Five Basic Things You NEED to do in your acting career by Martin Bentsen, NY Photographer and Filmmaker

fiveNo matter where you are in your acting career, you need to do these five, basic things if you haven’t done them already. Even if you’re just starting out, the sooner you get these five things done, the more established you’ll seem and the more comfortable casting directors and filmmakers will be with hiring you.

1. Buy a URL (domain name) with your name in it… Like Think you don’t need a website? Think again. These days, simply having a social media presence isn’t going to cut it. It’s absolutely vital if you want to be taken seriously to have some sort of web presence, and buying a simple domain name is the first step. Visit a website like and buy your domain name before someone else does. If your domain is unavailable, try adding the word “actor” next to it, like

2. Create business cards with your headshot, name, URL, and email address. I like to use VistaPrint because their prices are very affordable and they have professional-looking templates you can use if you’re not ready to drop $300 or more on a professional graphic designer. Make sure you include your headshot because it’s a way for people to remember who you are when they first meet you. And as a side tip, if you don’t already have a professional email address, make sure to create one. Using Gmail is great because it’s free and looks more modern than a Yahoo or AOL email address. Keep it simple like your URL: or If you have a long and complex name, try just using your first name so it’s easier for people to spell.

3. Go through your emails from a long time ago and make a list in Excel with all the people in your industry you’ve worked with. Include their name, phone number, and email. Also, be sure to include a simple note of something you remember about them, whether it’s just the project you worked on together or something interesting and unique about them. You’ll later use this list to network and get back in touch with people. Remember, keeping top of mind means you’ll be more likely to get requested to audition for projects. Having an “in” with someone gives you a leg up on everyone else.

4. Create a free YouTube account and upload anything decent you have of yourself performing. When you build your websites, having a YouTube channel with up to date work will make the website creation process faster since you won’t have to worry about uploading everything again. You can just embed your YouTube videos, and then every time someone watches one, you’ll also get a view, which, as you gain more views, increases the likelihood of getting subscribers. The more subscribers you have, the more marketable you are to casting directors. Also, be aware, you should delete any bad footage of yourself. If there is anything online that shows you in a not-so-good performance, get it down as soon as you can so casting directors don’t accidentally see it.

5. Get a great Demo Reel made and upload it. A professional demo reel puts you well ahead of most actors who don’t have one. Casting directors really want to see your performance abilities on camera, be able to hear your voice, and see how you look on screen, and not having a demo reel makes this much more challenging.

I’ll be back soon with more great actor marketing and promotion strategies. Feel free to reach out to me at if you have any questions.

Martin Bentsen has spoken numerous times at New York University, has run educational seminars at Actors Connection and other acting studios on branding and marketing strategies for performers, and has written a 60 page informational book called Get Cast™, which focuses on marketing tactics actors can use to find more consistent work. He is a member of both the National Association of Sales Professionals and Sales & Marketing Executives International, two highly acclaimed marketing organizations in the United States.

Martin graduated in 2011 with honors from NYU’s Tisch School of the Arts’ Film and Television program with a focus on directing, and in 2010 he founded City Headshots®, which, according to Yelp, is ranked the top headshot studio in New York. Martin’s long term goal is to run major business and actor marketing seminars across the country while expanding his City Headshots brand to go international.

LAUGHING ON SET by Martin Bentsen, NY Photographer and Filmmaker

couple of actorsHaving a good laugh when you’re on set can be fun, but every once in a while it’s not appropriate. It’s important to know when you shouldn’t burst out laughing not only because people could get offended, but worse, they could think you don’t care about their production.

In general, when you’re first starting out on a production and you don’t know the crew well, it’s best to let things happen and try not to show too many emotions (unless you have to for the scene). The more emotional you are in real life (whether it’s laughter, annoyance, anger, or sadness), the more people will form opinions about you. And because you don’t necessarily know whether those opinions will be positive or negative, it’s better not to get too involved until you get used to everyone and know who they are and how they think.

I’ve worked on set where new actors can’t seem to get a line right and just burst out laughing in multiple takes. Not only does this look unprofessional, but it can say to the director that you don’t take their project seriously. This could lead to your getting fired and even bad word of mouth since there are lots of people on set who are watching you. Some of them could talk to their friends in the industry about you.

Also, be very careful of laughing when someone on set messes something up. I’ve been on another set where a steadicam operator was running through a field grabbing shots of a war scene, and he tripped and fell over a root. It looked absolutely hilarious, but the camera fell and one of the lenses got damaged. A couple of people laughed when he fell, but the director and primary crew were not amused at all.

