NYCastings

NYCastings - Advice - Hugh Hefner: Playboy, Activist and Rebel - His artistic choices, exposed in a new documentary

Wed, 28 Jul 2010 10:51:00 GMT

Written by: Kelly Calabrese

In a time of discretion, regulations and racial tension, Hugh M. Hefner built an empire without borders or boundaries. Some may call him a genius. Others, a gluttonous instigator. Either way, Hugh Hefner is undoubtedly - a mastermind of self-invention.

Through his strong sense of direction and off kilter perception, Hugh Hefner gained momentum.

“Controversy is the way you change things,” Hugh Hefner shares in his documentary, Hugh Hefner: Playboy, Activist and Rebel, by Oscar-winning™ producer/director Brigitte Berman.

The very word, ‘controversy', makes his choices sound overtly risky. And, certainly, he falls into the rebel category. However, his basic viewpoint lines up with what so many artists strive for... the ability to push boundaries, fully commit to an idea and stand out in a way that's authentically original.

“Who I am is an open book with illustrations,” Hefner says, “yet how someone interprets those illustrations is very much an ink blot or a Rorschach.”

One way to interpret his story, as told in the documentary by Academy Award Winner Brigitte Berman, is to hear beneath and see beyond the obvious “Playboy” portion of the magazine, media and mansion.

At the center of Hugh Hefner: Playboy Activist, Rebel – the documentary exposes the secrets to success and the costs of creating one's personal heaven.

To start, Hugh Hefner traveled down the same track as many others. He majored in psychology in order, “to understand why we are the way we are.” And, “escaped into the dreams and fantasies of childhood through the movies.”

“In that theatre you can escape to anything, anywhere,” Hefner shares.

Also, like most day dreamers, Hugh Hefner spent his time at a 9 to 5. He worked as a circulation manager for a children's magazine until he began to wonder if his life would take the same form as his parents.

“There was a moment when I stood on the Michigan Avenue Bridge and looked out on the lake and wondered… is that all there is,” Hefner shares. “Is this what my life will be?”

“Days after that, I started making plans for a men's magazine.”

Big thoughts may come easy, yet Hugh Hefner also took action, immediately.

“I went to local banks and loan companies and managed to borrow $600,” he says. Then, he borrowed more from family, which helped him put together the first issue.

Moving fast made him feel like a one man band. But he stuck with his gumption, discovered that a local calendar company owned the much talked about nude picture of Marilyn Monroe and bought it from them, with the intention of redefining a nation's take on the girl-next-door.

The result… “The first issue was so well received it sold 52,000. By our 5^th anniversary we were selling sold over a million,” Hugh Hefner says.

“I got successful enough to put together a jazz festival and everyone was there. I had turned into a brand. And then I started living the life, turned into a playboy. Promoting the book that way seemed natural to me.”

Each success simply meant taking another big step. There were performers who were on blacklists, considered revolutionary, and Hugh Hefner brought them on to his show because he did not agree with silencing talented artists.

“I created a show I felt the audience would enjoy,” Hefner says.

He acted as a director behind the scenes, making sure he worked on every page of the magazine, saw everything that went into it, got big names and big interviews.

Yet, Hefner didn't pre-calculate every success. Some began organically, as was the case with his magazine feature called, “The Playboy Philosophy.” Hefner wrote it for just one issue, because he wanted to make a point about the public's perception of him.

“If I was going to be damned for what I believed, I wanted it to be for what I believed, not what they thought I believed,” Hefner says.

Readers loved the concept, meant for just one publication, and Hefner continued to write it for the next two to three years as the magazine moved like crazy in circulation form 1 million copies to 7 million a month.

These big rewards came at a big cover price for Hugh Hefner, as working became “an obsession.”

“I would go until I was too tired to work any longer and then would have something to eat and sleep,” Hefner says.

Many times he worked three days in a row, striving to keep up with the person everyone expected him to be… Hugh Hefner: Playboy, Activist, Rebel.

Of course, Hefner also has a personal agenda. He stands up for equality, once transported orphans on his private jet full of Playboy bunnies! And he contributes to the preservation of films – a salute to his childhood escapes at the theatre.

Out of all of his tangible achievements, “the thing that means the most to me is probably my star on the walk of fame because it is most connected to my childhood and my love of movies,” Hefner says.

“I thought the latter part of my life would have been looking back on those early days. But suddenly, the here and now is as exciting as it was back then. Who knew?” Hugh Hefner shares.

Who knew… that a documentary about a man known for centerfolds could stir up such a straight and narrow(ish) success story? Goes to show that one can learn from anyone, anywhere.

As artists, being open and aware… changes everything.

For the fully exposed picture of Hugh Hefner… with commentary by noted artists: Tony Bennett, Ray Bradbury, James Caan, Reverend Jesse Jackson, George Lucas, Bill Maher, Jenny McCarthy & more…

Check out Hugh Hefner: Playboy, Activist and Rebel - in theatres July 30^th.

http://www.hughhefnerplayboyactivistrebel.com/

NYCastings - Advice - Get the Unexpected - Jay and Mark Duplass share their organic style of filmmaking

Fri, 23 Jul 2010 10:29:00 GMT

written by: Kelly Calabrese

As a writer/director team, Jay and Mark Duplass create smart, witty, relationship driven films for audiences that want to laugh, cry, grimace and applaud - all at the same time. They start by writing a tight script, building a unique, powerful structure, and then they do the unexpected. They give their actors complete artistic freedom to evolve each scene into something fresh and inspiring.

"We have a shaggy control," says the Duplass brothers, Jay & Mark, about their organic approach to filmmaking.

The result... movie magic.

"For us, it is really important to give our actors the freedom to say the lines in a way they want to say them because it gives a natural performance," says Mark Duplass. "Jay and I believe it is really important to create a structured narrative. But, those tiny, minute nuances that happen between characters are based on a natural chemistry. If you try to control that too much, you can miss out on the magic. And if you over rehearse, it could look fake. "

"The best thing we can get from our actors is to not control them too much. All of our actors are great storytellers. We go with their instincts, in terms of specific, deep rooted things that they want to try or off the wall things they want to try."

"We want our actors to create the most organic and inspired version of what already exists in the script. What you hope for, in improv, is to find something more fresh, something that inspires people. It is about getting something different than expected."

The actors evolve the story and then the Duplass brothers "manage the tone more in editing."

"We want our actors to have an openness, an ability to do several different types of things on a day, so that we have options when editing," the Duplass brothers say. "We may go more sincere, go in a new direction. Someone who is generous enough to let us go in a different direction, when editing, is important to us."

For their latest project, Cyrus, the Duplass brothers tell a story about a traditional love triangle, thrown off kilter a little.

"What inspired us to do this movie was the love triangle, working in a classic genre, but doing it our way. We look for that perfect mysterious balance between what is funny and tragic, what pulls on the strings of your emotions and keeps people on their toes, because that is what we want to experience when we go to the movies."

"We are obsessed with relationships," the brothers share. "We watch people at airports and film festivals and talk to people about their lives. "

In casting Cyrus, they handpicked their artistic ensemble: John C. Reilly, Jonah Hill and Marisa Tomei.

"We wrote the movie for John and knew we had to get in the room with him as soon as possible because it started to get more and more specific and he was the perfect guy for the role. We met with him for tacos on the east side of LA and luckily he was into it. At that point, it was about finding a kid who could go head-to-head with John, in a good way, and Jonah was our first choice."

In casting Jonah, "It was less about his body of work and more about who he is as a person and how he understands us and the kind of movies we make," says the Duplass brothers. " We thought he was capable of a lot more and we were both interested in exploring subtler, deeper, darker sides of him that he was capable of and willing to explore."

"Marisa followed in the same way. We wanted to find people who were strong and passionate and interesting."

Of course, the Duplass brothers did not begin their filmmaking careers with known actors. Their ground-breaking indie, The Puffy Chair, featured local actors and lower budgets (yet still whipped up that movie magic stardust!)

"The key difference in casting with movie stars is - we wrote Puffy Chair for our friends and knew we could get them," the Duplass brothers say. "But we created Cyrus for John Reilly and there was anxiety in whether he would to the movie, if we could get him."

In looking for actors, "We want people who are open to, and interested in, the improvisation process. And we want people who are nice. It is very important to keep a healthy environment going and to have people who see the world as we do because we focus on human behavior. We see tragedy and comedy in the same elements and are interested in finding people who want to explore that with us. "

In this exploration of behavior, relationships and working with major movie stars, the Duplass found it most surprising, "how quickly you slip into a groove."

"When we first took the meeting with John, Jonah, and Marisa we were intimidated," the brothers say. "But then we realized they are just normal people, like us, and we were just trying to make art together."

Though, Mark admits that, "at first, Jay and I were convinced that, creatively, it may never get as good as working with our friends. That working with movie stars wouldn't reach that same level."

"But we were pleasantly surprised," he shares." Movie stars are movies stars for a reason. We were blown away, not only by their craft, we were blown away from them as people. We just wanted to be around them. Movie stars take a lot of chances and a lot of risks. They are just as scared as everyone else but they put themselves on the line. It was a good collaborative process."

Once Jay and Mark Duplass capture their organic story, "the nuancing of the comedy / drama blend comes in editorial."

"We have lots of options, ways to make a scene look comedic or dramatic by what we put before or after it. We have a nine month editorial process minimum. We test the movie on audiences to see what is working. It is a pretty painstaking process but worth it."

Also worth it, their unique style of camera work.

"The nature of our camera work is a functional thing for us," the brothers say. "We do not use specific blocking. We want to give our actors the freedom to move where they want to without having to direct them to a specific spot. Our philosophy is, 'don't tell an actor to come to the camera' because we won't get the spontaneous response we are looking for. We bring the camera to the actors, it creates that sense of electricity that we like."

Audiences agree, they also like this sense of electricity, evident by the continuous spark in Jay and Mark's careers. Let's hope this organic brilliance, this dynamic duo, continue to surprise us for many years!

CYRUS premiered in select markets on Friday, June 18.

Jay and Mark Duplass will next direct their original script "Jeff, Who Lives At Home" produced by Jason Reitman.

Also in development right now at the script stage is “Table 19” with Sean Levy’s 21 Laps.
www.foxsearchlight.com/cyrus/
www.notmileycyrus.com

NYCastings - Advice - Get Funny Fast - Stand-Up advice from Andy Engel, New Talent Director Comix

Wed, 14 Jul 2010 09:53:00 GMT

Written by: Kelly Calabrese

If you want to succeed in the comedy biz you need to "get as funny as you can as fast as you can," says Andy Engel, New Talent Director Comix.

Andy Engel has over eighteen years of experience producing New Talent shows in NYC. He helped countless talent, including: Jim Gaffigan, Ed Helms, Lisa Lampanelli, Greg Giraldo, Demetri Martin, Jessica Kirson, Tom Shillue and many others. He knows how to spot an original comedian and what it takes to make serious tracks in this industry.

To help NYCastings actors learn more about the Stand-Up biz, Andy shared his years of knowledge and inspirational laugh lines with us...

Q&A with Andy Engel

Q: How do you audition new acts/ comedians / what is the process?

The point of the New Talent show is to give anyone who wants an opportunity to perform. Sometimes people who have never performed do extremely well on our shows, for several reasons. One the crowd is always very supportive and we have positive MC’s who create a supportive environment. Anyone who wants to perform can contact me at the Comix new talent page.

However, the absolute best way for me to get to know an aspiring comic, and for an aspiring comic to become all that they're capable of becoming, is to consider taking my class at the Manhattan Comedy School www.manhattancomedyschool.com/

The class teaches you the basics of stand – up, performance, and everything you need to become a strong comic. The class literally shaves years off of making beginner mistakes. It is a great way to network – we encourage people of all levels to perform, and build a relationship with us, then they can become regulars on our shows.

Q: Do you ever scout outside of the club?

Since I have been producing for almost 20 years I have a large network of industry friends who often contact me when they want to showcase someone.

Eddie Brill who books David Letterman, Brian Baldinger who scouts for the Montreal Comedy festival are just some of the people I talk to often who tell me when they see someone who is about to break. Also, I always have my eyes and ears on the lookout for New Talent, so yes, I do scout outside of the club.

Q: Do they always perform in an amateur hour?

I prefer the term New Talent. The New Talent shows, while I will give any one the chance to perform, are great shows, for people who care about comedy and having a good time. To answer your question though, yes when they are starting out on my shows they begin on New Talent Night.

But my shows are the fastest and most direct route to getting paid and guest spots at the club. When I see someone I like I will tell Kim Hannawhacker and Harlan Halper the owner and booker, that they should watch someone. They don’t have to be one of the 2000 comics submitting DVDs and hope that someone gets around to watching them. I can ensure they get seen.

Q: What are you looking for from a comedian – great energy? Consistency? Pure hilarity?

An original, unique, voice, persona, attitude speech pattern that no one else has. Also someone who has good ear for characters, voices, etc.

Q: Is it always a straight forward stand up or do you book eccentric, Andy Kauffman style acts as well?

I produce a straight stand-up show so alternative acts wouldn’t work as well on my shows. I have produced a large number of alternative shows with “Andy Kauffman” type acts which I enjoyed producing because it was a nice change of pace for me and my hosts as well.

Q: How long of a routine should comedians have on hand and how short should they prepare to cut it down, if needed?

Comics do a 6 minute set on my New Talent shows. Pros do more of course.

Q: How can a comedian in NYC grow a strong career / what does it take?

This will sound very simplistic or almost trite but the answer is “get as funny as you can as fast as you can, without stealing, pandering, or doing hack, derivative bits. Comics who get funny fast are hard to ignore.

Q: I know you recruit for a particular place, but how do the comedy clubs and the opportunities they offer differ from place to place?

The reason I work for the place I work, is we simply offer the best opportunities for New Talent. We offer comics a free Two camera shoot DVD that is unmatched by any other club in NYC. These DVD’s get people development deals and careers. In addition I do auditions for Letterman, Fallon, Kimmel and Comedy Central. I have also just started giving comics free feedback which I think gives our show and edge over every other New talent shows. To answer your question the quality of the DVD’s varies tremendously some clubs literally use security cameras to give to the comics. Our club was designed by a TV and film studio so our acoustics are state of the art. Some clubs were bars that were converted to clubs so that they can't compete with us. The DVD’s, The feedback the quality of the sound system are a few very distinct differences.

Q: How can an aspiring comedian sharpen their stand up skills in NYC / hence increase their chances of making it on a main comedy stage?

I go back to get as funny as you can as fast as you can and then people will want to help you. Get stage time.

Q: How does an emerging (or successful) comedian best network in this business?

Intern for a major comic. Work at the club.

Q: What is the most serious side of the funny business that aspiring comedians should realize?

You need a mentor, coach someone who can give you honest answers that your fellow comics just don’t have. If someone does my new talent night they can ask me questions and ask for referrals introductions etc. Find a comic you like and offer to intern for them, that can be invaluable.

Thank you Andy for giving us a front row seat to the comedy scene!

For those NYCastings members interested in learning more about the Comix new Talent show, please visit... http://www.comixny.com/academy.aspx

NYCastings - Advice - Stacking the Deck - Strategic career plays from Talent Agent, Peter Coe

Wed, 7 Jul 2010 11:13:00 GMT

Written by: Kelly Calabrese

You've got to know "when to put your hand on the table and when to discard it," says Talent Agent Peter Coe, about the entertainment industry." Know when to say what you are feeling and thinking, how to recognize body language and when to soak everything in."

Peter Coe has a great deal of experience in this business. He started out as an actor but found sales to be his strong suit so he opened up Peter Coe Talent Agency out of NYC, and the greater Philly area, over eight years ago.

"I am listed as an agent but I really like to act as a manager and take care of my people," Peter says. "I like when people call me up and ask me questions. If I can help them understand the business better, they'll have more success at booking jobs and knowing what a casting director or producer wants."

Since Peter Coe enjoys helping actors play their cards right, NYCastings asked for his strategic advice...

Q&A with Peter Coe

Q: When it comes to auditions, what is the best way to deal with them?

Be professional, think of this as a business and say yes more often than you say no. If you are in a casting office and waiting for an hour, don't complain that it is taking too long because you don't know who is listening and say, "thank you," when you leave.

If it was a good opportunity, send a thank you note for the audition or an email with something in the header that says, "thanks for the audition, please keep me in mind." That doesn't take long to look at.

And, try not to engage in conversations before the audition because you are there to get a job. If someone tries to distract you, say you will speak to them later but right now you need to focus on the sides.

Q: Unlike many agents, you shuffle through all types of casting notices - from commercials to hosting and print ads - Why?

Two reasons. If a performer is talented enough, there is what I call, "the adjustment factor" - they know how to adjust what they are doing. And, since I am medium range agent on the totem pole of agencies, I have to branch out and find more opportunities for the talent's sake. If I only limit myself to one area, which would cut down on the amount of time it takes for me to submit people, then I would miss out and the talent would miss out. There are a lot of commercial jobs but they are mainly non union, so you have to branch out to episodics, commercials and hosting just to sustain yourself and give yourself ways to book jobs.

When the bigger agencies limit a really solid performer to commercials, instead of branching them out to legit as well, then they do not have fill coverage. When one area might be slower with auditions, sending an actor out for another type can keep their instrument polished.

Q: When it comes to calling, should actors keep in touch with their agents?

Actors should have no fear of calling their agent as long as they are not obnoxious. You are a team and that entitles you to do that. Once a week check in, say hi and have a pleasant conversation so you keep up to date with what is going on. If you have a rep or manager who says, "why are you calling me?" go with someone else.

Q: How can an actor trump the competition?

Actors should get themselves known so when a place has opportunities, and we submit them, the CDs say "oh yeah that person was in last week at Actors Connection and I liked what they did. Let me give them a shot."

Q: What cards do you hold, that actors don't see?

What you don't see is that we have break downs with very specific roles and maybe five out of twenty-five roles actually get an audition because the rest are being offered out. For legit, they might only look at five or six people per role. Commercially they will look at 300 or 500 people and bring in new faces for the call back. That's tough for the actor and that's what they have to understand.

Once the audition is done, besides for actors sending a thank you postcard, we reach out and say, "hope all went well. Let me know if anything is going on." With some people I keep in touch once a week to see what is coming up. For other places, I am on the phone with them a couple times a day.

Q: What are some of the best bets, in terms of networking?

I often say, "if you want to take a class with someone, talk to me first" because there are strategic ways of getting in front of people. You don't want to take a class with someone if they are not doing any work. They could be the nicest people alive but you want to do smart business and not just hard business.

It happened recently. One of my guys just wrote to me that he saw a CD who has not done anything in the last 6 months to a year and I was like, "why did you see them?"

Do not see anyone when they are coming off a season because they are not going to remember you in three months. Go to them when they are starting a new season. Now, taking a class is different because you are there, in their face, for a certain amount of time and they'll remember you.

Also, you should get on email blasts because there are many people out there and you have to find a way to keep track of as much as possible. Go to parties. As much as that might seem odd, you will get connections from other actors that can be productive for you.

Q: How do your Ace connections, in both New York and Philly, play out differently?

A lot of times the producers out of Philly will also do casting out of NY, so it allows us to blend in talent or have our talent seen in two cities.

And, in Philly, they typically don't have a call back. They don't want to spend as much because it is a secondary session. But there are thousands of talent to pull from in New York so CDs might feel like they did not see everyone in the first audition and bring in new faces for the call back.

Q: Do producers flush out actors directly or always go straight to a casting director?

Producers typically work through CDs - who work through agents or managers. They go through a casting director because they have pools of talent, multiple places they go through. There is a certain route that this business takes and you don't want to cut anyone out of that loop because it's someone's job. There are times when a producer may not have the greatest budget and choose to do the auditions. Sometimes an producer calls me straight, when they know they like a certain actor I work with. But the majority of the time, they work with the CD, directly.

Q: When it comes to stacking the deck for success, what ultimate advice do you have for actors at NYCastings?

Think about how you want your hand to play out - you want it to play out where you make money and be successful.

Also, have a second way to make money because it is too small of an environment. The average Philly actor will make 6k. The average New Yorker might make between 12-20k. Get a side job because it allows you to stay in the business longer.

Thank you Peter Coe for sharing your winning strategies with NYCastings!

NYCastings - Advice - Improvising with John C. Reilly

Fri, 2 Jul 2010 10:49:00 GMT

The raw and awkward truth from his latest movie “Cyrus”

Written by: Kelly Calabrese

Comfort Zone Alert!

On set of his latest movie, “Cyrus”, John C. Reilly found that “a lot of days were very uncomfortable.”

Whoa! That sounds like an atypical admission from an actor, yet John has a very good reason to feel “like those dreams where you just show up with your underwear on.”

You see, the brilliant Duplass brothers (Jay and Mark Duplass) wrote and directed “Cyrus” and that means a smart script, which actors use mainly as a blueprint - because the Duplass brothers encourage their actors to fully improvise and make each scene totally real to the moment.

“They put it in our hands,” says John C. Reilly, “We all have the script and that was the blueprint to what we were doing. The story did not change that much from the script, but, they left it up to us to find out how the script was going to happen.”

In “Cyrus,” John C. Reilly plays a man, named John, who has no luck on the social scene until he meets the woman of his dreams… a gal named Molly played by NY's own Marisa Tomei.

John finds his dream gal but with one BIG twist… Molly's son, Cyrus (played by Jonah Hill), happens to be his Mom's best friend and he isn't jiving with this new “love” thing.

With this unconventional love triangle set up as the movie's diving board, it makes sense that John C. Reilly found himself belly flopping into an uncomfortable zone, as he improvised each day and put his heart on the line.

Of course, NYCastings wanted to find out more about the awkward moments!

Here's what else John C. Reilly had to say about the honest flick, when NYCastings got personal with him…

Q&A with John C. Reilly

Q: What drew you to the movie?

I heard about these guys, (Jay Duplass and Mark Duplass), through film festivals and my wife saw “Puffy Chair.” She brought me a copy of the movie and you can tell from watching “Puffy Chair” that they like to work with a loose style.

I wanted to work with Mark and Jay and they were fans of mine so they went off and wrote something with me in mind and it fell in place. When I read the script, it was a cool, funny, charming story.

Q: How did you prepare for this improvised script?

Working with these filmmakers, on this movie, the only way to be prepared was to be unprepared; to think it was alright if you didn't know what you were going to do. It can be unsettling if you just show up to work and some days it felt like those dreams where you just show up with your underwear on.

Q: How did you create your character?

The truth is that every actor prepares in a different way, finds their own way to a character, and how to be connected to a character. If there is something about the character that I don't know, a special skill or an aspect of their life I am not familiar with, I will study up. But in this case I did not have to do that. I have been in a lot of editing rooms over the years so I know what an editor's life is like and the guy was close to my age.

Q: Did you rehearse the improv?

No, we didn't rehearse at all on this movie. For some of the scenes we usually did a blocking rehearsal but even in those situations the Duplass Brothers were like, “let's just shoot the rehearsal” because those first moments of honesty, when you are reacting to something you are first seeing or hearing, is the most honest and that is what they were after. They wanted to see what happed when the cameras came on.

Q: As an actor, do you find improvising challenging or liberating?

Both. Definitely both. It is a challenge because you don't have anything to hide behind. You have to be honest and in the moment. I do not know if I prefer it. I am happy to do it when asked. But I also like to have a well written script. These guys had a well written script yet were interested in the quality that they get when we put it in our own words. We didn't have to make someone else's words work. We were able to re-style and it sounds like dialogue written for you, because it is.

Q: When John meets Molly, their chemistry is immediate - how does chemistry play a role for you as an actor / how important is it?

It is really important. The way I work on it (creating chemistry) is to know people a little without talking about the script or gong over the lines. Especially when your characters are supposed to know each other well, it is important to have a comfort zone. Luckily for me, Catherine Keener and I have a long friendship together so that came across in the movie. And Marisa Tomei and I met two days before we stared shooting, briefly. But that worked, too, because we got to know each other better and you see that happen on camera. We didn't have to fake the awkward moments on camera, it was really just us getting to know each other.

Q: How did you like improvising with Jonah?

Jonah and I worked together on another movie and we basically improvised it, so we knew each other and were pretty friendly. We were both having fun improvising and messing with each other.

I think Jonah is brilliant, really smart and just a great actor. Even more then Will and Jack. Those guys comfort zone is in comedy but I think Jonah is also comfortable doing dramatic things and he is really suited to it. He is smart and he takes ownership on his business in a way that will really serve him well.

Q: Anything that surprised you about Marisa?

I knew she was a great actress and she is really down to earth. But she surprised me in how easily she hung with all the improv. She didn't have that much experience in the past, but she hung in there with Jonah and me.

Q: What inspired you the most about working with Duplass Brothers

How brave they were about not knowing what they were doing everyday. They wrote a great script and put a lot of care into the location. But when we filmed, they were like, “let's just find it.” The plot of the movie could change even, because we shot it in order.

And, I've worked with duos before and usually one does the directing and one does everything else. But they were both very involved in every aspect of the movie.

Q: Your character deals with conflict in a specific way, how do you deal with conflict in your real life?

I escape conflict by being really upfront, honest and I try to negotiate with someone. Whenever you get into a situation where you are pulling dirty tricks, it just makes you paranoid and unable to be genuine to yourself. If you have a problem with someone, just call it out.

Q: Why should audiences go see Cyrus?

This movie is for people looking for something a little closer to their own lives, people looking for a more truthful story. There are a lot of bigger than life stories and I love a good popcorn movie, but there is a place for really honest story telling. It has an emotional honesty.

Q: What have you learned from this film experience?

Being totally honest on camera, not knowing what was going on, and trying to write the dialogue on your feet – there were days I was disparaging whether or not we got a good movie in the can. And I learned… that just because you are uncomfortable, does not mean it is not going well. Just do your best.

Thanks to John C. Reilly for getting out of your comfort zone with us!

Check out “Cyrus” as it hits the movie theatres: http://www.foxsearchlight.com/cyrus/

IN SELECT THEATERS JUNE 18, 2010

NYCastings - Advice - REEL EXPERIENCE w/ actor Joanne Baron

Thu, 24 Jun 2010 11:32:00 GMT

Actor Joanne Baron shares her first hand knowledge of video auditioning

Written by: Kelly Calabrese

Like a shooting star, Joanne Baron often finds herself traveling a great distance for acting gigs. Yet no matter where she lands, Joanne has to keep up with the casting process… which means auditioning via video.

Just a few weeks ago, when Joanne came to New York City to be a guest star on the final episode of Law & Order, she also received several audition opportunities back at home, in LA, with no physical way to get there.

“When I was in New York and knew I had three auditions, I called many places and no one tapes auditions besides Reel Services,” Joanne says. “I was so relieved when I found them.”

And, “I was extremely enthusiastic as an actor,” Joanne shares. “I had such a fun, creative, positive experience in every way with Reel Services. The videos looked great and the work was responded to well.”

When it comes to video auditioning, Joanne feels that they “are no different then doing a play, commercial audition, film or soap opera.”

“There are certain elements of technical reality,” Joanne says. “If you are trained to live under imaginary circumstances and know how to make choices based on the truth of the material, or the writer’s intention, then looking into a camera, or actually speaking with someone, will modulate the issues but not change them.”

Joanne Baron speaks from a lifetime of experience. She appeared in countless projects including, “Introducing Dorothy Dandridge,” alongside Halle Berry, “Frankie and Alice,” “Superman-2,” “Mad Men” and “ER.”

Yet, the real power behind Joanne’s star comes from her extensive training.

“I was originally a William Esper student, taught with him in NYC and studied under Meisner in private classes in his famed Neighborhood Playhouse,” Joanne shares.

