Acting With No Experience Part 6: Acting Industry in London

When you first start acting without any experience, you’re going to have to network, hard. Looking for connections is like looking for auditions – you’ll get nowhere, unless you know exactly where to look.  Every actor needs connections, as it’s what makes finding parts to try out for so much easier.  There are many ways you can find connections, whilst networking at the same time.

“It’s all about people. It’s about networking and being nice to people and not burning any bridges. Your book is going to impress, but in the end it is people that are going to hire you.” – Mike Davidson

As mentioned in the section before, social networks are going to be your number one go-to when it comes to networking and finding connections in London – simply because it can be done without even leaving your house.  By getting in touch with other people in the industry via social networks, not only do you have the ability to talk to them, it gives you the opportunity to think about what it is you’re going to say before you even type a single word. To jump to other sections of the Acting With No Experience series, please use the table of contents below.

VI. LONDON’s ACTING INDUSTRY

6.1 Industry Connections

“It’s not what you know, it’s who you know” is a saying that almost everybody has heard before, and while sometimes that’s not entirely true, it is better (and a lot easier) to have someone who will help you get higher up on the acting food chain, so to speak.

When someone has a ‘connection’, it doesn’t necessarily mean they know some hot-shot director in America.  Connections come in all shapes and forms, from a teacher you got on well with at school, to a person who does theatre lighting.  Who knows, you could go to a convenience shop and somebody could work there, who knows somebody, who knows somebody else, who knows Stephen Spielberg’s personal chef.

This is why you need to be nice to everybody you meet – not just in the industry, but people in general – although, being a nice person should be a normal thing, because it’s not good to be mean.

The more connections you make, the better your chances are of breaking into your desired acting field, so try to make connections wherever you go.

Casting Directors.

If you know about all the casting agents (casting directors) in your area – taking note of whether they are legitimate casting directors or not – it’s going to be a little bit easier to come across auditions.  Casting directors, in both theatre and screen acting, are always having open auditions for extras and such, so getting yourself in there will not only give you experience, but give you connections as well.  If you keep tabs on casting agents, they will eventually announce something to your liking.

Looking for auditions can be really hard, especially if you’re particular about what kind of roles you want.  This is why you need to stay focused and keep on going, no matter how difficult it may be.  Nobody ever gets anywhere without hard work and determination, so do not ever let not finding the roles you want to try out for, bring you down.

What you need to remember as well is that whilst you want to have certain roles in theatre or screen acting, at the beginning – when you’re simply aspiring to be an actor without much credit to your name – you cannot be picky.  Do whatever feels right to you, but do not let an opportunity pass simply because the character might not be exactly who you see yourself playing.  You may surprise yourself by finding a new talent or type of character you never thought you could play.

 

6.2 Showbiz Scams in London

With so many people desperate to find an edge in London, entertainment business is a fertile ground for scammers and con artists who are amazingly adept at parting actors from their pennies.

Below are a few common scams to watch out for and signs of red flags for actors.

Online Scams.

This is one of the most common scams that is difficult for new aspiring actors to recognize. Most of casting has moved online these days, which makes it even more difficult for actors to avoid these bad apples.

There are several scam-like websites that ask for a fee from actors to post their headshot and resume, but no one in the industry uses them. If you visit these websites, you’ll notice most of the people who post there don’t live in the city you’re trying to act, i.e. they don’t know any better.

Film and television roles are cast based on headshots and resumes submitted through legit casting websites. Commercial casting also uses online systems since they move very fast and care more about looks, and when it comes to newbie actors, they use the same casting websites as film and TV projects do.

On top of that, there are some websites that are half legitimate. Those are not total scams but just a waste of money – they have set up systems for actors to submit themselves for specific projects posted on the site but there’s absolutely no return on the investment since casting directors do not use those services.

These “half-legit” casting websites usually include just a few projects on their lists, and the rest of them are poor 1st year student films, and those are scarce as well. Same goes for those background work websites. We’ve talked about that already – you don’t need it.

To avoid these scams, always use only legitimate websites mentioned above.

False Project Scams.

Never pay to be in a film! If you audition for something and later they tell you that you have the part, but that they’ve “discovered actors do a better job if they’re financially invested in the project,” or later say their “financing just fell through, and they need everyone to help pay for the project if it’s to be done,” walk away!

Even if the production have an office on a studio lot: these offices can be rented by anyone trying to put on a good face. This is a very common scam in London, so watch out because the people who pull it will make you believe they are genuine struggling filmmakers.

Remember that filmmakers and producers of the project are responsible for raising the money, not you, no matter how desperate you want the role. Even if you have been guaranteed that the project will happen and you’ll get material out of it for your reel, don’t do it unless the project was advertised as a showreel production class or something to that extent.

If the production has falsely advertised something like a directing class or showreel production class as a film project, you can always mark that casting call as “flagged” or message the editors and let them know. We need to work together to eliminate any kind of scams out there.

Manager Scams.

Another very common way for scammers in the entertainment industry to part actors from their money is pretending to be legitimate managers who have just “discovered you.”

In the United States, it is illegal for agents and managers to ask for upfront payments of any kind, and it’s strongly regulated. Unfortunately, in the United Kingdom, the Equity union isn’t strong enough nor does the government care as much about their actors to look out for them more.

Nevertheless, remember that the only money managers make off of you should be from work that they get you, or that you got while being represented by them (10 percent for agents, 10 to 20 percent for managers).

A scam of this type you see often is for someone posing as a manager to ask for “submission fees” from new actors. They will claim that they’re taking a chance on you, spending their money on materials to submit you, and that you should help cover those costs while they get your career started.

This is wrong, no matter what real work the person may have done in the past. They may also ask you to attend their workshops to see if you’re what they are looking for; and those workshops are paid, of course.

Agent Scams.

This is the exact same model of “scammery” as those trying to pose as legitimate managers. These people will take on the title of a talent agent, and promise you the world since you “have a very marketable look, and they can’t believe you aren’t working actively yet.”

No matter how many stories you’ve heard or read about actors and models being “discovered” by a talent scout and then becoming a super star, you should ignore most of the offers that sound too good to be true. First, those stories are often made up for PR reasons. Second, it’s extremely rare for someone to be “discovered” like this.

The way these scam agents approach this model is by giving you their number and a promise to sign you. Once you reach out to them, you’ll get more details about this “offer,” and it will most likely include some type of way for you to pay for something, either through upfront fees or otherwise.

If it’s not asking for upfront fees, then they will “recommend” you an acting class, or a workshop, or a headshot photographer whose services you must use, otherwise they will no sign you. This is your cue to leave the office and never come back. Also, report the “agent.”

Some of those so-called “talent agencies” that ask you for an upfront fee will actually sign you after you pay or attend the paid workshop, and will represent you. Sort of. However, all they do is submit you using the same casting call services that you yourself could have used sitting at home with your laptop on the table.

Contract Scams.

Contracts is a very sensitive area, and you must be especially on the lookout for any type of scams when it comes to putting your signature on a piece of paper with text on it.

If you are signing any kind of contract, be sure to have a lawyer look it over before you do, no matter how legitimate the person seems, unless they already successfully represent someone you know well.

Dishonest agents and managers have been known to include ridiculous conditions in actors’ contracts, which unsuspecting (or naive) artists sign and agree to. If you’re serious about your new agent and manager, and you believe this will turn into a productive relationship, then it’s worth the extra few hundreds or so in attorneys’ fees to ensure that you don’t sign away your life.

No agent or manager should be offended by you asking to take a day or two to look over the contract and consult with a lawyer. Legitimate business people are aware of all the scams, and they are sensitive to that. If the person refuses and says that you have to sign on the spot, it’s time to run away from that office.

The more time you spend inside of this cruel industry, the more experience you will gain at recognizing all sorts of scams or people misrepresenting themselves; you will learn how to smell them from far away. Once you’re just starting and learning how to become an actor, stay very cautious and make sure your scam radar is functioning well.

 

6.3 Events for Networking

This doesn’t mean that you’re required to attend the latest Hollywood movie premieres in Covent Garden, dressed way too formally.  An event can be anything that involves acting of some sort, for example attending a West End play will get you in the same room as the actors, director, producer, etc., and will give you the chance to subtly ask some of them – politely – what it takes to get up on that stage – thus networking and connecting with other people in the industry.

Obviously it would be a bad idea to interrupt them during the performance, so the best way to approach them would be for you to wait until the end of the play.  If you can get backstage (or even attempt it) to talk to the actors who performed, that would be a huge advantage as well – not just because you’ll learn what to do to achieve the same success they have, but the knowledge and advice will come from people who know exactly what you’re going through.

Many actors love to “give back” and help aspiring actors.  If they list their website in their Playbill bio, look them up and reach out.  Flattery can open many doors.  Just don’t turn your flattery into stalking.

If you’re not interested in stage acting, and you want to make your presence known in the world of film, then it would be a good idea to go to gatherings such as BFI London Film Festival.

This is a great way to get insight into the world of screen acting, because not only do you get to see the outcome of hard work, you get to be around the people who worked hard to make it.  By going up to the writer, or director etc. and asking them about the way they cast for their films, you’ll figure out how you should go about doing it yourself – while creating valuable connections at the same time.

By making your presence known at events, no matter how low you are on anybody’s acting radar, you’ll be able to network with people who can help you out in the industry, and from there gain some very reliable connections to help you get somewhere.

 

6.4 Schmoozing Effectively

You probably already know, in great detail, what this word means – it’s basically a fancy way of saying ‘sucking up’.  Schmoozing (or networking), however, is pretty vital towards making connections and getting your name as an actor out there.  While it’s always good to be nice to someone, you need to remember that whoever you’re trying to talk to has probably had lots of people try and sweet-talk them before, so you need to be original.  The best thing to do when you meet someone who’s got a good position in your chosen outlet of acting, is be honest.

Actors lie every day – it is part of the job description, so why should I be honest?  Honesty gains trust, trust builds a relationship and relationships mean connection.  The best way to approach someone is by going up to them and informing them about the fact that you know who they are and you’d really appreciate it if you could have a moment of their time to ask them some questions.  Even if you go up, are honest, and the person you’re talking to isn’t really interested in what you are telling them, your honesty will always be remembered.

