He did the monster mash...

Boo!

Did I scare you? Probably not. You’ve most likely outgrown all those childish fears of things that go bump in the night. I know I outgrew my fear of Dracula and vampires...I think. Midnight every Halloween I start to have my doubts though.

In keeping with the season I’ve decided to write about the one thing that can send shivers down even the most seasoned actor’s spine...Headshots.

Everyone has seen at least one scary movie. There’s a simple formula and it’s always the same. I’m going to use that formula to make a new feature film, a movie about a monster that has the power to suck the life out of any actor’s career. The movie is called “Pict-ula”.

[Cue scary music: Dun dun duuuun!]

Hopefully all actors will come out “alive” (with great headshots).

The first rule...

 

STICK TOGETHER

In any horror movie the monster lurks in the darkness and the first victim is the first person to be alone.

When you’re at auditions ask to see other people’s headshots. We’re actors. We like the attention. And if we like our headshots we’ll tell you. We’ll also tell you who took them, whether we liked the photographer and how much they cost.

While looking at headshots try and discern if and why it grabs your attention and if it looks like the actor holding it. If the headshot doesn’t look like the person holding it politely excuse yourself. And RUN. The actor is under the spell of “Pict-ula”. [Dun dun duuuun!]

Remember our monster has no reflection. So if the actor isn’t reflected in his picture, the  career life has been sucked out of him. And besides if you look like your headshot there will always be two heroes and you’ll never have to fight monsters alone.

Next...

 

KNOW THE LORE

You can’t effectively kill a monster when you have no idea what that monster is. “Pict-ula” [Dun dun duuuun!] has many incarnations based on geographic location. There are however some basic rules you must know in order to slay the beast:

1.      Headshots must be in color

2.      Headshots must be taken digitally

3.      Headshots must be sized 8” x 10”

4.      Headshots must be in a matte finish

5.      Headshots must have the actors name on the front

My film takes place in New York City, where lithographs and copies of headshots are powerless against “Pict-ula”. [Dun dun duuuun!]  In other regions these may be perfectly acceptable forms.

Also studio backgrounds (the colored sheets pulled down behind you), while not frowned upon, aren’t generally in use.

Now that you have friends to back you up and know what you’re dealing with, you must...

 

RESEARCH

This is the part of the movie where the intrepid adventures seek out people well versed in monster information. You know, the doddering old professor of antiquities who has studied the legend and secretly believes it to be true. He or she has the key to finding and slaying the monster.

In New York there is a bevy of classes and seminars an actor can take where they meet casting directors and agents. People commonly refer to such services as “Pay to Play”. An actor is paying for the privilege of meeting industry professionals who can help further their career in some way. During these sessions there is usually a question and answer period. Use it to gather knowledge. For example instead of asking an agent how many clients they have (which some agents consider to be rude and none of the actor’s business), ask what makes a headshot stand out and grab their attention. In fact ask anyone who has any connection to casting what-so-ever. They probably have had several encounters with “Pict-ula” [Dun dun duuuun!]

Compile your data. You’ll come out with a few consistent answers, one of the most popular being “it’s all in the eyes”.

At this point in the movie there is always some hot-headed hot shot who wants to immediately run off and kill the monster. No matter what you do or what you say he is going to go it alone and unarmed. So let him. We need to keep the audiences on the edge of their seats. No one has succumbed to the monster in our movie for awhile and better him than you.

What the rest of the monster hunters should do is...

 

GATHER RESOURCES

This is the hardest and lengthiest section of the movie. Many films will only have a montage, a quick moving splicing of events as the heroes prepare. Our feature film will play some details.

Your first resource is you. Who are you? And remember one of the most important through lines of the entire blog site: what is your product?  

If you are an actor still in school or recently graduated this can be a bit more challenging. In educational settings roles are given out on a need basis. A production needs a 65 year old grandmother. Someone has to play her, so the role goes to a nineteen year old sophomore. Is that her product? Not yet. An actor needs to see what type of roles that they are consistently cast in, that are close to the age he or she appears to be. This is what the people behind the table will buy. This will almost undoubtedly be the actor’s “product”.

