The Business of Acting

Build your brand this pilot season in positive ways that last all year -- and beyond

2012-01-27T07:12:00.000-08:00

Starting with this week's issue, I will be writing on a regular basis for Back Stage.

My first column, just out, is about pilot season strategy for actors. In it, I offer up an easy to follow, five-step plan to guide you through pilot season 2012 in a way that can help you make your mark and build your brand.

I hope you will check it out -- and pass it on.

I am thrilled to be asked to join the Back Stage team!

"Do you SAG take AFTRA to love, honor and cherish ... ?"

2012-01-17T11:06:00.000-08:00

Although they haven’t yet registered at Target, SAG and AFTRA are now closer to a walk down the matrimonial aisle than ever before. While we all consider what we might wear to the wedding, let’s consider what this pairing can mean.

It certainly wasn’t love at first site. This union has been attempted before with an ugly outcome. Now, a little older, perhaps a little wiser, both unions have been happily dating again in an attempt to finally merge its energy and its benefits, in the hopes that together they can birth a stronger, more viable union that can serve all of the needs of all of its members in this new landscape that is the new business of acting.

I think this is a great move for both unions and for all of it members. The story in today’s Los Angeles Times provides an important and articulate overview of the history of this journey. The time has come for all “performing artists” to reap the rewards of being represented by one entity that is designed to act in their best interests.

The opposition to this merger has been rooted in the question, “How can a union that represents actors also serve the best interests of newscasters and weathermen?” The simple answer is that there is no reason that it cannot.

A merged union can operate with departments dedicated to serving specific segments of its membership. A merged union can also have strength in numbers when it comes time for contract negotiations at all levels.

The bigger issue will be how will a new, single union impact those performing artists who are not currently members of either union when it comes time for them to join? Will it mean higher initiation fees? Will it mean increased dues? Will it still require three vouchers for a non-union actor to gain the opportunity to join? Will it take away the current AFTRA policy on joining requiring only an application and a check from a prospective member? What will happen to the current SAG-E status? How will the Taft-Hartley provision be impacted by this?

Clearly there are numerous questions that need to be addressed – and I trust that they will. Now that the joint committee has created an agreement for a merger that both sides of the merger team are happy with, it’s time for that document to be presented to and voted on by the boards of both unions. The next step will then be yours (if you are current a member of either or both unions).

Before you vote “yes” or” no,” perform due diligence. Read the merger document; read the fine print and consider the bigger picture of what a merger means, not just for you and your career personally, but for the business of acting as a whole.

Having not yet seen the merger agreement, and as a union member myself, I can say that on the surface, at initial contemplation, this move seems like a win-win for all parties involved.

What are your thoughts?

There's no business like show business ...

2011-11-06T17:07:00.000-08:00

It's the day after the big event and a big bravo and congratulations to the Back Stage and Actorfest 2011 team that pulled off the best Actorfest event ever held.

Thanks to Dany Marguiles for including me in her "Acting 101" panel (with casting director Heidi Levitt, agent Ross Grossman and acting coach Judy Kerr), thanks to all of the actors who came by our booth to chat and thanks to Olivia Mackenzie-Smith and Eric Rollins (pictured) for being an amazing Business of Acting team at booth 175!

Indeed, there is no business like show business. :)

Set your sights and your career goals on Actorfest 2011 this Saturday!

2011-11-03T10:11:00.000-07:00

It's only 2 days to Actorfest 2011!

Get proactive and become connected this Saturday, 11/05, at Back Stage's Actorfest 2011 at the California Market Center.

It's all about you and the career you seek.

See you there!

Actorfest 2011 is designed to turn on your actor proactivity!

2011-10-20T12:42:00.000-07:00

I am thrilled to have been asked to participate in this year's Actorfest, sponsored by Backstage on Saturday, November 5, at the California Market Center, in downtown Los Angeles.

It will be a day filled with industry events and loaded with opportunities to meet and greet and to be met and greeted. The exhibition hall is free for everyone to explore. Special panels, workshops and casting opportunities offered throughout the day will provide an extraordinary opportunity for actors and other industry professionals (agents, managers, casting directors, coaches, teachers and service providers) to connect in ways that can empower you on your career journey -- or help you jump start a journey that seems to have stalled and sputtered a bit.

I will be joining a small group of colleagues for a panel titled "Acting 101," at 12noon. Hosted by Backstage managing editor Dany Margoiles, this will be a great opportunity to refresh the page on the strategy of your career and learn how to move forward building the resume you will need to get to that next step.

There is a full workshop schedule available on the event website, as well as all off the information you need to sign up, get prepared and hit the Actorfest 2011 ground running on November 5.

I hope to meet you there!

BL

An open-and-shut case of business of acting greed?

2011-08-17T09:43:00.000-07:00

I received an e-mail today from an actor in Philadelphia who wrote to ask a question about the value of access and information. Casting directors was the subject -- and the question so irked me that I want to share it – and my response.

Chapter 10 in The New Business of Acting teaches actors how to create their personal action plan, an essential tool and map for the launch and growth of any career in this business. One of the key strategies I write about in the chapter is to include a plan for seeking out and meeting with casting directors for informational interviews. In the old days, in the off-season, most casting directors would set aside time to meet with actors whom they didn’t get a chance to meet during the production season.

These “general” interviews were not role-specific, but rather an opportunity for the casting director to broaden her base and knowledge of available talent. It was a great way for actors and casting directors to connect without the pressure and stress of having to cast a role.

As the landscape has changed, relatively few casting directors do this any more. I know a few who still do, but they are a rare and fading breed.

Nonetheless, it remains important for actors to be proactive with their outreach and attempt to meet with as many industry professionals as they can on a regular basis.

This brings me to this morning’s e-mail.

A Philadelphia-based actor who has been reading and absorbing the advise in the book (smart actor!) began implementing her action plan with a contact to a local casting director she was hoping to meet with for an informational interview. The casting director, as it turns out, was very interested in and happy to meet with her – for a fee!

The actor was told that for a fee of $100 the casting director would make herself available for a one-on-one informational interview. A bit stunned, the actor’s next step was to write me ask my opinion. In the same e-mail, the actor asked about the value of “open calls,” perhaps, in some way, a bit related.

I responded:

“One-hundred dollars to have an informational interview?” I have never heard of this. Ever. Find someone else to connect with.

By ‘open calls’ for casting directors, are you referring to an open call for a specific project the casting director is seeking actors for — or do you mean a ‘general’ one-on-one meeting with a casting director, giving both the casting director and the actor an opportunity to meet “in general” and not for a specific project?

Either way, the answer is that it depends. It depends on the project and it depends on the casting director. Some actors will say that any opportunity to get ‘face time’ with a casting director is worth anything. I disagree. When I went undercover as an actor while writing the book, I also went to a couple of open calls. I thought the process was very disrespectful of the actors who showed up seeking a break or an opportunity. I think it’s important to weigh every aspect of the situation and then make a decision, without becoming invested in the outcome.

With regard to a ‘general’ with a legitimate, professional casting director, it can often be a very valuable ‘get’ for an actor to land one of these appointments, as it can be valuable for the casting director to get to know an actor she might not otherwise have had exposure to. But never, ever pay for the opportunity, unless the casting director is also willing to pay you for your time, as well. Seems a fair deal to me.”

Case closed, from my perspective.

Your thoughts? What would you do?

It takes a village ...

2011-07-29T08:46:00.000-07:00

I am looking forward to tonight's panel on Team Work to kick off the SAG Conservatory 2011 Summer Intensive, at AFI, in Hollywood. I am thrilled to have been asked to talk about how this all works in the new business of acting, from my manager's perspective.

I am also looking forward to picking up some helpful pointers from the perspective of the SAG actors who will be attending.

Indeed, it takes a village ... or, in this case, a strong, proactive and strategic team.

BL

Actor as Manager? Not a smart role to play.

2011-05-05T16:29:00.000-07:00

When should actors team up to "manage" each other? Never!

My thanks to Jackie Apodaca for including me in her column in this week's Back Stage in answer to an inquiry she received from an actor on the question of whether actor friends acting as manager for each other was a good idea.

The New Business of Acting addresses this issue throughout the book -- and Jackie has nicely condensed this perspective into her response.

In short, it's not (just) about the submissions you make; it's (also) about the relationships you build and the choices you make, not just in the beginning, but throughout your career journey.

One of the mistakes many actors make is in believing that they are just one submission away from a career. This could not be further from the truth. It's about process, it's about commitment, it's about passion -- and it's about earning the opportunities you seek. Making business-smart decisions along the way is priority one.

Jackie's column is well worth the read.

BL

"Do you SAG take AFTRA to love, honor and cherish ... ?"

2011-05-02T08:44:00.000-07:00

Chapter 7 in The New Business of Acting discusses the current state of AFTRA and SAG which has steadily moved forward together to shore up both the ability and the opportunity to jointly represent actors and broadcasters in this new landscape.

More good news from the union front was released on Friday and, as reported in the Los Angeles Times, spells out the very real possibility that both entities will soon merge to do the job better together than they can do apart or against each other.

Bravo to the leadership of both unions with this move and the public announcement of what appears to be an engagement; wedding date to be announced.

For those SAG actors who have voiced opposition and concern about the ability of a merged union to represent both actors and broadcasters under one banner, I say relax. This can easily be accomplished by establishing divisions within a new union with each division dedicated and devoted to representing the members who fall within those divisions. Don't forget, many actors/broadcasters are also members of both unions.

The biggest hurdle to be tackled is to figure out how a new, single union will approach membership matters. Currently, with SAG membership earned and AFTRA membership paid for, a system for how to fairly deal with the requirements of union membership should be top priority in the strategic plan to move forward.

Perhaps a variable membership plan is in order, whereby the division to which a new union member would belong would dictate the requirements of initiation and membership.

Let's hope the devil isn't in the details. All in all, this a great move.

Your thoughts?

BL

Emerson College's Hollywood Report Editor Caldwell Covers "The Business of Acting Live"

2011-04-27T19:13:00.000-07:00

Much appreciation to Larry Caldwell, Editor of Emerson College L.A. Center's The Hollywood Report, for his coverage on our recent New Business of Acting seminar at AFTRA headquarters, in Los Angeles, in his article "The Business of Acting Live" in the new Spring 2011 issue.

Please check it out.

Thank you, Larry!

BL

An important win for Breakdown Services and the legitimate business of acting ...

2011-04-20T13:34:00.000-07:00

Selling Breakdowns is illegal, yet some actors and others claiming to represent actors do it with regularity nonetheless. Chapter 6 in The New Business of Acting (“Self-Submitting: The Art of Selectivity in Pursuing Career Opportunities”) addresses this issue.

It is a no-win situation for both the actor who has paid hard-earned money for illegal access and for the shyster who has ignored both history and law and gone ahead and ripped off actors anyway.

Witness the most recent example: The case of Brian Burke.

If an actor wants an edge in the (new) business of acting, go out and earn it. There are no shortcuts. To the agent, manager or other industry-connected person who thinks it’s okay to make a profit by taking advantage of (usually) vulnerable actors, you harm the general reputations of all of us who work hard to do the right thing every day.

Case closed.

Back Stage article serves up important advice for those about to graduate ...

2011-04-09T11:30:00.000-07:00

I am so happy to be included among the "experts" quoted in the terrific article in the new edition of Back Stage titled "Things They Don't Teach You in Acting School." For young actors about to make the transition from college to the real world, I think it's important reading.

As I see it, the greatest challenge for all of you, including the seniors currently in my Emerson College Business of Acting class who are soon to graduate, is to turn your degree and your training into marketable materials that can actually help get you a paying job -- and launch your career. I hope you will find some of my suggestions and advice in the BS article to be helpful.

I'm also happy to answer any questions on the topic that you might have.

Thanks and much appreciation to BS's Jessica Gardner for asking for my input.

TheBusinessOfActing.com debuts a new, redesigned and improved website ...

2011-03-17T11:53:00.000-07:00

Happy to announce that we have just launched our brand new Business of Acting website!

It's in support of the new book, or course, and the Resources page is packed with access to great information and free downloads (like resume, bio and head shot samples).

One of the most interesting links is the one to the California Department of Industrial Relations where you can read about challenges to the Talent Agencies Act by actors seeking to get out of paying management commissions. Chapter 4 in The New Business of Acting goes into this in great detail, but the opportunity to peek into the actual cases that are impacting the new landscape is quite eye opening.

Thanks to Trang Caos for her fabulous work on this complete redesign, also for the new landscape.

BL

Kennedy Center American College Theatre Festival workshop teaches actors how to approach the new business of acting after graduation ...

2011-02-09T12:58:00.001-08:00

Thanks to all of the people who attended my New Business of Acting workshop last night at the Kennedy Center American College Theatre Festival. Nice meeting all of you!

The transition from student of the performing arts to becoming a professional, working actor was the primary focus of our session. It can be rocky road at the beginning of this journey, unless you have clear, empowered perspective and a smart, strategic and realistic action plan in place.

Chapter 10 in The New Business of Acting: How to Build a Career in a Changing Landscape teaches you how to do it. For a sneak peek and a condensed overview, take a look at my recent Back Stage article on the topic.

In short, as I told the group of terrific, young actors last night:

Don't rush to find and secure representation (by an agent or manager).
Don't rush to join any of the unions (work to build your resume however you can first).
Start taking professional level classes and workshops taught by professionals.
Have a head shot session only when you can afford to do it right.

There was a wide range of questions that came up during our session. I will be addressing a lot these topics here in the weeks to come.

In the meantime, if you have a New Business of Acting-related question, post it or e-mail me directly at blemack@TheBusinessOfActing.com

BL

LOGO stand-up debut for Kelly Mantle this Monday night ...

2011-01-15T12:44:00.000-08:00

Congratulations to my amazing client Kelly Mantle on his hilarious, knock-it-out-of-the-ballpark performance* in LOGO's "Dragtastic" standup comedy special airing this Monday night, 1/17/11, at 10:00ET/9:00CT.

Don't miss it!

Here is a link to a sneak peak:

BL

*The phrase is deliberate. His uncle was the baseball great Mickey Mantle.

More than just "Monkee" business ...

2011-01-03T10:04:00.000-08:00

Looking back, 1966 was a very good year for American pop culture. “Star Trek” began boldly going where no other television series had gone before. Adam West was a hit as TV’s “Batman” and one of Billboard’s number one songs of the year* came from a group that until September 12, 1966, no one had ever heard of.

Enter “The Monkees.” Davy Jones, Peter Tork, Michael Nesmith and Micky Dolenz found fame, notoriety and a place in both television and music history as a group of actors cast to play a group of musicians, who went on to find real-life fame as the musicians they portrayed.

Micky Dolenz who had amassed many acting credits before landing “The Monkees” talks about the formation of the group, the success that followed and his perspective on success in the business of acting in our 1994 interview, just added to the collection at RerunIt.com.

I was huge fan and the opportunity to talk “Monkees” was beyond cool.

I’m happy to be able to share this with you.

* “I’m a Believer”

Morey Amsterdam ... From "The Dick Van Dyke Show" to JFK

2010-12-29T09:46:00.000-08:00

Throughout the 1980’s, I used to see actor/comic Morey Amsterdam frequently at the Hamburger Hamlet, a local “industry” restaurant on Sunset Boulevard, on the West Hollywood/Beverly Hills line. It is still there today, still serving up the burgers that made the once thriving chain (now whittled down to just a few locations) so popular. My office was across the street from the Sunset location at that time. I was there a lot. When friends and family would come into town for a visit, the Sunset Boulevard Hamburger Hamlet was a sure bet for a celebrity spotting – and not just a “spotting,” but an actual, real-life “encounter.”

These weren’t necessarily the level of “A” list celebrities we think of today (Cruise, Hanks, Bullock, Witherspoon), but older, iconic celebrities who had long ago paid their dues, earned their fame and continued to have loyal fans thanks to series and syndicated television. They were celebrities who became famous in a simpler era. Fans weren’t so much star crazy as they were respectful; paparazzi (or celebrity photographers) weren’t so much bounty head hunters as they were kinder (many even fans themselves).

What does this have to do with the addition of our interview segment with Morey this week on RerunIt.com? Everything.

Morey always seemed as eager and happy to meet with and chat with fans as he was to dine with friends and colleagues. It was great to observe – and it was even greater to talk with him about his life and career when we met over coffee for our Beverly Hills-based chat show on June 1,1992.

It was “The Dick Van Dyke Show” that brought him massive fame from television in 1961, but Morey had had a prolific and sustaining career since before the days of live television, including his own show. The popularity that found him in 1961 continued long after the “Van Dyke” show ended its original network run in 1966. The show has remained a fan favorite in worldwide syndication and U.S. cable networks for decades keeping both the characters and the actors who portrayed them forever etched in American pop culture.

Dick Van Dyke’s “Rob,” Mary Tyler Moore’s “Laura,” Rose Marie’s “Sally,” Richard Deacon’s “Mel” and Morey’s “Buddy” were key among the plots and twists that earned “The Dick Van Dyke Show” a rightful place in television history.

But there was a serious side of Morey Amsterdam, as well. He talks about meeting the soon-to-be presidential candidate John F. Kennedy in the early 1960’s and the relationship that followed in our 1992 interview. Clips from that interview in a package we call “From Van Dyke to JFK” is now available for viewing on-demand on the RerunIt.com Home page.

Morey died in 1996 at the age of 87 leaving behind a legacy of his own. As much fun as it was to hear the tales, observations and perspectives from a rich life and career, I must admit, his revealing story about JFK was the most remarkable for me then and now.

I’m happy to be able to share it.

Everybody loves ... Doris Roberts

2010-12-20T08:45:00.000-08:00

When I interviewed Doris Roberts in May 1992, “Everybody Loves Raymond” wasn’t yet a factor in either her life of her career. It would be four more years before the role of a lifetime that came to define (or refine) both her life and career would find its way to her.

Up to that point, Doris was the definition of a “working actor.” With a career built on first theatre, then television roles, Doris gained a regular audience of television fans from her role as Mildred Krebs on the series “Remington Steele,” in 1983 (the series ran from 1982 – 1987), starring a pre-James Bond Pierce Brosnan.

As that series was released in syndication around the globe, Doris enjoyed a level of international fame she never knew even from years and years in theatre playing to sold-out houses.

It changed her life. But her life would change again as she earned added fan and industry recognition (and five Emmy Awards for Outstanding Supporting Actress in a Comedy Series) for “Everybody Loves Raymond,” as Ray’s know-it-all mother, Marie Barone.

In 1992, Doris joined me for a chat about her life, her choices, her challenges and her career. The success of “Raymond” that we all know about now, but that was still ahead of her then, gives added meaning to her words and her perspective.

We have just added that interview to our RerunIt.com collection.

“It takes ‘Diff’rent Strokes’ to rule to the world …”

2010-12-13T15:29:00.000-08:00

Just added to the RerunIt.com collection is our 1992 interview with “Diff’rent Strokes” star Gary Coleman. Tragic life, interesting chat and profound perspective on success in the business of acting.

As I wrote when news of Gary’s death was first announced last May, I was so sad, like many of his fans, to ponder how and why his post-”Diff’rent Strokes” life played itself out the way that it did.

I liked Gary, personally. We first got to know each other through our work at Embassy Television, Norman Lear’s TV production company. He, of course, was in the studio rehearsing and taping episodes of the series. I was in a building elsewhere on the lot tending to publicity matters. But when our paths crossed, it was always like hooking up with an old friend — and we had another old friend in common in A. Dudley Johnson, Jr.

Dudley and I were best pals from our days at Emerson College, in Boston. After graduation, Dudley moved to Los Angeles to pursue his dream of writing and producing television — and he got his break “in” pretty quickly when he was hired by Norman Lear’s company (then Tandem/TAT Communications) first as a receptionist for the production office for “All in the Family.” His talent, his passion and his tenacity got him noticed and, before long, he moved on up (although not to “The Jeffersons”) to “Diff’rent Strokes,” where he and his writing partner, Robbie Jayson, were added to the series’ production staff as writers/producers. If you recall the two characters in the show named “Dudley” and “Robbie” (friends of Arnold), you now know the real roots of how those parts were created.

