Sag Aftra Strike

Now That The Strikes Are Over

What Should You Do Next Now That The Strikes Are Over
by Brette Goldstein, Casting Director/Producer

Strike has ended! Hooray!

Here are some helpful tips for getting things in motion over the next few weeks!

Make sure your casting software profiles are updated and fabulous. Casting Directors are more likely to view profiles on casting software platforms first, rather than take the time to investigate a large number of individual websites, so prioritize those used most frequently in your market.

Are your pics truly representative of who you are NOW? (After a few years, a global pandemic which may have included possibly homeschooling your children for the better part of a year or more…you catch my drift.)

Is your primary photo that your reps use the primary photo you’d like them to use? (This usually comes as a surprise to actors when they see what their reps are using as a primary headshot.)

Is your resume updated, easy to read, and free of spelling, punctuation, and grammatical errors?

Are you making smart, clever use of your bio box on Actors Access? What about the “About” line on Casting Networks? Perhaps more about that on a future blog. (Or check my IG reels..I know I’ve created a reel on that topic. It’s there on the grid somewhere.)

Does your Media truly teach US how to cast YOU? Is it a true reflection of where your Wheelhouse meets your Wishlist meets your Market? (Think about registering for my Way Beyond Type class at Actors Connection for more on this.)

Is all of your media – clips, reels, audio tracks, etc. – labeled well? If I am taking a look at all of your media at once, is it overwhelming in terms of quantity and/or vague labeling, or would I be able to go directly to the clip I need or am in the mood to see? (In my particular case/taste it will most likely always be a single-cam comedy clip.)

Do your special skills reflect your current proficiency?

Next!

Casting Director Brette Goldstein the the Author of this article

Be conscious, empathetic, and specific in your communication. Casting Directors are coming up for air post-strike. They’re also being inundated with “Hey! Strike’s over! Keep me in mind!” emails. Here are some tips on email communication:

Make email updates relevant to the recipient. For example, if you’re sending an email to a casting director that primarily casts network procedurals, they’re likely to be less interested in your latest commercial or VO demo reel. Send them what you think will inspire them to call you in for what they are casting now. This ultimately may mean segmenting your email list.

I would also recommend treating emails like postcards from way back when. You didn’t expect a reply to a postcard for the most part, right? I’d even kick it up a notch by closing your emails with a dash of empathy. You could say something to the effect of, “I know how busy you must be right now. Please don’t feel like you need to respond whatsoever. Just dropping a line to check in with you and touch base. Have a great Thanksgiving if we don’t connect beforehand!” Something like that. If you acknowledge that you’re not a fire that needs to be put out – knowing that our inboxes often feel exactly like that – and that there’s no need to write back, I can’t speak for others but I know I would write back if I had a few minutes! Why? Because you get it! Also, empathy rocks.

If you’re emailing a casting director, consider sending a self-tape or clip of something that shows that you work in the world of whatever they are casting.

Also, think long term when it comes to building relationships. The first thing that comes to mind for me is being smart when it comes to inviting industry to shows, readings, screenings, etc. Let’s say you’re doing a show downtown. A new play. You get through tech and first preview. It’s just ok. The writing is fine, but not fantastic and the cast is a little uneven. You’re great…of course you’re great! But there are some parts, including the set, that, well, aren’t.

Here’s my advice.

Tell the casting director that already knows and likes you that you just finished a run of a show but chose not to invite them to this one because you weren’t sure it would be their cup of tea. You just want to let them know you played a really compelling leading role in a recent production of a new play. You didn’t want them to come see a show that overall was a little uneven. You know they like your work and you want to respect their time.

That is a gift. And rarely, if ever, happens. Try it! It’s one great way to build and foster a professional relationship over time.

Next!

If you’re looking for representation, keep your eye out for agents and managers who have moved to new companies or started their own. Finding representation might be challenging right now. Reps will want to focus on the clients for whom they’ve been unable to get work due to the strike. There may be few reps that are champing at the bit to bring on new clients right now.

That said, it is very possible that folks got laid off during the strike and will be moving to new offices when work picks up, or even venturing out on their own. And guess who’s all over that? ACTORS CONNECTION! They will bring reps in for workshops and seminars. Look out for “New to this office!” in the workshop header. You’ll need to register quickly as these workshops are in high demand. I wouldn’t wait, though. And here’s why.

This is a generalization, but I think two things happen when we get a new job.