Once your product is determined, you need to get clothes that fit that type. Find “you” in commercials, sit-coms and stage shows. These people are your “product models”. There is a tendency for each character type to dress similarly. It makes for quick recognition on part of the casting people. I’ve recently been checking out ethnic Dads and there is indeed a kind of “uniform”. Wear something similar to your product models in your photos. It’s your garlic to ward off “Pict-ula”. [Dun dun duuuun!]

I assisted Thurston, my bestie, on a photo shoot. A young college kid, a really nice guy, needed new headshots. He had brought with him a leather jacket and a couple different t-shirts. Even though I didn’t know what his talent was like, I was skeptical. He’s a good looking nice kid; I didn’t expect a leather jacket which is generally quite passé in terms of headshots. I asked him what types of characters he usually gets cast as. His reply was bad guys, like young mafia types, hoods and gang members.

His new headshots are great. They look like him. His individual genuine quality came through. You also see that “bad boy on the other side of the law” quality. His headshots will serve him well. He faced the monster and came out alive.

This young actor knew exactly what he wanted. His school advisor helped him choose a photographer, Thurston, who’s portfolio best represented their goals. Our young adventurer had specific instructions on the looks of his photos and communicated those things to his photographer. The ideas you bring to the session, regardless of where they come from, will help guide the photographer to creating your vision of a photo. Think of the ideas as your holy water. It won’t kill the monster but it will keep him in line.

The last resource you need is money. When all is said and done, a modest session with retouching and reproductions will run about $1000. There are headshot sittings that can cost upwards of $1300 before retouching and reproduction. Yes, bargains are out there to be found. Some photographers offer specials. Those specials do come with limitations however. These limitations can include how long the sitting is, how many changes of clothes you can have, and how many photos are taken,  to name a few. The old adage is true “you get what you pay for”. Do you really want to face our monster wielding a plastic stake?

Women will have the additional cost of hair and makeup. Most photographers have a makeup artist with whom they work. Their fee is set in stone and can run anywhere from $100-$300. Men should not wear makeup, other than maybe powder to lessen shine. A word of warning: you must be able to daily recreate the look the stylist does for you during the headshot session. Otherwise you will look like the walking dead as you enter the audition room.

It all adds up to a lot of money, yes. But done well they can serve you until your physicality changes. Besides it’s that time of year and headshots make the perfect holiday gift. My first headshots were a gift from my parents. In fact that’s the only gift I got from them for an entire year. And bonus: your family will love getting a framed headshot from their “big time New York actor relative” as their holiday gift!

Et viola! You’ve got your stakes, your garlic and your holy water. Now you’re ready to...

 

STORM THE CASTLE

To gain entrance to the demon’s lair you’ll need to battle the minions who guard it.

Use the list of qualified photographers you gathered from other actors, casting directors and agents and make appointments to meet all of them. For most actors it’s imperative to connect and feel at ease with their photographer. If the photos are to be taken in a studio make sure the meeting happens there. It will help you be more comfortable at the actual shoot.

Outdoor shoots with natural lighting are all the rage now. I think both will soon be added to the “Lore” section of subsequent movies. If it’s going to be outside, ask to see what locations the photographer uses. Some locations are over done. So it’s okay to bring a list of places you’d like to use. Remember your ideas are holy water. Through them at everyone you meet and watch who recoils. You want a photographer who will work with what you want as opposed to running the shoot how they want.

While meeting with a photographer you must look through his book.  It’s imperative that you search for other actors who are your physical type. Remember, if you stay in a group you won’t become another victim of “Pict-ula”. [Dun dun duuuun!]  If you’re dark skinned, how does the photographs of people with similar skin tones appear? If you’re blonde, do the pictures of blondes have true to life hair color? Does the photographer excel at taking a man’s photos and a not woman’s, and vice versa? Pick well and remember to always go with your gut.

In horror movies, if someone has a bad feeling about a situation the others usually ignore him or her and journey forward. It’s then that people become victims of the monster. It’s the same in our movie. If you have a bad or uneasy feeling about a photographer or a studio, even if you can’t quite put your finger on what that feeling is, run. This is not the photographer or studio to use. Get out. Save yourself...and your money.