It was Dudley who was responsible for my getting a foot in the door at the Norman Lear empire. A few years later when I joined the Lear team as a publicity executive, it was Dudley who first introduced me to Gary.

What does all of of this have to do with the Gary Coleman interview we just added to the RerunIt collection? Only everything.

Several year later after we had all moved on to work and careers in other arenas, Dudley, who had in college, produced a little television chat show we did at Emerson (and also came on board with my talk show at WBZ, in Boston, adding some professional notches to both our belts) had an idea.

His idea was for us to return to talk television for a limited run chat show set in a coffee shop in Beverly Hills. He would produce, I would host and together we would test the waters of a new series idea. Some 100 episodes later (most broadcast live), we a had an astounding collection of conversations with some of the most iconic pop culture figures in the history of modern television, including our interview with Gary Coleman.

Gary had taken his share of hits from the media over the years, and he wasn’t seeking publicity when we sat down and chatted in 1992. But he knew he would be safe — and he knew that he would be treated as the friend he was.

That’s how this interview happened. It’s a bit of a tale on how it came to be, but sometimes it’s the details that inform the bigger picture.

Years later watching this interview makes me think that I should have cut my hair shorter much sooner and, more importantly, reminds me of how wise Gary was at such a young age.

Although we put segments from this interview up on YouTube immediately after hearing of his death, Gary is now a permanent part of the RerunIt collection and we’re thrilled to be able to share his perspective, his reflections and his passions with you, always available on demand.

With special thanks to Dudley …

Cut her some slack, Jack ...

2010-12-06T12:57:00.001-08:00

Barbara Billingsley took on the role of June Cleaver in 1957 for the pilot of the series Leave it to Beaver. By the time that series ended its run in 1963, she had become an iconic television image that followed her for the rest of her life. Barbara died last October at the age of 94 -- and she never stopped embracing the role and the image that made her famous.

In 1992, I got the opportunity to interview Barbara for our coffee shop chat show. We talked about her life, her career, her "brand" and her unforgettable cameo role in the 1980 film Airplane.

We just added that interview to RerunIt.com today. "Cut Her Some Slack, Jack" is now playing on demand at RerunIt.com.

Enjoy!

BL

"Green Acres" was the place to be on CBS-TV from 1965 - 1971

2010-11-29T10:11:00.001-08:00

I was a big fan of the 1965 – 1971 comedy series Green Acres – and I’m old enough to have watched in when it ran for the first time. Yikes.

Of course it’s been around in reruns for years, but what hasn’t been available until today is my 1992 interview with series star Eddie Albert. He talks about his career, the series, his role and his unforgettable co-star, Eva Gabor. Check out the preview below and watch the complete segment just added and now playing on demand at RerunIt.com.

Reviews and perspective matter in the "new" business of acting ... here is another

2010-11-23T11:45:00.000-08:00

Happy to share another review of "The New Business of Acting."

It is always great to have one's work noticed -- and written about. Especially when the reviews and comments are positive about the book, helpful to potential readers and provide a fresh perspective for me in moving ahead with my own work (and future editions).

Thank you, Jane E. Seymour, for this one.

BL

Lights, Camera, Action!

2010-11-19T15:36:00.000-08:00

Chapter 10 in The New Business of Acting is all about Action Plans ... why you need one, how to create one, how to stay on one and how to achieve success through one. I have written an article about this that appears in the new issue of Backstage, both hard copy and online.

Check it out!

BL

A step in the right direction for both unions and all actors ...

2010-11-09T12:19:00.000-08:00

Good news from SAG and AFTRA yesterday that a tentative agreement on a new contract with the Alliance of Motion Picture & Television Producers has been reached. Given the climate under which the current contract was accepted – and the massive disruption that took place in the process – this is, indeed very good news.

The new business of acting is a changing landscape – and it was wise for the negotiators from both unions, working together in a collaborative effort, to take the strategic approach they did entering these talks. Some modest pay hikes and a significant increase in contributions to the unions’ health and pension programs is a big plus in this economy.

More importantly, the AFTRA-SAG teaming in this endeavor speaks volumes about how far both sides have come in mending the fractured relationship that resulted from the last contract go-around in 2008.

Next step is for the agreement to be presented to the joint board of both unions and then for a majority of members of both unions to give it the thumbs up.

Could a true merger be far off? As I discuss in chapter 7 of The New Business of Acting: How to Build a Career in a Changing Landscape, it’s about time. One entity to represent all actors/artists/performers and, yes, even soap stars and newscasters can work if structured with in matrix that includes different divisions that specialize in specific categories of talent. I see it as all very doable and very beneficial to all current union members and to those whose career journeys will eventually lead them to union affiliation.

Tonight I will have an opportunity to discuss this and other issues in the new business of acting at a gathering of AFTRA members in Los Angeles. Good timing.

Kindle version of "The New Business of Acting" now available ...

2010-11-01T08:06:00.001-07:00

The New Business of Acting is now available (finally) on Kindle!

The new eVersion is loaded with active links throughout the book that will take you directly to the websites and industry resources you read about as you journey through it.

BL

Pasadena Borders, here we come ... Tuesday night

2010-10-17T15:48:00.001-07:00

Thank you Steve Julian for your support of the new book and our upcoming event this Tuesday night at Borders/Pasadena (Lake Avenue)!

Hope to see many of you there ...

BL

Barbara Billingsley … Much more than a pop culture icon who spoke “jive”

2010-10-17T14:41:00.000-07:00

I was so sadden to learn of the death of Barbara Billingsley yesterday.

I had gotten to know Barbara over the years through my management of Isabel Sanford. In the 1990’s when “TV mothers” were all the rage, it seemed like every other week, Isabel and I would find ourselves on a plane or sharing a limo with Barbara, June Lockhart and Marion Ross in one combination or another. There were trips to New York together; there were television sitcom appearances together; there were talk show appearances together; and there were a ton of local charity event appearances together.

What a joyous time; what a wonderful person to get to know; what an entourage we all made.

I never saw Barbara be anything less than gracious and friendly to anyone who approached her for her autograph or to talk about “the Beaver” or just in the day-to-day routine of business and life.

There are many highlights of my association with her, none the least of which is when she agreed to sit down and chat over a cup of coffee on my coffee shop cable talk series “Lemack & Company Live” in 1991.

Soon the entire interview will be available to view on RerunIt.com. In the meantime, we have hastily pulled together four minutes of clips from that interview, including Barbara’s take on going against typecasting and speaking “jive” in the hilarious 1980 feature film “Airplane.”

With much appreciation … enjoy.

Five (more) stars awarded to "The New Business of Acting!"

2010-09-30T08:55:00.000-07:00

Happy to share a great review of The New Business of Acting.

Thanks and much appreciation to Don Grigware for his comments and perspective.

On to the Drama Book Shop, in New York City, tomorrow night!

BL

Let's talk "New Business" this Friday in New York City!

2010-09-27T09:02:00.000-07:00

‎The New Business of Acting hits the road! This Friday, 10/01, 5:00PM, Drama Book Shop, New York City! I expect to see all of my NYC peeps (and that includes former favorite students) there!

Next Monday night, it's Chicago!

BL

Reviews of The New Business of Acting are arriving!

2010-09-07T11:20:00.000-07:00

The reviews on The New Business of Acting are beginning to come in and of course want to share them (the good ones, that is :) ).

From Shari Ali, Co-President of Aimee Entertainment Agency, Los Angeles:
"Brad Lemack's 'The New Business of Acting' is an invaluable resource to anyone looking to keep up with Hollywood's new business model."

From Adam Ginivisian, Agent, ICM, Los Angeles:
"Read his book or get out of the business."

More at TheBusinessOfActing.com (Praise for the Book page).

For those of you who have already purchased the book from Amazon.com or one of our other favorite e-partners, please post your reviews on their sites. (Only good reviews, of course. :) )

The "New" team thanks you!

BL

We have "merch"!

2010-08-21T11:19:00.001-07:00

With The New Business of Acting now on its way to retail and e-stores, we're excited to launch our "merch"! There is a new line of logo stuff coming you way. Starting today there are coffee mugs, T-shirts, canvas bags and ties all proudly (and shamelessly) helping us brand and launch the new book, while serving a useful purpose for consumers, of course. :)

Have a great weekend!

BL

New Business, Fresh Resources!

2010-08-20T09:09:00.000-07:00

With the arrival of The New Business of Acting just days away (September 1!), we have just released our new, updated Resources page at TheBusinessOfActing.com. Check it out and pass it on.

In the coming weeks, I will be highlighting some of the various services and resources listed, offering up a bit of back story that I hope will be helpful.

In the meantime, if you know of any other services, sites or resources that should be considered for addition to the list, please let me know.

BL

It's a "New" Business ... Coming Sept. 1!

2010-06-05T10:30:00.000-07:00

Happy to announce that I have a new book coming out on September 1st!

The New Business of Acting: How to Build a Career in a Changing Landscape builds on the concepts of proactivity introduced in my fist book, The Business of Acting, and teaches how to apply those skills to the changing environment that surrounds us, while offering what I hope is a valuable insight and perspective on the changes that have occurred and what that future holds for actors, both new-to-the-business and those already in the business.

I'm thrilled this is done! :)

BL

Gary Coleman ... Much more than "Whachoo talkin' about, Willis"W

2010-05-28T14:22:00.000-07:00

What a tragic life.

Personally, I liked Gary Coleman. I first knew him back in the days of his hit TV series Diff’rent Strokes. There were issues even then, all well documented publicly … health scares, health challenges, followed later by battles with his parents over control over money he had earned from that very success and very long running series that defined not only his career, but the rest of his life.

I am deeply sadden by the news today of Gary’s death at the age of 42. Only 42.

The legitimate new services will provide coverage of those details today and in the days ahead that is better left in their hands.

I prefer to remember Gary as he was in 1993, when I interviewed him for our Beverly Hills coffee shop chat show. He was unusually at ease talking about his life, both where he had come from, how he got there, his perspective on it all, and the challenges ahead – many never conquered.

My interview with Gary is a part of the RerunIt.com collection. It hasn’t yet been added to the viewing-on-demand library on the site, but we have been editing the various segments in preparation for the interview’s uploading in our next batch of segments to be added.

With the events of the day, I feel it important to rush the process a bit so that I can share with you some of the special moments from that interview.

Here is a brief clip below. There are eight minutes of clips that have just been uploaded to YouTube that are now available for viewing.

Farewell to a baby boomer hero and TV pioneer ...

2010-05-27T09:22:00.000-07:00

Sad to hear the news of the death of TV pioneer Art Linkletter yesterday, in Los Angeles, at age 97.

Anyone younger than 45 doesn't seem to have a clue who Linkletter was. Too bad. For us baby boomers, he helped define our childhoods.

In the bigger picture of his legacy, Art will be remembered as one of the few broadcasters who helped shaped and define the "new" medium of television. Among his many firsts, was his job as the first person to conduct "man-on-the-street" interviews on live television.

He was the first reality TV host!

If you are not familiar with Art and his legacy, learn something about him. It's impossible to appreciate what we have achieved and how far we have come in the business of television without knowing and appreciating the history behind what it took to get here -- and the people who helped make that happen.

I interviewed Art back in 1992 for our little Beverly Hills coffee shop-based chat show. Three segments from that interview are now available for viewing, on demand, at RerunIt.com.

I, like many of my generation, held this guy in great esteem.

BL

Career launch sequence started!

2010-05-24T16:52:00.000-07:00

Is it that time again?

It feels like it was just weeks ago that I was giving graduation kudos to my Business of Acting Class 2009. How on earth did it become the Class of 2010 so quickly? Hmm.

The good news is that the Class of 2010 is transitioning from “students” to “soon-to-be-working-professionals” in a much saner, healthier and stable business of acting environment than last year’s class.

The equally good news is that the opportunities this new crop will find opening up to them will also provide opportunities for their 2009 colleagues who have endured the frustration of trying to launch their careers in the midst last year economic challenges.

That’s not to say that these economic challenges are not still there. Challenges do still exist, but it appears that we have turned the corner and that is a very good thing.

While the landscape feels less daunting these days, there are still some harsh realities that need to be acknowledges: While there is more work for actors, odds are that you will still have to manage the financial reality that exists, which is that more work does not necessarily mean more pay.

In fact, “working” actors are finding it tougher and tougher to make a living these days from just their acting jobs alone (when they can get them). Gone seems to be the “middle class actor,” the artist who would work regularly enough to earn enough from that work so that other, supplemental income from non-acting jobs wasn’t necessary.

We are in a business climate where many of the acting jobs that come to you may not pay you anything at all, but they are still worth doing.

All too frequently in this landscape, it is a requirement to have another area of interest, another income stream, to help support your acting career, not just for young actors, but for those journeyman actors who have survived in this business for years and for decades.

Perhaps more importantly, now more than ever, is the need for both the new-to-the-professional-business-of-acting actor and the already working professional to have an action plan in place to guide their journeys. More about that in the weeks ahead.

For now, let’s think positively about the future. The focus in your transition out of school and into the real world should be on building your resume, building both your acting and non-acting skills, and learning how to be both proactive and forward-thinking in your approach to this next phase of your (professional) life.

All of this just to say “congratulations” and “bravo” to the Class of 2010, not just to those who have passed through my own classes, but to all of you who have spent four years getting ready for everything that will now follow.

This is a good time to be a young actor; it is a good time for new beginnings; it is a great time to explore your world as you develop into the person and the professional you are on your way to becoming.

Enjoy the ride.

Hats off to the acting students at Eastern Connecticut State University!

2010-04-12T10:55:00.000-07:00

I spent a terrific day on campus at Eastern Connecticut State University, in Willamantic, Connecticut, last Friday. Despite the heavy rain outside, inside the classroom at Shafer Hall we talked about all things business of acting-related, from the post-college landscape to emotional fitness. I had an opportunity to interact and share conversation with a great group of wanting-to-be-working actors and was impressed with their level of dedication and commitment to both their current studies and to what lies ahead.

This was my second visit to the school. This time, we also screened clips from our Web TV series Inside the Business of Acting and had a healthy chat about having a passion for the career pursuit, not just in the early years after graduation, but throughout one’s career journey.

Thanks to Ellen and J.J. for the invitation to speak and for incorporating The Business of Acting book into the course curriculum.

Much appreciation.

I shall return!

BL

The morning after ... and a few thoughts about "winning"

2010-03-08T16:26:00.001-08:00

It’s the “morning after” after in Hollywood this week as the post-mortem begins on this year’s Academy Awards presentations and telecast on Sunday night. I’ll leave that dissecting to the experts. I have something else to impart.

I haven't been much of a fan of award shows, in general, and not just because I have never won anything (it was an honor just to be nominated!).

I think the whole idea of awarding “the best” of anything leaves too many people feeling disappointed, feeling left out, feeling as if the hard work they did that they were so proud of meant nothing to anybody else.

The business of acting is a tough place to live. As multi-award-winning actor Hal Linden (Barney Miller) told me in our interview for our Web series Inside the Business of Acting, “Acting is a journey, and you have to be prepared never to succeed, and it was just they journey that made it worth it.”

I couldn’t agree more.

Tony Award-nominee and television star (One Day at a Time) Bonnie Franklin told me in another interview for our Web series, “This business is tough; it’s tough on families and it’s tough on your soul.”

In other words, if this is a line of work you wish to pursue, you had better pursue it for all of the right reasons and none of the wrong ones.

Recognition can be a great thing. An award from one’s peers for doing the work you would do anyway is icing on the cake of having gotten the job in the first place. My longtime client and friend Isabel Sanford earned the Best Actress in a Comedy Emmy Award for her role as Louise Jefferson on the long running, hit TV series The Jeffersons. It was a honor she cherished, but it was also an honor that came with certain responsibilities. To be crowned “the best,” comes with a set of qualifications and the expectation that you will continue to uphold the title in all that you do – an impossible task for anyone.

Indeed this is a tough business that forgives little. It’s nice to be awarded and rewarded, but it’s much nicer to work at something that gives you pleasure, that fills your spirit and that brings you joy (whether it brings you any money is another story entirely).

So, to young, new-to-the-business actors who seek success at the highest level, I urge you to define success as something achievable through hard work and personal advancement. Do not ever attempt to define yourself or your career in terms that others set.

Awards are nice, I'll say that, as long as you recognize that if/when you’re up for one and you’re not a winner, that you are clear that you're not a loser either.

I do salute the winners of last night’s Academy Awards. But, I also salute the work of every other artist and craftsperson in the business of acting who goes to work every day there is work to do and happily, passionately and eagerly does the work they were born to do, whether someone else recognizes their achievements or not.

Just a few thoughts on this “day after” the Oscars as I was thinking about all of the wonderful actors I represent, those I know, those I have taught, and those who have touched my life. And the winner is … you.

It's fun to stay at the YMCA ... and the Sun Bowl

2010-02-04T12:19:00.000-08:00

Congratulations to Village People!

Guinness World Records has just certified that 40,148 fans danced their into way a world record dancing to the VP hit "YMCA" as the group performed live at the Sun Bowl, in El Paso, Texas, on 12/31/08.

35 years and a television legacy ...

2010-01-18T10:53:00.000-08:00

It was 35 years ago today that “The Jeffersons” became a part of the American (now global) television landscape. We first met Louise and George Jefferson (Isabel Sanford and
Sherman Hemsley) on Norman Lear’s grounding breaking 1970’s television series “All in the Family.” The characters proved to be so popular, that Lear and his team spun them off into a ground-breaking series of their own in 1975.

The program had a record-breaking run of 11 years on CBS-TV, the longest running comedy series at that time. Since then, “The Jeffersons” has found homes in international syndication, TV Land and, probably, in your own home through the release of most of the series’ seasons on DVD.

Of the many “firsts” attributed to the “The Jeffersons,” there was none more important and note worthy than the Emmy Award win of Isabel Sanford as Best Actress in a Comedy, in 1981, becoming the first (and to this date the only) African American actress to earn that title.

Much has been said about the legacy of “The Jeffersons” and the cast, crew, producers and writers who made it possible. But, there is nothing quite like getting it from the top source: Isabel Sanford herself.

Some things are worth repeating, so if you haven’t yet had a look, you can watch Isabel talk about the series and her career in three segments from our 1992 interview now playing on the RerunIt.com Home page.

Even if you have seen it before, it’s worth seeing again.

Movin' on up, indeed.

BL

It's not easy being a vamp ... and other lessons learned in the business of acting on the way to a career and a legacy ...

2010-01-08T19:03:00.000-08:00

Emmy Award-winning actress Jackee Harry was an instant hit in her role as Sandra Clark, the neighborhood vamp in the long-running NBC-TV comedy series "227." Jackee talks about her career journey and how she landed that role in our part-four conversation now replaying on our Web TV series "Inside The Business Of Acting."

Indeed, some things are worth repeating. You can view a quick preview below.

Enjoy!

BL

The year in review and a look ahead in the business of acting …

2010-01-04T09:10:00.000-08:00

In was in interesting year in the business of acting. There were few people who didn’t experience 2009 with a degree of economic frustration not usually seen.

It has become a fact of life in the “new” business of acting that even a “working actor” finds it nearly impossible to make a living at his or her chosen profession. Actors have always had to supplement their professional income by seeking and taking jobs in other areas. Most have no choice but to do so. It is, oftentimes, the occasional, paid acting job that makes the supplemental income job tolerable. So, what’s so different now?

As many of you have and are experiencing, the added layer to financial survival in the business of acting is now the shrinking supplemental income job market.

As 2009 saw the disappearance of so many companies, thousands and thousands of jobs lost, and an increase in the unemployment rate (which is now higher in California than the national average), the unavailability of “supplemental income” work across the board is putting added pressure on actors to ponder their futures.

“Can I afford to be an actor?” is the question many are asking themselves these days, as 2009 becomes a rear view mirror image and the hopes and reality of what might lie ahead in 2010 becomes the focus.

Frustration can kill passion; economic stress can deter, if not outright kill, dreams.

The business of acting has always been a balance of pursuing the dream while attempting to survive, both financially and emotionally. In The Business of Acting, there is an entire chapter devoted to this topic. It’s an important one. But, given what the landscape is currently, where do we go from here?

