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Mo’ Money, Mo’ Problems

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Mo’ Money, Mo’ Problems

Booked it! Congratulations! After going to tons of castings the excitement of booking a job and finally getting a chance to play on set or stage can be so intense that we almost don’t care about the money anymore. 

The paycheck becomes an afterthought, almost an added bonus. And here come the problems. 

When actors don’t pay attention to earnings and carefully read check stubs, they may be missing money that is owed. 

All those classes, coachings, headshots and reel footage have a cost attached and talent has real market value. Without a process to ensure payments were properly prepared it’s possible to lose significant business earnings. 

Most recently, I personally earned an additional $3,606.14* from just two jobs. I used the same tips I offer in this blog to secure these payments. This was on top of the sessions fees I had already received. It’s almost like booking twice!

So the next time you get into a tizzy about the next exciting job you’ve booked use the following checklist to make sure you are accurately paid and get every penny you are owed.  Also, underpayment is sometimes a result of an honest mistake on the part of the production company or payroll company, not any malicious intent, so make sure you are paid what you are owed on all fronts.

​CAVEAT: This checklist is primarily applicable to union work.

MONEY CHECKLIST

Did you do a fitting before your shoot day(s)?If yes, you are due commissionable fees by the hour for your time and this should be included in your check.When was the check due?Use the SAG FAQs page for the appropriate department or call SAG and ask for the business rep for the production to find out when payment is due. 

For Theatrical jobs payment is typically due a week from the last work day in the production week. For example, if the production week runs Monday-Friday, Friday is the last day of the production week and payment must be mailed out by the following Friday. 

Commercial payments are typically due 15 business days from the last day of work for talent for a session fee or the first air date for residual payments. 

If the check is postmarked after the deadline, talent is owed a non-commissionable late fee. I’ve literally made thousands of dollars from double checking the due date for all my payments. 

Late fees are most common with commercials. 

KEEP IN MIND: If your money is processed first by your agent or manager, it’s almost impossible to know the postmark date. In this case, use the check date.

Did you use your own wardrobe on set?If yes, a non-commissionable cleaning reimbursement fee is due and should be included in the check. 

The only way to get this payment for this is if you filled in the wardrobe fee portion of your contract on set. 

Was the shooting location outside of the studio zone?If yes, you are due non-commissionable mileage reimbursement.

PLEASE NOTE:

Agents and managers are not inclined to invest time into pursuing non-commissionable fees (late fees and reimbursements) for talent because they are not commissionable. If your agency doesn’t have an accounting department you’re probably better off pursuing the fees on your own. 

If you are due a late fee, ask the accounting department at your agency to send payroll an invoice or email the payroll contact yourself. The email for the payroll person handling your checks is typically listed on the paystub. Be sure to include the production name and episode number or commercial ID in any email correspondence. 

After reaching out to payroll several times without receiving a response or payment, union actors do have the option of filing a claim with SAG-AFTRA. Filing a claim is considered the absolute last resort. It’s like hitting the big red button that sets off sirens. The good thing about filing a claim is that it is anonymous. The union handles all further pursuit of payment and every actor on that contract gets paid. 

TIP: Always take a picture of your contract and the sign out sheet before you hand it over to production and exit set for the day.

Simply being grateful for work is wonderful. I believe an important part of exercising that gratitude is making sure you are properly paid and, therefore, fully leveraging each job to support you on your journey to the next one.

*I earned exactly $1,106.14 in late fees and one unpaid Class A use from one job. I earned an estimated $2,500 from monitoring unpaid usage and applicable late fees from a second job. This is just a sampling of recent payments received using the aforementioned methods and does not include all received additional payments.

— Coach Alysia

The 9 Winners of The Career ACTivate Self-Tape Challenge

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The 9 Winners of The Career ACTivate Self-Tape Challenge

The Challenge

In April, Career ACTivate launched our first-ever self-tape challenge and it was a huge success!For this challenge, participants were asked to submit a self-tape of any length. It could be a favorite scene, or even a brand new monologue. As a prize we offered General Meetings for the Top 9 Winners with Casting Associate Laura Aughton of Wendy O’Brien Casting, Casting Director Mike Page of Page & Day Casting as well as Talent Managers David Chien of Art/Work Entertainment and Jacob Gallagher of E85 Artist Management.