1. We are relatively excited about the opportunity and change of scenery.

2. We do what we can to “make it our own”. This may mean signing or freelancing with new folks. Also – and again, this is a huge generalization – many of us lose that initial glow and enthusiasm after a few months at a new job.

Register early for these workshops. They will fill up quickly, and once a rep has signed on new actors, they may need to take a pause and focus on their roster. Get in while the energy is high!

That’s my advice for now! Keep an eye on my IG @brettegoldstein. Lots and lots of tips there. Keep kicking butt and taking names! I’m on your side!

efforts-v-added-sounds

‘Efforts’ vs. ‘Added Sounds’ – Character VO Auditions – Animation & Video Games Characters

I recently had an actor come to me and wanted to work privately as there were some things that his Agent was criticizing in his animation auditions. This was a top Los Angeles agent who teaches animation, so you would think that she would know what she meant.

The Agent’s critique of the actor was, “You need more efforts.” He was constantly given this note on animation auditions from this same Agent. “You need more efforts,” was always her only critique. This actor asked me what that meant.

Effort SOUNDS is what she meant – but even that was a misunderstanding. The Agent meant that this actor needed more ADDED SOUNDS to the text for the authenticity of the character. Effort sounds are what are requested mostly from video game characters, although animation characters use those sounds as well.

Effort sounds are the sounds you make when you pick up something heavy, pull something weighty towards you, or push something away that is hefty. Throwing a punch, taking a punch, or even pulling your body up the side of a cliff are examples of EFFORT SOUNDS.

Animation actors need ‘added sounds’ and ‘effort sounds’ while effort sounds are usually asked for specifically. ADDED SOUNDS are the sounds we make when we want to say something you are thinking – instead, change your mind and say something else. An added sound is SLID into the words so that we barely notice.

ADDED SOUNDS

“Where are you going?” could become “Ah-where are you.. Eh-going, hm?”

How do you make the added sounds authentic? By adding subtext. Say this phrase internally before the added sound line – “this is hard for me to ask you but…” thinking that you don’t want the other person to leave –

“Ah-where are you.. eh-going? hm?”

ADDED SOUNDS are made SUBTLELY so that we barely notice you have added the sounds. The added sounds are SLID gently into the words. Most animation voice actors are scared to do this because no one ever told them they could. Come to class and see how we can use your flow of musical lines to add those sounds in a way that other actors auditioning never would.

Remember that your job is to give us what no one else can in the audition – not just to read lines and sound like everyone else but to sound uniquely like YOU.

EFFORT SOUNDS

Pretend to pick up a 5lb weight. Now add 20 lbs to it. Add 20 more and 20 more. What sound would you make executing that effort if you did make sounds. Those are ‘efforts.’

That Agent’s job might not let her know the difference between ‘added sounds’ and ‘effort sounds,’ but YOU SHOULD KNOW THE DIFFERENCE. Now you know the difference.


Paul Liberti
https://paulliberti.com/
https://www.facebook.com/groups/VoiceOverTuneUp

SAG-AFTRA Building

Drop Your Anxiety & Prepare for Post-Strike Auditions

Fingers crossed that we are almost at the end of the actors strike and ready to get back to the windfalls of work waiting for everyone!

What will that mean? A LOT of auditions! Are you ready to handle a high volume of auditions with professionalism and confidence? Here are some tips to help!

1. Preparation is Key:

Preparation is a big ingredient to being confident! Work your material so you know it as well as possible. Also do your research on the material and the team so you can make the most appropriate choices.

2. Practice Regularly:

If you aren’t working your muscles as an actor regularly, it will be harder to work quickly and efficiently when you need to! Stay in great creative shape by practicing and staying in class.

be a little bit different3. Deep Breathing:

Take deep and slow breaths to help center yourself and keep yourself calm before major auditions.

4. Visualization:

I love this tool for actors! Visualizing success has been proven to help you produce better results in studies around the world for YEARS. Take some time to visualize your audition experience to help you feel prepared and pave your brain for success.

5. Physical Warm-Up:

This is a great way to prepare and it doesn’t need to be intense. A good stretch or a short walk can help you release nervous energy so you can focus on your performance.

6. Positive Self-Talk:

If YOU aren’t speaking positively and thinking positively about your career, you can’t expect people to think positively enough to hire you. Stop taking yourself out of the running before you even get started by telling yourself negative things.

7. Accept Nervousness:

Being nervous means you CARE–and that is awesome! It’s ok to be nervous and it’s nothing to beat yourself up over!

