Actors Who Make Money

8 Tips From a Small Time Casting Director

2013-04-05T10:29:00.001-07:00

I am a member of an Off-off Broadway theatre company, and every year we do open call auditions (EPAs). This is a big year for us: two full shows, and four readings to cast.
We had our first day this weekend, and I wanted to pass on some tips from the point of view of casting director, me.

1 - Be prepared to chat. When casting a season, we can only get so much information from the monologue. I tried to engage every actor in chit-chat to get an idea of who they were. Quite a few people just couldn't do it; they were nervous, or assumed we were in a hurry. No matter how good the monologue, those actors didn't make the cut.

2 - Don't rush out of the room. This is a big problem! People were reaching for the door before I had a chance to ask them for a second monologue or to ask them any questions. In most cases, I just let them go. Those aren't the kind of people who are going to be easy to work with.

3 - Don't ask me to be a facebook friend. I listed my company email address, and mailing address. This is my preferred way to being contacted. I don't know you; we're not friends.

4 - Do follow up by email or mail. Followups give me a chance to remember the best auditions. And it shows eagerness, and professionalism.

5 - Dress well. Let me know you care about the impression you make.

6 - Be prepared with a contrasting monologue. If the first one shows talent, I may wanted to see more range. We're casting a whole season - lots of roles!

7 - If you only have one monologue, that's okay. But it should be warm. No rape, no molestation, no excessive cursing.

8 - Ask questions if you like. Research the company, and try to figure out how you'd fit.

We're in the Off-off Broadway community, and we build the company through auditions like this. Think about that when you audition. We want talented, fun, nice people to stick with us for years. You are not just someone we're going to hire and drop.

I guess, in that way, it's different from most auditions you'll go on.

I hope this helps, and maybe I'll see you for our second day.

5 small marketing tips for actors

2013-02-07T11:07:00.000-08:00

When clients come to me for coaching, I'm ready to give them everything! A full, comprehensive plan-of-attack for their career. I want them to leave with a full set of plans on how to make every aspect of their career HAPPEN!

Then, when they come in, I remember that everyone only has a finite amount of resources. Not just money and time, but patience, energy and mental head-space. So, often I leave them with a few small things they can do. And once they put these good practices into place, we add more. The results they see add confidence (and sometimes money), and we just keep building.

So, here are a few small things that you can start doing right now, which are simple, but can lead to huge dividends.

1 - The number one most important thing to do is send postcards. (Even if you're in a smaller market. ) Go to a cheaper website, like isgophoto.com or vistaprint.com, and order 100. Make a list (maybe a spreadsheet) of the CDs, Agents, and Managers who you may have met or auditioned for. Send them a postcard every 4-6 weeks with what's going on with your career.

Postcards create and maintain relationships. Until the industry changes this is how most people prefer to be contacted. Again, the NUMBER ONE best marketing tip.

2 - Pick 3 friends/colleagues who have careers you admire and buy them coffee. I did this a while back, and it way a huge eye-opener. Firstly, actors are collaborative by nature, and they love to share ideas. Actors are generous that way. Secondly, besides concrete marketing ideas, they give you an understanding of how to be. By that I mean, what kind of attitude do they have that draws success and happiness toward them? Thirdly, these people can be friends and collaborators for the rest of your career. You have to make a community, or this business is really lonely. (Also, coffee is tax-deductible in this case.)

3 - Volunteer! If you contact and agent or a manager and say, "I'd like to work in your office a few times for FREE to better understand what you do," they will say yes. Volunteer to do the same for a casting director, or even better!, offer to be a reader. The worst that happens is they say no. The best that happens is that you learn a lot, at the same time as making a connection.

4 - Facebook and twitter. "Like" and "follow" anyone you can find. Agents, casting directors, managers, actors, marketing coaches, acting teachers, producers. You'll not only get casting notices, but you'll also get to know what they are about.
Some casting directors do mostly modeling. Some agencies work with kids only. Some managers only have clients who are Asian. It's your job to know the landscape. And the worst thing that happens is you get a little spam.

5 - Sign up for one class that is out of your comfort zone. If you've never had a class with a TV casting director, sign up for one. Maybe Actors Green Room or Actors Connection. Sign up for a VoiceOver coaching, maybe Shut Up And Talk. A monologue class. A musical theatre class. An improv class.

Just do one of these things. Just ONE. And if it feels good, do another. Take your time, build your confidence, and I promise you: you'll get closer to the career of your dreams.

Accountability Groups

2013-01-25T05:40:00.000-08:00

I've already blogged a few times about accountability, but it bares repeating. Making goals is great, but if you don't hold yourself to accomplishing them, then you're sunk.

Recently, I've heard buzz about accountability groups. GREAT IDEA. Small groups of actors meet on a regular basis, and help each other along. Collaborations like this make every member of the group stronger.

Setting up an accountability group:
•Choose some like-minded friends. Don't be afraid to ask people who are further along in their careers. Don't be afraid to ask someone who is specializing in something different than you. Don't be afraid to ask people with whom you compete for jobs. I'd say no more than 8 people.
•Set up a recurring schedule. Meet as often as serves you, but at least every 2 months.
•Be honest about where you are in your career and where you want to be.
•Ask for help.
•Give help.
•Put your minds together for projects that you can't do alone, but a group of colleagues can accomplish. (Produce a play. Do a web series. Plan mailings together.)
•Register for classes together, and help each other rehearse for those classes.
•Exploit group discounts. Headshot photographers, for example.

But here's what I think is most important:

Work with your group to develop both goals and action plans.
Goals are the results you'd like to see.
•I want to get a legit agent.
•I want to book my first national commercial.
•I want to join Equity.
Action plans are thing you will do to achieve the goals. Actions steps are 100% achievable, and in your control.
•I will take a class with a TV casting director.
•I will mail postcards every 4 to 6 weeks.
•I will get complete a voice over demo.

Write them down. Share them with the group. And MAKE SURE everyone does what they promise they will.

Then finally, celebrate the results. When one of you wins, you all win.

What did you create in 2012?

2012-12-27T11:45:00.000-08:00

I named 2012, “The Year of Creation,” because it became clear to me that if you’ve gotten to age 25 without being “discovered” your best bet was to create something yourself… something that showcases you in exactly the best light.

-Create a one-person show

-Write and produce a short film

-Write a pilot, and shoot a sizzle reel

-Do some open-mic standup comedy

-Join a long-form improve team

-Create a show to host, and post it on youtube

and the list goes on...

There are concrete ways to reach these goals. Take a look at these resources…

•Gotham Writers’ Workshop

•The one-person show class at The Peoples Improv Theatre

•Classes at The Upright Citizens Brigade

•StandUp classes at Carolines

And that's just a few. Hey, with a phone that takes video, and an internet connection - you're live!

So, what's stopping you?

If the process seems too large, and the task too daunting - ask friends for help. Get an accountability partner. People are shockingly willing to work for free.

It's fear that stops us from doing these things. Be your own Marketing Coach. Wouldn't you push yourself toward creation?

Good luck in 2013, folks. And keep working hard!!!

Celebrity Look-a-likes

2012-11-17T13:50:00.000-08:00

This is an esoteric piece of advice that someone told me once. I thought of it this week when I was looking at a friend's webvideos. She does a dead-on impersonation of a celebrity, and she looks JUST LIKE HER.

If you resemble a celebrity, you should contact their agent and offer your services. Maybe that actor needs a on-camera sibling, or a stand-in?

How do you find their agent? Two ways:
1- pay to join IMDBPro.com, and you'll often find their information listed.
2 - contact Equity or SAG-AFRTA and ask for the membership department. Pretend you're casting, and you have an offer for them. They'll give you the information.

Then, send a headshot.

