In a recent posting, I re-stated a fundamental belief of mine that actors must learn how to get themselves seen, by people who are in a position to help advance their careers, as “distinct individuals of unique and special talents, each deserving of respect and consideration”.
Every consultation I do with the actors who come in to see me deals mainly with this most vital issue – and I have written about it in many of my postings.
We discuss in detail the steps you, the actor, can take to better insure that the information you send out about yourself will actually get to, and be considered in the most advantageous way, by the proper people.
We discuss how you can make better use of the various methods and forms of sending out this information - your pictures, your resume, the general “attractiveness” of your presentation, the internet, etc. In short, what I feel are the ways to get a better response to what you are trying to tell people about yourself.
It is not that difficult, nor expensive, to learn. As I’ve seen in my years of experience, and often written about, the results can be career (and life) changing.
Eric Klass
Copyright 2007, Eric Klass Consulting. All rights reserved.
Wednesday, April 25, 2007
Friday, April 20, 2007
Another Actor Asks...
An Actor Asks...
I acquired a commercial agent .Is it a good idea to send postcards to commercial casting houses mentioning this and where does one get a list of addresses .
Eric's Reply -
Firstly, I'm not a big fan of postcards. Millions of them arrive in people's mail
every day, and I don't think people pay any attention to them - plus the fact
that, being small, they always fall out all over the place and are a general pain in the neck.
As you say you just acquired a commercial agent, informing the various casting people
is what they are supposed to be doing, and I would give them a little time to see
if they do their job.
As to addresses of commercial casting directors, I would get a copy of Ross Reports.
They are pretty thorough and update themselves regularly.
I hope this helps.
Copyright 2007, Eric Klass Consulting. All rights reserved.
I acquired a commercial agent .Is it a good idea to send postcards to commercial casting houses mentioning this and where does one get a list of addresses .
Eric's Reply -
Firstly, I'm not a big fan of postcards. Millions of them arrive in people's mail
every day, and I don't think people pay any attention to them - plus the fact
that, being small, they always fall out all over the place and are a general pain in the neck.
As you say you just acquired a commercial agent, informing the various casting people
is what they are supposed to be doing, and I would give them a little time to see
if they do their job.
As to addresses of commercial casting directors, I would get a copy of Ross Reports.
They are pretty thorough and update themselves regularly.
I hope this helps.
Copyright 2007, Eric Klass Consulting. All rights reserved.
Thursday, April 19, 2007
Another Actor Asks...And Eric Replies
An Actor Asks…
I hear so many different points of view about actors using the internet to promote themselves. What do you tell them?
Eric’s Reply…
When actors come in to consult with me these days, I find we spend more and more time discussing how the creative use of the internet by actors can be of great help in getting themselves seen (in person) by the people they have been hoping to reach.
It does require a bit of a different “mind-set” on the part of the actor from that of just having a website, a reel, or a photo gallery on line - and my thoughts on the subject are as follows:
As we all learned early in life with someone we had a “crush” on - or wanted to be friends with - the best way to get them to notice us was to be someplace where we were pretty certain we would encounter them. This approach can also work “professionally” for the actor.
These days, vast numbers of people watch sites like “You Tube”, etc. and I am convinced this is a perfect venue for actors to be seen – but there has to be a novel and creative approach to what the actor posts on such sites – something that will “get the word out” that what the actor has posted is clever or funny or “special”, and will draw notice to the actor, and the actor’s abilities.
As every actor is different, so there have to be different approaches for each actor (copying something done before is usually of no help - as we so often see with endless “re-makes” of films).
So, this is what we do more and more of these days in consultations – planning and discussing these little video “skits/auditions” tailored to the individual actor, with the aim of drawing a substantial audience and “getting the word out” about the actor – hopefully to the people the actor is trying to reach.
Copyright 2007, Eric Klass Consulting. All rights reserved.
I hear so many different points of view about actors using the internet to promote themselves. What do you tell them?
