replaced…supply and demand.

I have used the same calendar book for thirty years. I use it to write my daily schedule in it, what I prep and cast. My first diary book is dated 1984. It’s really amazing to look back at the “golden days,” the pages were filled. I can actually prove the flow and changes in the business better than anyone by going through those books. There is so much history there. The peak of my work and the network commercial work in NY was about fifteen years ago. Back then I used to say, “I am exhausted but I have to hope and pray that I am lucky enough to stay successful.” I couldn’t keep up with it. Every job paid my rate. Every job was SAG. If I had known then what I know now, I would have saved more money.

To tell you the truth, I have no idea where the advertising business is going now but I would like to have a conversation with somebody who does. The first big change I noticed was the addition of cable. That did not affect my work flow or getting my rates to cast. Actors were upset and went on strike. Casting directors do what we are hired to do. We have no union. That strike made my job twice as hard and I was glad when it was over.

I believe the union underestimated the amount of commercials that would be shot for cable and believed it was a passing phase. And here we go again. We have now entered the world of digital and social media. This is not going away and seems to be about 70% of the commercials being shot. These ads have very tiny budgets and most cannot afford to use SAG talent. Some of these play on things like Snap Chat. The 17% pension and welfare is what makes it impossible to use SAG talent. Casting Directors have had to agree to cut their rates by 2/3 and hope to cast twice the amount of work to pay our bills and stay in business.

This is the point I was trying to get to: It’s not the huge corporations shooting broadcast commercials and just wanting to do them non-union; I think everyone values great SAG actors but with the shooting budgets for digital, it is not affordable and the truth is that network TV is mostly watched for live sporting events, award shows, and specials.

We are all scared right now and network seems to be at an all time low, though SAG says that they are making more money than ever. The average actor can no longer afford medical and the chances are that they will never collect a pension.

I believe advertising will always be necessary. It actually works in introducing products and selling them. I have no idea how SAG said they had the best year ever. I know that the average actor struggles to pay their bills and have very little hope that things will change. This next contract needs to be thought out in a whole new way. Someone has to be on top of this digital situation and figure out a way that we can all stay working. I am on the ground as the case with most casting directors and we truly look for guidance and hope. There are no convincing low budgeted jobs to go SAG so or even try and buy up every actor in NYC. That is an old fashioned way of thinking and maybe it is time for new blood.

Actors: Life After the SAG/AFTRA Contract

November 15, 2016 bethmelskyacting, actor, actors, actress, actresses, advice, agents, auditions, bethmelsky, bethmelskycasting, BMC, career, cast, casting, casting director, challenges, commercials, communication, director, directors, entertainment, entertainment industry, managers, New York, NYC, producer, SAG, talent, theater, theatre, unionLeave a comment

I am not a political person but it has been impossible to ignore the circus of this year’s election. I am thinking about the way the process works and the amount of strategy used. I started to think about the SAG commercial contract, when it was expiring and the renegotiation. I never thought of two smart sides using strategy to come to a fair settlement. I actually think I was very naïve in believing it was actors on one side and producers on the other. I was very sure that actors were feeling the lack of union work and were afraid if they went on strike, the union would never bounce back. I do not think for the everyday actor that they were concerned about rates, increases, or rule changes.

Actors getting involved in an increase of day rates, or first class airfare, or an 8 hour work day are not things the average voting actor was concerned with. I have found that most commercial actors do not know most of the rules in the SAG contract. Many do not ever know the rate for an 8 hour work day. They rely on agents or managers to inform and advise them. Agents and managers…that had no say in the negotiation. SAG actors were sitting back and watching while more than 60% of all auditions were non-union. Many actors did not care about the terms. They were so afraid that if they voted for a strike that there would never be any SAG commercial work again. All they thought or heard about was the last strike and that if they went on strike again it was over for them.

I now believe that they should not have gone on strike because with the all the changes (digital, social media, etc.) that this contract was a good compromise.

We (casting directors, directors, producers and more) have all been hit hard financially while the world of advertising tries to figure itself out.

No matter what, when a client is dealing with a small budget to get their brand out there, they still can’t afford 8 hour work days, work outside the zone, P&W of 17%, etc. I have so many clients that actually investigate going union. It’s not the day rate, it’s all the other things I mentioned. I never thought that they were shooting non-union to prove a point. Maybe it was part of a negotiating strategy. The buyouts for internet and social media are reasonable for now. “Broadcast “ union commercials cost so much money in residuals that a lot of what I see is that they run one cycle (13 weeks) and then they move over to internet, where not only are they being viewed more, it becomes an additional buyout which is affordable under SAG.

The truth is, a lot of network commercials are being shot to air on a special events that will be watched live by millions of people. Commercials made for the super bowl are the best example. I felt that if they could have gotten rid of residuals and offer buyouts based on usage, then there would be more commercials running on broadcast TV. The union is never giving anything back. That would be like lowering an employee’s salary. I think continuing to fight for the part of the contract that will end up obsolete instead of trying to figure out the future would be more productive. Find a better balance.