Today, Joanne continues the legacy of Meisner and Esper, with her school the Joanne Baron/D.W. Brown Studio in Santa Monica, California; teaching the same specific, sequential training program designed to create an emotionally alive actor of depth, imagination, and truth.

“We hand down the biblical tradition of the Meisner work,” Joanne says, “which we feel is the most practical technique for acting, directing, lighting and producing. The training program illuminates all aspects of story telling.”

Speaking of story telling - NYCastings asked Joanne to share some of her stellar insight on the right way to create video auditions…

What do you like about video auditioning?

If you know how to act, it can only be educational and encouraging. I have taped things in life and gotten jobs from it. “Someone to Watch Over Me,” with Lorraine Bracco (Ridley Scott, Director) was from an audition tape. I have gotten many first jobs in my life from taping something.

I find it creative and encouraging, not only when I get the job, which is the goal, but when someone who would not normally see me takes a look for a few minutes at a tape. That could get you an actual audition.

Also, if you look at your work, and have some ability, it can be very encouraging because you don’t always get feedback at a live audition. Casting directors are very busy and you night not even know that you did a good job. But when you tape it, you can see for yourself.

Why is it so important to already know how to act when it comes to creating a video audition?

Training teaches you the skill, whether it be in dance, piano or acting, and that skill is something within you that you modulate to a degree when you find yourself in different technical situations.

If you don’t have the training, then taping an audition is as useless as asking someone to perform a medical procedure who never went to medical school. Once you have the skill, and the confidence, then there is the potential for a career. A lot of people get lost in this world by wanting to have immediate success.

You can’t have illusions about what you are going to achieve and think you are going to become discovered without any training. There are many people at my school who say they want to audition when they admit to not knowing how to act yet. They just hope that if they can tape something, they can get a job. That is where the modernization of Flip cameras and YouTube is a detriment to society. It makes things accessible and gives the illusion of star potential without the craft and training.

How should you set up the camera shot for a video audition?

The shots vary. People want me to shoot me from the waist up or standing. It happens a few different ways.

Should you edit a video audition?

It is protocol not to cut anything. When you send in a video audition you have to choose a take from start to finish. But you can choose a take, unlike in live theatre where it is what it is.

Are there certain specific techniques for auditioning via video tape?

There are certain tips, like you can’t move a lot or blink a lot. But the basic point I am making is you can either play the piano or not. Then someone can tell you if the camera will be closer to your fingers as you play.

What about those classes that teach video auditioning or on-camera techniques?

I am not going to say there isn’t any value. I would only say that in my experience, as an actor, the specialty in acting should be in adjustments and not education of techniques that impede the potential of an artist to perform.

Every day of the week, someone from my school gets a job. Mariska Hargitay, my student, is 7 years in “Law & Order.” Sherri Shepherd goes from comedic show to comedic show; from “Everyone Loves Raymond” to “30 Rock.” I am not aware of them needing any specialty technique training.

What happens to all your video auditions?

There is a library of the tapes incase my agent wants to use it as a point of reference for another role. If you have really good video auditions, it might be useful for another part that is similar. Yet, an agent or manager is critical for this. The agent or manager can send your tape to a casting director who might think you are too proper and prim and say, “she was so good at this audition. Do you want to take a 30 second peek?” Not everyone may have an agent, and not every casting director may be willing to look at it, but it is another tool.

How do you get in the door when casting directors are being bombarded by so many wonderful people? This is one more opportunity. It is a fantastic way to give yourself a shot when a casting director may not give you the time for an audition or think you are the right type. It may open the door for an actual audition or a future audition.

What are the risks of creating a video audition without the right training?

Some people get confused between access and quality. You only get one chance to make a first impression and it does not matter if you have access if you do not have quality to showcase. That is the only downside of video auditioning. You can’t gear these wonderful resources as a replacement for good old fashioned learning and competitive edge training that would make you a candidate to appropriately be taping things.

Can you make a poor impression if the quality of the tape is not strong?

Yes. If it does not seem and look professional, that is the 2^ndway to undermine yourself.

1. The talent itself must be strong

2. The manner in which you are taping must be clear and professional.

It doesn’t have to be a set, or some ridiculous attempt at substituting for an actual performance, but it does have to be filmed in a good clean way where the actor is appropriately dressed and the lighting is good.

Why is there an increase in video auditions lately?

People are overwhelmed with the choices and don’t have enough time to meet everyone. Also, people can not always pay to travel across country for auditioning and production may not have enough money to interview people on camera so it saves time and money.

It is part of this new amazing online life, so amazing that I could tape an audition for Entourage at Reel Services and then they can have it in LA ten minutes later.

Any inspirational advice you share with actors?

Everything related to this dream, as it is perused, has to be perseveringly committed to with sacrificial elements. Commit completely to being the best, which means serious training and then persevere once you have that training in a way that you do not allow yourself to consider defeat.

There are so many ways to do what you love. You can do play after play and be in the LA Times and NY times and not make a living at it. That is not failure. Failure is not committing to the leaning and pursuing it with excellence. It always goes back to being good at what you do.

Thanks Joanne Baron for sharing your Reel Experience!

For more information on the Joanne Baron/D.W. Brown Studio in Santa Monica, California visit: www.baronbrown.com

NYCastings - Advice - Essential Acting Elements

Wed, 16 Jun 2010 14:42:00 GMT

Casting Director Tony Pichette speaks scientifically about the casting process

Written by: Kelly Calabrese

How often do you meet a casting director who majored in Theatre and minored in Chemistry? Not too frequently! That is why I had to ask Casting Director Tony Pichette about his view on the periodic elements... of the acting business. Luckily, for NYCastings, Tony agreed to lend his sense of humor along with his insight about this ever changing, reactive industry.

It all began with a molecule of passion. Tony Pichette decided to learn more about the world of acting by getting to the core of it all... in the mailing room at mega agency Paradigm in NYC. A couple of equations later, he ended up assisting with the casting of voiceovers before moving his skill set over to Kipperman Casting where he still casts national and regional commercials (both on-camera and V/O) for major clients such as: Arm & Hammer, STAPLES, Boston Market and MTV.

Along the way, Tony came up with his own set of life equations. Instead of doing what was expected of him, he did a little bit of everything as he learned to build from the ground up, assist himself, be open to suggestions, get to know what works for him and understand the randomness of it all while blowing a thing up or two for the fun of it. (That part goes back to the Chemistry lab in college, of course!)

For some major advice, here is how Tony Pichette equates the elements learned in life to the casting process:

BUILDING FROM THE GROUND UP

= {N} Networking + {We} Work ethic + {Bn} Being Nice

Actors need to know the people who book jobs. They need to network and have a strong work ethic. When I talk to actors, they think they've done everything but we can always do something different to change our course. There is always something to do and people to meet, even the guy in the mailroom..

Also, there is always going to be other actors out there, no matter who you are. So you shouldn't give someone a reason to not like you, a reason to not bring you in.

ASSIST YOURSELF

= {P} Preparation

Always have some way for another person to get a hold of you and see your work, whether that be a card or headshot. Nowadays headshots are almost old school but you should always have one on you, as well as a card with your website.

You must have a website because if people are interested they will look you up.

And have a reel. People always ask me "should I have a reel?" And I always say, "yes, why not." Every answer is yes. All options are yes because you never know what is going to stick.

DON'T DO WHAT YOU ARE SUPPSOED TO DO, DO A LITTLE OF ALL YOU KNOW.

= {B} Balls

Actors always wonder, "should I do this?"

Yes, you should.

Sometimes a casting director will not care what you do on the first take or the second take but it has to be something different. There has to be some sort of separation between the two. It's not about getting the script right. No one cares about getting the script right. No one ever gets the script right. You have to try things. Some of the best actors seem a little wacky because they do not have that thing that stops them.

Also, pay attention to when the casting directors gives you clues about what they want to get from you. If someone says, "be happy" and you were smiling a little, pay attention to the casting director's body language and words. If they say they want you to smile "way more," then you need to adjust accordingly.

BLOW THINGS UP

= {Bb} Big balls

Let the director see something in you that they wouldn't unless you tried something. Actors often say, "I wish I had done this or that." Your whole job, your whole thing, is about that room. You can meet a million people and create opportunities but it all goes back to that room.

Everything is the same in that room until BOOM you just blow things up.

BEING OPEN TO SUGGESTIONS

= {H} Humble + {Ab} Assume the best

Be modest, humble and receptive to what people are telling you. Don't think they all hate you. Don't expect the negativity in people. Assume that other people have their own issues. Assume that they have their own things going on and assume the best of intentions from them. Then you will be able to work with them and say, "ok, I wasn't smiling enough. Let me try that."

GETTING TO KNOW WHAT WORKS FOR YOU

= {Sa} Self awareness + {Td} Translating direction

Understand that if you are an energetic person, naturally full of life, then your scale might be a little off because of who you are. Everyone has a scale. Your scale of happiness may be a 4 to 10 with four as your nothing. So when someone says, "be happy," you have to move your scale over and adjust. Know if you have to hold it back.

Sometimes actors get frustrated because they are doing what is natural for them but they have to understand their instrument.

Many times, when I meet with someone, I just talk with them for a while as I tape them. Then we watch it back and see how they twitch, so many things come out of them. This is something you can correct on your own. You can tape yourself and watch it. But if you aren't aware, how can you correct it? You have to be self-aware and then move on to trying things. Once you get that down, you can move on to call backs and get bookings.

People think it is such a big mystery - what separates one person from another. Yes, it is hard work. But there are some minor things that you can control. Sometimes, with auditions, you just need to get out of your own way.

UNDERSTANDING THE RANDOMNESS

= {Wh} Work hard + {Tw} Treat people well

I truly believe that if you work hard and treat people well that it will pay off. Understand that working hard does not mean doing something minor. It means working hard. Also understand that 1 plus 2 does not = 3. It is not a sure thing.

When I teach people I say, "This will only be true 80% of the time." You can know what works for most people. You can know what will improve the chances. But you can not know what will work 100% of the time.

Your goal for commercials, over anything else, is to keep getting seen. The goal is not to be booked. As long as you keep getting seen by the casting director, you can consistently improve. Making those steps is something definite. It is finite feedback because many times you do not get any feedback.

Also, you have to let someone find you. Let someone work with you. So many times, I offer advice to someone in class and they are only thinking, "Are you going to bring me in?" That is not the end goal. The end goal is to learn.

To learn more about Tony Pichette visit his website www.ActorsU.com.

Tony works with college students. He visits schools and shares information about getting started in commercials and the acting business.

NYCastings - Advice - Get Real

Thu, 10 Jun 2010 10:37:00 GMT

Strickman-Ripps, Inc. Casting + Research shares how to get REAL acting gigs

Written by: Kelly Calabrese

Countless companies rely on testimonials, market research, and man-on-the-street interviews to help sell their products and services. This demand for engaging people means another opportunity for actors to make $$$ - IF - they know how to best represent themselves.

When it comes to finding genuine people, Jill Strickman-Ripps rules in casting and research. Jill founded Strickman-Ripps, Inc. Casting & Research in 1992. Prior to starting the company, Jill was producer of Still Photography and Special Projects for Photographer/Director Neal Slavin where they focused on finding authentic people.

"That's how I got started," Jill Strickman-Ripps shares. "Then I got involved in market research, getting people's opinions, and ended up starting a casting company. Now we are a one stop shop, whether you need actors, real people, or a combination."

At Strickman-Ripps, their team gets all kinds of requests from people with diabetes, to flight attendants who sweat a lot, or even brides-to-be with corns on their feet. For some of these gigs, you need to be something very specific. But overall, you just need to be… yourself.

To help more NYCastings members find a place in this “real” market, we asked Jill to share her expert opinions.

(Q&A with Jill Strickman-Ripps)

Part One: What actors need to find within themselves.

Q: How does an actor, be real?
A: When actors come in to be themselves, and this happens in many situations, the most important thing is for the actor to not push their acting. What we are interested in is who you are as a person. For Select Comfort, we had people come in who had trouble sleeping in the same bed. What happened was that the actors started saying, "I am an actor and this is what I've done." It is not about acting. It's about you and your spouse and sleeping problems. You need to be aware what they are looking for. Most of the time, especially in the commercial world, they don't care about your experience. For a short commercial, they want a look and a personality. Be yourself and don't focus on your acting career.

Q: Are there any mistakes to avoid when auditioning for a "real" person spot?
A: Actors tend to go over the top. You want to show range but take your cues from the casting director. A good casting director will let you know what they want and they will bring you back in if you get lost. Be in tune with what the casting director asks for and the direction they give you. Sometimes casting directors will say, “Take it in your own direction,” but just really try to pay attention to what they are saying.

Q: Physically, are there ways to seem more natural?
A: Many times people say, "I do not want to see anyone too slick, too groomed, too tan, or with too white of teeth." You have to look great and natural but don't overdo it. Usually, they want someone to look how they do on the street, how you would look in everyday life.

Q: Is there a manner of speech that comes across more believable?
A: With real people, the style is usually an interview as opposed to a script. Be engaged and conversational. The good thing about working with an actor is you don't have to pull them out, they will already be out, but really listen and engage with the person.

Q: What happens if you don't like the company’s product?
A: Testimonials legally have to be done in a research environment so unless an actor was recruited through a research setting, legally, they would not be asked to do a testimonial. Infomercials are something different but I say, in general, being truthful is really important. Whatever you do in life you want to have integrity. If you don't want to bash something, that's ok, don't say anything. However, if they ask you if you like something, I would say to be honest. For my part, people come to me because I do find those who are authentic. For our style, one who is a liar is not going to work. We will detect it.

Part Two: What actors need to know.

Q: On the research side, what should actors do to be more prepared and aware?
A: If you are going in to speak about a product, which is what we do here, then research the product. Google the product and see what is going on, what the trend has been, and what the news says. If you are going in for a doctor, read what it is like to be one. That will give you a feeling, strategically. Things will make more sense when you go in for the audition.

Q: How long should answers be in the interview?
A: In that situation, you can ask the casting director upfront if they want the short or long answer and they will tell you what they want. In general, a short answer is better. If they are interested, they will ask for more.

Q: What should actors know about testimonial work versus regular commercials?
A: Going in and reading copy, reading a script, is a completely different talent than being able to have a conversation. It is like apples and oranges. That's why when people ask us to bring in real people to do tons of copy we are like "forget it." It takes training and skill to be able to do that well.

Q: What more can an actor do to become right for "real" casting?
A: Everyone wants people who are interesting and have passions. Passions in life like cooking, skydiving, hiking, biking are the kind of things that interest people on the creative side. Be able to talk about your love for them. Casting directors want people who are alive and passionate. Some actors can come across as self-absorbed and then people on the other side of the camera start to roll their eyes. Those actors behave as if it is all about them, they are not listening, and it's not a reciprocal feeling in the way they communicate.

Q: Is there a trend in "real people" casting that actors should know about?
A: Any kind of multi-racial thing is appealing and mixed families. We get many requests for actors and their entire families. We also get calls for actors and five of their closest friends. It is good to have your friends organized incase the call comes. We use actors to find these requests because it is a quicker way to do it. Actors could prep their family a little before the opportunity comes up. They could get the idea in their head so when it does come up, they are ready.

Q: Are three any tools or skill sets that come in handy?
A: Being able to do video chats, being able to put you on camera and submit it, is important. Have a set up that is ready and looks decent because many times there are submissions with things like "tell us your biggest hair problem." For this, the best background is simple, well lit and without too much clutter.

Q: Is there anything that actors should be more aware of?
A: Social media checks. A company hired an actor and then discovered something pornographic about them on the web. Everything you do on the internet can be found. If clients are looking at someone on a tape, they may Google the actor. Be aware of your image and be careful about what you put out there.

Another thing is that actors should not spend a lot of money sending out their headshots by UPS or FedEx. It makes us feel bad because they are spending money they should not be spending. The truth is that we are so saturated with people and if you don't fit what we are looking for, at a certain time, then you are not in our vision.

Also, do not send too many blanket emails about what you have been up to. Unless a casting director is asking for it, you will be deleted. Sometimes the squeaky wheel gets the grease but you can't overwhelm. You have to be strategic. Be thoughtful.

To get jobs, I do think the casting sights are very important because that is what we use. Just don't be loose about what you submit for. Sometimes, people are so far off the spec it creates a bad rep for them. Be strategic about what you submit for but do use these sites because we do all the time.
In general, if you are going to come in to Strickman-Ripps, you have to be authentic and honest about who you are and what you like. Don't lie, because the people who hire us expect the people we use to be genuine and we can detect it right away.

Thanks Jill for sharing the real deal with us!!

For more information of Strickman-Ripps, Inc. Casting + Research, visit: www.strickman-ripps.com

NYCastings - Advice - Get Nervous? Learn to take Control...

Tue, 25 May 2010 12:51:00 GMT

By: Todd Etelson, Actors Technique, NY

Most actors get nervous, it's not just you, so relax. It's really all about your degree of nervousness. Whether you get slight anxiety or are the deer in headlights what's my middle name I'm paralyzed actor, nerves of any sort can stifle your relaxation which is essential for creativity and spontaneity. So, how do you avoid it?

Here's the truth. The more you try to avoid it, the more you concentrate on it and play into it. Know this. It's not going away. You're human and your mind and body will absorb stimulus in it's own way, regardless. You're a human machine that absorbs and reacts to situations. Sound familiar? Isn't that what good actors are supposed to do anyway? You can't avoid your nerves, but you can recognize, understand and control them, instead of allowing them to control you and your work.

If you're nervous, then the stakes are probably high. When the stakes are high, so the downside is probably equally as low. This business is unforgiving and some say you only have 1 shot. You've worked many years and spent a lot of time and money to get this point and you don't want to screw it up. People are watching, very self -appointed important people who are going to report back to other very self-appointed important people. Good news travels slowly, but if someone takes a chance on hiring or sending you out and you screw up, it will travel quickly, as all bad news does. So, what to do, what to do?

Here are some things to remember which will help.

Know the Material Cold. Prepare. Like in grade school, if you know the material cold, you'll look forward to nailing the test. Your nervousness will be more excitement to show them your stuff. Make sure you got the lines down cold and have done all your intellectual homework with text analysis and objectives.

It Ain't YOU. Sorry my friends, it's not personal. Really. It's not a personal thing about YOU or your life. Nobody cares. You are merely the vessel or messenger of the message. It's about “the message.” You're the one to relay the message. Yes, that's right, Ghandi, Martin Luther King and YOU. You're a vessel. Focus on the feelings and the message, that's your job, don't make it about you personally.

Shift Focus Outside of YOU. Usually, you're speaking to someone when you speak, unless you're at Bellevue. Are you concentrating on you or your partner's reaction? Chances are, you're concentrating on your partner or whatever you're doing at the time you're speaking. That's called “business.” Your job is to concentrate on your partner or the business you're doing, not YOU. Actively listen and focus on the stimuli outside of you. It's really your job as an actor and what you've been trained to do, so do it. If you're doing “business,” or a task, focus on the object or the task and really do the task, don't pretend to do it. Do the task or business honestly, as you do in real life, and actively concentrate on it. So get over yourself, stop focusing on you.

Breathe. It's the most spontaneous and natural thing you do in life. You're shortening or holding your breathe without consciously being aware of it. Become aware of your breathing. It's okay to pause, reflect and think when you act. Take a beat to do it if you need to gain composure or relax. There are relaxation techniques and courses you can take specifically to help you focus and relax. You can do practice these techniques no matter where you are.

Get Excited! Chances are, you're prepared and excited to have the opportunity to be where you are. Channel the nervous energy to the character or feeling and think of what you're feeling as excitement.

It's not a do or die. Sure, some auditions and bookings are a lot more important than others and some bookings can impact your career in a much bigger way. I get it and have been there. Here's the simple truth. There will be more auditions and even if you're not right for the part and don't get the job, you've been seen. That's the silver lining. If you've studied and have talent, you'll have the opportunity to show it again and again and will probably be requested again and again. Don't make it a do or die it's this one or I'm sunk audition, they'll be more, many, many more. Relax and just be you, it's gotten you here and you need to not change.

Understand the Voice: Again, you're a human machine that responds. That's what we do as human beings, react and respond. You'll never be able to eliminate that silent voice that is always speaking in the back of your head, somewhere in a blind spot. Just know it's there. It's speaking to you as you read this article now. The unknown is scary, as is your interpretation of what others think of you and your performance. That voice is speaking and causing the nervousness. Listen, that's only your interpretation of what can happen and what others are thinking about you, it's not the reality. The truth is they are totally and completely rooting for you and are on your side.

Unfortunately, acting is the lifestyle we chose. With it, comes the necessity to put ourselves up there for public critique continuously, anytime and anywhere we either book a job or audition to get a job. Learn to control how you interpret and understand these situations and incorporate the bullet points above. You're nerves and fears won't go away and you don't want them to completely because the only time they go away completely will be when you're dead. Flatlined. That will make it hard to audition. Just remember, you're not alone, it's a crowed boat we share and we're all nervous, just at varying degrees. Now, relax.

Todd Etelson, Actors Technique, NY @ 2010

NYCastings - Advice - Just Ducky - Part 2 of 2

Mon, 24 May 2010 09:41:00 GMT

Commercial Agent Carole Ingber shares her upbeat view on the industry.

Written by: Kelly Calabrese

Feeling swell…

Our conversation with Commercial Agent Carole Ingber went so swimmingly that we just kept on chatting away with her.

Hence… we present Part 2 of our interview!

Please check out Part 1, if you haven't already, because Carole Ingber shares many truths about the industry; including how things are NOT always what they seem and why actors should simply believe.

For Part 2 or our conversation, NYCastings waded deeper into Carole's company and what it's like to work with Ingber and Associates.

But first! NYCastings has breaking news to reveal… we learned that Carole Ingber has her own line of cookies!!!

These yummy treats, called Monchips, come in six different flavors with a top secret liquor ingredient in each of them.

NYCastings snacked on these delicious cookies as we kicked back and asked more personal questions…

Q: What is the difference between working with Ingber and Associates versus some of the more corporate agencies?

When I first started in the business I was at Michael Bloom. I am used to working big but I am a very hands-on person. I don't like assistants because I want to talk to my clients. You can't do that at a big office. I am like everyone's Jewish mother. I can not work in a structured environment. I am very down-to-earth and relaxed. I'll stay working as late as I need to stay and do whatever I need to do. It's about getting work for my clients.

Q: You have a very unique set up here with the cookies, snacks and comfortable chairs. Why is that?

I think the most important thing about an agent's office is to have a comfortable atmosphere. If you are not comfortable when you come in, you are not going to be yourself. You shouldn't have airs in an office.

Q: Should an actor touch base with you after an audition or does that take up too much time?

Some of my clients do call me up after an audition. They can if they want to. I never say don't call. I don't have a problem with it.

Q: Do you get feedback from casting directors after auditions?

The only feedback I get is if someone is really bad and that has only happened once in my life. The person was really nervous and I said ‘you have to see this person again' and they did and that person ended up getting a call back. So, commercially you don't get feedback.

My feedback is… if I keep submitting you and you keep getting a time from the same office then you are doing everything you are supposed to be doing. And it is not even about call backs. To me, if you keep getting a time at the same office, after you have been there once, that is feedback.

Q: What do you consider a success rate of auditions versus bookings?

I don't even think about it. It's not who I am.

When you are a small business, it's just me and my clients. I don't think ‘oh this person has made so much money.' I don't really care how much money they make, I just try to help everyone make as much as they can.

I tell people to go out and have fun. If you book something now, great. If you book something later, great. I had a client who took six years to book her first commercial. If an agent believes in their clients, it should not be about how much money they make. It is about who they are.

Q: Will you freelance with someone who has other commercial agents freelancing with them as well?

Absolutely. There are people I have worked with for trillions of years who just want to be freelance. I am fine with that. Sometimes the older generations think they might be better off to keep freelancing. If someone wants to freelance, and I like working with them, I will continue working with them.

Q: How can an actor help YOU out with getting them auditions?

Good Question.

(Points to Justin Lang hanging out on a wicker chair in her office)

Do like Justin does. He likes to schmooze all the right people. It is teamwork. If my clients happen to be someplace and they meet directors or producers it helps if they say ‘I work with Carole Ingber.'

Do what you are supposed to do as an actor. Study, do your improv classes and have a good time. And just keep in touch. That is very important.

Q: Do you have any words of advice for actors?

If you are not available, if you are going out of town, do not wait until the last moment to tell me. I keep a schedule and if you are not available, I write it down. I like to know where everyone is because if I push to submit you on something and then you say ‘oh, I am not going to be here tomorrow' then another actor has lost out on a time. Not only is it bad for me because I am losing a time, another actor is not getting a time because of you also. Be kind to your fellow actors.

Q: Why do you stay in this business?

I love it. I love my clients. I was never an actor. I am amazed by actors and I sit in an audience mesmerized by them. I love this business.

Speaking of loves, Carole Inbger's 2^nd love - her Monchips – will be available soon. Keep an eye out for them! Yum!

NYCastings - Advice - Hit a High Note

Fri, 21 May 2010 09:51:00 GMT

Theatrical Advice from Casting Director Jamibeth Margolis

Written by: Kelly Calabrese

Casting over 30 projects a year, Jamibeth Margolis knows what it takes to build a note worthy career.

“I love working with actors and knowing actors,” says Jamibeth. “I love the creative process of working with writes, directors, producers and seeing that negotiation of what goes on at the table and who ends up getting the job.”

Jamibeth Margolis casts countless actors, working mainly in theatre, straight plays and musicals. She heads up her own company, Jamibeth Margolis Casting, and directs theatrical shows as well!

Recent credits include Do I Hear a Waltz?, Jekyll and Hyde at the Arvada Center Theater in Denver, and Warsaw (which is currently on track for a Broadway production in the next two years).

Since Jamibeth has so much passion, information and insight, NYCastings asked her to sing out loud about it…

What key differences do you see between theatre and film/TV?

I've done a lot of TV over the years and it's a lot different. First of all, theatre works at a different pace than TV and film. Shows could take months or years to cast, years to get up, and years to raise the money. So, it's a lot different than film where you call an actor and say “come in tomorrow. We want to put you on tape.”

The job of a casting director is also different in theatre because we are the people who narrow down the talent, we are supposed to know everyone out there and show the writer, director, producer the best ten or twenty people for a role. But we don't decide who gets cast. In television and film, the casting directors often do choose who gets casted.

Must an actor be highly trained for theatre?

It really depends on the show, the role, and who we are looking for. Certainly, training is important to the extent that strong colleges attract the agents. I try and go to college showcases every year to see who's new, who's great, who might be right for things I am working on. But for the last few shows, I did cast a wider net to agents and casting sites. I think that theatre always has a luck aspect attached to it.

Do you need to be a triple threat, these days?

If you are willing to do shows other than Broadway then you can work a lot as a straight actor. I know people who only do straight plays, they don't sing at all, and they work all the time. There is Off Broadway, regional theatre, Lincoln Center, and the festivals. There is plenty of work if you don't sing. However, if you want to sing and do musical theatre the days of having a separate dancing chorus are over so you really need to be able to do everything.

If you didn't come out of a strong college, can festivals be a way to get noticed?

Absolutely. One of the reasons I work on festival projects is because they then become larger projects. As a performer, you get to work with writers and directors and make a stamp on the show. I have so many actors who love to work on festival shows because you can really help develop a piece. Your input is a lot different than when you do a rented show and, many times, getting in on that level actors stay with the show. I have had actors who have stayed with a show for over four years. If you don't have an agent you could end up getting as far as someone with an agent. It could be a great stepping stone.