Who’s Who?

As stated before, anybody can be a connection due to the six degrees of separation in the world.  However, when it comes down to it, the connections you really need to make are the ones with people who have some pull in the industry.  Therefore, depending on whether you’re doing screen or theatre acting, it would be best to “schmooze” up to people who are directors, casting agents, producers and even the actors.  If you get yourself in there, you’ll have a better time finding auditions and hopefully getting roles.

Start Networking.

The key is to let go of the ego, and learn to work with and for others. This is how great connections are built and the foundation for a successful acting career is laid. Bite your tongue when it’s best to do so, make the right choices as an actor that don’t hinder your performance and save the attitude for later. You never know when a burned bridge will prevent you from your big break.

Finally, remember that acting is NOT a race. There’s no schedule and no deadline by when you have to “make it”. Some actors get slightly luckier with opportunities in the beginning; others will get those same opportunities a little later in their acting careers. You need to focus on yourself and your game plan. Think in terms of milestones, not calendar days, so that you can acquire worthwhile stocks of your progress in the market of show business.

One significant arrangement you can do early on that will help to get you on your feet quicker is as soon as you move to the city, or start pursuing acting wherever you are, arrange as many informational meetings or interviews as you can.

Basically, talk to everyone you know, people from the industry and not, to find out if they know anyone at any level of entertainment business. If they do, and based on who they are, ask for an introduction.

Once you have your list of contacts within London, always keep it close. When the time comes and you have a great project on your hands that you want to promote, or you wrote a screenplay with yourself as a lead, call those people up and invite them for coffee or lunch (your treat!), or ask if you can come by their office to talk to them, or find any other way to connect. I’ve done this two times so far. One time I got a “I’m sorry, I’m busy,” but the other connection resulted in more work. So far, it’s a 50% success rate for me. Networking works, so remember to schmooze with people.

Using Connections.

Once you get a hold of people, discuss any possibilities of bringing yourself out there with the help of your own project and your contacts. Do not be shy. Making connections is very common in the entertainment industry, and you’d be surprised how many people are open to meetings if your project sounds at least somewhat intriguing and if you’re paying for lunch.

You can also schedule these types of meetings with people from the industry even if you don’t have anything going at the moment. However, you have to be sure that these people will be open to new connections, especially with newbie actors. If they are, then you’re in luck; your goal at this stage is to pick their brains, and to make it known you’re out here and eager to work hard.

These people can be anyone from an up-and-coming director or producer to sound technician, screenwriter and even fellow actors. You never know when they might inform you of an important audition or recommend you to somebody.

Furthermore, these “informational interviews” can give you invaluable insight on how others have progressed in their show business careers via the choices they made, whom they talked to, where they worked, and can help you sharpen your focus on becoming a consistently working actor.

You think these people will not waste their time with you? Wrong. Some people won’t, that’s true. But a lot of them will. Industry folk love to talk about what they do and how much they know about show business. They will appreciate that you have shown an interest in what they do versus simply asking for a job.

Of course, everybody knows what’s going on. They do know you’re looking for projects, and if they like you, they’ll offer to help you whenever they can. Contrary to popular belief, and from my personal experience, people in the entertainment industry like to be known as someone who can help their bosses (current and prospective) and colleagues.

For instance, if someone has been asked to fill a guest part in a TV show, your timing might be perfect. If you don’t get the part, then at the very least you’ll walk away with some good conversation and insight, and perhaps two or three other contacts to follow up on. And you’d be well-advised to send a thank-you note to anyone who gives you their time.

This is how show business works, and if you want to get anywhere as an actor as fast as possible, connections and networking should be one of your first priorities.

Now, let’s talk some good news, and that is if you are related to Steven Spielberg or Julia Roberts, you’re pretty much set on the connections front. You can probably use blog to… I’d tell you what you could use it for if it was in a paperback form. But even then, for the vast majority of us who are not so well connected in Hollywood, the news still isn’t too bleak. Getting connected in the film industry is ultimately a matter of clever planning, persistence and hard work.

Thankfully, this “work” can be extremely fun if you’re a social being, because it means going out to tons of parties and pubs and otherwise getting to know as many talented and ambitious people as possible, living the real life of an actor.

The opportunities in famous entertainment capitals of the world such as London for this sort of socializing, especially for the younger set (who can more easily stay out until 3 a.m. on a weeknight and still function at their day jobs), are legion. The more people you meet and befriend, the better your chances of making those crucial connections for your acting career.

Eventually, some of the underlings you know now are going to make it over the wall in five or ten years. You might even meet some people who are already well connected. Show business is, after all, a community divided by only about two degrees of separation, as you’ll soon find out. Actors who have done the groundwork, and made genuine connections, will have people by their side that will walk to the front door and open it for them.

Effective Networking.

You should also be networking at any other industry jobs you can get, whether or not the job is in your chosen field. Naturally, it would help if your survival job is somehow related to the industry, more or less. For example, maybe you’re a bartender at a well-known pub or restaurant in London Center, or Downtown LA.

On top of that, keep a list of every person you work with at each of show business related jobs. For example, in production jobs, staff lists are generally made available to everyone involved, which is an invaluable resource, and less writing for you.

Keep those lists of people close by. Put notes next to the names of people you work with directly to remind you who they are. Director, producer, actor, screenwriter, any kind of designer or assistant… Keep these lists at home. And make sure the people you work with remember you positively by doing an amazing job, above and beyond the call.

Another nice touch, particularly if you’re doing occasional acting gigs all over the city, is to send thank-you notes to your directors, producers, casting directors, agents or whoever might have gotten you that gig. This will put your name in their heads one last time in a favorable light, and they might just remember you at the very crucial moment of deciding whom to cast in their new big budget production.

And like your mother always told you, it’s just plain polite.

In fact, as soon as you move to the city where you plan to pursue acting career, you should consider everything you do as an opportunity to network. You never know where a potential contact or audition lead will come from.

Many actors I know got plenty of auditions from parties they attended. One of them got a big part in a major production you might have heard about that was filmed, called “Anna Karenina” with Keira Knightley.

The world is a crazy quilt of networking opportunities. However, if you decide to spend your honeymoon rubbing elbows instead of other parts, please make sure your significant other is on board with the idea. I don’t want to be responsible for contributing to the already too-short life span of the typical marriage these days.

All this may seem very cynical and shallow: get to know people just because they might know someone important, or be able to help you out some day to get an important role. But that’s not what I’m saying, even though this is partially true.

What I am really telling you here is that for various reasons, this is an industry built on relationships, not on grades or test scores or billable hours. Not necessarily even on results. Insiders want to work with actors they trust and are comfortable with. Be one of those actors.

Plus, this is a harsh, unforgiving business. No one can make it through the toil and torment alone. Friends, particularly those who understand what it takes to be an actor and can empathize with the problems and issues pertaining to this career path, are critical to survival.

And remember: a huge part of making friends and new connections is helping them out whenever you can. It’s not just about what you need; it’s also about what they need. In fact, it’s mostly about what they need, and the rest just comes as a byproduct of your genuine desire to help people.

The bottom line is that networking is the second most important thing you can do for your acting career, right after consistently working on your acting craft.

Knowing people in show business is what makes or breaks your career, and if you start from the right foot by gleaning wisdom of those who have been down the path before, you might just make it to the other side of the wall, and do it early.

Staying Connected.

Whenever you make a connection, keep in touch. Don’t just collect business cards and store them in your drawer. Also, make sure you have your own business cards to hand out with your acting headshot and acting resume / CV on there.

Every job and every person can lead to a potential audition. It’s hard work, but didn’t I say it will be? It’s totally worth it though. Another tip I have is to keep Excel spreadsheets of personal contacts and big players in the business. Alternatively, I now use my phone more often for that, and also back everything up in my laptop.

Make sure you keep track of when you contact industry people and what your next steps should be. Smartphones are the best for this type of thing. Keep track of all birthdays, important show credits, alma maters, family members’ names, where and when you met, and anything that will help you differentiate them from the (hopefully) hundreds of other people in your phone.

You should try to update this information as soon as you get someone’s business card or meet them at a party (just not in front of them!), so you don’t forget later on. This seems like daunting work, but it’s a big part of an actor’s job, and a very important one too, if you really want that major part audition.

If you are particularly bold, you can try making connections with people who are already established or becoming established in the film industry. But don’t just start calling people or approaching them at showcases, workshops or classes. Wait until you are ready, you have the acting chops and you have a clear game plan for your career.

You can also try waiting till you have at least some credit and training under your belt, which you can accomplish within the first few months of launching your acting career. This has been covered many times over already.

Then, before you do approach someone, know as much as you can about the person. At the very least, check them out on Google and IMDb. If possible, find and see their work and ask peers who may have worked with them about their experiences, interests, and the like. This type of research has potential to pay off greatly.

Finally, when you do contact anyone in this category, tell them you’re looking for advice and ask if they’d be willing to meet you (face time is better than phone time if you can get it).

If you are extremely lucky and they are willing to give you some of their time, be focused and selective with your questions; don’t waste their time or yours by asking them which restaurants are good (we have an article on this if you’re truly curious) or where you should live (we have some advice on that too!)

Focus on the other person. Ask them substantive questions about their creative process or what work and people in the business they admire. And be ready to answer the same questions, intelligently.

Here’s the golden rule of networking for actors: NEVER ask them to give you a job, to read your script or to do anything else for you, ever. Your goal is to have a genuine conversation and to learn about the person. That’s all it is. Just ask them about their experiences and listen. You’ll be surprised how much you can learn.

If you’re lucky and they like you, and you don’t forget to send them a thank-you note afterwards, you might get a call one day from them or someone they recommended you to, and be offered an audition.

This is how proper networking is done. It’s an accumulation of contacts, regular catching up and genuine interest in the other person. Results do not come right away, but when they do, they’re usually worth the effort and the time.

Networking as an Introverted Actor.

If you’re not much of a schmoozer or a party person, and prefer more structured activities to make connections, you still have a number of great options.

A variety of professional organizations and the events they sponsor are good places to network, as are acting classes, showcases and workshops, volunteer opportunities, and the broader industry organizations for all types of film and theatre people.