8. Stay Hydrated and Eat Well:

Keep your tools performance ready! You can’t have a healthy body and voice if you aren’t drinking enough water and eating healthy foods. Your body is your most important tool as an actor!

a sign reading 'dont panic'9. Arrive Early:

An old acting teaching of mine used to say “Early is on time and on time is late.” Arrive to any audition early enough to take a minute for yourself. Rushing doesn’t do anyone any favors.

10. Focus on the Character, Not Yourself:

Get out of the trap of “watching yourself” by focusing on your characters and what THEY want, and not about you and what YOU want.

11. Stay Present:

Stay in the moment! Don’t worry about the outcomes. Outcomes are in the future. You need to be in the now.

12. Connect with Other Actors:

Community is key to longevity in this business! Surround yourself with actor friends that understand the lifestyle and support you!

13. Keep Auditioning:

It’s your job as an actor. The more auditions the better! The more you audition, the more you hone your skills.

14. Seek Professional Help:

If you find anxiety particularly paralyzing, look into getting a counselor. They can help you with more focused coping skills.

15. Learn from Rejections:

Rejection is a part of the biz. Learn from them and then LET THEM GO. Dwelling on rejection never booked anyone a gig…

Let’s get ready for a waterfall of opportunities— we can’t wait to hear about all of your bookings as soon as this strike is over!!!


Written by Colleen Kahl, President, ActorsConnection.com

Special thanks to Tim Wildsmith for the featured image… and Tonic for the inset. 

paul liberti acting coach

A New Perspective on the Audition Process

Actors often see auditions as trying to please someone else – casting, but the truth is that you already please those casting by being yourself. Actors will often see an audition as a chance for validation of what they are doing as ‘right.’

An audition is not there to emotionally satisfy you as valid – but it is the reverse.

You are auditioning – not to get approval for what you do – but to validate casting! WHAT?? How can that be?

Your audition is the first time casting hears this text brought to life. You are showing the writers, producers, and casting – possibilities in the text. You are strong in your process enough to show us a point of view. Casting is trying to GET IT RIGHT.

**You are not auditioning for validation of the value of your work – YOU AUDITION TO VALIDATE CASTING – TO KNOW THAT THEIR MATERIAL WORKS.

**That is the truth behind your daily auditions. They are infused with confidence, knowing you have the skills to bring this copy or character to reality. It is YOUR HUMANITY in auditions that validates the material. If you need more skills in bringing that work to life, it is time to return to class and refresh your confidence in your voice-acting skills.

On your next audition – know that you are the solution and not the one on the chopping block – the material and casting are on your chopping block.

Understanding and seeing the audition process in a new light will often give you renewed energy to do the next audition. And the next. And the next.

You are not auditioning to get it right – you are auditioning to show us your understanding of what YOU see as right to bring the copy to life.


Paul Liberti
https://paulliberti.com/
https://www.facebook.com/groups/VoiceOverTuneUp

Why do you smile during Voice Over copy?

Why do you Smile in Voice-Over Copy?

A Knowing Smile. Why do you smile in voice-over copy?

In any voice-over copy – commercial copy to medical text – you are often reminded to “Smile”. A smile is powerful and needed to brighten and warm the copy. A question now arises – “Why do you smile in voice-over copy?”

For one – it moves the sound FORWARD IN YOUR MOUTH and changes the sound of it. It brightens the copy and warms it because it IS A BRIGHTER SOUND. Yes, you may be directed to smile – but emotionally, you don’t just plaster on a smile. You need to create a reason why you do so emotionally. We are completely aware when you are disingenuine in your reads. We trust a person who makes natural and organic choices in copy – even if you have been directed to do so.

You smile because you know something. It is the discovery of thought that allows you to smile. The smile is not just a phony joyless motion you make by curling the sides of the mouth – but one that begins in your thoughts and starts in the eyes – and moves to the mouth. Now you have an organic natural smile. Even if you are directed to ‘SMILE!‘ on a word or phrase, you as an actor must create the REASON WHY you are smiling. Discover your smile in a lightbulb of thought.

Say this phrase – without any smile.

“I just discovered something – that’s going to help you.”

Now say this phrase and let your imagination ‘discover’ your thoughts and smile during the second half of the phrase. Read the line as a memory you are discovering.

“I just discovered something – (SMILE) that’s going to help you.”

Now say the phrase and let the smile start just before you speak the first phrase. Still invent the words as a memory.

