Acting in Columbus Newsletter | March 2009

Former AIC Student Stars in LIVE FAST DIE YOUNG Now Showing at the Drexel Theatres.

2009-03-02T11:59:00.000-08:00

Photo: Eric Feliciano

About the Movie

Story: At an exclusive Hollywood party on Christmas Eve, an A-list star dies of an apparent overdose. A detective holds a protesting core group of Hollywood insiders for questioning. The group, consisting of an A-list director, a top agent, a movie star, a media mogul, a writer, a wannabe actress, a studio head, and others, begin a deep and profound discussion on the meaning of life, including the existence of God.

OPENS AT DREXEL THEATRES - FEBRUARY 27, 2009 through March 8, 2009 - Drexel Theatres 2254 E Main St Columbus, OH 43209 614-231-1050. Showtimes: 1:30 pm, 4:30 pm, 7:30 pm, 9:40 pm

LIVE FAST DIE YOUNG Official Movie Website: http://www.livefastdieyoungmovie.com/

ACTING IN COLUMBUS - Student Showcase/Open House

2009-03-02T11:53:00.000-08:00

You're invited to our STUDENT SHOWCASE / OPEN HOUSE

Acting in Columbus’ Scene Study Students will be presenting an afternoon of scenes and monologues along with video clips from the Acting for TV Commercials Workshop. The performance will be followed by an OPEN HOUSE to give you a chance to meet with students, staff and other guests. Refreshments will be served.

Sunday March 29, 2009 2:00pm at the Ohio Theatre - Galbreath Pavilion - 55 East State Street - Columbus, Ohio 43215 in Studio #1

This is a free event - Seating is limited.

Please RSVP if you plan to attend: RSVP

Contact us for more information: info@actingincolumbus.net

UPCOMING AUDITIONS

2009-03-02T11:00:00.000-08:00

ACTORS’ THEATRE Auditions for Summer 2009 Season Saturday March 14, 2009 (10 a.m. to 5 p.m.) & Sunday, March 15, 2009 (10 a.m. to 4 p.m.) German Village Meeting Haus 588 S. Third St. Columbus, Ohio 43206 - Call 614.444.6888 to arrange 5 minute auditions. Actors’ Theatre 2009 Season: The Three Musketeers Directed by John Kuhn (May 28 to June 28) The Tempest Directed by Pam Hill (July 2 to August 2) As You Like It Directed by John Kuhn (August 6 to September 6). http://www.theactorstheatre.org/

EMERALD CITY PLAYERS Auditions for "Cliffhanger" By: James Yaffe Directed by: Linda Sopp Performances: April 24 - May 9, 2009 Auditions: Sunday, March 1, 2009 - 7:00 PM Monday, March 2, 2009 - 7:00 PM Auditions will be reading from the script. http://www.emeraldcityplayers.com/audition.htm

GALLERY PLAYERS An open audition for the final production of Gallery Players' 60th season will be held Sunday, March 15, from 5 to 7 p.m., and Monday, March 16, from 7 to 9 p.m. The Tale of the Allergist's Wife is the story of how one woman deals with her own mid-life crisis. This production will run three consecutive weekends, from Saturday, May 9 through Sunday, May 24. Please call (614) 559-6248 with any questions. http://www.jccgalleryplayers.org/auditions.php

HEADSHOTS 101 - The Industry Standard

2009-03-01T09:18:00.000-08:00

A Headshot is an 8x10 photo taken of a model or actor. A headshot commonly encompasses a subject's head and shoulders, with the focus being almost completely on the subject's face. However, some "headshots" can often include as much as 3/4 of the subject's body - called a 3/4 shot. There are two types of headshots: Commercial headshots (which is commonly in the 3/4 style) and Theatrical headshots.
A Commercial headshot is typically warm and friendly and often (but not always) shows the actor smiling. Commercial headshots are primarly used for commercial related projects. Theatrical headshots are generally more “serious” and have a less “commercial” look & feel. Actors typically take on a more focussed and serious tone and are not smiling in theatrical headshots.

Get a professional headshot.

You'd be surprised how many people send Polaroids, Xeroxes, or other photos in place of a professional headshot. Don't; they go directly into the trash. If an actor doesn't have the commitment to get a headshot done professionally, how can we expect him or her to act professionally on the set?

