HOW TO STAGE THE PERFECT PRODUCTION

      WOW YOUR AUDIENCE & BE THE ENVY OF YOUR COMPETITION

                     Developed by Creative Entertainments (R) © Copyright 1998 - 2001 MVMXCIV

 

                        SEVEN STEP COURSE

 

 

                              ACTING and SINGING

 

 While writers and directors find it difficult to break into the industry, for actors, and singers the path is truly tortuous. At least writers and directors are able to take the initiative and demonstrate their ability by writing scripts and making

their own films. However, actors and singers can't show their talent until they first persuade a major record company or someone to give them a role. "As an actor or singer you're always waiting to be invited to the party, you have to wait for the person casting a movie or creating a record to put you in the perfect part."

 

The barriers against beginning singers are formidable. Usually one may submit demos to record companies, but honestly, 1 out of 1000 may be interested. Record companies usually dont choose artists from demos sent in. Record companies choose people from talent scouts Networks. Record companies will usually have their own networks and agents they work through, if you find out who they network with and places they hang out, try to be seen performing live at the hang out places. That is how you will get your record deal if you are good enough.

 

The barriers against beginning actors are formidable. Usually one must be a member of the Screen Actors Guild

(SAG) to be considered for even the most minor parts. While low-budget productions will use non-union crews

and non-Guild writers and directors, they rarely employ non-SAG actors. To join SAG an actor or actress must convince a production company that is a SAG signatory to hire them. But a producer's agreement with SAG generally requires the producer to give hiring preference to SAG members. One exception allows the producer to hire a non-SAG actor when no SAG member is available or qualified for a part. Thus, if the role calls for an Albanian midget who speaks French and can do motorcycle stunts, the producer will have little difficulty demonstrating his need to hire a non-SAG actor. But if the part calls for someone more ordinary, the producer hires outside the Guild at the risk of incurring a financial penalty.

 

An actor could conceivably join SAG by establishing his own production company, have it become a guild signatory, and then hire himself. But this is an expensive scheme not within the means of most actors. Another way to join SAG is to transfer in from its sister unions in the fields of television (AFTRA) or live theater (AEA). Persons who have been members of AFTRA or AEA for a year and performed in at least one principal role in a production under their jurisdiction are eligible to enter SAG. AFTRA is easy to join since it is open to anyone at any time, AEA is the same as SAG, it is difficult to get in.

 

Beginning actors or singers are always at a competitive disadvantage. There are too many people... we are more aware of even secondary roles, casting directors look for actors, whose names on a billboard might mean something to the public, perhaps piquing its interest. "What you try to do is put together a cast with people who have some visibility," The major record companies and the popular indie companies look for X-factor possible recording artists.

 

Because casting directors have so many actors to choose from, and record companies usually will not even consider hiring one whom does not have an agent. So many candidates have representation that there is little need to look further. Moreover, casting directors complain that negotiating with actors and singers can be exasperating. They often do not understand the fine points of deal-making and they tend to become emotionally involved in their negotiations. It's far easier to deal with an agent who understands industry shorthand.

 

For the beginning actor or performer, getting a good agent can be an insurmountable obstacle. Anyone can look in the paper and see an add saying Actors, Models, Singers, dancers required for agency. To the agency, you are just a means to an end for quick easy cash by paying a fee so they can add another face on the books. If your lucky you may, be chosen for a commercial or two, which will cover your fee cost? If your serious you need to ask the right questions to the prospective agency one of the questions is will they be promoting you each day to clients for possible jobs. In most cases, the agency will add you to their face books and portfolios very rarely will they push work. "It takes an enormous amount of spadework to take beginning actors and singers through all the beginning motions of introducing them to casting directors, venues, promoters, record companies and getting them their start. It's very painful, it takes a long time, and it costs the agent a lot of money. So for the most part, agents don't like to fool around with unknown people. It takes so long that by the time they've made all those steps to get an actor or singer started. If the record company or agent chooses the wrong performer or the agent or Record Company chooses the wrong promoter, the wrong people will sabotage the record company or agent, or they will leave. This was the case in 2000 with two of Creative Artist Agency CEOs. The moral of the story is Choose the right people from the beginning, if need be take your time and call the concept off until you have the right people.

 

Actors and singers go about seeking representation in a variety of ways. Some wander around town dropping off resumes and demos at agents' and record company offices. This approach rarely works, because agents or A&R people want to see an actor or singer perform. Consequently, to gain exposure, actors and singers will take roles for little or no pay in small theater productions, whilst that is good for amateurs, it is not good for the so called professional. They also appear in showcases sponsored by acting schools or venues. Here short scenes are performed before agents lured in with a free lunch. Rarely you will get someone to look at you, because the good agents or A&R people will stay about 5 to 10 minutes, then they have to leave. If you are not on in that time, you wont be seen.