Non-entertainment organizations, such as alumni associations, sports groups (yoga, football, running, etc.), environmental and political organizations, gaming groups, twelve-step programs and religious organizations can also be a fertile ground for making unique connections to boost your acting career.

If you’re really adventurous, try extreme sports – nothing creates a lasting bond like a near-death experience.

Being Positive.

Whatever you do, don’t make enemies as an actor. In this business, there’s really no such thing as a person who doesn’t matter. Not for long, anyway.

That assistant you’re snapping at today might be the high-powered agent you want tomorrow. Moreover, the industry is so fluid that executives often find themselves reporting to (or at least forced to work civilly with) former subordinates when they change jobs. This rule applies even when you work at jobs outside of the industry.

The bottom line here is to nice to everyone at all times. Plus, like your mother always said, being nice is just the right thing to do. You never know who is going to be someone someday. Better to have a neutral relationship or no relationship than enmity.

This goes for your romantic life, too, if you’re getting involved with partners from your career path. No matter how much you loathe your boyfriend or girlfriend for cheating on you, make it an amicable split. That vile, untrustworthy, freakish jerk might someday be running a studio, or at least an agency. They can also screw you over in many other different ways, especially if they have some important connections.

As you should already know, acting career is a marathon, not a sprint, so you have to look into the future. While living only in present is great, cool and romantic – it doesn’t really work this way.

If you snap at someone today, tomorrow they might fire you from that big budget gig you worked so hard to get. Keep this in mind and stay focused on your ultimate goal. Let go of the ego and try to keep all the bridges intact.

Some may argue that this “networking approach” feels fake, insincere and there’s no art to it. And you’re right. But are you trying to get into Hollywood for art? If your goal is less ambitious, and you only want to act, then your local community theater can serve that purpose very well and you won’t have to do any of this. However, if you crave success, fame and big projects, then this is what you have to do. This is what everybody else has been doing.

Finally, art is subjective. You’ll never get ten people to agree what the best films are. So there can’t be an objective “good” when it comes to taste. But you can get people to agree on what is professional, so never fail in that respect.

Here are some specifics on how to be a professional actor: proper spelling, logic, respect, empathy, reliability and consistency. There’s no “art” in there and there’s no pretentiousness. Also, remember that “art” gimmicks are super-high risk. They might work, but they are much more likely to flag you as a pathetic amateur.

When you start out as an actor, it’s helpful to view the entertainment industry like an art community. If you want to act in obscure, odd, ultra-low budget art house films that will never be seen by anybody, that’s your prerogative.

To me, that’s like a sculptor who makes five-inch sculptures with his own clay and hides them in his basement. There’s nothing wrong with that, but if you want to make a thirty-foot sculpture, you’d better find a benefactor. You have to give the investors what they want. And an actor’s professionalism goes a long way.

 

6.5 Working as an Actor in London

Working as an actor is like being a substitute teacher – you spend more time looking for work than you do actually working.  When you think of world-renowned actors and actresses, the first thing that comes to mind is probably fame and glamour, but often that’s not the case.

Don’t get me wrong, there are lots of famous actors who book roles easily due to their popularity, but there are also a lot of actors who struggle to find more work – even after they’ve broken into the industry.  Having acting as your profession can be one of the hardest jobs to do, simply due to the lack of consistent income.  However, working as an actor, and having it go well for you, will be one of the most satisfying feelings in the world once you get the ball rolling.

Working as an actor in London is not easy no matter how fun it is, despite the multiple outlets for drama they have in this city.  So do focus on the business side of acting to promote yourself quicker and build your own brand. Let people know and keep them updated on who you are and where you are.

Keep Studying.

First of all, you need to familiarize yourself with the industry by reading a lot. Know the ins and outs of this business, how it works and what people are involved in it. Reading books about the acting business, marketing, talent agents and so forth will give you confidence and understanding of where you want to be, and how you’re going to get there.

Once you know the intricacies of this business in London, you’ll find it much easier to develop your own specific plan of action instead of relying on general advice.

Reading a lot will benefit any actor’s craft as well. Read books on acting technique to understand the theory behind truthful acting. Don’t forget to read the most essential plays as well. However, don’t rely solely on books, because you cannot learn acting from that alone. You’ll need to take acting classes or even apply to a drama school anyway.

When you’re trying to find the most efficient ways on becoming a working actor, self-education is priceless. And in addition to learning about the craft and business, reading a lot will improve your creativity and expand your imagination.

Your Special Skills.

Being a good actor should always be your main priority. But that doesn’t mean you can’t learn any “accessory” skills that will help you book more acting jobs. Many actors completely ignore this part, and therefore take themselves out of running for easy gigs that they could’ve gotten if they had some one particular skill.

It’s always helpful to be able to do something that a director can use in the production. If you already can play musical instruments and do more unique stuff, such as riding a unicycle – perfect! Hone those skills, put them on the resume and see how this can help you with gaining that acting experience.

But don’t stop there. Do learn new things and spend enough time to actually master the technique to an adequate level where you can at least fake it to look like a professional, rather than simply “know how it’s done.”

What should you be learning? Anything, really. Juggling, accents, languages, musical instruments, sports, martial arts, magic and whatnot. Try some of the unusual things and put those on your resume, particularly if you already do them.

Special skills aren’t the focal point of your resume (which is why they’re usually at the very bottom), but who knows – one day one of those skills may win you a significant role in a big production.

You’re a Brand.

When you have no acting experience, it’s unlikely you will have too much of your time taken up with filming projects day in and day out. Therefore, you’ll probably have a little bit of extra time on your hands which you can use wisely to boost your acting career.

My suggestion would be to start working on your marketing and branding yourself. It’s not going to do much for you now, but if you start early, once you have that acting experience, you’ll be ahead of many other actors who are just catching up with their actor marketing goals.

So what can you do to start building a brand around yourself? There are several things, and all are very easy to do and learn, particularly because it’s all based online. Here’s what you should focus on:

• Build your own personal acting website (or you can pay someone to do it for you, but it’s not worth it).
• Create social media profiles: Facebook, Twitter, Instragram and whatever else is out there.
• Become active on your website and with your social media. Share things and communicate with others.
• Make connections online with other actors, directors, producers, screenwriters and industry people.

On top of doing all of this online, you can also start networking a little. Even if you haven’t moved to London yet and live in a small town with very little film or theater action, there’s probably other aspiring actors, directors, producers out there doing the same thing. Find them, connect with them and maybe start working on something together.

If you try hard, you can also find professionals in the field who are already working. Getting to know these people is harder, particularly when you’re still trying to figure out how to become an actor with no experience, but if you can get their attention, try to utilize those contacts, or save them for later.

Accept Rejection.

Rejection is a part of this business. A big part, actually. Many budding artists do not expect this turn of events once they decide they want to be actors, singers, dancers, or other type of performers in this very competitive market. Unfortunately, that’s the reality of show business – everybody gets rejected.

Unlike in other walks of life, you have to accept that Rejection (with capital “R”) is completely normal. It’s not personal and there’s no reason you should ever take it to heart. It doesn’t necessarily mean that you’re a bad actor or that you’ve done something wrong.

Imagine that you’re casting a project. You only have one part, and 100 actors come to audition for that part. 50 of them were good. Can you hire all 50? No, you cannot. You have to pick one, and it’s a tough decision to make as a casting director. Nobody wants you to fail, but due to the nature of this business, you’ll get betting rejected a lot.

“For every successful actor or actress, there are countless numbers who don’t make it. The name of the game is rejection. You go to an audition and you’re told you’re too tall or you’re too Irish or your nose is not quite right. You’re rejected for your education, you’re rejected for this or that and it’s really tough.” – Liam Neeson

The point is that you should deliberately put yourself in a position to be rejected as soon as you can. Learn to fail. Get comfortable with rejection. Trust me, if there’s one “ability” actors need to have, it’s this one. It’s not easy, but it will save you tons of internal battles and keep you on the right path.

“Actors search for rejection. If they don’t get it they reject themselves.” – Charlie Chaplin

At this point, don’t go out there to win. Go out there to FAIL. Do your best, experiment, play and enjoy the process. As an actor, you cannot try to avoid failure, ever.

Be Patient.

If you seriously dedicate yourself to finding any type of experience, marketing yourself, building your site and network, and getting comfortable with rejection, this will probably take you a year or two. Yes, it’s a long time, but remember that becoming an actor isn’t a sprint; it’s a marathon. Enjoy the process, and look far into the future.

The important part is to always keep in your head that you finally have or soon will have a strong grasp of how the show business works, what acting industry is all about, and that you’re absolutely serious that you love doing this. You’ll feel like you’re building a foundation, developing acting-related habits and getting reading for a major step.

So be patient. It’s very important, because you will not – and I repeat, you will NOT – see any results in the beginning. It’s also going to be a lot of investment in terms of time, hard work and even money with no reward for a while.

But stick with it, and with time, you’ll see how gradually the results from the work you’ve done before will start dripping down, and you’ll go “ooooh, I get it now!”

 

6.6 Getting an Agent

As soon as you become a professional actor, it would be a really good idea to get an agent, simply because he or she will help you find more roles in the long run.  It can be rather hard to get an agent, and it may take a while, but a good agent is worth it in the end.

If an agent is willing to take you on, please make sure that you read the contract thoroughly and don’t be scared to suggest changes if you are not happy.  Once you sign it, the contract is binding, and you don’t want them taking too much of your hard earned pennies!

Once you have launched the pursuit of your acting career in London and started digging into the nits and grits of the acting business, you will know that finding an agent and getting that agent to sign you is not easy, not by any stretch of imagination.

Many budding actors find themselves puzzled by this catch-22 situation: “I need an agent to book jobs, but I can’t get any acting jobs without an agent.” While it may seem this way in the beginning, it’s not necessary so and your situation isn’t as bad as you may think.

It’s common to call casting directors as the gates to the sweet side of the acting business and to your big break, and acting agents are known as the gate keepers – they are the ones who will get you into the room with casting directors and make your career flourish in the acting business.