Once you have found photographer, and thus the entrance to the lair, it’s time for...

 

THE BATTLE

You must do two things in preparation for the fight:

Several weeks before your actual headshot session, the only liquid you should consume is water. It’ll flush your system of toxins and give your skin a natural glow.

You need to get as much sleep as possible in those weeks leading up to your appointment. You can’t have a productive session if you’re tired, yawning and have sleepy eyes the whole time.

Your full concentration needs to be on the task at hand. Try and free up your entire schedule the day of the shoot. Few things can crush a headshot session faster than running late from work or being worried about getting to work after the session is finished. In horror films this is where monster hunters succumb to their own demons, even before reaching “Pict-ula”. [Dun dun duuuun!]

You need to feel at ease, comfortable and relaxed during your shoot. Then your headshots will look relaxed and you’ll appear approachable and friendly. I recommend bringing a friend along to your session, especially for the women. Every hero needs a side kick and there is safety in numbers

...unless of course you’re the African American man in the movie who up until now has only had two lines. No matter what he does, he and his girlfriend are toast!

There are photographers who attempt to loosen you up with alcohol. DON’T DO IT. It’s a trap. This minion has used its stealth capabilities to slip under your detection. Even one sip will leave you powerless and your photos lackluster. And don’t let your side kick succumb either. He or she will become a minion under a spell and have no free will to help against you-know-who.

During the shoot is where we lose the most victims to the monster. It’s because each individual session plays out completely randomly. Every good fight scene in every good horror flick has unexpected obstacles. Most monster hunters will succumb to the unexpected...otherwise the audience will get bored and the box office receipts will suffer. You're the hero. You've got your side kick with you. You’ve prepared and trained for this for the first hour of the movie. You’ve only got like 20 more minutes of screen time left. Don’t be ridged. Go with the unexpected. Match blow for blow. But keep your wits about you. Make sure it stays professional, safe and doesn’t compromise your personal integrity.

After the shoot is over, you will feel if you’ve been victorious or not. It’s palpable, the sense of accomplishment and relief, the confidence that your best was given, and the demise of the monster. There are only two of you left standing now. As you and your trusty side kick walk back through the monster’s lair, spent and longing for a good night’s rest, or a glass of wine, from the shadows he appears...

 

THE RESSURECTION

Yes my friends, what horror film worth its salt doesn’t have the monster come back from certain death? Just when you think it’s “safe to go back in the water” your contact sheets arrive.

This is by far the scariest part of our film. It’s where our heroes square off with the demon and its many forms. The monster is at the height of its power, using its mind twisting games to confuse you and hypnotize you. Garlic, stakes and holy water are useless. It’s a battle of sheer will between you and “Pict-ula” [Dun dun duuuun!]

Look at it methodically. Get rid of the shots you know will not work, the ones with half closed eyes, crocked smiles, bad clothing choices and the like. If you’re lucky you’ll have a clear choice if not a myriad of choices.

The demon is stronger than expected. Our two hunters curse the doddering old professor of antiquities, whom they believe have given them incorrect information.

We turn to our friends and family (especially family if they paid for the headshots) for their opinions. “Of these few pictures which do you like best?” “Which picture looks most like me?” If you have actor friends on facebook you've undoubtedly seen the posts requesting help.

Your side kick chooses a photo. You hesitate for a split second. You’re not sure. At that moment the monster jumps out from behind and then BAM. Your side kick jumps in front of the monster and sacrifices him or herself to save you.

It’s your headshot. No one can make the decision for you. You ultimately have to be the one who chooses.

You raise your voice in a primal scream “I can’t look at another photo! They all look the same!” Your side kick, while professing their secret love for you, slides lifeless to the ground. You’re blind with rage. You start hacking at the monster, picking any photo or worse; you toss them aside letting the monster regain its power, draining you of your sanity as you contemplate the dreaded task at hand.

Just when you think all is lost and the monster’s victory is imminent, the doddering professor enters the lair. He translated a word incorrectly from the ancient text. Now he offers you the final piece of information on how to slay “Pict-ula” [Dun dun duuuun!]