Acting headshots are one of the most important tools for any actor or actress. It is, after all, your calling card — your first introduction to casting directors, agents, and managers. While there's no magic formula for getting the perfect headshot, two things make a difference: (a) finding a good photographer, and (b) making sure your photo conveys the real-life, up-to-date you. Remember: This is not a glamour shot; the purpose is to get an interview or an audition as an actor, not a model.

A good head shot will get the attention of the casting director. These images should capture the essence of the actor or model at his or her best, but not look too posed, polished, and perfected that they detract from seeing the real person. A relaxed, candid pose is best. Casual, but not too casual clothes in mid tone colors should be worn to the shoot. Accessories and jewelry should be on the small side.

What should the picture look like? YOU!!!

Women: Please do not try to look like the next Miss America. "Ordinary" is very much in these days. A pretty woman trying to look glamorous has fewer chances/fewer roles than a pretty woman who presents herself as she is: pretty. Or plain. Or intelligent. Or humorous. Or whatever she is. Teenagers, please look teenager-ish. If they want someone who looks 22 there are thousands to choose from. If you look 15, then look 15. The more your headshot looks like you, the better the headshot.

Men: one nice outfit and one casual. If you aren't the Wall Street type, go for tee or sports shirt only. It used to be one legit (soap, theatre) shot and one commercial. (That is, one glamorous pose and one girl/woman/boy/man next door.) Today I would strongly suggest that if some of your roles will be business types, then men wear a tie and jacket and women wear a suit and blouse as one pose and tee shirt or more sporty outfit for the other pose.

Whatever you wear, LOOK LIKE YOU. Try as truthfully as you can to figure out what kinds of roles you are likely to get cast in. Chances are if you are not a hunk or a model, you are not going to get hunk/model roles. Unless you are stunning, please do not have your face all glamored up, unless you are willing to pay a make-up artist every time you audition.

That is why it is so terribly important NOT to pay a fortune for headshots. You do not have to use the biggest name photographer. Your headshot is not about the photographer. It is about your face. And if one picture isn't working, move ON TO THE NEXT.

How much do headshots cost?

This is sort of a trick question. Why? Because you can pay a little or a lot for headshots. It just depends on your budget, the quality of the headshots you want, and the number of options you’d like to have, such as: number of “looks”, number of wardrobe changes, number of photos taken, number of hours you wish to shoot, and whether or not you wish to hire a hair stylist or a make-up artist. Different photographers provide different options at different prices.

With that said, for a strictly headshots only shoot, actors in Central Ohio should expect to pay between $200 and $350 depending on the photographer and the options provided. (And if make-up is included, then expect to pay a little more). MOST IMPORTANT!!! Your headshot MUST look like you. If you have flaws, then they shouldn't be hidden. Any casting director wants you to walk in the door after seeing your headshot and have it look just like you. So if you change your hair color, hair length, grow a beard etc, then you need to update your headshot.

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Recommended Local Photographers:

Greg James Photography: http://www.gregjamesphoto.com/
Will Shively Photography: http://www.shivelyphotography.com/
Nicole Marie: http://www.nicolemariephotography.com/
Scott Cunningham Photography: http://www.scottcunninghamphotography.com/Site/Home.html
Susan Jarvis - Waterkopf Photography: http://www.waterkopf.com/
John Branham Photography: http://www.branhamphotography.com/
Rycus Photography: http://www.rycusphoto.com/

UPCOMING CLASSES AND WORKSHOPS

2009-03-01T09:04:00.000-08:00

Acting for TV Commercials - Introduction to Acting for the Camera - Sunday March 22, 2009 1:00pm -8:00pm $200