It’s true – having the gatekeepers of the show business (talent agents) to sign you will be tricky. This doesn’t only apply to some of the best acting agents in London that represent actors such as Colin Firth or Judi Dench. Even smaller boutique agencies are ware of newbie actors, mostly because there’s so many of them around.

With so many actors and the acting career being as competitive as it is, how do you break through? How to get an agent to sign you and start booking bigger and better acting gigs? There’s a way, but it requires smart planning, hard work and consistency. So let’s take a look what you can do right now to improve your chances and learn how to get an agent sign you as soon as possible.

I have years of experience in this industry, both in London and Los Angeles. Below, I’ll give you some tips on how to get an agent and how to continue growing your own acting business with yourself as the best product on the market, which you are. Right?

Expectations.

Just finding an acting agent alone can become difficult, let alone knowing how to get an agent to sign you. Contrary to what you may think, they don’t hang around pubs, looking to give out their business cards to good looking 20-year olds. Those times are long gone (if they ever were here in the first place).

Today, acting business is very competitive. Talent agencies that specialize in actors get too many inquiries from actors to represent them every single day. If you look around, “How to get an agent” is arguably the most commonly asked question.

Most of these requests are made by amateur thespians who just started pursuing acting and have no acting resume, no acting credits, no acting training and no good actor headshot. Often, these are the actor wannabes that believe an actor’s career is the easiest job in the world, and all you have to do is to know how to get an agent, then you’ll be rich and famous. Not true.

If you have some common sense in you, if you have genuine interest in the craft, and if you legitimately enjoy the process, then you have a much a higher chance of signing with an agent. Why? Because it all takes time. Successful actors are consistent actors.

Improving Chances.

There are a few tricks that all actors wanting to know how to get an agent to sign them can use to slightly improve their chances:

• Find local talent agencies
• Reach out to current clientele
• Get references and recommendations
• Target specific acting agents
• Follow-up

These five points can significantly improve your chances of a successful meeting with a talent agent. Let’s go through each one so I can better explain this to you.

Find local, smaller talent agencies. Actors who are living in metropolitan cities like London will have an easier time finding acting agents in the area. London has tons of them, and we’ve even made a list of top 10 best agencies. However, most of these are all very high profile places and if you’re just starting out, it’s not worth wasting your time on these.

Assuming you’re living in London by now, I would suggest you to target local boutique agencies. These are smaller places that have an interest in young performers who are talented but haven’t made a name for themselves yet.

If you’re not in any of the big cities, you can still find at least a few talent agencies in your area. Most cities have them, you just need to really look. Google is best for this.

Alternatively, I would highly suggest to move to a city like London as soon as you can. This will truly help your career, and you’ll be able to find more ways on how to get an agent to sign you. The key message is this: look for agencies in your hometown first, and make sure that you target smaller places instead of reaching too far.

Reach out to current clientele for recommendations. This is usually an easy thing to do, but most actors are too lazy to go through the process because it’s time consuming. Some may be even embarrassed, or feel like they are intruding. These may be valid reasons for someone in a corporate world, but if you’re a struggling actor, you have to leave those feelings behind.

Most talent agencies have websites with a page where they list actors that are currently signed with them. For example, here’s AP’s page with actors. You can see actors’ names, what they do and how they look. This is extremely helpful.

Now, what you do is look up those actors by their names on social media: Facebook, Twitter, Google+, LinkedIn and other platforms. Usually, it’s pretty easy to find them.

Get in touch with these actors, but don’t be intrusive. Be friendly, and make a genuine connection. This is the foundation of great networking skills. Once you contacted them and had a chat, ask about the agency they are signed with, how they did it and how can you do that too. Majority of people usually love giving advice on how to get an agent as long as you’re polite.

Finally, to push things even further, you may even ask for a recommendation. Normally, someone who you don’t know well will not do that, but occasionally you can get lucky. Why not give it a shot? All you have to do is to ask them if it’s okay if you drop their name when you’ll reach out to agencies. They don’t have to do anything.

Some will say yes, some will say no. Others won’t respond. Take it for what it is, and move on. Alternatively, you can improve your chances of getting that recommendation if you take those people out to lunch, or something along those lines. Maybe find a way to be helpful to them. For example, if you’re a graphic designer, maybe you can offer to design something for that actor? The key message here is this: connect with currently signed actors, try to be helpful to them and ask them to either recommend you to the agency, or to simply drop their name when you’re trying to get signed.

Target specific acting agents. This is yet another crucial point in your quest to find a way on how to get an agent to sign you, so don’t forget about it. When you’re finally ready to reach out to the agency and ask for representation or a meeting, never address the agency. Target specific agents within that agency, and use their names in the letter that you send.

The way to do this is very easy, yet I see so many actors not doing this because they are simply lazy. Don’t let the laziness ruin your chances of getting signed by a decent talent agency – spend those extra 10 minutes to carefully craft your letter.

So how do you do this? Simply visit the agency’s website and find a page where all of their acting agents are listed. Pick either the top one, or whichever you feel you may connect with best, and go for that person. DO NOT email or mail multiple agents within the agency; this will look unprofessional.

For example, here’s Conway van Gelder Grant agency’s page with their currently working talent agents. You can see agents’ names and emails, and even a phone number. Pick whoever you want to target, and address your letter to that specific person.

Remember to write a nice looking cover letter to your agency, be brief and straight to the point. Avoid the common cover letter mistakes to make yourself look as professional as you can. The key message is this: mailing specific people within the talent agency will guarantee a better response chance, and make you look more professional.

Follow-up. The final step in this process of reaching out for those who want to know how to get an agent is following up with your submissions. Here’s a little secret from my days of working at the agency as well as from talking to many talent agents: 99% of actors never follow-up. Isn’t that crazy?

A follow-up is exactly what it sounds like. By now, you have sent out letters or emails to specific agents with a nicely structured cover letter, explaining them why they need to represent you, and hopefully you also got a recommendation. After about 2-3 weeks of no response from the agency, it’s time to follow-up.

Craft another – even shorter – email, and send it out to the same person. It can be something as simple as “I just wanted to check in and see if you had a minute to take a look at my submission?” That’s it. Your goal is to ensure that your email didn’t get lost or forgotten about. This is another crucial step on how to get an agent to sign you, so do it.

Worried that you may disturb someone? Then maybe this career choice isn’t for you. You must get over that fear, because the acting business is based on how proactive you are as an actor. The key message is this: do not forget and do not be shy to follow-up your previous submission with a short reminder to increase your chances of response, and possibly getting a meeting with an agent.

Connecting with Agents.

Above, we talked how important being proactive is in the acting business. If you want to know to how to get an agent to sign you and have a higher chance of success, you need to spend time planning and researching. By this point, you should have a list of talent agencies and specific acting agents to reach out to.

When you have that special list in place, prepare well before you rush into emailing them. The way to prepare for this talent agents outreach campaign is to make up a checklist based on what is advised below. Try to think outside of the box and come up with additional ideas that haven’t been mentioned here, too.

When you’re ready, here’s what you will need in short:

• Professional acting headshots (B&W + Color, theatrical and commercial)
• Professional and well-structured acting resume/CV
• Some good credits on that CV (see acting resume tips)
• Training – drama school or acting classes
• Equity membership
• Spotlight membership
• Acting showreel/demo reel
• Your own website (strongly recommended)
• Audition speeches prepared (they may ask for it)

That’s essentially it. Someone who’s been in the acting business for at least a year will have most of things on the list. If you’re completely new, it would be better for you to spend the first 6 months trying to cross things off that list (if you’re in drama school, do all of this then).

Avoid reaching out to most famous talent agents if you don’t have at least a somewhat strong acting resume and a really great headshot. It just means you’re not ready to go out and audition professionally yet. Don’t ruin that first impression, and save it for later. The right time will come.

Your Spotlight profile has to be completed well, with your headshots, showreel, credits and training clearly outline. If you’re not at this stage yet where you can create a Spotlight profile, don’t worry about it and move on.

Your website, if you have one, should also contain your acting CV/resume, showreel and contacts all clearly displayed, preferably on the first (landing) page. Just to stress this one more time: make sure you’ve got some acting training and credits under your belt.

By now you should have plenty of monologues and dialogues learned that you could use as your audition speeches. Equity membership is also essential, since that establishes you as someone who is serious about this career choice.

Start the mailing campaign. When all is prepared and ready, you can start your mailing campaign. You can do it by either sending emails or actual mail, or both. The choice is yours. However, the industry is gradually moving towards keeping everything digital, but some agencies are too slow to adapt.

Actors who choose to send their submissions by the regular post, make sure you print out plenty of headshots 10 x 8″ size, acting CV/resume copies and cover letters. All of this has to be on a A4 sized paper.

Don’t forget: Staple your headshot to a resume. This makes it very easy for an agent to open your submission, take a look at the headshot and then turn it around to see your credits and training on the resume. Also, this ensures that your resume never gets separated from the headshot, which is crucial.

Your cover letter should be very brief. Quickly recap what you’ve done up to this point, where is your next production or when your next film/TV show is airing, and what exactly you want to get out of the potential meeting with your agent. I repeat – be very brief.

Send these three pieces (headshot, resume, and cover letter) in one regular envelope and then all you can do is pray, if you wish. I would advise to forget about it for the next 2-3 weeks and focus on your acting career. Then, if no responses came in, follow-up and forget about it again.

Important note: I’ve seen some actors advising to put a note on your letters and ask agents to return a headshot to you, if possible. Do NOT do this, ever. You will immediately be seen as an amateur, and it’s unlikely that the agent will be impressed with that. If you’re that poor that you can’t afford to give out a headshot, then you’re not yet ready for an acting agent to sign you yet.

When you’re trying to find ways on how to get an agent to sign you and do this effectively, you must present yourself as a professional. This is an acting business after all.

Not only that, but leaving your headshot that was hopefully stapled to your acting resume increases the chance of that agent stumbling upon it sometime in the future, and maybe giving you call 2-3 months later. As a struggling actor, you need to take every chance you can, no matter how small.

Meeting Agents.

At this point, you’ve probably done the hardest work: you did the research, you email specific agents, you delivered them the goods and you got a response from the agency to come in for a meeting. Honestly, this really was the hardest part of how to get an agent to sign you, until the actual meeting.