Here are some random thoughts on how to move forward:

It should always be about building your resume. If an opportunity to act in any project that will benefit you presents itself, take it, whether it pays or not. The emotional benefit of doing the work you crave to do will lift your spirits, reinvigorate your passion and make you feel that you are doing something positive and proactive in support or your career.

As the economy recovers generally, it’s important to recognize that 2009 was a good year, in general, for Hollywood. True and unfortunate, jobs were lost; but also true (and on the plus side), box office numbers were healthy and studios, independents, networks and other content producers and partners are currently engaged in developing a tremendous amount of new product for all platforms. While this may not mean big (or bigger) bucks for the working actor, the long- range impact will mean more opportunity. Opportunity opens doors.

Young and new-to-the-business actors need to learn to manage their expectations of their early years in the business; those more established in the business will need to reassess and reevaluate their priorities on the road to recommitting to their careers. It’s not like it used to be 10 years ago; for that matter, it’s not like it was last year.

Agents and managers are playing a different game in this economy. Understanding what we face in the new year ahead will be key for both actors who are currently represented and, especially, those who are not (yet) represented. Indeed, there are more opportunities for actors ahead, but “opportunity” doesn’t always, necessarily, or immediately translate to dollars, which, for an agency or management company whose income is rooted in commission on paid work, presents a problem. Managers are more like to “get” and, in fact, to pursue the right opportunity for a client, without regard to the money it will generate for either the manager or the client. Agents are much more rooted in immediate financial gain of any kind. It’s a quandary: pursue dollars vs. pursue opportunity … which leads me to my fifth point …

If you’re currently represented, learn how to be a great client; if you’re not yet, but seeking to be, represented, learn how to be the kind of client an agent or manager would love to work with. Any relationship with an agent or manager starts out great, with only the highest of expectations on both parties’ parts. But given that things never happen in the time frames we all want them to happen in, discouragement soon begins to set in. Soon, that relationship with a bright, prosperous future becomes disappointing and disheartening. Soon, both representative and client begin to wonder if the decision to work together was the right one to make. And that’s only after four weeks! Help your agent or manager help you. Be strategic; be proactive. Meet with your agent and/or manager to discuss your new year strategy. Set up a game plan. Ask how and what you can do. The danger as time goes on is for the actor to sit around and wait for the call from the agent and to cease doing anything positive for him or herself in support of their own career. That has to stop. For the unrepresented actor seeking an agent or manager, you must honestly ask yourself if “now” is the right time. Are you ready to be represented? For the young, just out of college, actor, the answer is usually “no.” Consider what it is that you currently would bring to the table. What does your resume say about what kind of actor you are and what kind of potential you have? Given the cost of representing an actor, in this economy, any smart agent or manager is going to want to hedge their bets on any new client by ensuring that the new client is ready for the challenge and prepared for the process. Work on building your resume first with credits and professional training, then seek representation. Lastly, and to the point, what makes a great client? It’s not the actor with the greatest talent. It’s the actor who has an understanding and appreciation of the process. It’s the actor who has an understanding and appreciation of the work involved to get even one audition for a client. It’s the actor who is a good person first; someone who is a joy to know and an honor for an agent and/or manager to represent. It is the actor who is willing to accept their responsibilities beyond just acting in the pursuit of a career.

Finally, remember, at any age, at any stage, it’s about the journey. Be planned, be prepared, be smart, be financed to support your journey to the best of your ability – and then have faith in your talent, your ability and your potential – and do the work. Finances are always an issue. Do what you can do and be patient and determined in your search for supplemental income work. You may not get paid to do the kind of job you really want right now, but it's a means to an important end.

I wish you much success in this new year doing what feeds your soul.

Your input, comments and questions are welcome.

An agent's perspective on the business of acting ...

2009-09-28T17:20:00.000-07:00

There is no better advice than the advise of a true pro who wants to help those who are on the way up. In academia, we call them "educators"; in the real, post-college world, we call them "mentors"; in the business of acting, we call one of them Sharif Ali.

Sharif is the co-president of the Los Angeles-based talent agency Aimee Entertainment. In our four-part interview on "Inside the Business of Acting," Sharif talks about the nuts and bolts of the business from an agent's perspective. If you're seeking your first agent or feel the need to change your current agent, what Sharif has to say will empower you on that journey.

In short, don't send a head shot or place a phone call to a new or perspective agent without watching these segments first.

Episode #1 premiered two weeks ago; Episode #2 was added today. At just (roughly) 12 minutes each segment, Sharif's advice on "how to" is worth its weight in megabytes.

Happy learning ...

BL

Drawing the line on commissions ...

2009-09-28T11:33:00.000-07:00

It’s a tough economy – and while that’s, unfortunately, nothing new for most actors (especially new-to-the-business actors and recent college grads), it is the landscape in which we work (or want to). An opportunity to actually land an acting job is a great thing for any actor, both economically and emotionally, but the terms under which you get access to these opportunities are worthy of highlighting.

All of this is sparked by an e-mail I received the other day from a young actor who has found herself having a decision to make. New York-based, after a search for an agent, she found a company that was willing to take her on, under certain financial terms. The agency wanted to “charge” the actress not the usual across-the-board 10 percent commission on worked she booked, but, instead, 20 percent on any non-union work she landed.

A little understanding of this part of the landscape is in order.

Commission on union work is regulated by SAG and AFTRA; non-union work is not, which is why this agency (and others) often attempt to get a higher commission rate for non-union work out of their clients. While it is true that, generally speaking, non-union work pays less than union work, for the agent, it takes no more time or energy to do one booking over the other, but it is, indeed, you who show up to do the acting job.

Agent commissions should be no higher than 10 percent, whether it's a union job or not. The desperate actor seeking representation under any terms might accept such a deal, but this isn’t a smart move. If an agent offers you this arrangement, tell him or her what your terms are, take or leave it. If they say "no," seek representation elsewhere. Remember, agents work for actors.

It’s hard enough to earn a living as a “working actor.” While you can’t do it completely on your own, you must be comfortable with the terms you accept from any agent you hire. At the end of the day, you want to take home as much as you can, while still ensuring that those who represent you get what they deserve, what they earn – and no more. As your career builds, so, too, will the commission they are entitled to, in dollars, not percentages.

BL

Legendary Hollywood Columnist Army Archerd Dead at Age 87: A Personal Appreciation

2009-09-08T18:52:00.000-07:00

I was very sadden this afternoon to learn about the death of a true Hollywood icon. Army Archerd covered stars and the business like no other journalist. His access to the movers and shakers of the industry was unprecedented. His power could also not be denied. For over 50 years, his Daily Variety column (in which I'm honored to say that my name has appeared in) was a must-read for everyone in the business of acting and entertainment. From stars to show publicists, from network presidents to network pages, if being in and being a part of the industry mattered to you, Army Archerd was the only true Hollywood columnist who mattered.

Newspapers and magazines will sing his praises in the wake of his death. They can do what they do best. But, none of those reporters knew the Army Archerd I knew.

I was connected with Army over the years in my role as publicist and managers to numerous actors who were always thrilled to see their names in print in his column. Later, I got to know Army and his wife, Selma, well when I was brought on to head up press coverage and publicity for the mega Hollywood event that honored Army for his 40 years with Daily Variety.

It was a star-studded Hollywood event to beat all other star-studded Hollywood events, and, in the process, those honoring Army helped raised over a million dollars that was shared among three of Archerd's pet charities.

For me, the professional highlight was getting a cover story about Army and his legacy in the Wall Street Journal. A personal highlight was getting to know the man socially in a way I hadn't known him before. "Brady," he called me. I liked that.

There comes a time when the curtain sets on an era. This afternoon was a sad reminder that in a new media, online, hi-tech world where what qualifies as "news" is hardly worth mentioning, Army was the best of the best of the old school. Much like Walter Cronkite's respected reputation as a newsman, Army Archerd represented an era of Hollywood journalism that I also mourn the passing of.

Right place, right time? Sometimes ...

2009-08-24T14:00:00.000-07:00

I received an e-mail from Nicole, a young actor, who is looking to get to the next level in the business, having recently graduated from college in the mid-west. She posed two important questions that apply to a lot of other actors, as well.

Nicole wanted to know “How to be in the right places" and "What to do” as she begins her career journey. Her newly acquired agent's advice: "Be patient." I hate that. Indeed, you must be much more than just "patient."

The requirement, from the Business of Acting philosophy, is that you are (or have to learn how to become) pro-active in every way possible. Being in the “right” places requires you to define and discover where those places are. Anywhere you can hone your craft, develop your skills and network with other like-minded people is the target.

If you are a SAG member (or as soon as you become one), you are eligible to participate in the many, varied and wonderful SAG Foundation events and seminars, all for free. If I were you, I’d be at every one I could possibly attend. L.A. Casting regularly offers free seminars for its members. I highly recommend both of these.

I would also look at some “private” groups that might also be beneficial for you to join, such as The Actors Network. I would also (if you don't already do this), make it a point to regularly read at least one of the two trades and Backstage every week. Knowledge is empowerment — and the more you know about the business in which you want to make your living, the better prepared you will be for every opportunity that comes your way.

If you haven’t read The Business of Acting, I think you will find a lot of helpful perspective contained in its chapters. In it, you’ll read that agents work for you. To be told by your agent to “be patient” isn’t good enough. The book teaches you how to take charge of your career and be the leader of your team. You might also find a lot of helpful advice and information on the Business of Acting Blog, accessible through a link on the home page at TheBusinessOfActing.com.

In an effort to be totally self-serving, as well as helpful, I would urge you to check out many of the interviews with working actors and other industry professionals now playing on-demand, for free, on our Web TV series Inside the Business of Acting.

Another book you might find helpful is Acting and How to Be Good At It, by veteran actor and acting coach Basil Hoffman. Basil writes from his many years of experience and serves up some very helpful advice for all young (and older) actors.

Go forth and become empowered. There will be a test on this. :)

Got a question about the business of acting? Post your question here or e-mail me directly at blemack@TheBusinessOfActing.com.

Brad Lemack

The impact of "reputation" in the business of representation ...

2009-08-19T08:29:00.000-07:00

I found myself in an interesting position the other day. A young actor who recently purchased a copy of and read my book contacted me about one of the agents I interviewed for Chapter 4, “The Business of Talent Representation: Navigating the Muddy Waters of Association.”

Without naming names here, this actor was inquiring about some negative word on the street he had come across about this agent and his agency. He wanted to get my take on it.

I told him that I, too, had heard some of the same information. I also told him that it was important to recognize that your reputation is based on both the positive and negative experiences that any given person has had with you. Some people will say glowing, glorious things; others will say just the opposite. Being human, none of us are immune. Me included.

If you are an actor, particularly a young actor, seeking representation, this is worthy of further examination.

Such comments, whether actually true or not, cannot and should not be easily dismissed. This particular agent has attempted to reinvent his company and his image, having left his old agency behind and begun a new venture. I was happy to hear that. However, I remind you that agents (and managers) work for actors. If you accept representation from any agent (or manager), he or she would be working FOR you; not the other way around. You must perform due diligence in this process. If you have concerns over what has been said about him or her and how he or she conducts business, ask the question. If he or she refuses to discuss it, brushes it off or won't otherwise give you an explanation that you're satisfied with, then move on. Clearly, at that point, this person and this agency are not the right place for you.

Too often, too eager actors will sign with anyone who is willing to sign them, regardless of issues of reputation or complete comfort on the actor's part about the association they are about to enter into. Not a smart move at all.

There are a lot of decent agents (and managers) out there. If you have reputation concerns about an agent (or manager) you are interested in signing with and that agent (or manager) cannot adequately address those issues and your concerns, and in the process assure you that he or she is one of the ones worth being in business with, then wait until you find someone who can.

Class dismissed.

A career journey "One Day at a Time" ...

2009-07-22T08:57:00.000-07:00

Fans of the 1970's/1980's hit CBS-TV series One Day at a Time won't want to miss our four-part interview with series star Bonnie Franklin -- and actors at all stages of their careers will want to hear Bonnie talk about her remarkable career journey on our Web TV series Inside the Business of Acting.

From earning a Tony nomination for her critically-acclaimed role in Applause, on Broadway, to landing a television series that ran for an impressive nine years, Bonnie's story and the lessons learned along the way will inspire you.

Episode 1 is now playing on-demand at InsideTheBusinessOfActing.com

BL

How to ease resume stress at the beginning of a career launch ...

2009-07-15T16:36:00.000-07:00

I recently received an e-mail from Dennis, a young actor living in Seattle. He just graduated from college and is preparing to relocate to Los Angeles to start his career journey. I think his question might be very relevant to may of you.

Dennis wrote:

“My acting resume is loaded with credits that I earned in high school and college productions. I read in your book that agents and managers and even casting directors won’t really care about that work. I’m confused and a bit concerned about what to do and what to actually put on my new LA resume.”

I wrote back:

“What’s relevant to list on your resume has more to do with what stage of your career you’re in than any standard that applies to everyone.

At your age, at this place in your career, anything “appropriate” is appropriate — and that includes high school and college productions and community theatre. As you build your career and your resume, new credits will replace the older ones as you begin to run out of room. It’s the natural law of “early credit falloff.

The most important thing a young actor can do is to quickly begin balancing their high school and college performing credits with professional classes, seminars and workshops. You should begin taking classes as soon as possible after your arrival in Los Angeles (or New York). ‘As soon as’ also means as soon as you can reasonably afford to do so. Rent, food and other “survival” and transportation expenses have to be covered first.

You can show a potential agent or manager that you are serious about becoming a viable candidate for success in the business of acting (and maybe even a successful client of theirs) by showing that you are developing your skills and your talent with some good, solid professional training. This will score you a lot of points.

Getting into professional classes will also introduce you to a new community of other actors, most of them a lot like you, just out of college, just starting out, just looking for a smart way to match their potential with a world of opportunities.”

• • •

I am always being asked to recommend classes or an instructor or coach – and that’s a tall order, quite frankly. Like a head shot session, what works to make a photo session a success for both the actor and the photographer has everything to do with the energy and the connection both people bring into he session. That’s a lot like what make a class or a coach effective, as well.

It’s all about personality, style, professionalism and attitude, on both the actor’s part and the teacher’s.

Having said that, I have personally sat in on classes with a few well-respected teachers in Los Angeles and can suggest that they be on your list of people you check out. You’ll find a downloadable, printer-friendly list on the Resources page at TheBusinessOfActing.com.

One of the people I like a lot is Jeremiah Comey. He teaches a great acting for the camera class and I have sent many of my clients to him over the years. You can watch our two-part interview with Jeremiah on our Web TV series “Inside the Business of Acting,” now playing on-demand on the Virtual Channel Network. He offers up some solid advice for all actors, but particularly for young actors.

I hope this helps you, Dennis, and the other couple of you making your ways to Los Angeles this summer, freshly graduated, all pumped up and ready for your career launch.

If you have a business of acting-related question, please post your question (or comment) here on our Blog site or you can e-mail me directly at blemack@TheBusinessOfActing.com.

You can't go it alone ...

2009-07-14T10:54:00.000-07:00

Now playing on our Web TV series Inside The Business Of Acting, our two-part interview with noted Los Angeles-based acting coach and author of the book The Art of Film Acting, Jeremiah Comey.

Good advice served up on-demand! :)

Thanks for checking it out.

BL

Flying solo: The Loh down on how to launch a one-person show, now playing at InsideTheBusinessOfActing.com

2009-06-23T08:05:00.000-07:00

If mounting your own one-person show is something you would like to explore, actress, writer and solo performance artist Sandra Tsing Loh gives you the Loh down on how-to at InsideTheBusinessOfActing.com.

Now playing, episode #3, gets into the nuts and bolts and dollars and cents. What Sandra has to say will help get you started -- and there is nothing quite like a work-in-progress personal performance piece to focus, inspire and empower any actor seeking to create both a challenge and an opportunity.

Another time, I'll tell you about my former Emerson College student Christian Johnsen's "Red Sweater" project. Inspiring and therapeutic.

BL

The message is clear as a sizeable SAG majority gives the green light to a new contract …

2009-06-10T06:30:00.000-07:00

It’s a good day in the business of acting today as both union and non-union actors alike – and all other industry professionals – begin to absorb the acceptance of a new two-year SAG contract, which was announced as approved by a stunning 78% of the Screen Actors Guild membership last night.

There is not much need for analysis here. It appears that the overwhelming victory for the new agreement sends a clear message: Stop the infighting, stop the politics and let us, confidently, get back to work.

This new contract has many gains, including its expiration date, which will allow SAG to make nice with AFTRA over the next two years and then work together in carving out a new “new” agreement that will be in the best interest of all union members – and those who will become union members.

Next up, SAG leadership needs to make nice within its own ranks. Too much infighting, too many harsh words, too much “actor vs. actor” … And the winner is … “nobody.” The new contract isn’t perfect, but given the landscape in which the business of acting currently exists, it’s a fine achievement, for now.

Full steam ahead. Let’s all get back to work with some sense of accomplishment. Seventy-eight percent? That’s a strong statement.

Complete details at SAG.org.

BL

Hot tips on how to get your first film industry job now on "Inside the Business of Acting"

2009-06-05T12:17:00.001-07:00

Whether you have just graduated from college or have been in the job market for a while, any information that can help you get a foot in the door and an on-ramp to the career journey you seek is hot, valuable and must-have information. It's even better when it's free.

Actor, writer, producer, director ... whatever your career goals and aspirations are in the business of acting, you must make time to watch our three-part interview with industry executive and entertainment career consultant Karen Kaufman Wilson, now playing on-demand on our Web TV series "Inside the Business of Acting."

Karen offers up some critical advice on how to open doors in Hollywood with a strategy that can't fail to get you moving in the right direction, if you follow the proactive plan of approach talked about in our interview.

Okay, now get moving to the Virtual Channel Network and have a pad of paper and pencil ready!

BL

Caps and gowns at the ready: Class of 2009, line up!

2009-04-25T11:22:00.000-07:00

It’s that time again … cap, gown, post-graduation expectations, student loans lurking. Class of 2009, prepare to launch!

We finished our classes at the Emerson College Los Angeles Center this week, which was proceeded by the Business of Acting class’s industry showcase. It’s a terrific project and I’m thrilled that we are able to make this opportunity available to my students. It’s their final project for the course. We spend the semester studying, discussing and workshopping the issues now impacting the business of acting. We spend the semester exploring the options for creating, launching and maintaining a smart, professional career journey after graduation. We end the semester with a student showcase that the class has being assigned responsibilities from scene selection, theme selection, branding, marketing, reception catering and more, and then, after they get the business of the project done correctly, the joy of performing.

I always tell the class that it doesn’t matter who is in the audience, if anyone. The objective is to learn how to create and pull off a project like this. I hold a safety net under them during this learning process, but after graduation, there will be many times where knowing how to do this well will prove enormously beneficial.

And so it went. An impressive group of both industry and college supporters attended. Sharing food and beverage afterward, connections were made, new relationships were started and the first steps in each student’s transition from student to wanting-to-be-working professional began. It’s an exciting process to participate in; it’s even more exciting (for me, anyway) to observe.

In our last class, we deconstruct the project and the experience. I ask the class to write their individual assessments of how they think they showcase went, from producing to performing; I ask them to discuss what they learned in the process and how they would do things differently next time – because there will always be a next time, for all of us.

Now, with the semester behind us, my students (and senior students everywhere) march towards graduation day, loaded with the excitement, fear, apprehension and possibilities that that day – and more importantly the days after, will bring.

If you fall into this category, I have both a note of congratulations and a note of warning for you: First, brave! You did it! Next, take heed. Emotional fitness during this important time is dependent upon two things: 1) Learning how to manage the expectations others have of you (your parents, for example), and 2) learning how to manage the expectations you have of yourself, in the “what comes next” process.

Relax. Have patience. Prepare for the journey ahead by planning for the journey ahead. Take the time to create a business plan for yourself. There is a chapter in the book to help you with this. You can also read my Back Stage article about this process, which I hope you will find helpful.

Lastly, if you have a minute to check out my Blog from last year at this time, I have a few suggestions about how those who want to gift you can do so in meaningful and significant way that can help jumpstart the funding for the launch of your career journey. It’s a concept I call The Business of Acting Gift Registry. Check it out.