Learn how to audition for and break into the local commercial and industrial industry. If you already have an agent but want to increase your "Bookability" this workshop will give you the edge over your competitors! This workshop will give you experience with the actual audition process. You'll work on-camera all day doing both prepared and cold readings, and receive plenty of feedback from instructor Richard Mason.
Script analysis skills: We have written our own textbook that breaks this process down and makes it simple.
Comfort in front of the camera: How do you stand? How do you hold the script? How do you deal with your partner and the camera at the same time? What is a slate? What do you do with your hands?
Practice at doing all types of commercials: Scene work, improv, one-liners, bite and smiles, handling products, etc.
You will learn how to make the first contact with the agents, and all the follow-ups you will need to "Break In". You'll also learn how to market to the casting directors, all about pictures and resumes, how the unions work, etc. By taking this class you have the opportunity to show the agents that you are serious about pursuing this type of work. It also allows them to be more confident in submitting you, because they know you'll be able to handle yourself in front of the camera. Being a good commercial actor requires many things, including strong acting skills, a solid work ethic, and lots of hard work. This class is a good first step toward acquiring those things and being successful. Enrollment in this workshop also includes three months of Career Management.This class is limited to 12 students - As of March 4, 2009 there are seven (7) slots available.

Eight-Week Scene Study for Beginners - Saturdays beginning March 21, 2009 - May 9, 2009 10:00am-12:30pm $200

No matter what the medium, acting principles are the same and scene study is the place to learn them. This is the Mother Ship, the arena where you work on acting as a craft and art form, developing acting techniques you will be able to use anywhere. Actors are assigned scenes which they rehearse outside of class for presentation in class. Stage plays comprise the primary source material. This workshop also presents a good opportunity to prepare monologues that you will need to use in the industry. At the end of this eight-week course students present their scenes and monologues at our public STUDENT SHOWCASE.

This class is limited to 12 students - As of March 4, 2009 there are Seven (7) slots available.

Acting for Film - Saturdays beginning March 21 - May 9, 2009 1:00pm-3:30pm $200

This intermediate level class, ideal for actors who have some training and/or previous experience, offers a focused introduction to the process. Actors work, stage, and shoot several film scenes during the eight-week session. We work in depth on concepts central to the actor's role development for film. We use Shurtleff's 12 Guideposts as our basic text to help students make strong choices with a wide variety of scenes. Your ability to make active, personal choices is essential for dynamic auditions and performances.

This class is limited to 12 students - As of March 4, 2009 are eight (8) slots available.

CRAFT NOTES by ED HOOKS: Super Objectives and Acting

2009-02-25T17:09:00.000-08:00

A super-objective is something that drives a person on his or her life's trajectory. At the risk of psychologizing, I might suggest - just as an example - that our most recent president, George W. Bush, was and is guided by an intense desire to please his father. Toppling Saddam was an objective. Calling out the armed forces was an action. Conflict was with the situation. But toppling Saddam in the first place could well have been driven by a desire to balance the books with Bush Sr's old nemesis.

Super-objective helps explain the seeming contradictions in a character's behavior. Aristotle taught us that contradictions do not in fact exist. If you find yourself looking at one of them, check your premises. Human behavior is a messy affair. We are the only animal that can know a thing is bad for us, and yet still do it. We, unlike animals lower on the food chain, are perfectly capable of operating against our own self-interest.

How could Macbeth have been convinced to commit murder? He was not a bad fellow. He was not a killer. On one level, his behavior was irrational. But on another, the potential for murder was there all along. Find his super-objective, and you will find that potential for murder.

Another real-life example: How could Bill Clinton have risked his entire presidency for a cheap sexual tryst? It doesn't make sense, does it? But if you were cast to portray the ex-president, it would be necessary for you to justify what he did. The answer, I propose, is in finding his super-objective. For some reason, the presidency itself did not make him feel powerful enough. He needed the attention of a White House intern. Such behavior is Shakespearean.

We will go see twenty or thirty productions of "Hamlet" in a lifetime. But surely we know the plot after the first production or two. Why keep on attending? The answer - again - is in super-objective. Every actor who portrays Hamlet is going to deal with the same words and will have to discover the same actions and objectives. The big question is "why"? What we in the audience want to know is what this actor thinks make Hamlet tick - in other words, what is his super-objective - and what that actor thinks makes Hamlet tick. The majesty in the role as Shakespeare conceived and wrote him is that he will tolerate different interpretations.

Again, we act to survive. If you position a man at the edge of a cliff and slowly drive a car toward him, he is going to do absolutely anything he can in order to live, even if he must kill the driver of the car. He's going to do that even if he is a priest. We are hard wired by nature to act to survive. Medea killed her children for evolutionary motives. Her husband betrayed her. Kill a man, and you kill him once; kill his children, and you kill him again and again and again. Super-objective is the key for the actress who would portray Medea.

