If there were ever a shortcut to success, it’s getting really great information and surrounding yourself with incredible people. The Actors’ Network (TAN) does both of those things. If you are in the Los Angeles area, and take your career as an actor seriously, I can’t think of something I’d recommend more in furthering your career than The Actors’ Network. Check out their website, find ‘em on facebook, and follow them on twitter.

Full Disclosure: I totally get paid if you join TAN and say my name. And by get paid, I mean I get points. Seriously. Like at an arcade. I think I can redeem them for spider rings or something if I collect enough. In all seriousness, I don’t give a flying patootie about the points (honestly, tell them Superman sent you), I just want to share great resources I’ve come across in my brief time in Los Angeles.

Introduction

Aurora (actress extraordinairre) recently sat down with the founder of The Actors’ Network, Kevin E. West. Check out the interview below for some wisdom and an introduction to Kevin.

What Is It?

The best way I can describe TAN is that it’s like a “graduate school for the working actor.” Kevin teaches seminars (topicals) a couple times a week on all of the topics a working actor needs to know. There are recitations (power groups) that meet once a month to keep everyone accountable, network, and share resources. And top-notch industry guests like show runners (Jonathan Prince), agents (Tracy Curtis), acting coaches, and casting directors come are there almost every day imparting their wisdom and giving you a chance to create relationships.

Just like grad school you get what you put into it, so sign up for as many topicals as you can, go listen to the guests, and meet as many people as you can. Everything is included in your cost (see below) and there are no requirements…attend when you can, don’t when you have to help Aunt Greta with her chili cook-off.

Like most universities, the school is only as good as the students, and the members of TAN are top-notch.

Topicals

The topicals are primarily led by Kevin, and cover everything from demo reels, to your resume, contracts, casting director workshops, phone technique, and the like (full list here). It’s kind of like class for an hour and a half. If you have gained any insight from my previous blog posts, then you’ll absolutely take something of value from these topicals. A great deal of my outlook and the information I have comes as a direct result of these sessions. These are a glorious way to learn from Kevin’s 20+ years of mistakes (and successes!) in LA so that you don’t have to repeat them. It makes me feel like I’m skipping classes of life…

Industry Guests

These are akin to your guest lectures at grad school. Take a look at TAN’s calendar to see who has come into The Actor’s Network recently, and who’s slated to come in soon. Agents, managers, casting directors (Joseph Middleton, Marci Liroff, Danielle Eskinazi, and Bonnie Gillespie are just a few examples of the casting people who’ve I’ve seen speak), producers, writers, you name it. These industry guests volunteer (they don’t receive any money) an hour of their time to come in and answer actors’ questions. Just watch your feet when you attend these things, ’cause people be droppin’ knowledge.

Power Groups

There are 9 (optional) power groups…kind of like college recitations. These are group of about 30 actors from TAN who get together once a month to discuss goals and progress, share resources, and ask questions. Each group is led by an experienced facilitator. These are a great way to meet other productive actors, and begin to really find a sense of community, one of the hardest things to do in this city, particularly when you first arrive.

Blog

The Actor’s Network also recently launched a kick-ass blog written by 16 of LA’s finest in myriad categories. Think of it as your homework.

Reputation/Whactor Factor

TAN has a stellar reputation around town. Being a member provides you with some serious legitimacy, and proves to most that you’re not a ‘whactor’ (compliments to bad boy Kristoffer Kelly for the term). Throw their logo on your resume if you want, and know that TAN is a 99% whactor-free zone.

Cost

$50/month. Seriously. I can honestly say that you get more from TAN for your money than any other single thing in Los Angeles (unless maybe you steal stuff…but the guilt and fear of getting caught probably make TAN worth it anyway).

There is also a one-time $55 charge when you join for the membership binder etc. Oh, and there’s a discount if you join for a full year, and once you are a member for 3 years your cost goes down to $200/year. They do ask that you pay in 4-month increments, though you can split your initial payment of $265, paying $165 up front, then your next $100 a month later.

Try going to grad school for those kinds of dollars and cents (I know, I know those are all even dollar amounts, no cents. Cut me some slack, I’m just some dude with a blog. Sheesh).

How Do I Join?

If you are in LA, the first step is to check out a (free) orientation. More details here. From there you fork over some moolah and get crankin’.

For those of you not in Los Angeles, you can still join as an online member, and get access to a number of benefits outlined here.

