Keeping track of auditions & contacts

I hope you all had a good Christmas holiday. Sorry to be so slow with new postings this month. I was preoccupied with rehearsing a production of Edmond by David Mamet, working on my new screenplay and as usual getting sucked into Christmas madness. But enough about that.

Edwin, an American actor who's recently moved to London from New York posted this question last month:

Q: 'I've always been terrible at keeping track of who I've met, auditions, bookings, etc, no matter which method I try. I thought I'd try to be better after moving here, and still struggle to keep track. I recently was reading this new website, which seems to be associated to various products too: www.thesavvyactor.com/savvy_products.php

The Protalent software seemed to be what I'm looking for (although I'm guessing that its mapping service is only for US). Have you heard anything about it, or know anyone who uses it? www.protalentsoftware.com/ptp_features_auditions.html

Or, do you have any advice of your own regarding keeping track of auditions, contacts, etc?'

A: I wholeheartedly agree that you should be keeping detailed records of every single audition and every industry person you meet. In my view, good record-keeping is as vital as honing your craft. The entertainment industry is so much about who you know, and effective networking leads to WORK. And that is what we're after, right? Yes, we love acting but it is also a business and we must treat it as such.

So how do you keep good records? The method is not as important as just doing it consistently. I haven't tried the two programs you mention although they do look great. If they have demos, give them a try and see if they work for you.

Although I'd like to upgrade my method to something more high tech, here's what I do now.

For auditions:
Every year I create a Word document divided into 7 columns: date, project, role, type, look/dress, comments, agent feedback, got the job?. Then, as I go through the year I can look through my auditions and start to get a picture of how my career is progressing - what's my hit rate, what sort of roles I go up for, which casting directors keep calling me in, if I get similar notes at auditions, if I don't get jobs - why not, am I getting a balanced range of theatre, TV, film and commerical auditions or is it more one thing than another?, etc. Then based on that information I can make a plan of attack - I need to improve my on-camera auditions, I want to go up for more theatre, I need to improve my English accent, etc.
Here's a sample audition record:
Date: 12 Feb 09
Project: US TV Pilot: Eastwick - Warner Brothers /ABC
Role: Joanna Frankel (lead)
Type: Early-mid 30s, American reporter, serious, painfully shy, comic
Look/Dress: Smart casual
Comments: Kate Dowd casting, run by assistant Bernadette. Maggie Friedman is behind the 1 hour show. Memorized both scenes, did them twice. Got a few laughs. Bernadette's comments: 'you showed the changes well, good sight-lines'
Agent feedback: none
Got the job? no

For contacts:
This is super important. You want to start developing long-term relationships with casting directors, directors and producers - because all of these people can get you work. And each time you have an encounter with someone - by phone, by post, by email - you need to be able to remember important details about them and what's gone on between you. The goal is for industry people to know who you are and what you're capable of so when the right job comes up, they'll think of you.
Here's what I do:
- Keep several folders on my hard drive for each category: directors, casting directors, producers, writers, etc.
- For each category, keep a separate document for every person I've met/worked with
- For each contact I create a Word document that contains this info:
name, company, contact details, associates, personal descriptions, personal data, shows previously cast/directed/produced/written. Then for every transaction I list the date and what happened. I review this document before every encounter with that person.
Here's an sample list of transactions for a casting director:
4 April 06 - Met Suzanne for the first time at casting for [TV show], up for role of Janet. Said I read well but was too young - my headshot made me look older. Asked me if I would be a reader for upcoming auditions since she needed an American accent.
10 April 06 - Reader for [TV project] auditions, met Jim the director, had lunch with Suzanne and Jim.
16 May 06 - mailed new headshot - 'hopefully this makes me look my age'
14 Aug 06 - mailed postcard about [current play]
29 Aug 06 - Suzanne called me to ask if I would play the lead in a reading of a film script
01 Sep 06 - in-house reading of film script. Met several actors and had discussion afterward about script.
AND SO ON
You'll start to see very quickly how your relationship is progressing and whether your post or email announcements have an effect - often they do.

Perhaps this could be one of your 2010 resolutions - Get on top of your record-keeping. Good luck!

American Directors in London

Some questions from a reader who trained as an actor at Drama Studio of London and recently graduated from UC Irvine's MFA Directing Program; he's a dual citizen who's deciding between London and LA:

Q: Have you seen or worked with many directors who are living in London and are American?

A: I've worked with a few and heard of more. Recently:
Platinum Travel Club at The Tristan Bates Theatre (NAAA reading) - dir. Allison Troup-Jensen
Cat's Paw at The King's Head Theatre - dir. Noah Lee Margetts
Pistachio Stories at the Soho Theatre - (NAAA reading) dir. Chris Lane (Canadian)

Apparently there are a good handful of them out there. The NAAA has info on many of the up and coming North American directors for the annual playreading festivals, so if you wanted to get in touch you could email Laurence Bouvard at americanactors@aol.com.

Q: I have heard that more directors go between theatre and TV or film in London than in the US - do you see this as true?

A: There's generally more crossover of not just directors, but also actors, writers and producers. As radio is much bigger here than in the US, you often get people trying things out on radio first, then transferring to theatre, film or TV. I have some friends who write sketch comedy, and they always try new material on a radio audience before choosing what will make the cut for TV. I know another comedy duo who co-wrote a sitcom and put the first few episodes on radio, with the hope of -eventually getting it produced for TV.

Q: Are you noticing a glass ceiling for American actors?

A: Yes and no. Of course it helps if you're already famous when you come to London - then you'll have broken through the ceiling in the US and keep rising (hopefully) in the UK. But if you're like me and have a strong CV but haven't made the big big time yet, it's difficult. You have an advantage as an American - you're in a niche market and you have a unique selling point (USP). Therefore if you're good and have a good agent, you'll generally go up for most of the American stuff that's going if you're right for the role. You have an added advantage as man since there are more roles for North American men than for women. The disadvantage is, there are less roles generally for Americans. However, I know a handful of North American actors who work all the time, getting larger and larger roles with each new job. One of them, a Canadian, even made it into the RSC. So it can happen for you here. But as with any place, you need that sexy combo of luck, persistence, skill, tenacity and a bit of talent.

Q: Any suggestions about the first 6 months in London?

A: First check out the entries 'Your UK Acting Career Parts I, II & III' on this blog here. For your directing career, I'd suggest getting in touch with Laurence at NAAA and talking to other North American directors to see what they do. You could also suggest yourself to direct one of the readings at the 2009 NAAA playreading festival. But for the bigger jobs, I'd approach theatres where you'd like to work, try to direct some fringe or off west end show to get a London credit. I don't know the directing path very well, but hopefully that's a start.