Does getting press from a festival help an actor's career?

All of the festivals have press reps and some of the shows hire press, themselves. So you get a mention online, on theatre mania and backstage. Plus, I think investors are programmed to check out the festival scene now. I have had producers call me when casting a show and say they saw an actor at a reading and they want me to call them in. You never know. Producers are out there scouting for shows and for actors.

Should an actor strategically choose which theatres they work with?

My philosophy is… It is better to work than to not work. You never know which show is going to move forward, which choreographer is going to call you in again. There are so many theatres with great relationships. It is hard to determine, as a performer, what will get you seen. If you are really interested in getting producers or agents to see you, then I would recommend shows in midtown and theatre row.

How important is Equity?

A lot of shows are sending out their tours as non-equity, now. So I tell my younger students not to join until they are ready, until they are ready to compete with a person who has five Broadway credits. I think it is better, if you are a younger person, to stay non-union because you can audition for the same tour as a union person. You may get the principle role as a twenty-four year old and work with the same production teams as union actors. Personally, I would rather get the experience as a lead in non-equity tour than join and wait around for work.

So many NY based TV shows have recently ended. How is the health of NY theatre, today?

It's coming back. There was a time when shows were closing and losing money but now it's better. I also think that producers are more willing to try a show and to try a show without a big star.

Film and TV trends toward ethnically ambiguous actors, right now. Is there a trend in theatre? A type of voice in high demand?

Actually, yes. A trend I am seeing is a going away from the big loud belty sound. A lot more is placed on storytelling and the lyrics. People want to hear less volume. There used to be a time when every show was the big, loud, high singing but now the trend is to forgo that for something that you connect with, that shows who you are.

Should singers take acting classes?

Absolutely. I have seen people audition with glorious voices and then get called back to do sides and have a lot of trouble. You have to stay on top of the acting. You have to. A lot of shows aren't sung anymore the way they were in the 80s and 90s. You can't let the sides stand in the way of what gets you a role.

As people get older, is it harder to break into theatre or TV/film?

My vote is film and TV because being an older character actor is really in. There are many shows with older characters. And, many times, as actors get older they realize that they are funny. They really come into their own. Film and TV is harder because it's more about look and type. Theatre is about characters, voice, and interpretation of what you bring to a role.

Can a person make a living off doing theatre in NY?

I think you can, but it's definitely difficult. That's why I really do encourage actors to go out and do TV, under fives, extra work, commercials. You have to be able to work in all of these mediums to make a living. There are people who make a solid living in theatre alone, but not many. I know people on Broadway who are everything from accountants to historians.

Is it possible to go from unknown to landing a Tony nominatable role?

It's usually at least a minor climb. Many times people will come out of a conservatory and get a job in an ensemble show. The next year they will get a feature and then the third year they may get a Tony nominatable role. So it happens. But it's rare.

Can you spot those who will make it?

I think so. There are times when I see someone and say, “they are going to book a lot of work” and I am right. It comes down to confidence in your ability and knowing your material. Sometimes people come out and they are dressed perfectly for themselves and their songs are perfect for their voice and type. They don't have any misconceptions about who they are and so they do really well. I can always tell when someone comes in and they are doing a song that a teacher told them to do because they don't connect with it.

Does having an agent matter for landing theatre gigs?

No. It's much more important for on-camera. Over my fifteen years of casting, and eight or nine Broadway shows, I would say fifty percent were represented. You do not need an agent for theatre. It helps in getting appointments and not having to wait in line. But if you don't mind waiting in line then it doesn't matter that much.

What must an actor do in terms of taking classes, ongoing?

You always need to classes consistently. The training doesn't stop after college. You always need another dance class, voice class, a session with your acting coach before an audition, or an hour in the Drama Book Shop looking for a new monologue. And it's important to go to the various places around town where you can meet casting directors and agents so they know who you are.

Does working backstage help an actor get a foot in the door at theatres?

I think that gets confusing. I would suggest doing a showcase that's unpaid, where you are onstage, as opposed to volunteering backstage. The more you can be onstage, the better.

You travel around looking for actors. Do you cast them for NY or elsewhere?

It depends on the show. Many times I go out for national shows, touring shows, regional theatre or Broadway. And sometimes a producer will fly someone here to be seen again.

Any tips for keeping a healthy voice?

You have to be aware of your technique at all times, don't smoke because you can hear that over time, have a good voice coach that you can go back to, and know your voice. I have actors who would rather wait for something that's right for them than hurt their voice by trying to hit that high B-flat.

How many shows do you cast in a year?

I cast around thirty or forty a year and sometimes they are all compacted, twelve of them into two months during festival season.

How do you meet actors?

I meet people at the classes I teach and the classes I do for other places. I keep really good files from them. I also got to college showcases. What doesn't help me, because of the volume of shows I cast, is sending in general submissions. That does not help me as much as saying “I saw your post for Family Dinner and I think I am really right for the role.” I am much more willing to take a chance on a new person then.

Do you have any special advice for actors?

Yes! When you go into an audition and the director asks you to make an adjustment, you need to make that adjustment. I have seen so many people loose jobs because they get so set into “this is how I do the scene.” Then, when the director wants to work with them, it's the same the second time around. You want to show a director that you can change, that you can take direction, are fun to be with, are willing to play and make choices. Being able to make adjustments and coming in with choices is important. If you come in and say, “I am going to make this broad and see what they think,” that will not work for you. Come in and make big, bold choices and then be willing to change them. I tell people coming out of school that your job, until you get a job, is to go out and auditioning. Learn from your mistakes.

What's up next?

Next up I am doing a play on Theatre Row called Family Dinner. I cast it and I am also directing it. And next week we have the first big round of auditions for the Midtown International Theatre. I always run the big open call for them. And I just directed a piece that is moving on called Warsaw. Plus a bunch of other stuff for the fall, including two musicals.

NYCastings - Advice - How to Memorize: Don't Get Locked.

Wed, 19 May 2010 10:13:00 GMT

By: Todd Etelson

How do you memorize your lines?  It's a must for all actors, but how you memorize can determine your ability to change when taking direction. Most actors rush to have their lines down cold.  It's the first thing they do. If you're one of these "get these suckers down first" actors, you may be doing more harm than good.

Whether for an audition, play or TV/Film script, you're saying legally approved copy, so you need to say the words as written, with permission to improvise, but what if the director wants you to do it a different way?

What if your thoughts as to how to play the character didn't agree with the thoughts of the director or client?   If you're locked into one way of internalizing the words, it will be very difficult to change.   If you rush to memorize, you may be locking yourself into one way of thinking about the delivery of the lines and lessen your ability to take direction.

Many actors tend to go through the back and forth process of  staring  at the words, pulling the script away, then trying to repeat what they just stared at in an attempt to memorize. Danger, warning Will Robinson.  You may be locking yourself into one way to think about or internalize those lines.   You'll lose the ability to adjust to a different way of thinking about and delivering them.   Thus, your best bet is to not memorize with one particular way of feeling or internalizing the lines.   Let these lines come at you in many ways, so you won't be locked into one way of delivering them.

Here are some bullet point ways to help you memorize lines which will help prevent you from being locked into one way of internalizing and delivering copy.

Get a partner to repeat your lines back and forth with you, over and over again.

Start with each individual line, then expanding to several lines at a time, so you hear them aloud from someone else. The continuous hearing of these lines in different tones and inflections will keep you from being locked into one way of memorizing them. The same lines, your lines, back and forth. Each moment will bring a slightly different read.

Write your lines down on paper.

Whether monologue or scene, writing your lines on paper will help you solidify them in your mind. You can do this many times., it's for you only. A pain, sure...but it helps.

Speed Read.

Don't act, just say the lines quickly. You'll trip up at first, but after several attempts, you'll get them down.

Actively Listen to Your Partner.

Once you have the memorization down, have someone do the scene with you. Focus on actively absorbing your partner's lines before you say yours. No two moments are alike, and if you listen and absorb honestly, you'll get in the habit of responding honestly each time.

Acting isn't about the words, if it were, we'd hire readers. Time is still money, so you still need to know your lines cold. It's part of your professionalism. The above steps should help you memorize and learn lines in a way that allows yourself the ability to internalize, adjust and stay in the moment. You won't be locked, and taking direction will much easier for you and help your acting.

- Todd Etelson, Actors Technique, NY

NYCastings - Advice - Five Tips for Actors and Singers

Thu, 13 May 2010 10:21:00 GMT

by Jason Bennett, 5/12/10

1. At the core of all of us is vulnerability. We may not feel it or consciously know about it. But, vulnerability drives everything we do. All action impulses we have are an attempt to get our needs met so we feel less vulnerable. They are power moves. All power moves compensate for vulnerability.

In acting, identify the character's vulnerabilities, or your performance will fail. Then, you need a process for truly accessing the energies -- the vulnerabilities...and the power archetypes that compensate for them and drive the action. We work on that in our acting classes. A power move, compensating for underlying vulnerability, is what causes you to "do" when you act. It is the cause of all action in acting and in life. "Doing" without experiencing the myriad energies is lifeless indicating.

2. Internal struggle, as the character, is as important as the struggle with the other characters. You can think of it as having opposite "voices" within you. Our personality is comprised of many parts, or subpersonalities and archetypes.

So, as the character (or in life), one part of you might want an abortion and another part of you might be religious and think that's murdering a child. And still another part of you might be a lonely part and long for a child! But, another inner critic part of you thinks you're unfit to be a parent because you are lazy and selfish.

These are archetypes and subpersonalities. Great actors and singers create many aspects, or subparts, of every character they play. And you can learn how to truly create aspects of characters in this way, using your imagination. And you can learn to access them in your acting using the Archetype Work we use in our school.

3. Go to the amazing New York Public Library of Theater and Film on Tape at Lincoln Center. You can make a reservation and watch most Broadway and Off-Broadway theater on tape from the last 30 years, the original casts. It is a wonderful resource and you can learn so much about acting and the theater from doing this. I watched both parts of "Angels in America" twice it was so inspiring. Even the original "A Chorus Line" is there. By the way, you have to be "researching" to watch it. They will not let you use the library if it isn't for research purposes. You can learn about it at http://www.nypl.org/locations/lpa/theatre-film-and-tape-archive

4. A few days ago I was working on my acting in the Subway: You can do this in your car, on a bus, in a park, in a restaurant, anywhere... It's useful to do it in the presence of people, even though they don't know what you are doing.

Begin by listening to some intense music. I was listening to deeply spiritual music and it evoked an ancient Archetype -- eons of years old -- it was mind-altering. It seemed beyond human. I intensified it. I felt as though I could feel the entirety of earth's history, of human history. I imagined playing Kings, Warlords, CIA agents, peasants, slaves and aborigines - being Dick Cheney, being Hitler, being Ghandi, being the Buddha.

It was fascinating to experience how my thoughts, feelings and fantasies would completely shift when I would access a different character/archetype. I imagined how I would move and speak differently from energy to energy. I would try it out a bit in ways that weren't obvious to people around me. It is so much fun to cultivate this ability and it's key to great acting.

5. You cannot be too smart to be an actor. One of the traditional criticisms in acting classes is, "You are in your head." This is often called being "not truthful" or "not real" by acting teachers. But all your impulses are real, always. And you are always communicating something "truthful" for where you are in that moment, whether it's unemotional or rational or manipulative. It's where you are, for "real!" Never forget that, because it's liberating for many performers to shift to this way of thinking. I've worked with countless actors terrorized by the thought they are not being "real," "truthful," or that they're in their "head." (Where else would you be, on Jupiter???)

The phrase "in your head" generally refers to an actor "acting" with too much rational or conceptual archetypal energy controlling them. One trap of this old-fashioned phrase is that you conclude thinking while you act is bad. It isn't. You are allowed to think when you act. The key is telling the story the writers want you to. Great story-telling is dimensional! There are many, many colors that must appear unpredictably to the audience, and sometimes even to the actor.

It's ok if the part of you that is rational is present when you act. But it must be balanced, or even trumped, by other parts of you, other kinds of energy. Great acting can be rational, for sure, but it almost always must have other energies present, too: all kinds of vulnerability, sexuality, impulsivity, chaos, joy, evil and on and on. There are hundreds of energies great actors paint with while performing. You must cultivate genuine access to these unique and intense ways of being. It is fundamental work for any performer (or great communicator). And you can learn to access these energies in great acting and singing classes.

Final tip for auditions: HAVE FUN! AND LET IT GO! AND MOVE ON TO THE NEXT THING!

Jason Bennett is an acting and voice teacher in NYC and is founder of The Jason Bennett Actor's Workshop at http://www.JBActors.com

NYCastings - Advice - Just Ducky - Part 1 of 2

Mon, 10 May 2010 16:19:00 GMT

Commercial Agent Carole Ingber shares her upbeat view on the industry.

Written by: Kelly Calabrese

Everything's fine…

Actors you can kick back and truly be yourself when it comes to meeting Commercial Agent Carole Ingber, owner of Ingber and Associates in New York City.

Carole's warm vibe, welcoming office, and hands-on style stems from her passion for representing commercial actors.

“I truly love what I do,” Carole shares, “and it's not about the money. I love my clients.”

So refreshing to hear, Carole Ingber speaks from the heart and means every word. In fact, Carole opens herself up so much that her office becomes a second home to many of her clients. Actors drop by to touch base or grab a couple pieces of sugar from an always stocked candy jar.

To get a first hand view of Carole's comfortable home base, NYCastings stopped by to chat about the industry and Carole's role as a commercial talent agent.

Boy did we learn A LOT! But before the Q&A begins here is a fun fact that NYCastings learned…

When Carole was little she used to go to the duck pond with her Dad every Sunday and feed them bread. This kinship to ducks remains today with ducks all around her office, including a rubber duck with skull and cross bones that a client gave her!

Inspired by the ducky ambiance and Carole's open nature, NYCastings asked for the truth behind many common industry rumors.

If it walks like a duck and quacks like a duck – is it a duck?

From Carole Ingber's viewpoint…

Q: If an agent doesn't get back to you, does that mean they are not interested?

No! On my end, do not assume anything. If I meet someone at a class or a show, they should stay in touch. Pick up the phone and call, email, say hello to me. I have submitted people for six to eight months and then finally started to get auditions for them. I really like when people stay in touch and not by mail, I am a phone person. I don't email my clients auditions and I don't want them to email me confirms. The only way I get to know you is to talk with you. I know that people are intimidated to call an agent but I don't work like that. And I never forget anybody.

Q: Some people in the industry say, “I've seen it all.” Have you?

Absolutely not. Every day, every moment is a new experience. I truly think that if an agent goes to meet people, or to a showcase, with that attitude then they will not be able to see the people who should really be pursued.

Q: Do actors get one shot to make a first impression?

Not true. I am one of those people who think that first impressions shouldn't be it. It's like a blind date. Sometimes you go on a blind date and you don't like them but your friends say ‘you should go out with them again.' And you do go out with them again and sometimes it's still bad (laughs) but I have had a lot of signed clients who I met and just didn't get the first go around. Maybe they were in between ages, (mid twenties, mid thirties, mid forties) and I wasn't able to work with them. Then, suddenly, I meet them again and they were a little but older. Or maybe I'll get a postcard or a phone call and I'll have them back up again. The bottom line with me is, if you don't stay in touch I may forget.

Q: Is it really hard to get work without an agent?

It is hard. You can't really do much without an agent.

It's a catch 22 for the actor because how do you get out there without an agent but how do you meet an agent? Unfortunately, if you are not doing a showcase and a mailing for agents to come see it, then you have to do the one-on-ones and pay for it. But I have met wonderful people at those places. And I do know a lot of casting directors who meet people in classes and bring them in directly or call me and say ‘you've got to meet them.' I met Justin (Lang, who happened to be hanging at Carole's office) through House Casting and they said ‘you have to meet him.'

There are so many people out there. You never know where you will find them. We open up every piece of mail that comes into this office. I have met a lot of wonderful people who had no one to refer them.

Q: If an actor is freelancing, do they get less focus then signed clients?

Yes and No. If a casting director calls me up and says ‘I have one time' and I have a few people who are right for it, and say one of them is a freelancer, I will definitely put the signed client in. But if I am doing submissions and I think there is a freelancer who is just as good as a signed client for it, I will submit them all if I can. I want to book the job and send in who is right because it is my reputation. If I don't send in who is right, casting directors aren't going to trust me. So yes, if there is a freelancer who is right, I will push for them.

Freelancing is dating and being signed is being married. That's how I look at it. You date, you get engaged and then you get married. This is my marriage board (points to a dry erase of board with many colorfully written names on the wall behind her).

Q: When someone says “Nice Job” / “I'd like to see more of you” are those just words?

It depends on the person saying it. When I go and meet people, if I feel like they need to do something different I will re-direct them. If I really want to work with someone, and I say that, I really mean it.

Q: Is timing everything?

That really is true.

Speaking of timing - STAY TUNED – for part 2 of our Just Ducky interview

NYCastings - Advice - Colin Farrell - Real or Fantasy?

Fri, 7 May 2010 10:29:00 GMT

Truths from the set of his latest movie

Written by: Kelly Calabrese

Between myth and reality, Colin Farrell has learned to live with the many reputations that precede him.

“We all, as human beings, probably do a good job of misrepresenting ourselves a lot of the time,” Colin says. “The press has got its space to fill. I've read some nasty, nasty things through the years and I've read some really nice things written about me. Neither really holds the essence of truth.”

That essence, that line between what's real or imaginary, also plays an integral role in Colin Farrell's latest movie, Ondine.

Written and directed by Neil Jordan, Ondine tells a tale about Syracuse, a simple fisherman (played by Colin Farrell), who catches a beautiful and mysterious woman in his trawler's nets. The woman seems to be dead, but then she comes alive before Syracuse's eyes and turns out to be a possible mythical creature in modern times.

To find out what happens, you'll have to catch the movie and see for yourself.

Yet, NYCastings did reel in many on-set secrets for you during our interview with Colin Farrell and Neil Jordan.

The two blokes kept NYCastings laughing and sighing as they shared stories about the filming of Ondine as well as how Irish men pick up women when there aren't any trawler nets around…

Q&A with Collin Farrell and Neil Jordon

Q: How did you prepare for this film, which shot mainly on the water?

Colin Farrell: From day one, all I needed was in the script. I didn't really have to go outside the script. I just thought a lot about it from the first time I read it to the time that I agreed to do it. You become consumed by imaging what it'll be like to walk in this man's shoes and to emerge yourself in this world. And I spent some time, two weeks before we started shooting, on the boat. Everyday we just trolled up and down the coastline of the Atlantic Ocean. It was just a magic, magic time.

Q: Colin, when you heard that this film was about the myth of the Selkie did you read up on it or were you already familiar with the story?

Colin Farrell: No. In the film, she's very different. Syracuse is a man where one of his greatest strengths is his ignorance in many ways. He's very much a hero but also just pursuant of the present. He's someone that equates love to loss but there's no kind of self-flagellating pity going on his life. He's okay with it and then this woman comes in and by the mere nature of catching her in the net, it's a little bit odd from the start. It's not like he met her in a pub or over a nice portion of fish and chips at the local chip shop as so happens romantically in Ireland on Friday night. This woman brings something into his life that he doesn't quite comprehend. She represents that thing that transcends the drudgery of everyday existence, the kind of wee insertion of love into his life.

Q: Neil, you write many fractured fairytales, what drew you to write this fantastical story?

Neil Jordan: Well, I asked questions. What if a group of real characters, lived in an incredibly beautiful landscape, but they lived poverty-stricken lives? If a series of coincidences happen in that world, would a believable fairy tale emerge from that? That's the question I was asking when I was writing the script and that's the way that I shot it really. I wanted to see the landscape tell the tale without any visual interference, any arch direction interference. That did it in the end.

Q: Colin, you've played some brutal and aggressive characters in the past. What was it like playing this gentle, loving guy?

Colin Farrell: It was so boring. I didn't get to scalp anyone. (Laughs) It was really lovely. It was nice to be able to play a character that wasn't burdened by the notion of responsibility or wasn't consumed with the idea of pretense, even in an unaware way. There was a simplicity and a humility to the character that was really, really lovely. It was somebody that had both removed himself from the societal grid and had also been kind of ostracized from the community as well. No man is an island unto himself but he had kind of become that. I found this nice, lovely, melancholy tune without any self-pity. It was the first time, in twelve years, that I played a character I wasn't looking forward to leaving. I'm going to miss Syracuse, even his name.

Q: Neil, what drew you to write a tale so rooted in magic and Ireland?

Neil Jordan: What brought me to it is that I've made a lot of movies with violence. I thought, ‘could I make a film that was terribly simple and terribly forgiving where nobody dies in the end and nobody transforms into some ghoulish, some monstrous thing?' That's all.

Q: Can you talk about the casting of Ondine?

Neil Jordan: Yeah. It's hard to put together independent movies at that moment. It's like, 'Okay, you've got Robert Duvall and you've got Johnny Depp. Can we also have Jennifer Aniston? Or else we can't sell it in Hong Kong.' So, I cast Colin and then they give the project to these international sales companies who do what they call running numbers.

Colin Farrell: Turns out I'm not too big in Hong Kong.

Neil Jordan: But for Ondine, I thought she should be unknown because I want to see someone that I've never seen before which very rarely happens unless you cast kids. I saw a lot of East European actresses and Alicija (Bachleda) came in one day. She gave this reading and I thought, 'she's really making this work. This will be interesting.' I thought she was a really great actress. She had a very difficult part to play because she's playing the interpretation that other people put onto a character. That's a very difficult thing to do.

Q: How do you view the lines between myth and reality as an actor?

Colin Farrell: We all have a responsibility, an obligation, a really exciting opportunity to design our lives to a certain extent. Some of us are born into a particular demographic or situations in which it is very hard to design anything but the needs of survival. But I've been very fortunate in my life. I've had a chance to design, through the work, where I want to go, what questions I want to ask, and or what issues I want to take a look at; personal issues, human issues or existential issues in my own sort of way. So, with that in mind, the work is really interesting. I don't do it for therapeutic reasons at all. I would be a basket case if I did, like if it was therapy. But it is interesting to approach the idea of walking in another man's shoes.

Q: Is there a comfort to shooting in Ireland, Colin, or maybe is there a feeling of more pressure when you're shooting there?

Collin Farrell: The only element of fear would be going home to people where I'm from not thinking that I've changed and that's understandable and childish and you get over quick enough. I love Ireland very much. It makes sense to me. It uplifts me, it frustrates me, and my relationship to it is the same. It's beautiful. One of the most beautiful parts of the world that I've ever been to is the Beara Peninsula and I did my first job there twelve years ago. I did a four-part mini-series for the BBC called Falling For a Dancer. It was great to go back to that part of the world and work with a director/writer that I'd wanted to work with for seven or eight years on a story that was so inherently beautiful. A story so predominantly about the need for hope and the need to believe that it transcends the real world as you perceive it. It was just a perfect storm for me. And I worked with some of the drivers and caterers that I'd known for twelve, thirteen, fourteen, fifteen years. Those are happy days.

Will Ondine have a happy or a tragic ending?

Check it out opening day, June 4^th, to find out! Released by Magnolia Pictures.

NYCastings - Advice - Joan Rivers - A Piece Of Work

Mon, 3 May 2010 10:16:00 GMT

Written by: Kelly Calabrese

Roars of laughter, as loud as a reeling roller coaster, fill the theatre as Joan Rivers discusses her life during the Tribeca Film Festival.

With each question at this Q&A, Joan can not help but make a side splitting response, a talent she credits to DNA.

“My father was a doctor and he was so funny people would laugh until they died,” Joan says. “And my sister is a lawyer but she has great humor. And my grandson is funny and Melissa. You learn to see things crooked. When the whole family laughs at funny things it makes a big difference.”

Joan spent her entire life making people laugh and changing the way audiences view female comics.

For her latest project, an IFC Films documentary titled A Piece of Work by renowned filmmakers Ricki Stern and Anne Sundberg, Joan reveals the ups and downs, the ins and outs, of a legend's career. A legend who still believes the best is yet to happen.

“I have no choice,” Joan says, I have to keep going. “From the time I could put two sentences together, and they put a pussycat headband on me, that was it. I didn't want to do anything else but act.”

Acting fuels Joan, yet she never really got a shot for a serious role.

“It's a tough business and you have to have skin of an alligator,” Joan says.

“I have never been offered a television sitcom or a role in a movie. But I am not going to dwell on it because look what I have had come to me.”

Should her career have gone differently, Joan believes she would have made “a great Phantom” on Broadway.

Jokes thread through every remark, yet Joan did make serious attempts to get more acting gigs. Time after time she wrote letters to theatres who didn't even take the time to respond.

“Shadowlands is a wonderful play and I wrote to them,” Joan shares. “I always write to everyone and they never answer me.”

“Do you want to hear something awful?” Joan asks. “When Edgar had just killed himself, I couldn't get work and they were looking for someone for Broadway Bound. Neil Simon said ‘don't bring her in.' But I came in on my own money, read for it and they gave the part to me right on the spot. That turned my life around. From that, I got my talk show and on and on. My whole life I said “'Neil Simon changed my life.' But when I saw him again years later he said, ‘You were a Kate?'”

Harsh times also occurred on the comedic side. Since leaving Carson, Joan has been blackballed from NBC. “Conan had me on once in twenty years. Leno has never put me on. And I have offered and offered,” Joan says. “But now there is a new crop. There is Jimmy Fallon who loves me. There is Jimmy Kimmel who loves me. You know what it's like ‘screw you, your loss.'”

“You can't change the past so just move forward. I don't allow myself to be a poor me person.”

Throughout this documentary “the movie does what good documentaries should do,” Joan says. “They entertain you and inform you.”

And the number one thing you learn from the flick is that Joan does not stop working.

“I can't afford to stop,” Joan shares. “If I'm not working, money doesn't come in. Barbra Streisand said ‘I sit in the bathtub and I'm making money in Hong Kong.' Well, I figured out that I get $7 a joke, but I love it.”

“There is nothing I won't do for publicity. Humiliation does not exist in my vocabulary. I never had the cushion to say, ‘I won't do that.'”

To keep her comedic chops in top shape, Joan reads the Wall Street Journal, The NY Times and The NY Post every morning. “You don't know where comedy comes from,” Joan shares.

In preparing her material for stand up, Joan writes down jokes all the time. “I think of something and say, ‘oh that's funny' and I write it down. So there are bits of paper all over the place,” Joan says. “And I have a rule that if anyone says anything funny in front of me, it's mine.”

So how do female comedians stay aggressive and feminine at the same time?

“I don't know” Joan says. “It's really hard. And all the men that I've been seriously involved with have never seen me perform. They've never seen me in a night club. I am so tough on a stage. You have to be. You need an audience's attention.”

Tough, honest, and true to her comedic senses, Joan does not worry about what other people think of her style.

“Bill Cosby once said to me, ‘if one percent of the entire world likes you, you will fill stadiums,'” Joan shares.

However tough the business has been for Joan, she believes that younger comedians have an even steeper road to climb.

“I was so lucky,” Joan says. “When I did Carson, the world saw you. Now you have a thousand choices so no one knows you. People will say, ‘I have been on Letterman 19 times' and you're like ‘ehh.' You don't see them. There is no star maker now unless maybe you can dance like Kate Gosselin. I watch her spin and am so scared more kids are going to come out of her.”

Always moving forward, Joan is most grateful that her parents got to see her succeed. “Thank goodness mine did,” Joan shares. “When my Mom was near death her friend said to her ‘Joan is a star' and my Mom said ‘No, she is a superstar.'”

Joan plans to keep her star shining for as long as possible.