If I Were King…

…I’d make every actor sign up for TAN, get in a power group, and attend every topical and guest speaker for 6 months. After that you could go on your merry way if you felt like it wasn’t for you, but the information is priceless, and those 6 months would (hopefully) put everyone in the proper mindset to pursue this profession.

Moreover, it’s can be daunting to feel like you’re making progress in your career as an actor. TAN not only gives you specific information and help in moving forward, but it also provides a grounding for your actor life in Los Angeles. Surrounding yourself in this community will be a tremendous benefit as you navigate this nutty industry.

So, finish up that chili and get your butt down to Santa Monica and Fairfax. I promise you won’t regret it.

P.S.

If you’re like me and SOOO over school, don’t fret. Replace the word “school” in this post with the word “home.”

P.P.S.

Ok, smart ass, I know there’s no such thing as a “grad home” but you get my point…TAN is a great place to be.

Ben Whitehair is the Los Angeles contingent of this blog. Find out more information and view his materials on his website, or read the rest of his blog posts.

Marsha Hervey is a veteran of this business if there ever was one. She started in entertainment as the mother of a wonderful actor, seeing the business through his eyes. Marsha then began managing, a job which took off for her. She co-founded the Hervey/Grimes Agency with Pam Grimes in 1991, 5 years after the two had started as managers.

Once a Mom, Always a Mom

More than anything, you can tell that Marsha not only cares about this business, but also her clients. Hervey/Grimes remains a boutique agency for that very reason. The amount of effort spent on each individual client is substantial, and Marsha likes working with people she enjoys spending time with. She prides herself on maintaining strong relationships with her clients, and treating them with the respect, and expectations, of a mother.

On Managers

“Managers are great if they’re really looking out for you,” Marsha said. However, because of the legal restrictions on mangers (e.g. they can’t negotiate contracts), they must bring something to the table your agent is not. Ideally, a manager should have relationships with casting directors, producers, and other industry players, which the agent does not have. Moreover, agents are in their office all day going through breakdowns, pitching clients, and working out logistics. It is thus up to the manager to keep the actor in line, making sure they are confirming times, checking their emails, and just in general being on top of their $hit.

The Agent’s Job

Marsha made it very clear that she holds herself and the rest of her agency to an extremely high standard. They are working countless hours getting clients auditions. They are submitting on 100 – 200 commercials per day, in addition to 50 or 75 theatrical jobs. Their agency has a number of assistants both in and out of the office (yay interwebs!) all working to get the clients on their roster into “the room.” The number of actors vying for any given audition spot is tremendous, so it often takes a team with decades worth of relationships to keep a roster of actors working.

The Actor’s Job

In a town as competitive as Los Angeles, even an audition is a huge win. An agent is often cashing in on the aforementioned relationships just to get a client the audition. An actor, then, needs to do everything in their power to help the agent. This means not only keeping your acting chops sharp in class, but also working on your attitude to, as Marsha said, “become a warm and fuzzy person if you’re not already.” As Jonathan Prince also discussed, so much of getting the job in this town is being the type of person people want to work with.

Actors should also maintain the industry relationships established by the agent, by sending post cards, for example. Marsha warned, though, to only send postcards when you actually have something to say (e.g. to share a recent booking on a show), or better yet, to compliment the person you’re sending the post card to on one of their recent accomplishments (e.g. an award they were recently nominated for or received). Oh, and don’t forget the assistants. Just like the assistants in Marsha’s office are consulted when deciding on a potential addition to the agency’s roster, so too are casting assistants often asked for their experiences with an actor. And before you send that bouquet of a dozen long-stem roses, remember that a simple hand-written thank you note goes a long way.

Due to the electronic nature of the business these days, people are often introduced to an actor with nothing more than a postage-stamp size thumbnail picture. As such, meeting—and making a positive impression on—casting directors and other industry players in person is crucial. This means doing workshops, or finding other ways to develop these relationships.

Finally, you need to be easy to contact, and return any phone calls or emails from your agent within half an hour. This business moves extraordinarily fast, and it is embarrassing for an agent to have to tell casting that they can’t get a hold of their client. It’s 2010. Get a smart phone. Stay in contact. “We’re like your mother,” Marsha said. “The kind of mother who needs to know everything. We need to know where you are and when you’re going out of town.”