A Gift For You

Our Top 9 Winners aren’t the only winners. Just for participating, everyone who submitted is being invited to Q&A Sessions with David Chien, Laura Aughton, and Jacob Gallagher. During our Q&A Sessions, participants can submit their questions and the industry professional will provide their insights as well as tips & tricks.If you didn’t submit, never fear! We have two more Q&A Sessions coming up and you’re invited. Register to receive the virtual meeting links or to receive a recording of the events. Join us for our upcoming Q&As listed below.Friday, June 5th at 11:00 AM – Q&A with Laura Aughton, Casting Associate at Wendy O’Brien CastingREGISTER HERE: https://www.careeractivate.com/lauraqa 

Tuesday, June 23rd at 2:00 PM – Q&A with Jacob Gallagher, Talent Manager & Owner of E85 Artist ManagementREGISTER HERE: https://www.careeractivate.com/jacobqa 

The Winners

We’d like to give a shoutout to everyone who submitted a video: We are absolutely blown away by the talent and creativity you all shared with us; the competition was fierce. Today we are announcing all 9 winners right here.

Congratulations to all of our winners!We hope you saw a familiar face above, maybe even your own.

How Can You Be The Next Winner?

To win, you have to submit! Find a current list of self-tape challenges by heading on over to our Career ACTivate Success Network Facebook Page. We’ve got you covered.

How to Win a #MonologueChallenge

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How to Win a #MonologueChallenge

Along with jigsaw puzzles, virtual dance parties, and Zoom happy hours, another activity to trend during quarantine is the wave of #monologuechallenges all over Instagram.CDs and channels like Freeform are taking this opportunity to discover new talent, or reconnect with talent they already know, by hosting open calls and inviting actors from all over the world to submit their work.Here’s what I’ve found after looking at some commonalities between the winning self-tapes that have won, and a few general tips to streamline this process and keep it fun. 

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Staying In The Know: You Can’t Win If You Don’t Submit!

You should already be following CDs on Instagram (IG). Make it a routine to check their IG stories at least a few times a week. That’s how news of scene challenges and open calls are spread! Even if a particular CD isn’t participating in a challenge or open call, many share news from their casting colleagues to help spread the word to their own followers.

  • Look out for IG tags by CDs in their posts and stories when they share these updates- it’s an easy way to find additional IG handles of people who work in casting.
  • There is an ongoing list of current open submissions on the Career ACTivate Success Network Facebook page.

Scroll Through Social Media (You’re Already Doing It)

Since these challenges have been going on for weeks, a list of past winners can be found in many CDs’ saved IG stories, which can be viewed in their IG highlights – they’re the little circles at the top of their profile, hopefully labeled something along the lines of “Past Challenge Winners” or “Monologue Challenge.”

Check out past winners to inform your own performance and scene choices, especially if the same CD is running a new challenge. 

Here are examples of 2 #SelfTapeChallenge winners from Career ACTivate’s self-tape challenge. What jumps out at you that may be effective if applied to your next tape?

​NOTE:3 other winners were announced on our Instagram (@careeractivate) last week, and we’ll be announcing the last 4 winners in the upcoming couple of weeks via email or social media. Stay tuned…

Which leads into…

The Biggest Decision You’ll Make In Quarantine Today:

Choosing the right material!The vast majority of monologue/scene challenges and open calls are coming from CDs who work in TV and film. Although many are fans of theater, and Shakespeare has written some wonderful monologues, it’s most effective to use these opportunities to show how you could be cast in one of their upcoming TV and film projects. Therefore: 

  • Be knowledgeable about what each office casts. What tone or genre is most appropriate to put in front of this particular CD?
  • Know your type, and the roles that you’d largely be competitive for once the casting process picks up again.
  • Play to your strengths. Just because you like a particular monologue doesn’t mean it’s right for you. Now is the time to showcase your skills, not experiment and stretch yourself as an actor. Save that for acting class.
  • It’s generally wise to use a contemporary monologue unless this CD specifically casts Shakespeare (I don’t know of any) or is currently casting a period piece you’re right for.
  • It’s also a good idea to avoid monologues that have widespread recognition and are iconic in their original performance. You’re setting yourself up to be compared to acting legends and will likely fall short.
  • If you do choose a scene from TV, make sure it’s from a project that’s already released (no current pilots or roles that are currently casting).
  • At the end of the day, it’s about making a genuine connection with whomever you’re speaking to – having a strong intention, message, and need that jumps off the screen and affects the viewer. Even if, as in my case, you happen to be talking to be a piece of tape attached to your laptop camera.

