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WHEN LIFE GIVES YOU LEMONS...

2010-05-05T13:26:00.003-05:00

My Meyer Lemon tree is in full fruit. If I lived on a patch of green in Los Angeles, that wouldn’t be noteworthy. Hell, a chopstick will bloom in LA if you give it enough water.

Except I’m in a house in Minneapolis where the remnants of a sub-zero winter are still a recent memory. And my poor little lemon tree survived an infestation of heaven-only-knows-what last year, only to be rendered into a few dull leaves stuck on a bit of trunk stuck in a bit of soil stuck in an old clay pot.

Fortunately for me and my Meyer Lemon, my muse Alicia has never lost faith in the potential of the malformed and misbegotten. Under her watchful eye and ever-gentle nurturing, Meyer and I survived the Minnesota winter. And we have thrived.

If you don’t know Meyer Lemons, let me explain my unbridled excitement. First off, she’s a bit of a mess, leaves and branches sprouting hither and yon, with no sense of the “proper way” little trees are meant to grow. Still, through the rubble of her growth, symmetry be damned, there’s something of beauty there. It just takes a bit of extra time to see it.

Once past the disarray, her leaves are dark and richly green; her flowers a soft maroon-white with a room-filling aroma that’s seductive and alluring, rich with the scent of sweet citrus and honey. Her buds are plentiful, each birthing a tiny green globe.

Almost two months after it began, my tree is now heavy with little fruits nestled amid her green leaves, each globe tugging its branch lower to the ground day by day. And even as her fruit grows, majestic white flowers continue to bloom and fruit and scent the entire room. Like a good lover, she is endlessly tantalizing and lush and generous with her bounty.

Before long, those little green lemons will grow golden and round and decidedly edible, with a taste that’s almost orange but not quite, almost lemon but not quite. It will be mostly sweet with an undertone of sour and a peel as good as the inner fruit. When you first share your mouth with a Meyer Lemon, you know you’ve never tasted anything like it before. And you know you want more of it.

My sweet Meyer is greater than the sum of her parts and better than her lineage. She’s a surprise, a delight to the eye and the palate and the mind. Whoever tastes her sweetness is left marveling at whatever transformation delivered such unique sweetness, so unlike the industrial-level, one-note, supermarket lemon.

Movies are supposed to be like that, too. The good ones anyway, the ones worth biting into.

The best movies take time and nurturing to survive. They need to be a little surprising and greater than the sum of all their parts. Almost palpably alive, great films deliver a whole world, first with sweet seduction, then slowing revealing everything of themselves, bit by sweet bit, until they stand before you, exposed and naked.

AHA, you say, so that was what the opening seduction had been about. Now I see, now I know, now I can make it mine.

And you open yourself up to inhale something richer, sweeter, greater than the sum of all its parts.

Films are immediate things, meant to be discovered and explored, captured and ravaged, consumed and ingested. And meant to be revisited, too, like old friends, welcome any time, rich with wisdom and history, comfortable in their own skin, yet lush enough to be savored again and over again.

Of late it seems that far too many films are over and done as fast as they came. A one-night-stand best viewed in a darkened room and followed by a quick shower.

What a shame, what a waste.

Movies have the potential to be art. Real art, not some lemon of a grindhouse supermarket closeout, but a thing of beauty. Rare and special. Not something flat and stale, but a whole world of surprises and adventures.

That choice is ours. After all, we are the creators.

Every time we dream another film into existence, we get to make that choice all over again. We can sledgehammer home one sour note. Or nurture the impossible and uncover subtle variations with the power to turn lemons into art. Before we begin, we need to know what kind of world we want to create and savor.

I want a world where I get to watch my sweet lemons grow. I want to savor her scents and be seduced by her flowers. I want to drink deep of the best damn lemonade I’ve ever tasted.

All that in one sweet little metaphor nestled on my windowsill. What will you choose to grow…?

Want to read more...? Visit: ReelGrock

Thank you to contributing writer: Norman C. Berns, An Emmy-award winning producer. Berns' documentary series, The Writing Code, is currently airing on PBS. Production work has included features and documentaries, TV series and commercials.

A certified Movie Magic instructor, Norman was an early beta tester for Screenplay Systems budgeting and scheduling programs and was part of the Set Management development team that created ProductionPro Budget. A columnist for the seminal online publication, WebZine Weekly, Norman has written for The Directors Guild and Tripod, Inc. His column currently appears in BTL News. He blogs on ReelGrok (www.reelgrok.com) and Pavaline (www.Pavaline.com) .

