by Jen Rudin
•MORE INFORMATION AVAILABLE = MORE KNOWLEDGE = MORE PANIC: Remember to continue to research everything you read before automatically assuming that it’s the truth.
Some days, when I look into the waiting room filled with eager actors before their auditions, I see a vision of myself from thirty years ago. Technology and time have changed the backdrop, but the dreams are the same today for all actors who yearn for a life onstage, on television, or in film. And though we live in a constantly evolving digital world, there is no technology that can replace an actor’s natural talent and charisma. These characteristics are timeless and intrinsic to a professional acting career.
I can’t predict the future for anyone, let alone anyone’s acting career. If you have a burning desire to act, then you must pursue your dream as long as you possibly can, otherwise you may have regrets later on in life. If you have an aha moment, then maybe you will redirect. Get a real estate license. Apply to law school. Train to be a yoga instructor. Adopt a dog.
Until then, pursue your dreams. Go to every audition and practice what I’ve preached. Be prepared. Be professional. Do your research. Leave early and bring a raincoat. Have a cup of coffee and find your personality. And always maintain your good name.
I wrote this book because I care about all of you, and I want you to succeed. Now you know all my secrets.
Life is short; enjoy the ride.
Acknowledgments
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This book came to life one night over dinner with my beloved college friend Jennifer Zweben. Thank you, my dear Zweben, for offering to connect me to your mentor, Lisa Sharkey. I’m so glad we met in Sellery Hall in Madison, Wisconsin.
Thank you to Lisa Sharkey for believing in this project, taking a risk, and bringing the book to life.
This book was created under the brilliant eye of my editor, Paige Hazzan. Thank you for always keeping me on schedule and for your abundance of infectious positive energy.
Meredith Wechter and Josh Pearl at ICM connected me to my incredible agent Kari Stuart. Here’s to a future filled with many more collaborations and a lifetime supply of Jo Malone candles.
Lauren Camadeco read drafts for months on end, always delivering valuable feedback with a positive spin. Lauren, I value your loyalty and admire your smarts. I will never forget that you helped me pack up my office after seven years at Disney and helped me launch Jen Rudin Casting. I am honored to serve as your mentor and to call you my friend.
The Shapiro Family (Lori, Joel, and Harel) gifted me a beautiful glass desk and created a sacred writing space in my home.
Thanks to Alan Kingsberg, my TV writing teacher, who reminded me to outline, outline, outline.
Denise Smoker read early chapters and gave me a much-needed crash course in grammar and sentence structure.
Thanks to my personal brain trust: Andy Finkelstein, Eve Rudin, Rebecka Ray, Rena Strober, Lauren Camadeco, Michael Warwick, Lori Schneide Shapiro, Wendy Prior Fentress, Ari Karpel, Bess Fifer, Gia Forakis, Jennifer Zweben, Carrie Fox, Sarah Hurwitz, Bob Marks, and Carlos Murillo.
Thank you to my parents, Jim and Marcia Rudin, for reading drafts and offering notes so quickly and so often. I will always treasure the hundreds of hours we spent together side by side, writing at the New York Society Library. You’ve both written many books, and your discipline and commitment inspired me to write this one.
Thank you to the New York Society Library for your peaceful fifth-floor writing room. It’s one of the quietest places in the entire city, if not the entire world. I hope the very kind library staff will please forgive me for sneaking in the occasional Starbucks coffee under my hat.
Thank you to the many parents who opened up to me about their lives and their children’s acting careers: Barbara Gelb, Michele Teran-Mizrahi, Emily Bauer, Barbara Rigoglioso, Barbara Safer, Dana Unger, Dani Berger, Debbie Kerner, Denise Smoker, Jeff Neitenbach, Jen Merna, Jennifer Tulchin, Linda Kimbrough, Lane Kimbrough, Lisa Iacono, Michelle Ceske, Melody de Castro, Dani Rogers, Meredith Simpson, Shawn Senning, Michelle Ackerman, Nadine Wright, Peter Kitchin, and Susan Knasel.
And finally, for all the actors whom I’ve met or auditioned over the years. I admire your courage. This book is for you.
Appendixes
BEST PRACTICES AND RESOURCES
Appendix A
Jen’s Best Practices for Auditions
* * *
Prepare your audition material.
Make a schedule and try your best to stick to it.
Be a professional.
Respect your fellow actors in the waiting room and the creative teams in the audition room.
Listen to and follow all instructions.
Leave early and bring a raincoat.
When necessary, have a cup of coffee to help you find your personality.
It’s all or nothing.
Bring this book with you and refer to it often!