Getting an Agent’s Attention

Hervey/Grimes opens all pictures, many of which come through casting directors and current clients. More than anything, Marsha is looking at each actor as an entire package. She pays special attention to training and the credits on the resume, noting that the older you are the more an agent is likely going to expect on a resume. If you don’t have larger TV or film credits, Marsha wants to see that you have experience on a set, whether that’s doing short films, student films, or the like. Echoing Tracy Curtis, Marsha also noted that ethnicity is in. If you’re gorgeous and ethnic you have a very good chance of getting lots of agent meetings. But at the end of the day, like most agents, Marsha is always looking for the best actor. However, remember that agents don’t want to have their own clients competing against each other. If an agent decides not to sign you or call you in, they might think you’re great but already have someone like you on their roster. Don’t take it personally. Follow up in a few months.

The Interview

If you are fortunate enough to get an interview in Marsha’s office, you will perform a cold read, no matter how good your credits are. The audition is what gets you the job, so she needs to know how well you can do in the room. Yet again, Marsha reiterated how important it is to have a good attitude and be likeable: “Maybe it’s because I’m a mom, but I can spot a bullshit artist very quickly.” You don’t need to be a sycophant, just be the kind of person people want to have over for dinner. This may very well be the one thing that gets you an agent…and the job.

On Booking the Role

Marsha noted how difficult it can be to actually book a role, but also said that she expects her clients to get call backs. There is so much outside of your control in terms of actually getting the job, but if you’re consistently getting called back you’re 90% of the way there. These days even name actors are reading for co-star and guest-star spots, but Marsha had some phenomenal advice when you find yourself sitting across from your favorite star. Rather than freaking out, let the star be unhappy that they are there with you. If you have an audition, you have just as much chance to get the job. Commit to the choices you made, then go into the room and be an affable person. Confidence is everything.

Final Thoughts

If you haven’t noticed from the other interviews, there seems to be a trend here: passion, hard work, and a positive attitude are absolutely crucial. The people who already have success in this industry demonstrate these qualities, and that’s what they’re looking for in you.

Ben Whitehair is the Los Angeles contingent of this blog. Find out more information and view his materials on his website, or read the rest of his blog posts.

Tracy Curtis has extensive experience in the industry, from acting to editing, to being a commercial agent in San Francisco. Her father was an Emmy-award winning producer/director, and she recently opened the theatrical agency Talent House LA which is doing extremely well. Oh, and she has 2 dogs and enjoys the outdoors.

On Talent

Tracy prides herself on having an eye for talent, but what is talent exactly? Talented people have “charisma,” she said. They are very comfortable with themselves. It comes down to knowing in your heart that acting is your calling. Any doubt you have is very transparent.

How to Attract an Agent

Your Reel: In attracting agents, “the reel is everything,” Tracy said. The goal of (most) any actor in Los Angeles is to get cast in moving pictures, so what better way to demonstrate your value in that arena than a reel? A stellar reel also gives an agent a tremendous tool with which to sell you. But don’t freak out thinking you need 27 minutes of material. Even one 30-second clip (that is good!) is enough to get started. Just know that you should constantly be updating your reel as you get new material.

Tracy also mentioned that she can often tell within 5 seconds of watching a reel whether or not she would be able to help that actor get a job. While at first this might sound like an insanely short amount of time to make a judgment, I challenge you to start watching actor reels and see how quickly you “get” the emotional value of a scene. You might find that 5 seconds is an eternity. J

Relationships: Cliché or not, this is a relationship business. Relationships are absolutely vital, and you need to be aware that they take time to build (which is a primary reason why it takes time to accrue success in this industry). Demonstrating to an agent that you have, and will continue to form solid industry relationships is priceless. Want to blow an agent away? Show up at your meeting with a detailed list of all the casting directors, producers, and other industry professionals you know.

And as an actor, don’t be afraid to ask a potential agent how they develop relationships. The main reason an agent will be able to get you an audition, is because they have a solid relationship with a specific casting director (or are able to leverage a relationship you have). Tracy, for example, takes general meetings herself. Knowing that she is a newer agent in town, she put together a book of her clients which she takes around town as a networking tool. Find out how your representation is developing relationships and how you can both work together to leverage those.

