Are you prepared for your Auditon?

You’ve memorized your lines. Great. That is a very important step, but it is only one small step of a larger process. Don’t shortchange yourself by skipping the rest. Below is a guide to help you cover the bases of audition preparation and give your character the tools to live truthfully within any circumstance. In other words, this is a guide to help you do your homework.

1. Know the Tone
What is the tone of the show, of the world you will be living in? Do your research. If it’s TV, watch the show! If it’s film, see if you can find something else by that writer or director. If none of these references are available, make logical choices based on the script. What is the atmosphere of the show and particularly, of your scene? What is the Tempo? Rhythm? Is it Drama? Comedy? Light? Dark? Do the characters power through their situations or does the show encourage long shots where the characters indulge their feelings? Know what world you are entering before you start!

2. Know your Role
Where do you, as your character, fit into this world? What purpose do you serve? What is revealed, discovered, or established in this scene that might be important to the story line and what role do you play in that? Look for moments of discovery within the scene. Is there a moment where something shifts? Is there a reveal? Make smart choices based on this information.

3. Know your Relationships
What is your relationship to the other character(s) in this scene? Be specific and in-depth with your answers. Saying, “He is my boss” is not enough. Saying, “He is my boss and the sight of him makes my blood boil. Nothing I ever do is good enough for him and I a F-ing sick of it!” is much more helpful. Not just, “He is my husband” but, “He is my husband and even though we are supposed to be professional right now I can still smell his hair and feel his warmth from when we were in bed together 20 minutes ago.” Or “He is my husband but I think he’s lying to me about something so every time he looks at me in earnest, I feel betrayed.” The point is, build a relationship rather than simply titling it. There is no way to overemphasize the importance of a clear relationship and strong points of view.

4. Establish Need and Approach
What do you need from your partners in the scene? Make strong choices. What will happen if you don’t get what you need? What will happen if you do? Use your talent and imagination to build circumstances for yourself that strengthen this need.

Why? Why do you need it? Why from this person/ these people? Why NOW? Why is it important?

How? What are you DOING to get what you need? This is where actions come in. DO SOMETHING to the other person to get what you want. Put your focus on your partner. Beg, convince, educate, mock, tease, belittle, guilt, befriend. Choose one or many things to DO. Acting is DOING. Try out different actions and see if they work. If they don’t… try new ones!

5. Test your choices
Rehearse! Once you are solid in your Given Circumstances and you are familiar with the script, REHEARSE. Keep working until everything you do/say/feel is inevitable for this character in this situation. Put your focus on your partner and go after what you need. Track their responses (these sometimes need to be created by you) and react in the moment. By this time, you know who this person is to you and what you need from them. GO AFTER THAT! Allow yourself to trust your choices and be alive in the moment. If something isn’t working, adjust one of your choices and try again. Do not skimp on your preparation!


Always consider it an honor to be given the chance to act and to reveal the humanity of any character. Take your job seriously in the way that you prepare. Then, in the room, LET GO. Learn to trust your preparation and live truthfully in the moment within the dramatic circumstances you have created.  Trust yourself. Trust the work you’ve done. Trust your talent. Only when you put in the effort this work deserves can you be truly confident in what you have to offer… And if you are confident in what you have to offer… Others will be too! Now, go knock ‘em dead!

Suzanne Schmidt has spent her recent years acquiring a Masters in Acting while simultaneously teaching and coaching acting at Northern Illinois University.  She has a background as an actress, director, singer, theatre company co-founder and producer.  Before moving to Illinois, Suzanne spent years as a working actress in Los Angeles and you can see her in the upcoming season of Sons of Anarchy.  Suzanne is trained in and thus her coaching is inspired by the methods of Constantine Stanislavsky, Stella Adler, Sanford Meisner, Michael Chekhov, Catherine Fitzmaurice and Lloyd Williamson.  Suzanne's goal is to help her students establish the truth within their character’s given circumstances while realizing the inevitability of the words and actions of their character.