Appendix B
Resources
* * *
Helpful Research Sites
www.imdb.com
www.ibdb.com
www.spotify.com
www.youtube.com
Casting Listings and Places to Find Audition Info
www.backstage.com
www.playbill.com
www.castingnetworks.com
www.lacasting.com
www.actorsaccess.com
www.breakdownservices.com
www.sidesexpress.com
www.realitywanted.com
www.actorsinfobooth.com
www.actorgenie.com
Publications
www.hollywoodreporter.com
www.variety.com
www.playbill.com
www.thefutoncritic.com
www.broadwayworld.com
www.ew.com
www.deadline.com
Books and Bookstores
www.dramabookshop.com
www.samuelfrench.com
www.halleonardbooks.com
Young Actors: Schools, Acting Coaches, Summer Camps and Training Programs
www.actorsconnection.com
www.aquilamorongstudio.com
www.broadwayartistsalliance.org
www.creativestudiosofatlanta.com
www.frenchwoods.com
www.margiehaber.com
www.neighborhoodplayhouse.org
www.nyfa.edu
www.oneononenyc.com
www.stagedoormanor.com
www.simoncoachinggroup.com
www.thebroadwayworkshop.com
www.tvistudios.com
www.usdan.com
Stage Parent Resources
www.bizparentz.org
www.hollywoodmomblog.com
www.showbizparentsresource.com
www.thesavvyactor.com
Actor Events and Conferences
www.actorfest.com
www.showbizexpo.com
Services and Programs for Actors
www.actorsfund.org
Photographers and Professional Head Shot Reproductions
www.amazingheadshots.com (Los Angeles)
www.douglasgorenstein.com (New York)
www.modernage.com
www.reproductions.com
Comedy and Improv
www.magnettheater.com
www.thepit-nyc.com
www.ucbtheatre.com (New York and Los Angeles)
www.secondcity.com (Chicago)
Dance Classes in New York City
www.broadwaydancecenter.com
www.stepsnyc.com
Places to Network, Attend Seminars, and Meet Agents, Managers, and Casting Directors
www.actorfest.com
www.actorsconnection.com
www.oneononenyc.com
www.thenetworknyc.com
www.tvistudios.com
Unions for Actors (U.S.)
www.actorsequity.org
www.sagaftra.org
Unions for Actors (Canada)
www.actra.ca
www.caea.com
> Unions for Actors (England)
www.actorsguild.co.uk
www.equity.org.uk
Voice-Over Demo Reels and Other General VO Info
www.pdrvoicecoaching.com
www.shutupandtalk.com
www.sweetwater.com
www.voice123.com
Housing Options
www.bangitout.com (New York City)
www.citihabitats.com (New York City)
www.craigslist.com
www.streeteasy.com (New York City)
www.westsiderentals.com (Los Angeles)
Glossary of Useful Industry Terms
* * *
AGENT: An agent is a person who finds opportunities for actors, authors, film directors, musicians, models, producers, professional athletes, writers, and other people in various entertainment fields. An agent also defends, supports, and promotes the interest of his or her clients. Agents cannot produce their own shows due to conflict of interest. A talent agent must be familiar with his or her clients. An agent has to know what kind of work the client can and cannot do in order to match them with various jobs.
BUYOUT FEE: One lump-sum payment, as opposed to residuals.
CALLBACK: An invitation for a second audition or interview.
CALL TIME: The time you are due at the theater or on the set.
CASTING DIRECTOR: For major productions, the process of selecting actors for sometimes hundreds of parts requires specialized staff. A casting director, or CD, is in charge of most of the daily work involved in this process during preproduction. A casting director is sometimes assisted by a casting associate; productions with large numbers of extras may have their own extras casting director. The CD acts as a liaison between the director, the actors and their agents or managers, and the studio or network to get the characters in the script cast.
COOGAN ACCOUNT: A Coogan account (a.k.a. blocked trust account or trust account) is required by the states of California, New York, Louisiana, and New Mexico. In most instances, you will have to supply proof of a trust account prior to receiving a work permit. The employer withholds 15 percent of the minor’s gross wages and deposits them into the Coogan account within fifteen days of employment. The parent must supply the Coogan account number to the employer.
HEAD SHOT: A head shot is a specific type of portrait that captures the personality inside the person.
MANAGER: A talent manager is an individual (or company) who guides the professional career of artists in the entertainment industry. The responsibility of the talent manager is to oversee the day-to-day business affairs of an artist and to advise and counsel talent concerning professional matters, long-term plans, and personal decisions that may affect their career. A manager can also help artists find an agent, or help them decide when to leave their current agent and identify who to select as a new agent. Talent agents have the authority to make deals for their clients, while managers usually can only informally establish connections with producers and studios. They do not have the ability to negotiate contracts.