“I want to do everything,” Joan says. “I'd like to go back to Broadway. I'd like to do a movie. The next thing is always the most exciting.”

NYCastings - Advice - Reach a Higher Level

Tue, 27 Apr 2010 11:09:00 GMT

Acting Biz Tips from Ingrid French Management

Written by: Kelly Calabrese

Attention talented actors…

If you want to get work and keep working then you must “conduct yourself like a business,” says personal manager Ingrid French of Ingrid French Management.

“Sometimes very talented and creative individuals can forget that this is a business in terms of returning phone calls promptly, making sure you are stocked on your resumes, that your headshots are updated and that you send thank you notes to casting directors.”

When actors treat their careers as a business, “they take themselves to a whole new level because there are a lot of talented people and creative people but not everyone has the business savvy. It helps differentiate a great actor from someone who is going to work and stay working,” Ingrid shares.

Since 1999, Ingrid French has helped actors and models reach higher success levels in commercial print, commercials, television, film, theatre and voice-overs.

Ingrid French Management thrives, even in this tough economy, because of strong relationships, Ingrid's knowledge, and her talented clients.

To help you achieve a higher success level, Ingrid shares some behind the scenes business tips with NYCastings…

Q: What makes Ingrid French Management successful?

I have great clients and casting directors who I have great relationships with who keep calling, even if it is a little slow. I keep finding good new faces and I have a great team in the office.

Q: How do managers differ from agents?

I worked at an agency before I opened my management company and to me the main difference is that when I worked as an agent I had a ton of clients that I worked with but I only worked with them on a specific area. When I worked on the commercial side, I only worked with them for commercials. When I worked on the legit side, I only deal with their TV, Film, and Theatre appointments. I would meet people that would be great for commercials but I didn't work on that and there wasn't a lot of cross over in the office.

So one of the things that influenced my decision to become a manager, is that I wanted to work with fewer actors and be able to work with them across the board. I wanted to have my hand in all pieces of the actors pie, to really help them strategize and to be able to work with the casting directors, directors and producers who can get them where they want to be.

For me, being a manager is more hands on across the board as opposed to doing more of procuring appointments and sending actors out for a specific area.

As a manager, I do a lot of development as well.

For agents, many times, you have to be already going out, making money, and have relationships established. Managers are more willing to develop a newer face, with fewer credits, and do some of the groundwork to get people out there. Not to say that agents don't, but managers are more likely to help develop performers. Having fewer clients allows managers to do more of that.

The lines are blurred, though.

As a manager, I am procuring appointments all the time and submitting people directly to casting directors. I also have some amazing agents that I work with. For my actors, and for me, it's all about having an extra set of eyes ears and hands to help the actor get out and make sure materials are right and marketing is in place.

Everyone has different relationships. If an actor has an agent and myself, the agent may have a better relationship with a casting director and I may have a great relationship with another casting director so we can target the industry people we know best to pitch my clients and try and get them appointments. Or maybe the agent is too busy one day to do a feedback call so I may do that. To have two people working for the actor is great because they have a better chance to get appointments.

Q: You freelance and sign talent?

I usually freelance first. The intent of the freelancing is to move into a signed relationship. It's to get a good sense of the actor, to make sure they are happy, that I'm happy and we click. Usually anyone I take on has a similar vision and we see his or her career going the same way. But freelancing gives us the chance to make sure we are on the same page, have the same goals and what I am going to be submitting them for is how they want to be seen. If everyone is happy, that's when we sign. That's always the goal, to move into a signed relationship.

Q: If an actor is freelancing with you and they only get one audition a week, does that reflect poorly on their marketability?

Not at all. There are weeks that will come by for a certain age group or actor and they'll be going out every day or twice a day and there are weeks when nothing comes in for them. That is never a cause to worry and there are things as an actor to you can do to make sure you stay on my radar. If you haven't heard from me, shoot me an email and update me on something your doing or a class you've taken. Don't email me and just say ‘do you remember me?' But definitely update me with what you have going on.

And if it is a little quiet go meet a casting director somewhere and let me know about that because anything that you can do as an actor to show me you are being proactive will keep you on my radar. Then I have learned something new about you, a new casting director that you've met, and it might help me get you into that office.

Q: Should actors alert casting directors when they start freelancing with a manager or agent?

Yeah, that really does help. I can't tell you how many times an actor has said that when they've met a casting director and then I am on the phone with that casting director who says ‘I just met an actor that you work with.' We end up having a five or ten minute conversation about that actor and if that actor never mentioned to the casting director ‘I am working with Ingrid now' then we never would have had that ten-minute conversation. Many times an appointment can come out of it. Casting directors like to know where they can find an actor they have met, especially one they like.

So many times, I have had casting directors say ‘I love that person, but I don't call actors directly. Now that I know who represents them, I can call.'

Also, a casting director can forget that an actor works with me so if I know the actor has met a casting director then I make sure to submit them when that casting director has a role that the person is right. I bring them up again.

Q: How can an actor make his or herself a hotter commodity?

I feel like right now, and part of it may be the economic times that we are in with everyone's budgets being so constrained, that a lot of casting directors ask me ‘does the actor have a video I can look at or a reel?' It streamlines whom they bring in for casting so as an actor having those tools, like links to work or a reel on an actor's site will help.

Even later down the line they may have actors that they like and are trying to make a decision. If they can see more of one actor, that can tip the scale in favor of the actor who has links.

I submitted a client of mine for a commercial the other week and they called to put her on hold. They were doing this off headshots and weren't even bringing the actors in. Well, the producer who called to put her on hold, Googled her and got all of these video clips of work that she's done. By the time I called back to say ‘yes she's available,' the producer said ‘she's perfect, I've seen all her stuff. She's great.' And she got the job.

If he was not able to find anything on her then I feel like maybe they would have put several other people on hold, gone back and forth, or maybe had to bring people in. Because he could so quickly access her information and look at her body of work, she made the decision easy.

Q: I read that you get a couple hundred headshots/resumes a week and I know you go to a number of the meet and greets. What does it take to break through the clutter? To be that needle in a haystack?

There are a lot of different ways but one of the ways that stands out the best is if they have a referral form a casting director, director, or producer who says ‘this actor is amazing you have to meet them.' That makes me take notice.

What the casting directors or directors are looking for can change and I may not have a person like that on my roster so I will go to events and seek out a certain look. Yet, great referrals from an industry source are always good. And the actors I work with also refer because they have a good idea of what talent I like and who would fit in the office.

Q: Should actors ask casting directors for recommendations?

The actor should definitely ask. Many times a casting director knows what types of actors I like. They don't call in actors directly but they may say ‘I think you are great and you would be a good fit for Ingrid.' Then they'll give me a call and set it up.

Many times actors will ask the casting directors who bring them in and like their work. They'll say ‘I am looking for new representation will you put in a call for me.'

If an agent or manager gets a call from a casting director saying ‘this person is amazing, will you see them?' they always do, I always do.

Q: There seems to be a trend for ethnically ambiguous actors right now?

There is. When I see someone who is ethnically ambiguous, I pull those headshots out when I am going through my mail.

Q: What do casting directors mean by ethnically ambiguous?

Some people mean a mix between two different ethnicities, with a very exotic look, and you can't place where they are from. I also hear that term to describe people with brown hair, brown eyes and olive skin. They could be Greek or Mediterranean, but they also look like they could be Spanish or Caucasian. Both types are popular right now.

Q: Can a resume look unfocused / should it tell a story of where a person wants to go with their career?

I like resumes that are clear, concise and as easy to read as possible. People want to navigate through your resume, quickly. And if there is an area, as an actor, that you are most interested in that should be apparent.

Sometimes I look at a resume and it's all musical theatre and when I talk to them they say they don't really want to do musical theater. That may be the reason why I brought them into the office, because I needed a musical theatre person.

If you have a musical theatre background but are trying to move away from it then limit the amount of musical theatre on your resume. Maybe take some classes in film and theater and put that on your resume so it looks more balanced.

Target your resume to what your goals are.

People look at your resume as your body of work and if it's skewed in one area, people will assume that is where your focus is. If you are interested in everything open to anything, then it should look well rounded.

Also, I think the special skills section is really important. Some people use it as an afterthought. I never mind people putting things that are funny or reflect their personality, that's great. But so many times I am using that special skills section to see what they can do and it may help me submit them or help a casting director know what they can do. If a casting director needs a tennis player and you are nationally ranked player, put that on your resume instead of just tennis. You want it to be as detailed as possible.

Q: When it comes to getting appointments, how important is it to respond quickly to postings?

It's tough. With all the electronic submissions, it matters how fast you are. You could go to the bathroom and your submission could end up 5 minutes behind someone who replies sooner. The appointments go out fast. You have to be on it all the time, its very time sensitive.

Q: Many times an actor goes on an audition and wants feedback from their agent but they don't want to be intrusive. Do managers give more hands on feedback?

It's a little bit the same. Even with fewer clients then an agent, I am on the phone and emailing all day long. There may be times that an actor wants to talk to me and if it's quiet I will spend 30 minutes catching up. But there are days when I am on three lines all day long. I think my actors know that if I have time to talk I am happy to and if I am really busy I may say ‘let's talk another day because it's crazy right now.'

I am good friends with many of the actors I work with. We know a lot about each other's lives so it's good to catch up. Obviously, the more I know about them, the more it helps me in pitching them.

Another trend is that when commercials or legit roles are casting a nurse, they want a real nurse. There are so many things that an actor does besides for acting and that can determine whether they get auditions. The more I know, not just about their acting and talent but about what they do, could help them get auditions.

Q: Why does it take so long to get feedback after an audition? What is going on behind the scenes?

So much! Everyone is waiting on everyone else. The actors are waiting to hear from their agent, who is waiting to hear from the casting director, who is waiting to hear from the advertising agency, who is waiting to hear from the client. So, one phone call from the actor to the manager can spur phone calls down the line. And these decisions for the clients are big decision so it takes a while. Sometimes there is a lot of back and forth about actors.

As an actor, I feel like the best thing to do is to walk out of the audition and forget it. Because, I can't tell you how many times someone calls me and tells me how amazing they did in an audition and we don't hear anything and, on the same note, sometimes I will call people to tell them they booked a job and they will say ‘I can't believe it. I was terrible.' How you feel when you walk out of the audition doesn't always indicate what will happen in terms of actually getting the job. It is so arbitrary how they reach a decision. You never know.

Q: What do you enjoy most about managing talent?

I get to speak with my actors about their audition process and the work that they do. It's exciting when they get a job. The whole process is exciting, watching someone go from the beginning stages of someone starting their career to seeing things blow up for them.

Q: Is there anything specific / exciting going on right now for your office?

It's been a good year for us. I know we are in tough economic times but we've been doing really well. I have a couple national commercials that are running. Three actors booked Starbucks. I had someone on Nurse Jackie this week. We have had a bunch of people going out for pilots.

It has been good and I am encouraged because so many of my clients want to work across the board. My actors are booking commercials, television and film. They are getting a chance to exercise their skills in all areas. It's great when you have someone who is in a play at night, doing commercials during the day and a couple day player roles as well. They are consistently working and that's nice.

Speaking of nice…

THANK YOU Ingrid French for your time and behind the scenes insight!

NYCastings - Advice - AMAZING Print Advice

Mon, 26 Apr 2010 10:41:00 GMT

From Agent Charlie Winfield of FunnyFace Today, Inc.

Written by: Kelly Calabrese

Ever wish you had super powers? The ability to spin a web and have casting directors captivated by your face and talent?

Breaking news alert! YOU CAN become super…

In the print universe, “there are so many things people can do to enhance their longevity in the industry,” says print agent Charlie Winfield from FunnyFace Today Models Inc.

At FunnyFace Today (FFT), they “have all types from the womb to the tomb,” Charlie says. “It lends the possibility for almost anyone to have a successful career.”

To learn more about the world of print work, NYCastings met with Charlie at his FunnyFace Today headquarters. AND that is where we found out… Charlie has a secret connection to a legendary super hero!

So many Spider-Man collectables graced Charlie's desk, wall and floor that it inspired us to ask more about his super powers when it comes to casting print work.

Here are Charlie's…

Top-Secret Details

As part of a dynamic team, Charlie runs the commercial print division for kids/teen and adults. Some of their clients include Parent/Child Magazine, Gap, Johnson/Johnson, Nabisco, Verizon, AOL, Wendys, McDonalds and many more.

Charlie has over twenty years of entertainment experience by way of acting and as an agent in both Los Angeles, CA and New York, NY. He started out as a child actor at the ripe age of 6yrs. and has been in the business ever since.

When it comes to succeeding in the print business, Charlie reveals that it is “all about the engaging factor.”

At FunnyFace Today, “It's all types of people. We do not pigeonhole,” Charlie says. “We are specific with what we look for but we are about making people comfortable, looking out for people's best interest and being an agency that is relatable.”

FunnyFace Today takes pride in really explaining “the industry as they used to do in the old days. It used to be about cultivating talent and they still take the time and energy.”

When it comes to finding new faces, Charlie looks…

Behind the Mask

‘What we look for with all of our models, whether it be kids or adults, is marketability,” Charlie shares.

“We base things on a look because you are selling a product and have to be engaging to the client but at the same time we need personalities because looks can be deceiving. You can look wonderful but not have a personality or look beautiful but not take good pictures.”

The biggest misconception about print modeling is that “it's strictly about being beautiful or having a chiseled body, which is great but it is also one dimensional,” Charlie says.

“We teach that your versatility is what will enhance your marketability. Many times models will come in one-dimensional and pigeonhole themselves. There are a lot of different types of modeling you can do from high fashion, to parts, fitness, catalog, and lifestyle modeling.”

“In this industry everyone is so busy. They don't always take the time to say ‘if this person's hair was different' or ‘if they had on a pair of glasses on.'

To capture fresh faces, Charlie relies on referrals and his...

Spider-Senses

“We can tell in the first two minutes” if you are right for FunnyFace Today “because it's about how you act around other people,” Charlie shares.

“If I am a client, and I am a looking for people to sell my product, I want you to be engaging. And I am marketing my product to everyone, so we want our clientele to be able to sell any client's product anywhere.”

At FFT, “We need to be aware of all the different mediums that talent is on: Internet, TV, Print ads. We have to be on top of everything that's being marketed. Right now clients are looking for ethnically ambiguous because it makes them able to sell their product to a wider market.”

“I call us boutique even though we are a large agency because we are very specific. We don't take a lot of the same type because we want to be a resource for our talent and look out for their interests.”

Since FunnyFace Today is so specific in what they look for, “it becomes very time consuming if people are mailing in or walking in, so usually we take referrals from clients and photographers,” Charlie says.

“We also do a lot of traveling to conventions and we bring kids here in the summer to have an opportunity to work in a major market. It's an opportunity for the parents to see if their kids have potential. And for the kids, it's great to see the competitive market because you can tell off the bat if it's a New Yorker or an out-of-towner. We want to see personality. We want to see how hungry you are. Do you really want to do this?”

If you really want to work in this business, it is essential to…

Marvel at the Print Universe

“I tell everyone to do their homework,” Charlie says. “You see periodicals on the newsstands, thousands of them from all over the world. Look at the ads and at the types of people you see. Look at the talent and ask ‘do I see myself as a viable commodity?' Same with TV. If actors and models took the time to focus and pay attention, they would really see how to market themselves.”

It's important to do your research because “trends do change,” Charlie shares.

“There was a time if you were African American you could not be too dark or too light and you could not have a big nose or lips but now you see all types of people. The Latin community is huge right now as well as the Asian community. As advertisers change their vision, we do too. We make sure to encompass everyone. We are moving into a more positive area with works for all types of ethnicities creeds and colors.”

“In most cases people have preconceived notions of this industry and I tell people to start with a clean slate so you can see the different types of marketing, see where they fall and learn how to market themselves.”

“Commercial print is being able to convey in print that you are an actor. You are not just standing and posing. It is an action shot. As a commercial model, you want to make yourself viable to sell these products.”

To market yourself, it definitely helps to have…

Special Devices

“This is such a subjective business but my thing is… if you want to act have an 8x10. If you want to model, I think yes have a comp card because it is about how versatile you are. If it's just a headshot, it's just one look.”

Charlie recommends you have different looks on your comp card such as a shot with glasses, one glamorous, one with your hair in a ponytail and another as a relationship shot with an animal or child.

“It shows your versatility that you can be a chameleon,” Charlie says “As an actor that is exactly what you do for different roles and the comp card is the same.”

“You can't please everyone. Four different agents can look at the same thing and have four different takes but you can have a little something for each of them,” Charlie says. Therefore, “having versatility will work out better than if you just have one image.”

Once you arm yourself with the power of versatility…

With Great Power Comes Great Responsibility

“We expect our models to carry themselves professionally,” Charlie says.

“How you look makes us look good and it makes our client look good. If I send you out to a client and you do a good job they will think that you did well and that we did a good job at sending you.”

At FFT, “It's about loyalty and integrity. It's those people that show integrity and loyalty in this business that we have a tendency to sign,” Charlie shares.

It's vital for models to realize that everything comes back to the agency. The walls have super hearing, per say.

“Everyone talks. Parents talk, models talk to each other. They ask who are you working with, how long have you been with this agent, are they sending you out, how much money do you make? They don't realize that we hear this. We know what models are good and what models are irresponsible. We hear everything. As big as New York is this is a small industry,” Charlie says.

And for the most part this small industry is a very…

Friendly Neighborhood

“We have a great relationship with our clients and our models,” Charlie says. “Our models go from kids to adults and then having kids and we work with their kids. We keep it in the family.”

As an example of their loyal mentality, Charlie's co-worker Doris Stinga shares a story about an actor, named Will, who used to be a client and decided to come back into the business.

“I do scouting at Actor's Connection and he was there,” Doris shares. “I had a job on Saturday Night Live for a transvestite and asked if he had the clothes for it. He said yes and he booked it. That brought him back into the business. He's been doing movies. He's in one with Al Pacino and he is living happily every after.”

To Be Continued…

Thanks to Charlie Winfield and the FunnyFace Today team for this AMAZING info.

For more AMAZING details, visit http://www.fftmodels.com/

NYCastings - Advice - You've Gotta Have Heart

Wed, 21 Apr 2010 15:26:00 GMT

Actor Paul Dano on his latest movie The Good Heart

Written by: Kelly Calabrese

As soon as Paul Dano walks into the pressroom, he expresses concern for his director, Dagur Kári, who flew in from Iceland despite the erupting volcano. This gentle, in the moment display of emotion gives instant insight into why Paul Dano plays deep characters brilliantly...

You've got to have heart as an actor! And that heart comes from the core of each person.

In his latest movie, The Good Heart directed by Dagur Kári, Paul Dano stars alongside Brian Cox. The film, also written by Dagur Kári, tells the story of Jacques, a curmudgeonly owner of a gritty New York dive bar (Brian Cox) that serves as home to a motley assortment of professional drinkers. When he meets Lucas (Paul Dano's character), a homeless young man, Jacques takes Lucas under his wing, schooling him in the male-centric laws of his alcoholic clubhouse.

“It's about two extremes, two opposites. The innocent and open person versus the bitter and experienced person,” says Dagur Kári.

Each character affects the other through a series of serious yet amusing moments.

“First and foremost I was trying to create a world,” says Dagur Kári. “The story takes place in a cinematic bubble that is a few steps away from the reality as we know it. In normal life bars are for socializing, they are for meeting people, but in this case it's a center for masculinity and solitude and that was fascinating to me.”

“Humor is also very important for me. I always start from humor and try to marry it with tragedy. For me, the golden formula is if you laugh for 8-9 minutes and then you cry for one minute. That's what I like to work out in cinema.”

“I was inspired by sitcoms,” Dagur shares. “By definition the character in a sitcom cannot develop. He is always stuck in the same loop. Sitcoms take place in a closed world, in a bar or a couple apartments, and you are just stuck in there with people you love.”

What made Paul Dano fall in love with the script was the good-hearted nature of his character, Lucas.

“The thing I liked about Lucas when I read the script was how open and generous and kind he is. I feel like we live in an age of cynicism and I hope people like him,” Paul shares.

“I feel like this character right now. I think the idea is to try and understand everything about the character and where they are coming from, their point of view and why they are saying the things they do,” Paul says.

“Don't think ‘I would never say that.' Ask ‘why does the character say that' and then make it as personable as possible.”

“Sometimes you exercise things from your life and sometimes you use your imagination. If there was a set way to do things, that would be great. But there's not. I think the more personal you can make it, the deeper you can go.”

Going deep with his role, Paul made some unique physical choices. For many scenes, he holds his hands in an unusual position.

“You feed off the script and there was definitely an animal thing going on in the movie with ducks and dogs and cats,” Paul says. “And being homeless he's recessed from his life. I went into this sort of animal instinct, survival type of thing. I got a visual of one of those little dinosaurs that run around and are really quick.”

From his own life, Paul also tapped into some memories from childhood.

“I remember growing up in New York and homeless people would really upset me,” Paul shares. “I think a lot of kids have that reaction but I would get really upset and cry. I was vulnerable and maybe overly empathetic for a while in my life.”

Though Paul admits to feeling vulnerable, he doesn't see himself as a “vulnerable” actor per say.

More than anything, Paul's tastes as an audience member, “the stories that get (him) off so to speak,” are the scripts and types of roles he seeks.

“There are certain things I like better than others,” Paul says. “People often ask me about outsiders and I don't consider myself an outsider. Each instance always feels specific and different to me. It's a different time in your life.”

Over the course of his 25 years, Paul Dano has received many words of wisdom.

“I have been lucky to work with people I like and look up to,” he shares, “and one of the common themes is to follow your own gut and not what other people dictate for you as the merit for success.”

“I think that's one of the hardest things for everyone, that form of self validation rather than the box office number or a review. All that stuff does matter but the people I aspire to follow seem to follow their own guts. That's not really advice,” Paul says, “but it's the greatest thing I have taken away.”

This gut instinct helped lead Paul Dano to a huge picture coming up called Knight and Day, also staring Tom Cruise, Cameron Diaz and Peter Sarsgaard.

Globetrotting to Spain with such a notable A list could affect some actors but Paul tries to stay grounded.

“I have really good friends that aren't actors and I've got a good girlfriend who will give me a good spanking if I need one.”

“It also helps living here (New York) and working with people who rub off on you in a good way,” Paul says.

Paul tries to stay unaffected but can his character, Lucas, stay good natured despite life's many ups and downs in The Good Heart?

To find out, catch The Good Heart when it releases on April 30th, through Magnolia Pictures.

Casting by: Kerry Barden and Paul Schnee from New York City.

NYCastings - Advice - Expand Your Creativity

Wed, 7 Apr 2010 12:40:00 GMT

Tips for Actors and Singers of All Kinds!

by Jason Bennett,

www.jbactors.com

Here are a few things you can do to expand your creativity, improve your health, and performer self-esteem. What an intense time we live in. It's during these times that performers must double down and focus.

Here are a few tips for how you can work on yourself every day:

1. Take inventory throughout your day. How do you feel? No, really, how do you really feel? How does that person, smell, song, place, memory, dream, daydream make you feel? Are you able to express that feeling, physically and vocally? If not, why not? Find a time to express yourself physically and vocally, fully, each and every day. 5-10 minutes of sound and movement improvisation, in your home or studio, before a show or an audition, is a wonderful thing to do. Don't use words, it's too limiting and rational. Allow yourself to express MORE of who you are with non-verbal sounds and movements. Use your whole body: your knees, your ankles, your high voice, your broken voice. Hang out in the cracks of your voice and see WHO lives there.

Your voice is the audible manifestation of who you are. Expand your vocal expressiveness and you literally expand your personality and imagination. Expand your voice, experience more of life. It is fascinating to me that this is the case whether one likes it or not. The voice always reveals who you are, even if what it reveals is that you do not want to be revealed! Like children do, explore your voice. Find non-human sounds, find animal sounds. Feel it, don't just do it. The side-effect is a more expressive voice in your performing, more access to your imagination, and even a grander experience of life.

2. Fantasize. Daydream. Explore your imagination. Look at people, add horns coming out of their head, or blood coming out of their mouth. Find a way to make a person you find unattractive super attractive. Exercise your imagination. You can exercise your imagination all day long. And you should! Great actors have wild imaginations, AND they know how to focus their imaginations for crystal clear story-telling.

3. Affirmations may seem cheezy to some. But, research proves they work. Go to the mirror. Say and mean (feel it!) five things nice to yourself like, "I deserve respect. I have the right to feel all my feelings. I believe in myself. I succeed at everything I try. I work on my acting and singing every day." Make up your own. Do it often. It can change your life. When I was 18, I made a list of 20 affirmations, written as if they already were true (" I am" or "I do" statements, NOT "I want" or "I will"). Saying them twice a day for a few months changed my life, profoundly.

4. Wake up gently. Try and not use an alarm by going to bed earlier. Write down your dreams. They are the most powerful emotional preparations there are -- when you learn how to use them. They are at the core of your talent.

5. Do morning pages. When you first wake up, free write for 20 minutes. Write anything...anything...It clears and focuses the mind, and gets you in touch with what is really going on, on the deepest levels. It's a great way to start the day. I do this a few times per week.

6. Order Dr. Schulze's "Superfood." It's TONS of fresh superfoods, fruits and veggies. It changed my life -- more energy, more immune health, far more emotional expressiveness, far more muscle, far more creativity. I do 2 tablespoons, in juice, every other day. WAKE UP YOUR CREATIVITY WITH THIS LIFE-CHANGING SUPERFOOD. Herbdoc.com.

For more thoughts and tips about acting, visit our reading room here. There are hours and hours of reading there. Go here to read testimonials from working actors who study with Jason Bennett.

Best wishes,

Jason Bennett, for The Faculty and Students
The Jason Bennett Actor's Workshop
JBActors.com

NYCastings - Advice - Elisabeth Shue Reveals...

Thu, 1 Apr 2010 11:37:00 GMT

Moments of Truth from “Don McKay” and her acting career

Written by: Kelly Calabrese

Secrets abound in Elisabeth Shue's latest movie, “Don McKay” which tells the story of a McKay, a high school janitor (played by Thomas Haden Church), who flees his hometown after a tragedy only to return 25 years later to rekindle a romance with his old flame… cue Elisabeth Shue's character, who is dying! Drama!

From start to finish the movie reveals many sudden twists and secret meanings and Elisabeth's role of Sonny plays a major part in each caper.

To find out more about Elisabeth Shue, the actor, NYCastings asked about the movie and how some aspects may have a deeper, real life meaning to her…

In Don McKay, your character, Sonny, plays the eternally romantic girl next door (at least by appearances) …

Q: What does the ‘girl next door' type mean to you?

People say I express a certain amount of innocence and I like playing characters that come with a certain amount of innocence and openness because they get to experience more emotions and be more on edge and more complicated. As a jumping off point, I think there is a thread of that girl next door in my work. But after “Adventures in Baby Sitting” I think my work has been different. Lately, I have really enjoyed work that has more of a comedic tone to it. It's really liberating to not always have to go to a dark emotional place as an actor.

“Don McKay” involves many childhood stories about the characters and how it affected them later in life…

Q: Are there aspects of you from your youth that you hold onto and that help you develop characters today?

I think you can't help it. Your tool is really yourself so all the things you experienced in life, the joy, the pain all of it is what makes you who you are and when you are creating a character you are using a few colors of yourself. That's the way I understand characters. I only have myself to work with and my imagination. Then the two together to create the character.

Your character tries to re-kindle and old romance…

Q: How have you kept your love of acting alive throughout your career?

