script

Lets Move Forward

bethmelsky, , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , 4 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.

Lets Move Forward

To All Graduating Actors That Need Help Starting Out

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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.

To All Graduating Actors That Need Help Starting Out

An Actor’s Perspective

bethmelsky, , , , , , , , , , , , , , , , , , , , , , , , , , 3 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:

  1. 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!
  2. 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.
  3. 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.
  4. 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.
  5. 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.

An Actor’s Perspective

Actors: Don’t Make the Same Mistakes

bethmelsky, , , , , , , , , , , , , , , , , , , , , , , , 4 Comments

I am going to discuss two things that happened this week. First, I decided to schedule an actress (who I haven’t scheduled in a while) to come in and audition for a great union commercial. She confirmed her appointment the day before. 20 minutes after her confirmed appointment time, I got a call from her agent saying that she was sick and had to cancel. I understand that people get sick but I’m pretty sure that she knew she was sick well before 20 minutes AFTER her appointment. It would have been nice if we were informed early enough so that another actress could have had a chance to be scheduled in. The casting director was waiting on her to work with another actor and this lack of respect caused many problems. I’m just asking for respect and responsibility. This even affected her peers. Be more responsible and consider the big picture.

This next story is the ultimate in frustration for me and can provide some good insight into how the process works. It shows how a lack of communication between casting director to agent and agent to actor can cause the loss of an audition and possible booking for no reason. I gave the breakdown to the agent verbally. I believe it’s very hard to convey important things in a written breakdown. I try and put out every breakdown verbally to get the best possible result. This job required amazing actors that are well trained in comedic timing and have a background in improvisation. I love giving casting specs this way, as well as being able to explain the spot. A top director known for his incredible work, as well as loyalty to strong actors, is directing this job. He has won many awards, including a Golden Lion at the Cannes Film Festival for best commercial campaign. It was an award for best casting, which we cast, so I was really proud. Any actor should be and is very proud to work with him on any project. You know the material will be great and he will make it even better.

This is not a big money job, but it is SAG and not a spot that will make an actor over exposed or tie them up in a big conflict area. The product is not high profile, so it would not have taken her out of high profile competitive work and it’s only running in one small city for 13 weeks. It’s a great spot for acting reel with no down side. Booking this job is a win-win. If the agent does his/her job and pays attention, they should be able to explain it to the actor and advise them to do it. That is an agents’ job…right??? First, the agent said that the actress passed because she didn’t want to do it at scale. I didn’t agree but accepted the answer. At that point, I wasn’t sure that the agent had given any real thought to the job and, therefore, didn’t even speak to the actress about it.

About 3 hours later, I received another phone call saying the actress was passing on the material. That’s when I lost it. I called the agent and pulled him out of a meeting. I knew that no one had actually seen the material, so how was this possible? I read the script to the agents but never send it out. I also thought that since the actress knew the director, she would know that the material could only be great and something any actor would want to do. Given all of this, I was sure her agent hadn’t informed her properly about the job. When I finally got the agent on the phone, he was completely out of the loop on the situation, passing on an audition because of “material” (as one of his assistants told us) and still fixated on the money. I asked him how she could possibly have passed on the material when she did not see it. The agent could have called me to clarify things, ask questions, or get more information to do his due diligence. I should not have had to call him; it is the job of the agent to try and get auditions for their clients.

It seems that when we gave his office the breakdown, he was unavailable to take the call himself so another agent there wrote down the information. Unfortunately, she wrote it down incorrectly. The main agent said the information in the written breakdown said the actress was going to have to say she had a horrible disease and she did not want to say that. This is a top improvisation/comedy actress and I knew if the spot was explained properly, she would get the comedy in it and be fine with it. I told the agent we never sent out a written breakdown, so could he tell me where he was reading the information? This is a comedy spot, not a dramatic pharmaceutical commercial.

This is what happens when people do not speak. This material doesn’t come along often and it was something I felt the actress would want to do. By the time I explained to the agent how he should do his job and pointed out the absurdity of the situation, the actress happily confirmed her appointment and came in at scale.

Agents actually thinking and taking the time to ask questions if necessary could make the difference in having one of their clients book the job. It is critical that thought and communication happens. So that it is a win-win for everyone.

It’s not always about the money. It should be about an agents’ opportunity to advise their clients. The ultimate goal is to further their careers. There are still agents in New York that have been doing this for as long as I have and they look at the whole picture. I should never have had to get on the phone again. This was a no-brainer. This is why I call in the breakdown. Once again, verbal communication versus e-mail is a huge concern right now. Next week on my blog will be a post from a very high profile union actor. As always, thanks for reading.

Actors: Don’t Make the Same Mistakes