I hope network TV will never go away. I watch a lot of it as well as the other available options. It seems to me that people need commercials more then they realize. You go shopping and know the toilet paper you want because you have seen an ad that stuck with you and you don’t even know that it is stuck in your head . If all our watching became ad-free like Netflix, then how would products advertise? It seems to me, as a person that can’t pay my rent without advertising, that it is necessary. Isn’t there a way or a compromise? Even Netflix advertises so people will know that they exist…commercial free. If there was no way for them to advertise then how would we know? How would we know about all the new original programing if they couldn’t promote these shows on Broadcast, cable, etc. Maybe I am completely wrong and uninformed, but it scares me. Social media is so fast and even less clear on how advertising works and how effective it is. Product clients can’t pay SAG rates when they have no idea if it is being watched or selling anything. It was like going from print to TV. It feels like history is repeating itself when cable TV was added to the contract and the union decided there was no future in it. Having a reasonable union that understands all sides so they can work together seems so important. Talent agents, casting directors, and managers were never asked their opinions. We are on the ground living it everyday. I don’t think the people that were in a position to vote ever felt that everyone’s goal was the same.

I was convinced (since most of the casting I was doing leading up to the negotiation) that after it was over, there would continue be more non-union work then ever. I knew that all the big agencies and their signatories were doing more and more digital work and were stuck in how to move forward. Nobody knew what to do with Twitter, Snap Chat, etc. The actors won with broadcast and the producers/signatories won with Internet and New Media. Everyone knew that Broadcast was getting less and less and just had to hope that as low as the rates were, it would cut down on non union.

I think the point I’m trying to make (and maybe not doing a great job of ) is everyone made the best deal they could. Could they have gotten rid of first class? Yes. Would it have made a difference? Yes. Could they have come up with a tier system for P&W and would it have made a difference? Yes.

What I am understanding now and did not see was the strategy behind the negotiations. You do not flood the market with SAG network auditions before a possible strike. You sit back and let all the SAG actors see how much non-union work there is and they get scared. Great strategy. I actually believed going into the vote that there would barely be any union work again and three years from now everyone would jump ship. After the vote and the contract was passed, I had more union work than I had had in a year.

I was thrilled, but surprised. It would be nice to be able to do every job on a SAG contract while still allowing agents and casting directors to meet and employ new people without the fear of penalties. Creative changes all the time and, often times, we need to search for new types. If we are shut down then creativity will not move forward. Also, the membership amount is higher than actors can afford, since most internet or social media ads pay much less. This negotiation made actors afraid to become union members. Less auditions with more bills. The union said, for the commercial contract, that it was their highest revenue year yet. My answer to that is “celebrity endorsements.” How much of that money came from that?

This strategy (after watching the nonsense of a presidential election) became very clear to me. It was a very smart way to go and I truly think we have a chance of merging the gap even more if people involved would be honest, acknowledge the future, and consider a way for actors to work on union contracts and the advertisers can afford to offer them.

If I am lucky enough to be busy casting, I see they need to try and work together to make things better for everyone, not get political and out strategize the other side. Let’s stop the CIRCUS mentality and in 3 years, maybe ask the opinions of the people who are knee deep in it.

As my mother said, there are 3 sides to every story…yours, mine, and the correct one.

You can’t get there if you don’t ask everyone.

Summer Casting and Puppy Mills

August 17, 2016August 19, 2016 bethmelskyacting, actors, actress, actresses, agents, auditions, bet melsky casting, beth melsky, bethmelsky, bethmelskycasting, BMC, callback, career, casting, casting director, casting session, challenges, commercials, directors, dogs, non-union, NYC, puppies, puppy mill, SAG, summer, talent, talent agency, talent agent, union7 Comments

It has been a few months since I wrote my last blog. As I mentioned, my mom passed away suddenly and my world has changed. I have never experienced a loss so devastating that I feel I have no control or understanding of what I’m feeling. I find working is the best thing for me and I am so grateful that since mid-June, it has been very busy. She died June 8^th. I had the time to do what I had to do to bury her and have my family and all of our friends come to my house and honor her. It was like Karma. The minute the third day of Shiva was over, I knew I had to get back to the office and work. One quiet week can slow down my cash flow and on top of being a casting director, I had to try and figure out what my mother had done with my business finances for over 20 years. I knew she was making every dollar stretch and letting me run a great casting company. She loved her job and did it the old fashioned way. She made me feel safe and that things would always be okay. Through busy times, slow times, things like Netflix, union, non-union, crazy low budgets, and so many changes over the last 20 years that she ran things, she stood by me.

Casting directors are freelance. Whether you own a company with your own space or you rent space, you have to work so hard to do an an incredible job, every time, regardless of how hard the casting spec is or how little we are getting paid, or even how underpaid the actors are. We do this to keep the business going for all of us.

There are jobs that I work on where the casting fee is more important than the quality they might get. I cut my rate often to try and gain new clients and to prove we are great at what we do and then maybe the next time they will find more money. I never undercut other casting directors to get a job. I do not even know what my competitors’ rates are. If that is what they care about, then they do not really care who is casting. I also think the process and the job of a casting director is not always understood. We add real value. Top directors and agencies understand the value of a good casting director – one that is well respected, that understands rules and the SAG contract, can be a huge asset. This knowledge and relationship with actors and agents can help in getting top quality talent.

