Happy New Year!

Happy New Year!  I, like everyone else, had the unfortunate respiratory bug that’s been going around, and was therefore not able to start the year in the way I intended . . . with a new post. 

As many of you saw from my last post, 2011 ended with a bang, commercially speaking.  Lots of advertisers were spending their budgets, especially Walmart.  We have heard from ad execs to expect 2012 to be busier than last, which is a welcomed change.

With indications of slight but steady economic growth over the last couple of quarters, it has historically been the case that advertising increases as it is one of the primary tools in keeping the revenue flowing back into the economy.

We are now experiencing the slowdown that traditionally follows the pre Holiday blitz and mad catch up the week immediately following. This is standard in our industry. We also are looking forward to a steady increase in activity in the days and weeks to come so enjoy the chance to take a breather this week in anticipation of a productive and active 2012!

Stay tuned for most posts in the coming year!

Captain America

The entertainment business moves so fast and so quickly that parent's need to be able to make accommodations.  It is so frustrating when agents spend the majority of their time trying to track down and convince a parent to take their child to their auditions.  If the child has a football game, dance class or simply needs a break then this is all fine.  But, parent's need to communicate this with their agent.  Auditions are tough to aquire so when an agent secures an audition then their client is expected to attend.  Though we all understand daily life may throw a curve ball every once in a while but an agent is not going to want to hear that their client is missing an audition because the parent is not able to arrange a ride,  has a hair appointment or is working background on an unflexible student film.  When we all agree to work together then both the agent and parent must have open communication which will strengthen the agent's trust in their clients reliability which will in turn blossom in to the potential for more productivity on behalf of your child.

S.S.A - Captain A

Dear Addison,

Here is more correspondence...

Thanks so much for the reply. I really appreciate your advice. It is a little devastating, however, to hear about my photos since I literally just had new headshots taken. I used XXXX, who often responds to XXXX headshot posts, because XXXX was in NYC when I needed them taken. I am disappointed too, since it was a big investment. I am anxious to get into a class but there are so many that I do not know which would be a good first class to take. It is all a little overwhelming. Thank you for taking the time to get back to me, it is nice to know I have someone who will give me honest answers.

Hi XXXXX, Yes, unfortunately the pictures are not good. The reality of boards like these is that you will get some good advice from people who are genuinely trying to help. But, you will also get some unscrupulous people who take advantage of people.  Here is a list of some of the photographers I refer to: Brian Parillo Dana Patrick Esther Szeznie Mark Atteberry Maya Adrabi Mikel Healey Paul Landry Paul Smith Rob Mainord What you have to remember in regards to photos is that, commercially speaking, our submissions are all electronic. You have to make sure whoever is shooting you is able to do so for that medium. It is "easy" to take a shot that you can make work in an 8 x 10 form, but when the photos are viewed online in a 1" x 2" rectangle... And here is a partial list of casting director workshops: Chris Game Craig Colvin Danielle Eskinazi Francene Selkirk James Levine Killian McHugh Mariko Ballentine Renita Whited Robert Martin I know there are some names that I am missing, but these lists are a good place to start. All of these people, and I do mean all of them are reputable. Hope that helps a little more.

Dear Addison,

I hope everyone had a lovely holiday.  I recently received a question from an actor, and posted my response.  I thought this might help other new talent that are trying to navigate the shark-infested waters of Hollywood.  

Dear Addison,

I enjoyed reading your reply, and since I have recently moved to LA, and need all the help I can get, I was wondering if you could give me some direction based on your experience. You stated the agent/CD lists are wrong, but I really don't have much else to go on. I posted a question about Miramar Agency and no one replied to me. I don't know if it would be better to go with a small startup agency or be part of a bigger group in a big agency. If you could give me any advice on where to go I would appreciate it. I know it depends on type, so if you could, please go to my imdb to see my info and advice me on where I would best fit in. Thank you in advance for your help, and for standing up to the people who think they know everything. 

Thank you,

XXXX

Dear XXXX,

I would be happy to help you. The first thing I will say, looking at IMDB, is that your photos are not great. I would definitely recommend getting some very professional headshots, as that will always help you get in the door. At the very least, some amazing headshots will make you look like you know what you're doing. Bad photos make people think you are not taking this seriously. You have to remember that for an agent, manager, or casting director, this is a career. We rent office space, buy computers, hire staff, if you can't invest the money or time in your career, why should we?

