DO OR DO NOT. THERE IS NO TRY.

By Bradley Wynn

Yoda got it right when he uttered the simple statement of “Do or do not. There is no try.”

Think about it.

How many times have you wanted something so bad in life but years later find yourself still struggling for or living without it? How hard did you really “Do” what was needed to get it done? Or did you fall back on what so many of us use as the ultimate cliché excuse, “Well, at least I tried!”

If there is one thing I’ve learned about starting a small business, it’s that you have to be bold and always move forward – no matter the odds. If you try – you fail. I couldn’t try to start a business. I either made it work or I didn’t, losing all that I invested in the process.

Captain James T. Kirk was once asked how he knew he would succeed. He stated that he didn’t like to lose. That he didn’t believe in a no-win scenario. When the rules say you’re going to lose, change the rules.

I’ve tried to live by such boldness. My wife gets irritated with me when I don’t follow the rules, yet manage to get us in a better place or in through doors previously closed to us. I simply tell her that everyone stays off the grass, making the sidewalks too full of everyone doing what everyone else is doing, leaving no chance for individual success.

If you want or need to get from point A to point B, the most logical choice is to take the most direct route. This means you’ll have to walk on the grass. The only reason grass is there at all, is that no one wanted to make their own path to begin with – hence the path less traveled by – making all the difference.

Life is too short. Les Brown, probably my favorite public speaker, once said that if you aren’t getting where you think you should be, then what is it you aren’t willing to do?

So, whatever your goal, dream, or desire – you have to earn it. If you want it bad enough you’ll do it. If not, then at least “you tried!”

IMPROVE YOUR AUDITION

By Aaron Marcus

Auditioning is the job that actors do, and it is a very difficult one. When we actually get booked for a project - it's like being on vacation.

There are a number of things that agents, directors and casting directors need to see at an audition. Physically looking the part is the most important aspect of being considered for a role. If you physically do not look like the character you are reading for, then the chance of booking the job, not matter how great of a read you give, is pretty slim. During the actual audition, being “real” and believable are the most crucial. The audience needs to be taken out of their environment and brought into the actors.

At the audition there are a few things that can help bring the audience into the actor’s world. Understanding the character is crucial. For any type of acting work, whether it is Shakespeare or a TV commercial, one must be able to answer the 5 W’s – Who, What, Where, When and Why. Who are you, What is going on in the scene, Where is it taking place, When is it happening, and Why are you saying the words.

It is also necessary to create the environment during the audition, so that the audience believes you. When talking to someone in the scene, find that person in the room, and talk to that character. If you just randomly look around the room while reading to one character, then your audition will not be believable.

Wearing the right wardrobe is also very important. It not only makes it easier for the actor to connect with the character, but also for the audience to believe you are the character. You do have to be a little careful with wardrobe. Some casting directors (especially in large markets) will be insulted if you walk into an audition wearing scrubs, a stethoscope around your neck and paper booties on your feet when reading for the role of a doctor. Casting directors know what doctors look like, and will just want to see you act. Having said that, I would at least wear a suit and not flip flops and a T-shirt when reading for a professional role.

Understanding the time of day the scene is taking place will greatly affect the way you talk. If the scene is happening outside, then your voice will have to be loud enough to carry over the noise. If things are happening at 3:00AM in your bedroom, your tone will be much different.

It is the actors’ job to create the character. Never ask a casting director what they are looking for. That is our job.

If there are any words you don’t understand and can’t pronounce, always ask. If you are reading with another character and you don’t know what your relationship is with the other person, then you need to ask the casting director. Your read will change drastically if you are reading with your sister, mom, girlfriend or a stranger.

If you are auditioning for a TV show or a film, then watch the show so you understand the characters and the pacing of the program. Some shows like “The Gilmore Gils” had many actors talking at a very quick pace. That information will help you tremendously at the audition.

If you are auditioning for a film, watch other movies that the director has worked on. It will give you a better sense of how he/she works and what the director desires from the actors. You can easily find out about the directors other projects by visiting http://www.imdb.com/.

The most important objective for the actor during the audition and on the job, is to make the words sound conversational. That is what actors do. We talk and listen to each other, like in real life.

Aaron Marcus has been making his living as an actor and commercial model since 1986. So far he has been cast 1,118 times. You have seen him on Law & Order: CI, West Wing, The Wire and in hundreds of other acting and modeling projects.