Post Your Tape!

The point of all this is to show what we can do as actors. To get more eyeballs on your mad monologue skills, post the tapes to your IG account, to your IG stories, tag the CD who’s running the challenge as well as any CDs who’ve posted about this challenge for their peers (they’ll each get a notification), and use the proper challenge hashtag.

Additional Tips

Make Things Easy For Yourself

With seemingly new #monologuechallenge and open call opportunities popping up every week, it can seem like a lot to keep up with. To avoid feeling overwhelmed, find a good monologue/scene that plays to your strengths and use that same tape for every challenge it’s right for!

Tell Me Your Name & Handle

Slates are meant to be simple and just provide the required information, so don’t overthink it. 

  • Follow the instructions. What information is needed? Do they want the slate at the beginning? The end? As a separate attachment? If this information isn’t included, you can: 
  • message the CD on IG to ask, OR
  • assume that it’s generally acceptable for actors to include the slate at the end of the audition tape.
  • Since this competition lives on social media, it’s maybe not a bad idea to throw your IG handle in your slate as well. You can do this by inserting text in your video, if you have an easy way to do so, writing it down, or spelling it out. Another option is to simply post and tag.
  • To save time in the future, I keep a separate folder on my computer just for slates. In general, slates typically ask for a combination of the following information:
  • Name
  • Height
  • Profiles/Full body
  • Age (if under 18)
  • Location
  • Representation 

Each time I create a slate for a project, I’ll save the slate as a separate file for my own records and label the file by what information is included, ex. “Name_Height_Location,” or “Name_Height_Full Body_Rep”. That way, when a slate for a future project asks for the same info (and the character doesn’t have a drastically different style or tone), I’ll just reuse a past slate.

Boring, But Still Important Part

Follow the rules.

  • If the rules state that your performance needs to be under 1.5 minutes, keep it under 1.5 minutes.
  • Respect deadlines. With the thousands of submissions that pour in every time a new challenge is announced, challenge moderators are unlikely to bend the rules and you’re saving them time by disqualifying yourself.
  • Give yourself some flexibility and submit earlier so you don’t run the risk of technical difficulties right at the submission cutoff.

TIP FOR INSTAGRAM NEWBIES:Each submission opportunity comes with its own rules and submission link. It can be hard to read the rules and submit on your phone. You can access and view IG from a computer (although you can’t post) if it’s easier to read the submission rules and access submission links there vs. your phone. Just go to www.instagram.com/@(CD’s IG handle)

Here’s to winning the next challenge! Or, at least, having created usable, quality self-tape material for ourselves in the process. Sounds like a win either way.

— Coach Melody

Casting Process from the Showrunner’s POV

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Casting Process from the Showrunner’s POV

Do you ever wish you could be a fly on the wall and see how actors ACTUALLY get cast?  In this Vlog, we got the opportunity to sit down with VJ Boyd (Lincoln Rhyme, SWAT, Justified) and got the inside track on:

  • What the casting process is like for different shows
  • What not to do in an audition
  • How many selects producers actually see

Watch the short interview below: 

Series Regular Anjelika Washington Interview

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Series Regular Anjelika Washington Interview

#tbt to this exclusive podcast interview with Career ACTivate Elite Program alum Anjelika Washington on her journey and preparation to landing a lead Amazon’s Legend of the Master Legend after having 0 TV credits previously.   By listening to her inspiring interview, you will learn how she built her team, mindset, and her game plan that led to this huge booking. Also, she details the shocking thing she did to prepare for the role that impressed the entire room. Now she’s a series regular on STARGIRL, playing a DC character.  

Productivity Over Panic: Handling the Production Shut Down

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Productivity Over Panic: Handling the Production Shut Down

Happy Apocalypse, everyone! Just kidding. 

Not trying to make light of a heavy situation; Coronavirus is real and we all need to do our part to protect our elders and other vulnerable people in our communities. 

On top of that, so many actors feel stressed about income for at least the next few weeks, and that’s understandable. 

All over LA, production is shut down. As restaurants, bars, and gyms close, actors working in those fields will lose additional income. 

And heaven forbid any one of you runs out of toilet paper.

In the midst of chaos, I urge you not to join the masses in panicking. Instead, stay productive as much as you can. 