Norman is a consultant to the Roy W. Dean Film & Video Grants and is on the Board of Advisors for People With Disabilities Broadcasting Corporation and an advisor to Pavaline. He is moderator of The Budgeting Group and owner of the online film community, ReelGrok. He has taught film production and software for Media Services, The Directors Guild, Filmmakers Bootcamp and others. His popular seminars are offered online and in select locations across the country.

A member of DGA, SAG and Actors Equity, Norman has been creating films and preparing budgets, schedules and business plans for the past 25 years.

FIVE IMPORTANT STEPS for every day.

2010-04-06T13:35:00.001-05:00

Sometimes we think we're buffeted by too much information, Everything's too fast and coming at us too often. It's a hectic world, but here's how to take control. And get the job done with these FIVE IMPORTANT STEPS for every day.

1. Pick the most important task for the day, that one vital thing that must be accomplished.

2. Put every other task on the back burner, on another desk, get it out of your line of view.

3. Do that ONE task. Don't stop until it's done. All the way straight through to its sweet end.

4. Take a deep congratulatory breath. No, really. You've just done your most important job.

5. Return to #1 and repeat. Now pick the next most important task and do that one thing....

We like to think we can multitask our way to success, but reality is a bit crueler than that. Doing two things at once may make us feel better, but we only accomplish half as much at each.

How to win? Learn to FOCUS your mind. A tough task because minds love to wander. But when you need to get a job done, relax and focus first. Then tackle your tasks. Not all at once, but one by one by one.

Want to read more...? Visit: ReelGrock

Thank you to contributing writer: Norman C. Berns, An Emmy-award winning producer. Berns' documentary series, The Writing Code, is currently airing on PBS. Production work has included features and documentaries, TV series and commercials.

A certified Movie Magic instructor, Norman was an early beta tester for Screenplay Systems budgeting and scheduling programs and was part of the Set Management development team that created ProductionPro Budget. A columnist for the seminal online publication, WebZine Weekly, Norman has written for The Directors Guild and Tripod, Inc. His column currently appears in BTL News. He blogs on ReelGrok (www.reelgrok.com) and Pavaline (www.Pavaline.com) .

Norman is a consultant to the Roy W. Dean Film & Video Grants and is on the Board of Advisors for People With Disabilities Broadcasting Corporation and an advisor to Pavaline. He is moderator of The Budgeting Group and owner of the online film community, ReelGrok. He has taught film production and software for Media Services, The Directors Guild, Filmmakers Bootcamp and others. His popular seminars are offered online and in select locations across the country.

A member of DGA, SAG and Actors Equity, Norman has been creating films and preparing budgets, schedules and business plans for the past 25 years.

Business of Show

2010-03-23T16:13:00.003-06:00

We all work in sales though few of us planned for that. We prefer to think of ourselves as artists and we studied, trained, fought and starved for the fine art of SHOW business. Not many of us aimed for the sales department.

Our aim was off. Writers sell scripts to producers. Directors sell productions to actors. Producers sell to everyone. We're all in the BUSINESS of Show. Want to work? Accept your fate. They lied to you in film school.

Here are five steps to guide you.

1. Know exactly who you're talking to. The meeting is over if you begin, "Dear Sir and/or Madam...." You have to do your homework before you open your mouth.

2. Understand the needs of the person you're pitching. If you can't solve specific problems, move on. No one wants more problems; people want solutions.

3. Explain why you're the best choice. (Or your film, idea, script, talent, whatever.) Never, ever bash the competition; if you can't stand on your own, move on. Quickly.

4. Believe in yourself and your project, completely and unalterably. Anything less will come through like a grease stain on your best dress shirt.

5. Picture the results, not the process. Never explain your film. Show the finished film with your words. Share your vision. You are, after all, a filmmaker. Prove it.

Want to read more...? Visit: ReelGrock

Thank you to contributing writer: Norman C. Berns, An Emmy-award winning producer. Berns' documentary series, The Writing Code, is currently airing on PBS. Production work has included features and documentaries, TV series and commercials.

A certified Movie Magic instructor, Norman was an early beta tester for Screenplay Systems budgeting and scheduling programs and was part of the Set Management development team that created ProductionPro Budget. A columnist for the seminal online publication, WebZine Weekly, Norman has written for The Directors Guild and Tripod, Inc. His column currently appears in BTL News. He blogs on ReelGrok (www.reelgrok.com) and Pavaline (www.Pavaline.com) .

Norman is a consultant to the Roy W. Dean Film & Video Grants and is on the Board of Advisors for People With Disabilities Broadcasting Corporation and an advisor to Pavaline. He is moderator of The Budgeting Group and owner of the online film community, ReelGrok. He has taught film production and software for Media Services, The Directors Guild, Filmmakers Bootcamp and others. His popular seminars are offered online and in select locations across the country.