He is also the author of How to Become a Successful Commercial Model, which is now in its 5th edition. Aaron Marcus travels the globe offering his The Best Way to Get Work as an Actor and Commercial Model boot camp. You can get free acting and modeling information from Aaron’s site, read 2 chapters free and order his book at howtomodel.com.

ACTING & MODELING SCAM

By Aaron Marcus

Just the other day I received an e-mail from someone wanting to hire me for a modeling project. Since I have been making my living as an actor and commercial model since 1986, it is not unusual for someone to have visited my web site, www.howtomodel.com, and want to book me for a job. Having my photos, acting reel, and voice over jobs there, my web site has been a great tool for me to get work as an actor and commercial model.

The person who contacted me said he was based in England. In his E-mail, he told me that he just visited my web site, loved my work and thought that I was perfect for an ad campaign he was working on. He mentioned that I would be paid $1,000 up-front and my image would be used in the catalog for the product as well as billboards and posters throughout Europe.

I mentioned to him that in order to have my image used in a high exposure format (billboards, posters etc...), I would need to discuss additional fees for those types of usages. The reason for getting additional fees for high exposure formats is to help compensate the model for possible loss of work. If a model is on a billboard for a local bank, no other local bank will hire the model because the model will be so closely connected with a competitor. Sometimes models can get overexposed in a market by being in a high exposure format. That is the reason models should always ask for additional fees for being in a high exposure format. Since I assumed the photo session would take place in England, I also asked him about travel fees to the UK.

He told me that the photographer and makeup artist would come to me for the shoot.

I was also told that he would send me a check for the $1,000 modeling fee as well as the money for the photographer and makeup artist. I was being asked to pay them directly with the additional money that will be in the check.

I have heard of scams where people are sent too much money for services and then asked to return the overpayment. The honest person sends the overpayment back to the "company" and then a few days later finds out that the original check which he cashed has bounced. The bank will ask for the entire amount to be returned, plus a fee for the bounced check.

I can't say for sure, but I figured that is what these people were doing. I told the person that I would gladly accept the $1,000 check, but would not pay the photographer and makeup artist. I never heard from him again.

Be careful.

Aaron Marcus has been making his living as an actor and commercial model since 1986. So far he has been cast 1,118 times. You have seen him on Law & Order: CI, West Wing, The Wire and in hundreds of other acting and modeling projects.

He is also the author of How to Become a Successful Commercial Model, which is now in its 5th edition. Aaron Marcus travels the globe offering his The Best Way to Get Work as an Actor and Commercial Model boot camp. You can get free acting and modeling information from Aaron’s site, read 2 chapters free and order his book at howtomodel.com.

SEEKING AN AGENT

By James Bradley

For those seeking a career in the entertainment business let them be warned! To have the ability to create and perform is an awesome opportunity, but if you are unprepared and unprotected, dreams can quickly turn to nightmares. To aid you in your quest for success and to avoid potential disaster, it is advisable for anyone getting into the business to first seek out an experienced Agent.

When starting out, everyone has questions that are compounded by tons of random information that may or may not be pertinent to their needs. Then there are rare moments when unsuspecting well intentioned first-timers find themselves set upon by occasional industry ‘sharks’. A good Agent can sort out and tailor fit the information you need while protecting you from the ‘du-dum, du-dum’s’ of lurking predators.

When seeking an Agent, take your time. Don’t be afraid to shop around or ask plenty of questions. Remember that you’re looking for someone who can represent your best to the industry. You want them to be someone personable, who you can feel comfortable with, yet be reliable where the business of representing you counts.

An Agent often begins representation with some common first steps. In most cases, these would be headshots and a working résumé for an affordable or no cost option to you, starting out. These are the most common tools of the trade and are important for you to acquire. Without them you cannot be represented to industry professionals.

What is NOT common, is asking for substantial fees or costs from your own pocket to get things started. Nor should an Agent ask you to perform any ‘personal’ acts to gain work or representation. These types of agencies should be avoided if at all possible. Also, avoid ‘up front’ expenses or money offers. Such offers are usually billed to you at a later date. Avoid this pitfall by remembering that if you aren’t earning it - you don’t need it.

When you sign on with an Agent it does not necessarily mean you will soon appear in the next film starring Tom Cruise or a GQ magazine spread. Every project takes time. During that time, an Agent can empower your future success by representing you to the industry via their networking and professional experience, teaching you how to present yourself properly, and encouraging opportunities for you to acquire the tools you need to succeed.

