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!

London Pilot Season

It’s here again. It may surprise you to discover that American primetime TV pilots are cast not only in LA and New York, but also from London. Producers are usually looking for genuine Americans over here or Brits with American accents. Why? Most likely it’s a money issue – London actors are cheaper than American ones. This is also why American advertising companies cast so many big commercials in Europe – so they don’t have to pay SAG rates and residuals.

But money is not the subject of this entry. London Pilot Season is full of delectable opportunities - IF you can manage to get casting directors to see you. According to www.thefutoncritic.com, there are nearly 30 pilots in development in 2007. If a pilot is ordered to series, the job comes with 5-7 year options! Not to mention you’ll be acting on primetime US television and hobnobbing with Hollywood bigwigs! As with all auditions it’s a crap shoot, but the potential for a breakthrough is huge. That is why you must prepare, prepare, prepare.

This is only my second pilot season, so my experience is somewhat limited. However I can offer the knowledge I have so far:

When is pilot season?
Casting happens roughly in January – March, with most pilots shooting in LA throughout March. February is peak time for pilot auditions in London, so if you wanna work in TV and film make sure you’re in town during this time! Try to keep your days flexible to fit in last minute castings. Also, as Americans are obsessed with physical appearance, this is a good excuse to get to the gym and work off those holiday pounds so you can look your best.

Who's casting?
In my experience Julie Harkin, Suzanne Smith, Kate Dowd and Gary Davy do a lot of casting work for US pilots. Their details are in Contacts 2007. Of course there may be more, but you can start writing to these four.

How do I get auditions?
If you have an agent, make sure he or she knows 1) You want to go up for US pilots, 2) You are able to work legally in America, and 3) You can do a believable American accent if you’re not American. Then get them to submit you! If you don’t have an agent yet, start by writing to the four casting directors above during the first week of January and mention the previous 3 points.

I've got castings! Now what?
1) The Need for Speed
The casting process moves quickly, and often at the last minute. It’s been 3pm on a Monday when my agent calls to say I’ve got a casting on Tuesday at 12pm. I then need to read the script, create the character, and attempt to learn the sides in less than 24 hours! This is normal, so be ready to work at top speed.
2) Practice Technique
If you’ve got a camcorder and you have time, practice your scenes in front of the camera. Watch playback, analyze your performance, and see if you can improve it. Most importantly – keep your head up and out of the page so the camera can see you! John Melainey teaches a great class at the Actors Centre called ‘Practice Makes Perfect.’ It’s a weekly on-camera workshop to learn, practice, and review your TV & film auditioning and sightreading skills. If you’re new to TV work, I’d brush up on these skills before pilot season so you’re ready to go.
3) Wardrobe & Makeup
Generally casting directors will put you on tape, upload your audition onto the internet, then send the file to LA for review. This means that the film quality will be fairly low, and as a result you need to ‘pop’ as much as possible. Wear strong, solid colors that highlight your face, and avoid stripes, heavy patterns, and black. On the makeup front, you’ll probably need more foundation than usual – but check yourself on camera (still or camcorder) beforehand if possible. If you go up for a lot of on-camera auditions, you may consider taking a makeup lessons to maximize your look.

If you can make it as far as an audition, you’re making great strides. The rest is down to other people’s opinions, so all you can do is prepare and do your best. Good luck!

Americans: Your UK Acting Career Step 3

So now you've arrived in the UK, you've got a place to stay. Excellent. Now what?

Step 3: DIVE IN!
You need to get involved. Soak up the culture, meet people, make your way into the acting community one way or another. Fortunately there are loads of ways to do this! Here are some recommendations that helped me find my way IN:

A. For Professional Actors without a work permit
You can't actually work, but you can take classes, meet with industry professionals, go to the theatre, and basically get an idea of how the UK market works. This is what I did during the period before I could legally work and it very much paved the way for my career now.

1. Get a mobile phone. If you're here short-term, you can get a pay-as-you go phone.
   
2. Get a copy of Contacts published annually by Spotlight.
3. Join the Actors Centre - Great range of affordable classes, good central location, excellent way to meet other actors. Professional Union membership and/or training required to join. Another place to take classes is the City Lit. I haven't done so personally, but some friends speak highly of it.
   
4. Go to the theatre - This is where you get to know a director's or theatre company's work, other actors, what kind of work is being produced, etc. For weekly listings, read Time Out London.
5. Watch TV - If you want to work on-camera, research popular shows, see who's casting them, observe British style vs. American, and enjoy.
6. Listen to the radio - In the UK there's a lot more crossover between stage, TV, film, and radio than there is in the USA. BBC Radio produces loads of great shows, so hear what's out there - especially if you want to do voice work. You can also attend live recordings for free or very cheaply. See how a radio show is made!
   

B. For Professional Actors with a work permit
If you're just starting out in London, I still advise doing the above as part of your preliminary work. Beyond that, here's what else. Some steps are the same in any city, some are market-specific.

1. Promote yourself in Spotlight - Casting directories published online & in print. This is essential as Spotlight is the standard reference for casting directors and production professionals. Training or professional credits required to join.
   
2. Perform on stage - this can be as simple as a showcase, a staged reading, a fringe theatre production, or if you're lucky a full-out professional gig. The important thing is to be seen. As in any city, this is how you get an agent, and how directors and casting directors find you!
3. Write to Agents & Casting Directors - when you've got a performance lined up, tell everyone about it! Find their names & addresses in Contacts.
4. Seek auditions - If you don't have an agent, you have to find your own work. Here are some methods:
1. Research the area in which you want to work and write to the appropriate person (found in Contacts). In your mailing include a cover letter introducing yourself and why you'd be a good asset, headshot, CV, and contact details.
   
2. Subscribe to: CastWeb or Castnet
3. Ask around. When you're hanging out in the Actors' Centre or at the Equity office, or anywhere actors congregate!
   
5. Convert your Resume to your CV - The UK format is slightly different than what you're used to in the USA. Read my post on this here.
   
6. Get new headshots - the British 10x8 style is much more natural than the American 8x10 glossy and often made-up look. You can probably use your American shots for commercials, but for most dramatic work you'll need the British style in your portfolio. Find photographers through Contacts or by flipping through photographers' books in the Spotlight office.
7. Make a showreel/voicereel- If you want to work on-camera or as a voice artist, this is important to have. I recommend Twitch Films for showreels - they did mine for a great rate and I love it.
   
8. Consider joining Equity - British Actors Union
9. Consider joining the NAAA - North American Actors Association.
   

C. For Students
Lucky for you, as a student in a British university or drama school you can't help but be immersed in British culture. I didn't take this route since I already had my BA in Theatre, but I often fantasized about studying at RADA or some of the other classy schools. If you look at any West End play program, often the first thing actors list in their biography is where they trained. This is a great way of networking with professionals, getting quality training, and at the end showcasing your work to agents, directors and casting folks.

P.S. Check back for in-depth entries on the steps listed above!