I think that with all my focus on work right now I see things a bit differently. It has always been important to me to do a great job. It is just who I am but now I worry that casting could end up being eliminated. I believe that commercials are the only way to see products but the broadcast quality work is becoming less frequent. The chain of events that comes along with that is actors missing commercial auditions and being accountable for their schedules does not matter. We have had more SAG network work this summer than we have had in years. We can never quarantine what work is going to be like, but summer is always a safe bet for quality work in New York.

I do not know how to make actors understand this. I did a session for a great product and if an actor booked this, it could pay their bills for a year. I lost 25 people because they all took Friday off because it is summer. Really? I will not be given another chance. My client needed the session today. I have had multiple sessions every Friday for the last six weeks. I am not going to turn down the work because of this made up rule. Next time, they will just cast in LA. SAG actors that have been so frustrated with the amount of non-union work should not only notice what has been going on, but should rethink their schedules. If these issues are not thought about and addressed, then how can we move forward and try and keep things going?

I have family, employees, agents, and so many actors that depend on my hard work. Sometimes I feel the agents and actors are not doing their fair share to help fix things. I have a great understanding of family emergencies now more than ever, but that term is used very loosely…a dentist appointment, a therapy appointment, etc. Auditions come first. There are a lot of actors out there and you probably will not get another chance so before you have a crazy reason to not make an audition or ask for a time change, please think about how hard we are working to set up quality casting sessions. No, we never know, but we are always prepared. This is what I spend my time thinking about now. At times it feels hopeless.

One last thing that I would like to talk about: It has nothing to do with casting. I am a huge animal lover. I ride horses. I love horses. I love dogs and I have two of my own. My youngest son’s friend decided he wanted a dog. In this day and age, everyone knows that there are thousands of dogs that need to be rescued and adopted. He went to a pet store, thinking he was buying a pure bred from a breeder…makes no sense.

Well of course it turned out the puppy was from a puppy mill and everything he was told was a lie and all the paperwork was forged. And nothing about giving the dog back because then what? Puppy mills must be closed down and a good place to start is with pet shops. I will help in reporting this and having this store shut down. This is horrifying to me and would love to learn as much about putting an end to puppy mills as I can. Just putting it out there that I am interested in helping.

Lets Move Forward

May 17, 2016 bethmelskyacting, actors, actress, actresses, agents, assistants, auditions, beth melsky, bethmelsky, bethmelskycasting, BMC, callback, career, cast, casting, casting director, casting session, challenges, commercials, communication, director, directors, e-mail, excuses, LA, non-union, NYC, producer, SAG, script, talent, talent agency, talent agent, union4 Comments

The SAG/AFTRA commercial contract was approved overwhelmingly. There is no reason to dwell. We need to move forward. As union members, it is important for you to understand the new rules.

There is a clause about NDA’S that I think everyone should understand. It seems it is automatic on every commercial job that you are under an NDA. You don’t have to sign an NDA for it to be enforced. Casting directors have been putting them out for years on jobs that are new concepts or have celebrity talent in them. We have, many times, not let actors know the name of the product, just the conflict area. Since social media has made it so easy to talk about things and publicize it, I think actors get excited to share things and clients do not want their new ideas shared in that way. They have competitors as well…remember?

I think when actors audition they need to assume every audition and the material are under that rule. Never ever take scripts with you. This has now become a SAG/AFTRA rule and it is not worth taking any chances on. It is so easy to find out where the leak came from and nobody needs trouble. Casting directors even sign them saying that we will not post scripts and, if we do, they will not have certain info on them, like product names or logos.

New York rarely posts scripts. Beth Melsky Casting rarely posts union breakdowns, unless we are looking for something very unusual. We are very old fashion and believe that verbal communication with agents helps them understand the creative and gives us the chance to talk about seasoned actors as well as new actors that they feel have great potential. The less that is posted, the less chance there is for problems. However, that is not why we choose to prep by communicating. We do it the old fashion way because, even though it might take more time, it is more effective in doing a great job.

If we are casting non-union, I think you should follow this rule as well. Our clients expect that from us and we will continue to put out NDA’S when requested on non-union jobs. Social media has changed this industry and you must be careful. If you were a stock broker, would you tell everyone what you did all day? This is a job.

Our casting process allows me to present my client with the pros, as well as working hard to add new and interesting choices. This is a very important balance. Again, Beth Melsky Casting does this across the board. We also respect and set up our casting sessions the same way. Everyone gets a time and we work hard to get actors in and out as fast as possible. For actors that are used to going to non-union auditions and thinking that “anytime works,” that is not the way we work. Please take your appointments seriously, take everything you are told seriously, and the audition process in my office will go very smoothly. Union or non-union, all sessions are important and all casting needs to be presented with quality. Actors are treated with respect and the actors need to respect the casting process. Non-union is not going away…so let’s present it the same and build a greater level of respect. I think, even with union casting, or the lack of, actors are being forced to put it lower on their list of priorities; therefore, union sessions can end up equally as hard to put together. I get both sides and I just ask that everybody (not just actors ) try harder.