Suzanne Teaches A to Z Theatrical and Theatrical Thursdays at Keep it Real Acting.

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Booking is a Separate Beast

In all the years that I have been working as an actor, I cannot recall ever completely duplicating my audition during a shoot. Inevitably something gets changed. So much so sometimes I think to myself, "This is so different from my audition, why did they even pick me?" The answer is simple. Booking is a separate beast! When you understand that booking a job is not necessarily how you're going to shoot the job, then you will start separating out the two and see booking as it's own art form. Trust me on this guys, I have booked over 40 films and 30 television shows in addition to helping actors book when I was a personal manager for 9 years and personally coaching 1000's of actors over the years and witness them booking big jobs!

So what constitutes a booking? Well, it would take an entire "War and Peace" gigantic book to describe that one to you, but what I will tell you is that you have to be dynamic. Actors are so afraid of "going over the top" that they actually put a cap on their own performance. Did you know that 'going over the top' is simply not being in truth? If you are in EXACT TRUTH according to the writer's intent and you are in the tone and style of the show or film, then why are you hitting it at a comfortable 7 when you should be hitting it at a 10+ to take the job? Why get all dressed up and inconvenience yourself to get to an audition and not go there to book it?

Instead of running your scene with anyone that will help you and flattening the hell out of it, why not section out your script and work your transitions and see if you actually know where this is for you and if you understand exactly what you are saying and feeling? Look for the transitions and keep switching them effortlessly like a precision driver. If you run the lines, then they will sound like lines run.

Another thing that constitutes a booking is, knowing what you are doing. Why would anyone hire you if you don't know what you doing? Trust me, the last thing a casting director wants to hear from their boss is that they messed up by bringing you into their producer session and onto a set when you didn't know what you are doing.

Also, are you prepared to shoot the scene right there in the office? If not, then don't go to that audition. This is an add water and stir business people. I'm sorry, but no one cares about your process. Are you there to deliver the goods or not? Stop thinking that you're going to get a second take or an adjustment to help you hit it exactly where they want you to be. If 6 actors are brought in for one job and 5 actors get it on the first take, why would they bring back the 6th actor who needed an adjustment? Be logical. Look at this business as a business. If the tables were turned, would you do business with you? Are you conducting yourself as a business? Are you really ready to work? This isn't a joke. This is the real deal. Information is power! 

Here's to booking big!

xoxo

Amy Lyndon

Amy Lyndon is a Multi-Award winning Actress, Director, Producer, Writer, International Booking Coach and CEO of the Lyndon Technique. Lyndon has 40+ films to her credit including; “And They’re Off” opposite Sean Astin, "The House That Jack Built” opposite Joe Mantegna, and "The Poughkeepsie Tapes" for MGM. On TV, she Guest Starred in over 30+ TV shows: “Adopting Terror” for Lifetime, “Law and Order: LA,” “Eagleheart” w/ Chris Elliot, “NCIS,” "Ugly Betty," "Entourage," "NYPD Blue," "JAG," Recurring in “Days Of Our Lives,” “The Bold and the Beautiful," "General Hospital," & "Young and The Restless." She Teaches Cold Reading & Booking Classes at The Lyndon Technique.

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Build your Online Audience: Part 1

There are a tremendous amount of resources available for actors today. We are all aware of Facebook, Twitter, Instagram, etc…and we know how to use them in our personal lives. However, it’s important to realize that these mere social media outlets are brilliant, golden tools for promoting your career as an actor for exposure. The word to emphasize here is: exposure.

Whether you are Tom Hanks or John Doe, every performer can be a “celebrity” in their own capacity. No matter how big or small the project you are doing, it is of utmost importance that you share it online. If you show the world you are constantly working, then the world will be excited for you and support you. While there are a number of ways to build a fan base & promote yourself online, today I’ll focus on one: the Facebook Fan Page .