This industry shut down won’t last forever. 

So, here are some ways to set yourself up for success so you’re able to jump right back in once everything blows over.

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FINANCES

I know no one’s gonna focus until I address what’s on the forefront of everyone’s minds. Here’s my take on money.

First of all, file for unemployment if you lose your job or have your hours reduced. For more information, visit: https://www.edd.ca.gov/unemployment/filing_a_claim.htm

 The Actor’s Fund is an organization designed to support artists during hard times. Whether you need budgeting, financial coaching, or even an extra cushion to cover your bills, they are a great resource.  Go to their website and find out what support they have available. 

Though money may feel tight in the short term, working from home provides an opportunity to save money too. 

The obvious one is gas, if you’re like me and drive a ton.

You’ll cook more, eat out less (although many more restaurants are providing free delivery options), and appreciate that vodka Red Bulls aren’t $12 apiece when you make them at home. Add in a fun Spotify hype jams playlist (on a shared family account, of course), close your eyes, jump around, and it’s almost like you’re out on a normal Saturday night.

Maybe that’s just me.

Lastly, and related, put that gym membership on hold and go for a run or work out at home. 

There are tons of free online workout classes available on Youtube. If all else fails, throw a solo party with some loud music, use a couple jumbo packs of toilet paper as weights, and dance like no one’s around! 

No one’s around.

INDUSTRY

HEALTHFirst off, if you’re covered by SAG-AFTRA healthcare, you are able to get tested for COVID-19 at no cost to you. More information can be found at: https://www.sagaftraplans.org/health/news-resources/news/467-no-out-pocket-costs-network-coronavirus-testing

The Union has also created a Disaster Relief Fund specifically for COVID-19. Learn more at: https://sagaftra.foundation/assistance/disasterrelief/

And lastly, additional information regardless of insurance coverage or union status can be found at: https://www.labor.ca.gov/coronavirus2019/

REPRESENTATION & MATERIALSWith production being delayed or canceled outright, it’s a slower time all around. Agents now have much less to pitch on, and more time for things that are typically delayed during busy season, i.e. going through photos and reviewing materials, which can easily be done remotely. 

If it’s been slow for you in one particular area of work (theatrical, commercial, VO, etc.) for a few months leading to this shut down, reach out to your reps and assess if there are any changes or updates you should make so you’re absolutely ready to go when things DO pick back up (and they will!!). 

One strategy that’s been helpful for me is creating a self-tape archive of unlisted links that only my reps have access to. 

Under each tape, I include a short description of the project (network/cable/studio feature/indie, comedy/drama), character (usually a quirky, offbeat, Type-A office worker), and note if I got a CB or booking from it. These tapes are useful when casting requests additional footage of you before deciding whether to bring you in for a certain role. 

This is especially important when your reps are trying to get you seen against type (for me, that’d be any role described as edgy or badass). 

If you already have the footage, all you have to do is compile it. I suggest uploading your tapes onto YouTube as unlisted links and organizing the videos by role type into a hidden page on your website.

If you don’t have the footage, figure out what roles you’re missing that you could reasonably play, find sides from any project that’s already aired (ShowFax has a bunch, or transcribe the scene from a past episode of a TV show), and hone those self-tape skills!

While reps do have more time on their hands, you won’t be able to visit them in person. But consider scheduling a check-in with them over Zoom or Facetime. 

And, on the relationship building front, now is a great to forge new connections and deepen existing ones.  So, think about how you can connect on a personal level with industry professionals you respect. 

Initiate the relationship via email or on social media, since social distancing has people seeking social connection on IG/FB/Twitter, and see if you can move it to a face-to-virtual-face relationship through regular engagement.

Speaking of…

SOCIAL MEDIA

People are bored. Sports, live events, nightlife, and seemingly the world at large has been canceled. Has anyone else witnessed an uptick in their likes/views/comments? 

There’s never been a better time to engage your target industry connections on social media. Everyone is spending more time online with this quarantine. 

CDs have more time to answer your casting questions via AMAs on Instagram, and responding to stories is a great way to start that relationship. People on social media want validation and crave a sense of connection more than ever with the suspension of in-person contact. 

So be generous with your likes, views, and comments, and create some content. Again, people are v. bored and you’re doing them a service by providing entertainment. Make it good and tag the right people.