Okay, okay - I know this is a long-shot. But, if I looked like a dead-on celebrity, I would definitely give this a try.

Inside a Casting Studio: You are your own business

2012-11-07T13:41:00.001-08:00

This is a great post from Christine McKenna and CMcKenna Casting.
This stuff always needs reinforcement.

Inside a Casting Studio: You are your own business: To be a successful, professional actor that keeps working you must market yourself and commit to acting as though you are your own busines...

$10,000?

2012-10-25T13:52:00.000-07:00

I was posed an interesting question this week: If you had $10,000 to spend on your career, how would you spend it?

This question is interesting, but this question led me to an even more interesting question: Why am I not working night-and-day to earn $10,000 to do all the things I think I should be doing for my career?

I'll start with the first question. (And my answers aren't for everyone, just for me.)
Here's how I would spend the $10,000:

•New Headshots, including reproductions - $1400
•Better VO demo - $1200
•Classes with Casting directors - $4000 (This is probably the BEST way to spend investment money.)
•A trainer to get me in shape for pilot season - $2000 (Oof - I hate this, but it's smart.)
•Great audition clothes, and a great haircut - $600
•Excellent holiday gifts for agent/manager - $200
•Mailings, supplies, miscellaneous - $600

Now, I don't have an extra $10,000 to spend, but is it irresponsible to me and my career to not dedicate myself to making an extra $10,000 to invest in my career? Do I think that a $10,000 investment is wise?

Here's what I came up with: I think I do need to invest more money than I do in my career if I want the momentum to pick up. Therefore, I do need to make more money.

I've always felt that it is inadequate to invest money when-you-have-it in your career. That just means you never invest. I'm a big fan of committing to a yearly budget-knowing what you are willing to spend, and how you're willing to spend it.

But the fact remains: if your career isn't moving fast enough, you have to invest more to get it going.

Personally, I don't think I need to add $10,000 a year to my budget, but maybe $3,000. Now... where do I get that money?

Do you need to be investing more? How would you spend it?

The Commercial Environment 2012

2012-10-18T11:31:00.000-07:00

I was chatting with a friend/client of mine about commercials the other day. The tweeted me to ask if I'd blog about the commercial environment these days in NYC, especially in reference to the non-union / union issue.

I'd love to start a dialogue with you, beloved readers, and get your opinion. Are you auditioning for commercials? Are there still as many as there once were? Are you union/non-union? Do you see one as better these days?

Here's what I can add to the discussion... a jumping off point!

I don't have any numbers to back this up, but from my experience, and from what I've heard on the ground, we're about 50/50. Half of the auditions are for union commercials, and half are for non-union. As usual, the money is in union commercials! But, people are pulling together a living just doing non-union as well.

I always advice actors to stay non-union as long as they can.
•Legit casting directors don't seem to care if there's a SAG-AFTRA on your resume.
•Once you go union, you will be going on many fewer auditions unless you have a STRONG commercial agent, who really believes in you.
•While non-union, you can learn the skills needed in a much less intense environment, and you're auditioning for the same casting directors as the union guys. Building relationships is the name of the game.

But, while non-union, you may not be making the money you want. One solid SAG-AFTRA job can pay as much as 20 non-union commercials.

One thing I'd like to note is that the merger has changed the environment a little. Many non-union actors who were AFTRA got sucked up into the SAG-AFTRA union at the merger. So, non-union commercial agents were finding new actors in droves. Consequently, the non-union auditions were full of newbies, and the seasoned non-union actors who remained non-union (or fi-core) rose right to the top of the pecking order for work. If you don't have an agent at all - this is your time; you're in demand!

Has this been anyone else's experience?

Not much else has changed, to my eyes.

So how about this question/conundrum? If you're a very busy non-union actor, and you're auditioning 5-10 times a week, what do you do when you HAVE to join the union, or a big agency wants to sign you exclusively (for union jobs only)?
It would be hard to say no to Abrams or CESD, but is that the smart move?

I'd love to hear what you think. Tweet me @AWMMGUY or leave a comment below.

What kind of headshots do I need?

2012-10-12T05:23:00.002-07:00

In the 90s, you needed three head shots: commercial, legit, and soap.

Oh, how times have changed.

Before the digital revolution and actorsaccess.com / breakdownservices.com you needed to have hard copies of all of your looks if you wanted to have pictures that properly represented you and your type. Not anymore. (It may be the one area of an actor's life that got less expensive.) Most of your professional needs will be covered with digital headshots now. You still need to have a photographer take all types of pictures, but you only need to print one.

Let me explain what I mean.

You should have a profile up on actorsaccess.com. It's free! There you can upload up to a dozen pictures that you can use depending on the role you're submitting for. Your agent, if you have one will use those same pictures. Even if you don't live in NYC, there are castings all over the country - just start a profile!

You still need hard copies of your headshots for two main reasons:

•Theatre auditions - and luckily you'll be handing it over, so they will understand your type by your audition!
•Student film auditions - same deal.

•Self-submissions - when you mail in a picture from an ad, like in Backstage or ActorsEquity.org, if there isn't a virtual submission option.

But the question still remains: What do you need to get when you see a photographer?

The essentials:

•A commercial shot - a warm picture of you, with a smile, that looks like you! But you on a great day. Not your best day, but a great day.

•A legit / dramatic shot - a shot that is appropriate for a serious production-for Ibsen, or Law & Order. Again, it looks like you, but it's professional, and shows some emotion.

After that, there are a few other shots you may like to have:

•A full-length shot - especially if you've got a great body.

•A character shot - maybe you have a hipster side, or a dorky side, or an outfit that immediately points out your ethnicity.

A couple of other things to think about:

•If you wear glasses in real life, you should probably have your glasses in your headshot. But make sure you have some without too.

•If you are over 30, consider a business outfit. You may be a casual person in real life, but there are tons of lawyers roles, and doctor roles.

•If you have a blue-collar attitude, make sure that is represented in your pictures too. Every tv show and movie has cops.

Now, when it comes to printing headshots, I suggest to my clients that they only print ONE look. Generally, it's the warmer, commercial shot. It give the best first impression.

Don't forget to print the same image on 4x6 postcards that you can use to follow-up after auditions and to maintain your contacts.

Entire books are written about this topic, but that is my basic advice. I hope it helps!!!

3 Types of Successful Actors

2012-08-09T14:10:00.004-07:00

I was coaching a client this week, and we had a long discussion about HOW TO BE when you're in an audition room. Not just how to behave, but how to think of yourself.

I have often said, "Bring the brightest part of your personality that is still authentic."
I have been told, "Behave like a star, and you will be treated like one."
I have been told, "Don't behave like a student, trying to please the teacher."
I have been told, "Behave like the solution to the problem of 'who do we cast?'"

Some people just know how to behave instinctively. I don't think I'm one of them. I have to prepare, motivate, and think about it.

Sometimes we don't behave correctly in an audition situation. And, we've all been in a class where we have not been the star. It got me thinking, there are THREE types of people who are successful as actors. (By this i mean, ACTORS WHO MAKE MONEY) Which one is closest to you? Which one do you aspire to be?

1) THE HARD WORKER

Of the successful actors I know, a third just work their asses off. They take class. They warm up before each audition. They research every role, and every person in the audition room. They rehearse everything so hard that they never make mistakes in the room.

You often find HARD WORKERS succeeding in Musical Theatre. Every dancer is a HARD WORKER.

2) THE SMART ACTOR

The smart actor diversifies. A smart actor has a voice-over demo. The smart actor send postcards regularly. The smart actor markets himself, like crazy. A smart actor craves residuals. If you know all of the work opportunities, and you understand how to get into the rooms you need to be in - you're a SMART ACTOR.