Congratulations Class of 2009! You are about to enter what many define as a “challenged” work environment – and I won’t deny the struggles that so many are having in this tough economy just to make ends meet. But, you are not them.

The truth is that you will never be more employable than you are right now. It may not be the job or position of your dreams (yet), but your youth, your talent, your flexibility and, perhaps most importantly, your potential, will help open doors to the opportunities you seek. Patience along the journey is critical, now more than ever. That goes for you and your family, who want nothing more for you than at least a hundred times what you want for yourself.

Bravo, indeed.

BL

Deal or no deal? At last, SAG members will now have their say on a new contract.

2009-04-20T12:36:00.001-07:00

I have been quiet on this issue for some time now, mostly because I really didn't have anything new to say. Today is different; the news is, actually, positive.

The SAG board yesterday approved by 53 percent the new contract with the studios and the producers -- and that's good news. What will be frustrating to those who have watched from the sidelines these many, many months will be the realization that for as long as it took to come this far, very little has been achieved for SAG members.

Yes, some compensation will come their way for use of products they appear in on the Internet; but residuals for this usage are out. That was a huge issue for embattled SAG president Alan Rosenberg; it's a big deal for SAG members because Rosenberg just said "no" many times during this process because the terms -- and specifically this term - wasn't what he claims he was fighting for.

A lot has change in the nearly one-year old fight for a new SAG contract: In short, as we're all experiencing first-hand, the economy has put a serious dent in options and opportunity for most people. The landscape just wasn't right to strive for the kinds of financial gains Rosenberg and the union hardliners were fighting for. Not this time around, anyway.

This new agreement would run for two years and looks a lot like the agreement the other talent guilds have settled upon. Who knows what life will be like two years from now? Maybe, just maybe, it will be a better time then to smartly and realistically revisit these issues taking into account the landscape and the economic climate at that time.

The only remaining hurdle is whether or not the majority of SAG members will vote for this new contract or whether it all goes back to the table -- or worse yet -- to a strike authorization vote.

I encourage you to read up on the terms of the proposed new deal at SAG.org. SAG member or not, it's all about the business of acting and it's important to know what is at stake for all actors, both union and non-union alike.

What are your thoughts on the offer? If you are a SAG member, will you vote for it or not -- and why?

Let's start that dialog here.

I'm eager to read your comments.

BL

"Yes, I Can. Yes, I Can!" Uphill movement in the right direction today at SAG.

2009-01-27T09:40:00.000-08:00

So now that Doug Allen has stepped down as executive director of the Screen Actors Guild and head negotiator in the union’s attempt to seek and settle on a new contract, what happens next and what does this mean to the business of acting for both union and non-union actors?

In short, I’m encouraged.

The greatest fallout from what has been the SAG dilemma can be measured in terms of both negative public and internal relations. The infighting at SAG has not played out well in the public arena. Instead of garnering support for the predicament it finds itself in (as the Writers Guild did during the strike), SAG leadership, in fact the entire union, has come off in the public eye as rather unlikable. Then there is the infighting pitting one celebrity name against another in a war of rhetoric and best acting. Next year’s SAG Awards ought to have a category for Biggest Idiot in the War of Words.

Of course all of this has absolutely nothing to do with a new contract that must be secured as soon as possible. As in all campaigns, there comes a time when aiming for a sound bite on the evening news has to end and the real work begin. Even President Obama had a dinner honoring John McCain shortly before the inauguration ceremonies.

My advice: It’s time to start fresh and with a clean slate – and under the new team in place at SAG, under the leadership of David White as interim director, the union and its board have a good starting point and an opportunity to actually get some work done that will benefit both their current and future members.

I’m happy to help SAG spin this in the right direction, when the time comes – and that will be soon. That’s if I’m asked. You see, those of us who represent talent also feel the impact of the stalemate. SAG needs to reassure the industry as a whole that it’s getting it’s act together – and taking it on the road – that is on the road to reasonable discussions, reasonable expectations and a reasonable, new contract that its membership will embrace and the rest of us can support in the journey of getting back to both the fundamentals and to work.

Then there is the curious case of Alan Rosenberg. He’s in a tough spot, personally and professionally. After all, when all is said and done and his term as SAG president has expired, I assume he intends to return to the ranks of “working actor.” If that’s the case, then, indeed, he has some PR strategy to work on, as well.

Full steam ahead …

BL

Want to know what casting directors really think of actors?

2009-01-22T11:35:00.000-08:00

Now playing on “Inside the Business of Acting,” on the Virtual Channel Network, is our four-part interview with the wonderful, Los Angeles-based casting director Michael Donovan. Whether you’re new to the business or looking for a fresh perspective on how the changing landscape has impacted the business of talent casting, what Michael has to say will help, comfort, inspire and empower you. It’s the best 50 minutes you’ll spend in support of your career.

I hope you take the time to watch this – and I hope you’ll share your comments about it with me afterward.

By the way, if you want to really know how to maximize the services of ActorsAccess.com in ways that can help you be both smart and pro-active in both the pursuit and support of your acting career, access our five-part interview with Breakdown Services founder and president Gary Marsh, also available on-demand in the episodes listing section of the “Inside the Business of Acting” Web TV series home page at VirtualChannelNetwork.com.

It's all free.

BL

Another fine mess for SAG

2009-01-19T12:34:00.000-08:00

I have been silent for the last month eagerly anticipating something positive to comment on regarding the internal (and public) bickering with the seemingly endless Screen Actors Guild to-authorize-a-strike or not-to-authorize-a-strike serial melodrama.

Is it just me, or have you had enough of this already?

I know it’s important; I know it’s about what actors deserve. But, I also know that now months into this struggle, it appears that the industry is no closer to a new SAG contract than it was when the issue for the union was focused on their members voting down the new AFTRA contract (which, as we know now, was also unsuccessful).

While it appears unlikely that the SAG leadership will get 75% of their actor members to vote “yes” on a strike authorization (should they still decide to seek it), the bigger picture, which is really the smaller picture, might matter most. That is, aside from seeking a strike authorization, SAG also needs to think about seeking unity from among its membership – and how to get everyone effected back on the same page.

It doesn’t much matter who’s in, who’s out or who’s on first as much as it will matter if the union is ever able regain the respect of all of their actor members they’re supposed to be representing fairly and equally.

Is it just me or is it time for some movement in a positive direction beginning with a fresh look at what makes sense for the people effected and the impact of this long stalemate on the perceived and real health of the business of acting?

The only good news of late is that SAG and AFTRA are actually casually dating again, sitting down together in search of a new commercial contract. Bravo to the SAG powers-that-be that realized the sense of both building this bridge and crossing it. It makes me wonder whether these same people at SAG now wish they did this a lot sooner.

Another fine mess, indeed.

BL

"Yes" or "no" vote for a SAG strike authorization? It's all a matter of self-interest.

2008-12-19T12:32:00.000-08:00

As the year comes to a close, most of the conversations I’m having these days have little to do with holiday plans, but, mostly, have to do with the SAG strike authorization ballots that are going out to union members just after the first of the year. I have been asked, a lot, about whether or not I think there will be a “yes” majority and if I think the chances of the authorization (if gotten) will, indeed, be used to force a work stoppage in the business of acting.

Tough questions; difficult answers to ponder.

This has been a very contentious year for SAG and, as the year ends, the union finds its members more divided than ever over this issue. In the process, SAG has also created an enormous public relations problem for itself, both internally among its members and externally among the general public. It’s a tough climate in which to call for and execute a strike – and receive any public sympathy for the cause.

In an era where the future of hard copy newspapers is in jeopardy, the Los Angeles Times has proven itself a valuable tool in this discussion. On December 16th, the paper published an opinion piece by actor and former SAG president Melissa Gilbert that has stirred much controversy. An opinion piece published today by LA Times columnist Patrick Goldstein puts much of it in perspective. They are both well worth reading. Regardless of where you stand on the strike authorization issue, these two columns do a good job of discussing the landscape in which this is all occurring.

You can read Melissa Gilbert’s article here.
You can read Patrick Goldstein’s article here.

Today I wrote an update on the Web site to chapter 8 in my book, The Business of Acting, about the union crisis we now find ourselves in. I hope you will read it.

As I wrote there, when the book was first published in 2002, the prominent union issue at that time was whether or not SAG and AFTRA would, could or should merge into one union to serve all actors.

The opinions on that issue were loud and strong. But, nothing seems to top the rhetoric over this current dilemma now facing the business of acting. It’s not just about the strike authorization vote SAG is seeking in an attempt to move along (and resolve) stalled contract negotiations with producers; it’s also about the core strategy the union leadership has opted to take in this bumpy journey.

A merger would have been a piece of cake compared to this one.

Clearly, this issue has gotten lots of people talking, not just union members, but the general public, as well.

In a conversation with a prominent working actor (who is a SAG member) the other day, I asked how concerned he was about the impact a work stoppage would have on other people and other businesses, many connected to acting (like talent agencies, management companies, and publicists and PR firms), but many not (like dry cleaners, coffee shops and restaurants). Most everyone is feeling the pinch from the recession we’re in; many simply couldn’t survive the financial damage a strike would do to them and their businesses.

This actor’s reply: “Fuck ‘em,” he said, “Let that be on the heads of the producers.”

My response: “Well what if the collateral damage includes your agent or your manager having to close their business? Doesn’t that matter to you?”

Again, the actor replied: “Fuck ‘em.”

Hmm. When last I looked, no one who has achieved any level of success was ever able to do it on their own. Given that agents and managers spent a tremendous amount of time and money representing their clients and given that most submissions don’t result in obtaining an audition for a client (or any commission income from a job that a client might be lucky enough to get), my unspoken response was, “Well who the fuck are you? Where is the respect and decency towards the people who are consistently pro-active in the interests of your career every day? Where is the appreciation for the amount of work they do for you that generates them nothing in dollars and cents? When you met with these people for the first time about working together, were you arrogant enough to both seek their assistance and let them know that you would toss them to the wolves if you had the chance to do so?”

“Fuck you,” I wanted to say out loud. But, I didn’t.

Instead, this exchange made me think about self-interest. Where do we draw the line, in both life and career choices? How much are we willing to risk?

Indeed, at the end of this day, the big question for those who will be given the responsibility of making this strike or not-to-strike authorization decision is “How much are you willing to risk?” and, when it’s all over and done with, either way, “How and where do you pick up the pieces that are left and reconstruct a working career in whatever the new landscape is?”

I admit, I’m a little pissed off from having had this conversation and wondering, really, how do we all financially survive should a strike really happen – and how do we all pick up the pieces, either way, and rebuild in a very uneasy environment.

Ah, the grinch.

BL

To (SAG) strike or not to (SAG) strike? Much more than a matter a dollars and cents.

2008-11-23T14:57:00.000-08:00

Does it make sense for SAG actors to vote for a strike authorization? It all depends on who you ask.

The SAG actors I have been discussing this issue with as recently as today all say, “No.” Given the economy, given the times, given the current landscape and given that the producer’s have made it clear that SAG negotiators will not come away with anything more than the AFTRA deal now in place with that union’s members, it seems clear that we might very well be headed for a no-win situation very quickly.

Richard Verrier’s coverage in today’s Los Angeles Times presents an important overview on where things stand and what’s at stake. I urge you to read it.

It’s mostly about the Internet. SAG’s intent is to squeeze out whatever it can for its membership from “new” media, almost at any cost. But is this worth striking over now?

Seventy-five percent of SAG members will have to say “yes” to a strike authorization before the march to a work stoppage can officially begin. But, will 75 percent of the SAG membership be willing to endure the additional hardship the inability to work will cause them?

It’s tough enough just to get an audition for a job in this business when the industry is operating at “normal”; take away any opportunity to work for not only (SAG) actors, but the tens of thousands of people in related and connected industries who will feel the big pinch of a strike, as well, and you have to question the sanity of such a move at this time.

Does anyone ever win from a strike? Can any member of the Writers Guild actually claim to be better off financially right now because of their walk out? Admittedly, arguably, there may be a few folks who can answer “yes” to that today, but for the majority, the stress from bills that went unpaid and opportunities that are still being felt. Will they feel any differently a year from now?

What’s an actor to do?

Tough question. If you’re a SAG actor, what will you do? What can you afford to do? What are you willing to risk? How much risk can you tolerate?

Should a SAG strike occur, those actors who are also members of AFTRA will be expected to honor the strike and not accept AFTRA-contracted work: AFTRA members who are not (also) in SAG, will have a choice to make: will they be asked to or expected to honor the SAG walk-out? What official position will the leadership of AFTRA take?

Indeed these are tough times in the business of acting. I know I want my clients to work and I know they want to work. How exactly are we all expected to survive what could be a long strike – and how much discomfort (or worse) are we willing to tolerate? Finally, how much might all of us stand to gain? Could we ever really make up the losses we would all suffer from another long strike and, even if we could, would those gains really be worth the toll of the stress, strain, and the (lifestyle and financial) compromises that it would take from all of us on the road to that or any victory?

I expec that there will be lots of phone calling between lots of agents and managers and their clients tomorrow.

How about you? If you're a SAG actor, will you vote for a strike authorization? If you’re an AFTRA or non-union actor, what would you do?

Post your comments here or e-mail me directly at blemack@TheBusinessOfActing.com. I look forward to hearing from you.

BL

A note of appreciation in tribute to talent agent Barry Rick (1945 – 2008)

2008-11-13T11:19:00.000-08:00

My friend Barry Rick died recently. He was a remarkable talent agent, with a skill for representing actors in a way that we rarely see in this business any more. As founder and president of the Los Angeles-based commercial talent agency BRick Entertainment, Barry, in a short period of time, managed to carve out a respected niche for his “boutique” agency that he launched in 2003.

We held a memorial tribute for Barry last Tuesday night, at the Lillian Theatre, in Los Angeles. Nearly 100 current clients, friends and industry colleagues were on hand to celebrate his life and his contributions. I was honored to have been asked to emcee the evening. I was also happy to meet Barry’s son, Tom Popp and Tom’s wife, Felicia, who flew in from Washington, D.C. to share in the tribute.

In what was an upbeat, respectful, sometimes tearful gathering. Memories were shared, stories were told, and one thing became very clear early on: Barry was much more than just an agent; he was a mentor, he was a surrogate parent, he was an innovator in how he walked through the business of acting (and in life).

I’ll miss him, as will Tom, Felicia, and Barry’s sister, Elizabeth, and his mother Sally. So, too will he be missed by those who joined in our tribute and those whose lives he touched, but who were unable to attend.

A scholarship fund has been established in Barry’s name to provide an honorarium to students from Emerson College, in Boston, who intern at BRick Entertainment during their semester in Los Angeles at the school’s acclaimed L.A. Center. Barry was a staunch support of this program. Many students who have interned at BRick under his mentorship have gone on to either work at the agency or be represented by the agency after graduation.

I encourage you to make whatever size donation you can in Barry’s name. Checks should be made payable to Emerson College, noting “Barry Rick Scholarship” in the memo line of your check.

Contributions should be sent to:
Ms. Amy Meyers
Emerson College
120 Boylston Street, 7th Floor
Boston, Massachusetts 02116-4624

Barry wanted his agency to survive and thrive after he was gone. Last summer, he named another remarkable person, Kenny Suarez, to succeed him at the helm of the agency he worked so hard to build.

Sometimes the business of acting shows its true colors; not industry life as it’s portrayed on “Entourage,” but industry life as it’s lived by most of the people who have chosen it as their livelihood. We lost a great guy, but the family of actors he created as his client roster, and the community of industry professionals he interacted with, are forever impacted by how he did what he did.

Bravo, Barry. Bravo.

BL

Union membership: Prestige by assocation? Hardly.

2008-10-09T07:56:00.000-07:00

I was happy to hear back from Michael, an actor who first wrote me several weeks ago in response to my Blog comments on the latest episode in the ongoing industry drama that has become, as I call it, “the AFTRA SAG dilemma."

Michael and I corresponded about the consequences of union actors filing for Financial Core Status. I posed several questions back to him in my response (which you can read in the Blog entry).

Michael wrote me again with some key questions that I wanted to share with you, along with my response to him.

Michael wrote:

"I joined AFTRA thinking it would make it easier for me to get into SAG, get more legit auditions, and make me more noticeable to agents when blindly submitting (or from seminars, etc.). But now I see little to no opportunities for union as of now, and I still want to do student films, indie projects, etc. I mean, as you said, there's no real way they would know unless I am a recognizable face (in which case, I'll probably be doing union projects anyway). Thanks for the heads up. So, it is still ok to do non-union work as of now, right? Also, any advice on getting an agent and/or into SAG so I can get more legit auditions?"

I responded:

"Your reasons for joining AFTRA are/were honorable —as they are for so many others who join thinking (or expecting) the same thing. It’s a tough call, really. A couple of years ago, when it looked like AFTRA and SAG might actually merge, lots of actors who couldn’t (yet) qualify to join SAG raced to join AFTRA thinking that when the (expected) merger happened, they would automatically become members of the “new” union that covered all forms of the (acting) business. Alas, that wasn’t to be the case. When the vote was taken, it wasn’t meant to be (yet). Ultimately, given this new landscape, a merger might not only be inevitable, but be the only way both unions can move ahead and survive (and thrive). As soon as they both stop playing politics and leave their egos at the door, we might see them both actually start being in the business, again, of truly representing the best interests of all true career actors.

I can’t tell you that it’s (still) okay for you to do non-union work; the union rules are the union rules. But, having said that, I think you will be unscathed from the experience, should you choose to return to it.

Lastly, there are many agents (and managers) in this new landscape who do, indeed, represent non-SAG talent. No one was born with a SAG card. SAG cards, like careers, have to be earned. Good agents (and managers) recognize that they can develop good actors into great clients and let them earn their union status on the way, when it’s the right time/right place."

I hope that this perspective is helpful to any of you in a similar situation to Michael’s.

Always ask questions; always seek as much advice as you can. Then, weigh your options and make the choice or choices that make sense for you. Often times, circumstances dictate direction. You're in this business for a career, not just a job. Always consider your options from a "bigger picture" perspective, as well as for the short-term -- and always proceed as a smart, informed actor.

Got a comment or question? You can post here or e-mail me at blemack@TheBusinessOfActing.com.

BL

"Working Actor" Hal Linden: So much more than "2 down"

2008-09-29T11:52:00.000-07:00

I spotted Hal Linden’s name in yesterday’s Los Angeles Times Sunday Calendar crossword puzzle. The clue read, "'Barney Miller' star Hal.” It’s always nice to get 2 down. It makes the rest of the puzzle so much easier.

There could have been another clue to arrive at the same answer: “Working actor Hal.” While Linden is widely known by audiences for his television series work, many forget that he has a long and respectable career in theatre, including a Tony Award.

Hal is the guest we chose to launch our new Web TV series “Inside the Business of Acting” with because he represents the philosophy of our new series on the Virtual Channel Network in every way possible.

“Inside the Business of Acting” features one-on-one conversations with working, successful actors talking about their career journeys, turning pointing and lessons learned along the way. Like the book The Business of Acting, this exclusive VCN series is designed to empower young actors and others in the journeys of their own careers.

Linden’s history is full of pro-activity, even before we knew what the word really meant. His longevity, his career success, is rooted in his ability to stay focused, to remain flexible, to always be level-headed and to always be prepared.

In our four-part interview, Hal talks about his roots and his struggles; he also talks about the valuable lessons he learned all along his journey that still matter today. He also reveals some fascinating behind-the-scenes tales about the TV series that made him a household name and the role that “Barney Miller” played in opening the doors to the opportunities that have followed.

Part one with Hal Linden is now playing on-demand. It’s entertaining, it’s informative, and, in it’s own way, it’s empowering conversation to absorb with lessons and a perspective that might prove very helpful to your own career plan and perspective.

As Hal says, “It’s all about the journey.” Amen to that.

Please feel free to post your comments about the interview here or send me an e-mail at blemack@TheBusinessOfActing.com.

BL

You can't be a little pregnant; either you are or you're not. It's kind of that way with union status.