 

Of course, actors, singers sometimes employ other, more outrageous, methods, particularly memorable encounter with an actor and actress. The pair offered to act out a scene for an agent in his office, and when Sherman (agent with Morris Agency) agreed, they stepped outside to change into their "costumes." The scene began as the actor returned in his Jockey shorts and lay down on the couch. The actress entered, removed her clothes down to sheer bra and panties, and began singing at the top of her lungs. Sherman was aghast, and worried that a VIP visiting next door might drop in to find out what all the noise was. The performance did not get the pair an agent.

 

Another example one of the CEOs saw a television production called Pop Stars, in which the program was recorded and sent to the other CEOs in which a production company held auditions in a few cities around a country. The producers should know what they are after for a commercial pop group aimed at families and young impressible teenagers. Any one not suitable should be told prior to the auditions. Whilst Creative Artist Agency are open minded the producers of pop stars let people audition as drag. Drag is okay if it is appropriate to the audition. In the opinion that the CEO drew, pop stars was going to be a pop act aimed towards young teenagers and families. The moral behind all this is that sexual seductions in auditions wont get you an agent or a recording deal.

 

A more businesslike approach to breaking into the business would be arrange a series of performances for casting directors and agents to view you at work, if need be pay for a free ticket. Then organize to see them the next day after each meeting write the person's name and physical description and the topics they discussed on an index card. Every month go through those cards, and if you have review send them a little note to let them know what you are doing.... Dont expect agents or record companies to phone, they usually dont. One day it will pay off and surprise you.

 

No matter how an actor or singer obtains an agent, there remains the problem of securing work. Agents can only propose their clients for parts, venues, or record companies that may be appropriate for them. Ultimately, the actor, singer must win the role himself or herself, often in an audition.

 

Auditions are not ideal settings for demonstrating singing or acting ability.

Currently increasingly record companies and agents are looking for singers who can write music, have a good range and can dance or have stage presentation. Although Creative Artist Agency makes it a pre-requisite that singers must have dance training, other wise we do not consider.

 

 

For the actor it's especially difficult to perform cold readings, where actors are handed a script on the way into the audition without time to prepare. Some actors can read great, but can't act. Other actors can't read at all, but they can improvise characters."

"Cold readings are very difficult to do "they determine if you get the job." Consequently, learning the art of auditioning is an integral part of becoming an actor.

 

"The key to auditioning well, "is learning how to both concentrate and relax at the same time. One must be able to ignore distractions and focus intently on one's performance while also being relaxed enough to let one's creative juices flow. A literal interpretation of the script is usually not impressive. What matters is whether the actor brings you surprises. It is not just reading naturalistically. It is do they bring you any presence...are they aware of the subtleties.'"

 

Sometimes an audition is in the form of a meeting to discuss the role. The key to success here is "understanding that ninety percent of the people that you meet know a lot about the industry and may know what they are looking for.

They'll ask to see film on you [to supply]. Prior to the audition you may ask what they are looking for, they may or may not answer you, if they do answer you, they wont tell you everything. When supplying material on your audition make sure your material best shows you off with how versatile you are.

 

The CEOs promote themselves through each other, therefore try to find those aspects of our personality that are already close to the role and emphasize those in the meeting. Or find some opportunity to tell a story in the meeting that will reveal those attributes. Because when you tell a good story you act it out. Therefore, a story is the perfect cover for acting, without saying. Hey, I am acting or singing for you.' Then they think they've discovered you. They think they saw something.

Good Actors and singers have mobility. When they want a neurotic ship captain, they hire a neurotic ship captain.

 

Some singers and actors believe it wise to stay in character in all their dealings with casting people, agents so it appears they are the character. It can be difficult to detect the impersonations of a proficient actor. American actress Jennifer Lopez was never the first choice for the Wedding Planner film. Ten other candidates were considered before Jennifer, she proves to the Directors that she is versatile and can be molded any way the producer wanted during her screen test. Sometimes you have to lie to get parts; some people may feel guilty. It goes with the industry.

 

It's the audacious actor or performer who often wins. Mastering the art of auditioning is important because it's a skill needed throughout one's career. Even stars and veterans are asked to audition. Actors and singers usually solicit work for many years before they become sought-after talents. Great performances and reviews have little impact unless a singer or actor is in a high-visibility production. Singers and Actors are only considered as good as the films or stage show they are in, "Unless they're in a runaway hit, whereby their exposure to the public is so tremendous that they become known overnight. They can forget it. If they're on stage or in a film that doesn't make it, even with good notices, they start their career over again. They look for the next picture or gig that is going to do it for them."

 

 There is little a performer can do to generate that breakthrough role. Notwithstanding all his dedication and talent, he or she often must wait, a long time to be offered the right part. You have to be on the right corner at the right time."

Moreover, unless a performer has mastered the craft while awaiting the lucky break, all may be for naught. You need "a foundation of craftsmanship beneath you to be able to capitalize on luck if it should strike you." How one obtains that mastery without regular opportunity to work is a dilemma many performers face.