After you’ve been invited to meet with an acting agent from one of the talent agencies you’ve submitted to, you know you’ll have to prepare. We’ve previously written about meeting with talent agents, but I’ll recap this succinctly for you to understand how to get an agent to sign you during this meeting.

You’ll probably be a nervous wreck the day before and during the meeting. It’s normal. The only thing you need to make sure is that you’re prepared for your agency meeting and you know what you’re doing.

These meetings are all very similar and very different both at the same time. It’s difficult to predict how long it will take, or how the agent will behave around you, because it all depends on the person.

Here are the questions we’ll address below:

• How to dress for an agency meeting?
• How to talk during an agency meeting?
• How to behave during an agency meeting?

Now let’s go through these in more details so that you know how to improve your chances and how to get an agent to sign you thanks to a successful meeting.

How to dress for an agency meeting? This is a simple one. Dress smart casual. There are many ways you can screw up your meeting with an agent, but dressing improperly cannot be one of them. You have to be better than that.

Don’t look too formal, no tuxedos with ties/bow-ties or evening dresses. A nice looking suit is fine, but there’s no need for a tie for men or business wear for women. The point is this: do not look sloppy.

You’re an actor, so you don’t have to look like you’re applying for a corporate gig, but you also don’t want to look like you sleep at the back hallway of Selfridges. Put some thought into your dress code, just not too much. Make sure your hygiene is on point.

How to talk during an agency meeting? During the meeting, the agent knows you’re nervous, so they will usually begin first. Usually, the meeting will take anywhere from 15 to 30 minutes.

The agent will ask you questions about your career, what you’ve done so far, what your plans are and what do you expect from this relationship in case they sign you and start representing you. Spend some time a day before thinking about these questions so that you are not caught off-guard.

Then it’s your turn, so make sure to ask good and appropriate questions, those that honestly interest you and things that you should know about this agent and/or agency.

You may or may not be asked to perform a short monologue for the agent. Regardless, always have at least a few pieces memorized and prepared. One modern, one classical, and one comedy monologues are usually the best type of arsenal an actor can have. Even though it’s rare, but you also may be asked to do a cold reading.

To wrap things up at the end of the meeting, the acting agent will allow you to ask questions. Do not refrain from this, and make sure that you do have questions to ask. This shows your professionalism and that you understand how the business works.

Understand that it’s not a job interview; it’s you who’s hiring them. Ask them what sort of area they are specializing in, if it’s acting business only or not, what sort of clientele they represent, and their point of view on your current situation and your plans.

Ask honestly what you’re curious about. If you don’t have anything on your mind (maybe because you’re nervous), here are some sample questions to ask:

• How many clients do you represent?
• What type do you see me as?
• How many other actors you have that are my type?
• Are you okay with me submitting to castings by myself?
• Do you have any recommendations for classes or photographers?

This shows that you’re not a desperate actor who’s willing to do anything just to find a way on how to get an agent to sign them. The key is to get into a mindset that you don’t desperately need an agent (which is true, actually) and go in there thinking that way.

Successful Meetings.

How should you behave during an agency meeting? Here’s a pro tip first: Do not extend to shake an agent’s hand unless offered. This is one of their biggest pet peeves, mostly because they see a lot of people every day, and shaking everyone’s hand means a lot of germs.

Other than that, the way you behave during an agency meeting is the way you behave as a normal human being. Simply be yourself. Do not try to fake anything, or pretend to be whom you’re not. Be honest with your answers, keep them concise and try not to babble. Again, acting agents are busy and knowing how to get an agent to sign you means avoiding taking too much of their time.

It’s very possible that an acting agent who invited you for a meeting already liked you, and you may get an offer after just 15 minutes of talking. Congratulations!

Now, if you’ve done everything as advised and you end up getting an offer to sign with that agency during the meeting, keep it together and ask for the copy of the contract to take with you, because you need to think about it. I know what you think: “Will that not hinder my chances of getting signed?”

No, it won’t. This isn’t a movie where everything has to be urgent and under pressure. Agents understand that you want to take some time to think about this, because it’s an important decision that also involves some legal paperwork. Even though you may want to know how to get an agent to sign you right away, there are two reasons for not signing with them on the stop.

#1. Reason number one. If you’ve done a bigger mailing campaign and reached out to other talent agencies, then you want to get a response from other acting agents before committing to this one. Unless, of course, this is the only talent agency you got a meeting with or the only one you want to sign up with, or it’s the absolute best choice of all.

#2. Reason number two. It’s always a good idea to get a lawyer/solicitor to look through your contact, or if you have a manager, have them take a look at it. You don’t want to get sucked into one of those scams or be stuck with an agent that doesn’t get you acting jobs for 5 years or give them more than you have to.

When you get the offer, ask the agent if it’s okay to take some time to think about it and how much time you have. Usually, just 48 hours is enough to take care of this, and 9 times out of 10 you’ll still end up signing with that agent if that is a legitimate agency. Agents know that so they will rarely have any objections.

Avoid Agent Scams.

There are a lot of scam artists out there who understand that actors really want to know how to get an agent to sign them, and these young and inexperienced thespians are the main prey of scam artists. You must be aware of all that if you don’t want to get sucked into a scheme that will put you in debt.

The biggest agent related scam out there is “pretend agents” who establish a legitimately looking office and will even have a website with some talent on there. What they do is sign whoever they can get into the office, and they charge them cash for being signed.

That is not how a legitimate agency operates. No talent agent will ever charge you ANY fees for being signed, period. There are no ifs or maybes. The minute you are asked to pay some upfront fees before signing with an agency is the minute you stand up, thank them for a meeting and leave to never come back.

Just to repeat this one more time: no legitimate agency charges any upfront fees for signing actors, ever.

The same goes for anything related to your acting career: headshots, retouching, resume, workshops, classes, demo reels, and any other service. Whenever you hear an “agent” tell you that you have to take “this class” or go to “this photographer” in order to be represented, know that something is fishy. Run away.

The acting business is full of these scams, sadly. It’s even possible that there’s more of them than legitimate agencies.

Now, don’t confuse recommendations with obligatory classes. Occasionally, an agent may recommend you a specific acting teacher or a great photographer, if you need one. These recommendations are coming from their years of experience in the field, so you can take them but you don’t have to.

After Getting an Agent for Acting.

By now, you’ve have your meeting and probably signed with your first acting agent. Happy days! But the process isn’t over yet, and you need to work more in order to ensure a productive acting career that’s ahead of you.

Now I’ll talk about one of the major mistakes a lot of actors in London, Los Angeles and New York City – all over the acting business anywhere in the world – I’ve often seen make.

The biggest mistake is letting go of the momentum of your hard work the minute you sign with an agent, thinking that from now on, it’s the agency that will do all the work. Not so.

Figuring out a way how to get an agent to sign you and actually getting that contract is a major step in your acting career, and it will most likely help you in the long run. However, it may not have any impact at all in the first 6-12 months after signing. Your big break is still as far away as it was before you put down a signature on that contract.

Actors need to keep this in mind: signing with an agent doesn’t solve all of your “problems.” It’s just a small stepping stone, but you must continue to work hard and push forward.

So what changes after you get an agent? After you get an acting agent to represent you, the only thing that changes in your life is that you have to put their number in your phone contact list and onto your resume as your representation. You also have to pay them 10% from every paid gig you booked.

Remember that as soon as you start working with your new talent agent and auditioning regularly, you should not be putting down your personal contacts onto your resume at all. Everything has to go through your agent.

From this point on, that’s their job and that’s what they are there for in this acting business: to negotiate for you. Put their contact details instead anywhere that you used to put yours. That’s about the only thing that has changed in your career after you signed.

After your initial dopamine release and happiness levels wear off after figuring out how to get an agent to sign you, it’s time to land back to Earth and continue the struggle as an actor that you were before you went into that room to meet with your future agent.

What do you do after you sign? Honestly, this shouldn’t even be a question. What you do after signing with an agent is exactly what you did before – struggle.

Continue searching for acting jobs, doing student films and indie projects, looking for commercials opportunities, and applying for bigger auditions. Always discuss with your agent beforehand what projects can you and should you do as they need to be aware of your schedule at all times.

Your acting business career becomes a two-man team, and you’re tackling this cruel entertainment industry from both sides. So you do get some help from your agent, and this do get a little easier when you have an experience professional in your corner, but it doesn’t mean that you can sit back and wait to become a movie star.

What you do is finding smaller projects through casting websites that are available to you while your acting agent is going into the dark depths of the acting business to fish for bigger things. But again, do not stop looking for work on your own just because you have an agent. Many actors do, and they often get dropped by the same agent.

Communication with Acting Agents.

Communication is key in this business. Just as your networking skills, it’s important to stay in touch with people who are in charge of your career or who can help you advance it. We’ve previously written about maintaining relationships with your agents, but let me quickly recap this for you.

Always let your acting agent know your availability in advance, and update them if anything changes. Because now they are representing you, they have to know about you as much as you know about yourself.

If you recently been in an accident and you now have a dark eye, they have to know about it. If you’re growing a beard, they have to know about it. If you cut your long beautiful hair short for some reason they have to know about it. Same goes for your survival jobs aside from acting.

Speaking of which – avoid drastic changes to your looks unless advised by an agent. As an actor, you want to maintain consistency in the way you look so that if you come in for an audition, a casting director must see the same person they saw on the headshot.

Don’t forget to stay in touch with your agent. You might be working together for 5, 10 or maybe even 20 years, so begin developing this relationship. Talk on the phone rather than over emails, unless they are uncomfortable with that.

Be on top of this if your agent isn’t, but that doesn’t mean phoning in every day asking what they are up to. It’s also absolutely fine to develop a friendly relationship, also known as a friendship, with your acting agent and hang out together if you’re both comfortable with it.

Many actors have asked me if that would be unprofessional, but in the acting business, there’s really nothing unprofessional about it since now you’re a team. Wouldn’t you hang out with your basketball or soccer club team mates?

Once a month or once every two months the two of you can meet for lunch to discuss your progress and upcoming opportunities. This will only help your personal and professional relationship.

Acting Agent’s Pay.