I guess the characters help me. Each character you come to has its own challenges and maybe it's choosing people who will challenge you that keeps you interested and alive. I don't work that often so I think that helps me. Each time I work I am like ‘this is so much fun. I forgot how much fun this could be.' And then when I'm back at home being a mother of three I am so happy in my life that I forget how much I even love acting. I feel incredibly grateful but I don't feel as much like an actor right now. I feel more like a Mom who gets to act too.

Sonny is a funny, quirky character….

Q: Do you have advice for comedic actors?

I think you have to try really hard to not play your character for the humor. In this film, what was liberating was that everyone in the film played everything for real. We all had characters that had extreme needs and the situations were all extreme and very intense and that led to a certain amount of tension that then became funny based on the fact that Thomas is very dry. And Melissa, I thought she was brilliant in the moments that were funny and I think that comes from a commitment to the character versus ‘I am going to be funny in this moment.' I think that would be deadly for an actor.

We were lucky because the situations became more and more absurd. As a character you would think ‘I can't believe I am saying this' and then you would keep going further with it. The way the scenes unfolded created a humor.

In Don Mckay there is a series of questionable occurrences (no spoiler here) …

Q: Where there any questionable aspects of this biz you would suggest others avoid?

When I meet people who talk about wanting to become actors I know how tough it is and how long it takes to break through. It is easy to give up early on and I was lucky enough to not even expect to do well. You have to really enjoy the process and not expect any results until the time comes, the right moment, the right part, the person who gets you as an actor. You have to enjoy the auditioning process even though it's awful. You have to keep your power.

One way that I kept my power was to be involved with other aspects of life so I didn't feel like everything was on the line. So I didn't put all this added pressure on myself. I think you have to keep your sense of power when you walk into those rooms. Deep down realize they are lucky to have you come in and then express yourself in the most honest way and that's all you can do. You have to be really kind to yourself through the entire thing. Otherwise you beat yourself up and think ‘why didn't I get that, it's all my fault.'

And one thing too… I learned a lot from casting “Gracie.” I read with people alone in the room. I was the actor, producer and camera operator and it was such a good experience for me because I realized that everyone who read for the movie was a really good actor. They really were. And they probably all walked out when they didn't get the job thinking they did something wrong and they did not. The only thing they did wrong was that they innately were not right for the part and I could have told them that the moment they opened their mouth. I was shocked by that because I always walk out saying ‘if I only did this' or ‘I didn't get to show them that part of me' and sometimes people are just looking for something very specific and you just can't take it on.

Your character and Don McKay are said to have been high-school sweethearts…

Q: If you were to write your own high school yearbook style caption predicting your acting future, how would you complete this sentence?

In the future I am most likely to…

Continue to work, that's pretty much all you can hope for.

I think that it's a great goal to have.

The older you get the more grateful you are. When you are young you think it will go on forever, but as you get older you realize it's a privilege. And I want to make that transition into being an old woman one day who still has something to express. And to keep expressing myself in other ways and not limit myself to one form of expression, whether it's writing or producing. Something where my age will not matter or how I look, just my own sense of expression.

NYCastings - Advice - How To Make It

Wed, 31 Mar 2010 11:02:00 GMT

Filmmaking insight from the creators of “Breaking Upwards”

Written by: Kelly Calabrese

New York serves up countless opportunities for you to get your work seen, it's just a matter of “having the courage to put yourself out there and the drive and follow through,” says actress Zoe Lister-Jones.

Zoe and director/actor Daryl Wein just completed the uphill journey of developing their first feature film together titled “Breaking Upwards.”

Based on an actual experiment in the lives of Zoe and Daryl, “Breaking Upwards” explores a young, real-life New York couple who, four years in and battling codependency, decide to intricately strategize their own break up. It follows Zoe and Daryl as they navigate each other's emotions across the city they love as it asks a unique question… can two people grow apart together?

Though it may seem like a documentary in style, “Breaking Upwards” is “not a documentary. You don't watch it and think ‘these people are filming their lives,'” says Daryl Wein. “We totally fictionalized it and had a co-writer with his own point of view.”

Having a strong point of view, as well as a unique concept helped “Breaking Upwards” get picked up by IFC. You can check it out on the big screen for one week at the IFC Center staring April 2^nd!

As a pre-view, NYCastings got all the make-it-or-break-it behind the scene details for you…

Q: How long did it take to create “Breaking Upwards”?

Daryl: We've been working on it for over 3 ½ years; starting at the inception of the film, through the writing process, post production, and film festivals up to it being distrusted this week.

Zoe: It's actually not that much time. We thought about going through the traditional route but A) there are so many doors slammed in your face and B) it's a really, really, long process so we just thought ‘forget it. We are going to take this into our own hands and make it happen.'

Daryl: Those are the kind of artists we are. We like to do things ourselves and not wait for anyone to tell us ‘yes'. Also, the film is based on an aspect of our relationship, it made sense for us to star in it and make it at the same time.

Q: What motivating factor or inspirational push got this project up and running?

Daryl: It started when we began breaking upwards in real life, strategizing our break up. I immediately got the idea that this would make a funny, romantic comedy and that's when we started writing it along with my friend Peter Duchan who I went to high school with. The next big moment was a year later when we decided to make this thing on our own. There was no going back at that point.

Zoe: Both of us are self-starters and always have been. When I graduated college, I wrote and put on my own one-woman show at P.S. 122 and that's how I got my agent and manager. Daryl, upon graduating, made a big short film staring Olivia Thirlby that premiered at Tribeca. I think it's part of our nature. You need to have so much ambition to get these projects off the ground. You also need really good follow through. So many people have a dream and they get something started yet can never finish it because finishing it is where so much of the work is. We are lucky that both of us have that in us. Otherwise, I don't think we would be able to put so much time and energy into this.

Daryl: We love film and acting, so it comes down to that. We are head over heels in love with it and that keeps us wanting to push hard and make it happen.

Q: Why is it so important to produce your own work in this industry?

Zoe: As an actor I work pretty consistently, yet there is still a lot of sitting around and waiting by the phone. That can get really defeating. To be able to take the control into my own hands is very empowering. I recommend that all actors do it even with thing like webisodes and sketch videos. It's not just a creative outlet, it can help you with your career. So much can come from something small. That's the story of Breaking Upwards. It's totally possible.

Q: Advice for other actors who want to tell their own story?

Zoe: Sites like Funny or Die are great, or even YouTube. So many network executives have been plucking people off those sites and they are very user friendly. You get together with your friends, or by yourself, put a piece together, upload it and the world is able to see it. You can also use it as a calling card. There are so many ways for actors to take things into their own hands they just have to want it that badly.

Q: Advice for getting films into festivals? You've been in a lot of them!

Daryl: Yeah, we've been in like 30 festivals. I've been using Withoutabox.com since I graduated college five years ago and it's great because it's like filling out the common application for college. You just fill out one and then you can send it to all the festivals. We also reached out, of course, to anyone we knew could help but it really relies on the strength of the film in the end. If they like it, they'll accept it. If they don't like it, they'll turn it off within twenty minutes.

Q: Any marketing tips for actors producing their own work? I know you put up buzz generating sketch videos for “Breaking Upwards” on Funny or Die.

Daryl: We decided to take the money that IFC gave us to buy the film and pump it back into marketing instead of just having it come out on TV. We convinced them that this movie could have a successful life in theaters if we did some unconventional marketing like these videos on Funny or Die. We shot them with our DP, at his house, on Green Screen, for no money and it found a home online through bloggers. Other than that, we hired an amazing publicist Falco Ink. They have been instrumental in reaching out to press. That's how The New York Times found out about it.

Zoe: It's also tireless one-one-one work. Beside for press, Daryl and I do a lot of Q&A's and screenings. We put a lot of time into getting buzz going. There is a lot of care and specific attention paid to where we are going and we try to hit all the different markets that the film would speak to.

Q: Do you have time balancing advice for actors/filmmakers?

Daryl: Spend as much time as you can hustling and working hard at your dream.

Zoe: When you are young, that is the time to hustle because you are golden in terms of the marketing aspect. People love young stars. There is that sort of cache to it and you have the energy to put the time in. You might as well do it now. We worked like 20 hours a day on the film.

Q: Any major uphill battles that you would want others to avoid?

Daryl: Don't just go and make something if the script and story isn't there yet. I think that's common among many young do-it-yourself filmmakers right now. They are lazy in some ways about the process. They do want it but they need to pay attention to what people will respond to in the end, which is screenplay, acting, and production value.

Zoe: Don't let yourself off the hook just because you are a small fry. The quality of your work is what will get it noticed.

Q: Most unexpected upward momentum?

Zoe: This has all been upward because we started from the ground up.

Daryl: Getting the New York Times article was a huge moment because that was something we have been dreaming about. Every artist dreams of being covered by the best publication in the world. To have them confirm there is something we are doing that deserves that kind of public attention is astonishing. I was screaming and jumping up and down. Its one of the most exciting things that have ever happened to me.

Q: Daryl, how did you direct yourself?

Daryl: I just did my best to be natural as an actor and use my instincts that I learned in acting school. I've been acting my whole life. Zoe would also give me notes and I'd watch it back on the monitor sometimes.

Q: Do you ever view acting as breaking upwards?

Zoe: Yeah I do. I think being a New York actor is very much about that. That's why New York actors are what they are because there is a life outside of acting and it's so important to maintain it. You end up having to pull from varying life experiences and if you don't have them, if you're so streamline obsessed with the industry, I think it makes you a less interesting actor. That's also what is interesting about creating your own work. I got to write and produce and be a part of other worlds outside of being an actor.

Beyond acting and writing, Daryl Wein and Zoe Lister-Jones have pretty much created their own unique style of filmmaking with “Breaking Upwards.”

It plays for one week at the IFC Center in New York City starting April 2^nd and then On Demand from IFC.

Take a break from your day and check out this unusual story... Made in NYC.

More information at: www.breakingupwards.com/

NYCastings - Advice - Edward Norton Opens Up... To You

Tue, 30 Mar 2010 10:08:00 GMT

At the New York premier of “Leaves of Grass”

Written By: Kelly Calabrese

With remarkable ease, Edward Norton transforms into each new character, giving so many layered performances worthy of a double take.

Yet in his latest movie, Edward will literally make you take a second look at him.

In “Leaves of Grass,” a film written and directed by Tim Blake Nelson, Edward Norton plays identical twin brothers, one an Ivy League philosophy professor and the other a small-time and brilliant marijuana grower. The brother's lives intertwine when the professor gets lured back home to Oklahoma for a doomed drug scheme, placing Edward on screen in double vision.

“The biggest trick for this was trying to create a natural rhythm between the two,” Edward Norton shares with NYCastings at the Gen Art red carpet screening in New York City.

“That was the challenge of it for sure,” Edward says, “trying to make it seem more overlappy and extemporaneous so it didn't just feel like ping pong. That took a little figuring out but once we got the rhythm down we were all right.”

Rhythm plays a major role throughout “Leaves of Grass,” which also stars Tim Blake Nelson, Susan Sarandon, Richard Dreyfuss, Josh Pais, Steve Earle, Lucy DeVito, Keri Russell, Pruitt Taylor Vince and Melanie Lynskey.

In one scene, Keri Russell speaks about life's rhythm after quoting a passage to Edward's Ivy League character from Walt Whitman's poem “To You” …

“You have not known what you are;
you have slumber'd upon yourself all your life,
Your eyelids have been the same as closed most of the time,
What you have done returns already in mockeries,
The mockeries are not you,
Underneath them and within them I see you lurk.”

This passage suggests that a deeper, truer self moves beneath what's visible to most and it details how the cast of “Leaves of Grass” prepared for their roles.

“It's interesting that you talk about rhythm,” says Josh Pais who shares many scenes with Edward Norton, “because that's very key to how I work. I alter the rhythms of my body based on my intellectual interpretation of the character.”

“My character in ‘Leaves of Grass' was someone in chaos, internal spinning. His life was out of control and by the end of the movie I am literally in the floor spinning around so I had to take my body from a low spinning chaos to an out of control chaos.”

“I access the information that's in my body and when first reading something I'll have an intellectual interpretation. Then I ask how aware, how present, how lost is the character and how can I manifest that in my body? After that, it's a matter of telling the truth,” Josh says.

Co-star Lucy DeVito also uses an internal rhythm in prepping, by using her natural speech patterns.

“I say the lines as if it was me,” Lucy shares. “I make the lines sound natural to myself, to my own voice. I get the words and think what does that mean in my head?”

Musical maverick (and Grammy winner) Steve Earle tuned into the many versions of himself to play his tough character.

“Everyone who performs in front of audiences makes themselves up to some extent,” Steve says. But “I'm fifty-five years old and have been performing in some fashion or another all my life. All the people I've become along the way I am too.”

It's challenging enough to become one character, so how did Edward Norton prepare for two roles at once?

“It's like doing Sudoku, kind of,” Edward jokes. “No, you don't approach two characters different than one,” he says. “You still have to do the work,” which is a “very complicated” process for Edward.

“I never really bought into the idea that there is one technique for all material,” Edward shares. “I think that everything is a little different, everything has a different style, a different set of demands and you have to follow your nose and adapt to what's right. I am not much of a believer in one system.”

One method alone may not influence Edward Norton, but his work continues to make one solid impression on moviegoers.

“Leaves of Grass” opens to select theatres on April 2^ndand it's a must see because you get to look doubly at Edward Norton while doubling over with laughter at the movies many comical moments.

And speaking of double the fun…

The cast of “Leaves of Grass” also shared some personal advice for you, NYCastings actors, who are “walking the walks of dreams”:

Josh Pais

I once heard Edward say to get to the place where you are just improvising, where the character is so in your body that you can just improvise and bring it to life and that definitely impacted me. To get to the place where you are not thinking about how to say a line, you're just there.

Lucy DeVito

My Dad and my Mom have helped me find the humor in things and I think that's really important. When I am looking at something and I don't connect with it, or it doesn't hit me immediately, I try to find the funny and see what comes of that. And my parents are always good at taking off the pressure. It's got to be fun. Breathe. Relax. Everyone is a little goofy and what's exciting is everyone is different. Certain things are funny to certain people and that doesn't mean you have to make them laugh. But if you can enjoy it, it will be different than what anyone else does.

Steve Earle

There is a songwriter called Townes that was my mentor, I just did a whole album of his songs. He took an interest in me when I was seventeen and made me believe that maybe I could do this for a living. His advice was always put the cap back on the bottle or someone will kick it over and spill it.

Edward Norton

I like this line from Spencer Tracey... “Try to hit your marks and don't bump into the furniture.” I think that's good.

For more good info on “Leaves of Grass” visit leavesofgrassmovie.com

The Gen Art red carpet screening of “Leaves of Grass” celebrates Gen Art's continuing support of their alumnus. Tim Blake Nelson's directorial debut feature "Eye of God" opened the 2nd Gen Art Film Festival in 1997.

For more information on Gen Art and their upcoming film festival visit www.genart.org/filmfestival

NYCastings - Advice - Raise the Roof

Mon, 29 Mar 2010 12:35:00 GMT

Career building advice from Betsy Capes of Capes Coaching

Written by: Kelly Calabrese

Auditions, call backs, booking gigs… will all come if you build a commitment to the acting business.

“Talent is only half the equation,” says Betsy Capes of Capes Coaching.That's why “we at Capes Coaching provide the practical tools and tangible support actors need to make their career vision a reality.”

Betsy Capes founded Capes Coaching in April 2004 with the mission to help New York artists translate the passion they have for their craft to the way they run their business. She has spearheaded the creation of a variety of career-focused services for artists, trained multiple coaches and instructors, and helped over 1,500 actors, artists, and creative professionals, sustain successful careers in the entertainment industry.

Beyond Capes Coaching, Betsy has been a guest speaker at Brown University, The New School, NYU, Pace University, The Atlantic Theater School, Upright Citizen's Brigade (UCB), The Learning Annex, One on One Productions, and Carnegie Hall.

Betsy understands that actors “need more thanjust a day-to-day activity list.”

“We believe that everyactor is unique and faces challenges unique to his or her situation,” Betsy Capes says.“So we start by getting to know you and identifying what you truly want, then work backward to fill in the blanks. We help you ask the right questions, redirect your energy, narrow your goals, and take action in a way that's authentic to who you are and what you want.”

To help more actors get what they want, NYCastings took a sneak peak into Betsy's coaching toolkit.

Career architecture 101 begins with…

The Blue Prints

Q: As a foundation, what class / tool would you recommend first for actors?

Definitely our Path Class. I believe that in order for you to navigate your way through this industry, it's essential to not only know what you want, but have a fully flushed out plan for how to go after it in a way that's 100% in your control. I created The Path Class because I saw so many actors and artists working in a reactive state. When they were getting calls from their agents or going on auditions and booking work, things were great and they could call themselves actors, but when things were slow, they would question their value and their worth as an actor. It is essential to have a proactive plan so that regardless of what's being thrown at you, you know how to go after what you want in a way that's in your control.

Q: How many levels do you see in an actor's career and how do you help them through the entire process?

I think the levels are endless. I've seen many actors go through various stages of their careers and the challenges never cease to exist. This is an incredibly inconsistent industry, so I help actors create consistency in their lives, regardless of what stage they are in. I stand behind the fact that no matter what level you are at in your career, it is important to know what you want and have a plan in place to achieve it. I always say, the map is not the terrain – live never goes according to plan, but nonetheless, it's important to have that blueprint in place so you're not just sitting around waiting for things to happen. Because guess what? While you're sitting around, someone else is standing in line working tirelessly to take your spot.

Q: Many factors can shake up an actor's confidence, how does your system help install support beams?

Great question. I think it's the inconsistency of the business and the lack of support out there for actors. No one teaches this stuff. You get trained on your craft, but no one gives you the life and business skills to actually get your craft out into the world. That's where we come in – our services are designed to support actors in bringing the passion that they naturally have for their craft to the way that they run their business.

Q: All of your classes provide a lot of overhead structure. Why is it so important to put goals in a tangible format and do you have examples of why/how this has worked for someone?

So much of what we see in this industry is people throwing spaghetti on the wall and hoping something sticks. You're so much more likely to hit the target if you can articulate what the target is and aim in that direction.

Lennon Parham is a perfect example of someone who is constantly working on her career and has seen it pay off tremendously.Working with Lennon, and having sat with her in the coaching room for years, she is clearly so committed to her coaching work. She is someone I always knew had the talent and skill but I was continuously blown away by her dedication to investing in her business, especially when there wasn't much going on for her. Those are the times when I see artists get frustrated and feel stuck and discouraged. But that was when Lennon did some of her greatest work, because she was dedicated to creating it herself, and making it happen. All of the success that she has achieved up to this point is just remarkable. She is now in L.A. starring in the sitcom "Accidentally On Purpose" with Jenna Elfman- she plays her sister- and that's great and wonderful, because it is definitely a success story.

But what is really amazing to see is when she comes in and we check in with where she is. No matter where she is on the success meter, she knows that the work doesn't end there. In fact, it presents new struggles and challenges, which she so eagerly works on just as consistently as she did when she was first starting out. Her ability to stay true to who she is just blows me away, and it's such an honor to work with her. And the best part is that I've got hundreds of other stories like her.

There is so much dedication and heart that goes into coaching and working on this side of one's career, and there is a lot of vulnerability around it. So to see people invest their time and money and energy into working on enjoying their business is just remarkable. It's a gift for me to be able to work with all these amazing artists.

Building Materials

Q: Should goals be set in concrete or something malleable?

I believe that you should absolutely set concrete goals, but once they are put into action they should absolutely be malleable. Like I said before, the map is not the terrain. Life happens and the worst thing you can do is say, well I didn't reach my goal or I can't reach my goal so I'm just going to stop. I always tell my path students in the last class, you owe it to yourself and all of the work you've done to adjust your goals when things shift in your life. The most important part of this process is to go after something and when you feel confined to sticking with a goal that no longer feels relevant or achievable or exciting, than you're wasting your time and everyone else's time.

Q: Do you see the process of career planning as a steady flight or a spiral staircase?

I love your questions – such great images. I would say it's more of a spiral staircase, because there's a lot of learning and evaluation that takes place, so it's important to always go back and assess what you learned while maintaining forward movement.

Q: The PATH class helps actors to focus on a few specific goals. Why shouldn't an actor put up too many windows or doors at once?

Well, we have a term that we coined here at Capes Coaching called Multi-goal Syndrome. MGS is when you are putting your energy into all these different areas without a real tangible plan for moving forward in any of them. I see actors fall into this trap all of the time and I really don't fault them for it. It's often because actors are skilled writers, directors, musicians, and designers, that they are torn in all of these directions. Even being focused on theatre, television, commercials and film all at once can throw you into a tailspin. That's why I like to ask, what is the next month, 3 months, 6 months, or year about for you? Let's prioritize a bit here. It doesn't mean that you have to give up everything you want, it just means that you need to focus a bit more so that you can actually see forward movement in one area.

Q: How does Capes Coaching help raise the roof in an actor's life?

We're here to support actors in defining what they want and help them to achieve it in a way that's authentic and true for them. We're not their agents, their peers, their mom, dad, partner, or spouse. We have no agenda except to help them to get clear on theirs. And we're trained to do so. I think what separates us from other places and organizations is that not only have I been behind the table as a casting director and know the industry, but I am also a trained and certified coach. I know how to ask the right questions and steer actors in the right direction to get their needs met. We at Capes Coaching, provide ego free, agenda free guidance. It's really about our clients and helping them get what they need in an industry as competitive as this one. I think that absolutely raises the roof in an actor's life.

Interior Decorating

Q: On an emotional level, what aspects should an actor place in the center of their lives and how do your classes help them on this personal level?

I think it's essential to have balance. And that's different for each person. For some people they need to meditate every morning. Other people need regular social outings with friends or need to constantly be inspired on an artistic level. What I do know is that it's really important for each person to know what it is they need to keep them balanced when life knocks them down, because it will. And, it's not necessarily about not getting knocked down. It's more about knowing what tools you have in place to help you get back up. At Capes Coaching, we help actors identify what those tools are for them—what will help them get back up and what will keep them balanced on a more consistent basis. And we build these tools into the Paths they create because life and work go hand and hand. When something's going on in your personal life, it absolutely affects your work.

Q: Do you recommend actors start with fresh, blank walls or do you have them splash as much paint/color as possible from their past and who they are?

I think it's a balancing act. Coaching assumes that you have everything you need to get what you want and, if you don't, that the resources exist for you to get there. I like for actors to see the blank walls so that they don't limit the possibilities going forward, while also taking into account their past and everything that's made them the person they are today.

Q: How do you help actors stay organized beyond the classroom?

We currently have a few different options beyond the classroom to stay organized. We have private coaching where someone can come in and get coaching around whatever their specific issue is. And we have a new program that we just launched called Artists In Action. Artists In Action is an online career planning membership program, where, depending on the membership level you're at, you get various tools to support you with your career. Some of the basic components include downloadable audio lectures from me on marketing, networking, life/career balance, time management and more, as well as inspirational interviews with high-profile members of the industry (last week I interviewed Suzan Bymel, who is Keifer Sutherland's and Anne Hathaway's personal manager), and monthly tools and assignments.

The two higher levels are exclusive to graduates of our Path Class and include specific tools to support the work they did in class. We're really excited about this new program because we've always wanted to make our services more accessible and affordable and we believe that the various levels of the Artists In Action program do just that.

Q: If you were to place one picture on a student's wall as inspiration – what would it be and why?

I would actually give that student the assignment to find the one picture that speaks to him or her and put it on his or her wall. We don't have a one-size-fits-all plan here and, although I think some images or, even, quotes are amazing and inspiring, they just may not speak to someone else. So I would challenge them to find what truly excites and inspires them and put it somewhere they can look at everyday. That's why I have Path students decorate their Path books. It's got to feel like theirs and be personal to them.

Moving In

Q: How does Capes Coaching become part of the air actor's breathe?

I think we really help actors shift their perspectives about the industry. Our mission has always been to help actors and artists translate the passion they have for their crafts to the way that they run their businesses, so that they can actually get their craft more out into the world and make a living off of it. I think the work that actors do with us becomes part of the air they breathe because it essentially comes from them—they do the work, we just provide the structure and accountability. We always say, if we simply gave you the answers, it wouldn't be your career.

Q: Once an actor takes a class, how do you help keep them moving on the right path?

We have a variety of options for actors once they finish the class based on what their specific needs are. One thing to note is that in class six of The Path Class, we really look at what obstacles might come up for you and create a plan of action for maintenance. But just like any new business venture, you really don't know what the results will be like until you experience it. So we now have an online monthly program that is low cost and provides specific tools for path maintenance called, Path In Action. Also, a lot of folks do private coaching with me when they need it. But like I said, we really try to provide our students with as many tools as possible so they aren't dependent on our services long term.

Q: Capes Coaching now comes in a virtual version for 24 hour access. What benefit do these online services have for actors and how does it differ from your physical classes?

Artists In Action is a comprehensive online career-based planning tool designed for actors, artists and creative professionals. We have audio lectures, special guest interviews, career planning tools and exclusive resources that are delivered weekly to your email inbox. Members get coaching on a new topic every month. Our first month is called "Being In Your Business," and I talk about the four main "artist traps" that I see artists struggle with as they work on staying committed to the business long-term. We have courses on time management, networking, life/career balance, marketing and all areas of the business that are essential to maintain but can feel overwhelming to many artists. So we're giving customized support to create successful careers on your own time and budget. That is the most exciting part of this project- that it is the most affordable service we've ever been able to offer, and that's just awesome. For only $17.00 a month you get this whole package of tools that are customized to help you stay on your own path. And the first month is free, so you can try it out with no commitment and see if it's right for you.

Q: At the end of the day, what is the number one thing (advice, info, insight, etc) you hope actors will take home with them?

That there's no one way to have success in this industry, so it's up to you to really define what you want and go after it in a powerful and authentic way.

One more thing…I think there is an inherent sense of faith that anyone has if they are courageous enough to pursue a career as an actor. Not just as a hobby, but to really go for it. I want encourage actors to find the support and resources that are available to them so they can continue to nurture their creative spirits and the sense of faith that got them into this business in the first place.

To learn more about Capes Coaching visit http://www.capesco.com/or call the office (212.777.2270).

They've got a team that's always happy to chat with you about your current career and the various ways they can support you in moving forward.

NYCastings - Advice - Get Your Body In Motion

Tue, 23 Mar 2010 13:57:00 GMT

Audition boosting advice from the CDs of Paladino Casting

Written by: Kelly Calabrese

Ready, set go…

From head to toe, it's time to get your energy flowing because action and determination will lead to success in entertainment.

“You have to be persistent,” says Kristen Paladino of Paladino Casting. “Even if you have an agent or manager, you have to be forthright about what you want. That will help you move in the right direction.”

Kristen Paladino moved her company in the right direction by jumping in, thinking on her feet, and building a strong reputation that spread by word of mouth.

“We started very run and gun,” says Kristen. “That's how it happened, very quickly. Now we have been around for eight years and Lori (Malkin) has been with me for about six years.”

As a full service casting agency, Paladino Casting places actors in films, television, commercials, music videos, print, industrials, and new media for countless clients including Reebok, ATT, Bon Jovi, MTV, Nickelodeon, and Target.

Kristen and Lori know how to keep momentum going and they are always willing to share their energy boosting insight with New York actors.

Here's what they have to say about going the distance in this ever changing business and how to make it a full body experience…

(K) = Kristen Paladino and (L) = Lori Malkin

Jumping In

Q: Why is it important for actors to think on their feet?

K: Because we can throw anything at them and it helps the director's vision if they can see the actor's transition well, be spontaneous and take direction well.

