Accountability Groups

I've already blogged a few times about accountability, but it bares repeating.  Making goals is great, but if you don't hold yourself to accomplishing them, then you're sunk.

Recently, I've heard buzz about accountability groups.  GREAT IDEA.  Small groups of actors meet on a regular basis, and help each other along.  Collaborations like this make every member of the group stronger.

Setting up an accountability group:
•Choose some like-minded friends.  Don't be afraid to ask people who are further along in their careers.  Don't be afraid to ask someone who is specializing in something different than you.  Don't be afraid to ask people with whom you compete for jobs. I'd say no more than 8 people.
•Set up a recurring schedule.   Meet as often as serves you, but at least every 2 months.
•Be honest about where you are in your career and where you want to be.
•Ask for help.
•Give help.
•Put your minds together for projects that you can't do alone, but a group of colleagues can accomplish.   (Produce a play.  Do a web series.  Plan mailings together.)
•Register for classes together, and help each other rehearse for those classes.
•Exploit group discounts.  Headshot photographers, for example.

But here's what I think is most important:

Work with your group to develop both goals and action plans.
Goals are the results you'd like to see.
     •I want to get a legit agent.
     •I want to book my first national commercial.
     •I want to join Equity.
Action plans are thing you will do to achieve the goals.  Actions steps are 100% achievable, and in your control.
     •I will take a class with a TV casting director.
     •I will mail postcards every 4 to 6 weeks.
     •I will get complete a voice over demo.

Write them down.  Share them with the group.  And MAKE SURE everyone does what they promise they will.

Then finally, celebrate the results.  When one of you wins, you all win.

What did you create in 2012?

I named 2012, “The Year of Creation,” because it became clear to me that if you’ve gotten to age 25 without being “discovered” your best bet was to create something yourself… something that showcases you in exactly the best light.

-Create a one-person show

-Write and produce a short film

-Write a pilot, and shoot a sizzle reel

-Do some open-mic standup comedy

-Join a long-form improve team

-Create a show to host, and post it on youtube

    and the list goes on...

There are concrete ways to reach these goals.  Take a look at these resources…

•Gotham Writers’ Workshop

•The one-person show class at The Peoples Improv Theatre

•Classes at The Upright Citizens Brigade

•StandUp classes at Carolines

And that's just a few.  Hey, with a phone that takes video, and an internet connection - you're live!

So, what's stopping you?

If the process seems too large, and the task too daunting - ask friends for help.  Get an accountability partner.  People are shockingly willing to work for free.

It's fear that stops us from doing these things.  Be your own Marketing Coach.  Wouldn't you push yourself toward creation?

Good luck in 2013, folks.  And keep working hard!!!

Celebrity Look-a-likes

This is an esoteric piece of advice that someone told me once.  I thought of it this week when I was looking at a friend's webvideos.  She does a dead-on impersonation of a celebrity, and she looks JUST LIKE HER.

If you resemble a celebrity, you should contact their agent and offer your services.  Maybe that actor needs a on-camera sibling, or a stand-in?

How do you find their agent? Two ways:
1- pay to join IMDBPro.com, and you'll often find their information listed.
2 - contact Equity or SAG-AFRTA and ask for the membership department.  Pretend you're casting, and you have an offer for them.  They'll give you the information.

Then, send a headshot.

Okay, okay - I know this is a long-shot.  But, if I looked like a dead-on celebrity, I would definitely give this a try.

Inside a Casting Studio: You are your own business

This is a great post from Christine McKenna and CMcKenna Casting.
This stuff always needs reinforcement.

Inside a Casting Studio: You are your own business: To be a successful, professional actor that  keeps working you must market yourself and commit to acting as though you are your own busines...

$10,000?

I was posed an interesting question this week: If you had $10,000 to spend on your career, how would you spend it?

This question is interesting, but this question led me to an even more interesting question:  Why am I not working night-and-day to earn $10,000 to do all the things I think I should be doing for my career?

I'll start with the first question.  (And my answers aren't for everyone, just for me.)
Here's how I would spend the $10,000:

•New Headshots, including reproductions - $1400
•Better VO demo - $1200
•Classes with Casting directors  - $4000  (This is probably the BEST way to spend investment money.)
•A trainer to get me in shape for pilot season - $2000  (Oof - I hate this, but it's smart.)
•Great audition clothes, and a great haircut - $600
•Excellent holiday gifts for agent/manager - $200
•Mailings, supplies, miscellaneous - $600

Now, I don't have an extra $10,000 to spend, but is it irresponsible to me and my career to not dedicate myself to making an extra $10,000 to invest in my career?  Do I think that a $10,000 investment is wise?

Here's what I came up with:  I think I do need to invest more money than I do in my career if I want the momentum to pick up.  Therefore, I do need to make more money.