You often find SMART ACTORS succeeding in commercials and voice overs.

3) THE NATURAL

Some people just have the X-Factor. No one taught them how to do it - they just were born with it. they either look great, or they have the perfect attitude. Everyone likes them, and the confidence that comes with that makes them perfectly cast-able. They don't focus on marketing. They don't focus on craft. They are just born to be actors.

You often find NATURALS on television and in movies.

_________________
You can't make yourself into a NATURAL. But you can make yourself into a HARD WORKER or a SMART ACTOR. And each success makes each one of us closer to the NATURAL side of things. Success breeds confidence.

So, with this in mind - which are you? And which do aspire to be?

Stop, Collaborate and Listen

2012-08-02T17:33:00.001-07:00

I am going to admit something that may seem fairly obvious: Sometimes I blog in order to motivate myself. Sometimes I know the right advice, and I'm hesitant to follow it - so I blog about it, and then I HAVE TO do it. That's the case with this one.

As I've said, 2012 is the year of content, and I am dedicating myself to creating new projects. I'm sick of waiting for the perfect role to appear - I'm going to create it. I have three major projects in the works. Maybe you have projects too.

So, you sit down and you plan. If it's a writing project, you write. If it's a producing project you schedule and budget. Whatever it is, you prepare... then what?

You have to ask people to help. (Or let's call it: "collaborate.")

I recently reached out to a writer I know and asked him to mentor me. And, wow, was it hard! It called up all of my insecurities:
-Maybe people don't take me seriously.
-Maybe my idea is dumb.
-Maybe my writing is terrible.
-Maybe people just plain don't like me.

I emailed him, and he said, "Of course."

For another project, I needed a few actors to "collaborate" with, and all of my insecurities popped up again. Again, I got all yeses.

It's easy to forget that actors are great at collaborating, so are (most) writers and directors. And even if you find someone who isn't interested, there are a ton of us out there.

If you believe in the project, you'll have no trouble finding people to work on it with you.

(Maybe this is obvious for some of you, but for most, I bet, it's a big hurdle.)

Now that I have collaborators: I have accountability partners; I have artistic voices; I have support.
I can't wait to see what we're going to create.

On the Fence

2012-07-23T13:48:00.000-07:00

Hey Blogosphere,

It's been a while since I've blogged, but I have been on vacation, and working on a bunch of writing projects. I am trying my hand at screenwriting, after the fantastic class I took at Gotham. I'm not leaving the acting business-I'm a lifer- but if I were thinking about leaving there is a great resource at The Actors Fund.

I have raved about The Actors Fund for years. What a great organization! It's a not-for-profit agency that helps actors in a million ways.
-They have classes about affordable health care.
-They have classed about affordable housing.
-They raise money for Broadway Cares: Equity Fights AIDS.
-They help you get free shoes.
And they have a regular seminar for actors who aren't sure if they want to be actors anymore. Or for actors that want to change their lifestyles: maybe get a day job, maybe open a business. They call it "ON THE FENCE."

I have not personally taken this class, but when I talked to a woman at The Actors Fund about it, it sounds like an amazing resource. They describe it as "Taking the time to explore with your peers the emotional, spiritual and practical issues of continuing your career in the industry."

Actors are stubborn by nature, and sometimes they can get stuck. Sometimes, they are not as open to life changing directions as they ought to be. I applaud any actor who stays in the industry, but I also applaud any actor who has the balls to leave it. If it doesn't make you happy - go out and find something that does.

10 Ways To Not Be A Crazy Actor

2012-06-22T06:39:00.005-07:00

"I'm sorry. I don't date actors."

All of us have heard it. Some of us have even said it.

It's a challenge to date an actor. Actors can be vain. Actors can be self-centered. Actors can be poor. Actors can be needy ...not attractive qualities.

But you don't have to be that way.

Here are some things you can do for your own sanity maintenance, which will make you more date-able, more friend-able, and just plain happier.

1 - When people ask you how you are, don't respond with your auditions and callbacks first. That makes you sound desperate.

2 - Don't abuse social networking. Don't use Facebook and twitter to get the positive reinforcement you're not getting in your life.

3 - Develop other interests. Don't just be a musical theatre queen. Don't just watch commercials. Read a book. Go to a museum.

4 - Save some money, or be very plain with your richer friends about what you can afford. Don't get caught splitting a big bill, and then passive-aggressively hate on your friends with 9-5 jobs.

5 - Don't miss opportunities. Maybe fate has you in that horrible Fringe show so you can meet the man/woman of your dreams. Keep your eyes open. Don't have tunnel vision.

6 - Invest in your other jobs as well. It's a lot harder to be a terrible receptionist than a good one. And maybe the receptionist job will lead you to a different job you love.

7 - Make friend with the actors you audition with. Don't look at them as competition. Look at them as colleagues. Take some pressure off.

8 - Don't get obsessed with your looks. Be healthy-by all means-but don't get obsessed about being a size 2 for pilot season. Eat your own birthday cake.

9 - Not everything is a networking opportunity. Don't always be on parade, showing off your wares. Just talk to people like a human being - especially when you run into a casting director at a bar.

And most importantly...

10 - Don't apologize for being an actor. If you tell people you're an actor with dread in your voice, thinking you'll get rejected, you will. Say it with pride. You're interesting, brave and creative!

Let's change the stereotype, people. Don't be a dick.

Pilot Season is done.

2012-06-08T06:06:00.001-07:00

Hey actors,

Now that upfronts have happened and pilot season is way behind us... how did it go?
Did you get more auditions than last year?
Did you get callbacks? Screentests? Pilots? Pick-ups?

I was talking to a client of mine about how to get auditions for pilots. He was flummoxed.
In a tough-love conversation, I asked, "If you were a casting director for a project that cost a million dollars, and had a 1 in 20 chance of getting picked up, would you cast YOU?"

The fact of the mater is that (yes) casting directors are supposed to find new talent, but they also have to mitigate the risk of casting. If they cast a newby, the chances that they screw up are way higher. That's why networks tend to cast the same actors again and again. They know those actors deliver.

For this actor (with his modest resume) I suggested that he focus his energy on getting costars and gueststars on TV. A lot of them. If you're going to pay $400 for a class with a casting director, it's better spent on a casting director from a CBS show shooting in NY, rather than a Casting Director working on CBS pilots.

Now, if you did some auditions, even some callbacks - how are you going to use this as marketing to propel you forward? Is there an agent you're after who would be impressed that FOX called you in? Maybe CBS would be impressed that ABC gave you a callback? Though you may not have booked anything, even tiny successes in pilot season are a huge vote of confidence.

And if you sat at home during pilot season, what are you going to do in the next 9 months to make next year more productive? What classes do you need to take? What actors do you need to treat to a latte to pick their brain? Is your brand correct?

I'm a big fan of reviewing success and not-successes to see how to go forward. Maybe today is the day to do that.

Gotham Writers' Workshop

2012-05-24T12:05:00.004-07:00

This is 2012: The Year of Content, right? I made a promise to myself to create something new: a web series, a pilot, a novel, a play. When no one is creating projects to showcase you as an actor, you have to start creating them yourself!

I decided to take a screenwriting class. And when I googled "screenwriting class nyc" I was lead to Gotham Writers' Workshop. Then in a moment of serendipity, a Groupon for a one-day seminar at GWW arrived in my inbox, and I was ready to take the leap.

I just took the one-day screenplay seminar with Doug Katz, and I really loved it. I'd just taken a pretty lackluster sketch writing class at The Peoples Improv Theatre, and I was sceptical, but this class was exactly what I wanted it to be.