Eric’s Reply…
When actors come in to consult with me these days, I find we spend more and more time discussing how the creative use of the internet by actors can be of great help in getting themselves seen (in person) by the people they have been hoping to reach.
It does require a bit of a different “mind-set” on the part of the actor from that of just having a website, a reel, or a photo gallery on line - and my thoughts on the subject are as follows:
As we all learned early in life with someone we had a “crush” on - or wanted to be friends with - the best way to get them to notice us was to be someplace where we were pretty certain we would encounter them. This approach can also work “professionally” for the actor.
These days, vast numbers of people watch sites like “You Tube”, etc. and I am convinced this is a perfect venue for actors to be seen – but there has to be a novel and creative approach to what the actor posts on such sites – something that will “get the word out” that what the actor has posted is clever or funny or “special”, and will draw notice to the actor, and the actor’s abilities.
As every actor is different, so there have to be different approaches for each actor (copying something done before is usually of no help - as we so often see with endless “re-makes” of films).
So, this is what we do more and more of these days in consultations – planning and discussing these little video “skits/auditions” tailored to the individual actor, with the aim of drawing a substantial audience and “getting the word out” about the actor – hopefully to the people the actor is trying to reach.
Copyright 2007, Eric Klass Consulting. All rights reserved.
Monday, April 16, 2007
An Actor Asks...And Eric Replies
An Actor Asks…
“I always get very nervous before auditions, and as well as I think I hide it (after all, I am an actor) I think the people I audition for can tell – and I think that detracts from the quality of my audition. As a result, I don’t think I am booking the percentage of jobs that I should. Is there anything you can recommend to help me with this problem (aside from telling me not to be nervous)?”
Eric’s Reply –
As you can imagine, this is a very common problem. I have always told actors to play a little “game” with themselves, if they are nervous before an audition. What I tell them to do is say to themselves that they have little chance of getting the part, and just “hang loose” when they go into the audition, and try to have some fun with it. I think that people can “sense” nervousness, and that it detracts from your audition (or meeting) and plants doubt with the people you are auditioning for. I have found over the years that this little “trick” can be very helpful in showing you to the best of your abilities.
Copyright 2007, Eric Klass Consulting. All rights reserved.
“I always get very nervous before auditions, and as well as I think I hide it (after all, I am an actor) I think the people I audition for can tell – and I think that detracts from the quality of my audition. As a result, I don’t think I am booking the percentage of jobs that I should. Is there anything you can recommend to help me with this problem (aside from telling me not to be nervous)?”
Eric’s Reply –
As you can imagine, this is a very common problem. I have always told actors to play a little “game” with themselves, if they are nervous before an audition. What I tell them to do is say to themselves that they have little chance of getting the part, and just “hang loose” when they go into the audition, and try to have some fun with it. I think that people can “sense” nervousness, and that it detracts from your audition (or meeting) and plants doubt with the people you are auditioning for. I have found over the years that this little “trick” can be very helpful in showing you to the best of your abilities.
Copyright 2007, Eric Klass Consulting. All rights reserved.
Saturday, April 14, 2007
An Actor Asks...
When an actor comes in to see me for a consultation, there is a one-time-only fee of $150 – which includes the right of the actor to ask questions of me at a later date, at no additional cost whatsoever to the actor - which I will then try to answer to the best of my ability.
For the time being, I have decided to extend this free answering of questions to anyone interested in getting an idea of what I offer in my consultations (sort of the Baskin-Robbins ice cream “taste” – without the calories, of course).
There is no cost or obligation for the person wishing to ask a question, and I promise there will be no follow-up solicitation of the questioner, by me or by anyone associated with me. I do not even need to know the name of the questioner, if they do not wish to disclose it.
Simply e-mail your questions (no more than two at a time, please) to me at:
eklass@earthlink.net, and please entitle the e-mail “An Actor Asks…”.
Eric Klass
Copyright 2007, Eric Klass Consulting. All rights reserved.
For the time being, I have decided to extend this free answering of questions to anyone interested in getting an idea of what I offer in my consultations (sort of the Baskin-Robbins ice cream “taste” – without the calories, of course).