One really interesting aspect of super-objective is that the character - as in life -- most often is unaware of it. This is the kind of thing we attempt to discover in psychotherapy. George Bush would probably deny he has any father issues. Bill Clinton would probably explain Monica Lewinsky as a "man thing". Macbeth would be unaware that he could be manipulated by a strong woman.

Columbus Indie Club

2009-02-24T07:31:00.000-08:00

Columbus IndieClub meets on the third Monday of each month at the Landmark Gateway movie theater located at 1550 N. High St. Columbus Ohio. Meetings are free and open to everyone. Our meetings feature screenings of independent short movies, discussions & presentations on processes behind putting a movie together. Our next meeting will be on Monday March 16th @ 6:30PM. Special Guest: Kelley Baker - (http://www.imdb.com/name/nm0048634/). We will be screening "Ironwerkz" - (http://www.imdb.com/title/tt1138013/). If anyone has other short videos to screen feel free to bring them.

If you'd like to screen your movie at one of our upcoming meetings or if you'd like to donate to our door prize raffle (which is a great opportunity to promote your movie), or if you just have questions about IndieClub please contact the group leader at justin@temperedzealot.com. More information on IndieClub is available online at http://www.indieclub.com/ and those interested in becoming a FREE member of Columbus IndieClub should sign up at the main site, login then go to http://columbus.indieclub.com.

Planning for Income Taxes

2009-02-23T10:50:00.000-08:00

Paying taxes on income earned from performing can be somewhat more complicated than paying taxes on the income from a normal job or career. For starters, the company that you work for in the 9 to 5 world automatically deducts state and federal income taxes out of your paycheck. As a performing artist, it is up to you to set aside a certain amount of your acting paycheck to cover any income taxes that you may owe. Neglecting to do this could result in a sizable amount to be paid to the government at tax time that you are not prepared to pay. Through your accountant or tax preparer you may also consider paying quarterly estimates to the government to keep yourself covered.

Acting is a business.

Therefore the government allows you to write off all types of acting related expense up to the income you earned through acting. So if you earned $1,000 for the year, the government may allow you to claim up to $1,000 in acting expenses. Of course, consult a tax advisor for more details. Always keep accurate records of your acting expenses on anything remotely related to acting, including the cost of head shots; printing up your resume; travel expenses to and from auditions; makeup; any meal and lodging expenses incurred while working as an actor; the cost of acting, improv, singing, dancing, and auditioning classes; dry-cleaning costs; postage; gym membership; and anything else that you spend to help your acting career. Of course, any expenses must be used exclusively for your performing arts career. You can't just buy a new wardrobe or a new computer and claim that they are career expenses since they could also be considered personal items.

Deducting Acting Expenses

Be sure to keep accurate records of your acting expenses and consult your tax adviser for specific information about tax deductions, such as when and under what conditions these deductions can be taken. Possible deductions include the following:

Travel expenses to and from auditions, including meals and lodging
Admissions to movies and plays (remember to save all ticket stubs)
Acting classes, workshops, and seminars
Acting books and magazines
Office supplies
Mailing expenses
Telephone bills, including the cost of an answering machine or service, a pager, or cellular phone
Union dues
Head shots, including photographer’s fees and duplication costs
Resume creation, and printing and duplication costs
Make up and clothing specifically used for acting, along with any dry cleaning expenses
Cost of creating, and duplicating a demo tape

BOOK OF THE MONTH

2009-02-23T10:34:00.000-08:00

THE ACTOR'S ENCYCLOPEDIA OF CASTING DIRECTORS by Karen Kondazian

Karen Kondazian has compiled inside information from talking to the premier casting directors in film, television, and commercials from New York to Los Angeles.

While I'm not in the habit of recomending industry books, I do praise Karen Kondazian's, The Actor's Encyclopedia of Casting Directors. It's a highly practical, intelligently written work that will be an asset to any working actor or newcomer who hopes to find work.

- Thomas Mills - Senior Columnist, Backstage West Newspaper