In 7 hours, the teacher gave us literally every tool you need to write a screenplay. Of course there is a lot of nuance still to learn, but now I know the structure, formulas that are proven to work, and I even got to pitch some ideas in class about what I want to write. Every day since the class I've been coming up with new ideas, and I'm energized to write my first screenplay.

Next, I'm going to take a television writing class because I have a great idea for a pilot.

So, I give a hearty recommendation to Gotham Writers' Workshop. Has anyone else gone?

20 things to do when you're STUCK in your acting career

2012-05-16T11:03:00.001-07:00

This is an excerpt from my book, SO YOU WANNA BE A NEW YORK ACTOR? It seems appropriate at the moment: lots of actors are complaining right now that the business is slow. The union merger is causing confusion, and/or it's just a momentary lull.
BUT, You're presented with an opportunity here. Try on of these 20 things!

(Get it? The puppy is "stuck"!)

20 THINGS YOU CAN DO WHEN YOU FEEL STUCK

1) Volunteer in a casting office. When you meet a new casting director, ask them if they ever need readers or assistants. Readers are the audition assistants that read audition scenes with the actors who come in. It’s a great way to get to know the casting people, to show that you know how to act, and to demystify the process, so you’re much more relaxed next time you come in.

2) Volunteer as an intern to do some office work with your agent or manager. It can be really eye-opening for an actor to see exactly what goes on in the office all day. The actors get to know their reps better, and vice versa. This relationship is crucial. Why not spend some time on it?

3) Take a class. Improv, Stand-up, Storytelling, VoiceOver, Shakespeare. There are 1000 great classes in the city. Classes will sharpen your talent, they will help you network, and they will give you something to put on a postcard.

4) Go to the gym.

5) Write a short film script. The book “Screenplay” by Syd Field is the classic how-to manual on screenwriting.

6) Organize an actors' support group with a few of your friends to meet once a week and work on new material. A support group can help you work your audition material, can sharpen your mailings and correspondence, and hold you accountable for your marketing plan. When you set a goal and tell everyone about it, you're much more likely to put the work in.

7) Submit yourself for five things you would not normally submit yourself for.

8) Learn a new monologue.

9) Organize your expenses to date so you are better prepared for tax season.

10) Write a thank you to your agent or manager for no specific reason, just for their partnership in causing your success.

11) Read a play you have never read before.

12) Pick your favorite actor. Rent three movies he/she is in, and have a movie marathon.

13) Register to do background/extra work. Being an extra is boring, yes, but it pays and gives you the opportunity to work on a set. If you're not comfortable with how a film/tv/commercial set works, then do some extra work and learn the lingo. You can register with the big casting directors either by mail or open calls.

14) Go to an open call you wouldn't normally attend. Open calls are great ways to gain experience and the perfect venue to debut a new monologue you've been preparing.

15) If you sing, prepare a song and tape it for your website or to send in CD form when you do mailings.

16) Hold a staged reading in your apartment. Cast your friends in all the roles.

17) Research improv and/or theatre groups and submit yourself to five.

18) Videotape yourself doing a scene or monologue and watch the tape. Look to see what works and what is missing.

19) Learn a new accent so you can add it to your repertoire. The standard way to do this is to buy practice tapes at any drama bookshop, but thanks to the magic of youtube, you can also find free lessons online.

20) Start an AFI film club with your friends. Go to AFI's website and pick one of their many “Top 100” lists, then start working your way down the list, watching the movies. Pay special attention to studying the performances.

Kickstarter Fatigue?

2012-05-11T04:29:00.001-07:00

Remember when only a few people were using facebook to market their shows and projects?
That lasted for about a year.

Remember when only a few people were using twitter to market thir shows and projects?
Well, nope - that never happened. Twitter was always intensely commercial.

Pretty soon we're going to be saying: Remember when only a few people used kickstarter to market their shows and projects?

Are you familiar with kickstarter.com? It's an amazing website. Any group - subject to approval - can submit a proposal, usually in the form of video + copy, for any project for which they are raising money. Take a look, there are a ton of great causes. There are also a ton of short films, theatrical productions, webseries, live events - all seeking funding. Right now, it's a great place to get investors. But, I predict... not for long. I personally have already donated to a Fringe Festival Show, a show with my company, and a NYMF show. I am not giving too much more money.

(If you're thinking about using kickstarter, it's worth mentioning that the organization only gets the money if the goal amount is met. That protects you from sending money for a cause that is hopeless. No point contributing $100 to build a $10,000 school in Africa, if they only raise $1000.)

I have searched a little, and it seems like there are dozens of NYC shows seeking funding. Not every one, but a bunch. Next year - it'll be hundreds.

Now, that doesn't mean it won't continue to be a useful way to raise money. Most money seems to be raised by friends and fans, with updates spread through facebook and twitter. That will continue to work. But as kickstarter becomes more popular, I think your chance of random money from new contributors will go down.

So, if you are looking for money for a project, give it a shot, soon! It seems to be working!

Some features of successful campaigns that I've noticed:
-Video. And well produced video.
-Personal pleas. A real story of passion inspires people to click the donate button.
-Incentives. The best pitches give something to the donor, if even a mention in the program.
-Continuous updates. Keep the donors involved. They allow you to do the work - treat them like producers.

Best of luck. As I've said, 2012 is the year of content! Make it happen, Actors Who Make Money!

5 Reasons We Love Our Unions

2012-05-02T11:38:00.002-07:00

I'm hearing a lot of complaining these days about SAG-AFTRA and the merge. People are always complaining about Actors Equity. Some newly union actors can't seem to get good agents, and are simply not auditioning. They're pissed. Some are going fi-core. Some are campaigning to get better agents, but the agencies are inundated with actors at the moment. In conclusion: It's Bitch-Fest NYC 2012.

However, I'm trying to look on the bright side.
I'm trying to take a moment to think about why unions are great. We all have our problems with them, but they exist for a reason - to make our careers better.

They don't always accomplish the goal, but I think it's time to list:

5 Reasons We Love Our Unions:

•They give us access to Health and Pension benefits.
      If you've ever had the luck of being on AEA, AFTRA or SAG Health Care... it's nice, isn't it? Lots of people simply go without insurance, and some pay up to $600 a month for their own. It's so nice to feel protected with reasonably solid insurance, and know that you've earned it.

•Once you get the job, they really protect you.
     Equity Breaks! Meal Penalties! Overtime?! What? One can argue that the wages could be higher, especially for AEA contracts, but no one will argue about the conditions under which you work. The standards set forth by the unions are high--at times decadent. SAG-AFTRA sets must have a guaranteed never-ending flow of food. Name another job that has that.

•They have a vested interest in making sure you don't get ripped off.
   Equity and SAG-AFTRA make money every time you make money, so they try their best to make sure you get what you deserve.
   A client of mine did a non-union commercial for a restaurant that paid $1000, and held a conflict with restaurants for 2 years. (So, he couldn't audition for commercials for restaurants for 2 years.) That's ridiculous! If you book a union commercial, yes you often get a conflict, but they pay you quarterly even if the commercial isn't in use. Of course you hope they use it, so you make more! You never have to hold a conflict, unless you're getting regular checks.

•Unions keep tabs on agents.
     In order to work on union projects, agents must be franchised with the unions. We all know horror stories about agents and managers trying to rip off actors. Unions keep them accountable. Agents are working under strict guidelines, without which, they'd have way too much power. They could charge 50% commission. Why not? We'd still need them.
    Just a note: Managers are not franchised by the unions. So if you're involved with a manager, just make sure that you've thoroughly read the contracts.

•Fringe benefits.
     Discounts
     The Shoe Fund
     The Actors Fund
     VITA
   iActor
     Screenings, free DVDs, tickets to show, classes
     Prestige and peer support

Keep these in mind as you're paying your dues twice-yearly, and maybe you won't have to make tiny cuts into your legs, just the survive.