There is no cost or obligation for the person wishing to ask a question, and I promise there will be no follow-up solicitation of the questioner, by me or by anyone associated with me. I do not even need to know the name of the questioner, if they do not wish to disclose it.
Simply e-mail your questions (no more than two at a time, please) to me at:
eklass@earthlink.net, and please entitle the e-mail “An Actor Asks…”.
Eric Klass
Copyright 2007, Eric Klass Consulting. All rights reserved.
Thursday, April 12, 2007
All The Money In The World - And More
Early on in my career as an actors agent, I realized that the studios and networks had access to all the money in the world – if they chose to spend it – which they invariably did not. As the years have passed, and studios and networks have been swallowed up by inter-galactic corporations, they now have access to all the money in this and other galaxies combined.
The reasons often given for being very reluctant to spend money on actors (and others, of course) took various forms, some of which were:
“We just don’t have it in the budget” (Meaning – “If my bosses don’t think I am hiring actors as cheaply as possible, I will be replaced by a guy with a crew-cut who will”.) Needless to say, if it is decided to go with “a name” for the part, lots of money suddenly becomes available.
“If we weren’t spending all that money on (star name here), there would have been more money for the rest of the cast.” (Meaning - Think about this one as you wait up for Santa Claus.)
“Everyone else testing for this part has agreed to this money” (Meaning – “If we tell this to everybody, many will panic and accept our initial offer”.)
“I’m not familiar with your client’s work” (Meaning – Strike fear! Go for the quick knockout! Let ‘em think you’re going to laugh in their face if they try to get more money.)
(More of these examples at a later date…)
Also, the meaning of different words and terms became clear to me:
“Feedback” – What they tell you when you don’t get the part.
“Non-Union Work” – You will not be paid for your services. If they did plan to pay you, it would be called “Union Work”.
“Deferment” – Money you will never receive.
“Points” – See above.
“Net Profits” – Ha Ha Ha.
“Most Favored Nations Clause” – Everybody has agreed to work for the same money, unless another party, such as the guy in the next office, decides to gift the star or stars with a Porsche.
(More of these examples at a later date…)
And let us not forget:
“Restaurants” – Down through the centuries, they have provided employment and shelter for struggling actors. So, if they want to serve trans-fats and 4,000 calorie hamburgers – I say “let ‘em!” – we owe them at least that much.
Eric Klass
Eric Klass Consulting
Please contact me at my e-mail address:
eklass@earthlink.net
Copyright 2007, Eric Klass Consulting. All rights reserved.
The reasons often given for being very reluctant to spend money on actors (and others, of course) took various forms, some of which were:
“We just don’t have it in the budget” (Meaning – “If my bosses don’t think I am hiring actors as cheaply as possible, I will be replaced by a guy with a crew-cut who will”.) Needless to say, if it is decided to go with “a name” for the part, lots of money suddenly becomes available.
“If we weren’t spending all that money on (star name here), there would have been more money for the rest of the cast.” (Meaning - Think about this one as you wait up for Santa Claus.)
“Everyone else testing for this part has agreed to this money” (Meaning – “If we tell this to everybody, many will panic and accept our initial offer”.)
“I’m not familiar with your client’s work” (Meaning – Strike fear! Go for the quick knockout! Let ‘em think you’re going to laugh in their face if they try to get more money.)
(More of these examples at a later date…)
Also, the meaning of different words and terms became clear to me:
“Feedback” – What they tell you when you don’t get the part.
“Non-Union Work” – You will not be paid for your services. If they did plan to pay you, it would be called “Union Work”.
“Deferment” – Money you will never receive.
“Points” – See above.
“Net Profits” – Ha Ha Ha.
“Most Favored Nations Clause” – Everybody has agreed to work for the same money, unless another party, such as the guy in the next office, decides to gift the star or stars with a Porsche.