PERSONAL

If they haven’t yet, people will likely be going crazy locked in their houses very soon. Check in with friends you haven’t had time to catch up with in a while, just to chat. 

Don’t underestimate the power of a few simple words of gratitude and encouragement, whether it’s with your personal or industry connections. It’s a tough time for everyone. Reach out and thank the CD who cast you in your first network show for the role they played in your willingness to stick it out in such a tough industry. Thank your reps for everything they’ve done to move your career forward. Actors are always complaining that no one has time for us. Well, now people have time. Reach out and start that dialogue.

I understand the urge to watch the news for to-the-minute updates, but it can be good for your mental health to take time away from the news, too. Trust me, it’s gonna be depressing before it becomes uplifting. 

Mass panic brings out the worst in some, but brings out the best in many! Check in if you have elderly or immuno-compromised neighbors and loved ones to see how you can help make this experience less challenging for them.

Utilize this additional time to watch (or re-watch) that TV show. Part of our job as actors is to watch good acting. Take a free online class in some obscure topic you’ve been interested in but never had the time to explore. Finish that novel. Catch up with friends (remotely). Write a script. Collaborate online. 

No matter what you choose to do, stay healthy, stay optimistic, and don’t forget to wash your hands.

— Coach Melody

Is Commercial Print Work Right For You?

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Is Commercial Print Work Right For You?

Is Commercial print worth doing? Maybe you have friends who have had some nice paychecks from their print jobs? Perhaps you’ve thought about it? But where do you start? Is it, or isn’t it a good idea?Generally, when making a decision I find it is best to get out of your  head. Don’t waste time debating and analyzing. Trust your gut. Or simply take action as that will inform you much faster.  Here is some info to help you choose if Commercial Print is right for you.

Yep…this is me in a stock photo as seen on SNL, The NY Post and a magazine in FRANCE!!

Are you the right type for commercial print?

Do you see yourself reflected in commercials or in advertising campaigns?  If so, then YES! Nicknamed “real people” modeling it’s pretty inclusive. Commercial print has no height, age or size requirement.  In fact, I think the pool gets less competitive the older I get! 

Need to practice those commercial skills?

A few years ago, print casting used to be 1 or 2 quick photos and you were done.  However now more and more, they lean toward commercial castings (on camera!). Producers and clients really want to get a sense of your personality.  Even if the job is only print, they might shoot a video at the audition and ask questions like, What are your hobbies? 

Print auditions can be a good place to practice those on brand “tell me about yourself stories.”  Thanks to a great tip from commercial veteran Bill Coelius, (Run, don’t walk to his class) I always have fun, short, on brand stories related to being a mom, my fav food, travel, holidays, and movies ready to go so I’m never caught like a deer in headlights! 

I often audition for “mom” roles so this is one of my go-to stories: 

Do you ever have random Dance Parties?  My 6yr old son, D, and I like to dance to Cheesy Top 40 at full blast.  It can be a little tight in a small NYC apartment, I almost knocked him out once with a flying arm move but thankfully my dance moves are not lethal! 

NOTE: This answer could safely answer many questions – what are you doing this weekend? What do you like to do for fun? What is your favorite music? Tell us about yourself?

What do I wear for commercial print castings?

It is very similar to commercials.  Do your research and use your common sense. Look at advertisements, what do the moms wear in those ads? What does the Best Buy employee wear?  Usually your agent will give you a brief character description, eg: mom shopping with a child. If you don’t know the brand/product do a quick google search to look up past ads so you get a sense of tone/color choices.

Do I need new photos?

If you have some good commercial headshots, most agents will start off with those. They might want some more lifestyle or body shots down the road, but you don’t need them to start.

How do I get an agent?

Statistically it is easier to get a commercial agent than a legit agent. I would argue it is easier to get a print agent than a commercial agent. Just based on numbers of clients those agencies are working with.

Commercial Print is also an easy entry point to an agency roster.  I had a client start working with the print department of a large agency and she was a total pro! (always on time, quick response to email, booking-out etc.)  Though she hadn’t actually booked anything yet, 6 months in she asked to be referred to the legit department, it was an easy next step for both sides.If you’d like to learn 3 juicy, insider strategies to get the right agent for you, check out this free master class.  

Do I have special skills?

Don’t forget those special skills. Do you play tennis well?  Are you a great ice skater? Those can be great assets for commercial print.

Is print work Union or non-Union work?