The best overall judges of headshots are the people who wade through hundreds of them every day for work. Consult the casting directors and agents with whom you have a relationship with about which of your pared down headshot choices they think will work.

Again I stress that it’s your headshot. You ultimately have to be the one who chooses. However you can choose with the help of well regarded working industry professionals. They are the ones who will be looking at them anyway. It’s just a subjective guess as to which photo represents an actor’s individual product best. And it’s a bigger guess as to which photo will help obtain an audition from a submission, be it email or snail mail. Better to make it an educated guess than a blind one.

Our intrepid hero, bloodied and bruised finally realizes the only way to kill the monster is to confront it head one. With the knowledge the old professor has given him, our hero attacks with a new fervor.  They fight...on the stairs, in the hallways, through dining rooms, on tables...until the final blow and the monster has been vanquished.

[Cheers]

 

IN THE MORNING SUN

Our hero walks victorious, with new headshot in hand out into the light of auditions. Little does he realize the fight is not over. It’s a never ending battle; one that needs to be fought each and every time he has or makes a major discernible physical change. Aging is the biggest factor in needing new headshots. But something as simple as a hair style change can cause our intrepid hunter to once again come face to face with “Pict-ula”.

[Cue evil laughter]

With a bit of a mind flip you're into the time slip...

 

 

If you’ve wondered about the strange occurances around New York City I can explain. Unusual things tend to happen when my best friend and I are together. Yes Thurston’s in town. He’s made the pilgrimage from Orlando to see if his career was a fluke, some sort of cosmic disturbance in the time space continuum...like water spouts and tornados and  in New York City. He’s allotted 6 months to audition, get a job and start performing, preferably on Broadway.

6 months.

Let me clarify a thing or two about Thurston. He and his husband Noah left New York a few years ago to make a life in Orlando, a life that includes a house, a backyard, two cars and year round Equity performing employment. In fact Thurston has been consistently employed since the day we met each other at our first professional summer stock gig. He’s worked in theme parks, cruise ships, regional theatres, national tours, international tours, foreign countries versions of Broadway and on the actual Broadway. He’s had like 9 production contracts and only one non-performing job in his whole life.

“Fluke career” my a...anyway...Thurston believes his success was based on being an acrobat. Like the strippers in Gypsy say “Ya gotta get a gimmick if you want to get ahead” and acro was his. Since tumbling is no longer his forte, he’s questioning whether he has any talent at all. This, coupled with the voices of all the evil jealous people he’s encountered, makes fertile ground for growing self-doubt.

I keep trying to tell him that getting a performing job has nothing to do with talent. Talent is subjective. If there are four people behind the table there could be five opinions on the level of talent and whether it’s good or not. Getting a performing job these days takes navigating a sea of variables.

If you’ve been keeping up with my blog, you already know some of the important variables in the “getting hired equation”: the material presented at an audition and the actor’s product.

I had the privilege of being a Casting Director for a Director and Choreographer, both of whom are or were performers. In most cases they’re very forgiving about what material an actor initially presents. They’ll either ask for something different or work with the actor to get something relevant out of the less than optimal choice. This is an exception. I think it’s because they’re performers themselves. They understand the challenges of finding perfect audition material, especially for new shows and the importance of being able to act and take direction. Most people behind other tables would probably quickly move on: “Thanks for coming in today”.

This can lead to actors believing some people behind some tables are uncreative when it comes to envisioning them in the roles they're auditioning for.

Let me explain what’s actually happening...

The current trend in the performing arts is hiring people who are “real”.  This means an actor’s product is so closely aligned with who the theatrical character is that telling the difference between the two is a challenge, if there’s a difference at all. The savvy actor knows his or her own product and presents that product in the best possible light. He or she auditions for shows that are specifically looking for his or her product. These performers don’t have to “act” because they “are”. They walk into the room just as the people behind the table envision the character in question to look, sound, and interact with others.

Knowing his or her product and targeting auditions for said product will help get an actor called back and maybe even hired.

 Maybe...