I've always felt that it is inadequate to invest money when-you-have-it in your career.  That just means you never invest.  I'm a big fan of committing to a yearly budget-knowing what you are willing to spend, and how you're willing to spend it.

But the fact remains: if your career isn't moving fast enough, you have to invest more to get it going.

Personally, I don't think I need to add $10,000 a year to my budget, but maybe $3,000.  Now... where do I get that money?

Do you need to be investing more?  How would you spend it?

The Commercial Environment 2012

I was chatting with a friend/client of mine about commercials the other day.  The tweeted me to ask if I'd blog about the commercial environment these days in NYC, especially in reference to the non-union / union issue.


I'd love to start a dialogue with you, beloved readers, and get your opinion.  Are you auditioning for commercials?  Are there still as many as there once were?  Are you union/non-union?  Do you see one as better these days?

Here's what I can add to the discussion... a jumping off point!

I don't have any numbers to back this up, but from my experience, and from what I've heard on the ground, we're about 50/50.  Half of the auditions are for union commercials, and half are for non-union.  As usual, the money is in union commercials!  But, people are pulling together a living just doing non-union as well.

I always advice actors to stay non-union as long as they can.
•Legit casting directors don't seem to care if there's a SAG-AFTRA on your resume.
•Once you go union, you will be going on many fewer auditions unless you have a STRONG commercial agent, who really believes in you.
•While non-union, you can learn the skills needed in a much less intense environment, and you're auditioning for the same casting directors as the union guys.  Building relationships is the name of the game.

But, while non-union, you may not be making the money you want.  One solid SAG-AFTRA job can pay as much as 20 non-union commercials.

One thing I'd like to note is that the merger has changed the environment a little.  Many non-union actors who were AFTRA got sucked up into the SAG-AFTRA union at the merger.  So, non-union commercial agents were finding new actors in droves.  Consequently, the non-union auditions were full of newbies, and the seasoned non-union actors who remained non-union (or fi-core) rose right to the top of the pecking order for work.  If you don't have an agent at all - this is your time; you're in demand!

Has this been anyone else's experience?

Not much else has changed, to my eyes.

So how about this question/conundrum?  If you're a very busy non-union actor, and you're auditioning 5-10 times a week, what do you do when you HAVE to join the union, or a big agency wants to sign you exclusively (for union jobs only)?
It would be hard to say no to Abrams or CESD, but is that the smart move?

I'd love to hear what you think.  Tweet me @AWMMGUY or leave a comment below.

What kind of headshots do I need?

In the 90s, you needed three head shots: commercial, legit, and soap.

Oh, how times have changed.

Before the digital revolution and actorsaccess.com / breakdownservices.com you needed to have hard copies of all of your looks if you wanted to have pictures that properly represented you and your type.  Not anymore.  (It may be the one area of an actor's life that got less expensive.)  Most of your professional needs will be covered with digital headshots now.  You still need to have a photographer take all types of pictures, but you only need to print one.

Let me explain what I mean.

You should have a profile up on actorsaccess.com.  It's free!  There you can upload up to a dozen pictures that you can use depending on the role you're submitting for.  Your agent, if you have one will use those same pictures.  Even if you don't live in NYC, there are castings all over the country - just start a profile!

You still need hard copies of your headshots for two main reasons:

•Theatre auditions - and luckily you'll be handing it over, so they will understand your type by your audition!
•Student film auditions - same deal.

•Self-submissions - when you mail in a picture from an ad, like in Backstage or ActorsEquity.org, if there isn't a virtual submission option.

But the question still remains: What do you need to get when you see a photographer?

The essentials:

•A commercial shot - a warm picture of you, with a smile, that looks like you! But you on a great day.  Not your best day, but a great day.

•A legit / dramatic shot - a shot that is appropriate for a serious production-for Ibsen, or Law & Order.  Again, it looks like you, but it's professional, and shows some emotion.

After that, there are a few other shots you may like to have:

•A full-length shot - especially if you've got a great body.

•A character shot - maybe you have a hipster side, or a dorky side, or an outfit that immediately points out your ethnicity.

A couple of other things to think about:

•If you wear glasses in real life, you should probably have your glasses in your headshot.  But make sure you have some without too.

•If you are over 30, consider a business outfit.  You may be a casual person in real life, but there are tons of lawyers roles, and doctor roles.

•If you have a blue-collar attitude, make sure that is represented in your pictures too.  Every tv show and movie has cops.

Now, when it comes to printing headshots, I suggest to my clients that they only print ONE look.  Generally, it's the warmer, commercial shot.  It give the best first impression.

Don't forget to print the same image on 4x6 postcards that you can use to follow-up after auditions and to maintain your contacts.

Entire books are written about this topic, but that is my basic advice.  I hope it helps!!!