(More of these examples at a later date…)
And let us not forget:
“Restaurants” – Down through the centuries, they have provided employment and shelter for struggling actors. So, if they want to serve trans-fats and 4,000 calorie hamburgers – I say “let ‘em!” – we owe them at least that much.
Eric Klass
Eric Klass Consulting
Copyright 2007, Eric Klass Consulting. All rights reserved.
Tuesday, April 10, 2007
The Scams And The Rip-Offs - How Much Have They Cost You?
It is an unfortunate fact that a significant percentage of the money spent by actors in pursuit of advancing their careers winds up in the pockets of individuals who cannot and do not provide the services they advertise.
The problem for the actor is how to distinguish the legitimate providers of services such as representation, advice, acting classes, workshops, etc. – from the others.
One thing to bear in mind is that if something sounds too good to be true, it usually is.
Another good general rule to bear in mind is that just because something is more expensive, it doesn’t necessarily mean that it is better than something less costly.
The most important thing in such situations is to verify what is being offered you, and also verify the actual qualifications and backgrounds of the people offering it. Aside from the way they describe themselves and the services they offer, the actor must seek out independent verification of who these people are, and what their backgrounds and qualifications really are.
Before you spend your money on such services, you need to know as much as possible about the people you are dealing with.
Doing due diligence before will save you a lot of anger and frustration (and money) later on.
Eric Klass
Copyright 2007, Eric Klass Consulting. All rights reserved.
The problem for the actor is how to distinguish the legitimate providers of services such as representation, advice, acting classes, workshops, etc. – from the others.
One thing to bear in mind is that if something sounds too good to be true, it usually is.
Another good general rule to bear in mind is that just because something is more expensive, it doesn’t necessarily mean that it is better than something less costly.
The most important thing in such situations is to verify what is being offered you, and also verify the actual qualifications and backgrounds of the people offering it. Aside from the way they describe themselves and the services they offer, the actor must seek out independent verification of who these people are, and what their backgrounds and qualifications really are.
Before you spend your money on such services, you need to know as much as possible about the people you are dealing with.
Doing due diligence before will save you a lot of anger and frustration (and money) later on.
Eric Klass
Copyright 2007, Eric Klass Consulting. All rights reserved.
Monday, April 9, 2007
Cold Reading Workshops
More and more often these days, the only direct access that many actors have to people involved in the casting process, is by participating in so-called “cold-reading workshops”.
There is a very long and distinguished history to theatrical casting, which continues to this day. However, these days, quite a number of casting directors, and/or members of their staffs, participate in so-called “cold reading” workshops, classes, etc. – a relatively recent phenomenon – in which actors must pay in order to audition or be seen by them.
Stated simply, people employed in a hiring process should not be taking money from people seeking to be hired by them. It is, at best, a conflict of interest. Many actors feel however, rightly or wrongly, that to be seen by casting people these days, there is little alternative but to pay and attend these workshops.
Perhaps one day, the studios, networks, production companies, or advertisers who are the
direct or indirect employers of the casting people who are benefiting financially from this process will be brought into the debate, and will have to decide – under public scrutiny – if this process is something with which they wish to be associated.
Eric Klass
Copyright 2007, Eric Klass Consulting. All rights reserved.
There is a very long and distinguished history to theatrical casting, which continues to this day. However, these days, quite a number of casting directors, and/or members of their staffs, participate in so-called “cold reading” workshops, classes, etc. – a relatively recent phenomenon – in which actors must pay in order to audition or be seen by them.
Stated simply, people employed in a hiring process should not be taking money from people seeking to be hired by them. It is, at best, a conflict of interest. Many actors feel however, rightly or wrongly, that to be seen by casting people these days, there is little alternative but to pay and attend these workshops.
Perhaps one day, the studios, networks, production companies, or advertisers who are the
direct or indirect employers of the casting people who are benefiting financially from this process will be brought into the debate, and will have to decide – under public scrutiny – if this process is something with which they wish to be associated.
Eric Klass
Copyright 2007, Eric Klass Consulting. All rights reserved.
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