A lot of talented product savvy actors don’t get hired because of the lack of available contracts in their union status. The recent financial downturn has either closed some regional theatres all together or caused them to limit how many union contracts they offer. With limited contracts, casting becomes a game of chess.

There is one Equity contract. If union actor A gets hired for role A, then union actor B can’t be hired for role B. However there is only one viable choice for role C so actor C has to be hired. And guess what? Actor C is union.  Even though none of the actors were up for the same part, Union actor A and Union actor B completely lose the chance for employment because Union actor C is cast. It doesn’t matter about look or talent or product.

Another variable in getting a job is how under some union contracts certain roles have to be offered to the actor who last played that role. Montego Glover, a colleague and friend of mine, was involved with the hit Broadway show Memphis from its start in 2003. The show opened on Broadway in 2009. Any actress coming to New York in 2009 for a limited 6 month audition stint to see if her career was a “fluke, some sort of cosmic disturbance in the time space continuum” had virtually no chance of being cast in the role of “Felicia” in Memphis on Broadway. This role was already Montego’s...from 6 years ago.

A new 6 month relationship cannot compete with a tried and true 6 years.

Now add personal alliances into the fray...

Recently I applied to be a director for a new up and coming non-union theatre group here in New York City. I became aware of the company when I went to see my friend Teagan in the company’s first production. The talent was good and the effort was fantastic. It was impressive to see what the company had done in only a short while with severely limited funds. The founder of the company was actually in the show in a smaller role. Teagan introduced me to him and I used the opportunity to mention my interest in working with the company, specifically directing the third show.

After Teagan’s show closed, I kept communication going with the founder. During this time I had mentioned that I wanted to use Teagan in the third show. The founder told me that he wanted to expand the company and the company’s contacts so he would rather not reuse former cast members.

In the mean time, I spoke to a colleague about being my Musical Director/accompanist. Both of us went to see the second production, which was quite ambitious. The show itself was more mature and refined. I was surprised how well it actually came off, again with limited time and budget. There were some casting choices I wondered about though. There was one actress who was at best “phoning in” her performance. Both the musical director and I didn’t care for her.

After the show I introduced the musical director to the founder. We spoke briefly about the show we had just watched and the upcoming third production. The founder told us that a lot of actors were already interested in auditioning. The founder also said he wanted to use someone from the show we had just seen for the third production. Guess what? It was the very same lack luster, unenergetic actress that we didn’t appreciate.

The founder and I continued to communicate via email regarding the third show. In one email, he wrote:

 

...I chose [the third show] primarily based around myself and [actress]. I know that we were both going to play [part] and [part]. I also have ideas to utilize only one more [company alumnus] and that's that.

 

Auditions hadn’t even been announced or planned for that matter. The show had been picked for certain people. This happens all the time. You don’t really think Gypsy gets revived again and again on a whim? When a show has a very demanding role like Gypsy, like Evita, like Music Man, there is coupled with the idea of doing that show with an idea of who’s going to play that role. At times, the idea of doing the show in question was a star performer’s idea in the first place. In some regional theatres, actors have even been known to produce a particular show themselves just so they can star in it.

I was taken aback because the founder had told me in no uncertain terms that alumnae were not going to be used for the third production. Yet he continued to cast the show completely with alumnae. My reply to this revelation was:

 

When I spoke to you about doing the show I said I had wanted to cast [Teagan]. You told me that you didn't want to use [company alumnae] for the show. The company needed to expand and incorporate more people. I totally understand. However at this point you have assembled virtually an entire cast of [company alumnae] which includes [actress]...

I saw [actress] in [the first production] where she was fine. In the performance of [the second show] she was flat, boring and completely uninteresting. She was the weakest performer on the stage and the only person both myself and the musical director did not like. When not doing a main part, this is the type of performance I expect to see from her. [the third show] can not afford the luxury of an inconsistent and uninteresting actor.

[actress] is welcome to come in and audition, as is anyone else you think would be good for the show. Whether she is used for the show or not is dependant on the quality of her audition and subsequent callbacks and the input of the creative team.