Print is non-jurisdictional work so open to Union and Non-Union members and the rate can vary considerably depending on the scope of the project.  Sometimes producers unfortunately want to shoot non-jurisdictional photos and also shoot non-union video, which would exclude SAG-AFTRA members as that violates Global Rule One.

To stock or not to stock?

One way to get some great images of yourself is to do a stock agency shoot. However, I do not recommend it.  Typically it is very low pay $250-$400 for the day and you sell all your rights away so anyone can buy your image to use as they see fit.   

If you want to pursue commercial print you could accidentally create a conflict for yourself.  I did one stock shoot many years ago, it was a super fun day but I have seen those photos on everything from SNL, The NY Post and a magazine in FRANCE!!  

My image and work is worth more. And so is yours.  I would also hate my image to be used as part of a product/campaign that I strongly disagree with. The shoot  was very silly, involving clowns, fake fights and an adorable dog, it does seem unlikely…but still.

My favorite reason to do print work…

Momentum! If you are going through a slow legit-audition period, adding commercial print can help you stay inspired.  Yes it’s not auditioning for your favorite TV show, but staying busy and “in the mix” can be useful. And those big juicy checks don’t hurt either….

What do you think? Is commercial print something you will pursue? Have you already had success with print? Let me know in the comments below.

— Coach Sarah

Pilot Season: A Shift In Perspective

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Pilot Season: A Shift In Perspective

Yayyy! It’s pilot season…kind of…I mean technically yes but let’s be real. Pilot season can sometimes feel non-existent. I used to call pilot season “unicorn land” because for too long it was this mythical place that, despite my years in LA and whatever reps I had, I never found the secret magic key to. 

Looking back, there were a few things I wish I knew that would have made a huge difference in my expectations and experience of pilot season… whether I auditioned for a single pilot or not. 

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PREPARATION

MINDSETThe more we can measure our success by growth and not by results the more we can enjoy the journey. Measure your success during pilot season by how much you’re growing and learning and you’ll be on track to having a great time instead of becoming a ball of stress. 

BRANDINGGet super clear and specific on what you sell and create a marketing package that supports that niche branding message. Ideally, this process should be completed before pilot season. If you’re not there yet, consider enrolling in our Branding and Marketing Course to really hone in on the characters and qualities that make you irresistible to casting. Either way, keep reading…major revelations ahead. 

TRADESJust because pilot auditions aren’t rolling in doesn’t mean you’re off the hook.  As a professional, you need to know what’s happening in your industry. Read them! Deadline, Variety and Hollywood Reporter. I find Deadline to be the best at delivering information quickly and efficiently. Use the trades to track pilot orders and pick-ups.

WARNING!Pilots are all works in progress and therefore kept tightly under wraps.  If someone trusts you enough to share their access to a pilot with you, it is your job to protect that pilot. Never share a pilot that is given to you by a friend or contact and NEVER publicly post a pilot or a self-tape for a pilot online. Pilots are often watermarked with the original source’s name and can be traced back to them if the pilot gets out.

Now that we are prepped for pilot season let’s talk numbers 🙂

WHY YOU’RE NOT GOING OUT

THERE ARE NO ROLES FOR YOURead the pilots. Do everything you can to get a hold of pilot scripts and read them. How do I get a hold of scripts? Ask your actor friends who are going out on pilots to send you their scripts. Ask your writer friends if they can dig any up for you. Ask any friends that are assistants at agencies if they are open to sending you scripts available to the agency. Often actors are not going out for pilots because none of the pilots have a role they are right for. Availing yourself of this information can save you 3-months of anxiety about all the imaginary pilots that you aren’t going out on. 

EPISODIC SEASONPilot season is a reflection of your episodic season. These days casting directors have less and less time to cast a pilot. So they truly rely on relationships they have built with actors whose work they’ve seen time and time again. Even if you didn’t book during episodic season, if you went into the same casting offices multiple times and laid down solid work you can expect them to call you in. If you haven’t established a relationship with the casting office casting the role you are perfect for preceding pilot season it might be challenging to get an appointment. 