Every actor wanting to know how to get an agent will also want to know how much they’re going to have to pay them after signing that contract. You shouldn’t feel uncomfortable about these types of questions, since this is your money and you need to keep a good track of it.

As mentioned above, in the United Kingdom, your acting agent will usually get from 10% to 20% of your pay. The standard is 10% and rarely does anybody asks for more, but some do go slightly above. In the US, every talent agent receives 10% which is a number set by SAG-AFTRA, and it cannot be altered. This percentage will be in your contract, so make sure you check this before signing anything.

Is 20% worth it? Personally, I would say that it isn’t. Even the biggest agencies charge 10%, so if a smaller one takes a 20% cut, you may want to look elsewhere, but this is up to you. It’s not a scam by any means.

Your agent gets a cut from everything you do. This is where a lot of actors get confused and go into panic mode when they notice that their agent takes a cut from something they didn’t expect.

Keep in mind that it doesn’t matter if you got an acting job on your own. The rule is that your agent still gets the same 10-20% from that acting gig, and this is usually mentioned in the contract.

The reason being is that your acting agent negotiates for you and deals with all the bureaucracy that you as an artist do not want to deal with. Even if you get an acting job by yourself, you can send all future paperwork and negotiations to your agent and only show up for filming.

Every query about the project you’re working on goes through your agent first as well, which saves you the trouble of constantly being on the phone or trying to email people all the time. This is your agent’s job, and it’s a difficult one, so that’s what they are getting paid for it. Don’t complain.

On the other hand, if your new acting agent is never getting you any  acting jobs and for the whole year you’ve been finding work on your own, it might be worth reconsidering your business together and probably leaving that particular acting agency.

How do actors get paid? How you will be getting paid depends on your employer who gives you the acting job. Sometimes they will pay directly to you, and sometimes to your agent. The standard in the acting business when you already have your feet wet is that only the agent gets paid, then they deduct their fee and pay the rest to you.

If you got paid personally, you must send what you owe to your talent agent. That’s how this acting business works. Never try to hide any paychecks, because you never know when your agent may find out and sue you. This happens every day in this business.

 

6.7 Top 10 Talent Agencies in London

Unprofessional or completely new talent agencies and unqualified agents are abundant in cities like London. They thrive on clueless actors who believe that simply signing with any agency is the doorway to success. That’s a false assumption, and many new aspiring actors end up with a bad contract in the end.

Powerhouse Agencies ($$$).

It’s true that signing with an agent is not an easy job, especially if your aim is one of these big agencies in London. However, that should not discourage from working hard towards your goal. If you follow the above tips on getting work, branding yourself and effectively marketing to acquire a powerful agent, given a right amount of luck, you may just succeed and sign with one of these well-known places.

Below you’ll find six agencies (1-6) based in London that are the leaders of talent management and essentially powerhouses of the entertainment industry in the UK. If you manage to sign with one of these places, your career will likely experience a huge spike. On top of that, we also included four smaller boutique agencies (7-10) where you may have a better chance since they’re hungry for undiscovered talent.

1. William Morris Endeavor. The William Morris Agency, more correctly named William Morris Endeavor (WME), is familiar to every American actor, and that’s one of the main reasons we’ve put it on this list. WME’s London office is one of only two they have outside of the US, with the other one located in Australia. London is obviously an important location for the William Morris group, not just a brass plate.

Renowned US actors on WME’s roster who’ve also worked in the UK include William Hurt, Jessica Lange, and John Malkovich. Some of these actors are represented by one of the group’s American agents, but their London office is the “bridge” into the LA-based talent powerhouse that is William Morris.

Due to the nature of entertainment business in the UK, WME’s London office leans mostly towards TV, music, and literature, and is probably not the first choice for of rising names seeking representation in theatre or films. Nevertheless, it remains one of the biggest agencies in London that can get you places if you’re lucky enough to become a part of this group.

2. Conway van Gelder Grant. This is a popular London talent agency founded in 1968 that projects a much more welcoming presence when compared to WME’s website. It focuses exclusively on actors and is a favorite of many with experienced players, whether for films, theatre, radio, or TV.

The good news is that also compared to WME, Conway van Gelder Grant agency, despite its size, welcomes applications from any ambitious young actors with the right portfolio. In that regard, it’s noteworthy that its page on casting website CastingCallPro.com features some relatively unknown faces.

Established actors on the agency’s 400-strong roster are almost exclusively British, which is a good sign for our London-based thespians. However, if you’ve moved to London from the US – who knows? – it may indicate there’s room for a suitably-qualified American for portfolio’s variety. Better-known clients include Claire Bloom, Helena Bonham-Carter , Benedict Cumberbatch, and David Harewood.

3. The Artists Partnership. AP is a leading UK talent agency for many types of performers. The former Ken McCreddie Associates was rebranded under this new title nearly two years ago, mainly to reflect changes made since being acquired by the Marcus Evans Group about five years previously.

The Artists Partnership is a very popular and highly-regarded specialist group that are focused on players in film and theatre. The agency also represents a lot of voiceover artists, screenwriters, and playwrights, and they have a strong literary practice.

Like Conway van Gelder agency, TAP’s primarily a British talent agency, but their clients include several actors that are well-known to Americans and who consistently work in the USA: Joseph Fiennes, Idris Elba, and Helen Mirren. On top of that, this strong acting agency also represents a number of US actors, notably, Harvey Keitel and Kim Cattrall.

4. United Agents. A pretty much comprehensive agency, United Agents covers almost every element in entertainment creativity: actors, directors, voiceover artists, production crews, authors and screenwriters, composers and many more. Although their London office is the talent agency’s sole location, United Agents are known for an ability to place talent virtually anywhere in mainland Europe.

The extensive client roster includes several international luminaries, many of whom work regularly on US-based productions and whom you probably know well: Ewan McGregor, Tom Hardy, and several Americans, such as Julianne Moore and Liza Minnelli.

It appears that United Agents also have a niche in crossover talent, such as supermodel Cara Delevigne, now starting to make her mark in films. If you’re a multi-talented creative type with a strong resume but with not enough credits in one particular niche, this fourth one of the best acting agencies in London could be a good point to start.

5. Artists Rights Group. This is one of the newer faces among the rest of the list agencies; however, they are no less powerful in terms of the doors their agents can open for you. As the name suggests, this rather exclusive outfit prides itself on scrutinizing the small print of contracts diligently on behalf of clients.

Founded in 2001 by agent Sue Latimer and now owned by the US-headquartered Avalon Management Group, it has a reputation for working closely with actors in the development of their long-term careers, remaining loyal to them even in slump years. This is what we’ve heard around town and Internet, but how true this is remains to be confirmed further.

Artists Rights Group’s famous clients seem to be mainly the popular men, such as Daniel Radcliffe, Rupert Everett, and Liam Neeson, and there aren’t that many of them, too. This perhaps is due to agency’s reputation for exclusivity and strong focus on single clients.

6. Hamilton Hodell. The last one of the leaders on the powerhouses list, Hamilton Hodell is also considered a pretty exclusive place for actors privileged enough to be a part of. This agency, known in the industry and often referred to as ‘HH’, focuses on actors for film and TV, voiceover artists, actors for commercials and theatre.

The agency also represents a small coterie of casting directors, which is something you see more rarely among the top tier talent agencies. However, this can potentially be a huge perk for the agency and its creatives, as representing casting directors means an edge in placing its acting clients. The firm also has a particularly strong reputation among casting agents in the US.

HH has a substantial list of clients, including several leading names whom you will definitely know: Robert Carlyle, Emma Thompson, and David Oyelowo. Hamilton Hodell also represents a few noted American actors, including Anjelica Huston.

Boutique Agencies ($$).

There is a wide array of talent agencies in the city of London that are considered to be smaller outfits. They generally have a better name for looking after their clients more personally, but may offer less comprehensive access to acting opportunities and will normally have weaker connections.

Nonetheless, it’s definitely worthwhile for actors to try and improve their chances of getting signed with one of these places. So here’s a quick survey of four boutique talent agencies that focus exclusively on actors and, therefore, should serve you particularly well and that should also be easier to sign with if you’re not yet a name in London’s show business scene.

7. Hatton McEwan Penford. Not actually that small, this London talent agency has been around for over a quarter-century and claims close working relationships with several leading US counterparts.

Their website is reasonably informative and well laid-out resource, with details of actors represented and a useful page on how to apply for representation. There are no contact details for individual talent agents, but there are outline biographies for each, a helpful feature not found among the leaders in my list.

8. The BWH Agency. Bradford Willoughby Hutton, known as BWH, was founded in 2004 and, like Hatton McEwan, prides itself on good American connections. Its relatively small client roster specifically includes a number of young actors.

The agency’s website is lively with details of its clients and agent bios, but not their contact information. Applications are made through a dedicated e-mail address.

9. Bloomfields Welch Management. Founded by Emma Bloomfield in 2004, this rather exclusive outfit has an interesting sideline: it places US actors in British film and theatre productions. However, these clients tend to be ‘names’, such as Lucy Liu and Luke Perry. Nonetheless, for an American actor coming to London, it shows the agency’s heart is in the right place.

BWM’s site is not a very informative resource, with no agent names, nor a list of clients. It seems inclined to put off any but the determined applicant for representation, even if there is a ‘promise’ that each will be carefully considered. You can only apply via the ‘info@’ e-mail address given.

10. The Narrow Road Company. This rather hip-sounding agency is unique among all listed here in that it has two UK offices: one in London and one in Manchester. It has a long history, having been founded in London in 1986 by a few former actors. In terms of agent numbers, it’s the largest on my list of smaller best acting agencies in London, but that’s because it also represents writers and virtually every discipline in production.

Theirs is also yet another lively site, but more focused on self-promotion than on helpful information. There’s only a small selection of client names, but there is a list of the individual agents, albeit, without bios or contact details. There are brief instructions on how to apply for representation by e-mail or post (snail-mail).

Agents Lone Wolves ($).

If none of the places from the above list is currently a possible option for you, don’t get discouraged. In such a world-class center for acting as London, there are any number of single-agent operators. One of those London talent agencies are probably better suited if you are a fresh face with only limited experience.