Being Proactive: I don’t have to tell you how competitive this business is, but what does that mean for you? Well, it means that you need to be working harder than the next guy. And I assure you that the next guy is working pretty effing hard. Agents and managers want to see that you will continue to work your ass off in furthering your own career, even with representation. It’s not enough to just get an agent then sit by your phone and wait for a call (which sounds really boring, anyway). Demonstrate that you’re out there meeting people, taking class, producing your own material, doing whatever it takes to keep your career moving forward. Give your agent ammunition to shoot you auditions! Okay, that was the worst analogy I’ve ever made, but you get the point.

What She’s Looking For

As I’ve mentioned before, it’s extremely important to research and understand the individuals you’re targeting (be they casting directors, agents, whomever). Tracy runs a very boutique agency, and perhaps more than other agencies is interested in comedic actors. She views the ability to be funny as a gift not to be taken lightly. Even dramas often require a sense of comedic timing (think Dexter), and more and more improvisation skills are an audition requirement. Furthermore, Tracy commented on the increasing number of ½ hour sitcoms that came out this year, noting that this is likely a trend that will continue over the next couple years.

In addition, like many of the agents I’ve heard from, Tracy is looking for emerging talent and culturally diverse actors. Agents are often interested in actors who have a good acting background—Second City Chicago, extensive theatre experience, and the like—who are also still young enough to be molded. There also seems to be an increasing demand for more ethnically diverse casts on TV.

As with most agents, Tracy also wants actors to at least be eligible for SAG. (For more information on SAG and how to join check out this post.)

The Meeting

Most agents and managers have their own unique way of conducting a meeting with an actor. Tracy requires 2 scenes from a current TV show or feature film (preferably 1 comedy and 1 drama), which you will read with her assistant. Beyond that, she might require a couple cold reads, and if she’s still not sure about you she’ll call your acting teacher (you are taking classes, right?). Which, by the way, is another reason not to lie on your resume. Talk about an awkward phone call…

Whatever a specific agent requires, I’ve found it wise to always have a comedic and dramatic scene that I have rehearsed and memorized ready to go at any given time. While monologues are a lot less required in Los Angeles, I think it also prudent to have a comedic and dramatic monologue in your back pocket at all times. (And no, I don’t mean literally have them in your back pocket, I mean have them memorized and polished silly.)

On Managers

The opinions on managers in this town varies greatly, but Tracy’s basic point was that the more people you can get on your team, the better. Obviously you want these people to be good and work with you to further your career, but so long as that’s the case the more the merrier!

(Side note: managers generally charge 10 – 15%. Agents by law can only charge 10%.)

Actor Websites and IMDb

Tracy noted that an actor’s website can certainly be helpful, especially if there is information that she could point a casting director to in order to help sell you. However, she said that IMDb is the most important resource for actors to have updated, as a casting director will immediately pull up your profile when getting pitched.

Check out my posts on the basics of IMDb, how to get listed, how to manage your profile, and your Bacon Number.

Final Thoughts

As with so many others, Tracy demonstrated the importance of loving what you do. The passion and enthusiasm that comes with that is utterly infectious. Tracy is clearly head over heels in love with what she’s doing. Are you?

Ben Whitehair is the Los Angeles contingent of this blog. Find out more information and view his materials on his website, or read the rest of his blog posts.

An Actor’s Job is to Audition

The importance of auditioning cannot be understated. Lauren talked about how auditioning is a whole different beast than “acting,” and that you have to become excellent at it. Yeah it can totally suck, but whether you like it or not if you don’t audition well, you’ll never get the chance to be on a set.

With that in mind, Lauren proffered a number of audition technique tips:

• People skills are vital
  • Actors can’t come across as desperate. This comes in large part by just being comfortable in your own skin (a recurring theme for the evening).
• Have fun!
  • Acting is supposed to be “freeing, liberating, and playful,” Lauren reminded everyone. Practice auditioning and you will get better at it. Learn to have fun with it.
• Get over your validation complex
  • Oftentimes us actors want to be validated at every step. Stop it. You will not get validation in an audition room. Seek validation elsewhere. Like in a lover…or from a puppy. Puppies are awesome at that.
• Walk in. Do your job. Get out.
  • I think this should be the mantra of all actors for their auditions. All you need to do is walk into an audition with a great energy, perform a short scene, and get the hell out. We don’t need to make it more complicated than that.

Theatre

Lauren is a big fan of theatre, and believes that it lives at the core of all acting. She believes that everyone should have the experience of being in a show. The process of building a character, working with one person with a singular vision, and the camaraderie are but a few of the aspects that make it completely worthwhile.

