Introduction

On this page I have compiled a resource of information about acting and the industry around it that should be helpful for actors that are just starting out. For over five years I was fortunate enough to learn about the entertainment industry by working at two NY talent agencies. Before that I was as an actor. I have included a few articles below that you may find helpful.

Starting Out - Finding a Photographer - Unions - Agents - Laugh A Little - NYC Resources

Starting Out 

There are a couple of things you should consider when you are starting off. First, it is important to understand that an acting career is a lifelong commitment. Many people are tempted to get into this industry at the prospect of fame or money. Very few people are getting paid large salaries to act, and even less "make it big." For a lot of your career, your compensation will only be your craft.

Imagine walking into a doctor’s office and asking to be hired as a surgeon. Great acting looks effortless, but there are usually years of experience behind the performances you see on stage. Start off by taking classes.

Finding a Photographer

Looking through portfolios and reading what photographers have to say can be overwhelming. Sometimes what you read on a website was not even written by the photographer. My website has been copied, word for word, more times than I care to count. For some, creating a website was as simple as copy and pasting. Just make sure what the photographer is saying is backed up by their photographs. By the way photographers, this site is copyrighted.

Remember that no matter how good of a sales person a photographer is, the headshot that they take of you is going to look very similar to what you saw in their portfolio (read a related article). Look closely at the people in the photographs. Do they look comfortable? Are they really smiling, or do they look like they were told to smile? Are there only a few good headshots in the portfolio, or are all of the headshots consistently good? Always remember that you should pick your photographer because you think they are good, not because they think they are good.

Unions

SAG = Screen Actors Guild

AFTRA = American Federation of Television and Radio Artists

AEA = Actors Equity Association (aka Equity)

SAG covers almost all films and on-camera commercials.

AFTRA covers most soaps and voice-overs.

AEA covers everything theater related from Broadway to union regional theaters.

Choosing to join a union can be a difficult decision. On one hand, by joining, you will have the union watching over and protecting you from producers and agents. On the other hand, once you join, you’re not allowed to work on non-union projects. If you’re being offered a role on Broadway or a role in a feature film, opposite Johnny Depp, there’s no question what you should do. Often times, it’s not that obvious.

Do you have more competition in the non-union world or the union world? If you’re over 40, chances are there are more union actors your age than not. You might book more jobs by staying non-union. If you’re young, there is a good chance there are more non-union people your age than not. For theater, if you’re a member of Equity, you get scheduling priority at the audition. Being a member of SAG does not really guarantee any auditions. For feature films, most of the time you will only be seen if you have an agent behind you. However, once you actually book a film or commercial, the differences between a SAG contract and non-union contract can be staggering (money, residuals, hours, etc.).

For theater, if you feel like you would be competitive with the actors similar to your type on Broadway, you should join. The same idea can be applied to the other unions.

How do I join the unions?

You have to be offered a role in a union production. For theater folks, often there is a standby list at open calls. If an Equity member does not show up for their audition, and there is not another union member to take their place, you will usually be seen.

This is Funny - I found it as a chain letter:
An Actors Guide 

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• Hold for all laughs---real, expected, or imagined! If you don't get one, face front and repeat the line louder. Failing this, laugh at it yourself.

• Cultivate an attitude of hostility. Tension gets results---on stage and off.

• A good performance, like concrete, should be molded quickly and then forever set.

• Your first responsibility as an actor is to find your light.

• Do not listen to your fellow actors on stage. It will only throw you. Do not look at them either---you may not like what you see.

• Always be specific---point to what you're talking about.

• If a line isn't working for you, change it.

• Stage Managers are NOT actors---ignore them.

• Never be afraid to ad-lib to get attention, especially if the leads aren't very entertaining.

• Mistakes are never your fault.

• Always find something to bitch about, no matter how small or seemingly insignificant. Your fellow actors will respect your professional attention to detail.

• Never carry make-up---someone will have what you need.

• If you can't be heard, it's not your fault. Any decent theatre should have body mikes.

• Never, never help understudies (They secretly hate you and want your job).

• Do help your fellow actors by giving them notes whenever you feel necessary. And give the notes immediately before they go on---it will be fresher that way.

• Speak your lines as if the audience had difficulty understanding the language.

• Keep other performers on their toes by ridiculing their performances, and never let them know what you're going to do next.

• Play the reality---always be aware of the audience and whether you think they like the show, then gauge your performance accordingly. Why knock yourself out for ungrateful assholes?

• The only difference between an amateur and a pro is that the pro does exactly the same thing for money.

• Need a character? Get a costume.

• Never change anything that is working, no matter how wrong or phony it may seem.

• Even if a piece of "shtick" doesn't work, keep using it. The important thing is for you to have fun and feel good about yourself.
  