Q: How can an actor put their right foot forward when auditioning?

K: Make sure you leave everything else outside of the room. Come in and just do what you are there to do because I can read it in a second, if you're not present.

L: I really love it when people are prepared. We want to see what you come up with. We had an actor come in for a film audition and she brought in a bag of tricks. When she did her scene she started taking things out, was really into it and the director loved it. Preparation says volumes about someone. Think outside the box. If you are playing a doctor, have a coat. Little things can show us that you thought about the character. It's really good to focus on.

Q: How else can an actor make a right or wrong first move?

L: Always be prepared before you sign in. There's nothing worse than my calling “Jane” and see that she's in a corner prepping.

Come in, get yourself together, change, fix your make up, get your sides, and then sign in; unless you get there and there is an hour wait but we are usually right on schedule.

Don't ask questions to the casting director about what the job is. If you have questions about the job, you can ask the assistant outside or call the office. You don't have to ask me what the rate is, what's the project, what are the shoot dates? You should have all that info or find out about it another time. Know the situation before you go in.

Also, I am not a big fan of chit chat unless you have something like ‘I saw you last month for ATT, thanks for calling me back in.' Or ‘I have a showcase next week. It would be great if you could make it.' Those are professional things but if I'm seeing hundreds of people, I can't talk about the weather.

And never chew gm.

Stepping Forward

Q: How do you keep a career going?

L: To sustain a life in this business takes a lot of effort. I feel that taking classes and meeting agents is really good. It gives us a chance to see what you can do. If you kill it, great we will call you in. We are busy. We are full service and work on a lot of different things so there is a lot of opportunity.

Also, we have an actress friend that does a ‘get organized' type thing that is a gem of information. She has a notebook and keeps track of all auditions over time, putting down the audition, what direction she was given, how she felt about it, and what she was wearing. There are days when you have several auditions and if you can keep yourself organized with a notebook it can really help. It's also a way to see progress over time. It's introspective and can help you become a better person.

Often actors wonder ‘should I be sending postcards?' and many have a schedule of when they do mailings. I would say to only send postcards if you know I have a job going on. Say, ‘I see you have this job, please consider me for it.' And I do, that has happened.

Hip Action

Q: How much swagger should an actor have?

K: You have to walk in with confidence or you can be crushed in seconds by anything we say or don't say to you. You have to have confidence to know how to handle things.

L: But you don't want to take it too far. We had this actor who we've seen for years who is really strong. I never would have called him cocky but when our clients did I felt that we should talk to him about it. It was uncomfortable but he walked away with good knowledge on how to change his demeanor. And we've called him in again because he's good.

Q: Can an actor seem too new or nervous?

L: If you are green, you just are. But sometimes you can get a genius moment out of someone because they are green. They can give you a moment that is so real. My focus is to get those real moments in everything we do, something that we can connect with.

Q: Any other body language signs that you notice?

L: Going through the motion of auditions can show. You don't want to be going through the motions. That's not how I live my life. I love what I do and that's how you should feel about acting. Figure out what you love and if you want to do theatre, film, print? Knowing your niche will help and agents are really good for that. They give you an overall of what you are really right for.

Hands On

Q: How can an actor take more control of their career?

K: There are so many jobs online. You can always be submitting yourself and be pro-active. If you want an agent or manger to take care of your career, then I don't think the passion is there. I know a lot of actors who get auditions on their own and then tell their agents about them to handle the contracts.

A Sharp Eye

Q: What should actors look at when they get sides?

L: I think it piggy backs on what I said in regards to thinking outside of the box - reading something and thinking ‘what can I bring?'

Ask, “hey I am thinking about something can I try it?” I think it's amazing if you want to try something new.

K: If you are looking at the sides it's so important to visualize things and expand from there. Especially with commercials, you don't often have a character description but you can take the sides and make it your own. Show us ways of taking a role to another level.

Word of Mouth

Q: Does an actor's reputation get around to other casting directors?

K: We have a list of people and it's like our world of who we like based on performances.

And I'll call up agents and say ‘this person is great.' I try to make those arrangements if I think a person is at the right point and ready for it.

L: The casting community is very small. Stuff gets around by word of mouth but probably more so with interoffice. I am in most auditions and so people ask me if anyone stood out.

Hear This

Q: How important is listening during an audition?

L: Listening is really important. There is nothing worse than giving someone direction and seeing them tune out.

K: When we are giving feedback it's extremely important to listen whether it's good or bad, because it will take you to another level. Constructive criticism is important and we don't hold back. We are in the room to make you better and to make us better.

If you are in the moment and really understanding what we are saying, it helps because there will be a director working with you and you have to know how to make those subtle changes.

Having Heart

Q: How does an actor's heart help them succeed in this business?

K: Heart will balance you. You have to understand that this is a business, it's not personal. There are a lot of pressures on our end to get what we need. There are choices that people make that we are not fully in control of when it comes down to choosing an actor for a role.

And I think you have to have heart because it makes you human. If you don't then you just become superficial and not grounded enough to handle this. If you look at New York and LA I would say that New York has more heart. We are real. We communicate differently.

Mind Over Matter

Q: When should an actor be in their head versus outside of their head?

K: A lot of actors over think. Sometimes when we put up breakdowns we will leave out information because actors will over think and I want simplicity to come across.

Actors are so worried about making the right choice, about what we want. Take that character and make it what you want. If we want to change it, we will.

L: I think you have to balance. We tend to see the wheels turning a lot in auditions and there's nothing worse than that. Use your mind to prep and then leave it at the door.

Come in all heart, all gut. Come in raw.

NYCastings - Advice - Actor's Alert!

Mon, 22 Mar 2010 10:15:00 GMT

Casting Director Kristian Sorge testifies about the audition process

Written by: Kelly Calabrese

Capture this…

Compelling, heart-pounding performances can happen every time you step into an audition room as long as you expose your true life story.

“Truth is, a lot of actors need to learn who they are, what their interests are and what their personality is before they even walk through the door,” says Casting Director Kristian Sorge. “So when we meet, I can see that before the camera even starts rolling,”

Kristian Sorge believes that an actor's preferences should “influence performances” because “the things we are into, our interests, define us for who we are.”

“I did a commercial once for a salad dressing and all the actor had to do was come in and eat salad w/ dressing,” Kristian shares. “95% of all actors can do that with their hands tied behind their back but if you don't come into that salad dressing audition with a personality and a point of view, how do you expect to stand out from the rest?”

As a freelance commercial casting director, Kristian Sorge has been casting principals for numerous commercials and voiceovers for: Boston Market, Gillette, Connecticare, NIKE, Breast Cancer PSA, Disney, IPOD, VEET, Snapple, Dockers, VW, Diet Coke, Gardisol, Virgin Mobile, NY Lottery and more for over 5 years.

As an extras casting director, Kristian has done, Flight of the Conchords, Just Wright, Nick and Norah's Infinite Playlist and most recently Henry's Crime with Keanu Reeves.

And he just finished casting all the principals and the extras for the primetime A & E show, “the Fugitive Chronicles.”

Kristian can spot an actor's quirks, strengths, and personality traits as soon as they line up for an audition, so NYCastings tapped into his knowledge and got him to share what he sees and thinks about the process.

Answers are in chronicle order - 1 being the most vital to the success of an audition…

10. Cover letters for submissions

Q: Does an actor's personality come through in their writing?

Cover letters are great for me when I am first starting off a casting but when I am knee deep in casting, sometimes I won't be able to read them. However if you do get to put your personality in there, please do, sometimes interns will give me headshots and say, "this person sounds really genuinely nice AND they might be right for this." So you never know who you are going to get reading your cover letter.

Oh yeah, since my name is Kristian with a K, I get a lot of Ms. Sorge instead of Mr. and that just really irritates me. I mean if you're going to send me something, it can't hurt to know if I am a man or a woman. I mean if you don't know, write my full name out.

9. Follow Up

Q: Do you like unique follow-ups that show style? Does it make a difference in who gets cast for current / future projects?

Follow up? I mean if you were good but just not right for what I was doing, I'll remember, that's my job, hopefully you'll be in my sights the next time I am doing something that you are right for.

8. Leaving the Room

Q: When an actor leaves an audition, do you notice their behavior / does it tell if they think they did a good job?

Truth is it doesn't really matter if they think they have done a nice job. I mean I am sure it matters to them, but from a casting aspect it doesn't. Ask any actor how many times they think they have blown an audition and they have gotten a callback.

7. Style of clothing

Q: Does an actor's clothes tell a story about them?

My one major rule for clothing for auditions is just be appropriate for the role. And if you don't know what that is, always play it safe.

If you're coming in for Staples, I mean, you probably have seen a Staples commercial, they have a pretty specific aesthetic to them, dress that way.

Just use common sense.

6. Interaction

Q: How does chemistry play a role in who gets cast?

Well chemistry doesn't always matter in who in gets cast but you talk to any actor about an audition they have ever done with someone who's not at their level and they will tell you that it brought down their performance a lot. Also, sometimes when casting two roles, if two people come in and they are great together, it will help them both out. It helps the director see both roles fleshed out quite a bit at once and I have definitely seen directors call people back as couples cause they instantly work together.

5. Walking into a casting office

Q: Can you tell if a person doesn't like being there? Or is distracted by something outside the room?

If someone walks into an office and doesn't want to be there, they shouldn't be. Period. But let's say this, if you walk into an audition and there is something else bothering you or you're not bringing your A game, we can tell the difference and truth is, why would we want to try to pry the best performance out of someone who isn't all that interested in it?

4. Expressions

Q: Are there any tell tale facial signs that an actor is not being authentic or is being too self-judgmental and in their head?

Hmmm, this is a difficult question to answer, I am not sure if it's my lack of experience or just something instinctual but I don't think there is one particular expression or tick or anything that makes me automatically notice if the performance is authentic. I will say that actors who say things like "that was awful, can we try again", etc is a tell tale sign, that's for sure. Also actors who "cut" themselves and don't give themselves some rest moments after the copy / scene is done is a sign for sure.

3. Headshots

Q: What must a headshot immediately convey about an actor, and do headshots ever/often misrepresent the true essence of an actor?

The number one answer for this question is, just make sure the headshot looks like you. I mean I can't tell you how many times I call someone in and they look nothing like their headshot. When I was working on the Fugitive Chronicles, I needed people to look a certain way because they were matching real people. So if you send me a headshot with you photoshopped and weighing considerably less than you do now, it's a waste of my time and yours.

Do headshots misrepresent the true essence of an actor? I am not completely sure I have ever gotten to know the true essence of an actor but I can tell you that if the headshot feels off, I can tell and sometimes I won't know what it is.

But just remember a headshot, if you're not represented, is what is getting you in the door so make it a good one that represents you.

2. Believability

Q: Do you notice when an actors doesn't like or understand the copy?

Yes! Yes yes yes. If you don't understand the copy, you won't get the part. Or at least most of the time. I did a commercial for a small restaurant chain once and the copy was really muddled and not funny and really hard to understand. I couldn't really even get a grip on the context of it. About 30 actors into the day, someone came in and just totally read the copy in the way it was intended, it totally clicked with me. I saw almost 60 people and that one person who initially understood the copy was the one who booked it.

Commercials are shot in a different way now, it is all about connecting in a subtle friendly way to the audience and not trying to sell you anything, so being conversational and believable are musts.

1. Choices made when performing sides

Q: When it comes to making a strong choice, how should personal likes and quirks factor in?

Making choices is probably the single most important things you need to do in auditions. However this could also be a fatal mistake for most performers who come in "too big" or are making bad choices.

But as a colleague most recently said to me, it's not a reading contest, you know? I mean you have to come in and make some sort of decision and choice about who you are speaking to, what is the character's point of view and what is the writer's intention.

As far as making a strong choice, now that is up to the actor, I mean I can "always bring it down" if needed but I would definitely consider asking the casting director prior to the scene. I.E. "this character strikes me someone who has had an abusive past, do you think it would behoove me to play it in such a way?"'

That's it… Case Cracked!

To learn more about Kristian Sorge check out his rap sheet at http://www.imdb.com/name/nm1191114/

NYCastings - Advice - What's Your Story?

Thu, 18 Mar 2010 14:53:00 GMT

Tell all at The Moth StorySLAM in NYC

Written by: Kelly Calabrese

Living in the limelight… the universal dream…

For those who wish to be seen, you can step in front of a packed audience and share your real life stories at The Moth NYC.

The Moth believes that everyone has a story to tell and StorySLAMs provides the forum with a stage, microphone, lively audience, and a host to guide the festivities.

Every storyteller writes, rehearses, and memorizes their performance so it's a great chance for actors to build up their confidence and artistic self-expression.

If you want to sharpen your story telling skills, attend an event and sign up when you enter the room.

Each event features ten participants, chosen at random, who speak and compete based on a pre-chosen theme.

The rules of the night are… the story must be true, memorized (no notes, papers, or cheat sheets are allowed on stage), have a conflict / resolution, and be told in five minutes or less. Three teams of audience-member judge every participant and choose a winner who will then face off with other winners at a future GrandSLAM event.

At the Moth StorySLAM you get five minutes of fame plus a chance to really speak up and express yourself.

Truly amazing storytellers set the night ablaze with genuine emotions as if they are drawn to “some bright light—of adventure, ambition, knowledge—but then find themselves burned or trapped, leaving them with some essential conflict to face before the story can reach its conclusion.”

Upcoming NYC SLAMS and themes include:

March 18: Green
March 29: Fear
April 5: Spring
April 13: Dues
April 22: Earth
April 26: On the Road
May 3: Borders
May 11: Money
May 20: Good Intentions

To help NYCastings members learn more about the MOTH, we asked actor specific questions based on the upcoming themes above…

Q: How does the Moth help actors become more natural / less GREEN?

To win a Moth StorySLAM the storytellers must be authentic. They can't be playing a role. But, strange as it sounds, it takes practice to be yourself! Folks hide behind professional voices or our "outside face" so often. Sometimes actors have to unlearn acting. Get back to being themselves. Being real is rewarded at the SLAMS.

Q: What are the FEAR factors involved with sharing a personal story versus fiction? And how does getting on stage help performers get over this?

When it's your own story you have to be invested. You have to be in touch with your feelings. You have to mine your life for an incident worth sharing. This can take work. It can be painful. However, the best stories involve some ouch. A story about a wonderful day is not as rewarding as a story about a wretched day that turns out well.

Q: What makes a story SPRING?

At The Moth authenticity is a sacrament. The Moth judges can spot a phony. In a night of real people, someone too polished or too memorized sticks out like a sore thumb.

Q: How do judges pay their DUES?

Judges are picked at random. They are regular folks used to listening to friends tell stories, not "performances" Sometimes they are booed by the audience when the audience feels they've made a bad call.

Q: It seems like all of EARTH attends the Moth NYC? Why do you think this is and how do you get the word out there?

I think people respond to the Moth so wildly because it feels real, authentic and old-fashioned. People are aching to connect in a more substantial way. Email, Twitter, the Internet keeps us "in touch" but not within reach. Hearing stories told live feels more connected, not pre-packaged.

Q: How does the Moth StorySLAM help actors ON THE ROAD to success?

I think telling personal stories is good for an actor. The actors we love make everything feel real and believable.

Q: Do agents or talent managers find talent within the Moth's BORDERS?

Sometimes we do get calls from casting agencies who ask the Moth producers if they have someone who fits. In fact, we just had a talent manager from SPIKE TV send us a general query asking us about talent at our shows, this week. And a couple people from our GrandSLAM ended up being cast in The Wrestler based on their performances.

Q: How much MONEY does it cost to attend?

Tickets for a StorySLAM are typically $7 at the door in NYC. Everyone pays, including those chosen to perform.

If you have good intentions to learn more about the Moth visit http://www.themoth.org/

Thanks to Jenifer Hixson, Senior Producer at The Moth, for helping with this article!

NYCastings - Advice - Oh Snap!

Wed, 17 Mar 2010 14:30:00 GMT

An exclusive look at Wilhelmina Modeling Agency with Agent Topher DésPrés

Written by: Kelly Calabrese

Did you ever think there was more to life than being really, really, ridiculously good-looking?

Well there is…

At Wilhelmina Modeling Agency the models have more than good looks, they are “beautiful people with skills,” says Topher DésPrés from the W Fitness division at Wilhelmina. “That skill may be walking down the runway, being a commercial actor, and of course sports and fitness, which are very dynamic skill sets and specific.”

Topher DésPrés chose to work at Wilhelmina because it's “the most dynamic agency in the business. It has the strongest mindset for change, evolution, adaptation and for growth.”

“Wilhelmina is very eclectic management company,” says Topher. They have offices in New York, LA and Miami. They also handle many sides of modeling including New Faces, Women, Men, Artists, W Curve, W media (Commercial Print), Runway, Sports, Fitness, Kids & Teens.

For the most part, Wilhelmina works with models first, not actors, and they sign exclusively with talent.

To learn if you have the right dynamic for Wilhelmina, the first step is to “look at an ad for Chanel and for Kellogg's. You can't get more objective then that,” Topher shares. “You will see what the differences are” and be able to determine if you emulate those looks. Are you high-fashion or commercial?

“This is a business predicated on perception and aesthetics. Look at your age and brands marketed to you and then look at the models in the advertisements,” Topher says.

“Strip away the hair and clothes and just look at the dimensions of the face. Look at the length of the neck, the lines in the collarbone, the angle of a person's eyes, and the tone of their skin.”

Topher DésPrés takes all of these factors into consideration as an agent. He “extrapolates a model's feel” when determining their fit for his roster. He also looks for models who can “take nice photos.”

“It sounds two-dimensional but it is hard to take good photos on a regular basis,” Topher says. To help potential models achieve consistency, he recommends striking a pose as they do in the movie “Zoolander.”

“As funny as it sounds, that stuff works,” Topher says. “Especially when someone is green and they don't know what they are doing or they are nervous. I tell them to try some of the Zoolander stuff. It might feel weird but eventually you will figure out how to take a beautiful picture.”

“It's emulation, not recreation,” Topher shares.

“You know that old adage of re-creating the wheel… you're not. That's where most talent shoot themselves in the foot before they get out the door because they are trying to re-do something that already works and will continue to work with slight modifications here and there as marketing changes.”

Since marketing needs vary across products, Wilhelmina looks for diversity in their talent.

“It's not one size because clothing is not all one size,” Topher shares. “You have to fit the clothing around somebody.” Therefore, we need “short people, tall people, skinny and fat.”

However, “you do have to be tall for the most part. Coming to a place like Wilhelmina, you will need to have standard model specs. 5'7” is on the shorter side, you shouldn't be much shorter than that.”

Coming up, Topher sees a trend in “Urban appeal. Within the next 3-6 months, mixed ethnicities, different people, will be in more demand.”

Also, “Web modeling, called new media,” is a “frontier we are crossing,” Topher says. “We are figuring out the best ways to integrate new media into a company's campaign. As agents, we need to look at this and factor it into an equation of talent's career so there is consistency in the rates we are negotiating with talent.” Especially since modeling does not fall under any unions.

As new talent, you can be considered by Wilhelmina by attending an open call or sending in a “cute, smiley picture; one that's full body and not airbrushed or over stylized.”

“And don't take one person's advice as truth,” Topher says. “Aspiring models should do it all and try it all, because eventually it will work.”

“Bottom line,” Topher says, “the most important message for inspiring talent is that somewhere out there is work for you and you just have to find it. It's on your own volition that this will come to fruition. There is work out there for everyone it's just a matter of finding your platform.”

Oh Snap! That's good advice. Thanks Topher DésPrés. For more information on Wilhelmina Modeling Agency, visit www.wilhelmina.com

NYCastings - Advice - Are You In?

Mon, 15 Mar 2010 10:34:00 GMT

Get the skinny on commercial print work with agent Joe Thompson of Abrams Artists

Written by: Kelly Calabrese

Go ahead and step on the sliding scale of the commercial print world. See how you measure up... do you have a marketable look?

“It's all about the look,” says commercial print agent Joe Thompson. And, “at times a person's look tends to be in.”

For over eight years, Joe Thompson has worked in the commercial print department at Abrams Artists Agency in New York City. He finds faces for casting directors, lifestyle clients, pharmaceutical clients and some catalogue projects. And he enjoys meeting new people, which is essential for his business since the needs vary greatly.

Commercial print work “is unbalanced,” Joe says. “There is no formula and it's not consistent. A person could have a certain level of confidence or an aura that clients respond to and get put on first refusal for a couple projects in a row. But then it may quiet down for a while before picking up again. It's like a sliding scale because there is not rhyme, reason or set time of year that is busier than any other.”

Your chance of booking commercial print work depends on so many different facets.

To help NYCastings members learn more about the print process, Joe Thompson shared the ins, outs, and what it takes to get started…

How can NYCastings members get involved with print work?

To get started they really just need a headshot. You need to have a very accurate headshot, a very strong representation of what you are, because that is going to act as your business card, per say. You want to make sure the image we see is who walks through the door. I don't want to see a headshot that is ten years old from high school if you are now a father of three or a cheerleader picture if you are a Mom in her thirties. Look at people in your age range and see what they are being booked for.

Should actors make their own print books, or comp cards?

I think initially everyone needs to focus on having a strong and accurate headshot to get them in the door with an agency or casting director. As people begin working and collecting images from each photographer or tearsheets from jobs they have booked, I would then suggested compiling a comp card. Having a portfolio of your body of work is nice to have. However, due to the volume and timing of print castings, clients do not usually request seeing them at go-sees; instead they will often ask for a comp card (which should show the client your versatility).

How can a person determine their type of look?

People need to take a hard honest look at and compare themselves to people in magazines and various print ads. You can even take a snapshot of yourself and go through different books and say ‘does this person looks like me.'

Some people think they are appropriate for upscale and fashion campaigns; and that's not what their look normally books. Ask yourself… are you the 20 something woman who is more of a character actress and gets booked for the best friend for a commercial or stage work? If so, you aren't going to book a Maybelline campaign that typically books the 14-16 year old girl from an Eastern European country with a very distinct look. However, that girl isn't going to book the All-American role for a more commercial product. So it's important to break it down for yourself.

What should actors know about print work?

Many actors never realized that there is a whole print component out there and that its one of the least stressful casting processes because it's all about the look. Either you fit the look they want or you don't. It's the one area of the business you can't beat yourself up for. It's different for TV commercials because you may not connect with the product or believe what you were saying and that affects the audition. But for print you go in, take a couple digitals, and you walk out the door. If they don't think you are the right look, they don't call you. Booking a print job is kind of like winning the lottery.

Do you work with mainly models or actors?

It's a combination. Actors are wanted, as well as someone who is a “model person,” because they want people who can show emotion and have a range. It's not about wearing clothing. It's about selling a product. So they want people who can do that, you have expressive eyes or faces. For different pharmaceutical you may need to look depressed or in pain. You may need to look elated because your cell phone bill is so much cheaper since you switched to a new product. A lot of actors book commercial print because they bring a wider range of emotion.

For print auditions, should you dress the part?

Mainly you go in neat and presentable because they usually give you a number to hold in front of your chest. They take a digital of you and usually they shoot from your chin to the top of your head. So, if you're going in as a dad or a business worker you can wear a sports coat. For a skin care product they may want to see you in a tank top to make sure your skin is evenly toned or to see muscularity. But for the most part it's a tight shot so you don't have to dress head to toe.

Is there a certain ‘type' that books print work more often?

All types get booked because there are many different people who make up a photo shoot. Verizon could shoot something with different cultures of the world. There can be three generations at once with a grandmother getting a treatment and her daughter and grandchildren talking to a doctor. Or it can be a schizophrenic ad in a waiting room and they may need five distinct looks. So, you don't want all the same people.

For on-camera commercial work an actor can meet agents, CDs, etc at 1:1 events and seminars. How does it work on the print side?

It's the same thing. You go to interviews, places that connect agents with talent, and you do your homework. It's important for people to know who the players are and which agencies have commercial print departments. Find out if they have print departments and if they do fashion or commercial work so you don't submit your material to the wrong person.

At these 1:1 events, what can a person learn about their commercial print potential?

Sometimes there is a Q&A, or 3-5 minutes with each agent, and we will tell you what we like about your picture, what we don't like, and what your strengths are. We will also look at your special skills. If you can juggle, or walk on your hands, we remember that because it's something unique.

Not everyone will be right for every agency and if you don't get a call the next day it doesn't mean I didn't like your look. I may not have a need for a particular person because I already have six people just like them. You could have a marketable look yet I, particularly, can't use you at this time for any number of reasons.

Once an actor meets you, should they keep in touch?

It's good for me to know you are out there. I want to know if you are taking classes, doing things outside of print. I want to know that people are booking you and your level of marketability. How do people perceive you? Are you booked as the best friend on an upcoming episode of Ugly Betty or are you the victim on Law and Order? It shows what people see you as and that they are hiring you. That's important.

Also, keep me informed because I may lose someone who gets a job in LA, or goes on tour, and that can make room for me to add someone else.

How should people reach out to you?

Postcards are great. I prefer them

Why do you enjoy print work?

I like meeting people and it's always nice to be the person who can connect the pieces. When I get the breakdowns that go to different agencies and supply the person who books the job it's a great sense of satisfaction. I also like the turn around, being able to flip through a magazine and know that person is there because I thought they would be a good fit for it. It validates what we do and the potential we see in people.

And he really enjoys meeting people and finding the right look for his projects.

How do you find new talent? Do you pull actors from other parts of Abrams Artist?

We work with talent from the various departments and we also go to scouting events or even see people on the street who have a unique look. Print works on volume so we need to have access to many different people. I'd rather a casting agency be able to get many options from my agency than go elsewhere so I get great people that they need.

Do you work with particular casting directors or does it vary?

We work with a lot of casting directors and get a lot of repeat business. Most casting directors have an idea of whom we represent and depending on the type of job they are working on they will call. It depends. If they are working on a job that's editorial, they may go to an agency that's more fashion driven. If a casting director is working on Meineke, they will want a person who looks like they can do a blue collar job.

Do you sign or freelance?

Print is all on a freelance basis. There is no set contract because there are no unions. Rates are always different from job to job. Fashion agencies tend to be the ones who sign or work under contract.

Are there any misconceptions about print work?

When people initially hear ‘print modeling', they think high-fashion and don't take into account the lifestyle, pharmaceutical, and commercial print. Many jobs do not fall under high fashion. That's why doing your homework and research is good.

Is commercial print more or less competitive than on-camera commercial work?

It's equally as competitive because you have less control over it. And it's a different type of competitive because it's not what you bring to the table in terms or your acting skills or your booking rate. When you go in to audition everyone is on the same footing because you don't know what the client is going to respond to. If they are doing a casting for a 20 something jock for Gillette, they are seeing a lot of different people. They are seeing models as well as people who are simply fit. They may see 500 people and decide on someone who is more muscular or leaner; taller or shorter.

What inspirational advice can you offer to those looking to breaking into the print biz?

Be patient because you never really know what a client will go for. There is no formula and it changes. Sometimes they like one person's energy and that shifts who will get booked around that person.

Also, be patient because you are probably not going to walk in and book your first gig. Sometimes you may walk in for the first time and a casting director can think ‘you have such a great look. Why haven't I seen you before?' But that doesn't mean you are going to book the job. It means you are a fresh face and hopefully they will remember you and bring you back in. Sometimes it takes a few auditions before you book that job.

NYCastings - Advice - Save the World

Mon, 8 Mar 2010 11:30:00 GMT

How to get your SOAP voice heard with CD Mary Clay Boland

Written by: Kelly Calabrese

Right now… you have the chance to speak up and forever hold a piece of acting history by getting on the set of soap in New York City. But you must act quickly, because even though soaps get 3 million viewers, 5 days a week - they are extinguishing.