Lauren also brought up a point that I think many actors in L.A. miss. Do theatre for theatre. That is, don’t do it because you’re convinced that Steven Spielberg or some random agent is going to see your show and make you the next star.  Do the show for the reasons above, to hone your craft, and become a better actor.

Do Your Research

As you will hear from many CDs, actors need to do their research. Specifically, you should know the tone of any television show you’re auditioning for. Lauren talked about how TV deals with archetypes, which the actor has to fit perfectly. Beyond that, there is a certain polish and attitude to each network, show, and genre. There is more leeway in film (and even more so in theatre), which can be cast on more of a “vibe.”

Additionally, it’s good to get to know casting directors as best you can. For example, Lauren has far less of an online presence than say Bonnie Gillespie, Jeremy Gordon, or Marci Liroff, but she is very good about attending showcases all over town. She loves meeting lots of new actors and the opportunity to teach. (Note: I had the opportunity to attend one of her showcases and she had great tips and advice for actors.)

Have a Life

Similar to a theme that Jonathan Prince talked a lot about, Lauren discussed how booking the job can’t be your end game. It can’t be the most important thing during your day. You need to have something else that’s driving you; that you’re passionate about. With those things come a certain comfort in your own skin which will greatly improve your auditions.

Casting Directors Want to Love You

“I love actors,” Lauren repeatedly said. I don’t think I’ve met a casting director who doesn’t like actors. Why else would they spend their entire week being around them? Lauren noted that “we [casting directors] want and need you to do well.” In order to do that, actors need to be professional, and treat an audition similar to a first date. Be on your best behavior, don’t whine, be excited without being desperate, and be interested in the other person.

Lauren had a great tip for actors to conquer the audition: set goals for yourself (note: the goal can NOT be to book the job…too many things are out of your control). For example, you could have the goal to nail the accent, or not be nervous when you walk in. With this mindset you will increase the “success” of your auditions.

Ben Whitehair is the Los Angeles contingent of this blog. Find out more information and view his materials on his website, or read the rest of his blog posts.

Fortunately, Jonathan talked about a lot, but I have tried (not very successfully) to boil it down to the most important advice he proffered.

Be a good person. #1 take-away here. Jonathan more than demonstrated this. From the way he so respectfully talked about his ex-wife to the clear love he has for his son to his dedication to being a father to taking a significant amount of extra time to answer our questions, Jonathan exuded a remarkable sense of humility, care and respect for others, and desire to help. I guarantee you these qualities have as much to do with his success as anything.

Love what you do. Jonathan clearly loves what he does. This business is too hard and too cutthroat to be having a bad time. Be passionate. Love your life. It’s contagious.

Be excellent. Ask yourself seriously, do you strive for excellence? You should. Surround yourself with excellence. Look for it, you’ll know it when you see it. Emulate that. Bring excellence into your life. Yearn for it. If you do this you will die at peace with yourself.

Be likable (combine those first three). Do you know anyone who is a good person, loving what they’re doing, while striving for excellence who isn’t likable. If so, I’d like to meet them because I’m super curious. Remember, people are just people. They hire those who they want to be around. As Jonathan put it:

“Be the kind of person who people want to chill with around the craft services table.”

Whether it’s at the audition or on set, being someone others enjoy spending time with is tremendously important, and will be a deciding factor in your getting more work. Jobs beget jobs…if people like being around you.

Be patient. Be tenacious. Jonathan boiled my post from the other week down to 4 words (though he didn’t mention marshmallows): Be patient. Be Tenacious. As I’ve mentioned here before, it takes a long time to make it in this business, so you must remain patient. People who expect fame and fortune in a matter of months or even a couple years are setting themselves up for failure. It could take twenty years. You have to be ok with that.

However, if you are too patient you risk becoming complacent. Tenacity is the best counter to this. You must be vigilant about your career. Don’t take no for an answer. Work harder than the next guy. Kill it. And while you’re doing that…

Be Audacious. Ask for what you want. What’s the worst that could happen? Be respectful and gracious when doing so, but gifts are given to those who ask. Call that director you admire so much and invite them to coffee. Send a letter to the actor you’ve always wanted to work with. Write and perform your own show. Whatever!

The added benefit to being audacious is that it demands a certain confidence. Even if you are not feeling fully confident, when you do audacious things you appear—and more importantly become—confident. In this business confidence is everything. And while you’re being audacious…

Find the people. There are 8 doors (read: people who are key to your success) open to you now. 3 you can name off the top of your head. 2 you will think of in the next couple days. And 3 you have access to (think facebook, twitter, whatever) but need to figure out.