Facebook Actor Page

It is very easy to make a “Page” on Facebook in addition to your personal page. You can call it an Actor Page, a Fan Page or just your name with specifics that you are an actor. What matters is the consistency of how often you use this page:

-Invite all of the friends from your Personal Page to “Like” your Actor Page. Some people may not at first, which is fine, try inviting them again later on. You’re not annoying them, just being persistent. Stop at nothing.

-Post everything you are doing as an actor. New headshots, set photos, clips, reels, YouTube videos, selfies in your costume, set photos, behind the scenes pictures…there are endless possibilities! You can also tag your projects by using “@” in front of the title to help the project itself get exposure, if they have a page as well. They will appreciate it!

-Display your actor links (IMDB, Website, etc.) in the “About” section! This is a useful section to promote your online presence as an actor. You can put two links in total, and when you do they will be displayed under your profile picture at the top of your Actor Page. To do this, click “About”, then click the “Page Info” tab, and put your links in the “Short Description” box. This may take some trial and error because sometimes links don’t always fit and have to be shortened. Once everything is up and running, your page will look professional For links to display, I would suggest your Actor Website and IMDB page but you can also put your casting profiles (Actors Access, Lacasting, Nowcasting, Casting Frontier).

-Sponsor your Actor Page to get more Likes and/or promote your posts. This is what Facebook calls Sponsorship. It does cost money, which isn’t for everyone, but you can choose the amount you want to spend from $2 upwards. I’ve found it to be totally worth it. If you are getting people who don’t know you, but like your work, that is a good sign for the lack of bias. If you want a maximum amount of Likes and exposure, you will probably need to promote your posts. The reason is: people have TONS of posts popping up on their Facebook newsfeed. So, by promoting you are simply making your posts more visible to them among the other thousands they see.

-Be careful when sponsoring your Facebook. You may get messages/posts from people you don’t know. If this occurs, it is up to you whether or not you want to allow strangers to have contact with you. If not, you can change the settings of your page by going to “Edit Page”, and then “Edit Settings”.

Overall, the Facebook Actor/Performer Page will give you your OWN audience. As you book bigger projects, your initial fans will take pride in discovering you first…and people love that. Go for it!

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Justin Sorvillo moved to Los Angeles to study at the two-year conservatory, The American Academy of Dramatic Arts. Following his graduation, he became involved in several regional theater productions on stages including South Coast Repertory and The Geffen. He has performed in many independent films, web series and other ambitious projects. His latest credits include a supporting role in the sci-fi feature film, Space Command: Redemption featuring Mira Furlan & Bill Mumy.

*Check out his Actor Facebook Page here: Justin Sorvillo Facebook

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The Importance of Camera Awareness

As actors, we have a lot to do and a lot to remember during an audition—mainly to give a real and credible performance of our character that wins us a callback, and perhaps the job.

But just as there are different types of roles, there are different types of auditions. Reading for theatre, for instance, usually involves auditioning in the theatre for the casting director, director, producers, etc. Because it’s theatre, you would reasonably be expected to know to play to the house, meaning your vocalizations and gestures would be a little bigger, so the last row of the audience could see your work.

But commercial auditions are virtually always on camera, as are some TV auditions nowadays. As actors, we need to be aware of how that should affect our performances. Surprisingly, I find that most commercial actors do not take that into account, and their audition suffers.

When auditioning for the camera, think of it as the audience. As in theatre auditions, you play to that audience. Because the camera and microphone are closer, you won’t need to project or gesture grandly to be seen or heard. A zoom lens can move the audience within inches of your face, so your acting can be more natural and subtle.

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In a theatre performance, the audience sees you in 3D—our eyes perceive height, width and depth. But the video camera only records a 2D image. Add the fact that most commercial audition facilities have very flat, unsophisticated lighting and you can see why camera awareness is important.

So how to compensate for these problems? There are a number of simple tricks that will maximize your audition potential. First, take the room into account. Where is the camera? The microphone? Where does the lighting end? The mark on the floor will usually tell you not only where to stand, but how to orient yourself to the camera.