MONOLOGUE: A speech presented by a single character, most often to express their thoughts out loud, though sometimes also to directly address another character or the audience.
ON HOLD: Also known as first refusal. When a producer likes you for a certain project, you get put on hold. It’s a courtesy to let you know what dates to “hold” in case the producer decides to hire you.
OPEN CALL: An audition that is open to anyone who shows up (not just union actors).
PRINCIPAL ROLE: One of the main roles in a show.
RESIDUALS: Payments made to union actors each time their recorded performance is shown after the first. There are different pay scales for different types of work (TV, film, commercials) which are dictated by different contracts (low budget, made for cable, feature film, national network usage, etc.).
SIDES: Unique pages from a script to help the actor prepare for the audition. They are usually sent by the casting office to the actor or to his or her representative; sometimes they are available online at www.sidesexpress.com.
SLATE: An actor’s on-camera introduction, stating their name, age (if under eighteen years old), height, and sometimes agency or hometown.
STANDBY: A performer who fills in for a cast member who has to leave in the middle of the show.
SWING: A member of the cast who understudies several chorus and/or dancing roles.
Copyright
* * *
CONFESSIONS OF A CASTING DIRECTOR. Copyright © 2013 by Jen Rudin. All rights reserved under International and Pan-American Copyright Conventions. By payment of the required fees, you have been granted the nonexclusive, nontransferable right to access and read the text of this e-book on-screen. No part of this text may be reproduced, transmitted, downloaded, decompiled, reverse-engineered, or stored in or introduced into any information storage and retrieval system, in any form or by any means, whether electronic or mechanical, now known or hereinafter invented, without the express written permission of HarperCollins e-books.
All photographs courtesy of the author except where noted. Casting breakdown used with permission of Breakdown Services Ltd.
FIRST EDITION
ISBN 978-0-06-229209-4
EPub Edition December 2013 ISBN 9780062292100
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About the Publisher
* * *
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* A breakdown is the casting notice that a casting office (or other entity seeking talent) releases to agents through a company called Breakdown Services. The breakdown lists and describes all the open roles available.
* Stagedoor Manor is a performing arts summer camp located in Loch Sheldrake, New York. Over the past thirty-six years, it has trained thousands of young actors, many of whom have gone on to success in film, television, and theater.
* For some major productions, the process of selecting actors for sometimes hundreds of parts requires specialized staff. A casting director, or “CD,” is in charge of most of the daily work involved in this process during preproduction. A CD is sometimes assisted by a casting associate, and productions with large numbers of extras may have their own extras casting director. The CD acts as a liaison between director, actors and their agents/managers, and the studio/network to get the characters in the script cast.
* The table read, table work, or read-through, is when the actors with speaking parts gather around a table and read through the screenplay or script.
* A head shot is a specific type of modern portrait for today’s branding needs, where the focus of the photograph captures the personality of its subject.
* Actors Access is a website connected to Breakdown Services that allows actors to self-submit for auditions without an agent. Visit www.actorsaccess.com.
† Casting Networks is another site to sign up and submit for auditions. Visit www .castingnetworks.com for more details. Sometimes a project will be listed on multiple sites, but not always.
* Broadway Dance Center: www.broadwaydancecenter.com<
br />
† Steps: www.stepsnyc.com
* www.oneononenyc.com
† www.actorsconnection.com
‡ www.tvistudios.com
* www.broadwayworkshop.com
† http://www.acteen.com
* In the North American television industry, an upfront is a meeting hosted at the start of important advertising sales periods by television network executives, attended by the press and major advertisers. It allows marketers to buy television commercial airtime “up front,” or several months before the television season begins.
* A honey wagon is a type of multiroom trailer used by film and television productions.
* An open call is an audition that is open to anyone who shows up.
* Actors’ Equity Association (AEA) is the labor union representing American actors and stage managers in the theater. Check out http://www.actorsequity.org for more information.
* When an actor originates a role, it means that he or she is the first person to play that part in the original Broadway cast.
* In musical theater, the term swing is often used to refer to a member of the company who understudies several chorus and/or dancing roles. If an understudy fills in for a lead role, a swing will act the parts normally performed by the understudy.
* UCB has branches in New York and L.A. and offers improve comedy, sketch-writing, and storytelling classes, among others. Check out www.ucbtheatre.com.
* Also known as first refusal. When a producer likes you, you may be put on hold. This is a courtesy to let you know that you are being seriously considered for that project and tell you what dates to “hold” in case the producer decides to hire you.