Hunt these people down. Make the ask. Be as polite and tactful as possible, but be willing to cross boundaries. People are just people.

What are you doing when you’re not acting? This is an incredibly important question. Jonathan talked about this a lot, and for good reason. You have to find something outside of the business. You must find a way to be creative. If you do not you will wreak of desperation. You will note be confident.

What feeds your soul? Seriously, think about it. Now imagine walking into an audition having just done that thing/talked to that person/whatever. How confident and alive are you compared if you just came from the dry cleaners? Now go find those things. Put them in your life. Invigorate yourself.

Have a point of view. Be articulate. People want to be around interesting people. What makes you interesting? A point of view. A take on the world. A unique lens of viewing things. How do you get this? Live. Read. Talk to people. Give a shit. My Dad says that “a take” is the key to comedy. I think it’s also the key to being someone people remember.

Realize that you are solving their problem. Not feeling confident? Remember that the casting directors have a problem. The don’t know who is going to play Suzy Q Waitress. YOU ARE THEIR SOLUTION! You are doing them a favor. Be polite and gracious, but remember that you are a solution to someone else’s problem. Not a menace. Not a hassle. Not an annoyance. A solution.

Have people in your life who “get it.” I have previously quoted this from The Simpsons “showbusiness is a hideous bitch goddess.” You need people in your life who understand this. Who really get you and what you do. Moreover, if your significant other doesn’t understand, you’re in trouble.

“You don’t get bonus points for the struggle.” This is such an eloquent phrase I’m not sure I need expand more. It takes time to build an empire, and you have to be willing to struggle (particularly in terms of money). It’s like a poker game: how long can you stay at the table, especially when you get dealt crappy hands? Remember, though, you could get hit by a bus tomorrow. No amount of misery is worth it. Which is why you must (vigilantly!):

Have fun! If you aren’t enjoying what you’re doing, it’s impossible to be successful. Life is too short to be miserable. Sure, we all have bad days (and if you find yourself down in the dumps Jonathan recommends Letters to a Young Poet by Rainer Rilke, which he said will change your life) but the vast majority of your time you should be having fun. Jonathan also said that the best piece of advice he ever received is to remember that even if (when!) you’re the star of a TV show, “you’re only 7 1/2 minutes in between orange juice commercials.”

Artists are blessed with the opportunity to find and create transcendent “moments of grace.” You know what I’m talking about, those moments every so often when a performance is perfect…even for an instant. When an audience is brought to tears. A fellow performer is awestruck. I call these moments “ephemeral nirvana.” Seek them with a vengeance…and bask in their glory when they happen. Actors alone get to partake in these events. Directors don’t. Writer’s don’t. Casting directors don’t. They can only watch us as they happen. Remember that. You are blessed. These moments are what it’s all about.

Don’t take life—or this business—too seriously. Be gentle with yourself. Enjoy the ride.

Audition Tips

Beyond the advice and wisdom on the business on a grander scale, Jonathan gave some auditions tips. Remember, he is the person who gets to say yes. He’s been in “the room” a bazillion times (actual number). His advice is golden.

Be excellent. Be memorable. If you accomplish these two things, you win. They (CDs, producers, whomever) will love you. This is HUGE. Use the 30 seconds at the beginning or end of your audition to make a connection and be memorable. Give them a reason to want to hang out with you at the craft services table.

Props. Be interesting. Have a character. Give that character behavior. Perhaps use props (nothing crazy there Hondo, but maybe glasses, a water bottle, a cell phone, even a pack of cigarettes…normal stuff people always have with them) to give your character…well, character. Maybe they’re texting someone right before the dialogue starts. Maybe they clean their classes when they’re nervous. Whatever. (Just don’t light the cigarette.)

It’s a date. Auditioning is just like dating. Your first audition is your first date. Be your first date self. Remember, you want them to desperately desire a second date. Be charming. Don’t be crazy. When you walk out of the room if they think “Hey, she’s a real person, she’s cool” you win.

Be appropriate. Remember, it’s a date. Use your noggin’. Don’t talk about your bunions or awkward bowel movements.

Be sincere. Ask “how are you?” and mean it. It’s a date doofus. Have good manners. Oh, and be nice to the reader. They can make or break your audition.