Now that you know where it is, play to the camera. This means that while in life, you might look directly at the person you are talking to, on camera that isn’t necessarily so. Because if you do and the other actor is on the same plane as you, we see you in profile only. So I direct actors to “cheat out,” meaning play their lines and reactions where the camera can see them 3⁄4 faced. When you look at the other actor, your upstage eye should focus on their downstage eye, which opens you out. And always remember, you don’t have to be looking at someone to hear them or be heard by them.

Another way of doing this is to give yourself a point of focus out near the camera. For instance, if you are talking about a car, put the car in the cue card, or under the camera.

Notice the height of the camera. If it is above your chin, raise your chin just slightly to compensate. If it is below your chin, lower your chin accordingly. That way, we don’t get a shot that features a look up your nose or one that magnifies your forehead. Ladies, if you have a part in your hair on one side, try to use the side that favors the part, not the side with the most hair. If you must use that side, be sure to put your hair behind your ear or tie it back and cheat out.

Ask the director what your frame is and you can better gauge the size of your performance. For instance, if you are being shot in a closeup, actions and expressions can be smaller and the camera will still get them. Whereas looser shots will give you a bit more freedom.

Look at the lighting. Where does it end? Stay within that pool of light. Don’t come too close to the camera and be sure you are not saying your lines off camera. A good rule of thumb is to not begin speaking until your have hit your mark.

You can practice these techniques at home with a video camera of any kind. Even a cell phone camera will work. Set it up, get some commercial copy and become accustomed to playing out to that camera. Then review your work. See what works and what doesn’t. Then put what you learn into practice and see the difference.

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Doug Traer has been working in film, television, theatre, and commercials for the past 26 years. His film credits include Robert Miller’s “Brenda Starr,” the critically acclaimed “Speak of the Devil” and the black comedy “Dead Giveaway.” He has had multiple roles on “General Hospital,” appeared in “America’s Most Wanted” and “Saved by the Bell,” among others. He has made a number of national TV commercials for products such as Mercedes-Benz, Sony Playstation, Sprint, Blue Cross Insurance, Baskin Robbins Ice Cream and Hardee’s Restaurants. In addition to his acting gigs, he works as a commercial casting director, session director and teacher at Keep it Real Acting Studios.

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Your Unique Experience brings your Headshot to Life

 Life experiences have enriched the actor giving them a depth in their character which, in turn, make them centered and give them the willingness to try fresh approaches in their photo shoot. These life experiences add a vibrancy and different dimension to the session, creating a strong image. Subjects that exude confidence are easily transmitted to the camera. This is the unique personality we want to see in head shots.

Now let’s focus on the concerns during these shoots:

• Before a photo shoot, one should decide what you want in a photograph and know your essence and how you are marketing yourself. Be realistic with your type considering your age range and play to that. 

• Access specific thoughts and feelings during your shoot. Put people in the camera who bring out different dimensions of your personality. Don't rely on just your clothes. Spend some time preparing for the shoot by knowing who and what will make you trul smile. We will see the genuineness of this in the eyes.

• If one decides to do their own hair/make-up, one should come camera ready and bring accessories to switch it up. Natural looks are the trend nowadays so keep the make-up to a minimum and hair should be natural. It should be you on a good day. Not you looking your very very best. Remember you want to come to the audition looking like your photo so it should be easily repeatable.

• Bring an array of clothes that are appropriate to create the “look” one is aiming for. Focusing on the top half of your body. A good idea is to spend time looking at magazines, and TV  and see what people in your category are wearing and use that as your guide.

• Generally, men don’t need to have their make-up and hair done. I find that nothing strips the masculinity out of a good shot than poorly applied make-up. With that said, it is better to go without. All they need to bring is a light, translucent powder to cover up hot spots. Also, keep a razor handy to trim beards.

• Headshot format cropping is generally referred to as a “1 or 2 button shot” from the collar down. Remember that nothing is missed in this” tight shot” and any “bad” make-up/hair will be captured on this high resolution file.