They actually seemed really annoyed and disappointed that some people laughed. The behind the scenes videographer actually captured the fall and played it over and over again for people to their amusement, but the steadicam operator approached him and asked him to delete the footage because his career could be completely killed from a mistake like that getting out.

Now all of this isn’t to scare you into never laughing on set, but it is to get you consciously thinking about when it’s appropriate and when it’s not. Since you’ll never know for sure, I recommend avoiding laughing during the first few shooting days unless you see the director or a higher up laughing. If everyone else is cracking up and having a good time, by all means, feel free to join. But if the crew seems somber and quiet, it’s best not to be the laughing one in the group so you don’t stand out in a negative way.

Martin Bentsen has spoken numerous times at New York University, has run educational seminars at Actors Connection and other acting studios on branding and marketing strategies for performers, and has written a 60 page informational book called Get Cast™, which focuses on marketing tactics actors can use to find more consistent work. He is a member of both the National Association of Sales Professionals and Sales & Marketing Executives International, two highly acclaimed marketing organizations in the United States.

Martin graduated in 2011 with honors from NYU’s Tisch School of the Arts’ Film and Television program with a focus on directing, and in 2010 he founded City Headshots®, which, according to Yelp, is ranked the top headshot studio in New York. Martin’s long term goal is to run major business and actor marketing seminars across the country while expanding his City Headshots brand to go international.

Oscar Isaac and Adam Driver: How the “Star Wars” Stars Are Helping to Alter the Face of Hollywood

gallery-1450794162-movies-starwars-poe-finn-1by Brian O’Neil

“Where are the Pacinos? Where are the Hoffmans and the DeNiros? Where are the up and comers like the guys who made the edgy, grimy films of the 70s so great?” So went the lament during an era when filmgoers had experienced a shift to a newer, softer and younger “model” that had burgeoned during the 1980s.

And oh, had the teen-agers piled in and piled on: Tom Cruise, Matt Dillon, Rob Lowe, Ralph Macchio and others had become known as the “the brat pack” and largely became the “newer” breed of film star. There were traditionally trained actors in the mix, to be sure, but Hollywood latched onto “kids” whose training was either flat-out nil, or who learned their craft not on stage as had so many of their predecessors, but while the cameras were actually rolling.

The trend continued with an endless stream of children and adolescents: Leonardo DiCaprio, Andrew McCarthy, Meg Ryan, Natalie Portman, Scarlett Johansson, Tobey Maquire, Reese Witherspoon, Joseph Gordon-Levitt, Dakota Fanning, and Jennifer Lawrence, to give just a small sampling. “Kids”, many of whom started in television and proving themselves in that medium, were moved along the Hollywood conveyor belt and then graduated to roles in feature films. Increasingly, this had became the process of development for the new American movie star. And so, with some exceptions, most notably foreign actors from English speaking countries (e.g. England and Australia), it continues.

What happened? Certainly, there was no dearth of the swelling numbers of conservatory trained actors coming out of the increasingly popular and competitive degree drama programs in America. Yet many of this group seemed to be moving into an ever-expanding television market while the more “established”, if less formally trained younger actors kept advancing to the more rarefied air of film stardom. By the 1990s a seismic shift in the way Hollywood recruited their young had taken hold and the culture of men and women had now given way to the boys and the girls.

In more recent years, however, Hollywood, largely through the burgeoning power of the internet,has been able to discover, or at least “see” more of the work of actors in foreign countries who appeared to have acquired a certain gravitas– largely attributed to training –that was perceived to be lacking in the American actor. Increasingly, foreign actors were being recruited and in the minds of some at least, to be “taking over” the American film and television industry. Hollywood was aware that many, if not most actors in foreign countries where English was the mother tongue, were eager to come to work in the United States. Here the chances of having an international career were far greater than staying home in the United Kingdom or Australia were likely to provide. And most of these actors were willing to work for moderate wages, at least in the early stages of what would often turn out to be ever-expanding careers.

Still, we were told, repeatedly, that the “training” of the foreigners was key. Well, yes and no. Much of what was written in this regard did not hold up under actual research, although the knee-jerk “they are better-trained” seemed to be a de-facto association, especially with the British. However, over time a surprising number of British actors, often Academy Award/Emmy Award winners/nominees, happily revealed that they had “no training whatsoever.” Perception and presumption go a long way.