Get the molecules moving. Move around. They’re tired of sitting in a cramped room. They’re hungry and thinking about the delicious tacos they’re going to have for lunch. They’re bored. Imagine watching 3 minutes of your favorite TV show…47 times. It gets old.

Stand up. Walk around. Bring energy. Get the molecules moving.

Ben Whitehair is the Los Angeles contingent of this blog. Find out more information and view his materials on his website, or read the rest of his blog posts.

This was an email I received that pretty much sums up how to make it out here. It was authored by Marc Zicree. Enjoy.

“Actors and writers and producers and directors – especially beginning
ones – are often running around crazily to networking events big and
small, attending Pitchfests and Industry Expos, feverishly sending out
postcards and headshots, reading endless books on the Industry – many
of which lay down so many self-contradictory theories and rules that
they’re only left more lost and confused than when they started.

Making it in Hollywood is simple, which isn’t to say it’s easy.  But
based on several decades in the business (and counting), it boils down
to this:

1. Get clear on what you want to accomplish.  Aim as high as you
possibly can.  You don’t have to start at the bottom.  You can start
at the top, if your work justifies you belong there.

2. Create something that shows the finest quality of what you can do.
It doesn’t have to be long, just good – one or two minutes is fine;
most shorts and reels fail because the acting, writing and/or
directing is poor – affliliate with those who have the skills you
need.  Aim high.  Utilize low-cost HD cameras, Macs with Final Cut Pro
and the Internet.  You never know who’s watching You Tube.

3. Get next to the person with the power to say yes, when he has an
opening for what you’ve got (do your homework to determine who that
is; read the trades and the Hollywood Creative Directory).  Most
executives are lower level and only have the power to say no.  Target
the people you want to work with and find out where they’re speaking,
use mutual contacts (via family, friends, the web), do whatever it
takes to get next to them.  Meeting them in person is better than the
phone, the phone is better than email, email is better than letters.

4. Say something about yourself (your life or accomplishments) that
interests them enough to check out your work.  Be authentic; if you
like their work say something specific about what you like but don’t
gush.  Speak from your vision and your heart.

5. Be mentored by someone who has succeeded specifically in what
you’re trying to do; otherwise you’re flying blind (it’s telling that
right now J.J. Abrams is being mentored by Spielberg).  Ideally, it’s
more than one person.  To get those mentors, make a long list of who’s
doing the work you admire and read up on them, on their tastes and
enthusiasms, look for commonality between them and yourself (something
specific; where you came from, hobbies, personal background).  Go
where they’re speaking; interview them for a magazine or a website;
hire them — do whatever it takes to get that specific blow by blow
advice.  Ideally, they should be someone still in the game, because
the specifics of the game change quickly (although some key basics
remain the same.  In my own career, I make sure I have one or more
mentors for each project I take on.  Over the course of my career, in
ways big and small I’ve been mentored by Rod Serling, Theodore
Sturgeon, Richard Matheson, George Clayton Johnson, Harlan Ellison,
Ray Bradbury, J.J. Abrams, Guillermo del Toro, directors and writers
from LOST, HEROES, BATTLESTAR GALACTICA, FARSCAPE, STAR TREK – THE NEXT GENERATION, many others.

6. Don’t stop; remember to take constructive criticism, make course
corrections as need be (but disregard toxic or negative input, and
people).  Nicholas Meyer, director of WRATH OF KHAN recently said to
me that what makes for a successful career is “charm and persistence.”
I wholeheartedly agree.

7. Surround yourself with loving creative people who will allow you your dream.

8. Repeat as needed.

Feel free this pass this along, as I think it will be of use to anyone
trying to make a dent in the Hollywood edifice.  If they haven’t heard
of me, you can mention I’ve written and produced hundreds of hours of
network TV, had bestsellers in fiction and non-fiction, been nominated
for the Humanitas, Hugo, Nebula, American Book Award, etc. (so maybe I
have something of a clue as to how things work…).

Whatever your path, I want to wish you the best of luck and encourage
you to not wait but just go for it.  It’s true that luck favors the
bold and, trust me, it’s a singular joy when something that comes from
your mind and heart reaches out to millions of people and stands the
test of time.”

All good thoughts your way,
Marc Zicree

Ben Whitehair is the Los Angeles contingent of this blog. Find out more information and view his materials on his website, or read the rest of his blog posts.