2008-09-20T18:38:00.001-07:00

I just received an e-mail from an actor who posed a series of important questions about exactly what it means to be a member of one of the actor unions, in this case, specifically AFTRA, and, specifically, what kinds of work he could and could not accept. He didn't say, but I take it that his membership is fairly new. He didn't say why he joined AFTRA at this particular time, but his concerns are valid and some perspective is needed that I hope will be helpful to him -- and to you.

Indeed, as the old American Express commercial said, "Membership has its priviledges." In this case, however, membership also comes at a price and with some significant drawbacks, especially for a young or new-to-the-business actor.

Michael wrote:

"I recently paid to join AFTRA. What projects can I work on if they are not AFTRA? Can I work on a SAG project (I'm not SAG)? Can I work on student films? Can I work in non-union theatre or Internet projects? If I do, how will AFTRA know? If I do, and AFTRA finds out, what happens to me? What the heck can I act in as an AFTRA actor (and no other unions)?"

I responded:

"The 'official' rule is that once you are a union member, you are prohibited from doing any work that is non-union, whether it is for a project that could have been sanctioned by your union (for example, a non-union television show that could have been under AFTRA’s jurisdiction had the production company opted to go union) or sanctioned by a 'sister' union, in this case SAG or even AEA (Equity) -- and, as the rule is written, that includes student films.

Of course, everything is open to some interpretation and in this changing landscape, a lot of options are up for grabs. There are two ways in which you can work in a non-union project if you are a union member: 1) File for financial core status, which is your right, which, essentially, puts your union membership on hold and allows you the opportunity to do non-union work. You don’t pay union dues during this time, but, also, the non-union work you do doesn’t count or apply towards (union) pension and health contributions. Also, SAG, in particular, is getting tough on any union member who opts for financial core and later wants back in. Often times, they want you to explain yourself and 'earn' back your union status; other times, nothing happens.

Of course, while it is your right under the law, SAG discourages this because your semi-annual dues are based on a percentage of what union work you do. The more money earned from non-union work, the less money SAG (or AFTRA) can expect from you for dues payments. It’s really, like most things, all rooted in economics and not always in the best interest of the actor.

2) Many actors who hang on to their union cards and union status will often do non-union work, but under a name other than their own. As long as the credit (and the pay check) aren’t traceable back you to, odds of being “found out” are slim to none. However the more successful (read: more recognizable) you become, the less valid this option becomes.

SAG has a special contract agreement for student filmmakers, in their desire to get young filmmakers used to the idea of making union-sanction films. It costs them (the students) very little for the agreement from SAG, which then allows union actors to work in these productions with either a waived (or deferred) fee or a very small stipend.

The truth is that neither SAG or AFTRA can keep on top of the business they ought to be watching, so you’re pretty safe doing student films, whether “sanctioned” by a union or not.

The penalties for a union actor who gets caught doing a non-union job can vary from (usually) a slap on the wrist to hefty fines, depending on who you are and what the circumstances are. For example, during the last commercial actors strike, Tiger Woods appeared in a commercial that was shot non-union. While a great golfer, he’s also a SAG member because of the many commercial endorsements he does. He claimed he didn’t know he couldn’t do the project SAG caught him on.

SAG both slapped him on the wrist and fined him a ton of money (primarily to make an example of him and because they know he had the money to pay the fine). I always urge young and/or new-to-the-business actors to delay joining one (or any) of the unions for as long as possible.

The goal is to build your resume. In the early stages, it shouldn’t matter whether the work is union or non-union. Experience is the goal. Having said that, you’ve already taken the plunge and the way to proceed is always with caution and always having explored and considered all of your options first, before saying 'yes' to anything."

I hope this is helpful to Michael who already has -- and to anyone else who is contemplating the leap to union membership. I'm a big believer in not joining any union until you have to.

A client of mine was just in this situation. Long an AEA member, he found himself up for a SAG-sanctioned job last week that required his joining the union if he was to be hired. Together, we weighed the benefits and the potential losses his joining SAG at this time would bring -- and together we decided that the opportunity in front of him (and the great, new resume credit that he would earn) was too great a boost not to take the leap. So, he did -- and with good reason.

That's the bottom line, really. If it makes sense, if the financial investment seems worth it, then take that leap of faith and of membership and continue your career journey as a union actor. If not, hold off. Most career actors will have to join one, if not all of the unions, eventually. It's all a matter of time and timing.

Are you a union actor? What were the circumstances under which you signed up? Share your story with us by posting here or by sending me an e-mail to blemack@TheBusinessOfActing.com.

BL

"Inside the Business of Acting" Coming to the Virtual Channel Network on Monday, September 22!

2008-09-01T13:07:00.000-07:00

Admittedly, this is more an an ad than it is a Blog. But, I think it's worth it!

Based on the popularity of The Business of Acting book, we will be taking to the World Wide Web with a new television series for actors to be seen exclusively on the Virtual Channel Network.

Inside the Business of Acting, which I am thrilled to be hosting, will feature one-on-one interviews with successful, working actors and other industry professionals talking about their career journeys, turning points and lessons learned along the way. Like the book, the television series is designed to empower you on your own career journey. We have a terrific line up of guests, including at least one Tony and two Emmy Award winners.

We're hoping that you'll find it entertaining, informative and helpful, regardless of what stage you are currently at in your career. Whether new to the business or looking for a new perspective on the career you have been having, we think Inside the Business of Acting will be worth your time.

While you're at the Virtual Channel Network (which is a service of Breakdown Services, Ltd., the people who also bring you ActorsAccess.com), make sure to check out the wide variety of other programs being offered up for actors, artists and any one else seeking a career (or to advance a current career) in the business of acting.

I hope, too, that you will share your comments about the new series with us here. It all premieres on September 22, 2008 on the Virtual Channel Network - and once each program segment is launched, it will always be available for viewing - and reviewing on-demand.

Please join us!

Brad Lemack

Neither rain, nor sleet …

2008-09-01T12:08:00.000-07:00

The postal service motto “Neither rain nor sleet nor dark of night …”, about always getting your mail delivered (no matter what), applies, from my vantage point, to the first week of September of any year, although this year is, admittedly, special. Neither presidential campaign politics nor weather disaster will stand in the way of the annual back-to-school brigade that happens this week at colleges and universities across the country. Whether first year student or final year senior status, the new academic year is usually, always, filled with anticipation, hope and a bit of anxiety about the school terms ahead. But you forge ahead anyway.

While I can’t directly help with the angst I refer to, if you’re heading off to (or back to) your studies in acting, theatre, performing arts or related field, I can offer up a subjective perspective that I hope will be helpful.

You can never undervalue the importance of a solid academic base. But, at the same time, the focus of academia is, obviously, education, not (always) how that education applies to the real world.

If you’re a student, as you return to class, so do I. About to begin the fall semester of The Business of Acting class at the Emerson College Los Angeles Center, I am about to face the challenge of taking well-taught and well-trained students beyond the safety and comfort of the arena and the environment they have grown comfortable in.

The challenge is in not discounting their academic training, but in teaching them how to apply that experience to the real world, as they begin to consider their transitions from students of the performing arts to careers as professional, working actors.

In a business where the best trained, most talent, highest qualified candidate will not get the jobs based only on those credentials, it is critical to explore how what you know and how your passion for the career you seek can turn you into a pro-active business person who will approach the launching of a career in stealth-like and strategic ways.

My students and I will explore all of the options available to them that they already know about – and then they’ll get exposed to a sizable collection of new ideas and new approaches that they weren’t aware of before. Yes, they must be talented. But, they must also be highly skilled and then learn how to apply those skills to the bigger picture of the career journeys they will soon embark upon.

This applies to you, as well.

So, just because you’re not in my class, doesn’t mean you can’t be my student. Here is what you must do:

Be inquisitive! Ask questions in your classes about how the material you are asked to study applies to the real world in which you want to live in and act. Respectfully challenge your teachers, your professors, your fellow students and yourself. It’s important to learn not just theory, but application and perspective.

In the end, it is the personal perspective you arrive at that will be the most beneficial to you. But, perspectives, like people, like careers, are works-in-progress. You must leave room for change and adaptation as you grow and as you are exposed to newer ideas and opportunities. You must be a smart actor. But first (and always), you must be a smart student.

My comments won’t (necessarily) get you an A in any class. But, I can guarantee that if you start thinking outside the “box” now and if you begin contemplating how you can apply what are learning in class (and in performance training) to what happens beginning the day after graduation, you will be better able to plan for, execute and maneuver all of the twists and turns of the incredible journey that will soon follow. "Smart student" doesn't necessarily mean great grades. But striving to achieve greatness begins at home, is expected in school and is a requirement throughout life. At least that's my philosophy. Long after teachers are grading you on your performance, we need to grade ourselves on how well we are doing all along our journeys of life (and career).

To the incoming class of 2012, congratulations on departing on your four-year transition from young adult to young professional. To those of you with your graduation in sight, relax. The spring is many months off. Don’t rush this last year. Embrace it for all you can. And for those of you in between, be mentors to those new arrivals (remember how daunting your first year at school felt at first?) – and challenge yourselves as often as you can beyond just the requirements of any class or course you take. An “A” is nice, but planning for and thinking about how what you have learned and your experience at school relates, in terms of the bigger picture of your lives and careers, will get you much more.

Oh, to be a student again … I envy you.

Brad Lemack

RerunIt.com celebrating "classic" television celebrities and American pop culture launches

2008-08-14T08:03:00.001-07:00

I'm a big pop culture fan. Being a member of the first generation raised on and by television, I was forever influenced by Lucy and Ricky Ricardo, the shot at a free bicycle on Art Linkletter's "House Party" and the frustration over why I couldn't just move in with "The Brady Bunch." I got caught up in the adventures of the stranded castaways on "Gilligan's Island" (when it was a first-run show!) and longed to travel to unknown places if only I could step into "The Time Tunnel."

I'm not old; I'm experienced. And experience (and a career in the business of acting) has taught me a tremendous appreciation for the people who brought escapism into my life during my formative (and not so formative) years. I know I'm not alone.

I was fortunate enough to be given the opportunity, and an outlet, starting when I was just 15 years old, to meet and interview so many of the people and personalities I had become in awe of. Moe Howard of "The Three Stooges," June Lockhart from "Lassie" and "Lost in Space," Desi Arnaz, Margaret Hamilton (the Wicked Witch of the West in "The Wizard of Oz"), and so many others.

Having recently unearthed this massive archive of audio and video tapes, I have discovered a history that I wasn't aware of previously. In their own words, actors, authors, personalities and others who have helped shape and define American pop culture, talk about their work. I became in awe all over again.

The result of the passion this project has unearthed in me can be seen on the new Web destination we have just launched at RerunIt.com.

At the site, you can view clips from hundreds of hours of these interviews that date back to the 1970's. You can also have an opportunity to purchase DVDs, CDs and books associated with every guest featured on the site to begin or to enhance your own personal collection.

Please check the new site out. There is also an Audience Page where you can share memories of your favorite shows, favorite actors and favorite moments from television that was meaningful to you.

It's about the business of acting from another perspective.

We got to where we are today because of the hurdles faced, challenges met and achievements earned by those who came before us and laid the ground work for what we watch and what influences our lives today. We've come a long way since black & white TV in the 1950's. But without the pioneering spirit of this amazing group of people, YouTube and all of the other media sources that provide us "entertainment content" today couldn't exist.

RerunIt.com is my way of saying, "Thank you" to that generation of media pioneers.

I hope you'll check it out.

BL

Can I Have My Excedrin Back?

2008-08-14T07:28:00.000-07:00

What a waste of two tablets. I was on the verge of a migraine wondering how us managers, my agent friends and all of the actors I know (and those I don't) could survive another work stoppage (read: strike) in the business of acting. Then the results of the new AFTRA contract vote were announced and then ... nothing!

It feels a lot like gay marriage. It became the law in California (at least until November) and the clocks still tick, the traffic lights still work, and gas prices are still too high. Now, we have a new AFTRA contract that, according to the SAG leadership, would, if passed, have been the ruination of all things we have come to know: Actors would stop seeking work as actors; sportscasters and newsmen in Peoria would start to dictate how much "top of show" on a sit-com would be; why, it looked, for a time, that had SAG prevailed in its mission to derail the new AFTRA contract, that we might even have seen the end of talking pictures!

A little sarcastic? Well, maybe. A lot sarcastic? Definitely, though all in the journey of making a point.

There was so much negativity circulating in the business of acting community about what union members should do, what they should not do, how all would suffer if the new AFTRA contract was ratified by its members. And what was accomplished, really?

It's been a month since the vote and it's been business as usual -- and while AFTRA has a new work agreement in place, SAG, still, does not.

Both unions need to be (back) in the business of representing the best interests of all of their members and not in the business of politics. There has never been a level playing field in the business of acting; there never will be. It's hard enough in a business where talent has little to do with who gets the jobs. Both unions need to focus on bridging the divides that exist. That's in the best interests of the members of both unions. Going out on a limb, it might even be time to perform a "gay" marriage of another kind and merge these two entities so that they can move into the future as one, united force. In the end, we're all in the same business. Let's behave that way.

If you have a comment about the "new" landscape as the dust settles from the Battle of the Unions -- and how both unions should proceed from here, post your comments here or e-mail me at blemack@TheBusinessOfActing.com and I'll share them.

BL

The Score is in For Round One: AFTRA 1; SAG in PR Trouble

2008-07-09T10:01:00.000-07:00

Last night AFTRA announced that its new, three-year contract was ratified by 62.4% of its membership giving it the victory sought and, in the process, backing SAG leadership into corner in their own contract negotiations with producers and studios.

In its attempt to put a PR spin on the nasty, dead-on-arrival campaign undertaken by SAG to convince its members (who are also AFTRA members) to vote down this agreement, SAG President Alan Rosenberg released a statement to the press claiming a “moral (if not numerical) victory” against AFTRA. Rosenberg claims that less of the eligible voters voted for the new contract because of SAG’s high profile campaign to derail the agreement they believe isn’t in the best interests of (union) actors.

Maybe the reason the AFTRA agreement was voted in by a majority of AFTRA members is simply because a majority of AFTRA members believe it’s the right agreement for the landscape in which the business of acting currently operates?

SAG has a duel problem now, one that is rooted in a tainted image both within its own membership community and with the general public. Its divisive campaign against AFTRA pitted actor against actor in a battle that has caused far greater damage than anything positive achieved by it. It’s not that SAG waged this anti-AFTRA campaign; it’s how they did it.

So, Mr. Rosenberg, go ahead and claim a “moral” victory for your union, but what about the moral decline and confidence slip in SAG so many of your fellow members now feel because of how SAG behaved throughout this process? How do you now ask these same actors to sit (or morally stand) side-by-side to help you achieve a new SAG contract that most industry insiders now believe is unachievable because of the position you and your team have placed your union in?

My clients, like most actors, just want to the ability and the opportunity to work. They’re not necessarily “political” people, but they are all people of “morals” who, today, feel very unsatisfied, not because of the ratification of the new AFTRA contract (that most of them voted for), but because they’re uncertain how their other union can now possibly go to bat for them, as actors, when the leadership seems too concerned and too preoccupied with playing a different game that has little or nothing to do with them.

Politics and show business … neither should be entered into lightly. Usually, blending the two creates an environment where someone usually ends up paying a price. Have you seen the Dixie Chicks documentary “Shut Up and Sing?”

Your thoughts and comments on the AFTRA vote and where both unions go from here? Post on the Blog page or e-mail me at blemack@TheBusinessOfActing.com.

BL

Actors ask, “Who’s union is it anyway?” as AFTRA members cast ballots

2008-06-30T14:27:00.000-07:00

Reaching a peace accord in the Middle East might be easier than what it will take for AFTRA and SAG, the two actors union, to come together after the eventual end of SAG’s divisive campaign to get dual union members (those actors who belong to both SAG and AFTRA) to defeat the new work agreement assembled by AFTRA that is being voted on right now.

July 8 is D-Day in Hollywood. That’s the date AFTRA officials will announce the results of the voting by their members on whether or not to ratify the new contact. SAG has spent a ton of its member’s money in a nasty campaign to attempt to get this contract kicked out of Hollywoodland. SAG says that it can negotiate a better agreement for all actors. But SAG has also made a lot of enemies in the process of their own negotiations with producers and studios, none the least of which are members of their own union.

Regardless of what happens on July 8, one thing is clear: SAG will have a lot of kissing and making up to do once the dust has settled. Whether or not the AFTRA deal passes, the bigger picture of “What next?” will still linger.

Regardless of how AFTRA members vote, the current SAG contract still expires at midnight tonight. Regardless of whether the new AFTRA contract is approved, SAG will still be contract-less, unless a deal is reached today or night, which no one expects can or will happen.

Assuming the AFTRA deal passes (and many industry observers believe that it will), SAG will be left with a big mess to clean up. But that can only happen after they finally get a contract of their own they can present to their members that is worthy of a “yes” vote.

The (union) actors I have talked with about this issue seem to all agreed that they just want the opportunity to work whenever and as often as they can. Yes, they want to be compensated fairly for their talents and their contributions, but the last thing any of them seem to want is a work stoppage, thus titling the playing field into “out of order” status for a community much larger than just actors.

What a tangled web. This is a crisis of image and reputation that will require lots of strategic PR for both unions to fix. In the end, it’s also going to require a lot of bridge building. The two unions exist to serve the same population, not to pit member against member.

How do you feel about the damage done and the need to rebuild those relationships for both unions? Post your comments here or e-mail me at blemack@TheBusinessOfActing.com.

BL

The AFTRA SAG Dilemma - Is an Actor's Strike Now Inevitable?

2008-06-19T12:33:00.000-07:00

Could there really be another strike in the offing in the business of acting and, if so, what would that really mean to most “working” and “wanting to work” artists?

As SAG and AFTRA publicly battle out their differences and disagreements with and over a new contact AFTRA has secured that SAG claims is almost evil, what, really does all of this mean? Who’s to blame? Is a strike inevitable? Where do we go from here?

One at a time …

I was one of about 50 or so managers who participated in an invited meeting with SAG leadership last week to hear their side of the AFTRA contract story and to hear them plead their case against the new AFTRA contract, which members will soon be asked to vote on, SAG's position is that the AFTRA agreement is not good for actors of any union nor the business of acting in general. That's what they said, But, let me be honest. What I heard (instead) seemed to me to be a lot of propaganda that seems to be rooted in protecting the business interests of the union and not in the best interests of the members of either or both unions.

It’s all economically-based. The bottom line is always the bottom line. Yes, actors, performers and artists should be fairly compensated for their talents and their contributions in a marketplace that has seen far less of the fair share go to them and more and more going to the studios and the producers. But how do you level the playing field? There in lies what should be the crux of the issue for both sides.

Since union members pay their bi-annual dues based on a percentage of the union work they have been paid for, it is in the best (financial) interests of both unions to scoop up as many production contracts and affiliations as possible. SAG, the long time leader in this area, stands to lose a huge chunk of change if productions that have been (or would be SAG sanctioned), started becoming produced under AFTRA’s jurisdiction. On the other hand, AFTRA stands to gain tremendously by collecting increased dues from its members who would work in formerly SAG jurisdiction productions that they would now control.

Yes, the talent should be paid more for Internet use and downloads of material in which they appear. Yes, talent should share in a greater percentage of the profits from DVD sales on products containing their work. Of course talent should have control over where and how the use of clips containing their images and performances are licensed.

But my fear is that what now seems to be a school yard bully fest started by the SAG leadership isn’t getting anyone anywhere, except closer to a strike that no one can afford.

The long-term solution is unity, not divisiveness. SAG’s behavior isn’t productive in this process. AFTRA played politics, too, in this election season and, for now, seems to be ahead.

So where do we go from here?

It was historic that SAG, who has never before officially welcomed nor acknowledged the role we talent managers play in the life of a client’s career (in fact, they have gone out of their way to take a stand against us, as witnessed in Rick Siegel’s long legal battles in the California State Supreme Court over the rights and protections of managers to be paid for the work they do for the clients who hire us).