Jenna Fischer on Showbiz

2012-04-26T08:17:00.000-07:00

Did you guys see the Jenna Fischer blog that recirculated this week? It's old. It's from MYSPACE. But it's so well put, and really makes me feel good about what we all do. That consistency, professionalism, and smart marketing can really pay off. Take a read.

The Acting Advice Blog - by: Jenna Fischer from The Office

I’ve received tons of letters from people asking advice about the entertainment industry and, in particular, pursing a life as an actor. People have also asked how I got to be on The Office. This blog, I hope, will address some of those questions.

I grew up in St. Louis Missouri.  I always wanted to be an actor but when you grow up in a place like St. Louis that is sort of like saying, “I want to be a superhero when I grow up”.  It hardly seems real.  The world of Hollywood is mysterious.  You hear stories of girls being discovered at ball games.  Success is about having “it” or being pretty or some other intangible magic.  You have no model for how to succeed.  Everyone’s story is different.  One person does stand-up for 15 years and then gets a TV show, someone else finances their own movie and it takes off at a festival and suddenly they are the hottest thing.  But for each of those people there are thousands of stand-up comics and filmmakers who never got their break.  How do you know what to do?

I thought being an actor meant being famous. But, most actors aren’t recognizable. It’s funny. I watch TV in a whole new way now. Like, I watch a show and I see the person who has 3 lines on Law and Order and I think, “Their family is gathered around the TV flipping out right now. I bet that was a huge deal for that person!” There are so many actors that make a living by doing support work on shows. I was that person for many years.  For me to stay in this business, it had to be okay if I was never recognized. I learned that I loved the craft of acting more than the idea of being famous.
My first piece of advice to someone who is serious about being a professional television or film actor is:  move to Los Angeles.  Moving to Los Angeles can be difficult but it is the only city that doesn’t put a ceiling on where you can go with your career.  New York is the place to go if you want to do theater.  But if you want to be in film and television, move to LA.

I had a teacher once who said, “If you can think of anything else you are passionate about besides acting, do that.  Your life will be better for it.”  I actually think that might be good advice.  I couldn’t come up with anything so I moved to LA.

I fully expected to be working in movies within a year of moving to LA.  That was not my reality and it is not the reality of most people who move to LA to pursue acting.  It can take a very, very, very long time to succeed in this business and my best piece of advice is to not give up. You have to motivate yourself and just keep going.  Create projects for yourself.  Don’t whine. The first year is the hardest followed by every anniversary up to about year 5 when you’re so beaten down you don’t notice the years passing anymore.  I have a friend who is so incredibly talented it is a crime that after 10 years in LA he still has to wait tables to make a living.  He gets acting work here and there but he can’t hold down an agent.  This business is not fair.  It is not like other businesses where if you show up, and work above and beyond everyones expectations, you are pretty much guaranteed to move up the ladder.  I don’t know why it works out for some and not for others.  And when you move here you have no idea which camp you are going to fall into.

It isn’t who you know.  It just doesn’t work that way.  I didn’t know anyone when I moved to LA.  Most people don’t.  I shared an apartment with an old college buddy.  He had a commercial agent and I was sure that by knowing him, this agent would take me on.  She didn’t.
Here is how I got “discovered”.  I had been living in LA for about 2 years.  A friend wrote a TV script and wanted to do a live stage version as a way of attracting TV producers.  He asked me to play a small role.  It meant lots of rehearsal for very little stage time and no pay.  Along the way I questioned why I had agreed to do it.  But, it was very funny and he was a friend, so I agreed.  After our 3^rd performance, his manager approached me and asked if I had representation. I said, no.  She offered to represent me saying she thought I had a real future in television comedy.  Naomi is still my manager today.

A month later, I was doing a very strange play - a musical adaptation of the movie Nosferatu – at a small theater in Los Angeles.  I was doing it because I loved the Commedia dell’arte style of the show and the people involved.  I worked all day as a temp doing mind-numbing data entry for a medical company and then went to rehearsals for 5 hours a night, often getting home past midnight.  One night an agent came to see the play and left his card at the box office asking to meet me.  He became my first agent.

Now, that sounds easy right?  Well, that was all after 2 years of working as a temp, doing every acting gig I could find – usually for no pay, borrowing money to buy a new engine for my car and wearing a pair of shoes with a hole in them because I couldn’t afford anything else. Did I mention my living room curtain was made from a torn bed sheet?  It was another 3 years before I got my first speaking part on a TV show.  That show was Spin City.  (I played a waitress in a scene where the girl playing Charlie Sheens crazy date threw bread at me.)

Every year I did a little more than the year before.  My first 5 years I probably earned between $100 – $2,000 a year from acting.  Year 6 brought me some of my biggest success and I only made $8,000 from acting.  But, I put a lot more money into my career than that. Headshots are expensive. The photo session and getting prints can run anywhere from $500-$800. Classes range from $150-500 a month. It costs $1,200 to join SAG once you are eligible.  And apartments are crazy expensive.  $700 – $1,000 for a crappy apartment that you share with at least one roommate.  Its no wonder my living room curtain was a bed sheet.

So, how did I get The Office?  Spin City was cast by Allison Jones.  She also casts The Office.  She became a fan of mine through a series of auditions.  I kept going into her office year after year auditioning for different things.  I got some and not others but she kept bringing me back.  I developed a relationship with her – not because I met her at a party and we schmoozed – but because I had proven to her over the course of many years that I was a reliable and serious actor capable of providing a consistent body of work.  That is what this business is all about – from a real working actors perspective.  Allison remembered me when it was time to cast The Office.  She called me to audition and I finally got the part.

Most actors think their first priority after moving to LA is to get an agent.  I disagree.  I think the first priority should be to build a body of work.  Become a pro so that you are valuable to an agent.  No agent wants to sign a non-union newbie.  It’s not their job to get you ready.  Join NowCasting.com or LACasting.com and submit yourself for non-union work. Get experience. These websites require you to pay a monthly fee for their service.  I would normally warn you about places that charge you a fee, but NowCasting and LACasting are legit businesses.  You post your photo and resume.  They post casting notices for student films, short films, non-union work and some commercials.  You are able to submit yourself for work and hope you get a request to audition.  I have friends who work all the time doing this.  It is a great way to get commercial work.  I think the website LACasting.com submits their non-union members to commercial agents as part of their service.  (You need to live in LA to participate.)

Work as an extra.  If you are new in town this is a very good way to learn how a movie or television set operates.  I did this my first year and I’m glad I did.  No one gets treated worse than an extra (or as they are called now, background artists) but since I went through it myself I know how to be gracious now that I’m more successful.  It’s a great boot camp. You learn the set terminology and etiquette from a safe distance. That way, when you book your first acting gig you will know what it means to “hit your mark” or how to “clear for second team”. The top extras casting agency is Central Casting.  If you work enough you can earn your SAG card.  That’s how I did it.
You need your SAG card to be taken seriously by an agent.  You cannot work on a TV show or a studio movie without belonging to the Screen Actors Guild (SAG) Union.  You can do some extra work if you are not in the union but you cannot have a speaking role in a major production.  There are non-union productions that hire non-union actors (like student films and low-budget features) and that is a great way to get practice in front of a camera.

