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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.
In support of his popular books for actors, "The Business of Acting: Learning the Skills You Need to Build the Career You Want", "The New Business of Acting: How to Build a Career in a Changing Landscape,", "The New Business of Acting: The Next Edition" and "The New Business of Acting - The Next Edition: COVID Update," talent manager and educator Brad Lemack offers commentary, perspective and information -- and addresses questions and comments from readers and site visitors.
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?
BL
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.
BL
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.
BL
*The phrase is deliberate. His uncle was the baseball great Mickey Mantle.
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.
BL
* “I’m a Believer”