As we moved into the beginning of the second decade of the twenty-first century the quantity of scripted American television product was in a state of seemingly unlimited expansion, doubling and tripling the previous amount of content found on the air some years earlier. “On the air” itself took on a somewhat new meaning as broadcast television had made room for cable and both were now facing competition from the newer streaming services of Netflix, Hulu and Amazon. And so, the demand for new “series regulars” expanded along with the quantity of television itself. It was then that we really started to observe the mass escalation of British, Australian, Scottish and Irish actors who were often being selected over Americans, and many Americans wondered why there weren’t “enough of us” to fill the demand.

There were. Yet there is more to being cast as a regular on a television series or a lead in a feature film than simply the ability to be able to “do it.” Much, if not most of being a candidate for employment at high levels of the industry requires being at a career level to realistically expect being considered for the assignment. Understandably, studio and network executives want/need to feel that whomever is chosen has, at least to some degree, already proven themselves and shown some consistency in quality of work and reputation.

What was unknown to most Americans was just how many of the British and Australians being insourced had attained remarkably impressive credits in their homeland prior to their engagements here in the USA. Many had already appeared as regulars on a series or two and had either won or been nominated for major acting awards including those given out by the British Academy of Film and Television Arts (BAFTA). Again, the internet radically aided and abetted an easy way to “discover” and cherry-pick the cream of the crop from English speaking countries. Increasingly, and even today, studio and network executives spend a great deal of time in their offices streaming television and film from foreign countries.

Searching for talent “over there” has become far more figurative than literal. Obviously, in times past, this method was a non-option. So to those who said “Why?” one response was: “There’s a lot of high-level casting to be done and there are a lot of highly experienced actors we can consider.” In other words, to those who asked “why” the simple answer seemed to be: “Why not?” With the influx of foreign actors, Hollywood was able to provide American audiences with new faces, but new faces who were not inexperienced- which helped to create a win-win situation for executives in Hollywood and for the actors from foreign countries as well.

Dab smack in the middle of the first decade of the twenty-first century there emerged in the United States a classically-trained stage actor, a man- not a teenager – who began his training as a young adult. He was getting some early “buzz” for his extraordinary work in drama school and being discussed, potentially at least, as “the young generation’s answer to the days and likes of Al Pacino.” Oscar Isaac Hernandez, born in Guatemala, was brought by his parents to the United States as a five-month old infant. The family arrived in Baltimore, moved to Louisiana and ultimately settled in Miami, where Isaac was raised and educated. Showing a strong talent for both music and acting early on, Isaac auditioned and was accepted into The Juilliard School’s prestigious Drama Division where he performed a wide range of contemporary and classical works culminating in his final production in the title role of “Macbeth.”

Following graduation, more Shakespeare beckoned with Isaac garnering a lead in the New York Shakespeare Festival’s outdoor summer production of “The Two Gentlemen of Verona.” There is nothing unusual about a newly minted alum from an A-list conservatory being cast in a New York Shakespeare Festival production, but landing a lead role so quickly- one week after graduation- is a tad out of the ordinary. But then, so was Isaac. He continued to do more classics and contemporary productions at other A-list New York theaters including Manhattan Theatre Club, along with the expected-at-the-time New York actor’s rite de passage appearance on an episode of TV’s Law & Order, along with one film.

Then something happened. Television pursued Isaac, and in a pretty big way. Not unusual for a high-profile, well-trained New York actor appearing in lead roles at the city’s top theaters, but what was unusual was that Isaac declined. Nicely, politely, as is always his way, but nevertheless, he declined. It wasn’t that he had a different or specifically planned “other” strategy, nor was it ego, but such was his talent that Isaac pretty much found himself in a position to accept what interested him and decline what didn’t. And so, minus television he proceeded to build his career in the more old-fashioned New York style and maintained his focus by going back and forth between film and theater, very much like the career of, well Al Pacino, to whom he was now being regularly compared. None of which is to say that had he opted for a television series his film career would have derailed, but given the commitment and scheduling that accompanies most television, he would have been far less likely to have been able to choose the film projects that interested him and be available to do them as their schedules would require.

In fact, after the Law & Order episode, Isaac would be absent from the small screen for many years until he was well-established in film and an HBO mini-series called “Show Me a Hero” would prove irresistible to him. For his performance in “Hero” he was honored with a Golden Globe Award. If audiences felt they needed a young Pacino, they had one. And then some.