When you are ready to get an agent you should know a few things.  Legitimate agents only take 10 percent and they should NEVER charge you a monthly fee or startup fee.  They should not force you to use a certain photographer to take your headshots.  If they do, they are probably just signing you up so that you’ll hire the photographer and they’ll get a kick-back.  Agents should only make money if you make money.  An agent may ask you to sign a contract – this is normal.  A standard contract is for 1-2 years.  I would not sign a contract for more than 3 years.  And, READ THE CONTRACT.  A friend of mine met with an agent who tried to write a clause into the contract that made it so that, at the agent’s discretion, the contract never ended.  If you are unsure, contact SAG and ask them for a standard Agent/Client agreement.  Ask if the agent you are thinking of going with is SAG certified.
If you are good at comedy, take classes from the Groundlings or I.O. (formerly known as Improv Olympic).  Second City in Chicago is also great.  These are the most recognized improv comedy places. They look good on a resume.  It’s a great place to meet people when you are new to town.  Classes are expensive so that can be hard when you are just starting out.  I didn’t do this but I wish I had.  Almost every actor on The Office has studied with one of these 3 places.
There is a book you can get at the LA bookstore Samuel French called “The Actor’s Guide to LA”.  It is a spiral bound book that is updated every year.  It lists all the extras casting agencies, casting directors, agents, photographers…etc.  This is a great resource for the new actor.  I also suggest reading Backstage West.  It has casting notices and articles for actors.

Finally, there is an amazing book you can do called The Artists Way by Julia Cameron.  I highly recommend it.  It is a 12-week self-lead creativity seminar in the form of a book.  It’s brilliant.  You don’t have to move to LA to do it.  In fact, it would be a good thing to do if you are thinking of moving to LA.  It might give you the answers you need.  It was through doing The Artists Way that I was inspired to make my movie LolliLove.  I completely credit this book with giving me the tools and courage I needed to complete that project (a project that took over 4 years to finish.)  And I credit LolliLove with giving me the confidence and practice with the mockumentary style that lead me to landing my job on The Office.

Yes, you will meet some scumbags if you move to LA.  People that prey on newcomers.  I can tell you with absolute certainty that those people have NO POWER in the grand scheme of things.
For example, it was my first year in town and I was part of a theater group.  At a party for a new play opening the playwright came up to me and asked me if I was an actress.  I said yes. He asked if I was interested in doing a part in his new movie.  I was kind of floored.  How did he know I was any good?  I said, “What is it about?”  And he said, “Well, you’d have to do a raunchy sex scene with nudity.  Would that bother you?”  I laughed and said, “I wouldn’t do anything I wouldn’t be proud to show my parents.”  He then said, “That was a test.  You aren’t a real actress.  A real actress would never say that.  A real actress would piss herself onstage if the part called for it.  You aren’t going to make it in this town.  You should just go home.”  And then he walked away.  I went back to my apartment and cried.  Why was Shem Bitterman (that is his real name) such a dick?  I have no idea.  Stuff like that will happen to you if you decide to become an actor. People will roll their eyes when you tell them what you do. You have to develop a thick skin – without becoming jaded, guarded or cynical.  That’s a tall order.  I’ll say now what I wish I had said then, “Shem, sir, with all due respect, you are a fuckface and you can kiss my ass.”

I have a great acting coach who says that success in Hollywood is based on one thing:Opportunity meets Readiness.  You cannot always control the opportunities, but you can control the readiness.  So, study your craft, take it seriously.  Do every play, every showcase, every short film, every student film you can get.  Swallow your pride.  Be willing to work for nothing in things you think are stupid.  Make work for yourself.  Make your own luck. Don’t complain.  Hopefully, the work will find you if you are ready.

I know how hard it can be when you first get out here.  Go out and meet as many people as you can.  Create a family for yourself of creative, supportive people.  AND, don’t stop your personal life for your career.  I know a lot of people that wait to do things – visit family, friends, have relationships, get married – because they are waiting until they “make it”.  Or, they don’t go to a friend’s wedding because they might “miss something”.  Life is too short and it’s not worth it in the end.  I always took off and did that stuff and it turned out fine.  I was often anxious and worried in the process but I did it.  I believe that in order for my professional life to move forward, I have to keep my personal life moving forward as well.

I wouldn’t be where I am today if not for my ex-husband James. He is the one who convinced me to quit my job as a secretary (ironically) and focus full time on acting.  I didn’t totally believe I could make it but he did. He supported us financially and supported me emotionally. He ran lines with me and coached me before countless auditions. He put up with my highs and lows. He was, and still is, my biggest cheerleader. And, you need that out here.

It will be hard to explain your first milestones to friends and family back home.  They are waiting to see you on TV or on the big screen.  It is hard to explain how a 2^nd callback for a job you didn’t land was the highlight of your month and a very valid reason to celebrate.  I remember one year my proudest moment was at an audition for a really slutty bar maid on a new TV show.  It was written for a Pam Anderson type.  I thought, “I can never pull this off.  I just don’t have the sex appeal.  I feel stupid.  No one is going to take me seriously.”  But, I committed to the role and gave the best audition I could.  I didn’t get the job.  I didn’t get a callback.  But I conquered my rambling, fear-driven brain and went balls out on the audition anyway.  That was a huge milestone for me – but hard to explain at Christmas.  A year later I booked the role of a trashy prostitute in a little indie movie called Employee of the Month.  In the past I would have turned down the audition thinking that I would embarrass myself.  But after that earlier breakthrough I felt confident.  The success is not always in getting the part but in the seed that is planted.

If you live in LA and are serious about acting, I know a great acting coach. He teaches a class on How to Audition.  Being a great actor isn’t enough.  You have to master the art of the audition – showing people you are a great actor.  His class is both inexpensive and amazing. I completely credit him with changing me from a good actor to a working actor. His name is Robert D’Avanzo 818-508-0723. Ask about his 6-Week On Camera Audition Class. He’s the best kept secret in town. And he’s AFORDABLE!

This Spring marked my 12 year anniversary in Los Angeles. I didn’t land the part of Pam on The Office until year 8. I’m hardly an overnight success. Likewise, Rainn Wilson toured the country doing theater and was one of those working but unrecognized actors for over 10 years. Steve Carell had been kicking around for close to 20 years. Most of us on The Office have a story like that.  I think that is one of the reasons why we are all so very, very grateful to have landed such a wonderful job. Slow and steady wins the race.

I hope that answered your questions about the biz. Good luck!

80/20

2012-04-16T10:30:00.008-07:00

When I took my first acting class in NYC, the teacher mentioned the 80/20 program - which is a program that puts low-income New Yorkers in luxury buildings for a vastly reduced rental rate. My understanding is that when a new, luxury building is built, the city gives them huge tax breaks if they become an 80/20 building. There are over 3 dozen, and they are NYC's best kept secret.

Because the program is so awesome, they don't publicize, and you have to find out from word-of-mouth... or word-of-blog.

I got my 80/20 apartment 4 years ago, and when it happened so many people asked me about it that I wrote everything I knew into an essay, which I'll attach below***. Obviously the info is out of date, but if you follow the links in the top part, you can find out all of the updated addresses. You'll have to dig.. but, wow is it worth it.

(I also recommend the housing class at The Actor Fund - they know everything!)

***Using the info in this essay, 4 of my friends/clients have gotten their own apartments. Rents well under $1000 for studios and 1-bedrooms in some of NYC's nicest buildings. One of these guys has a building with a private pool. Luxury, people... LUXURY.

So, take a read - do some digging, and apply!

How I got a cheap, amazing apartment and how you can too.

When I began auditioning in New York in 2001, I got some really good advice: start applying for affordable housing. Every 6 months since then, I’ve been sending out postcards to ask for applications, and filling out whatever forms they sent me back. This month I finally got one. I don’t want to brag but it’s an amazing one-bedroom, in a luxury building, in a killer neighborhood for under $500 a month, AND it’s rent-controlled for 20 years.