On my next blog, I will share some of my more theatrical  “edgy, dangerous, James Bond-ish” studio lighting styles.

Dan Chapman
Studioheadshot.com
323-462-3200

Daniel Chapman has been a successful photographer in Hollywood for over 20 years. He brings with him a wide array of shooting styles utilizing studio and natural light. Celebrities like Tasha Smith (For Better For Worse), Eva Langoria (Desperate Housewives), Dominic Monaghan (Lord Of The Rings/Lost), Hollie Robinson Peete (Actress/Singer), Elmarie Wendel (Third Rock From The Sun/George Lopez Show), Natalie Dressell-Reid (Eve), to name a few, have tapped his expertise in having their pictures taken.

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Treat your Audition like it Matters!

As actors, we all know how difficult and frustrating this profession can be. Too much competition, not enough jobs, not enough pay when we do book. Things always seem stacked against us. So when we do get an opportunity to try for a job, you want to make the most of it.

In today’s commercial production world, things happen quickly. When a casting director puts out a breakdown, they can get 1500 to 3000 submissions for a single part. The production company may have only given them one day to cast that part. Think about that: let’s say the part has dialogue—perhaps 3 or 4 lines and some action.

The actor steps in the room, the session director explains the audition and directs the actor in what is expected of him or her. If it is complicated, perhaps the actor requires a rehearsal. Then redirect. First performance is recorded, another redirect and a second performance recorded. Assuming none of the recordings are stopped and restarted for flubs, the entire process will take maybe 6-7 minutes.

Under ideal circumstances, the casting director can schedule 10 actors per hour to audition. In an 8 hour day, that’s 80 actors. 80…out of 3000 submitted. Which means about 2.5% of actors submitted got an audition. That’s pretty lousy odds, which makes those chances, those opportunities to book a paying gig, even more precious.

So when I see actors wasting them by not showing up or coming in late or early or not wearing the right clothes or not looking at copy posted for them online, I am understandably frustrated. Not just because they have squandered an opportunity, but because they are behaving unprofessionally—they are dishonoring the profession I love.

What would happen if a plumber or surgeon did the same? The plumber who showed up for a job without his tools or dressed in tennis attire would soon lose his job. A surgeon who reported for duty in a golf outfit with no knowledge of the patient he was working on would be laughed out of medicine.

So what should you do? Let me sum it up in two simple words: BE PROFESSIONAL! When you get an audition from your agent you want to find out the following information:

1) What is the product?
2) Who is the casting director and where is the audition?
3) When is the audition?
4) What is my character? Does he have lines? If so,
5) Are there scripts available?
6) Am I expected to appear in costume or makeup?

If you are really thorough you will ask who is the director, what is the union status, the run on the spot and what conflicts are held.
Then get to the audition 15 minutes before your time so you are able to relax and study your script. Have a headshot with you, even if you think you won’t need it. Use your waiting time wisely preparing for your audition.

In short, treat it like it is important to your life and career—because it is!

Doug Traer has been working in film, television, theatre, and commercials for the past 26 years. His film credits include Robert Miller’s “Brenda Starr,” the critically acclaimed “Speak of the Devil” and the black comedy “Dead Giveaway.” He has had multiple roles on “General Hospital,” appeared in “America’s Most Wanted” and “Saved by the Bell,” among others. He has made a number of national TV commercials for products such as Mercedes-Benz, Sony Playstation, Sprint, Blue Cross Insurance, Baskin Robbins Ice Cream and Hardee’s Restaurants. In addition to his acting gigs, he works as a commercial casting director and session director as well as teaching and providing career guidance to young actors or those just getting into the business.

Doug Teaches Commercial Wednesday Workouts at Keep it Real Acting Studios.

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Q&A with Commercial Agent of the Year, Hugh Leon

I recently had the pleasure of talking with Hugh Leon from Coast to Coast Talent. Hugh has been the Talent Manager's Association's Commercial Agent of the Year for the past 2 years, and has been nominated for the past 9 years. He was gracious enough to take the time to give us some insight from a commercial agent's perspective.