Second, from the photos you have you seem to be very attractive. Now, Los Angeles is FULL of beautiful people, but one thing you have to remember is that beauty always, and I do mean always, sells, its timeless. Trends are constantly changing. Right now the hot ticket commercially speaking is improv, specifically UCB. Now, in a couple of years that will change, but beauty will always be in fashion.

To address your question about Miramar Agency, I do not know them enough to speak intelligently about them. Remember in regards to talent agencies, size does not matter. What matters are, first, is the person who takes you as client excited about you? If they are, they will make the push for you to get in the door. After you get in a few doors, you do the rest. Second, is the agency reputable? My best advice would be to find some working commercial casting directors, who also teach classes, and take their class. Once you're there you can kill two birds with one stone. You can get in the door with someone who could potentially call you in for a casting, and two they can offer their opinion as to who you would be best suited to pursue as an agent.

I hope that begins to help. Feel free to contact me should you have any further questions.

Addison DeWitt

Its all in a day's work

Recently a client called after shooting a commercial.  She was wondering when over time applied, how it was paid, etc.  

First, the most important thing to remember in regards to getting paid is to be sure the hours are filled out correctly on your contract.  In fact, always make sure when you sign your contract that everything, and I do mean everything is correct.  This includes the hours worked, conflict, run, special provisions, etc.  On rare occasion I have had a client call me from set saying that a P.A. brought over a blank contract to sign, and that everything would be filled  in later.  The response to that is a definitive "no".    The contract should be given to you at the end of the day with all of the information filled out.  If you have any questions your agent should be available for you to talk.  You can also call a SAG rep to come to the set if you believe there has been a breach in the SAG commercials contract.  Unfortunately SAG reps are not on call 24 hours a day, so I have been known to be on the phone with a client at 11pm discussing such issues.  Remember, if you don't want to have what you feel is a confrontation about your contract for any reason, call your agent. 

Second, the SAG commercial contract states that a commercial work day is considered 8 hours, this does not include your lunch break.  Your lunch break cannot be less than 30 minutes, nor can it be more than 1 hour.  Between 8-10 hours you enter into time and half, and at the 10th hour, double time. 

Remember, the most important thing is to make sure you keep track of your hours, and that the contract if filled out correctly.  You should fax, or take a copy of your contract to your agent.  Your agent, or talent payment person can handle it from there. 

Finding the Money Voice

The strongest guidance that I can offer in terms of the essential need to 'find your money voice' is to find a voice over coach/teacher who can demonstrate a working knowledge of and familiarity with the current landscape of sounds that are selling.

That usually means a casting director who currently casts a wide variety of projects in the particular genre on which you have elected to focus.  They have their 'finger on the pulse' of the thought processes of ad agencies and production companies when it comes to searching and casting for voice over talent.  They have a perspective that is unique and unbiased as they themselves are not voice actors, which is a very particular vantage point that can be of great assistance to the journeyman voice actor but not necessarily when it comes to understanding how to determine that sound which will is most appealing to or in demand by the buyer.   That first hand knowledge comes from the casting director and/or producer, those who are on the front lines with the actual buyers.  They have a breadth of exposure that will allow them to help you to locate and train your money voice.

A truly valuable tool in the process for finding the right coach/mentor is to ask your fellow actors who have trained in this area as well.  THAT is where the first hand experience and perspective of another actor is invaluable.  They can talk to you in terms of the acting process and how they explored formulating their own technique.

Also, when you telephone the person or people in whom you might be interested in hiring to assist in this endeavor, you must rely on your gut instinct as to your innate comfort and rapport with that individual.  This is where your great instincts as to people and chemistry will serve you in great stead.

Active current experts who work day to day in the process of searching for and hiring voice over talent are your greatest bets in terms of finding your money voice.

The Nasty

Did you know that big stars like Matt Le Blanc and Tim Allen wield so much power that they can dictate how many seasons a network would have to guarantee them in order for them to agree to do a show, or at the very least guarantee that if the show does not last past a certain number of episodes the network gets charged a hefty cancellation fee?