I think actors need to assess their careers, decide their priorities, and choose what is best for them. Joining the union if you are able, staying non-union or even going financial core, none of us have a crystal ball so all you can do is decide what is the best path for you right now and how you might earn the most money in your near future. Going fi-core after you have become a union member is a big decision. Just as joining the union, if you have the opportunity, is a big decision. Going fi-core is easy but deciding to be union again is not so easy. While you are fi-core you cannot audition for union work. It’s not as if you can book something union and then pick up the phone and say, “I want to be SAG again.” It is a process that will take way longer then you would ever have in being able to do the job and will cause huge problems for the casting director and the signatory.

If you make a decision to be a member again then you must start the process before you audition for union work. You cannot do both. Actors that have worked non-stop non-union might very well see a big change in the amount of auditions you end up getting. Do your due diligence. You cannot let it figure itself out. Actors that have been union for many years decide to go financial core because being a union member is no longer helping their careers. You cannot use the option of fi-core as a way to toggle back and forth. If you make the choice to join and it does not work out for you, you can file to go fi-core. Just make sure that is what you will be happier with. Everyone’s career is different. I think there are times that actors should join and times they shouldn’t, but it is not up to me to advise you.

With the Internet and social media, advertising is a changed world. I know actors were hoping that this contract would help change the amount of non-union work, but unfortunately advertisers are not seeing enough of a return to increase budgets to cast union. This belief also greatly affects casting directors. We used to have day rates. Now we are being offered flat rates and it is hard for us as well. We work twice as hard for half the money, but I cannot let that affect my quality, staff, or services.

We all have to hope that with time and knowledge things will get better for all of us. Maybe it would have been great if the negotiations (since it seemed they were going well) were extended and took more time. That is easy for me to say. I do not know the process. I do know that things will hopefully continue along because products still have to be advertised and in three years when the commercial contract is up again, we will not only be more knowledgeable, but the future of the way things can and will work will be shown over that time.

In the meantime, everyone should do what he/she is doing. Pay attention to the flow and future of advertising and do not make rash decisions. Three years in our world is a short amount of time but a lot can been learned.

Like I have said before, knowledge is everything. We are all in the same position…and hope time helps for the next contract.

There are no easy answers. If I could turn the clock back twenty years, I would. Social media and technology are moving faster then we are and I do not see it slowing down. Maybe casting will become an app (haha). I do not think there were any clear winners here but a war is not the answer.

My personal opinion does not matter. I do not have a vote but it all affects my business. Something I very much have to keep going. Let’s work towards a future that can works best for everyone so actors can just think about acting. Beth Melsky Casting is here for everyone.

My Thoughts on the New SAG Contract

April 15, 2016 bethmelskyacting, actors, actress, actresses, agents, assistants, auditions, bethmelsky, bethmelskycasting, BMC, callback, career, casting, casting director, casting session, commercials, directors, non-union, NYC, talent13 Comments

I’d like to talk about the new proposed SAG commercial contract. The commercial business is the worst it has ever been. It is affecting agents, actors, casting directors, directors, producers, and god knows how many other people. Non-union has become almost the norm and I was so hoping that with all the questions casting directors and agents were asked before the negotiations, that some of the concerns would be addressed.

The future, whether we like it or not, is digital – the internet, social media, etc. These mediums, for whatever reason, do not seem to warrant big budgets. Just paying pension and welfare makes it unaffordable to shoot on a SAG contract. The 8-hour shoot day makes it unaffordable and SAG is the last union to be doing it. Outside the zone makes it unaffordable, and still first class airfare for over 1,000 miles. You are talking about a plane ticket for $6,000. That rule is stopping clients from casting on both coasts and, once again, losing work for your members across the country. It is not the rates for the actors, it’s all the extras. Non-union work, for the most part, pays the actors very well.

Broadcast TV commercials paying residuals are becoming dinosaurs. Meanwhile that is where all the negotiating energy was put. The hope was to recognize where the future is and concentrate on that. Instead, there were huge increases in things that are becoming obsolete. Sometimes, you need to go backwards to move forward.

Now was the time to try and understand where we are in 2016 and deal with those issues so that SAG actors can continue to work. My fear is that this new deal is going to benefit the top level of commercial actors; but where is the benefit for young actors to want to join the union? I do not have the answers but I feel this negotiation will do nothing to help in getting more clients to shoot on a sag contract.

I urge all SAG members to do their due diligence. Ask your agents questions and make sure you understand how it will impact you. Cable is now up 13%, P&W 18%, and medical is almost impossible for actors to get. I have been doing this for 33 years.

When I started I never imagined that we would be doing so much non-union work.

I was hoping for HOPE and I don’t see it here. If you look back at the last strike, there was no reason for it. The biggest new problem back then was cable and I do not think the union thought it would be that be a deal. Why you didn’t want agents and even casting directors as part of the negotiation, I will never understand. We are on the front lines and understand what is going on better than anyone. The future in social media is moving so fast and it is only going to get worse. I truly think that it was pretty much ignored. So few people, especially the younger ones, do not watch network or even broadcast TV. Even cable shows can be watched on Netflix without any commercials. You got tremendous increases in things that barely exist and now even cable commercials will be done non-union.

