One of the things going on these days — as we prep to move Cricket Feet Casting (and all things Self-Management for Actors) to new office space — is the process of purging paper. Lots and lots of paper. When I first started casting in February of 2003, I was taught to keep a binder (or several binders) for every project I cast. The system was a great one — producer query form, my casting deal memo, the breakdown as posted, audition schedules, offers, contracts, and a zillion other bits of correspondence with the team, agents, managers, union reps, actors, you name it — all meticulously organized and stored… because I was told that was the way it was done, when I got into casting.
Cut to now, and us trying to determine what travels with us, what stays behind, and what is really just clutter these days, and the fact that my amazing assistants are of the generation that never prints an email (you should see the looks on their faces when they come across faxed documents in these binders). All that adds up to a bunch of shredding before the big move. With one exception: If the document has writing on it, it needs to stick around for “last looks.” Obviously, the docs that have been printed from my computer are still available as digital backup, should we ever really need those files. But when I’ve made notes, I’ve gotta do one last pass to be sure it’s not something I’d cry to have lost (and if that’s the case, the data goes into the casting wiki, and then we shred the original).
So, among the notes about offers, deals, rates, perks, and the like, there’s the occasional PASS. This got us talking about what makes an actor pass on a particular project and, more importantly, when that goes from being a risky move to a ninja move.
In the beginning, you can’t fathom saying NO to a role on which you submitted, prepped, preread, executed a callback, and then were offered after all that work. And, in the beginning, if you are going to the trouble of submitting, prepping, auditioning, and attending a callback (or two), when you DO say no to an offer, that’s pretty crappy. Basically, when you’re starting out, deciding a project is one that intersects with your NO line is something that needs to happen as early as possible. The deeper into the process you go before bailing (especially when you know you will be bailing), the more damage you may be doing to your reputation with this team. Because this isn’t the only project this casting director will cast, because her assistants and associates will continue to tier-jump to cast their own projects as well, because there is a director and of course a team of producers involved — all of whom will continue to work on other projects — becoming known as an actor who will go all the way to the one-yard line, and then put the ball down, could have negative effects years later, when your name shows up on a list again.
But the time to start thinking about WHEN you will pass (because you will) is as early as possible. Even if you are certain right now that there will never be a paid acting role that you turn down, please know that there will be. That’s a weird mindset to consider, of course, when you’re on the “I’m hustling to even get SEEN, much less to be offered paid acting work,” tier.
Outside of the NO line items, there will be roles on which you pass simply because it’s a ninja career move to do so. Meaning, you’re just about to make the transition from low-budget indies to studio features. You’re one pilot season away from testing at network, but you’re still booking recurring guests like crazy.
I know, I know, the idea of saying no when the roles are wonderful and you’re loving all the WORK is shocking, and that’s exactly why I’m asking you to map out the strategy for your first pass, right now.
Think about it. How many best actor awards in low-budget indie films at obscure festivals do you need before you look to appear only in features from the major studios? On how many shows must you appear as a guest before you look to headline your own? Of course, you must be the actor of the type and vibe to BE a series regular, because if you’re not, your life as a career guest star is an awesome one, and you can just keep cashing those checks! (Quality problems, for sure.)
But assuming you are an actor who will, indeed, need to pass on a project not due to your NO line, not due to a schedule conflict, not due to money or terms not being met, but instead due to the strategic career moves you’ve mapped out earlier, let’s talk about how to pass with grace.
Earlier is better. If you’re in the mix for a project and things are escalating, don’t wait ’til the last minute to drop the NO on everyone. Obviously, your team should be in on this strategy from jump, so it’s on them to communicate to casting that you’re not really looking to do projects like this or roles like this anymore. Their relationships can almost always withstand these discussions. But if you’re still in the self-submission stage of your career and there’s a NO coming, reconsider even submitting (or at least decline the audition appointment).
Whatever you do, don’t let everyone THINK they have you and then go and bow out. Now, that’s not to say you’re forever blacklisted once that happens. The quickest way to be cast in a project is to have the creative team require it (in which case, it doesn’t matter that you burned the project’s CD on a previous project). But just to keep your name on *everyone’s* list of favorite actors, communicate early about your ever-evolving NO line, so that the buyers can help you make your next leap, rather than feeling burned by your late notice.
What’s your first NO? Probably those copy, credit, meals projects. Those spec pilots from indie crews with no successes under their proverbial belts. Maybe the table read for the un-funded 200-page feature that’s still really a work-in-progress. Of course, there are success stories that come from exactly those types of projects too, so really what I’m encouraging, here, is that you check in with yourself, your team, your goals, and your “picker” about each of the new opportunities that comes your way. Outside of those “I’ll never do nudity” NO line type things, the PASS issue is one you must always revisit.
So start now. And check in regularly. Make a date with yourself. And enjoy the leaps!
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/001630.html. Please support the many wonderful resources provided by the Breakdown Services family. This posting is the author’s personal archive.