(SMILE and Lightbulb your thought)

“I just discovered something – (nod) that’s going to help you.”

You smile because you discover your thought. You know something that is going to help someone.

A smile in voice-over copy gives us the gift of your wisdom – and the gift of you.

Paul Liberti
https://paulliberti.com/
https://www.facebook.com/groups/VoiceOverTuneUp

the villain defines the hero

In Animation – The Villain DEFINES the Hero | By Paul Liberti

All of the characters in animation stories – are connected.

One of the great lessons we learn in Animation Character Creation – is that all of the characters in animation stories – are connected.

The Hero and the Villain balance good and evil in the story and must balance each other. The story’s antagonist defines the protagonist’s limits and vice-versa, and the depth of the Hero’s strength is defined by the villain’s strengths – and weaknesses.

When given the opportunity, you must learn all you can from all the characters in a story as they must balance each other out. If the Hero can easily conquer the villain, there is no story. Often it can look bad for the Hero – but with some conquering of their weakness, they define their storylines.

There is always a story ‘payoff’ promised to the audience that we must understand comes directly from the balance of those characters. Learn and understand your character and how it fits in with the others as the story unfolds.

This Character Balance carries over to audiobook narration, Video Game Characters, and all character acting. In any story – discover everyone in the story that your character balances against – The villain, the love interest, the Hero, the best friend – and you will begin to find your story arcs and have a strong balance as you start telling your story.

Paul Liberti
https://paulliberti.com/
https://www.facebook.com/groups/VoiceOverTuneUp

Treat every Audition as a Booking

See Every Audition As a Booking | By Paul Liberti

The few minutes that you are auditioning – the job is yours!

When auditioning, it’s common to feel unsure and seek approval. However, true confidence comes from believing in yourself and being comfortable with your imperfections. As an actor, it’s essential to love yourself and the work you do.

Remember that you are unique and valuable; your individuality sets you apart. So embrace who you are, and let your authentic self shine through in your performance. Even if you can’t, remember that I believe in you!

Whenever you audition, remind yourself that you already have the part. During those precious moments when you’re in the script, the role is yours, so own it confidently. Believe in yourself and trust in your abilities. You are unique and valuable, and your individuality sets you apart from others. Embrace who you are and let your authentic self shine through in your performance.

Every audition is a win, even if you don’t book it.

Each audition is another opportunity to become yourself and work your acting process. Your auditions ARE your work so if you are an auditioning actor – you are a working actor. Remember that every audition is a win, regardless of whether you book the role. Each time you step to the mic, you work on your craft and become a better actor.

Embrace the process and trust in your abilities.

If you are an auditioning actor, you are a working actor because auditions make up much of a voice actor’s work. Keep believing in yourself and your unique talents, and success will follow.

Paul Liberti
https://paulliberti.com/
https://www.facebook.com/groups/VoiceOverTuneUp

Actor Resources

AC’s Favorite Actor Resources

There are so many resources available to actors. Here’s a short list of a few of our favorites that we think ALL actors should know about!

The Entertainment Community Fund- Formally called The Actors Fund, The Entertainment Community Fund specializes in supporting performing arts and entertainment professionals. They offer affordable insurance, affordable housing, career trainings, a health clinic and so much more! They are always running informative seminars and sharing resources with their community. Everyone who works in entertainment should be aware of the amazing resources here! They even offer emergency financial assistance programs for some individuals financially impacted by the strike! For more info: entertainmentcommunity.org/

Up To Date Actor- It’s important to regularly research opportunities as an actor. To make smart audition choices, you should be aware of trends, know the people who are hiring, and explore all the opportunities that are available to someone with your skillset. On top of that, you should be tracking your audition data to make sure you are always making the best choices for you. This online platform will do it all for you. It’s basically a virtual personal assistant for actors! It’s run by a hardworking mother/daughter team. For more info: https://uptodateactor.com/

Google Alerts- Got a show you are following? A director you want to work with? Looking for theatres to release their season announcements? Setting up google alerts for these things are a great way to stay on top of that knowledge! Set-up a google alert and always receive info about that topic! To learn how to set-up a google alert, go here: https://support.google.com/websearch/answer/4815696?hl=en

Drama Book Shop- Need to find great new material? Looking for something to self-produce? Trying to learn more about the most produced playwrights? Maybe you need to read the script of the show before your audition or callback. Or you need to find a new monologue for your acting class. The Drama Book Shop is here to help! The Drama Book Shop is located in NYC but you can order online and have your products shipped! https://dramabookshop.com/

The Casting Actors Cast- This podcast is produced by Jeffrey Dreisbach from McCorkle Casting. Each episode is BRIMMING with content, info and tips for professional actors. Jeffrey is extremely generous in these episodes. He’s a marvelous educator and presents info with great energy and kindness. These are great resources for schools and individuals alike! Give them a list today: www.castingactorscast.com/podcasts

Written by Colleen Kahl, President, ActorsConnection.com

Special thanks to Jon Tyson for the featured image! 