Old ways of negotiating and ignoring the future mediums (that I don’t think are really understood) are not going to help the future of the existing membership. Does anyone realize that when a casting director gets a job, the first question is, “Is it union or non union?” Approximately 60% of all commercials cast are now non-union. Not sure anyone tried to figure out that number in order to help the negotiations.

How are agents going to survive? I certainly was hoping for so much more to help bridge this gap. We can’t change the reality but we can care enough about the up coming generation and the massive changes in the tech world to have tried harder on their behalf.

Casting directors have been left in a position to continue doing what we are doing because the door was not even opened enough to think things can change. I wish I understood why the majority of your membership would agree to this when there is not one drop of hope in there for them.

Pensions are like social security. Will these actors ever be able to work enough to collect? Maybe I am naive but you could have done so much better. I have never asked a union actor to work non-union and I never will. I respect the idea of the “union.” I just think you gave had years and hundreds of hours of meetings to then completely ignore the “real” issues.

I urge all actors to read and really understand this new deal.

It would have benefitted everyone if you had come closer. Where’s the incentive for non-union actors to become union? What could possibly turn things around under this deal? Everyone wants a union but a union that works for everyone – the big guy and the small guy.

I was really hoping for so much more. Extending the talks and trying to figure this out would have been better. You did it with cable and now it’s too late. You did it with internet and now it’s too late and now you are doing it with all social media platforms. Three years from now, I’m not sure where union shot commercials will be.

SOOOOOO FRUSTRATED, ALONG WITH ALL OTHER CASTING DIRECTORS, AGENTS, AND MANY ACTORS THAT NEED THE PROPER HELP.

Good luck.

Respect Everyone’s Time

February 29, 2016February 29, 2016 bethmelskyacting, actors, actress, actresses, agents, assistants, auditions, bethmelsky, bethmelskycasting, BMC, callback, career, casting, casting director, casting session, commercials, directors, managers, non-union, NYC, talent, talent agent1 Comment

Since my last post, I have found that time is an issue for casting directors and actors. There has to be respect on both sides. Whether Beth Melsky Casting sessions are union or non-union, they are scheduled the same way. We do not do cattle calls. We follow the spec and script and then schedule accordingly.

We hate having actors wait too long. We cannot always control callbacks because we are dealing with a director and client but I do the best to anticipate what might happen.

As far as my first calls, I really want quality sessions that run smoothly. This is why my office is so strict about time changes or even losses.

There is a real reason why we cannot accommodate all time changes. I hate getting agent submissions with actors that I am excited to see, but to find out that they are not available because they have not booked out or updated their schedules with their agent. We are trying to make every session perfect. We need the right type at a specific time for many reasons.

I can be doing five characters in a day with small windows for each one. Letting actors walk in whenever they want makes for a sloppy casting session and makes it harder for the people watching to get a sense of what they have. That can lead to more casting or too many callbacks. Some auditions require multiple actors of different types to make a scene work. We need to re-create the storyboard or script as closely as possible when setting up a session. I try and anticipate how long an audition will take and leave enough time for the casting director to do a great job and give all actors a fair chance. If actors are running late or just cancel, it throws off the whole session. I have had actors waiting way beyond their time because of this. They get as frustrated as we do.

Again, there are two sides to everything. First calls out of Beth Melsky Casting are very important. Our directors and clients look very closely at casting sessions. They trust us to do a great job and to get them to callbacks. This is like putting together a puzzle. When one piece does not fit, or needs a time change, or didn’t book out, I have to keep re-doing the puzzle.

I think the point I am trying to make here is that it is not the casting director against the agent or actor. The business has changed so much for all of us. In this fast paced business, a lot of effort and attention to detail are required and, in order to keep working, we have to make these changes. Casting directors, agents, and actors have to work together to make this process go smoothly and keep the quality.

My office might have a reputation for being difficult and I just want everyone to know that it is because we want to put out great casting sessions that will keep the process going.

A quality casting session in New York on a job shooting in New York will make those clients cast the next job in New York.

I’m not sure the casting process has ever been explained clearly to actors so it is hard to understand our actions. I would like if agents and their assistants understood the way casting sessions worked. I have made the offer for them to spend a day in my office to learn, but nobody seemed to care enough. I think certain things could be explained to all actors in a way that they would be happy to make more of an effort. We are working together to not only keep a very unclear business going, but to show respect for everyone who is trying to get a job done right.

A Week of Excuses

November 23, 2015 bethmelskyacting, actors, actress, actresses, agents, auditions, bethmelsky, bethmelskycasting, BMC, career, casting, casting director, casting session, commercials, directors, NYC, talent4 Comments

This week was a huge test of my patience. Casting directors, like actors, rely on jobs to pay rent. November, so far, has been a fairly slow month. There doesn’t seem to be a formula to when it is going to be busy or slow. It’s an evolving business with more Internet than broadcast. The change and the factor of the unknown affect us as much as the actors and advertising agencies. We are happy to work and make the changes as they come. I would think and hope that actors feel the same way. We can’t do anything about changing tech or ways to watch commercials but what I do know is that commercials will always be necessary. How else will people know what to buy? We just have to be patient. I have lived through network TV with minimum channels to cable TV and now the Internet. If anything there are more ways to sell products than ever before. Budgets change, media outlets change, and we just have to hang in there. This is all I know how to do (except ride a horse but I can’t earn a living doing that) so we ALL have to stick together and wait. Actors will always be needed so don’t stop taking it seriously.