One major difference between Isaac and Pacino is that when Pacino decided to tackle Shakespeare it was well after he was established as a movie star and his early efforts with classical material were met with disastrous response. Considered well-trained in his era, Pacino’s background apparently lacked the training that a classics-oriented conservatory would provide the newer and equally serious actor of today’s generation. Despite a relatively recent spate of magazine articles expressing sentiments including “The Crisis in American Acting” and “The Decline of the American Actor”, (articles which proved only to be about movie stars), training in the finest American drama schools is more extraordinary and challenging than ever before. And along with that go the standards for acceptance into such programs. Many top degree programs have a one to two percent acceptance rate which consists of auditions and multiple call-backs with grueling twelve or thirteen hour days of being put to the test by the faculty and administration in order to be admitted. Those who nostalgically long for the days of the old New York theater training programs heralded in the articles to which I refer above, often forget that some of those schools of yore granted entree simply “by interview.”

And so we move to the second actor of this discussion: Adam Driver. Born in San Diego, Driver was also accepted into and trained at The Juilliard School. Again, we had a young man, in this case a veteran of the United States Marine Corps, beginning his formal training as an adult, and entering his profession fully grounded and classically trained. Immediately upon graduation, he earned admission into the highest levels of New York theater, including performing lead roles in Broadway productions of such British playwrights as George Bernard Shaw and Terence Rattigan. Driver, like Isaac before him, quickly did his obligatory Law & Order. Then something happened that proved very different from Isaac’s experience. Television beckoned in the form of HBO’s Girls and Driver accepted. And whatever Girls was or wasn’t, this was no ordinary television show.

From the very first episodes many critics felt that Driver, from an acting standpoint at least, was the heft and substance of the show. As Girls was finishing its fourth season, the future of Driver’s character seemed uncertain. Not coincidentally, the demand for Driver’s services in the world of feature film was burgeoning. At this point, many felt the show was losing its edge. Clearly, Girls wanted Driver to stay. As the seasons wore on, it was Driver who continued to receive Emmy nominations while Lena Dunham’s, at least in the acting category, had subsided.

But here’s the thing: Girls was a twenty-eight minute episode show which, with the exception of one season, ran only ten episodes per season. The amount of content along with the schedule of the show made it considerably easier for Driver to accept other projects than had it been a one hour show with twice as many episodes per season as Girls. So both Driver and Isaac had the good fortune of having somewhat flexible schedules to pursue what they chose to pursue.

What, then, is the upshot here? Just this: contrary to what has reached mythical proportions in the media, there are actors who are raised, educated and classically trained at top American drama schools who start their careers as adults, not as children or teenagers, possessed of the gravitas attributed largely to their British counterparts and who are themselves, moving forward in modern day film. As mentioned earlier, there is no dearth of such actors who are wildly successful in American television at this time, but seeing a new breed of what some feel is an older world model of actor thriving in film once again is a joy. And in the “unconventional” leading man movie star category as well. Yet, call Oscar Isaac a “movie star” and he won’t like it. Call Adam Driver a “leading man” and he says, “I’m like a sight gag.” Unconventional indeed.

I am blessed that my work allows me to see and mentor new and compelling, classically trained actors of great substance. I will continue to tell stories of their professional journey in upcoming “chapters” of this series. Stay tuned.

Brian O’Neil is the best-selling author of Acting As a Business: Strategies for Success: Fifth Edition. A former talent agent, he teaches at many of the country’s top drama programs including The Juilliard School and New York University. He coaches privately as well. For more information, please visit



My job as a career coach is to teach actors how to think differently about this business and how they approach it. The events and conversation below took place over a period of more than a year.  It began early last spring when an actor contacted me to help him with his auditions for this year’s graduate school MFA programs. He was wise to start early. Here’s what happened.

HIM: I’d like you to coach me on my auditions for grad school.  I know that you teach or have taught at most of the good ones.
ME:  Okay, bring in a few monologues and let’s see what you have.