I wanted to pay-it-forward, so I’m including all the information I have about how YOU can get an affordable housing unit too. All of this information is based on my experience and the conclusions I’ve drawn, so it may be riddled with inaccuracies, but here’s what I know:

The 80/20 Program:

My understanding is that the city created this program to bridge the gap between the lower class and the upper class. If the development companies of new luxury buildings decide to take part in the program they get huge tax breaks. In return, they promise to offer 20% of their units for rent to lower-income folk at a really reduced rate.

I think the idea is that the lower-income people will hobnob with the rich people, and be inspired to make more money. Voila, income gap is bridged.

“Low-income” includes a large range of people. It’s based on your tax returns (actually an average of your last several tax returns) and ranges from the 40th percentile to the 80th. That means that if you make between 40% and 80% of the average New Yorker’s yearly income – you may be a candidate. I think (and this is really a guess) that means between $14,000 a year and $36,000 in 2008 dollars.

Note: You may not be low-income now, but if there is a chance that you will be ANY time in the next few years, why not give it a shot?

Note to those from Jersey: I had been told that they’d only let you apply if you were already a resident of NYC, but I was living in Jersey when I put in my application. So, that may have changed that rule.

Here’s a list of phone numbers and websites you check out for more information. (There are other programs beside the 80/20 Program: Mitchell-Lama, Common Ground, Section 8, etc. I know much less about these, but you can read up at the following websites.)

http://www.actorsfund.org/services/Housing/Housing_Resource_Center/index_html

http://www.nyc.gov/html/housinginfo/html/home/home.shtml

Mitchell-Lama Program Hotline: 212-863-5610 and 212-863-6502

http://www.hud.gov/

The 80/20 Program – 212-227-5500

http://www.nychdc.com/

Related Management Hotline

212-987-6445 for current information.

www.commonground.org

Section 8 housing hotline

917-286-4300

There is also a mailing list on the www.nyc.gov website that you should get on: Click here.

Additionally, I’ve heard of free seminars given by The Actors Fund on getting affordable housing. Click here.

They don’t make it easy for people to learn about these programs, and there is no one place on the Internet to find all of the information you need to apply. This may be the most comprehensive list available. Make sure you call those numbers and check those websites every now and then to update your list. Buildings will be added and taken away often.

It starts with postcards. Much like doing a mass mailing of headshots, I suggest you just send a postcard to everyone, and they’ll let you know if they’re looking for people. Every six months, either buy blank index cards, or get pre-paid postcards at the Post Office, and mail to all of the following addresses:

Affordable Housing Office

Tribeca Tower

330 West 30th Street

NY, NY 10001

Affordable Housing Office

Tribeca Park

330 West 30th Street

NY, NY 10001

Affordable Housing Office

The Ventura

330 West 30th Street

NY, NY 10001

Affordable Housing Office

The Tate

330 West 30th Street

NY, NY 10001

Affordable Housing Office

The Strathmore

330 West 30th Street

NY, NY 10001

Affordable Housing Office

The Sierra

330 West 30th Street

NY, NY 10001

Affordable Housing Office

The Sagamore

330 West 30th Street

NY, NY 10001

Affordable Housing Office

The Monterey

330 West 30th Street

NY, NY 10001

Affordable Housing Office

The Lyric

330 West 30th Street

NY, NY 10001

Affordable Housing Office

Carnegie Park

330 West 30th Street

NY, NY 10001

Affordable Housing Office

Astor Place

330 West 30th Street

NY, NY 10001

Affordable Housing Office

The Chatham

330 West 30th Street

NY, NY 10001

Affordable Housing Office

The Park Imperial

330 West 30th Street

NY, NY 10001

Affordable Housing Office

105 E. 17th St.

330 West 30th Street

NY, NY 10001

Affordable Housing Office

The Westport

330 West 30th Street

NY, NY 10001

Affordable Housing Office

One Carnegie Hill

330 West 30th Street

NY, NY 10001

Affordable Housing Office

One Union Square South

330 West 30th Street

NY, NY 10001

Affordable Housing Office

Tribeca Green

330 West 30th Street

NY, NY 10001

Affordable Housing Office

250 East 60th Street Associates, LP

941 Hoe Avenue

Bronx, NY 10459

RockRose Development Corp.

290 Park Ave. South, 14th Fl.

NY, NY 10010 attn: 80/20 program

Affordable Housing Office

116 West 116th Street Apartments

Property Management Group

3154 Albany Crescent

Bronx, NY 10463

Affordable Housing Office

(West 61st St. Apts)

Knickerbocker Management LLC

33 West 57th Street #007

New York, NY 10019

Affordable Housing Office

Chelsea West Apts.

PO Box 762

New York, NY

10159

Affordable Housing Office

UES Towers

101 West 23rd Street

PMB 2222

New York, NY 10011-2222

Affordable Housing Office

Clinton Parkview Apartments

c/o P & L Management

PO Box 9

Brewster, NY 10509

Affordable Housing Office

400 W. 55th St. Apartments

55th and 9th LLC, Gotham Organization

55th Street Apartments

Grand Central Station

P.O. Box 2455

New York, NY 10163

Affordable Housing Office

The Larkspur c/o HCCI

P.O. Box 1189

Colonial Park Station

New York, NY 10039

Affordable Housing Office

The Aspen

1955 First Avenue

Management Office

New York, NY 10029

Affordable Housing Office

The Hudson Crossing

Hudson Crossing

P.O. Box 829

Time Square Station

New York, NY 10036

Affordable Housing Office

(600 columbus)

1230 Pennsylvania Avenue

Brooklyn, NY 11239

Affordable Housing Office

The foundry

Archstone Apartments

505 West 54th Street

New York, NY 10019

Affordable Housing Office

James Towers

Better Life Renting Corp.

97-77 Queens Boulevard

Rego Park, NY 11374

Affordable Housing Office

Chelsea Centro

Rockrose Development Corp.

290 Park Avenue South

14th Floor

New York, NY 10010

Attn: 80/20 program

Affordable Housing Office

(W. 48th St. Development)

Lisa Management

225 East 6th Street

New York, NY 10003

Affordable Housing Office

(530 W. 43rd St.)

Gotham Construction Company LLC

110 Avenue of the Americas

New York, New York 10018

Affordable Housing Office

The Brittany

Rental Office

1775 York Avenue

New York, NY 10128

Affordable Housing Office

One Columbus Pl.

Urban Associates, LLC

400 West 59th Street

New York, New York 10019

Affordable Housing Office

(100 Jane Street)

Rockrose Development Corp.

290 Park Avenue South

14th Floor

New York, NY 10010

Affordable Housing Office

Parkgate Tower/Key West Apartments

Archstone Apartments

505 West 54th Street

New York, NY 10019

Affordable Housing Office

Manhattan Park Roosevelt Island Northtown Phase II

Grenadier Realty

c/o Roosevelt Island Manhattan Park

30 River Road-Management Office

Roosevelt Island, NY 10044

Affordable Housing Office

(Clinton Towers @ 790 11th Ave.)

P & L Management

PO Box 9, Rte 22

Brewster, NY 10509

Affordable Housing Office

COLUMBUS PARK TOWERS

ADAM, Inc.

495 Broadway, 6th Floor

NY, NY 10012

Affordable Housing Office

ELEVEN NINETY NINE PLAZA

Marion Scott Real Estate, Inc.,

107-127 East 126th Street

NY, NY 10035

Affordable Housing Office

INDEPENDENCE HOUSE

Leebar Management Corp.,

51 East 42nd Street, Suite 516

NY, NY 10017

Affordable Housing Office

KNICKERBOCKER PLAZA

RY Management 1619 Third Avenue New

York, NY 10128

Affordable Housing Office

MANHATTAN PLAZA

Related Management

400 West 43rd Street

NY, NY 10036

Affordable Housing Office

Westbeth Apartments

Westbeth Apartment Management

463 West St. NY, NY 10014

(incl double stamped SASE)

The text of the postcard should be something like:

Dear Affordable Housing Office:

I’d like to request an application for your affordable housing program. If none are available, please place me on a waiting list.