Judy:  What do you look for in an Actor that comes in for representation? What do you tell actors after you sign them? 
Hugh:  There are four things that I typically look for when considering taking on a client:

1. Do you have a commercial look? I know this is subjective, but the first thing I need to evaluate is whether or not you are something I can sell.
   
2. Do you fill a need for us?
   
3. Can you handle copy and How do you handle direction?
   
4. Personality! Do I feel that you are going to be high maintenance? Are you somebody that I know I can send out there and  be confident in your ability to do well, be professional, charming and personable? Finally, will we get along?

We conduct a thorough orientation after signing. Both sides should know what we expect from them and what they expect from us. Make sure that they have the right photos, are enrolled in a good class, like yours, even if they already have training. I only recommend 3 places, and Keep it Real Acting is one of them. After you feel that you are at the top of your game, then do showcases. Also, Improv training- and not just 101, but one of the big stages like UCB, iO West or Second City.

Judy: What's the best way for an actor to bolster their relationship with an agent?
Hugh: The best way to foster a good agent relationship is to comply with what we ask from them. Make sure they have the right materials, stay on top of their game and don't fall into the woodworks. We don't always have time for drop-bys. Instead shoot us emails to catch up! Its important to keep in touch without being over burdening or obnoxious. Always remember: We are 10% and you are 90%… What are you doing for your 90%?

Judy: What tips would you give to an Actor who is in a slump (not booking)? 
Hugh: They have to understand that when they are going through a slump and it starts to trigger their psyche; maybe they are down about personal stuff, and it really starts to mess with their confidence. A lot of actors' inner feelings can't be hidden. Their confidence is not the same. 

Find a way to reach within, to concentrate on the positives, even if there aren't many. You may even have to go back and tell yourself "I'm talented," "I have my house," "I have my friends." Find something on the inside that really shines through to make the confidence and inner light shine again. The People that are booking are the people out there that are just happy. They found peace and happiness and they just shine! 

Get into a class and you'll find breakthroughs! You'll be able to watch yourself on tape. The class itself has other actors in it going through similar career swings. It'll give you the opportunity to get out of your head and have someone point things out and notice the little things that are there. To me, the buttons at the end really make a difference. They'll separate you from the pack, when other actors are saying the same lines.

Judy: What is the most rewarding thing for you as an agent? What part of being an agent is most fulfilling?
Hugh: Booking is my favorite thing… Helping them fulfill their dreams. When an actor gets really excited, and they scream and yell, that makes me happy! Show a little excitement. It makes me want to have you book again. One of the most fulfilling experiences is when someone is in a slump, we have a little pep talk, and then they go out to book!

Judy: What advice would you give to actors who are without representation?
Hugh: There are a lot of actors that aren't represented, so make sure you stand out. Many actors put the cart before the horse. Set yourself up for an agent before you get one. Actors should get decent pictures with the right background. Actors should also have commercial training- not just theatrical training. Have your ducks in a row, know your business and get your feet wet before you even approach representation. Do your research.Get to know who you are approaching and how you are coming across. You can't just show up on a baseball field and say "Ok, I want to be a Philly!" Why should an agent represent you? Give them a reason for it.

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Hugh Leon is a partner and head of the adult commercial and celebrity departments at Coast to Coast Talent Group, one of the leading talent agencies in Los Angeles since 1987. Coast to Coast represents youth and adult actors for commercials, print, voice over and film/tv. Hugh has been an active participant in the entertainment industry for over 4 decades. He began his show business career as a child actor in Philadelphia before moving to New York City, and later to Los Angeles. After graduating from UCLA, he worked at a couple of agencies before joining Coast to Coast in 1996. Hugh's lifelong experience in show business has contributed to his unparalleled success in representing commercial & celebrity talent. He has been nominated by the TMA 9 years in a row and winner of 3 'Commercial Agent of the Year' Seymour Heller awards (2007, 2012, & 2013). Hugh has also been featured in numerous television program interviews, and is quoted in countless national industry publications.