(Two weeks later after he auditioned for me)

ME:  You’ve probably been told that you’re very good.  Because you are. But a lot of actors are, and that’s not enough. The acceptance rate is 2%.
HIM:  What should I do?
ME:  Get on the websites of all the schools you are auditioning for.  Find out when their New York showcase is.
HIM:  And?
ME:  Normally, I wouldn’t suggest this, but for you I will.
HIM: Suggest what?
ME:  Show up. Tell them that you’ll be auditioning for them next year and that you’d love to see the students at work. If there’s a seat, they’ll give it to you.
HIM: And then?
ME:  Assuming you liked the work, ask someone if the director of the program is present.  He or she will be milling in the crowd. Introduce yourself.
HIM: And?
ME:  Tell him/her how much you enjoyed the students’ work and that you’ll be auditioning next year.  Again, assuming that you liked the work.
HIM: Then what?
ME:  When you write your statement of purpose, mention what you observed having personally experienced the work of the students.
HIM: Then what?
ME:  We’ll work on these pieces and others.

(Months later)

HIM: I auditioned.  Two of the teachers remembered me from going to the showcase.  And another one said I “looked familiar.”  I told him why.
ME:  Good.
HIM: At a call-back, the program director actually had me answer some questions posed by other actors because I’d “seen the students at work.”
ME:  Upshot?
HIM: I got called-back for two, accepted at one and wait listed for the other.  The wait listed one is my first choice.
ME:  What are you going to do?
HIM: Wait and see.
ME:  No, you’re not.
HIM: No?
ME:  We haven’t come this far for you to drop the ball.
HIM: So?
ME:  Write back to the person who wait listed you. Thank him/her. Say you’ve been called back and offered elsewhere, but they remain your first choice.
HIM: Why?
ME:  Because they don’t know that. And it looks good for you to have call-backs and another offer. Shows consistency with your auditioning skills.

(One week later)

HIM: I heard back.  My note got me moved me to the # 1 spot on the wait list!  They said there will probably be an opening, and if there is, it’s MINE.
ME:  Good move.  Stay in touch.

(One week later)

HIM:  I got in!
ME:  The talent was always there. But as I said, it’s there for many. You acted well, but you also acted smart. Congratulations, kid.  Ya done good.

Brian O’Neil is an acting career coach, consultant, and audition coach. A former agent and personal manager, O’Neil is also the best-selling author of “Acting As a Business: Strategies for Success,” which is now in its twenty-ninth printing. In the recent past, his students and clients have won Emmys and a Golden Globe (“The Big Bang Theory”), a Tony Award (“Matilda”), been Emmy-nominated (“Girls”), been cast as series regulars (“Orange is the New Black,” “The Walking Dead,” “Bones”) and have appeared in starring roles in feature films (The Coen Brothers’ “Inside Llewyn Davis”). Although he lives in New York City, Brian teaches at virtually every advanced actor training program in the country, including The Juilliard School. For more information about Brian, please visit

Choosing the Right Acting Program for Your Child

img_3365There are plenty of kids’ acting programs out there, but how can you tell which program would be a good fit for your child? Whether your son or daughter is looking for major roles or just having fun learning to act, there are several key elements that can reveal whether or not a particular acting school or program is a good choice.

Actors Connection strongly focuses on these 3 ideas and encourages you to put them to the test. Our studio offers both free on-camera opportunities to try as well as Casting Director & Agent intensives and a stellar summer camp!

  1. A Variety of Programs Under One Roof: Does the school you are considering offer a full spectrum of class options for your child to participate in? More options means an opportunity to explore many different aspects of acting within the familiarity of a single school and team of staffers. Familiarity and comfort are important when it comes to helping children learn to act. Find a school that feels good to you and your child, and which offers an ongoing selection of classes for them to experience.
  2. The Acting Business—For Kids: All too many parents make the mistake of thinking that the business aspects of professional acting don’t apply to children. Quite simply, they do. Casting directors expect child actors to be prepared and professional. This includes not goofing off in the waiting room when your child is awaiting his or her turn to try for a part. A reputable kids’ acting school will include training and preparation for children who wish to step into the world of professional acting.
  3. Support, not Pressure: We’ve all seen those reality TV shows where seemingly obsessed parents push and pull and drag their children from show to competition and back again. An acting program you can trust will provide programs and seminars that help not just children but their caretakers, too, to understand the nuances of professional acting. Children need respect and support to achieve their personal best—and to have fun while doing so! Make sure your child’s acting program provides compassionate guidance.

With these tips in mind, you will be able to screen for the best acting program for kids in New York City. Take a look at the variety of programs for children and teens that we offer, and be sure to explore our seminars as well to learn more about the business of acting. Your child will benefit from your due diligence, and you’ll help him or her start their acting career off on a healthy, happy and positive note.