 

His retort was:

 

How you feel about [actress] is how I feel about [Teagan]. How the reviewers, producers, directors and how the general public feel about [actress] is the complete opposite from your opinion. [actress] has worked on broadway the past three years, she's talented, generates great ticket sales, and has a big support team - which includes me.

             I told you in the previous emails [actress] is IN the show. She's not invited to
            audition. She has a spot. As the OWNER and PRODUCER - it's my job to TELL
            you these things. Not ask.

 

It was at this point that several things came into light for me. The first was his duplicity. Had he simply said he’s not a fan of Teagan’s work in the beginning, all would have been fine. To concoct a less than truthful answer was unwarranted. When he continued to cast the show himself before auditions, he should have known there would be questions.

The second issue was that the founder was deluded. In our meeting after seeing the second show, he admitted that it was a financial flop. This was painfully evident since I sat watching the second show with 9 other people, one of whom I had invited. The fact that he was singing the praises of this actress who “generates ticket sales” was preposterous.

The third and biggest issue was his lack of professionalism and decorum. As a director I gave him my honest assessment of [actress]. His reply to that assessment was:

 

Evan, be careful about what you say and how you say it. You completely insulted me. You completely insulted a friend and a colleague. My interests in you has plummeted.

 

When I informed him that as a proud member of Actors Equity, that is was my duty to report an actor “scabbing” (working in a non-union capacity while being a member of the union), as was the case with [actress] who had spent the last three years on Broadway, he proceeded:

 

[actress] doesn't have her card so your threats are empty.

            Your lack of tact and your ability to stay composed are on a level of that of a

six year old.

...watch your mouth and your threats as I have more power than you think I do, SIR.

            Good luck with your dying career.

 

You may be thinking “What does this have to do with persaonal alliances and time limits?” Everything. If this scenario happens in a brand new, non-equity, non-professional, non-paying theatre company with a couple grand invested in a show, it is possible that it happens with a show budgeted at 20 million dollars, albeit much more subtle, nuanced and eloquent. The basic premise is this...regardless of an actor's talent or product, the ones who control the money control who gets cast.

Rebecca, a new show slated for Broadway, has its marquee up. Investors are allegedly dying or receiving emails convincing them to jump ship, and the entire production is stalled. Again. You can bet your life that if someone came up with the budget and insisted that his sister’s husband’s cousin’s niece star in the show, the current lead actress would be bought out of her contract and sent packing. Rebecca would open as planned.

Show business is a business. The point of being in business is to make money. Everyone likes a sure thing. So producers hire casting directors, choreographers and directors they know and or trust. These people have delivered top notch performers and or shows in the past for the producers, or they have a reputation for such. And most of these people hire actors they know and trust and like. It’s the reason so many jobs go to a relatively small circle of people. The investors are literally banking on familiarity and dependability.

When new actors come to New York, they’re taught to go to every audition possible. The people behind most of the tables need to get very familiar with a performer before they’re willing to take a chance. It’s why a “household name” can virtually do any project he or she wants. The actor is familiar, so the producers believe their investment will pay off.

An unknown actor, an actor without a reputation for success, can be viewed as a real monetary risk. If the unknown actor is hired and is unable to handle the requirements of the show, word of mouth will travel quickly. Attendance will suffer. No audience means no income. No income means no investment recoup. And no investment recoup means no show.

Breaking into the circle of dependability takes time and patience. It takes time, and effort, to build relationships with various directors, choreographers and casting directors...and other performers. It takes time to convince people behind tables that you, as an actor, are able to handle the rigors of rehearsal and performance. It’s the consistent positive reinforcement of auditioning, over time, which convinces the people behind any table that an actor is dependable and capable.

A colleague of mine developing relationship with a major casting office once asked what he could do to better his chances of getting cast. He was literally told “we need to see your face more at auditions”. And that takes time.

There is a seemingly never ending string of variables that can hinder an actor from getting employment. The vast majority of those variables are out of an actor’s control. Time is one of the variables an actor can control. Wield it like a weapon. Take a jump to the left and then a step to the right and set up camp. Put your hands on your hips and with a pelvic thrust charge into the time space continuum and fight for your career.