What an Agent should never do is everything you should be doing. It will take a lot of work on your part to make it to the top. An Agent can’t pull your headshots from thin air or magically bestow you with the necessary training. These are your responsibility. An Agent can help direct you to workshops that offer quality classes, non-paid/paid production opportunities for résumé experience, and a lot more. But your determination and ability to follow through will play a key role in any future success.

In closing, good representation comes from both sides. It’s like a relationship between an athlete and their coach. The coach is there to teach, encourage, and offer up the play. In the end, it is up to the player to learn, be fit, and run with the ball when it lands in their court.

Good luck, and remember that you never work with what you have, but rather what you get.

James Bradley is a resident staff writer for Www.ScriptFOLIO.Net

WHEN OPPORTUNITY KNOCKS

By James Bradley

Every day talented individuals ask how they can become involved in the film industry. Luckily, for them, it’s far easier than could be imagined. But later, when opportunity knocks, many are ill prepared and have an apparent disregard for three key areas: Training, Networking, and Reliability.

NO training or experience can equal NO work.

If you needed an artist, would you hire someone who had never held a pencil or brush? If you needed a doctor, would you hire someone who had never gone through medical school? Then it should be expected that professionals in the film industry will not utilize talent with little to no training or experience.

Becoming involved and finding a reliable agent is usually the easy part, but to learn and hone your craft through experience and education is often more difficult. Most pass off training because it involves a cost. Some may refuse to appear in a shoot because it doesn’t offer a paid position, although it does offer payment in résumé experience. Whatever the reason, the result is the same: No training or experience can equal no work.

Training does not mean spending exorbitant sums of money. In fact, an agent is often able to direct you to affordable workshops costing far less than you might expect. A good agent will have further researched such workshops to ensure that you’re getting the quality training you need. But needed training and development is rarely without cost. Expect to invest in your future career by first investing in yourself.

If they don’t know you exist, than you DON’T.

Although, training is a key factor in your success, networking yourself is just as important. This is an involved process and will often require your presence and participation in related industry events like film festivals, workshops, and social gatherings.

I often ask people to imagine they were a filmmaker investing huge sums of money and effort into making an epic motion picture. I ask them to imagine spending every dime of their investment on making the best movie possible. They tell me it would have the best costumes, actors, script, director, soundtrack, and special effects. In our discussion they enthusiastically tell me how great their movie would be.

I later surprise them by stating it would probably fail miserably at the box office. When they ask why, I remind them that every dime spent on making the best movie possible should have included promotion and advertising of their film, which never came up during our conversation. I tell them that if nobody knew about their movie, no matter how much was invested in it, who would come? The same applies in networking.

The industry works with who they know. If they don’t know you exist, than you don’t. In networking yourself to others, you are selling yourself and letting them know what you have to offer. If you don’t advertise at every opportunity, you can expect little or no return on your investment. So, always be prepared to share your most recent résumé, updated headshots, demo tapes, business cards, and more at every networking opportunity available. Like movie trailers and posters, these will serve as your professional tools. Your agent can help you in this endeavor.

You snooze, you LOSE.

Training and networking aside, any agent or industry professional will tell you that success is dependent on reliability. As an example, too often, many fail to materialize where and when they are supposed to be. As a result, opportunity is lost, money wasted, and productions held up.

As a rule of thumb, if you are going to be an industry professional than be a professional. The industry is replete with wannabes and ‘smilies’. Serious work demands professionals who can be relied upon under any circumstance.

Every moment could be the break you’re seeking and to throw it away due to procrastination, excuse making, schedule conflicts, or failure to keep your word is ludicrous. You snooze, you lose. There is only one guarantee in this business - there is always someone who can replace you.

To be reliable you must make every effort to offer your best at all times. Start looking at your best today and think about the adage ‘you can’t hide from the truth of your actions’. Identify the truths you see. Correct what needs correcting, learn from your mistakes, and turn what you are doing right into standards that can guide you toward success.

A standard example related to timeliness could be: ‘If you are early, you’re on time. If you are on time, you’re late. If you are late, you’re fired.”

In closing, these helpful suggestions can apply to film, acting, or modeling. Working in the entertainment industry is a lot of fun, but nothing - I mean nothing is free. You will only earn what you desire through hard work and strong commitment. Steering your course with Training, Networking, and Reliability will make every step forward as awesome as the dream that inspired you in becoming something greater than yourself.

Remember, that you never work with what you have, but rather what you get, and when Opportunity knocks be prepared. Good luck and never get caught snoozing!

James Bradley is a resident staff writer for Www.ScriptFOLIO.Net