Beth Melsky Casting got a huge, great creative, job with multiple spots to cast with an amazing director. We are always ready to take on casting jobs and this one is like a gift. I think the talent agents feel the same way. These are the breakdowns that they want to get as many of their actors seen as possible. We just cannot figure out how the actors feel. Instead of being able to put my time prepping quality and assuming that this is what actors want, I struggle trying to put together strong sessions. We have hit an all-time high of problems. Here we go again.

Actors not keeping their agents up to date on their schedules, actors not reading all the information that they are sent in e-mails or not listening to messages left. Again, we prep diligently, follow casting specs that are given to use, and pick actors that we think will do more than justice to the role. That is the job of a good casting director – interpreting specs and scripts and scheduling people that we think will be great. Actors, you are hand picked. You are not a dime a dozen. Of course we always need to meet new people on every job, but we need the majority of these sessions to be A-level.

We always give the usage, conflict, callback date, and shoot date(s) at the time we give out the audition time. I could not possibly give more information. Even with that, sometimes less than half is not listened to, not paid attention to, or thought of as unimportant. I cannot change an audition date, callback date, or shoot date. Therefore, if you are not avail for callback or shoot, we need to know before you waste your time, my time, and the directors’ time.

Shoots cannot be changed. “Let’s see what happens…maybe they won’t like me anyway” is not the right mindset for an actor. And it is not fair. What if they like you? Look at the position you have put the casting director and the agent in.

Let’s move on to the auditions. Scheduling a session with all roles required to make the script work is very difficult. Everyone asking for a time change makes it impossible for the casting directors in the studio do their job well. They end up short on necessary parts and then they have a waiting room full of angry actors because someone is running late or cancelled at the last minute or 50 other reasons. There are very few reasons that require a time change and the requests are out of control. For us to do a quality casting session, you need to trust the way we are setting it up. It is about quality and efficiency. We are not a hair salon. You cannot pick your time. Sometimes we cast more than one spot or vignette in a day and there is often a small window for your role. As actors, I would appreciate it if you could make it to the casting at your scheduled time.

Here are some classic excuses from this past week:

“I have to teach so I need a time change.”

Usually agents do not even know they are teaching; however, I give a time change, and the actor is still no good.

“I have to take my grandmother to the doctor.”

Is that an everyday thing? I also believe a grandmother would rather have their grandchild do the audition.

“I am a real estate broker and cannot change a property showing.”

Actor or real estate broker?

“I work for an airline and can only get one day off at a time.”

Well, if the job shoots in LA, it will clearly take more than one day. Did you tell your agent any of this? I am kind of tired of being the one to help with this disclosure information.

“My kid is sick, so I have to watch him.”

If you are responsible for watching your children, and it will affect auditions, agents need to know this.

“I live too far out of the city so I need at least 24 hours notice for auditions.”

We are lucky if we get three hours. So, once again, tell your agent so they know how to submit you.

“I have to cancel my appointment. I forgot I had a trip booked during the shoot dates.”

This happened while an actor was on his way to his confirmed appointment. This also happened in another instance while the actor was auditioning.

“Oh, I have finals during the shoot days.”

These are people of all ages.

“Oh, it is not a good time for me. Can I change it?”
“I have therapy at that time.”
“I have a reading that day.”

Readings are usually unpaid.

“I have a dentist appointment.”
“I have to work.”

I would say only about one out of every 30 times, it’s actually an acting job.

I do not have the answers to the state of this business. I just know the casting procedure will always be the same and if you want to seriously pursue this career, you must manage it better. I could go on forever with the things we listen to. We cannot and will not do cattle calls. More is expected of Beth Melsky Casting.

There is never a time that this is “just another job.” I work hard for my clients and I also work hard for the actors. I am very fair but if you have people that do not care, it is not going to work.

I am begging you to do whatever you can to avoid time changes before you come to us. There are cases that are unavoidable but many times, it can be worked out on your end. Also, it would help if the actors knew the people they were talking to. Rarely does that happen. That creates a lack of respect and many problems. I spend way too much on these issues and not enough time on being a good casting director with a great company. We need help.

Casting: Experience Goes a Long Way

November 7, 2015November 18, 2015 bethmelskyacting, actor, actors, actress, actresses, agents, assistants, auditions, beth melsky, bethmelsky, bethmelskycasting, BMC, callback, career, cast, casting, casting call, casting director, casting session, challenges, commercials, director, directors, entertainment, entertainment industryLeave a comment

This is my fourth try at writing a post about what a casting director’s job is. The biggest problem is getting to the point. It should be simple to explain. Many actors, especially those who are new to the business, and even clients (directors, producers, or anyone that hires a casting director) are not always sure what it is we do. The casting director title has become so watered down, especially in the commercial business. I think that with so much non-union work, where there are no set rules that have to be followed and so many low budget jobs, people can call themselves casting directors, offer very low rates to cast, throw a breakdown out on too many services, and then basically throw the casting against the wall and see what sticks. They have huge cattle calls, put out sloppy casting tapes, do their best to follow rates that have been used before, and make their way through it. Does it take them longer? Yes. Do they have the experience behind them? No, but it is easy to say, “It’s non-union so there is nothing I can do.” That is where the experienced and seasoned casting directors can help.