A member of DGA, SAG and Actors Equity, Norman has been creating films and preparing budgets, schedules and business plans for the past 25 years.

Guess Who’s in Charge Now…?

2010-03-17T14:45:00.005-06:00

We're all facing a new world of DIY distribution. Here are ten key steps to help ease the process.

1. Surround yourself with pros who know how to handle tasks better than you. If you're the smartest person in the room, find another room.

2. Know the audience for your show. Think specifics, not generalities. See them, feel them, touch them.

3. Plan your marketing and promotion, from the concept to the creation. Budget for every step of it. Then budget even more money.

4. Build a website that's smarter than sunshine and as seductive as a spider's web.

5. Start networking now. Tweet, blog, e-blast, post, teach, lecture or screen every day from now until you start your next film.

6. If you're not selling, you're not doing your job. What's your job? Your job is to sell your script, sell your production, sell your ideas to your actors, sell your film to your audience. Sell.

7. Plan every step of your marketing and distribution before you start to make your movie.

8. Think ROI, but understand that "profit" has to be measured in more ways than money. Know exactly why your investors invested. And what they want in return.

9. Give away far more than you ever hope to sell. If you don't leave a trail of breadcrumbs, no one will follow you to your movie.

10. Write a business plan that's honest, complex and profound, insightful, exciting and seductive. Make it as tenacious as a fishhook. Let it seduce your investors, entice your audience and guide you into production.

Want to read more...? Visit: ReelGrock

Thank you to contributing writer: Norman C. Berns, An Emmy-award winning producer. Berns' documentary series, The Writing Code, is currently airing on PBS. Production work has included features and documentaries, TV series and commercials.

A certified Movie Magic instructor, Norman was an early beta tester for Screenplay Systems budgeting and scheduling programs and was part of the Set Management development team that created ProductionPro Budget. A columnist for the seminal online publication, WebZine Weekly, Norman has written for The Directors Guild and Tripod, Inc. His column currently appears in BTL News. He blogs on ReelGrok (www.reelgrok.com) and Pavaline (www.Pavaline.com) .

Norman is a consultant to the Roy W. Dean Film & Video Grants and is on the Board of Advisors for People With Disabilities Broadcasting Corporation and an advisor to Pavaline. He is moderator of The Budgeting Group and owner of the online film community, ReelGrok. He has taught film production and software for Media Services, The Directors Guild, Filmmakers Bootcamp and others. His popular seminars are offered online and in select locations across the country.

A member of DGA, SAG and Actors Equity, Norman has been creating films and preparing budgets, schedules and business plans for the past 25 years.

SCREENPLAY DIALOGUE AND MARKETING

2009-04-06T18:16:00.002-05:00

by Skyler Caleb

Two of the toughest things to perfect when you're writing a screenplay are dialogue and marketing. I've been running ScreenplayCoverage.com for a while now, and I see that we frequently come across screenplays with good stories, but dialogue that just isn't natural. Some people seem to be born with this natural ear for dialogue, and some aren't.

Sometimes it can be as simple as using contractions incorrectly. I'm still shocked at how often writers seem to avoid using contractions when they're doing dialogue. One writer told me he avoids it because he doesn't know where the apostrophes go. First of all, if you're going to tackle writing a screenplay, you should make it a point to remember the apostrophe goes where letters were removed. Second, is this really worth sacrificing the natural flow of your dialogue? Here's an example: "MIKE: I am going for a run, honey. Please do not forget to call your mother." Sure, we get the point, but do many people really talk that way?

But let's not get too caught up on contractions. Having a natural ear for dialogue is much more complicated than that, and sometimes can't even be taught. I often suggest that writers team up with someone who they know has this natural ear for writing dialogue. That can be difficult to find. Just try calling up your writer friends and asking them if they have it. You'll probably get a yes.

I launched our newest service, Performed Readings, to try to help writers with this. We set up studio recordings and hire trained actors to perform screenplays. We send the audio files as mp3's so the writer can burn as many CD's with as they'd like.

I really feel we're treading new ground here, and this will become a major way screenwriters refine their dialogue and overall flow of their screenplays in the future.

This also comes back to marketing. I don't know about you, but at least half the time I e-mail someone my screenplay, or even print them a hard copy, it just doesn't get read. People are busy. They would love to have read your script already and give you some feedback, they just don't have the time or energy to sit down with a 2 hour homework assignment. So give them your screenplay on CD. Let them pop it in their CD player on the way to work.

We have launched a whole other sister site for this service, at www.ScreenplayReadings.com, to go along with our trusted coverage service at ScreenplayCoverage.com. Give a reading a shot, and tell me what you think!