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Confident, not Cocky, is the Key

When you walk in to an audition with confidence, it is always appealing.  When you walk in cocky, it is almost always off putting.

The question is how do we FEEL confident? (Especially if we have not booked a job yet or in a while!)

Here are a few suggestions:

• Find One thing about yourself that you are sure of and use that as your mantra before you go in. Ex: "I know I have great hair" or "I know I have the gift of good comedic timing." Walk in with that... and don't expect anything from them. If you focus on your strengths, your entire audition will project an air of confidence.

• Be of service to them! Understand that they want someone to walk in and nail the audition so that they can go home. Keep that in mind. They want you to succeed! Go into the audition as if you're stopping by to help them out. Ex: You have the perfect looks, hair for the role. You are there to help them solve their problem- which is to find the actors to make the commercial work. Let them know by your CONFIDENCE that you can help them solve their problem.

• Leave the audition knowing you offered them a solution for fun and for free! Say a polite, "Take care!" "Nice to see ya!"  "Have a great day!"

Try it on your next audition and let us know how it works for you... And see if the ride home is more pleasant!

-Judy Kain

The 5 Worst Headshot Mistakes Actors Make

Why does the thought of taking headshots send so many actors into a state of anxiety?  Is it the fact that the actor’s most important marketing tool needs to look just like them, convey their true essence, create interest and intrigue, all while showing confidence, talent, and marketability?

The problem is that actors never really learn the art of having their headshot taken. It’s a process. And just like learning every other aspect of the business, it gets easier in time. But if you know what you’re doing, not only can you become successful at it, the process can even be enjoyable.

As an image/headshot consultant, I see actors making the same mistakes over and over throughout the process. It doesn’t matter where they are in their careers, the level of their acting abilities, how long they have been doing it, or their age…actors continuously make five of the Worst Mistakes when having their headshots taken. How many are you guilty of?