Interesting that now SAG thinks we matter; interesting that now SAG recognizes that we have some positive influence with our clients in the decisions they make regarding their careers; interesting that SAG has tried to “sell” us on the merit of our (union) clients turning down the AFTRA deal in support of what SAG claims it can better achieve later. Interesting that SAG now wants us to take that message to our clients.

AFTRA hasn’t invited me to any breakfast meeting, so it doesn’t appear that they’re all worried. It’s not that I’m looking for a free breakfast or a commute to Museum Square at 8:00AM, but it remains interesting that they have been silent to the talent managers community at large on this issue.

What does all of this mean?

Who knows, really? I just get to rant and share my perspective – hoping that you will do the same. For union actors, a strike would be devastating. For non-union actors, I really think that, while things slow down, things won’t stop. Non-union actors will work as they always have (for non-union wages); union actors who elect to take Financial Core status will also have a opportunity to work (in non-union projects), but to what end and how many will actually go this route.

An actor acts – or ought to whenever and wherever possible when it makes sense to do so. For new or young actors, very little will change, strike or no strike. The leadership of both unions say that these struggles are not just for now, but for the future.

I’d say it’s looking pretty bleak right now.

I hope I’m surprised by the outcome of all of this. Agencies, casting offices, managers, writers, producers, directors are all still struggling with trying to emerge healthy from the writers strike of not so many months ago. How possibly could most survive in the climate of another ugly strike?

It’s all perspective and opinion – and I’d love to hear yours. Post your comments directly here or e-mail me at blemack@TheBusinessOfActing.com.

Here’s hoping for a sane strategy to follow …

BL

Class of 2008: Ready, Set, Launch!

2008-05-16T17:33:00.000-07:00

It’s that time again: Graduation! Parents rejoice in the celebration, amplified by the realization that they’re done paying for their children's educations, while students also rejoice in the celebration, tempered only be the slow onset of the realization that soon enough debt incurred during college will soon be theirs to manage.

With degree in hand, millions of graduating college seniors will seek to begin their career journeys in their chosen fields, counting on their education, their training and their potential to carry them far. While that is often the case in most fields, it’s hardly the case in the business of acting.

There is no level playing field in this business; the best, most qualified person rarely gets the opportunity simply because they are the best, most qualified person for the job (or in this case, the role).

What’s a graduating performing arts or acting student to do?

1. Think strategically.

2. Create a plan for your immediate future that consists of how you intend to generate income while you pursue your career.

3. Be gift smart! Ask anyone who might gift you for your graduation to gift you with something that will really benefit you. Instead of a watch, a business suit or a gift certificate to your favorite store, ask for financial assistance in launching your career.

The Business of Acting Conceptual Gift Registry strategy is yours to use for free.

Ask for money towards a professional photo session; ask for money to help you pay for post-college, professional-level classes and workshops; ask for some assistance in helping you get your professional actor’s tool kit in order by helping to pay for your online subscriptions to the critical resources you will need from day one: ActorsAccess.com, LACasting, Back Stage and/or Back Stage West.

It’s always nice to be gifted, but in this economy when giving can be tight or impossible for some people, accept whatever assistance you can in any form that you can get it to help you in your early career journey.

You can’t get to step one, until you have gotten through step two. With confidence, fortitude and the belief that your talent and skills, will always be a work-in-progress, but will also take you far, you can do this!

Creating a business plan to help organize your life as you launch your career will empower you in these early days of your transition from student of the performing arts to working, professional actor. There is a step-by-step guide to help you do this in a chapter devoted to this topic in The Business of Acting book. You can also access my Back Stage West article on the topic to help you get started.

My congratulations to the class of 2008! I know what a struggle getting to this point has been from time to time. I also understand the fear generated from the uncertainty that awaits you. This is the time to seek inspiration and support from friends and family who want nothing less for you than you seek for yourself.

I know that as my students from this year’s classes at the Emerson College Los Angeles Center begin their transitions, they do so with respect for the process and the knowledge that each person is own their own, individual career journey. No one will ever be able to take from you what is yours to have. They also know that opportunity knocks when you’re ready for it. Train for that opportunity in strong, healthy and emotionally fit ways. These are important concepts to embrace for all of you.

I wish you all much success as your take your first steps and hope that you will also share with us your progress and lessons learned along the way.

If you have a comment or question, please post it here or e-mail me directly at blemack@TheBusinessOfActing.com

BL

Driving in L.A. is taxing enough; The least you can do is deduct it!

2008-03-09T17:30:00.000-07:00

It’s tax season and before you get too deep into what you might owe for the privilege of having worked in the business of acting in 2007, don’t forget to take a good look at what it cost you not just to generate the work you did but, what you spent – or rather invested in support of your career.

I call it “Fiscal Fitness” and chapter 9 in The Business of Acting discusses how to organize your business life to take advantage of all of the write-offs and deductions you’re legally entitled to take. It’s true that you have to have earned money as an actor during the reporting year (and actually report it as income) in order to write-off related expenses. But it’s also true that the expenses you incur in the pursuit, development, education, training and growth of your career can be worth some money back into your pocket if you do it right and if you follow the legal rules.

Because you are your own business, you’re entitled to file a IRS Schedule C with your 1040 tax return form. This is where you get to list all of the items you spent money on during the year. Most actors know that the cost of photo sessions and photo reproductions are deductible. But you would be surprised to know that there are a large number of actors who either don’t know or don’t remember to deduct the costs of other key expenses, like the cost of your memberships to Web site services such as ActorsAccess.com and LACasting.com and the costs of those holiday cards you sent to your industry contacts (including postage).

Another often-overlooked deduction is the cost of parking when you go to an audition. Cash-strapped actors (even actors with lots of available cash) rarely will park in the rip-off garages of office buildings where the privilege of parking for the duration of an audition could easily set you back the cost of a week's worth of Starbuck’s lattes. Street parking is (usually) where it’s at, when you can find it (which is why it’s always a good idea to plan to arrive at your audition location at least 30 minutes early so you’ll have plenty of time to hunt down a place to park without stressing that you’ll be late).

The government wants to see receipts, but what can you do if you’re dropping quarters and other loose change into parking meters that won’t issue you a receipt? Always keep a pad of small notepaper in your car with either a pen that works or with a pencil that actually has a point. When you can’t get a receipt for what it cost you to park, write down all of the pertinent information on a piece of paper: Day, date, time, location, how much money you put in the meter, the meter number and what the audition you went on was for. When you get home, put the piece of paper into the file box you created (every year!) just for this purpose in the folder you’ve labeled “Parking Expenses.” At the beginning of the next year, when you begin to add up what your career cost you, total up the “receipts” you’ve generated and accumulated and viola! Now you have a legitimate deduction.

Of course, parking expenses incurred during the course of conducting your business during the year aren’t just limited to when you go to an audition. Parking for a class, parking when you have a meeting with your agent or manager, parking when you go to see the new George Clooney film to study his process of character development … It’s all money spent in the development of your career.

Often, even the mileage you drive to and from these career-related activities can be written off against a percentage against your earned income.

Check out chapter 9 in the book for a handy worksheet listing all of the deductions you may be entitled to. The chapter also offers up a perspective on other fiscal fitness matters that might prove helpful to you. You should also talk with any CPA or certified tax preparer, although one who specializes in the business of acting with clients who are actors or other creative types will ensure you get someone who “gets” the uniqueness of the acceptable write-offs for you that people in other industries wouldn’t get.

True, I’m not a CPA, but I am a “businessperson.” Besides, I’ve learned a lot over the years from my own CPA and financial guru, Christopher Debbini. At least I can pass some of that on to you. We’re entitled to write-offs that standard employees are not. The worse thing that you could do is to not take advantage of what might be due you in return for filing your return.

Consider all of your options as you consider how to tackle tax season 2008. Happy calculating!

Your comments and questions are welcome. You can post here or e-mail me directly at blemack@TheBusinessOfActing.com.

BL

Post-Writer’s Strike Presents a New Landscape With a New Challenge For Actors

2008-02-29T14:21:00.000-08:00

There is danger when one becomes a “Blogger.” It’s a danger that lies within a Blog’s reader or host site visitor that new Blogs will be posted often and regularly and be current with the times. The truth is that, for this particular Blog and this particular Blogger, only three of those criteria apply. I am, admittedly, not a person who posts “often”; I’m not a person who posts with any predictable regularity. I am, however, a person (at least I think of myself this way) whose posts are “current.” That is to say, when I have something “relevant” to contribute, I do so. So, with appreciation to all of the people who write me and ask, “It’s been three weeks. How come there hasn’t been a new Blog lately?” the answer is rather simple. I really haven’t had anything to say.

Having said all of this, I also want to say how appreciative I am of the loyal following “The Business of Acting Blog” has achieved. I value the time you take to return here to check out my ramblings, my opinions and, hopefully, some pieces of sound advice and perspective.

Now, let’s get down to business.

Indeed, today, I do have something to say.

As busy as it has gotten in the last two weeks around town, it’s almost easy to forget there ever was a writer’s strike. Literally, over night, the amount of casting notices sent to agents and managers alone increased by tons. Well, not “tons” exactly. But it was a lot!
In the frantic state to get back to business, it seems to me that several strike-related developments that may have been resolved to the writers’ (and directors’) satisfaction, have the potential for many actors to have to pay a cost far larger than any writer on the strike line paid during the walk out.

The landscape that is the business of acting has forever changed. What has since transpired in just a short period of time is not just a trend that may eventually pass. We have a new level of how business will now and forever be conducted that needs to be addressed.

CBS-TV, in the their search for how to serve up new content in the future that will be as strike-resistant as possible (regardless of which union is the instigator), has decided on filling critical programming slots with purchased programming from foreign producers, particularly Canada. Yes, Canada is a “foreign” country, with a prolific entertainment industry of its own. CBS folk realized that massive dollars could be saved and viewership loss potentially salvaged by purchasing already produced-and-on-the-air programming from Canada for its own American primetime line up.

Then there was word from NBC-TV that they were changing the playing field that used to be known as pilot season. According to NBC, pilots are now out. The peacock network intends to save (GE shareholders take note) millions of dollars each year by not producing pilots. So where will new content come from? Most likely, from seasoned, proven, previously successful producers who will pitch a concept, maybe offer up an abbreviated presentation of their idea and go from there. Not to be outdone by NBC, CBS itself announced in the trades days ago that pilots are all but dead there, too.

Why does this matter to actors?

It’s simple. To me, it translates to less opportunity all around. Less programming locally grown, less product locally developed, less work for local actors.

The writer’s strike, unfortunately, also gave a another life span to a round of ridiculous “reality” programs that any smart viewer should be embarrassed to admit to watching, especially actors. For every reality show on the air, there is less work for actors. It’s a big win for broadcasters who love the fact that this stuff is cheap to produce. With audiences fleeing broadcast television in huge numbers, ratings are down, ad revenues are down and networks are struggling to find a way to both embrace the new technology and to create a new demand (and find new audiences) for their over-the-air programming.

It’s all about commerce and economics. After all, it is the “business” of entertainment.
When all is said and done, in this new environment, actors must be smart, pro-active and forward thinking in new ways to both empower their careers and survive the changes until the dust settles and America has had enough (again) of “American Gladiator,” “Celebrity Apprentice” and the spate of other shows that have overpopulated the airwaves with content for cash at any cost, and with a job loss for actors.

I was also going to carry on about this year’s Academy Awards telecast, to, which you perhaps have heard set a new all-time low record for television viewership of this annual, aging (now apparently former) American tradition.

With gas approaching $4.00 a gallon, movie tickets over $10 each in most markets, and even Starbucks struggling to discover a way to serve up a cup of coffee for $1 to bring back their former throngs and still make a profit, things are changing all around us. It is, indeed, a new world. Broadcasters cannot successfully program the same way they did even five years ago.

What does all of this have to do with the business of acting? Everything. Producers must be in touch with the attitudes of the “new” audiences; actors must be in touch with the demands on producers to create content to attract these new audiences.

Push the envelope. Think outside “the box.” Don’t be afraid to push your own limits in the pursuit and growth of your career in this new landscape by creating content – and thus opportunity for yourself. ABC/Disney has smartly embraced the technology that is the new media by offering up a slate of Web-only series to the previously network-only advertisers. Lots of work for actors in the creation and supply of this content can only be a good thing. This is a trend I happily embrace. It seems that the need for “unlimited” programming for the “new,” global audience potentially presents lots of opportunities for actors. An article on the cover of yesterday’s (2/28/08) Los Angeles Times business section discussed ABC’s move into this new world and is worth reading. I have sent the link to all of my clients and here it is for you:

http://www.latimes.com/business/printedition/la-fi-disney28feb28,0,7683008.story

It’s worthwhile reading.

Next time, I’ll tackle something far less important, like how to save some money of your taxes. ☺

Please feel free to share your comments. Either post here or e-mail me at blemack@TheBusinessOfActing.com.

BL

Court Ruling is a Start in Managing Manager and Client Relationships

2008-01-29T09:05:00.001-08:00

My friend long-time personal manager Rick Siegel won an important victory yesterday that potentially impacts every manager/client relationship in the business of acting.

After fighting in court for several years to recover commissions owed him from a client who decided not to pay him for his alleged violations of the Talent Agency Act, Siegel decided not only to take on his former client, but to take on the system, as well.

In today's Los Angeles Times, reporter Josh Friedman writes about the history of this issue and the ruling. It deserves to be read. Here is a direct link:

http://www.latimes.com/business/la-fi-managers29jan29,1,7380326.story

I sent Mr. Friedman an e-mail this morning with some of my thoughts on the subject. In my e-mail, I wrote:

"This ruling is, indeed, a step in the right direction, (however), as a talent manager for more than 25 years, the issue and ruling currently on the table fail to address one very key issue in the landscape in which many of us conduct business, and that is: what about those actors who either can't find a talent agent to represent them or those who choose to have only a manager represent them?

Remember, whether agent or manager, it is the client who hires us. We work for them.

With about (roughly) 110,000 members of the Screen Actors Guild, tens of thousands of AFTRA members and countless of other non-union actors, there are simply not enough agents in the business of acting to represent all of the actors who seek representation.

It is this imbalance that necessitates that managers do a lot of the same (sales) work previously associated with agents alone, in addition to the 'career development' we allow 'allowed' to do.

The truth is that no actor who seeks a manager wants that manager to do anything less than everything they can do to get them and keep them working, whether or not an agent is a part of their bigger picture. The unions and the law ought to embrace our efforts. Whereas the unions earn semi-annual dues based on how much an actor earns during a given reporting period, why should they care who is involved with getting that actor work as long as the actor pays what they owe?

We are not a threat to the talent agency community. Many of us do work hand-in-hand in the representation of some clients. But many of us also work with actors who are flying solo. We all need protection on that journey: The actor needs to be secure in the legitimacy of their manager and the manager needs assurance that they will be paid for their work.

This isn't really much of an issue when an actor is young, new and/or struggling. It's when that rare commodity of success strikes that, for some of them, things can start to look a little different in that albeit often temporary light that bounces off a contract to work."

As an actor, how do you feel about this ruling?

Please feel free to share your thoughts on this issue. Post your comments here or you can reach me by e-mail at blemack@TheBusinessOfActing.com.

BL

All I wanted for Christmas was … a settlement! A new year’s perspective

2008-01-03T17:16:00.000-08:00

I was hoping to return from the holiday break to find that Santa (or Hanukah Harry, perhaps) had left a gift of settlement in the writers’ strike for all the connected and not-connected-but-impacted-anyway. No such luck. While this week, you can get up to 50 to 75 percent off on already reduced merchandise in nearly every store in nearly every mall in American, it appears that there are no “salvage the season” deals to be had between the WGA and the producers.

Of course it was good news for David Letterman’s writers that Worldwide Pants (Letterman’s company that owns and produces his late night show) had struck an interim deal with the WGA for those folks to return to work, although it seems to me that Letterman’s playing field is in a different ball park all together, thus, perhaps, the reason an interim deal was possible or easier to structure.

It’s really the movie and theatrical television production areas that are at the core of this battle and it looks like pilot season 2008, already on life support, is about to be given its last rites.

What does all of this have to do with the business of acting? Plenty. At whatever stage your career is currently at, there’s nothing quite like a work stoppage (whether or not you agree with it) to kill your momentum.

As I wrote in my last Blog entry prior to the Thanksgiving holiday, now is not the time for actors to do anything drastic. This is not the time to seek first time or new representation; this is not the time to talk with your current agent or manager (if you have one) about why you haven’t been getting out lately. Instead, this is a great time to work on addressing the other critical needs in the business of your career that matter all the time.

Is your head shot current? Is your resume up to date? Have you updated your profile and resume on self-submission sites such as ActorsAccess.com and LACasting.com (if you are listed with one of these or another similar type service)? Spend some time hunting down and reading new or undiscovered (by you) plays. Get together with fellow actors and perform readings of some of this work.

It’s important that you keep your engine tuned all the time, but, particularly, during this extended down period when the opportunity to audition has been taken away from most (union) actors (commercials and theatre excepted, of course).

Stay positive, keep the faith. Soon, once again, Donald Trump will utter “You’re fired” one last time and the new, heavy crop of reality shows will once again give way to a renewed energy in the production of scripted everything.

The new year is still very, very young. This can still be your best year yet in the business of acting.

Happy 2008.

Brad Lemack

Actors ask: "Is now the right time to strike up a new relationship?" No!

2007-11-26T16:26:00.000-08:00

I have heard from a lot of actors in the last two weeks who seem to think that this (writers) strike environment is a good time for them to seek a new agent or manager. Absolutely not!

While it is a positive sign that the writers and the producers have met at the bargaining table today for the first time since the strike began, let’s take a look at what the implications are of the strike time already passed, in terms of actors and representatives.

No scripts continue to mean no (or greatly reduced) production; no (or limited) production continues to mean less and less roles for (union) actors to audition for; less auditions mean less possible jobs, which translates to significantly reduced opportunities for everyone to earn money, from actors’ salaries to agents’ and managers’ commissions.

The result is that many agents and managers (and casting directors, for that matter) are struggling to hold on to what they have. Many have already had to made staff and/or salary cuts to endure the landscape, particularly small and middle-sized agencies. Many agencies are also using this time to review their client lists and are making drastic cuts and changes.

In short, don’t seek representation (or new representation) at this time. Let the dust from the strike settle, as soon as the strike is settled. Then, get pro-active about seeking what you need to help fill the many, many acting jobs that will exist as soon as production starts up again. Instead, use this time to do your research and to prepare the campaign you will undertake as soon as the writers are back at their laptops.

Hang in there, be patient, and let’s see what day one back at the negotiating table brings us all.

BL

As the writers strike, what next for actors?

2007-11-06T18:11:00.000-08:00

Several actors have contacted me yesterday and today to ask about how I feel the strike will impact them specifically and how it might affect the business of acting in general.

All of the major news outlets are providing excellent coverage of the strike and related developments. My go-to sources these days for current and developing strike information are the WGA Web site (wga.org), Daily Variety (variety.com) and the actor union sites (aftra.com and sag.org). The Los Angeles Times has also been an excellent source of information and perspective (latimes.com).

As for how the strike stands to impact actors, that depends on what kind of an actor you are now (union or non-union) and what kinds of work (commercial and/and theatrical) that you seek and audition for.

You can continue to audition. What will change this is the availability of scripts. If a film or TV show already has completed scripts (and most do, for series television about five weeks of stock-piled, ready-to-shoot material), no problem. Let it also be said that should the number series regular actors honoring the strike escalate (“The New Adventures of Old Christine,” “The Office,” “Back to You” and others have already ceased production due to series stars supporting the striking writers), work will stop quickly everywhere.

In those shows that continue in production, as their scripts run out (and they are expected to before the strike ends) then, one-by-one, production all around town will cease. No scripts means no productions which means no casting which means no auditions. When that happens, we can all apply for benefited jobs at Starbucks (where even part-time employees receive health insurance). That is if half of them don’t close their doors from a serious drop in business, the result of less people in need of their daily caffeine doses and more in need of yoga.

By the way, commercials are not impacted by this at all. It is expected that, at least at this time, commercial production will continue uninterrupted.

Once the writers are done, it will be the directors and actors up at bat next. Let’s hope a positive precedent is set this go around so that further work stoppages and the financial pain they bring can be avoided.