However, remember to do your research first so as not to fall victim to all types of acting business scams. If you are tempted to try a lone wolf agency, do plenty of homework first: ask around, especially on the industry’s buy-side (casting directors, production companies, etc) and if the agent has a Facebook, Twitter, or other social media presence, follow them for a while and see how they feel to you.

 

6.8 How to Audition

The truth is, the more roles you audition for, the better your chances are of actually booking one.  This is why you really need to audition for as many roles as you can, to make yourself feel more reassured and positive.

What if you audition for a few and get offered two parts?  Congratulations!  Choose the role that will get you closer to your goal and what will challenge you the most.  Go with the better known theater company and with a director you’ve always wanted to work with, but be cordial when turning down the other role, and make sure you tell them that it’s because you got cast in something else.  You want to be seen as highly marketable and in demand!

Pleasing Casting Directors.

In the acting business — the world where a lot of industry people can become your key to either success or failure – casting directors can sometimes be intimidating. When an actor walks into the audition room, they unconsciously start thinking of how to make a casting director happy.

You would think that just coming in there and blowing them away with your magical performance would do the trick — and often that is the case — but other times, just a minor detail will become the deciding factor for the actor. So here are some tips for you to please a CD and hopefully nail that audition.

1. Never ever be late. Make sure to never be late for your audition. Showing up right on time is late already — be there at least half an hour in advance (you have lines to go through and create the imaginary world for yourself!)
2. No more apologies, for anything. Committing yourself to whatever you want to perform is showing your courage, so stay with it and do not apologize for whatever mistake you might have made. It only takes everybody’s time and shows that you’re insecure and not confident.
3. You’re there to perform. You’ve been invited to the audition — not forced to get there — as a guest. Come, do your job and enjoy yourself. If you’re obviously uncomfortable with what you’re doing, casting directors will be too.
4. Own the room. As soon as you enter, you must shine with self-confidence. Show the casting people that you’re there for a reason, that you know what you’re doing and that you will graciously accept the part because you’re the only one right for it.
5. Do your homework before coming in. If you get anything in advance or you have your own monologue, lines, speech that you will have to perform during the audition — prepare a day in advance. Whatever method of preparation you’re using, be ready to unleash it.
6. Make no excuses for anything. Just as you shouldn’t apologize, you also should not make any excuses. Whatever happened, happened — move on, and do better next time. Learn from your mistakes.
7. Ask only valuable questions. Don’t waste casting people’s time making small talk and chit-chatting. Casting directors have been in that room — or will be — for a whole day; they do not have any desire to engage in meaningless conversations. However, if you really need to ask a question, never be afraid to do so. Be brief.
8. Focus on your partner. Whenever you have a partner in the scene reading with you, give them the credit. Don’t write them off to focus just on your own performance. Listen! Observe! Make your partner the focal point of the reading and your performance will improve as a result.
9. Always know what the text is about. You always have to know what’s happening in the scene, what your character is going through and what is going on around you. If any important to you/your character details are unclear, and you believe that it might hinder your performance, do not hesitate to ask a question.
10. No miming and props. It’s pretty straightforward: casting directors hate that.
11. Know your lines. It depends on the way you prefer to audition. Some people learn everything, others — partially. The best way is to always know what is happening in the scene and vaguely know your lines. You can and should keep sides in front of you, but don’t hide your face in there either (check cold reading tips below on how to hold the sides).
12. Learn how to move appropriately. Don’t go touching casting directors, or any furniture around. Being still isn’t a bad way to audition, you just have to learn how to engage your audience while performing this way.
13. Never take anything personally. It’s all just business, and everybody in that room — including yourself — are there to work. You might be the greatest actor in the world, but sometimes you just don’t fit the part. Understand that casting directors have nothing against actors. They want you to succeed.
14. Make great choices and bring your personality. Half of the performance is about what is written in the character description, and the other half is all you. In order to walk out of that audition satisfied, you need to make some very specific, bold and interesting choices that can come from you and you only. Stand out and show your unique side, something that no other actor can replicate.
15. Most importantly, be a creative actor. Show them that you are a professional performer. You know how to fill their needs and you know how to be professional about it. If your creativity is of the utmost importance to you, casting directors will see it and evaluate it accordingly.

Always remember that casting directors want actors to succeed just as much, if not more, as actors themselves do. They do not enjoy sitting in that audition room for long hours and not finding someone to fill the part.

Whenever you enter through that door, and you obviously fit the part, casting directors’ souls lit up and they start cheering for you. They hope you will deliver the best piece of work you can, and they will be there for you in case any appropriate help and guidance is required. Just be professional about it.

Cold Readings.

Cold reading (or cold read, or sight reading) is a practice of performers reading the material when there’s little to no time given for preparation before the audition. When doing a cold read, you’re provided with sides (small part from the script) and you read them aloud with almost no or very little practice, character breakdown or analysis of the script.

There are certain acting classes designed specifically to teach actors techniques on how to be good at cold reading. Are these cold reading classes really necessary? I would say no. Cold reading is about two things only: confidence and the ability to pick up lines quickly. Both of these skills you can learn by yourself at home.

There’s no secret weapon that will allow you to suddenly become good at doing a cold read audition, and the only way to get better is to do more of them. However, there are a few things that can help actors improve their cold reading skills, and I’ll list those below.

When do you really need good cold reading skills?

There is a small number of instances when being good at cold readings can save your bum and win you that audition. Here are the examples of such cases:

1. Casting director’s workshops – they want to see you be good at cold reads in case the CD calls you in on a moment’s notice.
2. Unexpected auditions – when you come in to audition for a role but they decided they want you for a different part you didn’t prepare for.
3. Unprepared productions – A lot of student and some low-budget indie film auditions like to do that, mainly because they’re not well organized.
4. Last minute rewrites – you arrive at your audition and receive completely different sides from what you have initially expected.
5. Missing students/cast members – when working on a scene either in class or in rehearsals, you may need to fill in for somebody.

These five cases alone explain why cold reading acting classes usually make quite a bit of money, but again, you don’t really have to take those classes because all of this stems from one place. It’s definitely worth mastering the “technique” of doing a perfect cold read as you never know when it might not only keep you from an embarrassing read, but also get you the part. Here are the tips on how to be good at cold readings.

How to be good at cold readings?

Usually, you will be given at least 15 minutes to prepare for your cold read audition. The way it goes is like this: you arrive at the location, sign your name on the sheet and someone is going to give you sides to prepare, and the approximate time of when they’re going to call you. You cannot leave the room/area. This is the time to become really focused and use these 15 minutes efficiently.

Here’s how to do this:

#1: Do not start by trying to memorize your lines right away. Cold reading is often stressful for a lot of actors due to uncertainty and haste, but you must try to avoid focusing on memorization alone. Let me repeat that again – do NOT focus on memorization of lines alone. First, calm down and focus.

#2: Read closely through the whole thing. And I mean the WHOLE thing, without trying to “act out” anything. Just read the sides fully. They’re rarely long, so it should be a quick read. Then take another few moments to go through the sides again and understand what the scene is about and where your character is coming from (the usual stuff).

#3: Break down the script as much as you can. Now it’s time to do some script analysis and character breakdown. Again, do not rush and try to keep your focus. Even though there won’t be too much time to do a thorough job, here are a few questions that you need to ask yourself and be aware of when analyzing your sides:

• What happened the moment before the scene?
• What is your relationship to the other character?
• What is the point of this scene in the script?
• What is the environment you are in?
• What is at stake in the scene?
• What does your character’s “want” in this scene?
• Other important facts from the script that instantly come to you.

#4: Concentrate on listening. When your time is finally up and you go into the room to begin your scene, avoid trying to remember your lines. Do not focus on the fact that you may have forgotten them. You’ve already done whatever you could, and there’s nothing else you can do. Instead, bring your full concentration onto your partner and really listen.

That’s all you need to know about how to do a cold read properly. Now here are some additional tips to make you feel more confident during the process.

When you’re doing the cold read audition, always use your thumb, or however you hold your sides, to keep track of where your dialogue is. You will definitely forget the lines if you have more than a few (which is why you shouldn’t worry about it), so try to help yourself to quickly find where you left off.

If you have multiple pages of the script, use an index finger under the page you’re currently reading from so that you’re ready to switch the page when you’re done with the current one. Also, do not drop the sides. Keep your sides horizontally in front of you at the waist/chest level. You need to be able to look up the line as quickly as you can.

The golden rule of cold reading. This rule is a MUST if you want for your cold read audition to succeed, so make sure to follow it:

When a reader is addressing you, or is reading his/her lines at you, you must always keep your eyes on them. You may lower your eyes and look at your sides only when it’s your turn to talk.

Period. This is very important. When it’s the reader’s turn to feed you the dialogue, keep your focus on them. You’re listening intently, remember? And yes, that does mean you’ll have to spare a few moments to look up your next line (if you don’t know it) AFTER the reader is finished. That’s fine. As long as you listen and react, that’s your key to a successful cold read.

How to practice cold reading at home?

There are two good ways that actors can practice their cold reading skills (or sight reading skills, whichever one you prefer) when there’s no partner available to them. This can be done at home, and I recommend that you do practice this now and again until you’ve done plenty of cold reads to the point where you’re very comfortable and confident.

1. Read out loud a lot. This one is my favorite and the easiest one to include in your daily routine. It accomplishes part of the practice and is necessary not just for cold reads, but auditioning in general. Whenever you relax with a book (and you do read, right?) just try reading it out loud, at least for 30 minutes.
2. Record yourself. Same thing – only instead of a book, try newspapers and magazines with longer and more complicated sentences. Usually, business magazines work great for this sort of thing (and do read the advertisements in there as well). So grab that magazine, and follow the steps below:
3. Prepare your DSLR camera/smartphone on your tripod for self-taping;
4. Grab that text you have prepared (but didn’t learn in advance);
5. Hold the sides in one hand high enough to see the material without moving your head;
6. Avoid holding the script too high (face hidden) or too low (need to look down);
7. Look at the script, “take it in” and remember the words that you instantly picked up;
8. Look up into the lens and say the words you have picked up;
9. Again: look at the script, grab a few words, look up at the camera, say them;
10. Repeat, repeat, repeat;
11. Watch the video and revise. See what you did wrong and fix it.

