Hello Bonnie,
I have just read and printed out your Agent-Free Auditioning article and would like to say a big THANK YOU!
I am a starting-out-actor in NYC. I have been acting part-time for years, with several credits (no speaking parts on any big name projects yet though), but starting end of next week I will have my university degree complete and commit to acting full-time. I found all your tips and advice so helpful and I think it is just amazing how much you want to spread the love! I found so much jealousy and secrecy in my short time acting that it was just so awesome to see the opposite side of the spectrum in your column!
Also I was hoping you could answer a few questions for me. I realize this is a lot to ask, but if you have a moment. Thanks in advance!
Being a nonunion actor, is it all right to submit myself to SAG, AFTRA, and AEA projects? Are my chances high? Is there anything I can do to increase them?
Being based in NYC, if I see a role being cast for a commercial or a film with a role just perfect for me (at least I think so :D), but it is in another city, such as LA and the breakdown does not state that they are seeking local talent only, should I submit? And if invited to audition, what do I do? I mean, I can’t just fly in to LA for every audition I may be invited for right?
And of course the cliché beginner question: What is the best way to get with the right agent? Is it best to actually mail out resumés and headshots to best local agencies or is email better? Does dropping-off resumés and headshots to their offices in person help or make it only worse? Is contacting casting directors directly wise? If yes, again which approach is best, mail or email or in-person?
Thank you so much for your time and I wish you a great week!
Best regards,
Anjelika Kour
Okay, Anjelika. First off, you’re welcome. It is absolutely my pleasure to share tips and ideas with actors who are willing to do the asking, do the reading, do the work involved with getting ahead. I hear daily from actors who want to know “where were you when I was starting out?!?” and it always makes me happy to connect with folks at the beginning of their journey, because that means we’re likely to keep you from making any Premature Moves.
So, on to your specific questions (most of which are answered in much more detail in the seven years of archives, here — so do spend some time diving through those columns from long ago, that Showfax and Actors Access so lovingly store for you, and provide for free).
Unless a breakdown says, specifically, “nonunion do NOT submit,” it’s not going to be a big deal that your nonunion submission shows up in the mix. We’re used to it. And depending on the contract (and directives from producers), we may be able to Taft-Hartley you if you are, indeed, the actor we want for the job.
As for how high your chances are — on any submission — well, you’ve read the disclaimer on lottery tickets, right? Do you really want to know your odds? Because if you’re concerned about the odds, this is the wrong business for you. The fact that anyone ever gets cast, ever is a Conspiracy of Yes, and it’s staggering, how long the odds are, when you’re in a major market.
The best way to increase the odds of being called in is to have existing relationships with the people doing the casting. Because if we already know your work, if we already know you, you are already lower risk than someone who is a stranger to us. So your job is to connect with your buyers, which takes time. Do shows. Do showcases. If your buyers are regularly at workshops, target time with them there. Do tiny films that get into festivals. Attend networking events. Interact (smartly) using social networking tools. Be in this for the long haul. That is how you increase your odds. It’s not a sexy answer, but it’s the accurate one.
As for projects casting in other markets, only if you can work as a local hire should you submit (unless they’ve mentioned in the breakdown that they are including travel in the rate of pay — but even then, that means they’ll travel you for the job, not necessarily for the audition). We assume, when you’ve submitted, that you meet the criteria we’ve spelled out in the breakdown. So, if you’re concerned, be sure to leave a note in the notes field (if enabled by casting), so there’s no confusion about where you’re based or your ability to travel.
You asked about getting with the right agent. I’ve outlined the research required to start narrowing your target list here and here. But I’d prefer you read (or re-read) this piece on Premature Moves to be sure it’s time for an agent in your life, since you’re just finishing school and not yet in the unions. There are plenty of projects actors starting out can get cast in, without agents, as you read in Agent-Free Auditioning. Only if you’re booking enough work that you need someone to negotiate deals for you and help get you to the next tier should you approach agents just yet.
Build your reel. Build relationships. Build credits on your resumé. As Blake Robbins says, “Pursue the work, not the people.” The right agent will come when you’re another tier up. And if you’re already confident that your reel is hot, your relationships are strong, and your resumé is healthy, start by doing your research, creating your target list, and then submitting the way your targets have said they prefer to be contacted by prospective clients.
Keep at it, Anjelika. You’re off to a great start! Remember, it’s a marathon, not a sprint.
Bonnie Gillespie is living her dreams by helping others figure out how to live theirs. Wanna work with Bon? Start here. Thanks!
Originally published by Actors Access at http://more.showfax.com/columns/avoice/archives/001335.html. Please support the many wonderful resources provided by the Breakdown Services family. This posting is the author’s personal archive.