Will the strike be worth it in the long run for industry players at all levels. We shall see. We shall all anxiously see.

BL

The value of a good audition is not in booking the job: A tale about one casting director

2007-10-23T11:05:00.000-07:00

I received an e-mail from Mike, an actor and former student, who wrote to tell me about his audition experience two weeks ago for an episode of a new television series. While the name of the show isn’t important, the story about his audition is.

Mike wrote:

"I auditioned yesterday for a new TV show. When I entered the room for the audition, the casting director examined my resume and asked my union status. I told her I wasn't in the union; I’m not even SAG eligible yet. She let me do the audition anyway, which was only a single line. She was pleased with the audition (or so it seemed). However, she proceeded to tell me how she couldn't use me because she had used all her Taft-Hartleys earlier in the season (the audition was for episode 14). She explained (in great detail) how new shows that use young actors often use their THs faster than shows that have been on for a while (she used “CSI” as an example). She was very kind and honest about the situation and asked me to send in a post card when I am union. I've made sure to focus on the positives here and not dwell on my current non-union status and the job I think that that current status cost me."

I have written before about this issue, but it’s worth another look.

Was Mike wrong to go in to this audition knowing that he was non-union? Was the casting director wrong to audition him knowing that he wasn’t eligible for hiring?

The answers, for me, are both “no” and “no.”

An opportunity to audition is a gift to meet, network with and impress a casting director. The actor’s job in any audition situation is not to (necessarily) get hired, but to make a favorable enough impression on the casting director so that the actor will have the opportunity again and again to audition for that person. Getting the job is great, but getting asked back is what careers are built on.

Mike was right to be honest about his union status when asked. The casting director will find out eventually and better it be from the actor in an audition situation than from the union after the casting director has hired him for the job.

The casting director may or may not have known Mike’s union status when she called him in. If you’re in the union or if your SAG-Eligible, it belongs on your resume. It didn’t appear on Mike’s, which was truthful and honest on his part. You would be surprised how many actors lie about this on their resumes only to have it come back and bite them in the ass later.

Casting directors rarely have the time to meet with new actors. Rarely do they have the time to do so. I admire this casting director for taking the time to meet with Mike. Whether or not he was hirable, she did him – and potentially herself – an enormous favor. For Mike, she gave some attention and interest that felt very empowering to him; for her, she became familiar with a new (young) actor she didn’t previously know who she will watch out for later, when he is hirable for her. This is a very good thing. Now, Mike knows a casting director he didn’t know before and one who took the time to advise him in a way that was supportive to his career.

Incidentally, a young client of mine found herself in the same position with the same casting director last week. She got called in for a role she was indeed right for, but later learned she couldn’t be hired for because of her non-union status. So what? She got to meet with a casting director who clearly likes actors and she, because of a great audition, opened the doors to opportunities down the road with this casting director.

Recognize opportunity when you see it and when you get it. It’s not about jobs, it’s about business.

Thank you, Mike. Good student; empowered actor!

If you have an experience in the business of acting you would like to share, please submit a post here or e-mail me directly to blemack@TheBusinessOfActing.com.

BL

Casting an impression is more important than getting the job ...

2007-09-26T10:02:00.000-07:00

Casting directors are an interesting, new breed these days. In the new landscape that is now the business of acting, there just isn’t the time there used to be for casting directors to get to know the pool of new, undiscovered talent out there. They have enough stress remembering the pool of working actors they already know. It’s not their fault; it’s just the nature of how the casting business has to function.

Time is of the essence, especially for the casting of a weekly series. Casting directors have to rely on three primary sources for information about qualified talent to audition for the roles they have available: the Breakdown Services, existing relationships with agents and managers, and their own files of actors they have met and /or cast before who made a great impression on them during the casting process.

I address some of these issues in chapter 5 of The Business of Acting (“A Casting Director’s Perspective”), but it bears repeating. Actors who get the opportunity to audition all too often focus on getting the job and not on doing a good job in that process.

Let me clarify. The actor who is so focused on preparing for an audition, but who is unpleasant (or perceived by the casting director to be unpleasant) will still get their chance up at bat – this time. But the residual impact of their negative behavior can haunt them long after they have left the casting director’s office.

Anyone can book a job, really. Eventually, you will book. But, getting called back by a casting director who auditioned you for one project and who wants to see you for another project (or another episode) they are casting is a huge deal.

As hard as it is to get a professional audition in this business, it’s tougher to get seen twice – unless the impression you made the first time was one of total preparedness, pleasantness and professionalism all around.

My casting director friends have told me stories of actors who have been pleasant enough in the room with them for an audition, but who were rude or outright mean to their assistants in the waiting room. This kind of behavior doesn’t go unnoticed – and, believe me, at the end of the casting day, that assistant is giving a “bigger picture” view of the day to their boss. Unprofessionalism in the waiting room or to anyone in the process of the audition (whether it be to an assistant or another actor), will get you on the casting director’s always growing list of “Never To Be Seen Again” – and those lists really exist.

Today’s lesson: Booking a job is one thing; building a relationship and a reputation is another. Head’s up on everything associated with the audition process. Even a great actor can be harmed by a bad attitude. It happens every day in the business of acting.

Your comments are invited through a direct posting here or by e-mail to blemack@TheBusinessOfActing.com.

BL

And the winner is …

2007-09-17T10:36:00.001-07:00

While watching last night’s 59th Annual Emmy Awards telecast, memories began stirring back to the 1981 awards presentations (26 years ago!) when I watched my first client and friend Isabel Sanford win her (first and only) Emmy Award as Best Actress in a Comedy for her portrayal of Louise Jefferson on the then long-running, first run, CBS-TV series The Jeffersons.

Isabel had been nominated several times before, but never won. There had been numerous other important awards bestowed upon her during her life. As appreciative of those tributes as she was, the elusive Emmy was a career milestone she longed for. It wasn’t that the other awards weren’t important. They were – and she proudly displayed all of them in her Los Angeles home. But, the Emmy was special to Isabel. It represented a level of recognition from her peers and the industry that mattered deeply to her.

To a woman who didn’t become a working actress until well into her 50’s, a time (as I write in my introduction to The Business of Acting book) by which most others would have long before given up, Isabel’s belief in her ability to make a living as a working actress never waned.

The first words of her acceptance speech were, “At last.”

That Emmy evening 26 years ago marked two very important milestones: Isabel, at long last, felt as if she had finally achieved career success and, in doing so, became the first and only (to date) African American to win the Emmy for Best Actress in a Comedy.

While the genre of television comedy has changed significantly since 1981, the goal of television comedy has remained constant since Milton Berle first put on a dress to get a laugh in the early days of television. Laughter heals, laughter brings people together, laughter is good for the soul. These aren’t “Brad Lemack-isms”; studies have proven this to be true.

Television audiences, both young and old, continue to laugh at the humor The Jeffersons serves up in reruns on TV Land. While established fans love to revisit a favorite show from the past, younger people who weren’t born yet when the series first aired are discovering Weezy, George, Florence and company and becoming new Jeffersons devotees in the process.

The endurance of the writing, the appreciation of the performances and the fan mail, particularly from the young, new viewers was important to Isabel. When she died in July 2004, she left behind a legacy that she earned through a lifetime of commitment to her craft and a sense of having achieved what she set out to accomplish. Against all odds, she was a winner.

“At last,” indeed.

BL

Self-Submit and Ye Shall Audition … Sometimes

2007-09-11T07:43:00.000-07:00

In The Business of Acting book, chapter 5, I write about the issues associated with actors who get a hold of materials from Breakdown Services and then self-submit on every role they think they are right for.

When this current edition of the book went to print, Breakdown Services had just gone online. With some, but not enough, security safeguards in place at the time, Gary Marsh soon discovered that a number of unscrupulous agents’ and managers’ assistants (and others) were supplementing their incomes by selling the new version of the Breakdowns to anyone who was willing and who could afford to pay for them (the practice also preceded the arrival of the online service when it was easy to simply copy the hard copy packet that arrived every morning).

It was simple enough for these people to violate the copyright laws that apply to Breakdown Services’ material. As individual breakdowns were issued, they were forwarded to the criminal’s “subscription” list.

Quickly and thankfully, Marsh and company created a system that identified each online breakdown with an imbedded code that identifies each authorized Breakdown Services subscriber and each authorized submission that subscriber makes. It’s all traceable.

Three things have resulted from this action: One, theft of Breakdown Services materials and illegal self-submissions by actors is way down; Two, those who have continued to break the law and steal the breakdowns for fun or profit have been caught and prosecuted; and Three, the creation and availability of actor-specific self-submission sites have flourished (particularly the Breakdown Services’ own ActorsAccess.com).

When I wrote in the book that I had never known of an actor who self-submitted on a project and actually got an audition from that self-submission, I was specifically referring to actors who submitted on illegally-received materials from Breakdown Services.

ActorsAccess.com and L.A. Casting, in particular, have, in many ways leveled the playing field for actors. Casting directors who place casting notices on these sites actually want actors to self-submit on these roles. While not all roles for all projects are posted on self-submit actor sites, many are – and many actors regularly do get auditions and jobs as a result of their self-submission through these sites.

Sarah, an actress in Los Angeles, wrote to tell me her story. She wrote:

I known that you are not fond of actors getting and submitting themselves from breakdowns and I completely understand your stance in this matter. Many actors may not really know how to submit themselves. But there is another side to that. In your book you mentioned that you have never known an actor who self-submitted for a professional project and got an audition as a result. Well, … I have! I have in the past submitted myself and, of course, then gotten an audition through my agent. How do I know that it was my submission that got the audition and not the agent’s? Well, I had some pictures that my agent didn’t like, but I used them myself. When I entered the room I saw that picture sitting on the casting director’s desk. Sometimes I’ve even seen the sticky-notes with my own handwriting still attached to pictures. And I’m talking about major network TV shows and films. It doesn’t happen very often, but it does sometimes. My agent wasn’t mad that I got myself an audition. We’re all on the same team.

Bravo, Sarah! The Business of Acting empowered pro-activity in action! Congratulations.

Do you have a relevant experience in the business of acting that you would like to share with our community? Post it here or e-mail me at blemack@TheBusinessOfActing.com.

BL

One "size" doesn't fit all: The search for the perfect agent or manager

2007-08-29T11:31:00.000-07:00

One of the questions I am asked frequently is "Can you recommend a good agent or manager?" Beth, an actress in Los Angeles, just wrote to ask me about this. In short, the answer is "No, I cannot." The "whys" and "becauses" are many.

Finding a "good fit" with an agent or a manager must be a personal pursuit. An agent or manager I personally like and get along with could be someone you loathe. It's all about dynamics and chemistry. My advice: Do your homework; do your research.

Ask fellow actors who are represented by people they like and are happy with to tell you about their experiences, but don't rely just on that. Do your own leg work to see who is out there and who is looking for new clients at this time (though this is a tough time of year to seek new representation because everyone is so busy with the demands of a new television production season).

Also, it's not always fair and/or accurate to judge the worth, value or effectiveness of any agent or manager by the clients they represent (who you may know of). Past or current success with any particular client is indicative only of success with that person's career journey and does not guarantee similar success will find its way to you by your signing with that agent or manager.

I have many agent/friends I could call and ask if they would take on a client of mine -- or someone else I recommend -- and I would probably get a "yes" from them. But that answer is not always in the best interest of the client or recommended actor. I am always quick to say that I'm not looking for favors; I always will be clear that I'm not looking for an agent/friend to take on a client just because I have asked them to do so.

I want any agent I approach to only accept a client I refer because it's in the best interest of the agent to add that particular actor to their roster. I want to be sure that the agent wants to pursue a solid business relationship that is in the best interests of all parties involved. For a client to be taken on as favor by an agent who won't really do the work because they are not personally committed to the actor doesn't serve anyone well, particularly the actor.

In this current climate, there is no need for every actor to have an agent; some will choose a manager, instead. Some will choose to pursue both.

Whatever path to representation you decide to take, make it a journey you have mapped out by yourself, for yourself. The opinions of other people you respect certainly do matter, but they should be used only as guideposts, not gospel.

If you have a story about how you sought and got representation that you would like to share, please send us a posting here or e-mail me directly at blemack@TheBusinessOfActing.com.

BL

The L.A. Theatre Dilemma: Showcase vs. Art – A perspective from guest Blogger and working actress Pamela Roylance

2007-08-15T10:05:00.000-07:00

I have been a big fan of Pamela Roylance for a very long time. From her contract role on “Days of Our Lives,” her regular series role on “Little House: A New Beginning,” to her more recent work recurring on the series “Jack and Bobby” and recurring last season on “Justice,” Pamela defines “working actor.” The fact that she has been a client and friend for 25 years has nothing to do with it. I admire her commitment to her craft; I admire the choices she makes; and, mostly, I admire her enlightened level of emotional fitness that feeds her professional and personal journey every day.

The discussion of the state of live theatre in Los Angeles came about after my attending a performance recently of the critically-acclaimed Elephant Theatre Company’s Equity-waiver, world premiere production of Robert J. Litz’s new play “One Fell Swoop,” in which she co-stars.

Getting involved with any theatre production is a huge commitment – or should be; lots of time, very little (if any) money. So, why then would any serious actor decide to do it?

Here is where the philosophical discussion begins.

As I have seen it, all too often there is a different art to small theatre production in Los Angeles than there is in New York. All too often, Los Angeles-based actors see a local theatre production as the opportunity to showcase their talents to a perspective audience of talent agents, managers, producers, television and film directors, and casting directors. Too often, I have seen too many Los Angeles-based actors use the L.A. stage experience to attempt to achieve something greater for themselves, instead of attempting to achieve something wonderful for the entire production. Doing theatre for art’s sake seems too often trumped by doing theatre for showcase sake, which removes the actor as “ensemble player” and elevates him or her to an “every man for himself” attitude.

Let me quickly say that this was definitely not the case at “One Fell Swoop.” What a terrific ensemble cast clearly committed to project – and the reviews show it.

Nonetheless, Pamela and I began a discussion after the performance about the state of Los Angeles theatre, in general. I found her perspective so refreshing, so helpful, that I asked her to join The Business of Acting Blog as a guest Blogger to share her reflections on this topic with our community.

You’ll have your opportunity to chime in, too, later. But, first, let’s welcome Pamela:

“I was playing a role on a daytime drama when a fellow cast member asked me if I thought it was important for an actor to do live theatre. I remember being so dumbfounded by her question that I couldn’t even find my voice for a moment. It had never occurred to me that an actor would not have spent time on the stage. I thought the theatre was where all actors came from. I wondered if she were either the bravest or the dumbest actress alive to step in front of a camera without knowing the fundamentals of bringing a character to life. Granted, stage and screen are separate art forms, but that foundation of stage disciplines and character development is critical for anyone wanting to act, whatever the medium.

So, that bit of stage philosophy aside, I ponder the question 'Why does an actor who is focused on carving out an on-camera career in Hollywood, choose to get back on the stage during her free time?' Money? Not here. Not Equity-waiver. Fame? Not here. Not equity waiver. So what is the attraction?

For me, there are several lures, not the least of which is the flood of a thousand memories that rushes through me, reuniting my senses with former times spent rehearsing and performing on a number of stages wrapped in the darkness of a theatre, in a variety of locations, with countless fellow actors and directors, wearing closets-full of costumes, handling cupboards-full of props, smelling the “greasepaint,” sensing the pulse of hundreds of audience members and enjoying the applause they offer. One simple footstep on a stage brings back every memory, and I feel like I’m home.

Then there is the challenge of the work that I find exhilarating. It’s the digging in, the uncovering and discovering, the creating and fine tuning of a believable character I can hardly wait to share with an audience. It’s the undeniable fulfillment that comes from submerging myself in the task of unveiling my vulnerabilities to myself, to my fellow actors, to my director and eventually the audiences. It’s the frustrated feeling I get when I’m not quite there yet with the character, and the overwhelming satisfaction that envelops me when I do finally get into her skin and know who she is. Plowing through the work like a farmer gives me the chance to hone my talents, to sharpen my skills, to get rid of lazy habits that may have formed, and to reconnect with the basics. And like the farmer’s harvest, the reward is enormous.

There is an undeniable thrill that comes from performing live. The setting is raw, it’s vulnerable, it’s risky and it has an immediate payoff. I love that kind of card stacking. You would think the instability of the career itself would be enough, but no, I like to keep the stakes raised within the career by exposing myself to this “no do over” challenge. And on a more stable note, acting “live on stage” also offers the experience of performing with continuity. I love the feeling of getting the ball rolling, controlling the energy, taking the audience on a journey, and telling the story from start to finish without interruption.

I also love the experience of building relationships between my cast mates and myself. There is great joy in learning to trust each other. It’s a huge payoff the moment I discover there is no place safer than on stage with these fellow thespians. I’m at an age now where my work is less egotistical than it was in the past. I find myself focusing on the awe and respect I hold for talented, disciplined, professional actors with whom I share the stage.

So, for this actor, yes, it is extremely important to do live theatre. My purpose for returning to the stage is simply to rejuvenate myself. I am fed by the challenge, rewarded by the relationships, warmed by the memories, improved by the practice and like a builder or gardener, satisfied and contented by the results. It’s a great high. What kind of actor would sacrifice that?”

Your comments are welcome by posting directly to the Blog or by e-mail to blemack@TheBusinessOfActing.com.

BL

The Actor's Lead Role, Both Pre and Post-Union Card

2007-08-13T11:05:00.000-07:00

I had a remarkable experience this past week. Simon Anthony Abou-Fadell, Program Director at SAG Foundation, had invited me to present my “Business of Acting” seminar to an audience of union members through the “Liferaft” program he heads.

At the end of our more than two-hour session with a very smart group of actors, I came away with an interesting, maybe even helpful, perspective: Union actors face many of the same career issues that non-union actors face.

Let me clarify. The career journey doesn’t seem to be any easier with a union card than without one (which will be very disappointing for non-union actors to learn; many of them think that a union card is the ticket to a lucrative career in and of itself: it is not).

It’s not any easier getting an agent; it’s not even any easier getting seen for work.

Union actors may have the opportunity to earn more money when they do work (compared to what their non-union counterparts might earn for the same kind of work), but the frustration to find and get hired for this work remains a force to be dealt with for most.

Becoming an empowered actor is becoming a smarter actor. Learning where to put your energies and where not to waste your time is key. As I wrote on the Book Updates page at TheBusinessOfActing.com, there has never been a better time to be either a union or non-union actor. The technology we all have available at our fingertips has made us all potentially better at what we do – and what we want to do more of.

The availability of online services that allow actors to 1) keep up to date on many projects being cast and 2) the opportunity to self-submit yourself on those projects that have roles in them that you believe that you are right for has changed the business of acting landscape. It has also necessitated that you be smart in your assessment of the various sites out there, what these various sites charge for their services, and the value of those services for the money they get.

Clearly, Breakdown Services’ ActorsAccess.com and Casting Network’s LACasting.com are the Los Angeles-based leaders (these services can also be used for actors based in other cities) and every actor needs to learn how to use these services to their fullest. It is one of the many positive things an empowered actor can do every day to avoid the negative feelings that can be stirred simply waiting for a phone call from an agent or manager for an audition for a job that you probably won't get. That's not me being negative; that's just the statistical truth.

I met a lot of terrific people at the SAG Foundation event. What struck me most was the positive attitude in the room. These SAG actors wanted to know how better to help themselves, certainly issues not unique to union actors, but issues and questions at the root of keeping a career journey moving in the right direction.

We talked about the self-submission services; we talked about empowerment in the audition process; we talked about communicating with talent representatives. We talked about the myriad of challenges in the new landscape that is the business of acting now.

I hope that one of the most important pieces of advice I left these folks with was a reminder note: Represented currently or not, never forget that agents and managers who you retain work for you. It’s not the other way around. As such, you have to be the CEO of your business. The product is you. Have a business day every day where you do something positive, some pro-active, in the interest of promoting your product.

It’s a big responsibility. I have met some actors (not at this seminar) who “just want to act.” Really, they belong in some other industry. You must take care of business. You will never have an agent or manager (even if you really like each other!) who will have as much passion for your career as you will have for your own career.