1. Not knowing who you are and how you fit in.You would think that every actor knows their type, but it amazes me how “off” most are when asked. If you don’t know who you are or how you fit into the marketplace, how do you expect an agent or casting director to know what to do with you? You as an actor must know your type (physical/emotional/ability), your brand (what is unique and special about you) and your marketability (the roles you can be cast in today)…and you must present all of those specific aspects in your headshots.  If you are unsure, it would be in your best interest to get out there and find out. The way to do that is by asking people…and in people, I don’t mean your mother, or husband, or girlfriend, or even your “bestie” …they have all been programmed to tell us that everything we do is wonderful. People who can help are those who are knowledgeable and who can be truthful; agents, managers, consultants, and acting teachers. Fellow actors you see once a week in classes are also a great source since they know you and your abilities but aren’t actually friends.  Oh by the way, an actor’s type and brand are ever changing…so for you thirty-five year old guys wearing hoodies and that fifty year old woman still rocking “The Rachel”…keep up…life changes.
2. Picking the wrong photographer. As you all know, there are hundreds of photographers out there.  Anyone can buy a camera and set up a website, but that doesn’t make them a good headshot photographer. Charging huge sums of money also doesn’t guarantee a great shot. Many photographers are more concerned with their own egos and creating their own stylized shots. Those shots only get the photographers more work, not the actor. Recommendations are a great way to find a photographer, although what works for one actor doesn’t always work for every actor. Agents and managers all have a list of preferred photographers, however, you have to ask: When did they last update the list? and Why are they preferred? Far too often, actors give over all control to the photographers thinking they know best. They may know what lens and light to use, but they don’t know you. You must know exactly what you need and want from your headshots before you even meet your first photographer. Find a photographer who “gets” you and understands the importance of bringing out your unique individuality
3. Not putting in the necessary work.This is by far the number one worst headshot mistake actors make. If you think getting your clothes together, having your haircut, and showing up are all you have to do…then don’t question why your shots look so generic.  Actors put more work into their scene study class then they do into their single most important marketing tool. When I work with actors, I have them fill out worksheets in order to identify their type, brand and marketability. We then translate those aspects into specific headshot looks or set-ups unique to each actor and the roles s/he can or should play. But the work doesn’t stop there. The entire headshot session should be treated like an audition or acting job with each look or set-up as specific scenes. Next I coach actors in the art of connecting with the camera while creating interest and intrigue within each specific scene…oh, and do all this while looking comfortable, confident, and exactly like you on a good day. All this prep work must be done before the actor even shows up to the photographer’s studio! Remember, we are talking about your career. Are you willing to put the work into getting amazing headshots, or do you want to put all control into the hands of someone who doesn’t really know you or your abilities?
4. Picking your own headshots. Come on…you all know we only pick pictures of ourselves where we look great. Unfortunately, those are usually not the best shots. With casting directors receiving over 2500 submissions per role, a headshot needs to be so much more than an actor that looks great. There has to be that spark, that something intriguing that makes an agent or casting director stop and take note…something so unique that they want to know more about that actor. Picking the right picture is extremely important. You need to seek help…. and once again, I am not talking about your dad, or your wife, or your roommate. Agents and managers are not known for picking the best pictures, however, they do know how they are selling you and what roles are out there for your type. Acting teachers are also a good resource since they might see glimpses of your unique abilities or personality rather than how great your hair looks. 
5. Over-processing the final picks. Step away from the Photoshop!  Yes, there are certain things that need to be airbrushed…stray hairs, a zit, something odd in the background, but that’s about it. I once coached a very talented disheveled heavyset comic. He was right on point with knowing his type, specific about his brand, and talented up the wazoo, but just wasn’t getting out there. I had him bring his old shots to our first meeting and almost fell out of my chair. The picture looked like a porcelain doll. Everything unique and memorable about this cute chubby scruffy-looking funnyman had been blended away to look like Nicole Kidman’s more attractive sister.  Our flaws are differences that set us apart from others. They make us who we are…learn to embrace them…to embrace you. Every line tells a story, every freckle a secret.  Your acting is unique and different from all those other actors out there, so is your face. Don’t make it generic and forgettable.

Tom Burke, working model and actor, teaches seminars and gives lectures on the importance of headshots and discovering an actor’s image. He is currently consulting and coaching at Keep It Real Acting Studios in North Hollywood, CA where he also teaches the exclusive classes: Headshots A to Z and Not Just a Pretty Face. 

My Child is 4. Do they really need a Class?

Really?  My child is 4…. Do they really need a class?

I used to say NO.. They are only 4… But then, I noticed that the same 10-20 kids book all the commercials in that age category. I talked to some session directors  and Casting Directors who said… “Some kids know what to do and some do not.  Kids who are confident book!”


NOW my answer is a resounding YES!!! On Camera Commercial class will help develop confidence in  the room for kids by the information gained in class.    . Practicing talking to the camera, Standing on the mark and knowing where to look seem like little things but they make a BIG difference in the audition room and especially at the callback.


A good, basic, fun but informative class is all 4-6 year old needs to give them a competitive edge. Those who are shyer may need to take it more than once to get them more comfortable. Overall it is a small time and financial commitment that can bring huge return on your investment.  And if they don’t become Dakota Fanning they will have learned some valuable skills to listen, play well with others, confidence and communication skills. Who cannot use that in life?

                                                                                                        - Charla

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Charla Cochran is a youth teacher at Keep it Real Acting and has been teaching young children and teenagers for almost 20 years. She received her BFA in Theater Education from the University of Utah in 1995, where she served as Artistic Director for a touring program promoting child abuse prevention.  Charla relocated to the West Coast after directing her own youth theater company in Birmingham, AL, for 10 years.  She has a special gift for working with very young children and has nurtured and encouraged many young actors to find their creative voice. 

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