Beth Melsky Casting works as hard on non-union as union. We help set the rules and rates and very rarely have problems with follow through on bookings and contracts. Having an experienced casting director with a strong reputation gives us an edge in getting the job done faster and not struggling and fighting with agents/managers. We all want to keep great relationships.

I have a very hard time dealing with some of these issues as a seasoned casting director. I pride myself on knowing union rules and using that knowledge to help my clients. I also feel in non-union, we can produce the most professional casting possible, as well as being fair in recommending talent fees. We also work hard to make sure contracts are written correctly. Actors or clients can pick up the phone from the set where there might be a problem and get things straightened out very quickly.

We document everything and expect everyone to follow the rules that were well documented. A deal is a deal and I know how to settle it quickly. This is something that comes with time and respect that has been earned over many years. It is like insurance. Being a casting director is something you need to learn and train for. There are so many pop-up casting directors taking on jobs that they are really not trained for.

It has taken me years to gain the respect of top directors, ad agencies, and producers. They understand that the main purpose of our job is to find what they are looking for. We try our best to hand over incredible casting tapes without a lot of fluff. These actors were hand picked to audition. I am not wasting their time. There are no surprises here. I use great session casting directors that are well trained in how to direct the actors.

Some very low budget projects feel that they cannot afford an established casting director or casting company. We have all had to change with the times and are willing to work with these situations. Producers should not be afraid to call. It is a changing business and we are better equipped to change with it and make everyone look good.

Not only does Beth Melsky Casting and casting companies like us know how to do both union and non-union, we are always looking to build new relationships in the hope that one day it will pay off for everyone. We take so much pride in our work and always want to do a quality job. Not every job can be done the same but we know how to cut to the chase, get the best talent for the job, and help directors with the casting process.

We are clear about the actors that we can get for the budget and bring in the cream of the crop instead of stumbling on it by seeing quantity. My frustration is that I have been doing this for thirty years. I have gone through so many changes and can still do any job with quality. Reputation goes a long way and Beth Melsky Casting has not been around for so long for no reason.

When I started, I had to train for years with the best casting directors. The job of a casting director has not changed. We get the actors through the door. As an actor, you want to be recommended by us and have a chance to form a relationship.

On the production side, do not assume that a low budget means sloppy casting. Union or non-union, we have trained eyes for great actors, good actors, or actors that are right for the job.

Union casting or casting for top directors and clients require a respect for what casting is. Anyone can put a breakdown out on one of these many free services offered, rent a studio, and just tape hundreds of faces. That is not being a casting director. Just like a director, or a stylist, or an art director, we actually practice our craft. If we did not, film directors would not trust their casting directors so much.

Yes, now people can become casting directors but they should train with someone established and learn the craft properly. It is not as easy as it looks, even with tiny budgets. I just wish some productions at any budget, would take the value of experience into consideration. Just like in any business, experience goes a long way.

An Actor’s Success

October 17, 2015 bethmelskyacting, actors, actress, actresses, auditions, bet melsky casting, beth melsky, bethmelsky, bethmelskycasting, BMC, career, cast, casting, casting sessionLeave a comment

Natalie Knepp is an amazing example of an actor who is devoted to her career choice – responsible not only to her agent, but to casting directors, as well. She is very focused and driven.

She has stayed diligent and patient at the same time. That has all paid off and we could not be happier. Having talent is obviously very important, but doing everything else right in this environment is also very important. For every booking we do, it feels like the first one and is always just as rewarding.

Good luck, Natalie!

From,

Beth Melsky Casting

Dear Beth,

There are no words, no gesture large enough to express how grateful I am to you and your team that worked on the Verizon account.

More than that, you are a standout to me among those whose belief in me over the years has truly inspired me to work hard and to always reach beyond my grasp. Thank you for always being my champion.

Always,

Natalie Knepp

Casting: Always Something to Learn

September 21, 2015September 21, 2015 bethmelskyacting, actors, actress, actresses, agents, auditions, beth melsky, bethmelsky, bethmelskycasting, BMC, career, cast, casting, casting director, casting session, challenges, commercials, communication, director, directors, excuses, film, legit, New York, NYC, producer, theater1 Comment

As I promised, this week I am going to write about the commercial world overlapping with the legit/theatrical world. I have been lucky for the last two weeks. My top directors have done major work for incredible new break out campaigns. They love and are used to the top of the line, very talented actors that not only do commercials, but do work in episodic and theater as well.

The major challenge in dealing with the amount of episodic being shot in New York right now, is trying to help and understand how the actors are juggling a day on Orange Is the New Black (which doesn’t make as much money as a commercial, but it is a bit closer to why they become an actor) with not wanting to close the door on a great commercial with a great director that can make them great money and give them exposure and a relationship that can move their careers along faster than a day here or there on Jennifer Lopez’s new show.