OFFERSThe timeline for pilot season has truly evolved with the increase in scripted series from streaming services and cable. Traditionally, pilot season doesn’t start until after Sundance. Mid February casting typically begins the process of putting out offers. As the process of the industry vying for the same celebrity actors gets underway and offers are accepted or passed. Casting begins a trickle-down process. The roles hit seasoned working actors with series under the belt already, solid guest star and recurring credits. Lastly, newer actors with mostly co-star and small guest credits are usually put in the mix, around early March. However, these days pilots begin casting as early as late October and offers can begin going out in December to get ahead of the busy season. Pilots typically shoot the third week of March. If the role or roles you are perfect for this season are cast before they hit your level credits you might not get an opportunity to read for them. However, more and more networks are breaking away from the traditional pilot season timeline and casting year-round. This is particularly true for streaming and cable networks.

Caveat:Oftentimes, casting will hold sessions even when an offer is out, so as to give themselves back-up options. It’s important actors go into every casting with their eyes open about the business so the focus is placed on the work. An actor’s career is bigger than any one job or booking. Emotional sustainability is key to staying in the game. Each opportunity is about creating a long-term relationship with the casting office and the actor can only do that if they are not setting themselves up for an emotional let down when the phone doesn’t ring. 

REPSIn-person sessions offer casting a limited number of slots so casting prioritizes seeing actors in-person from well-known top tier agencies and management companies. Actors repped at newer or lower-tiered agencies are typically given self-tapes. Self-tape actors may only be called into casting if they’re not finding the right fit for the role with in-person sessions.

Caveat:People are called in and booked from self-tapes all the time. So it’s important to treat them like a real opportunity and do your best work. Often casting will watch them just to get to know a new actors’ work.

OFF-SEASON PILOTSWith the onset of increased original programming from streaming and cable, pilots are casting more and more outside of the typical January-to-March pilot season. Cable pilots can begin casting as early as October and streaming pilots cast year-round. In my personal experience I’ve found that streaming pilots cast particularly in the summer. 

REGIONALISM & INTERNATIONAL PRODUCTIONIf you haven’t noticed, a lot of television production has moved out of the state of California. Georgia, Louisiana and New Mexico are few of the largest markets. On top of the long-time established alternate markets of Canada and New York. Plus, with the expansion of investment into scripted television by titans like Netflix and Amazon, television production often has the resources to create epic and expansive worlds and shoot on location overseas, so often American television is shot in the UK and Europe. It used to be that production would cast series regulars and major guest stars out of LA or New York and use local actors only for small guest stars and co-stars. Over the last 5 years, these markets have developed and production is often casting series regulars directly out of local markets. 

If you find a role that you are right for that is scheduled to shoot in a market outside of LA, depending on your credits, it may be more challenging to be seen for that role because production will have to pay to travel or move you. Production can typically find a right fit locally and save themselves the travel costs. 

GREAT NEWS!

Now that we’ve cleared up all the reasons that might limit an actor’s opportunities, we can approach pilot season informed, empowered and without unreasonable pressure or FOMO. AND if you do find a role that you are perfect for GO FOR IT with completely open eyes and the joy of the journey. 

Happy Pilot Season!

— Coach Alysia

How To Make A GREAT First Impression

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How To Make A GREAT First Impression

We are lucky to be a part of the entertainment industry where, even if you live in a smaller market, there are so many amazing artists and collaborators and content creators here in LA and other markets, and there’s a lot of amazing opportunities to be had if you put yourself out there and meet people. 

Now, I’m sure you have good ideas about where to meet people, but I wanted to focus this blog specifically on how to make a good first impression. 

After all, you only get one chance to make a good first impression.  ;)So, here are some tips and tricks that my clients and I have learned while meeting people in the entertainment industry!

Easy Ways To Initiate Conversation

Smile! Say hi! It’s amazing how many people want to chat with others but a lot of people are equally unsure of how to strike up a conversation. I know it seems obvious, but really think about smiling and saying hello to people when you’re at your next party or festival or event. 

Not only does a conversation eventually happen, but sometimes you can make lifelong friends through a casual word in the lobby of a screening. I’ll often comment about the weather or about a film I just saw.  I’ll also say hi or compliment someone on their shirt or their shoes – a genuine compliment, of course – just to break that initial awkward first moment. 

In fact, I’ve had great success commenting on food… Often festivals have a tea or breakfast or dinner as part of one of their parties, and usually, it’s a buffet set up. 

I will ALWAYS say something about the food to the person standing next to me… I’ve said stuff like “oh that looks good doesn’t it?” or I’ll see someone holding a plate and ask, “how is that, good?” Another option is to ask about specialty cocktails/beverages that are being served at events, I’ll say, “oh is that a margarita? How is it?”