Take the reins and guide your team. Even if you are unrepresented and are a team of one, creating a business plan to follow will help guide you and inspire you.

There’s an entire chapter in The Business of Acting that will help you create your own, personal business plan; you can also read more about it in my Back Stage West article “The Product is You,” available on the Press Room page at TheBusinessOfActing.com.

Knowledge is empowerment and the SAG Foundation knows it and is doing something about delivering this knowledge to actors.

I want to give a special nod to the work Simon is doing at the SAG Foundation. His impressive and important “Liferaft” program offers assistance and leadership to members of all three unions (SAG, AFTRA and AEA). More of those who qualify for these services should take advantage of this opportunity.

I also want to send a special nod of respect to those actors who attend these free seminars. So often, actors feel competitive with each other. These events, instead, create, provide and foster a community where actors can come together to help and support each other – not just benefit themselves.

Bravo to Simon and those of you who take the time to become better at what you do through the process of the education and networking these events provide. To all of you who were present last Wednesday night, I thank you.

BL

East or west? How to avoid “coastal anxiety” in the pursuit of a career

2007-08-06T11:07:00.001-07:00

Many young, newly graduated American actors eventually are faced with a significant geographical decision to make as they consider how and where to pursue their careers. I also want to include the many new-to-the-business actors of any age who also face a choice.

Although most of these people will, from conditioning or desire, think there is only one choice, there are actually four options. The answer to the question of where to go is rooted in the answer to another question: What kind of actor are you now and what kind of actor do you want to be?

Do you seek a full-time career that will take you wherever opportunity leads? Do you want the opportunity to perform in local theatre, but keep a job or develop a career in another field ? Would you like to be a career extra? Is it theatre that is your passion or do you seek experience and opportunity in every area possible?

How you answer these questions will help determine in which direction you should head, geographically-speaking.

To help you answer these questions, ask yourself:

1. What kind of work do I most want to do?

2. Where do I need to be (geographically) for the best chances at securing this work?

3. What do I need to do to best prepare myself for this next move?

4. Am I financially able to do this now?

Then, read (or reread) chapter 3 in The Business of Acting, “One Step At a Time,” which discusses the necessity to and benefits from creating a personal business plan to follow through this process. You will learn step-by-step how to do this in the book. If you don’t have a copy of the book, you can read an excerpt from this important chapter from an article I wrote for Back Stage West, call “The Product is You,” which appears in the Press Room section at TheBusinessOfActing.com.

Having done this assignment, let’s get back to the “Where do I go” question.

Here are the four possible answers:

1. Go to New York.

2. Go to Los Angeles.

3. Go to city-of-your-choice.

4. Stay right where you are.

The “What kind of actor am I now” and “What kind of actor do I want to be” questions inform these answers.

If you want to pursue a professional, full time career in (primarily) theatre, go to New York, but be prepared for the challenges of both greater competition for every role and opportunity and for dealing with the challenges of financial survival in a big city where the cost of living is exorbitant.

If you want to pursue a professional, full time career in (primarily) film and/or television, go to Los Angeles, but, there, too, but be prepared for the challenges of both greater competition for every role and opportunity. Dealing with the challenges of financial survival in Los Angeles is similar to those your fellow actors who go to New York will face, with one major exception: transportation. If Los Angeles is your destination of choice, make sure to budget for a car and the costs associated with driving (insurance, gas, repairs, maintenance). This may all sound ridiculously simple, but you would be surprised how often I hear how bad-planning stories stopped a career pursuit in its path.

There are other cities in America with thriving arts communities and great opportunities to work as an actor (predominantly in theatre), including Boston, Chicago, Seattle.

For the person who wants to pursue acting as a passionate hobby and not as a full time career, fulfillment can be had by staying right where you are and getting active with local theatre productions in your community where great opportunities with minimal competition exists.

In short, there are opportunities to act everywhere. The journey to relocate to either coast to seek a career as a working actor is not a choice or a move to make too lightly or too soon. Many young actors set their sights on relocation right after graduation, but many are not prepared for what else comes with this decision: the ability to survive financially in the process of pursing their careers.

We each have our own journeys to make. Ask yourself -- and honestly answer -- the key questions to help you determine the when, where and why of your next step. Also remember, that any move isn’t forever, and it’s not the first or last time geographic options will present themselves during the span of your career. Do what makes sense for you to do at the time – and always be open to new possibilities along the journey of your career.

Thanks to Ken for e-mailing me about his current career “dilemma.” I told him that he’s not alone in his fear and frustration about where to go next, now that college is done. I hope this helps.

BL

There are always (at least) two sides to every story; The Non-Union issue, Part 2

2007-08-04T09:43:00.000-07:00

I received a lot of correspondence in response to my last Blog regarding the downside of non-union work. Many of those who wrote pointed out that in several places in The Business of Acting book, I talk about the value of being a non-union actor. I was asked point blank, by Michael, a young actor in Manhattan, “Aren’t you being hypercritical?”

Fair question, Michael.

Let me clarify my position.

An actor must first and foremost by a smart, responsible businessperson; an actor must also always be pro-active in the pursuit, growth and maintenance of their career. To do this right, the bigger picture is always the key factor.

I have seen terrific work by non-union (and even some union actors) in non-union productions. But I have also heard first-hand stories of real non-union nightmares: actors having trouble getting the money for their work; long hours, unprofessional crews; other actors who are unprofessional.

In fact, a client of mine just the other day called to tell me that she submitted herself on a non-union film project through ActorsAccess.com – and she got called in to audition.

An actor is the CEO of their business; managers and agents work for actors. It’s not the other way around, as many ego-challenged talent representatives would like to believe. As managers, we are charged with keeping a clear, strategic overview of the client’s career and offering advice and counsel on career matters.

My client asked me if I thought she should go on the audition. I responded, “What do you want to do?” She replied, “I’d like to see what it’s all about – and any opportunity to audition was even better than a class learning how to prepare for one.” Good point.

So, she went, being given the assignment of reporting back when she was done.

The next afternoon, an urgent e-mail arrived from this client. “I would never work for these people!” She continued, “They were so unprofessional at the audition, I can’t imagine what they would be like on a set.”

It’s all a learning process.

Just because a project is listed on a legitimate self-submission casting service doesn’t mean that you shouldn’t perform due diligence every step of the way.

About a year ago, a young man contacted me about an audition experience he had for a non-union project that he self-submitted on through Back Stage West.

He arrived at the designated appointment location (the back booth of a Chinese restaurant in a seedy part of town) where he met three men and a woman. The woman was supposedly the “casting director” he had sent his head shot to. She looked him up and down, then whispered something to the three men. They whispered something back to her and then she turned to this young actor and said, “We don’t need to audition you. You have the right look. We’d like you to star in all three films we have planned.”

She then handed him a paper and said, “Here’s our contract. Sign it now.”

Being a smart actor, the young man said, “I’d like to read it first. Can I take it home with me and send it back to you tomorrow?” “Absolutely not,” he was told. “Either sign it now or come back tomorrow and sign it in person, but we can’t give you an unsigned copy to take with you.”

The actor, fortunately, didn’t sign anything. He told them that he would think about it and call them. Instead, he thought about it and called me.

We had a long talk about this.

The casting ad in Back Stage West seemed legitimate enough. Were these people casting for something more “provocative” than what their ad stated? Who knows. The point is that is must always be “actor beware.”

As in my client’s audition the other day, if you find yourself in any situation that doesn’t feel right, leave – and never, ever sign any document that you haven’t first taken the time to read and understand thoroughly. Then have someone else you trust read it, too, if you can.

I was concerned about the other actors who saw and responded to the Back Stage West ad, so I called my friends at the paper to discuss the situation.

I like the west coast based-Back Stage West and their sister publication in New York Back Stage. They have both long been respected sources of news and information for actors – and they remain so. I have done a lot of business with them over the years.

I was pleased to learn that there is a system in place to weed out fraudulent casting ads. A part of this system is rooted in reports directly from actors who have answered ads in the paper and later found out (at an audition or on a job) that the ad wasn’t truthful or was anout-and-out lie.

A report was filed on this so-called casting director and the so-called production company. An investigation was launched that uncovered that every actor who answered this ad and got an audition (and most did) was never actually auditioned, but was nonetheless offered a starring role with a three-picture deal.

This company and these people have been barred from ever placing an ad in Back Stage West. But that doesn’t mean that they won’t seek (and find) other avenues to get to actors who are simply looking to work.

The young actor was smart enough to never get back to these people – and he learned an important lesson in the process: The opportunity to work is not a good enough reason to do any job. It has to be a safe, comfortable environment in which to work.

Union productions have many safeguards built into them because, as union productions, they have agreed to abide by certain standards and conditions that the union requires of them. This is not the case with non-union productions.

However, many non-union sets are just as safe and just as professional as union sets. But many are not. It’s similar to the bad manager scenario.

Since managers remain unregulated, there isn’t a code of ethics or set of standards we are (legally) obliged to adhere to. As a result, in an environment where anyone can call themselves a manager (and many who are unethical and unqualified do so), it’s not uncommon to hear a story of the evil manager who ran away with the client’s money or the manager who took advantage of the desperate actor by charging a ridiculously high commission.

There are others.

But, suffice it to say that when a story about unscrupulous managers gets out, it’s a quick and easy jump for a lot of people to think that all managers are like this, which, of course, is not the case.

The same is true in the world of non-union work. There are the horror stories, but there are also the glory stories. Learning how to size up any situation you are faced with and then taking the time to make a smart decision on how to proceed is the mark of the empowered actor.

I am a firm believer that a new-to-the-business actor should not rush getting into the union. Building your resume is the ticket to securing great representation because your resume clearly states what kind of actor you are and what your potential in the future is.

For a non-union actor, the only way (generally speaking) to begin this process is by working in non-union and student productions. As my friend talent agent Marc Chancer says, “Nobody is born with a SAG card.” So, go out and earn it by first doing the work to get the experience that will be required to make this happen.

The upshot of all of this is, as I discuss in chapter 7 in the book (“The Art of An Actor’s Resume and Bio”), when you list your credits on your resume, you never list whether the project you worked on was union or non-union, or even whether you were paid for it. Who cares? Certainly not an agent, manager or casting director who is assessing what you have already achieved on your way to working actor status.

In brief, always be a smart actor, always evaluate a potential opportunity as objectively as you can and make every business decision as if your career depends on it, because it does.

My thanks to all of you who shared your stories with me. Comments and questions are always welcome by posting through the Blog or by e-mail to blemack@TheBusinessOfActing.com.

BL

A young actress experiences the excitement of getting a job, then the frustration of dealing with the landscape of non-union work

2007-08-02T17:09:00.001-07:00

I received an e-mail the other day from Kelly, a young actress who was excited to tell me that she had finally booked an acting job. Then, she was quick to share with me her brewing frustration over the lack of options she seemed to have available to her when it was time negotiate the deal. Actually, she was quick to learn that in non-union work (generally speaking) and for new-to-the-business actors (generally speaking), there is no “negotiating.” You either accept the job or you do not.

There are some important lessons here for all actors, which is why I want to share my correspondence with her with you.

Kelly wrote:

“I booked a national brand product packaging model shoot. It's non-union and for a new hair care line that is branching off of its national brand mother company. At least that’s what I understand. I am scheduled to shoot this Thursday and am concerned about my image being used to their free will without me receiving compensation from it. In other words, because this is a modeling shoot, I am afraid that they will be able to use and reuse my image without ever having to pay me for it or for new shoots.

I don’t know how much you know about these sort of contracts, but I am being asked to sign a rather general consent and release form. I was wondering what your opinion on this is and if you think that are any questions I should ask these people before I do actually sign it.”

I responded:

“This is the danger and the frustration of work in the world of non-union. There are often no limitations as to how the work can be used -- and most contracts that you will be asked to sign include a very specific buy-out clause the includes "use in perpetuity" without any additional compensation to you.

The ongoing problem is that, if this is the case, the buy-out is usually (read hardly ever) enough money to warrant your giving up your rights to further compensation. I would see if the contract has this or similar terminology or language. I would attempt, if it does, to negotiate a limited time use for the payment you will receive, say all media for one year. If your image is to be used beyond that time frame, additional payment would be required.

They probably will never go for it, which means you won't do the job, unless you quickly adopt a ‘never mind’ attitude, that is if you really decide you want this particular work. As far as they are concerned, unfortunately, if it's not you, it will be someone else they hire for exactly the terms they offered you in the first place. There will always be someone to take the job and sign the contract, no questions asked.

The upside for a savvy production company is that they know that there are many actors who never work enough who will always say yes to any contract without reading the fine (or even the bold) print. Sometimes a bird in the hand, as it were, is not enough.

I'm assuming you submitted yourself on this and there was no agent/manager involved? This is mostly often the case when the production company doesn't want to deal with agents and managers who fight for fair compensation for their clients and say no to anything that is not right or appropriate.

Ultimately, of course, this is your decision to make. Be a smart actor in this process, Kelly, weigh your options and then once you have made your decision, proceed with no regrets.”

Most actors will find themselves in situations like this, particularly during the development years of their careers. Has this happened to you? How did you resolve it? How you handled this or a similar situation might be helpful for other actors to learn about.

Your comments and postings are invited, either through the Blog or by e-mail to me directly at blemack@TheBusinessOfActing.com.

BL

When is an acting credit really a resume-worthy credit?

2007-07-18T15:09:00.001-07:00

When is an acting credit really a resume-worthy credit?

Good question from John, a young actor who recently located to Los Angeles from Connecticut. He sent me an e-mail with an important question that is worth sharing.

John wrote:

“I'm meeting with a few agents next week and I'm very excited about it. During the last few months since I last updated my resume, I have done a couple of acting jobs and I'm wondering if I should update my resume to include these credits. I was in a telephone commercial and I was an extra on a television show.

I looked at the templates in your book and realized that I can't really
put down the commercial because you are supposed to put ‘conflicts upon
request’ instead and I can't put the television show because I wasn't
a lead or supporting role. Should I even try updating my resume or is
it not worth it?”

My response:

Always update your resume and keep it current when you have something resume-worthy to add. Now there’s the really big question: What makes a credit “resume-worthy?”

Did you have speaking part? Were you featured (and I mean really featured, not just an extra part that you pumped up)? The answer to this question lies in the answer to three other questions that only you can answer: What kind of actor are you? What kind of actor do you want to become? What does your resume say about what kind of actor you are now and what your potential is later?

Having said that, as chapter 7 in the book says, never put commercials on your resume (unless you are well known or very recognizable from a commercial you appear or appeared in) and never list extra work on your resume, unless it is your goal to be a professional extra, which many "working" actors happily are.

When it’s time to update and revise your resume, be sure that you do so not just on the version you have on the back of your head shot that you use to submit yourself or the shots you take with you to auditions, but also on the hard copies you give your agent or manager (if you are represented) and on the online versions on your resume for any Web-based submission service you use (like ActorsAccess.com or LACasting.com).

I hope this helps.

I have been receiving many e-mails about the value of self-submissions by actors through the various electronic services available. I’ll address that next time.

In the meantime, if you have a question, comment or response, I would like to hear it through your posting here directly or by e-mail to blemack@TheBusinessOfActing.com

BL

Actor Beware: Legimate Agents & Managers Don't Scout For Talent on Craig's List! Read Anne's Story ...

2007-06-27T23:46:00.000-07:00

Yesterday I received an e-mail from Anne, a young actress in North Hollywood, California. Both her predicament and her question concerned me enough that I wanted to share her situation and my response with you. There is an important lesson in this for all actors.

Anne wrote:

"I recently interviewed with an agent at a modeling and print agency. The agent, Mark, (I don't know his last name) was really quick with me and gave me lots of positive feedback. He called me the next day and told me that is interested in representing me. In order for him to do so, he said that I would now have to get full body fashion shots for $750 from a photographer he will send me to. He also told me that I will have to pay the photographer in cash. I haven't signed anything yet, but I just have a sort of anxious, nervous feeling about what I may be getting myself into. Any suggestions of signs to look out for or steps I should take so I don't end up in a scam?"

I responded:

"This is a big red flag to me, Anne with SCAM written all over it. The signs are all there. Did this agent require you to go to this photographer or did he merely include this person's name on a list of other photographers he likes who you could choose from?

The price is too high. And in cash? Why? I don't like the sound of it at all.

Check this agent and this company out. Call AFTRA and SAG and see if they have any complaints registered against this person/company. Do the same with the Better Business Bureau. Also, check out the public comment board at backstage.com where actors post notes about agents.

Lastly, you don't know this guy's last name? How did you get into the office? He should have given you all the time you needed to ask questions, especially in a first meeting.

Put the brakes on this, Anne, until you do your homework — and keep me posted."

The next day, Anne wrote me back:

"The agent, Mark, suggested this photographer by giving me his card at the meeting. I never got Mark's business card because the meeting was such a whirlwind. They had a posting on CraigsList.com saying they were a licensed agency looking for new, fresh faces. I submitted my picture expecting nothing. They called me and told me about the company, saying they used to do runway in New York, but relocated to L.A. and now do print, modeling and commercials. So, I went in for just the interview and he said he loved my look and that I'd be great for the fall/Christmas season. That's when he told me to get some full body shots done and gave me the photographer's card. Then he said he'd call me to let me know if the agency was interested in me, which he did the next day saying, 'Anne! Babe! Welcome to the agency!' He's called me every day since to check on my progress with getting my shots done. I asked for his e-mail address and he wouldn't give it to me, saying 'No, Anne, e-mail is so impersonal; it's all about the phone, babe.' The more I write about this, the sketchiness is so clear.

I took your advice and called AFTRA and they aren't affiliated with them. I also checked the Backstage postings and a few people have posted that they share the same unsure feelings I'm having.

I'm going to call the agency and just ask them more questions about who they've represented and who they have marketed to."

My last response to Anne was this:

"Babe? He called you 'Babe?' Case closed, as far as I'm concerned.

It’s your call, Anne, but, I say, if this guy wants you legitimately (which I doubt), then you will have no trouble finding (another) “legit” agent who will also want you, too. Do not rush this process! This is not about the “fall/Christmas season,” this is about the entirety of your career! Let's be honest here. How many warnings do you need? Trust your gut reaction. Be a smart, not desperate, actor.

Walk away, Anne. Don't bother calling this guy again. Instead, focus your time and your energy seeking representation from an agent (or manager) who wants to work with you in developing your career and who doesn't see you as another ticket to his or her commission on a $750 photo session scam. This guy isn't interested in you or your career."

My final thoughts to all of you: Never seek representation from an ad in Craig's List or any other such source. Legitimate agents and managers, when they are seeking new clients, do it the right way. We attend showcases, we ask for referrals from colleagues, we visit professional classes, we review submissions from actors. There's a right way to do this and there is a "never" way to do this.

If you want to use Craig's List to find a place to live or to buy a bedroom set, fine, but to seek an agent or manager -- or to seek a legitmiate acting job, never, please.

Rant done.

If you have a business of acting question or story to relate, post your comment here or e-mail me at blemack@TheBusinessOfActing.com.

BL

SAG Foundation Seminar Rescheduled

2007-06-26T13:55:00.000-07:00

The Business of Acting seminar for the SAG Foundation, originally scheduled for Tuesday, July 10, 2007, has been moved to Wednesday, August 8, 2007, at 7:00PM. This free event is open to current SAG, AFTRA and AEA members on a first come, first serve, advance reservation basis. Seating is limited.

For details, visit www.SAGFoundation.org.

BL

Two Summer Seminars in "The Business of Acting" Set for Los Angeles

2007-06-20T10:17:00.000-07:00

L.A. Casting will be hosting a seminar in "The Business of Acting" for their members this Saturday, June 23, at 12:30PM. Space is limited. For information, call (323) 462-8200 or visit their Web site at www.LACasting.com.

On Tuesday, July 10, at 7:00PM, the SAG Foundation will present "The Business of Acting" seminar for their guild members. Watch your e-mail for details from SAG or visit their Web site at www.SAGFoundation.org.

We'll talk about the ever-changing landscape that is the business of acting and answer questions. I hope to meet you at one of these two events.

BL