I have told you before but the list of actors that have booked with these directors and have gone on to huge careers is incredible – Thomas Middleditch, Michael Kelly, Jessie Tyler Ferguson, Amanda Peet, Selma Blair, Chris Gethard, etc. I don’t think you will ever regret the stepping-stone as well as recognizing the fact that commercials help.

Commercial casting directors are able to meet new people and get you seen in quality work. The problem that I am facing with these incredible jobs is that I am at the mercy of those shows and, even though I clear a schedule before I show anything to my director, there is a chance that if there is a schedule change, it could put us in an embarrassing situation. I have to heavily weigh the risk. I work very hard to figure out this level of talents’ legit schedule before I see them. I get it, I really do. But the process to be selected as a first choice on a commercial is huge. Then to present to the client, have them approve the actor, and then have the actor bail and take a legit job is not something that anyone on my side understands.

Actors should value their talent more on situation and understand that they are not easily replaced. We are talking top-level directors with top products that win awards and, like being the lead in anything, there are rarely backups that are as strong as the first choice. The end result for me could be a loss of a client (agency) or even a director because I could not fix things. I will lose the next job.

All I am asking from these actors is that they understand our side. Maybe we’re not called legit, but for us, our work is equally as important. I can only make a decision based on what your agent tells me and they can only tell me what you have told them. Booking out for personal reasons is one thing. Keeping your commercial agent informed of what is going on in your legit/theatrical career allows them full disclosure. When I want to see you, it also allows me to pass on seeing you if I think there are going to be conflicts.

If your legit career is in a place that is moving forward and a lot of opportunities are coming your way, then take yourself out of commercials for a while. You can’t have everything. If you are lucky enough to book both, someone is going to lose and someone else’s career is going to be affected. Full disclosure, please! The worst thing an actor can say or think is, “I’ll wait to see what happens.” It’s just not fair. I am not trying to stop anyone’s career. I would rather tell a director that you are “pinned” then take a chance.

Let’s go back to the word “pinned.” I had to call several agents to ask what this meant. Thirty years and a new word, at least in New York. The answer was that it is stronger than a right of first refusal. It is a booking, but with no exact dates. If they own you, you cannot take another right of first refusal during those dates. Sometimes they change your shoot date. What if you accepted another job? Are you going to tell the commercial, “oops?” These are the things that I am very diligent about. Your agent should know your schedule.

Managers’ first choice will always be legit over commercial and will generally not tell your commercial agent anything until they are called. Sometimes they know and don’t tell. They have their priorities. Please don’t depend on your manager to tell your commercial agents. Commercials are seen as secondary to them and if there is a schedule conflict, they will either pick legit or have your agents fight it out. I think commercial is equally as important, but I cannot speak for managers.

I always honor my word. I always want it to work out for the actor but not at the expense of my career. And yes, being a casting director is a career for me and one I take very seriously. Mistakes happen, things are missed, but I find most times it comes down to priorities. I cast films, as well…some smaller, some bigger. I understand but I would never pull an actor from a commercial to work on one of my films. When I cast a film, I dig deep into my pool of commercial actors and will always work hard to work out a conflict. One thing is never more important. Casting directors and agents will go the extra yard to try and make things work. You can never depend on production. Production cares about their production. That is it.

We need the actors’ help. Every relationship is important. You never know if one day I will cast a commercial for Tony Kaye and the next week it might be a film. Burning bridges is a mistake. Many commercial directors have gone on to do huge films. You do not want conflicts when an opportunity comes up to do a commercial for Bennett Miller and then a film.

People remember effort. They also remember no effort. I have huge respect for Bernie Telsey. He understands all of it. I am going to reach out to him for advice on how to balance this.

Things have again changed. Theater has always been huge in New York, but TV and film has become huge, as well. We must all make an effort to work together again. Commercials can make careers in other ways. They can lead to much bigger things. Do not underestimate them or the casting directors.

It seems, once again, I am asking for honesty and communication. Once I speak to Bernie (he is not only the top in New York, but very well respected), I will let you know what I learn because yes, in the legit area, with all the work in New York, I have things to learn.

What I am asking of everyone is hard but maybe we can come to a solution that will make things easier for all of us. Thank you for listening. I want to give great actors to directors that I know will do films and TV and present it all properly. The communication has to start with the actor.

A request: Do not use the excuse “family emergency” anymore. If you made a mistake with your schedule, own up to it. If you got lazy, do not abuse the one reason I am not comfortable pushing on. Let’s all try.

And one last request: If you confirm an appointment at my office, then make that appointment. Also, please keep the time change requests to a “very” important reason. I prep very exactly. I pair people up that I think will work well together and I divide my days by roles or spots so just needing a time change out of what is easiest for you is exhausting to us and simply not an option.

Again, please…our jobs are hard enough. There is a method to my madness and I work hard to not keep you waiting. I am prepping to do a great job and show respect to actors. I hope you understand that. We produce great quality casting because of this and you need to understand that. Actors are not a “dime a dozen” in my office and you should think of yourself that way.