Skyler Caleb is an accomplished actor, writer, and director, and has been overseeing screenplay coverage by the staff of ScreenplayCoverage.com (formerly Creative Screenplay) for 2 years.

HOW TO CREATE A GREAT HEADSHOT

2009-02-10T17:49:00.004-06:00

By Aaron Marcus

Excerpts from this article are taken from Aaron Marcus’ book "How to Become a Successful Commercial Model."

A head shot is the actor’s business card. This is what the agent will send out to help get work for the actor. Quite often the producer or casting director will ask for a copy of a head shot at auditions. It is essential that the actor is very well prepared before his or her head shot session. Without a great head shot it is very difficult to get work.

Head shots have traditionally been a close-up photo of your face from your shoulders to the top of your head. At the end of the article I will describe other formats for head shots.

It is important to understand what is needed to produce a great head shot. People want to see warm, inviting and interesting looks. It should capture your personality or the personality you want to project. When an actor walks into a casting office, before he or she even says hello, the casting director will immediately sense if the actor is right for the part. That’s not to say that the actor will book the job because of his or her looks, but the personality that surrounds the actor is immediately noticed by the casting director. It doesn’t matter how talented you are as an actor, if you physically don’t look right for the part, you won’t get cast. I just auditioned for a film and was told by the producer that the casting director loved my read, but the director didn’t think I looked “ethnic” enough. It is essential that the actor figures out how he or she is perceived by others and capture that personality on the head shot. The actor needs to learn what types of roles he or she would be cast for in a film, TV series or commercial? Is it the heart throb, the girl next door, the tough no nonsense corporate executive look? It is important to learn how you are viewed by industry people and capture that look in a believable, comfortable and honest way on your head shot.

A commercial head shot should not be too dramatic. Avoid jewelry and clothes that are distracting. You want people to focus on your face. Have the photo taken by a photographer who understands the look you are trying to achieve and the area in which you want to work.

Styles change, but today most people choose matte finish prints (non-shiny) as opposed to a glossy finish (shiny). 8 x 10 is the standard size for a head shot. Because of the lower costs in printing, most people are shooting their head shots in color.

One last comment about head shots. Some people are moving away from the traditional head shot, which is a close up shot from the shoulder to the top of the head. Instead, many people are having a half or three-quarter body shot taken. This shows much more of the person than a tight shot of the face.

Aaron Marcus has been cast in 1,125 (to date) acting and modeling projects. His work can be seen and heard at: http://www.aaronrobertmarcus.com/about_aaron/

Along with working full-time as an actor, Aaron is the author of How to Become a Successful Commercial Model, and publishes the Tear Sheet newsletter. He also offers his Becoming an Actor and Model Workshop throughout North America and Australia.

For additional workshop, book, newsletter or general information call:
Aaron Marcus (410) 764-8270, e-mail: aaron@aaronrobertmarcus.com, or visit www.aaronrobertmarcus.com

NO TRAINING = NO WORK

2009-01-16T00:13:00.003-06:00

For those seeking a career in Filmmaking, know now that the more tools you have in the ol' toolbelt going in, the better your chances at success.

This means T-R-A-I-N-I-N-G.

Those who most often fail in filmmaking or other personal endeavors, do so because they aren't willing to put forth the added effort toward their own success. Invest in yourself. Otherwise, as motivational speaker Les Brown would say, "If you want to keep getting what you're getting, keep doing what you're doing."

Below are some AWESOME online training opportunities and if you look carefully enough, you will find them to be very cost effective. You're gonna spend that money on burgers and fries anyway - why not invest in yourself for a change instead? Keep checking back as I will update this particular post as I discover new online training opportunities.

ReelGrok Online Seminars & Hands-On Instructions:
http://www.reelgrok.com/classes.cfm

Filmmaking taught by industry professionals.

Michael Wiese's Virtual Film School
http://shop.mwp.com/pages/virtual-film-school

Find articles, videos and other resources for aspiring film makers. (Note: This dude is AMAZING and no filmmaker worth his salt would go into the film or music industry without this guy's books and info!)

Keep Writing - Writing Courses & Workshops
http://www.keepwriting.com/online.htm

Dave Trottier is the BOMB when it comes to screenwriting! If you are seeking a writing career you would be FOOLISH not to invest your time with Dave - the Guru of the Script World.

DO OR DO NOT. THERE IS NO TRY.

2008-11-19T00:36:00.004-06:00

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

2008-09-25T16:25:00.005-05:00

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

2008-08-26T13:41:00.002-05:00

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

2008-07-07T02:00:00.003-05:00

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

2008-07-07T01:41:00.004-05:00

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