The point is to learn how to take in all the script and grab the necessary words as quickly as you can. The more you practice, the more words you’ll be able to grab in the same amount of time. It’s not easy at first, but you get used to it eventually. Practicing with a partner would be a good idea too.

Confidence in Auditions.

Self-consciousness is the death of a good actor. Confidence is how you succeed in the audition room. Having complete confidence at auditions means not second guessing your choices, not judging your character or yourself. Being self-confident in the audition room will result in you hitting a mental roadblock that will hinder your performance.

Most of the time, casting directors can instantly see how confident the actor is or going to be, even before you slate. This means that as soon as you walk into the room, you have to own it because this will determine the character choices you’re about to make. You need to get back that self-trust of your performance that you had yesterday when practicing at home, and if you don’t then you’re risking of not being fully present in the moment, which is a vital part of acting.

During auditions, being nervous is not the same as being uncertain. Everybody’s nervous, it’s normal; but not everybody distrust the choices they are about to make.

The more experience an actor has, the easier auditioning process gets. However, you don’t have to go through all those years of poor auditions and self-conscious choices; you can avoid them by learning how to have more confidence at auditions, performances, on the set, during an interview, and so forth. Begin at the beginning, and do not reinforce your fear of failure — stop it at its roots!

What you do have to be when you walk into that room and see a bunch of people in front of you is Excited, Ready and Confident. The choices you’ve prepared for your character should give you goosebumps because of how strongly you wish to share your performance with others. That feeling is confidence in yourself, and you cannot go there without it.

How can you be more confident in auditions?

First of all, always remember that you have accomplished something just by sitting in that hallway. You’ve beaten hundreds or maybe thousands of other participants that were submitted for the part, but casting directors picked you because you had something to offer. They liked you, they want to see you, and most importantly — they really want to cast you. All you have to do now is show up, which you’ve done, and demonstrate that their choice was indeed correct, which you’re about to do.

1. Make sure that you prepare for your part. You may or may not have already gone through acting training, whether it was in one of the drama schools or acting classes, but you do know the questions you have to ask yourself to grasp the character. You already have your methods of how to prepare, how to learn your lines and how to deliver.
2. Do not focus on the end result of booking the job. If you ask a lot of other actors, you’ll learn that a lot of them booked the part when they didn’t really cared for it or they didn’t believe that they could get it. It’s just human psychology; they didn’t want it, and in turn they were more confident in the choices they made, they were less nervous and stressed about the auditioning process.
3. Push out all your negative thoughts. Your focus should be on the integrity of your work; there’s no need to be in your head. Improvisation classes are great for learning to get out of it and so is regular meditation, but if you haven’t tried any of these methods yet, then the best thing you can do is tell yourself that you are going to deal with all the negativity in your head in 30 minutes, right after the audition. Put it on pause, and pay attention to what is more important right now.
4. Finally, do not label your unsuccessful auditions as failures, because they are not failures. Look at them as an experience and a performance. You’re in this thing to act, and that’s what you are doing regardless of the place you’re doing it at. As soon as you leave the room, start looking forward to your next audition and the choices you’re going to make then. Try to be happy about what you did, and if you made mistakes — learn from them, don’t grief. This experience will make you a better actor.

Having confidence at auditions is about knowing your lines and getting out of your head. Experience and knowledge teaches you that, and with every single audition you will be getting more confident, you will learn how to do better in front of those people, but most importantly, it will teach you how to have fun.

Never allow doubt, self-consciousness and self-judgment to prevent you from giving a great performance. Forget about everybody in the room; just act, as that’s why you’ve been put there and that is what they want to see.

Casting directors are looking at hundreds and sometimes thousands of actors a day. They don’t want to do that, but they have to. Remember, they want you to succeed just as much as you do; they’re not your enemies, therefore, you don’t have to feel uncomfortable, nervous, scared, self-conscious and uncertain around them. Show what you have, because they want to see you at what you do best — perform.

Self-taped Auditions.

Today’s technology is allowing actors the convenience of self-taped auditions. More and more casting directors are having actors send in their own recorded auditions to be seen for the part without having to come in and audition in person.

Occasionally, this may be in addition to a more traditional way of auditioning which helps to filter out a good chunk of candidates, and this saves time for both actors and casting directors. On top of saving time, there are other great benefits to self-taped auditions: actors don’t have to travel, which saves money on gas, and of course it gives the actor much more control over their audition process itself.

However, if you’re an actor who is used to a more traditional way of auditioning in a casting room, you may find self-taping your audition a little daunting, especially due to lack of feedback. It does get easier and more comfortable the more you self-tape your auditions, and it won’t be long before you’ll be an expert at it, producing high quality auditions via self-tapes. But for now, here are some tips.

1. Improve the quality of recordings. The first thing you should remember with self-taped auditions is that the casting director and the team will not expect to see film quality that resembles a high budget Hollywood movie. CDs fully appreciate that you are doing it yourself with your own equipment. However, do try and make your self-tape as professional as you can.

As long as the quality of your self-tape is decent enough where they can see you and your expressions, casting directors will be more interested in your audition rather than criticizing your production skills. Just make sure that you can be seen and that you can be heard: these are the things that matter when auditioning. Alternatively, you can always spend a little extra and use self-tape audition services for actors that are becoming very common these days.

2. Think about the lighting. Obviously, the light where you are taking your self-taped audition won’t be of professional quality, but it is somewhat important. Lighting can make or break your look and the casting director has to be able to see you clearly. There are a few easy things you can do to ensure a good light for these self-tapes.

To begin with, choose a room that’s well-lit and always make sure that there are no light sources behind you. Don’t stand in front of a window when you are self-taping your audition, as being in front of a light will make you appear dark and the casting director will find it hard to see you.

Always do a test run first and then play it back. If you see that you are dark in the pictures then find another area where the light may be better for filming. It is a matter of trial and error but it has to be spot on, otherwise you won’t be seen properly and that could potentially get your self-tape “thrown into a bin” even if your acting is good.

3. Choose your background carefully. An ideal background is usually a blank one. Doors have always been a popular background, but if that’s not an option for you, just try and find a background where not much is going on (no patterns, no shapes, and nothing to distract the CD from you and your face) and with the least amount of things behind you. The less distractions there are in the background the better.

The easiest way you can do this is to grab a single-color blanket, or sheets, and throw them on the wall behind you. Pick colors that favor your face and make you stand out. Grey often works well. And, if you can spend a little extra, you can grab a green screen backdrop or something like that on Amazon; they’re usually cheap.

4. Clothing choice. You really want to be wearing a solid color. Clothing that’s free from very bright and busy patterns works best for self-taped auditions. Keep your clothing as simple as you can and try to avoid too many accessories or jewelry.

Another thing that needs to be mentioned is that the camera does tend to add extra weight to your body. So ideally you don’t want to be wearing clothes that aren’t too tight or clothes that appear too big on you. Wear what you’re comfortable with and just try and be yourself. Simplicity will work best here, unless you’re aiming at specific character choice.

5. Apply make-up. This isn’t essential, but it’s worth considering. The camera can make people looked a little washed out so make-up will work really well to prevent this. After you apply the make-up, check how you look after each application to see what looks best for you when you’re on camera. Just keep it to a minimal and do only the most essential things.
6. Auditions like you normally would. If you already have auditioning instructions for your self-tape, then you know what you have to say or do specifically. But if there are no specified instructions then just carry on how you would for a regular audition.

Remember to slate first. You should state your name, and then go on to say the name of the character you are auditioning for. Your slate should be friendly and it should also show you are confident at your audition; do not be robotic. This is your first chance to show that you are a professional and that you have a personality.

First impressions can be ruined by appearing too monotone, and a little personality goes a long way not only for self-taped auditions but in the acting business in general. It’s vague to say “don’t be boring,” but most of us usually know what that means.

7. Stop filming when the time is right. This is easier said than done, but you have to know when enough is enough and when it’s time to press that stop button for good. It is very easy to film one take and then watch it, then decide something isn’t right and carry out another take and watch it and then decide something else is wrong. Doing this over and over can end up driving you crazy and even though you definitely should try plenty of takes to get that best shot, remember that you do have to stop at some point.

The best advice here would be this: after you “warmed up” to your camera (1-2 takes), try doing a single-take best shot just a couple of times and consider it done. Try and approach it the way you traditionally would, as if you were auditioning in front of the casting director in person. Give the very best performance you can give on the first “real” take.

8. Follow the submission instructions correctly. At this point, you’ve successfully completed your self-tape audition and you’re happy with it. Now it’s time to send it in. Make sure you follow instructions on how to send in your self-taped audition correctly and check over and over again that you have done all that needs doing.

Do you have to upload your audition onto a website? Or are you meant to send it via email? Are they asking for your resume and headshots alongside the self-tape? Are they asking for your clothing size or other measurements?

Always make sure you are providing the casting director with your correct email address and phone number for when they get back in touch with you. Try to keep this organized and professional, and deliver your self-tape on time.

 

6.9 Never Stop Learning

Nobody ever stops learning, no matter how old they are, or what they do for a living.  The world changes every single day, and with it so does information, which is why you need to continue to learn all the new things that get released as time goes on.  For example, you could be a stage actor, when suddenly a new method of physical theatre is released.

You can’t ignore it, so you’ll have to continue to learn.  Every actor continues to learn, no matter how famous they are – especially if there’s a certain role that they need to have lessons for in order to fully portray the character to the best of their ability.  Keep learning, as the more you know, the better off you’ll be.

Knowing Success.

Some people can be really greedy when it comes to success, with nothing ever being good enough.  One thing you need to get into your head is that fame is not success.  Fame may be a by-product of your success, but you should never measure how successful you are based on how many people recognize your face.

Success is being able to do what you love and get acknowledged for it – not by random strangers on the street, but by people who appreciate the effort you’ve put into being the best performer you can be.  Different people feel success differently, which is a bit of a tongue twister, but the meaning reigns true – your success may not be somebody else’s idea of success, but that doesn’t make it any less important.  You will only ever be successful if you stop caring so much about success.

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