Thanks,

You

Your Address

Phone Number

There is a waiting list for everything. It’s really important to get on these lists ASAP. It can take years to get to the top.

When you finally start getting applications, fill them out. They are really complicated and tedious, but I think they do that on purpose to thin out the crowd. Also, don’t worry if your financial information doesn’t fit into the low-income category at that moment. They reassess everything when you get further into the process.

I probably filled out 8 applications for different buildings, and finally I got a call that, “my number was coming up,” and they wanted to bring me in to update the application and to have an interview.

They’ll provide you with a LARGE list of things to bring to the interview, including 6 months of bank statements, tax returns, leases, references. It’s intense. Again, I think they are trying to get rid of the losers.

Note: You are totally the kind of person they want in the program. They want people who fit in the low-income category, but won’t stick out like a sore thumb in a luxury building. They need you as much as you need them.

If the interview goes well, they tell you where you stand on the list, and the estimated amount of time before you’re next. I had to wait about 4 months. If you’re getting really close, they’ll move to the next step: the home visit.

An agent from the housing office will come to meet you at your home. They are basically checking to make sure that you know how to take care of an apartment. I was really worried about my home visit, and I cleaned my apartment like it’s never been cleaned before. I even put on coffee and made cookies. The interviewer walked in the door, and said, “Oh don’t worry, you’re going to pass.” He didn’t even take the cookies. Rude. Point being, they’re just checking to make sure you don’t live in a meth lab, or something.

A month later, I got a call from the office that an apartment was open. The Resident Manager from the building called me to make an appointment for me to see the place. It was awesome. Two days later I was bringing first month’s rent and a security deposit to the office, and they handed me keys.

Note: The rent is not technically rent-controlled, but it’s very similar. Every year the rate will go up a small percentage, as dictated by the Housing Board. I’ve been told, it’s basically a cost-of-living increase. The program runs through 2028, but it will likely be extended beyond that.

So, check out all of the links and phone numbers I included, and send your postcards. It’s an amazing program that not a lot of people know about. Good luck.

Hope this helps.

Written 1/08

Update 4/08: I got an email from a friend which included the following new information: "Related has a 'general request list' open for all their properties so you can consolidate your recommendations to people to use that for all the postcards to 330 w.30th to make it simpler for folks :)"

Related Management handles about 30 of the 80/20 buildings - so this may be a huge time saver! Thanks.

Update 4/09: I just got an email from someone who let me know that the following postcards were returned. The address is no longer valid:

400 W. 55th St.Apartments

55th and 9th LLC, Gotham Organization

55th Street Apartments

Grand Central Station

P.O. BOX 2455

New York,NY 10163

Making yourself "agent friendly"

2012-04-12T10:57:00.006-07:00

One of the topics that discussed in my book SO YOU WANNA BE A NEW YORK ACTOR? is, of course, how to get an agent. My co-author Josselyne Herman-Saccio of Josselyne Herman and Associates Talent Management (and not coincidentally, my manager) was interviewed this week by Backstage on just that topic:

The way to get an agent is to become what I call "agent friendly," and there are a number of steps you should take to get there.

First, have your materials in order. Your photo, resume, and website should look great. Then you need to get to know casting directors. I've found the best way to do that is through the casting director workshops. (In New York, there's either One on One, Actors Connection, or the Green Room.)

Get the casting directors to love you and call you in, because they will -- they want to find new talent -- with or without an agent. Then after you have about 10 CDs who are your fans, you can go to an agency and say, "The following casting directors are familiar with my work." So to an agent, it doesn't look like you're starting from nothing. You will have done the groundwork, and there are CDs they can call and ask, "Do you like this person? Do you think they are worth signing?"
- Josselyne Herman-Saccio

Here's the link to entire article, where she also cover a few more important topics.

Take the survey! Marketing for actors in NYC.

2012-04-04T02:59:00.005-07:00

Here's the survey I've been talking about.
Please take a moment to fill it out, and please pass it along to your other actor friends. I'd like to get 500 responses.

Thanks!!!!

Here's a direct link: http://tinyurl.com/bo3gv8d

Big-ass survey!

2012-03-29T05:34:00.003-07:00

Last week I blogged about opening up a discussion: What part of your marketing works, and what part doesn't.

I did a lot of thinking about it, and I just kept coming up more questions, so I decided to make a survey. I discovered a website that will allow me to make a big survey, and send it out by email, and by social networking. I'd love to 500 actors to take it - I think we'll get some really important information.

If you have any questions you'd like to see answered, let me know! I plan to make this live in one week, on April 6th, 2012.

Here are some of the questions:
Have you paid for a meet-and-greet (one time only, not a multiple week class) with an agent, a manager or casting director at a place such as Actors Connection of The Network? (mark all the answers that apply)

Yes - legit agent

Yes - commercial agent

Yes - modeling/print agent

Yes - manager

Yes - legit casting director

Yes - commercial casting director

Do you find postcards effective? (Leading to auditions, maintaining relationships, forging new relationships)

Very Effective

Effective

Neutral

Ineffective

Very Ineffective

If you do, in fact, have a voiceover demo, do you feel like the investment was worthwhile, in terms of future income?

Strongly Agree

Agree

Neutral

Disagree

Strongly Disagree

So, you get the point.

I think together, we can come up with some smarter strategies for personal marketing.
Suggestions are welcome!!!

What works?

2012-03-19T09:24:00.005-07:00

Hi blogoshere,

I'd like to open up a discussion about what works and what doesn't? What part of your personal marketing has yielded results, and what part hasn't?

This occurred to me as I was signing up for yet another class. From my viewpoint, if you want to get into episodic TV, and either your agent isn't getting you the appointments, or you have no agent - then paying $100 to meet the casting director directly seems like a smart move. But, does it work?

So, who can leave a comment of a specific example of that happening? Please feel free to be anoymous (there's an option for that in the comments section.)

And what else works?

-A mass mailing of Voice Over demos?
-A mass mailing to commercial agents?
-A mass mailing to legit agents?
-Maintenance postcards - every 4 to 6 weeks?
-Making a kickass website?
-Looking for work through Twitter?
-Looking for work through Backstage?
-Looking for work through Actors Access?

As a marketing coach, I suggest these things all the time - you have to have some plan - but what works? I can guess based on the results of my clients, but I'd like to know what other people have learned.
Thanks!
Guy

Snoop to find an agent.

2012-03-13T19:14:00.005-07:00

Since I'm a marketing coach for actors, I need to keep lists of agents and managers. I give each client a personalized list, if we decide doing mailing is a good idea.

If you want a list of franchised agents, you can go to The Callsheet or other such digests. But, man, the world is changed, and there are a ton of agencies working that aren't franchised. They don't have to be. They can make money doing non-union commercials. Just like actors.

So where are they listed???

They're not.

So, every time I go to an audition I snoop: at my sign-in sheet, at every sign-in sheet. If someone signs in with an agent I've never heard of, I write down the name and google them when I get home. This way I have the most comprehensive list of agents that are getting their actors auditions.

Now, I'm not going to share them all with you for free, but a few names have been popping up more frequently.

If you're looking for an agent, check them out, and maybe you'll get a meeting. They can't be receiving a lot of mail - they're not listed!!!!

Across The Board Talent

Dream Makers Talent

Take 3 Talent

Lauren Green Management

Forgive me if you know these agencies, and I've just overlooked them, but you get the point: If you want more auditions, find out which agencies are getting actors auditions, and make sure they know who you are.

That's good business. Snooping.