Working on a soap offers a valuable learning experience for actors at all stages.

“Even Julianne Moore said, ‘because I did As the World Turns I can do anything else,'” shares Casting Director Mary Clay Boland. “Stanely Tucci was an Under 5 cop (on As the World Turns). Jason Biggs, Lauren Hill, and Marisa Tomie were on the show. Everyone was on the show and everyone should do it,” Mary Clay says.

For over eight years, Mary Clay Boland has cast principle roles on As the World Turns. She previously cast for both film and TV and says “acting for soaps is no different than acting for any other project.” It takes “a good actor.” Yet there are many aspects of Daytime TV that can not be duplicated on any other project.

In the Soap System… the show itself is like the sun, the glowing representation of the work put into it by hundreds. Revolving around the show, are several unique factors that that no other type of show fully encounters.

Mary Clay Boland spoke passionately with NYCastings about what actors can specifically learn by working on soap operas…

1. Acting on soaps reinforces genuineness

“When I first started out many people assumed that soap acting was more dramatic and over the top and maybe in the 50's and 60's it adhered to that,” Mary Clay says. “But nowadays what I tell people is that the dialogue and situations are so over the top that what I look for is an actor who can ground the material; an actor who can make it endearing and make you tune in and bond with that person even if they are doing something despicable or ridiculous.”

When “younger actors screen test, I can tell if they will do well because they really go for it,” Mary Clay says. “But there are some actors that come in because they want to be famous and they don't really get what its like to really lose yourself in a character and be able to do a scene where the dialogue isn't realistic.”

Many actors might not realize that “it's so difficult to get a daytime role on a soap opera. A lot of actors who have gone on to huge roles have started in daytime but a lot of them tested for daytime and didn't make it.”

2. Soap actors must learn to make strong choices

“Actors come in with their choices made,” Mary Clay says. “The actor knows what they want to do with the character. The director doesn't work with them unless its children or something specific.”

Before auditioning, successful soap actors, “dissect the scene, figure out the character and make strong choices. You can really tell the difference between someone who has worked on a scene and who hasn't.”

“I have a test scene where the father has a man kidnap her and bury her alive and this one girl who read it was able to pull it off and bring a tear to the eye,” Mary Clay shares. “That actor is now on Mad Men and a series regular on FlashForward. If you can cut your teeth on daytime, you can handle anything else. It's boot camp for actors.”

Besides for being tough, the real “joy of daytime is that you may get to play the same character from 3 to 20 years. You really get to evolve the character into what you want it to be and the writers usually start working with the actor,” Mary Clay shares

3. Lower budgets make actors dig deeper emotionally

On soaps, “the lighting is terrible, it's three camera shots and we don't edit the performance,” Mary Clay explains. “Editing performances doesn't work on soaps as it does with primetime where they spend a lot of time in post. We shoot five episodes of television every single week and never go on hiatus so post doesn't have that much time. They are only editing for continuity.”

“An actor comes in with 30 pages of dialogue, with challenging writing and video that picks up every flaw and we don't have the budget to have a car explosion look that real, so the actor really needs to sell that they are sobbing watching the car blow up or that they are crawling out of the car on the set. You need someone who can put all self consciousness aside and just go for it,” Mary Clay says.

4. Soaps flex the memory muscle

“We shoot a 120 page script every day so an actor may have 40 pages of dialogue in one day,” Mary Clay says. “There are some strong actors who can't memorize and that's fine because when you are doing a film you have only a couple pages of script and they can yell cut and pick up quickly. But we've had to fire actors who can't perform lines because it holds up production and we are shooting an hour of television every day.”

The Soap System is “a machine. We work so fast and are 6 months out. What we are shooting today will air at the end of April. Writing cranks it out, casting cranks it out.” It builds a memory muscle like no other show does, Mary Clay says.

5. Theatre backgrounds aid Soap actors

“A lot of theatre actors have the ability to memorize lines for a play and do that performance every night and that's why I try and find most of my actors from theatre conservatories,” Mary Clay says. “I find that daytime is the perfect transition into primetime and film for actors coming from a theatre background. The blocking is very similar in Soaps to theatre because of the three cameras. And a lot of theatre directors become daytime directors like Casey Childs was the head of One Life to Live and he founded Playwrights Horizon.”

6. Daytime work makes an ideal stepping stone

“I watch actors who are a little green but have that raw talent and I tell them you need to do this (work on As the World Turns) and their agents agree because they don't fully get it yet. I had this one girl who was really green, she had done a commercial and was really good at memorizing lines but then really grew as an actor on the show. She got a cancer story and a pregnancy story, great material for a young actor, and she won an Emmy,” Mary Clay says.

“I've lucked out with all the young people I've cast. They have won Emmy's and gone on to huge rolls. They become fearless and learn so much in those three years. That's my favorite part of casting,” Mary Clay shares. “You allow people to grow and find them in the ruff. When I was at Warner Brothers I did find some people but we were really scouring the soaps and now the networks call me asking ‘do you have anyone for me.'”

“It takes a lot of hard work but I love to see young actors who are so talented, ambitious and sharp and know the whole world is about to open up for them,” Mary Clay shares.

“So it's really a great stepping stone. I tell people even if it's just a day player role, Under 5, or an extra you should really do a day on a soap to see how it's done.”

7. Soaps have the most loyal fans

“Fans consider the actors family,” Mary Clay says. The “evolving plot can drag out because you have five days to do it. You can have a love scene last for three days in daytime and that's what people love. They become so connected to the characters.”

Having loyal fans makes “casting difficult because the fans are fierce about who played a character before,” Mary Clay says. “It usually takes them six months to get used to a new character. In my first six months I had three huge recasts. I had one character I cast 5 times, with the same character twice. I have recast at least 6-7 main characters 3-4 times in the 8 years I've been there.”

To keep fans pleased Mary Clay doesn't “go for just the look of the character but for the feeling and mannerisms of the character and where they want that character to go.”

8. Working on Soaps will build your family

“We work with the same people for a long time,” Mary Clay says. “The shows revolve around fictional families and everyone plays a relative of another and that helps them connect. We have people who have been married for ten years on the show even though they are married to other people in real life. They become best friends, they raise their kids together, and they have parties on the weekend together. It has that community feel that you don't get as much on primetime.”

Working on soaps is “a great opportunity to make a living, do what you love and raise a family. We walk out of the door everyday at 6pm where a primetime show can shoot until 5 in the morning.”

That's why when Julianne Moore came in she ran over and hugged her old cast members. “Even though she hasn't been on the show in twenty years, it's still a family and knowing it's the end made it even sadder for her to say goodbye. It's definitely a medium that has a powerful connection that I'm not sure any others have,” Mary Clay shares.

So, yes… the end is near…

Unless the universe realigns - As the World Turns – will air for the final time on September 17th. After that, there will be just One Life to Live, shooting in New York City.

But there is still time to get involved.

“I stress to people that we will be hiring through June,” Mary Clay says. “It's a great way to get on the show and say goodbye to As the World Turns. We are still hiring extras, U5's and day players. We are busier than ever so definitely submit.”

“As the Word Turns has 55 years to wrap up,” Mary Clay says. “Submit yourself and tune in for the last few months so you can see the oldest show on television and the oldest character. Helen Wagner, who plays Nancy, has been that character since the first day. She's 92 and said the first words when As the Word Turns aired. For 55 years she played the same character… so that's TV history right there.”

To speak up and help save the world…

Become a fan of “Save As The World Turns” on Facebook.

NYCastings - Advice - Randi Mollo on Child Actors

Mon, 8 Mar 2010 10:10:00 GMT

by Misti Dawn Garritano

Child actor on the rise? Perhaps you, your child or your friend's child is interested in breaking into show biz. So, where do you start? What do you need to do to make this happen? I recently spoke with Randi Mollo, Partner of Mollo Management, who represents children, to find out what a kid and their parent(s)/guardian(s) really need to know to break into the business. She gives more than just the basic run-through, she gives you her heart and more than 30 years of combined experience.

So when can a child start acting? According to Randi, although she states a child can start at any age, she also believes it's a hard question to answer. She doesn't recommend forcing a child into the business; it has to be ingrained in their personality. That, she says, is identifiable and established after the age of 4. Personality, along with demeanor, is key and parents must know how their child will react in front of a camera and casting directors versus in front of people they already know. Will the child clam up or be themselves no matter what?

Being in a major city where there is established industry like Chicago, New York or Los Angeles gives the extra advantage when pursuing a career in entertainment. There is a tremendous outlet to immerse oneself in the trade. Auditions are, for the most part, conducted on a daily basis and, as Randi emphasizes, there is a lot of legwork involved and commitment from both the child and the parent(s). She says new parents don't realize how time consuming it is to have a child pursue acting. A lot of energy is invested in going after an acting career.

If in fact you don't live in the major cities, don't just pick up and move to NY or LA. She highly suggests exposing your child to local, community theatre to develop acting skills. Mollo believes that this process is one way to determine your child's skill and love for acting. It's in their best interest to start taking acting classes at the age of 12 or start as young as 7 years. She emphasizes that anything younger than 7 is a "no go" because kids are just being themselves at that age. Her concern for child actors is that parents do not have an unbiased way to determine whether or not their child has what it takes. This is where the expertise of management or an agent comes in.

Once a child actor herself, Randi is concerned about those in the business and tries to keep it in a positive light as well as realistic. Often kids change their minds and she urges parents to be sensitive to what their child is communicating in that respect. She says she almost discourages those who want it so bad and are blinded by other factors and gives a dose of reality. If she doesn't--who will?

As a talent manager, Mollo has heard many scary stories of talent agencies and the like who seek upfront fees to meet their children from new parents in the industry. A tremendous number of these organizations bring in hopeful talent all across the country to meet their "agents" who are attached to a very high price tag and the success rate is rare. In many cases, what children and parents are misled to think is a casting call most of the time is a very expensive training program with minimal agency stature. Randi states, "I'm on a mission to expose these companies. It's unethical. It's not illegal, just unethical."

It is important to remember that an agent's job is to find and assess talent. There is never any fee to meet with a talent agency. Be sure to visit SAG.org to find legitimate representation for your child. If there isn't an agency nearby, again, join a local theatre or look for local castings by way of your city's mayoral office. The local Film Commission provides online notices of any filming in your area. Mind you, it's not always for lead roles, but you can land an extra or background role.

So how do you find representation with Mollo Management? Submit a snapshot of your child exuding their personality. A natural smile, along with a camera-friendly appearance, or a photo displaying quirky and unique, or beautiful and gorgeous is great to send. According to Randi, children should not invest in headshots until they have representation. "They're still growing," she says and in a year could look completely different. However, Randi notes that one can only tell so much from a picture. So, when you do get that interview with her or any manager, there are 3 things to keep in mind:

-- Be prepared to read a commercial script
-- Perform under a 2 minute monologue
-- Talk about special interests skills, experience and personality

And when the time does come to take headshots, find a photographer who charges a reasonable rate for a child's session. Again, children are constantly changing.

Randi's nurturing side as a manager is apparent as she does her best to look out for her client's interest. Because of her own experience working as a child actor, she is sensitive to the needs of the child actor. "The impact of rejection can be detrimental--terrible and it is important for children to be right for the business because they are still developing their personality. A lot of kids do it for a while then burn out. It's more important to grow up in a healthy environment then be a child actor."

As a manager, Randi plays a large role by presenting opportunities to guide the young actor in the right training and finding representation through agents. She states, "The agents job is to negotiate the best deal for the talent. Management looks out for the actor's personal needs from the beginning; guiding and developing."

Find out more on Randi Mollo, Partner, at MolloManagement.com

NYCastings - Advice - Spring Awakening

Thu, 4 Mar 2010 16:32:00 GMT

Casting Director Erica Palgon helps open your eyes and mind

Written by: Kelly Calabrese

Actors need to “be real, aware and awake,” says Casting Director Erica Palgon. They should “be awake to their surroundings and not live in a bubble.”

Known as an actor's casting director, Erica Palgon believes in pushing people to a higher level of awareness so they can bloom from being an actor into an interesting human being that casting directors will want to hire.

Over her 15 year career, Erica has gained an impressive range of experience at casting agencies including Susan Shopmaker Casting, Jerry Beaver, Liz Lewis Casting and Judy Henderson & Assoc, She has worked on projects for many successful film directors, among them Nancy Meyers, John Cameron Mitchell, Mark Waters, Tom DiChillo, as well as commercial directors Phil Morrison, Janusz Kaminski, Matt Aselton and Mark Pellington. At every job, Erica made sure to learn the ins and outs of casting from creative to the business side. She became aware of her own strengths, by opening her eyes to the world around her, and in August of 2009, she started her own company called Erica Palgon Casting …& Beyond.

Leading by example, Erica helps actors become more aware of every facet within the casting process.

BEYOND THE ACTOR

Q: Why should an actor be more aware of their surroundings and other people's needs?

A: Directors have a lot of pressure. They have clients they can lose at the drop of a hat if a shoot doesn't go well. The more you understand and are empathetic to that situation the better. If you have knowledge, and are making an effort, people will pay attention to that. It shows you have an interest in what they do and it will give you more confidence because you are making a point to say ‘I care about what I do.'

BEYOND FEAR

Q: What should actors know that would help them relax at auditions?

A: The more actors realize that casting directors and directors want them to do well, the more it's going to be a safe environment in casting and on the set. No one is going to feel intimidated. You will feel like you belong there.

What I try to achieve, what I make my company about, is not just covering acting. casting, or teaching - its encouraging exploration, passion and a collaboration of all elements. I tell actors to go back to that split second, that moment in your head that said ‘I have to do this I don't care what anyone else says. I want to act; this is what I want to do.' That alone should give you confidence, the fact that you had the guts to go take a class and pursue a career. Close your eyes, go back to that moment, and no matter what stage you are at, realize there is a driving force pushing you toward a goal.

BEYOND THE SIDES

Q: In addition to learning their lines, how should an actor prepare for an audition?

A: As an actor, know the commercials or goals of the director. Research, see the trends and be savvy about what is going on. If you do your homework, you aren't just doing it for yourself you are doing it for the people you are auditioning for. It's like any other job. Think of it as an interview and prepare. If you went in for a Coca Cola commercial, watch some of the commercials that have been produced lately. Coca Cola has a certain vision, an idea they are trying to get across, or if you know who the director is, look them up, watch their reels and it will give you a direction to start in. Go beyond what is provided for you by the casting director, research the things that will help you get a better sense of your audience.

BEYOND THE RESUME

Q: Why is it important for casting directors to see an actor's real personality?

A. Part of my job is to get to know people. I am selling these people to my clients. If an actor is an open book, it gives me more to go on outside of the acting and therefore vouch for and trust. I have to trust that they are going to be professional across the board when they show up to set and make the client happy and look good. I'm asked all the time, ‘tell us more about this person, experience, personality, easy to work with, etc... and I need to know or it's a hard sell. Sometimes this could be the defining moment as to whether someone gets the job or not. Again, always smart to put your best foot forward in every situation.

I am very open, whether in the studio or at a seminar, so actors will feel the same way. It's not ‘tell me you life story' but ‘what kind of person are you?' Treating people the way you would like to be treated, being on time, being prepared and on top of things. All those things and more, go a long way in how we see you.

Also, the way you perform, and ideas you come up with, helps me know what kind of person you are creatively, how your mind works looking at different material.

BEYOND EXPECTATIONS

Q: What do casting directors expect before anyone even walks into a room?

A: Directors want that magic, that thing to walk in the door. Actors often ask ‘how do you get that' and I say ‘confidence.' I tell people that their job is to inspire us, me and the director. My job is to be inspired by them.

They should come in from a perspective of ‘what is the casting director's job and what can I do to help this person?' instead of ‘what can they do to help me?'

BEYOND THE AUDITION

Q: What should actors do after an audition?

A: The second they leave an audition they should write down what they did, how they feel about what they did and the tone. Almost like a journal as if they are reflecting back on what happened. Put yourself in the position of retaining what went on so you can review your notes. Also, make notes about what the casting director says and it also is good to note what you are wearing, especially for commercials.

BEYOND THE CALL BACK

Q: What happens behind the scenes that an actor should know about?

A: Commercials are the ultimate collaboration. There is so much riding on the commercial so sometimes they like one person and another doesn't look like their daughter. Decisions can be a visual thing.

Also, there are many people making decisions. Everyone is trying to be on the same page but the ad agency has needs, the director has needs and the actor must fill all their needs so they shouldn't beat themselves up. The fact that they got to a call back should be a pat on the back itself. You could be 1 of 50 people called back or you could be 1 of 10. It's a crap shoot and things change from the time you get the call back to when you show up. Certain things are out of an actor's control. Best thing to do is go in the room, be present and listen.

BEYOND THE BOOKING

Q: What should an actor know before they show up on set to shoot?

A: If you are booked to shoot out of country, make sure your passport is up to date; don't wait till the day before the shoot. Even if you are auditioning for something that you know will shoot out of country have your passport ready and make sure your driver's license is current as well. But ideally those things should be updated on a regular basis regardless of what you are auditioning for. Key is to be ready for anything.

Also, if you don't have an agent or manager make sure you are keeping track of your availability and make sure there are no conflicts with other jobs you've done. You have to do your homework and not fall into traps of last minute things, even if you have an agent or manager. You have to take responsibility for your own career. Treat it like a business. Be professional and put your best foot forward. You are going to affect many different entities, if you drop the ball in one way or another.

Everything you do should make you stand out as a professional person, a very nice package you are offering people. Let them take a breath, a sigh of relief that they don't need to worry about you.

BEYOND THE FILMING

Q: Should an actor reach out to you for a copy of their commercial or to find out when it's airing?

A: If you have an agent or manager, they can call the production company or ad agency and find out. However, it may be best to ask when you are on the set instead of after the fact. Just say, ‘Id love to get a copy is there someone I can talk to?' Be pro-active about it and professional. Learn who people are and be educated on the set. You are privileged to be there, that's part of your education and training in addition to your performance.

BEYOND THE OBVIUS POOL OF ACTORS

Q: Why do you look for unknown talent?

A: My biggest thrill is when a Director says, ‘wow that was really good casting. I've never seen these people.'

I take an interest in helping actors because I am helping my clients and myself by guiding people in the right way and helping them become more knowledgeable. I like thinking outside of the box. For me, it's about opening up a door of resources and finding pools of people to choose from because even if they aren't right for the current project they might be good down the line. The more people I can choose from the better.

BEYOND THE CLASSROOM

Q: What do you wish actors would do more of after they take a class with you?

A: I teach a cold reading class at TVI and it's mostly audition technique where one person is the reader, one person is the performer and then they switch. Many times, I leave thinking ‘I wish they could see things the way I saw them' because some things are so common sense to me.

One of my biggest goals is to help people be open to other viewpoints. When you are a reader, there is no pressure and I wish they would take that learning experience and apply it to in front of the camera because all of a sudden there is a shift from being a person, as they were while reading, to being an actor. That's why a lot of my teaching is based on improv. I have people just turn the script over so they don't use it as a crutch.

Also, actors need to learn that characters have flaws. They shouldn't apologize for making any mistakes. People don't speak perfectly. They scratch their heads and stumble along the way. The actors who stand out most to me are the ones who screw up more but use it to their advantage. They embrace their flaws.

BEYOND REASON

Q: What forward thinking advice should actors take with them that helped you get to where you are today?

A: Be very open to learning and don't say no to anything. Especially with the way the business is now, you have to use everything as a learning experience. You don't know what is going to come of it. The universe is almost sending you messages, putting something in front of you for a reason. You might not think you are right for an audition but you may talk to someone at the audition that will be helpful down the road. Take everything as an opportunity, rather than thinking ‘where is this going to get me in my career?' Think ‘what am I going to learn from others and what can they learn from me.'

It goes back to that word – awakening.

Be awake, aware of your surroundings and alive. Enjoy where you are in your life and career. Live in the moment, have some fun with it, and don't take things so seriously. Opportunities will come. They might not come in the exact way you expect them to but if you remain open, they will come.

For more information, about Erica Palgon visit www.ericapalgon.com

NYCastings - Advice - The Situation

Tue, 2 Mar 2010 13:31:00 GMT

How to break into the unscripted/hosting biz with Agent Tony Burton

Written by: Kelly Calabrese

“Who would have thought that Jersey Shore would be the biggest show,” says Tony Burton, talent agent for the Host/Broadcast department at Don Buchwald and Associates (DBA) in New York. Yet, Jersey Shore does pull in viewers because “it resonates with an audience.”

Succeeding in the unscripted/hosting biz takes “that something, that indescribable,” which Tony specializes in finding.

Tony Burton began his career in the prestigious NBC Page program and went on to Produce at the “Today Show', “Dateline” (winning an Emmy Award, 1999), “HBO”, and “ESPN” before joining Don Buchwald and Associates in 2007.

“I've been in this world of news and sports, which is an unscripted world, before I came to DBA,” Tony shares. “I am plugged in. That's where my eye is so it makes it much easier for me to say ‘that person could be a good host.'”

Hosting “is really broken down into two buckets,” Tony explains. “There is the Ryan Seacrest host and then there is the expert host.” Besides for those two main sectors, it also covers shows like “Jersey Shore”, “The Osbournes”, and “VH1” interstitials.

To help NYCastings members learn more about breaking into the unscripted biz, Tony shared with us the three qualities he looks for – which we will call the GTL. (No, not gym, tanning and laundry).

An ideal host is a genuine, talented, and luminous person...

Genuine

“What makes someone a great scripted person doesn't necessarily mean they are going to be a great host. When you do scripted work you come in and they say ‘here is your line, your premise, here is how we want you to feel and look. Go out and be great in 30sec or a half hour.' In hosting, it's just the opposite. We are saying ‘I want you to be you 100% of the time. Be authentic and go out and host this show.'”

When Tony meets someone interested in unscripted work he asks himself “are they authentic? Are the believable?”

“I don't want my hosts to act because I need that person who is so genuinely excited,” Tony says

“I could go to a restaurant and find a waiter with enormous personality and if they start looking for a show about waiters I am going to think ‘boom.' There are people in your life who have enormous personalities and those are the people on TV now.”

If you are not currently, comfortable without a script, Tony suggests “taking an improv class. Hosting is about the unexpected and the more you can be excited about things that are unexpected, the more unflappable you will be on-camera.”

Talented

Because authenticity plays such a big factor with unscripted material, Tony looks at an actor's special skills before any other credit on their resume.

“Can you jump out of airplanes? Play the harp? Are you athletic?” That could be your way into hosting. “You never know, I even got a request for nuns,” Tony says.

“We work at a pretty high level here (at DBA). We are getting people with really long resumes and great credentials in Broadway, commercial and the scripted world and that works for me because they know how to be prepared, how to show up on time and work on a set with all these lights and people working in the background. I know for that part they are unflappable.”

But the main question Tony asks of these credited actors is “who are they? Do they have an area of expertise? That is what I'm looking at,” he says. “To be a host you have to be exceptional at that area you are hosting.”

If you have a specialized area of expertise but aren't a natural at hosting, “it doesn't mean you will never be good, it may just mean you have to find yourself. Really tap into the authenticity of who you are and you will make a better host,” Tony says.

Luminous

Once Tony finds a genuine, talented prospect, he makes sure they have tons of passion for the project so that they really shine on-camera.

“The more excited and passionate they are, the more it will translate to the audience,” Tony says.

“If you are hosting something that is not you through and through, it will come across. The audience will feel disconnected from the show and they don't know why but it's because the host doesn't resonate for them.”

“If you look at Ryan Seacrest on American Idol, there is probably no one who can host that show like he can. He can be compassionate, he can be snarky, he can be all these things and he's on his feet. You put him on the red carpet for “E” and he doesn't have the same passion, nothing that really pops about him, because he doesn't care who you are wearing. But you put him on the biggest television show on TV – no one better. And that's one of the reasons why the show is such a hit.”

For those GTL people out there, Tony has good news to share about the growing industry of host work.

“You see more and more people doing it,” partly because “its cheaper television,” he says.

“All the Law and Orders are typically $2.5 to $3.5 million dollars per episode for an hour. But if you have a show like "Wipeout", or anything unscripted, that falls under the category of $250 to $500,000 for the hour. So it makes sense for networks to have just as much scripted as unscripted.”

“When reality television started, and Survivor really pushed that to the forefront, people thought it was a fad but it's not going anywhere. What they did find out by putting too much “Leno”, too much “Biggest Loser,” on was that we want our scripted programs too. Unscripted shows are here to stay” as are dramas and comedies.

Playing on the unscripted nature of Tony's expertise, NYCastings asked him to create an impromptu “How to Break into Hosting” TV segment, as a snapshot example of how a success story would play out…

“It would film in New York,” Tony says because “There is something special about being in New York. It's not dictated by the entertainment industry it's really Wall Street. It's a melting pot so the characters you get are amazing.”

The segment would begin with an amazing character creating original content. Like a “chef on camera boiling an egg.” The talent would “know how to work hard, to make a storyline, and know what is it that they are trying to say.” They would be “passionate, exciting, and have that special personality that makes them memorable.”

“Collectively the person and premise would pop,” and that's how you make a great show, Tony says.

“Television is cluttered,” so you have to make your situation, your segment, stand out. To succeed in the unscripted biz, you need to “cut through the noise.”

Fun Fact – in addition to being an agent at DBA, Tony Burton is also the author of These Are A Few Of My Favorite Things (Simon & Schuster, 1999) a book that benefited the Make-A-Wish foundation.

NYCastings - Advice - De Niro Wants You!

Mon, 1 Mar 2010 11:20:00 GMT

To volunteer for the Tribeca Film Festival

Written by: Kelly Calabrese

Calling all actors… from April 21^st to May 2^ndNew York will transform into a moving picture; an action-packed, high stakes, series of unforgettable moments known as the Tribeca Film Festival. Countless opportunities exist for NYC artists. Here's how you can land a juicy part in it…

Volunteer Applications are currently open online at: http://www.tribecafilm.com/get-involved/volunteer.html

Q: What learning opportunities are there for volunteers?

Working for TFF, volunteers get plenty of opportunities to learn different aspects of what it takes to make a film festival work. All departments will be utilizing volunteers, so you can conceivably get a chance to learn everything from web and video production to venue operations.

Q: What are the benefits of volunteering?

All volunteers are required to sign up for a minimum of 3 shifts during the Festival. In exchange, they receive a voucher that they can exchange for a ticket to a Festival screening. Volunteers also receive a free bag filled with goodies from our sponsors and an invitation to the exclusive TFF Volunteer Wrap Party (one of the most fun events of the year in my opinion). Most importantly, they get the opportunity to be a part of one of the most prestigious, culturally exciting events in the world!

Q: Are there networking opportunities for volunteers?

Many of our volunteers already work in the film industry or have a desire to. Every year we have a Volunteer Hub where people can hang out and relax after shifts, between screenings, etc. This is a great place to network & get to know some of your fellow volunteers. Who knows…that person scanning tickets across from you could turn out to be your new screenwriting partner!

Q:Are there any specific benefits that an aspiring actor would be interested in?

There are several positions for which actors would be perfect for! We are particularly looking for outgoing people to assist at venues as line captains, door greeters, etc. Volunteers are truly the face of the festival sometimes, so you can't be shy!

Q:We also have many casting directors, agents, talent managers, etc who post on NYCastings - are there any volunteer opportunities that an industry guru might be interested in?