Keep The Conversation Going With Questions

Yay! You’re talking to someone about the food at an event! Oh no, you’ve said all you can say about the salsa… They’ve commented extensively about their favorite cheese… What do you talk about now??? Ok, take a deep breath, you’ve got this. I LOVE to ask questions about how people heard about the event as a gateway into what they do for a living. I generally make it a point to talk a little about work at the start, “Oh you’re a writer! Cool, do you have something in this festival?” and then after a minute talk about that, I LOVE to steer away from industry talk and learn more about the person. This usually leads to a deeper connection because the two of you end up talking about life stuff. Ask genuine questions, things you’d actually like to chat about, from asking if they have any pets or kids or if they loved the most recent Star Wars. Focus less on the fact that they’re “in the industry” and more on the fact that they are a person looking to have a connection at an event.

Focus On The Positive During Your Conversation

This is an industry full of long weeks and long days… and we all want to work with people that we can hang out with for hours on end, with no drama, who are fun and professional and have a good sense of humor. Well, at least I do! Ha! So, I look for that when I chat with people. If someone is rude towards a bartender, or complains incessantly about a film, I tend to not want to chat much longer with that person. Maybe they even make fun of someone nearby… 

Regardless, it’s negative and it’s not someone I want to spend a lot of time with. Remember to just be nice to people, to focus on things that you loved about a particular block, to not talk badly about other people in the room, to ask questions and be authentic when chatting with others. I love to ask people what project they have coming up, to see them get excited as they talk about it. 

I also love to offer some way to support them, like offering to give the project a follow on Facebook or by asking them if there’s an upcoming screening for their film. Each of us has special skills that we can offer to others in our industry that can support them, and when we offer support, we are seen as a great asset for future projects.

Follow Up With Gratitude

Let’s say you have a great conversation with someone at an event, and you guys exchange info. I love sending follow up emails within 3-5 days recounting our conversation and offering GRATITUDE for something during our interaction. For me, it’s been everything from  saving a seat in a theater to recommending a great cocktail to offering up a book I should read. There’s ALWAYS something that we can be grateful for, and when we offer gratitude to others, it only deepens the relationship with them. It could even be as simple as saying thanks for telling a particular story or writing a specific scene or a beautiful camera movement that made me smile.

You’ve got a lot to offer, including Great Conversation!

Ok ok, I know what you might be thinking, “RACHEL!! I don’t have anything to offer others! People don’t want to get to know me! What do I do?” Well, first of all, I’d say that you, OF COURSE, have amazing things to offer, and like myself, you’re just temporarily forgetting them at this moment. 

See, I used to be a really shy kid… I was super scared of strangers, I never wanted to answer the phone, and I had it in my head that anyone that wasn’t related to me or went to school with me was actually going to harm me. So I chose to stay very introverted and not go out and meet people. Once I moved to LA and started pursuing this career more aggressively, I realized that I had to put myself out there in order to succeed in any way. 

So, little by little, I forced myself to strike up conversations with strangers at events, to remind myself that I am a great actress and that people want to see my work as part of their projects. I started to gain some confidence and started to meet people that I would eventually work with again and again. This was tough and had a lot of growing pains for me… Honestly, I have a lot of beautiful growth left in this department, but I wanted to let you guys know of one way that’s really helped me grow in this way.

Make A List of Why Your Friends & Family Love You

Think about it, talk to you family about it, talk to your friends about it, and really consider reasons why people love you. Then jot it down. It’s important for you to tangibly see this information, so that every time you want to NOT go out and meet new people or NOT take a new class or NOT go to a networking event or NOT put yourself out there, remind yourself of why people love you. Because this could help encourage you to get your butt out the door and to strike up a conversation with someone. 

If you never strike up a conversation with someone, then THEY are being robbed of the reasons that you’re such a great person. IF you never meet anyone, and never let them know that you’ve got such a great handle on developing character, then potential collaborators will never know the amazing nuances you could bring to their production. Or maybe they never see the awesomely collaborative sense of humor you have, that could liven up even a 15-hour workday. 

There will be so many opportunities this year to meet wonderful new collaborators and friends, and I am excited for you to make it a priority in your life to network even better! Remember to focus on being kind, asking questions and to simply get yourself out there.

Happy Networking!

— Coach Rachel