Stage = Body, On Camera = Eyes, Microphone = Mind

From an Actors Standpoint: The Body; The Eyes; The Mind

From an Actors Standpoint
Stage = The Body; On Camera = The Eyes; Microphone = The Mind

Stage acting is about the body and voice – and On Camera, acting is about the face and the eyes. From that perspective, Voice Acting is about the theater of the Mind. What you can do at the mic is limitless because it is all about playing within the imagination. So are the listeners if your imagination is activated when reading or interpreting a character. You can be almost anything behind the microphone – and your appearance does not restrict you.

When acting on screen, an actor needs to focus more energy on the Camera than the average person might think. Unlike an audience of theatre-goers, the Camera will focus on the most microscopic and intricate expressions, including something as minute as an eyebrow twitch or a slightly clenched jaw. For this reason, the actor must always be conscious of where the Camera is positioned and perform by how it will look on screen, paying particular attention to their face and eyes.

However, you use your entire body and voice to communicate emotion on stage. Vocal projection and inflection are of utmost importance so that even the audience members sitting in the back row can hear and understand everything you’re saying.

Similarly, using your entire body to translate even the slightest emotion is critical to every stage actor’s repertoire. The physical movement must be exaggerated – even something as simple as standing needs attention to detail. The actor must be conscious of every physical detail to project each emotion.

Now when it comes to voice acting – you no longer have the visual performance of the facial expression you did on Camera – now becomes an added sound to the text.

In Voice Acting in animation or video games, your characters must be grounded to someone – and a voice actor must add sounds to the characters’ speech text to reveal their inner dialog. Voice Actors need to ‘invite the listener’ – into their imagination. The only limit in Voice Acting – is your imagination. You can go anywhere or be anything you can imagine, as there is no visual to your performance at the mic.

There may be an added visual or animation – but the voice actors’ performance is limitless where the imagination can take you. Often the best voice acting performances INVITE THE LISTENER into the actor’s mind to become them by using internal and external energies and going back and forth between them.

Wanna learn more and put all this into practice at the mic? Come back to class and bring your imagination.

Paul Liberti
https://paulliberti.com/
https://www.facebook.com/groups/VoiceOverTuneUp

throw it away, what does that direction really mean?

“Just throw it away” – What does that direction really mean?

Just throw it away – when we hear that phrase, we get guilt that we have held on to something too long, and it is time to DISCARD it. Cleaning out a closet is a great way to get rid of things you don’t need anymore.

When you get the direction to ‘throw a take away‘, it means something very different. Throwing a take away is to RELEASE the idea with simplicity or a shrug. I have given that direction to actors, and they tend to disconnect an idea and let go if it rather than release it and allow the words to do the work.

Words don’t capture us – they RELEASE what is inside of us. I don’t play the piano to make music – I play because it releases the music that already exists inside my head and heart, and I am expressing an attitude or a feeling in my music that I already have inside – i.e. contemplation, fear, joy, or playfulness. The same is true with text; text lets go of the thoughts, feelings, and points of view you already carry.

Pick a product name. Any product name and say it out loud.

‘Randy’s Hardware’
Now say it as you shrug your shoulders.
‘Randy’s Hardware.’

By releasing it with a shrug, you are saying how easy it is to find this product, or how simple it is to own one yourself.

NOW say it as though you hate it and never want to see it again and discard it.

That throws it away because you want to get rid of it. See the difference? So many voice actors never make that distinction. They think that they do, but in truth, they denigrate it.

To ‘throw a phrase or word away’ is to RELEASE it with a shrug and NOT DISCARD IT WITH DISGUST. That shrug is always there on everything – EVEN THE SLATE (if there is one).
Words don’t capture – THEY RELEASE

Paul Liberti
https://paulliberti.com/
https://www.facebook.com/groups/VoiceOverTuneUp