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Agents

When are you ready for an agent? Actors usually start working with agents after college or after they’ve started booking important jobs. Agents and actors usually only go hand in hand in the bigger markets like NYC and LA. They may be useful in other regions for print work and commercials. It’s important to understand that agents work for you, yet only make money if you get work.

Types of Agents

There are different types of agents. A commercial agent works on commercials. A legit agent works on theater, film and television. A modeling agency works on print work/runway. A voice-over agency works on voice-overs (radio commercials, animation voices). There are also franchised agents and non-franchised agents. A franchised agency is one that is licensed by a union (Actors Equity Association, Screen Actors Guild, American Federation of Television and Radio Artists) to represent its actors. Franchised agents are guided by strict regulations set by the unions. A few of the rules are: the agent can not take more than 10% of your salary, they can not sell you services (like classes or headshots), they have to be open between certain hours. Many times, franchised agents will work with a non-union actor in hopes that they will book a union job. Non-franchised agents and Managers (people who work like agents) are not regulated by the unions and are free to take as much money as they want (assuming that you agree to their terms). Some states have regulations that may offer a little protection. Ideally, you want to work with a franchised agent. If you’re already a member of a union, you’re only allowed to work with franchised agents.

How do you know if an agent is franchised?

Pick up a copy of “The Ross Reports.” You can find it at Barnes and Noble and Drama Books (see resources section at the bottom of this page).  Next to the name of every agency, you may see the letters “A” “E” “S”. Each letter represents the union that the agent has a franchise agreement with. “A” stands for AFTRA, “E” stands for Equity, and “S” stands for SAG.

How do I get an agent?

There are a few ways you can get an agent. The most effective way is by being seen by the agent in a show. This way the agent can get to see your work first hand and (ideally) get excited about what they see. If they like you, they’ll want to send you out on auditions. Even if you do not book the first few auditions they send you on, they will remember your work and hopefully keep trying. If an agent starts working with you without having seen your work, you might be on shaky ground if you do not book work right away. The only thing they have to go on is the feedback that they’re getting from casting directors. The next best way is through a referral by a friend who’s with the agency. If your friend gives a glowing recommendation, you will usually land an interview. Finally, you can submit your photo and resume though the mail. It will probably go in the trash. The volume of mail an agency receives on any given day can be overwhelming.

Misc agent stuff

Beware of anyone who asks for money (before you book a job), says that you have to pay for classes, or get new photos from a specific photographer. Keep in mind that an agent has every right to suggest you that you take a class or suggest you get new photos. You might need it. Just beware of one that says you have to take a specific class or go to a specific photographer in order to work with them. No legitimate agent or casting director will ever ask you to take of any clothes at an audition. If it happens, leave! Quickly!

Make sure that your agent has a way to get in touch with you during the day. At my old agency, a casting director would call at 6:30pm (when technically, we were closed) and ask to see "John Doe" the actor at 10am the next day. If I could not get a hold of the actor right away, they would miss the audition. If this happens with the same actor on a regular basis, the agent will stop working as hard for them. They will find someone they can get in touch with. You would be surprised how many times I got a call a week later (or longer) from "John Doe" the actor to say how sorry they were because they hadn’t checked their messages. An entire process has happened before the agent calls you. We see a character you would be right for, type up a submission, and send your photo in the mail (or electronically). The ball is rolling. Time and money is being spent on you. Then, not long after, we get the call asking to see you. Up until this point, you are not even involved. It’s very frustrating to do all this work for you and then have you miss the audition over something as simple as not getting a message.

NYC Resources 
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New York Public Library for the Performing Arts
This is one of the largest and best collections of plays,
musical recordings and just about anything else you need.
To top it all off, it's free.
40 Lincoln Center Plaza
Phone: (212) 870-1630
Web Site

The Drama Book Shop
Located just above Times Square, Drama Books is one
of the largest book stores specializing in theatre related
material.
250 West 40th Street, New York, NY 10018
Phone: (212) 944-0595
Web Site

Colony Music
Colony houses a huge collection of music covering
all genres.
1619 Broadway, New York, NY 10019-7412
Phone: (212) 265-2050
Web Site

Mannys Music
This place has things more along the lines of instruments, mics, etc.
156 W 48th St, New York, NY 10036-1578
Phone: (212)819-0576
Web Site

• ONGOING DANCE TRAINING

The Broadway Dance Center
322 West 45th St , New York, NY 10036
Phone: (212) 582-9304
Web Site

Steps

2121 Broadway # 3, New York, NY 10023-1786
Phone: (212)874-2410

• HEADSHOT LABS

Reproductions
70 West 40th Street 3rd Fl., New York, NY
Web Site

Modernage
1150 Avenue of the Americas (@ 44th St.)
Web Site

• MISC.

Metropolitan Museum of Art
1000 5th Ave, New York, NY 10028-0198
Phone: (212)879-5500

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