I would say that people who are interested in talent management and casting would do well to volunteer for the unique experience of gaining access to screenings of films that haven't been seen before anywhere. The Tribeca Film Festival has always been a champion of new filmmakers and, in turn, of new acting talent. This allows for a head start on the buzz that is sure to be generated by an impactful newcomer.

Q: Can volunteering help an aspiring actor, writer, director – take their career to another level?

We expect our volunteers to maintain a professional decorum, so it's not designed as an opportunity to get your latest script or headshot into the hands of a director. Volunteering at Tribeca is not designed to “take your career to another level”, but here are many opportunities for networking available…particularly if you take your assignments seriously and perform them well.

Q: Can volunteers request a certain job that aligns with their interests?

You can indicate your interest on your application, but unfortunately we can't guarantee you placement in a specific department.

Q: How many volunteers do you accept each year?

We usually have somewhere around 1500-1800 Volunteers every season. This is a huge festival!

Q: On what criteria do you decide who is accepted?

Volunteers are chosen in several different ways. Mainly, general enthusiasm, a demonstrated interest in the festival, and the ability to communicate clearly are the first things that we look at when accepting volunteers.

Q: Are there any paid positions?

For any paid positions that might still be available, go to: http://tinyurl.com/yhog8et

Q: Do you give school credit to any volunteers?

Volunteers do not receive school credit for their work. However, there are still several internship opportunities available at the festival. All you have to do is indicate that you would be interested in a TFF internship on your application.

Q: When do you stop accepting volunteers for 2010?

We will most likely continue accepting volunteers through the month of March. However, once we receive enough volunteers to fill all available positions, we will place you on a wait list until something else opens.

Q: Our volunteers mainly from the entertainment industry… filmmakers, actors, etc?

Our volunteers come from all walks of life. Obviously, being a film festival, we do tend to attract quite a few people in the entertainment industry.

Q: Is there a majority age range, say students?

Volunteers come in all ages, as long as they are over 18. The oldest volunteer that we had last year was 77 years old.

Q: Does volunteering in 2010 guarantee you a spot in 2011 if you do your job well?

As long as they respond in a timely fashion, we would welcome anyone who has done a good job for us in the past and wishes to return.

Q: Must volunteers be available for the entire festival or just a certain minimum schedule?

Volunteers are required to sign up for a minimum of 3 shifts as well as 2 mandatory orientation sessions.

Q: Does volunteering for Tribeca help a person get a volunteer gig at another festival?

A great deal of our applicants and staff members move around to several different festivals, so working with some of them can definitely help you in continuing your mission.

Q: Have any of your previous volunteers gone on to get their movie accepted? Either as cast or crew? If so – is there a connection between their volunteering and getting a break, lead, networking that paid off? Or was it just the combination of persistence and talent?

Persistence, talent, and uniqueness of vision are what I believe the main qualities are for getting your film accepted to ANY festival. These qualities will definitely pay off, so good luck!

Q: For those unable to volunteer do you offer any student discounts, artist discounts?

We do have tickets priced for students (with ID), but unfortunately we don't offer artist discounts.

Q: You have several free events during the festival. What are the free events for 2010 and is there anything that an actor would specifically be interested in?

The events haven't been formally announced yet. In order to find out more about the events as the festival approaches, sign up for the Tribeca Film newsletter at http://www.tribecafilm.com/register/

In addition to all the glitz and glamour that comes with volunteering for the Tribeca Film Festival, it also makes you a part of New York's artistic growth and economic recovery.

Robert De Niro, Jane Rosenthal and Craig Hatkoff founded the Tribeca Film Festival in 2001 following the attacks on the World Trade Center to spur a financial and cultural revitalization of lower Manhattan through the celebration of film, music and culture.

Since its founding, TFF has attracted an international audience of more than 2.3 million attendees and has generated an estimated $600 million in economic activity for New York City.

Again, the link to apply is: http://www.tribecafilm.com/get-involved/volunteer.html

Special thanks to Loren Hammonds, Volunteer Manager for the Tribeca Film Festival, who gave NYCastings this special Q&A footage.

NYCastings - Advice - Lady Luck

Thu, 25 Feb 2010 10:31:00 GMT

Stacy Gallo helps you book commercial work

Written by: Kelly Calabrese

“Commercial casting is definitely like the lottery because a lot of it is being in the right place at the right time,” says Independent, Commercial Casting Director Stacy Gallo.

For over ten years, Stacy has helped actors land high-profile commercial gigs. She started out casting at MTV, created an in-house casting company for Hungry Man and now heads up her own casting biz - talk about creating your own luck in life!

Stacy “loves taking an unknown actor, getting them an agent and calling them in herself; being hands on.”

Under her guidance, actors have booked memorable and award-winning spots, including: NY Lottery Little Bit of Luck, CareerBuilder.com Superbowl Campaign, Tribeca Film Festival, McDonalds, CNN campaign, Luvs, AT&T, Yoplait, ESPN, and Mastercard w/Brett Favre.

If you want to land commercial work, it starts with a winning combination of being confident and comfortable…

“The first thing I do in my class is talk to everyone,” Stacy says. “Then I say ‘you just did a commercial when you talked to me' because when I say action you don't change from how you slated. When you say your name, you just say your name. When I say action, I want you to be that same person.”

Actors “think they need to fill an entire room and really they just have to fill this tiny lens.”

Stacy wants “actors to give their best performance and if they are nervous they aren't going to do well,” she says. Sometimes an actor “has had too much theatre or not enough training. Maybe they need to take an improv class in order to get comfortable.” Being comfortable is key.

“I always say I wish I could teach confidence,” Stacy shares. ‘‘A lot of people aren't confident and ready to audition. Those who are, I call that the Ptolemy effect. (Ptolemy Slocum). Ptolemy should be a word in the dictionary. Because he is so comfortable in his skin, everything he does is funny.”

“George Basil is another one,” Stacy says. “I never heard of him and he took my class at UCB. At first he was a little too confident, almost cocky. But I gave him that note and now he books commercials all the time. He has confidence up to whazoo and it works.”

“Another example is Matt Fisher who took my class at UCB and then booked the Carnival Campaign. It's all about guiding students, just a little bit.”

Stacy references her UCB students because “Every breakdown uses the word UCB (Upright Citizens Brigade) as if it is its own term – a UCB type talent.”

And “that's why I teach there,” Stacy shares. “I figured I might as well have my hands on the talent, find those who just aren't found yet but are totally ready to audition.”

When your number comes up for an audition, Stacy suggests you relax and have fun with it…

“What I like to see when I go to these networking places is a comedic commercial. Something you can improv and have fun with. I don't care what the paper says. I want to see you. I want to see you having fun.”

By improv, Stacy doesn't mean changing the whole script. “Sometimes it's as simple as adding in a word that means something to you.”

“How do you speak to your friends? Are you a ‘bro' guy, a ‘dude' guy? Just add that in, personalize it for yourself. That could be the improv.”

“An actor's body language changes when they use a familiar word,” Stacy says. And having a natural, engaging presence is helpful because “commercials are not all blond hair and blue eyes anymore. It's whoever is going to make that part sell while being the most interesting and memorable.”

Directors “want to know that on these long days you can take the script and do it a million ways, come up with fresh ideas. Improv isn't a requirement but it makes you that much more appealing. It's only going to help people if they are comfortable, to be able to do copy in their own way.”

Of course, some behavior should be scratched from auditions…

“Even if you feel like it's a bad take, don't stop and apologize because we might have seen something in that take that we like and then you'll ruin it for us,” Stacy says.

“And, if you come in for an audition and see a script, look at it. Some actors see their old friends and chit chat and then go into audition with no idea what the script says. Read the script, think of ideas, because I am going to ask you to do it another way. Use your time in the waiting room wisely. I might ask you to try it psycho or sad. Be prepared. Learn how to use your nerves and sometimes that's about auditioning a lot.”

To help calm your nerves, choose copy that you're drawn to…

“My advice,” Stacy says, “is I tell actors to watch TV or Google funny commercial spots. If it's a memorable spot, funny or sweet like a guy talking about his girlfriend, those are the ones I want to watch.”

“If you are going to pick copy out of a book because so many people do, it's easier and safer, find a way to do it different. Know who you are talking to. Just as you have to have a monologue prepared, have commercial copy prepared. Or write your own commercial and have someone you trust read it. Pick a product that you love that's made your life easier.”

"The way you talk is how we want a commercial to come across, so pick a product and write about it. That's better than watching the same Dial copy over and over.”

To increase your chances of being quick picked by an agent…

“It goes back to the whole confidence thing,” Stacy says. “Sometimes when you talk to an actor they seem so real, it clicks. Agents want to feel like they could be your friend. It has to be a good match. When you meet someone, you just know if you are going to like them.”

Agents may “need a certain type. Or maybe an actor is just so funny, has that quirky nature and they can't pass her up. It's about clicking and what category you fit in,” Stacy shares.

If an agent feels like you were just “decent and did a good job they might think ‘do I really need her?' They might think ‘maybe I will freelance with her and if she books a job I will sign her.' And sometimes it's a matter of auditioning enough so that you get the call backs and then an agent will sign you. There are really only two big signing agencies right now CESD and DBA. It's a matter of finding the right fit.”

“What turns agents off,” Stacy says, “is someone who is too annoying or too in their face because that's how you are going to be as their client. You don't have to slate crazy, just say your name. There is a difference between being professional and overbearing. Don't act when you come in, just be like ‘this is who I am, where I'm from.'”

All actors have the chance to create their own luck…

“Not everyone has a father who can put them in a show. You have to market yourself,” Stacy says. “Talk to friends and find out which workshops are decent because sometimes you can feel the scam in the air. And go to the one night events.”

“Also, ask a friend who has an agent to refer you because agents like referrals. And if you aren't SAG, or are SAG and not working enough, do extra work,” Stacy says. “I know a guy who did extra work on a commercial and got upgraded. You are going to meet people.”

“I got into casting because I was taking a sitcom class with Christine Kromer,” Stacy shares. “I was at a dead end job, met a girl sitting next to me in this acting class and hit it off with her. It turned out that she was a freelance casting director with MTV and she needed help with asking people who they liked better Christina Aguilera or Britney Spears. I helped. And then a day later she was supposed to go to Vegas for Spring Break and she asked if I could do it for her. So I didn't go into work, I went to Vegas and my life just changed.”

Taking chances does pay off. “If you aren't auditioning, do a student film or join a group,” Stacy says. “Its very depressing if you are just sitting, waiting for the phone to ring. We are all waiting for the phone to ring but think ‘who haven't I contacted in a while? Who can I reach out to?'”

“You shouldn't act like things are beneath you. There is something to be said for being humble and professional in any business. “

As one final lump some of advice, Lady Luck (I mean Stacy Gallo) suggests…

“There are a lot of little things you can do to help increase your chances of booking a commercial but a lot of it is being comfortable and getting yourself out there,” Stacy says.

“Get to know the different offices so you know which ones are crazy and you can be prepared for that. And if you go to an audition and see another one don't be like ‘why didn't I get called for that one.' Focus on your audition. Even if you walk in and see all people who look different than you, don't let it throw you.”

“Sometimes an actor gets discouraged because they were only in a room for two minutes and they end up booking it.”

So, “stay positive even in a time when it's not easy to. Everyone has bad days but sometimes for actors you have to fake it because if there is a negative energy you aren't going to book. Tune everything else out.”

Auditioning for commercials is just like the lottery because “you never know,” Stacy says. “So don't let the negative person, the devil on your shoulder, distract you. Go in, give your best performance and then go home and say ‘I did my best today.”

For more great insight from Stacy Gallo check out one of her classes in NYC. She also offers private coaching to actors she sees potential in.

NYCastings - Advice - Rock and Rescue

Wed, 24 Feb 2010 11:43:00 GMT

Barbara McNamara reveals her one-of-a-kind casting style.

Written by: Kelly Calabrese

If Barbara McNamara Casting was a fashion label, it might be called ‘Rock and Rescue', because Barbara approaches casting with a hard-core passion and caring attitude. Oh and… she handles all of the background for 30 Rock and Rescue Me.

“There's no comparison,” Barbara says, between her boutique company and other background places. “Mine is hands-on, very small, quality over quantity. I've got a great staff that I work with every day. I don't leave at 6 o'clock and have them finish up for the night. I am here until the very end. The producers and directors always see me. They never see just Emily or just Sean. I like to give them work and have them make a name for themselves, but I am very much involved.”

Barbara enjoys casting in New York because “it's a fun city to cast in. Whether shooting Uptown, Downtown, or Williamsburg,” Barbara knows how to find what a director needs and she considers the needs of New York actors, as well.

“There are a lot of actors out there and I try to get everyone work, as much as I can,” Barbara shares. “It's a hard business so I try to be kind. I know I'm in television and it's exciting but at the end of the day we give people work, which is a nice thing.”

To help more actors learn more about the background business, Barbara gave NYCastings a glimpse into her artistic process…

How do actors become part of your fabric/ your company?

Go to my website (http://www.barbmcasting.com/) and upload your headshot, resume and details. It's free. And then send in a hard copy as well.

Do you hold any open calls?

I haven't had an open call since the film Duplicity but I will have another open call this Spring.

What look do you prefer – headshot or full-length photos?

Online, I prefer a headshot. It should be recent and current. Then I have my assistants call people in to take a digital photo. I like both the headshot and the digital because if someone doesn't look like their headshot, I can't submit them to Tina Fey at 30 Rock and have them look completely different. That would be shooting myself in the foot. So, I always have current photos.

How many people do you have on file?

Thousands.

How often do you use the same actors?

I try not to bring actors back that often. It depends on if they were featured or not.

How do you keep track of so many actors?

I am very old school. I like to have my hard copies. It's quite interesting because when I started out I was an assistant on Sex and the City and sometimes I get the same headshots in the mail. Obviously, I know that person looks a little different. It's been ten years. But I do like the old school hard copies that I can lay out and have the whole scene on my floor; make sure I have a nice ethnicity break down and things like that.

The headshots are stored by SAG and Non-SAG. Most of my jobs are SAG. Rescue Me is AFTRA. And then it's broken down by males, females, age range, hair color. And I have a database.

How do you create a new line of projects?

Most new projects come from people I've worked with in the past. It's a “you are only as good as your last project” type of thing. Knock on wood, I've had a good reputation. I've never lost a project. Others have lost projects to me. It's all about knowing people and proving yourself.

If you were to choose one area of casting between television, movies and commercials as your signature piece, what would it be?

My TV shows are my bread and butter, consistent throughout the year. But my first film was The Devil Wears Prada which is warm to my heart, a big thing for me.

How does background casting change from season to season?

I wouldn't say it changes. But one day I could need strippers, the next day ladies who lunch on Madison Avenue and the next day 6 foot tall African Americans who play basketball. It's all about the project.

Do you see any new trends in the industry, as far as types clients ask for?

Trends to me are something fad, in and out. I guess reality shows. I did a little work on Celebrity Apprentice, which was interesting. I don't get into reality television too much but I would say that it's trendy.

When you cast an actor, should they thank you? What is the protocol?

Thank you's are nice. We certainly appreciate them and remember those who thank us. We also remember those who don't. Definitely send me post cards and keep me updated if you are in a show.

What goes on behind the scenes that many wouldn't realize?

It's not glamorous. It's insane. It's every hectic and busy. You either love it or you hate it.

Do union actors get more of a front row seat / a better chance of working with you?

There are a lot of rules and regulations you have to follow when casting a union show so I know many of my union actors. But we do have more people than you would imagine. In television, 1-25 have to be SAG and on an average, I book 250 people. Some days are bigger then others. We do get into non-union. When we are outside at Rockefeller Plaza, obviously, we are in New York City and you are not going to have just twenty-five people representing New York. You need a lot more.

How often does an actor get upgraded or wavered?

There is no one answer. For certain types, I know I will end up waving people. A lot of times it's models. If I am shooting a fashion scene and need 5'10" girls and men who are stunning, it might not happen in SAG. In some cases, I prepare in advance, whom I will waver. Other times its luck. Maybe a SAG person doesn't show up and a non-union person has the right look and intelligence that the director zones in on. Then the person is wavered. It used to happen a lot but now it doesn't happen as much as I would hope for. It's all about budgeting in the end. It happens maybe a half dozen or a dozen times in a season.

In addition to being a casting director, you also had a degree in marketing from FIT. What more can actors do to market themselves?

Just keep getting out there and do theatre or short films. Don't just sit back and think something will come to you because most likely it's not going to happen that way.

Can someone reach out to you about being a stand in?

I get that a lot and don't mind it at all. Many times, it's already set in stone who is going to stand in. For instance, one of my bigger actors on a film has a stand in that's coming from LA. But by all means, if someone thinks they fit a role they can submit.

Will you weave into casting more principle roles?

I think about it. They are different worlds. I wouldn't mind moving into principle casting but I like background casting as well. Eventually I might like to do both background and principle casting for a project.

Are you always keeping an eye out for actors?

Yes, that's another great part about living in New York. If I see someone fabulous on the street or if I see a robot in Times Square, I will give them my card.

At fashion shows, there tends to be a swag bag placed on the VIP seats. What three goodies… items, pieces of advice, etc, would you put in there for actors to take with them?

1. You must have a good headshot. That's your calling card. You don't need any props, guns, or wigs.

2. You should have a planner so you are on time. Whether it's an audition for principle acting or coming into interview for a possible feature role or background, you really need to be on time and professional.

3. I would say don't take it personally. It takes thick skin to be an actor. If you didn't land a role, principle or background, it's not you. It's what the director was looking for. Keep positive and eventually you will get it.

NYCastings - Advice - Sound Bites!

Tue, 23 Feb 2010 10:54:00 GMT

Voice-over input from Casting Director Lisa Fischoff

Written by: Kelly Calabrese

“You can fall in love with the voice-over craft,” says Casting Director Lisa Fischoff who heads up Broadcasters, a division of Howard Schwartz Recording. Lisa notices a person's voice before anything else. She has many years of casting experience, worked previously at Liz Lewis Casting Partners, and shares her expertise with NYCastings so that even more actors can become enchanted with the voice-over industry.

At her current office, Lisa casts on-camera and voice-over talent for commercial projects including American Express, Chrysler, Victoria's Secret, Walmart, Verizon, Western Union, Level Vodka and JP Morgan, among many others. She also casts for independent features, short films, director's reels and graduate student films.

“If you are curious about voice-over, want to learn a lot and have fun,” you can take one of Lisa's classes in New York.

And for your immediate listening pleasure, please enjoy these in-depth questions and answers from our conversation…

How does one learn what their voice type is?

If you have a lot of texture or youth to your voice that would be considered hip, youthful, quirky. If someone is more in their 40's or 50's and has a very soothing voice that would be a mom vocal type; a nurturing, soothing, credible vocal type. Same thing with men, if they have a lot of gravitas, that doesn't necessarily mean deep but it means there is a lot of weight to the voice, then there's a presence, an authority to the voice. These are all words that are used constantly by our clients and agencies that are looking for vocal types.

Is reading voice-over copy the same as reading sides – meaning do you create back-story, etc?

One of the downfalls an actor can bring to an audition is overworking copy. The microphone picks you up so intensely that a natural sound can be really gone quickly if you overwork it. The trend is natural – conversational, unless it's a character spot. I have to believe what you are saying.

How does a voice-over audition differ than an acting audition?

You have to realize that voice-over auditions have nothing to do with what you look like so that's number one. It's all the voice. It's not mannerisms. If you talk with your hands, that's what you should do. For on-camera, if you have to hold a product they are not going to want you moving around. But for voice-over, as long as I don't hear you banging something and it doesn't bleed into the sound, do what helps you sound more real. It's about connecting with how loud you are. Am I projecting too much? Am I too intimate? Am I too soft? Am I hitting words too hard? Am I sounding like an announcer? These are all ways of exploring technique when you get into training. Also, you never get the copy before the audition as you do with on-camera unless it's something specific like a language you have to practice.

How many takes do you get?

I never give less than two takes. Sometimes 3,4,5. It depends on the amount of direction, how close I think the actor is getting to what I am looking for. I may not keep all five but I never submit one.

Voice-over seems like quite a different animal than on-camera?

It is a different animal and it's not easy to break into. But I do think the market has opened up a lot and it's not the core people anymore. It's opened up to comics and improv people. Just because of the nature of spots being comedic, very real people who might not have had a shot of breaking into this core group of people are. It has become pretty diverse.

Does spontaneity help make for good voice-over (VO) work?

I think so. I have people that look at it once and that's it and I have people who go into the bathroom and mark it up and it's what works for them. Each is good in its own way. But I think when you are starting out you can really get in your own head if you think ‘what seven ideas can I bring to this.' You have to be open to a casting director throwing out to you an idea that isn't on your page. It's important to be open and to connect with the copy even if you think it's a poorly written or you don't like the storyboards. If you don't connect, it's really audible.

Why should an actor learn about VO?

I think that New York talent is stellar. I think if you have a desire to do this and you are willing to work hard it can be so much fun. The community of actors here are great, welcoming and very approachable. It's a family. But it's a really talented family. So that said, if you are serious about it you must constantly hone your craft, work on auditions and your vocal style. Listen to television and commercials.

Is there a lot of VO work in NY?

There is a lot of opportunity here for voice-over work. There is a lot of radio here too. We had a great year last year. The economy was rough for some but I am sensing an energy this year that things are going to be better. People are auditioning. People are casting.

Is there a high-season for VO work?

People ask that a lot and I really don't think so. Holiday season is big but so is back to school and after holidays. We had an August that was so insanely busy it was our best month in years. At the end of December, things do slow down a little. But this is a business of feast or famine all the time.

Are there certain voices in high demand?

Yes, but the ages have broadened a lot. When I first started doing this it was 20's, 20's 20's. But now our clients want us to cast 20-40's or 30-50's. It's a broad range because they are not sure what is going to fit. The natural vocalist is still very much in demand, the conversational read, the person who does not sound like a big booming announcer. That's not in vogue anymore unless it's a character. It's down to earth, matter-of-fact, laid back. Authoritative voices are also in demand for banks and pharmaceuticals, those kinds of products.

Is VO more AFTRA or SAG?

Its AFTRA and SAG. AFTRA is radio. SAG is TV. When I cast for a TV voice-over they can go through AFTRA but I would say that 95% of the time they go through SAG.

Are there more union versus non-union jobs in VO?

There is more union work but we cast for both and as a non-union actor you can audition for union work you just have to be prepared to join if you book a job. You should tell them you aren't union and all they have to do is waver you. It has to be done before you do the job. And make sure you have the dues set aside.

Do actors need a demo in order to audition?

I think it's very important especially when you get signed because many times I will see a person's name on a list and I don' know who they are. As much as I might ask their agent what their vocal type is, their quality, their age - I'd love to hear a sample. The other trend that is happening is that some of our clients might not have it in their budget to do a casting session. They might book straight from a demo. They might say ‘send me five women in their late 20's, youthful, fun and we will book from the demo.' So if you don't have a demo, I can't book you even if you are perfect for it.

If you want to make a demo, why you should wait until you get a solid amount of training?

Putting a demo together when you have' had enough training is the worst idea an actor can have because you really don't get more than one shot. You can't keep redoing your voice-over demo. Despite the fact that it's really costly (anywhere from $500 to $1000), I might listen to you and say ‘I thought this demo was terrible' and then a couple months later you send me a new one and I don't know if I would listen to it. A headshot is different because you have to change your headshot every couple of years. And you get more work and put it on your resume. It's different with voice-over work. It's really specific and you have to think to yourself ‘is this is as competitive as what I hear on Voice Bank?'

How much training does an actor need?

It depends on the actor. That's really difficult to pinpoint. Some people are ready in a month, some in three. If you are going to make a voice-over demo, you really have to work and practice.

Has the web increased work in voice-over?

Yes. The web is a really new avenue that we find interesting because all of the rates are negotiable. There is no set rate for talent when talent books a job. It depends on when its running, on how many years its going to be on. Is it downloadable? Is it going to be on the big sites like YouTube and Hulu? So it's interesting because the negotiating is a lot more intense. Anything from industrials on the internet to commercials are all different rates. It's definitely increasing work and it's a new avenue that can be lucrative.

Can you get a video recorder and listen to yourself as practice?

Use an audio recorder or the computer. It's so easy to record now and play it back. You can also rent out a really inexpensive recording studio with your friends and do copy. Listen to each other. Practicing is really important. Even the most talented people, who work all the time, have to keep practicing.

Is there a lot of work for children in VO?

Yes, we cast a lot of children. There are some great kids here, kids that come from theatre and acting schools. On-camera we need an adorable kid and they have to look a certain way. With voice-over it's what they have to sound like. When I run a kids session I know who nailed it, who can take direction, and who can stay in a studio for over an hour. That's a big thing with kids. The parents will go to the session but usually won't sit in unless the producers invite them and with auditions the parents don't sit in. I love working with children and the most important thing is that the child wants to be there.

Why do you partner with Elizabeth Bunnell (Independent CD) in teaching VO classes?

Elizabeth and I worked together at Liz Lewis Casting for many years and we started this class together while there. We work really well together. We don't always agree with each other, which is very interesting. We don't confuse anyone but there are different perspectives that we have on the process, or talent, or what kind of age range a person would be able to do. To get two opinions gives more to an actor. And, when you go out for an audition a bunch of people are going to listen to your audition so it's helpful for actors to hear ‘this is what we both think' and be able to interpret what to do.

Can you immediately spot who will be good at VO?

No. I have had students that I said to myself ‘wow this person probably won't go further than this class'. And some actors really surprise us on how they improve in four weeks. People can surprise you, if they really work on their craft. I listen to people's voices all the time. It's the first thing I notice about anyone I come into contact with. And its not about having a cool, hip sound. It's about having a real sound that we want to listen to, that can be quirky, comedic. So I can't immediately tell. You never know.

What do you teach in your classes?

The one night seminar teaches single person copy and is most mostly for those looking to try it for a night or those who need a brush up.

For the four week class, it gives intense information about the industry. We work on single person copy and demos. We work on everything from timing to range. We also venture into partner copy so you learn to work with someone, manipulate the microphone together. As important as it is to know what to do it's equally as important to know what will make someone stop listening right away.

Is the class set up similar to how one would audition?

Yes. There is a sound booth, headphones. Headphones can be intimidating. Students learn how to manipulate their voice with projection. If we didn't have a studio booth our students wouldn't really get the feeling of what it would be like when you actually go into an audition.

Do you provide demos from the class?

The call sheet says that your voice-over demo is like your headshot 75 fold meaning hat it's that much more scrutinized. It's your tool to market yourself. We don't provide demos at the end of a four week class because we think it's wise to go onto some couching or a class with someone else because you only get one shot and it's very competitive.

Do you offer private coaching?

We do offer private couching. And we always refer studios to our former students, if they decide to get a reel done on their own, so that they won't walk into a place they don't know that might rip them off. We also encourage them to send us, before they send it out into the world, a final MP3 of what they've done and maybe we will move spots around. We might say ‘maybe you should stick a PSA in there because you have a really warm, caring sound. Or, I am not sure if the CoverGirl would be for your age.' We try to skew you toward what we think you will excel with.

Your classes are by referral only, what if someone reading this at NYCastings is interested in learning from you?

Our next class is full but we are going to start another 4 week in April. We have one night classes that we usually don't do until the summer but we have had a lot of requests for them so I do have some spaces on Feb 26^th and March 2^nd. If anyone's interested the best way to reach us is to email me (Lisa Fischoff) at lisabc@hsrny.comor Elizabeth Bunnell - ElizabethBunnell@yahoo.com.

Even though these classes are referral only, NYCastings members can contact Lisa directly. She is more than happy to get NYCastings members on her list.