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10021 Crow Lane Denham Springs, LA 70726 (225) 408-9857

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Presentation on theme: "10021 Crow Lane Denham Springs, LA 70726 (225) 408-9857"— Presentation transcript:

1 10021 Crow Lane Denham Springs, LA (225)

2  Introduction  Rules & Regulations  Talent Websites/Instructions for Use  Agency Forms  Entertainment Resume WEB Resources (with Samples)  Sample Actors Resume  Sample Models Resume  Definitions  How To Slate  Audition Tips  Tips  Local Resources – Photographers & Instructors  Professional Head Shot WEB Resources (with Samples) 2

3 Hi, I am Lisa Fuller, Owner/Agent at Actors Choice Talent Agency. I work for you, to get you work and experience in the entertainment industry. This handbook was created for you to give you all of the tools that you will need to help you succeed in this industry. Please take the time to read it carefully. It will answer most of the questions that you may have. I am glad that you have joined the Agency and I look forward to working with you!! 3

4  Talent are NOT employees of Actors Choice Talent Agency.  Talent must follow all terms in the attached exclusive contract.  Talent is contracted with Actors Choice Talent Agency not the Client.  Actors Choice Talent Agency has a separate contract with the Client.  Talent must not give any personal contact information to the Client. Always give the contact information on Actors Choice Talent Agency only.  Talent must be professional at all times.  Talent must never disagree or argue with the Client.  Talent must never use foul language in front of or with the Client.  Talent must never discuss rates and/ or assignments with other Talent or Clients.  Talent must never gossip with or in front of other Talent or Clients.  Talent must never chew gum or smoke on castings or auditions.  Talent must be careful with their posting on ALL Social Media sites  Talent must fill out all vouchers and/ or payment sheets with Actors Choice Talent Agency’s contact information ONLY. ex: address and phone number  The normal time for a Client to send pay is within days after completion of the project (depending on the project and client).  Once Actors Choice Talent Agency receives payment from the Client it will then be processed and all commissions will be taken out then the remainder will be sent to Talent.  Under no circumstances is Talent allowed to contact the Client.  If parent is booked with the child, the parent owes commission also, even if parent is not a signed talent.  To be pictured on the website, there is a $ charge per year. If you wish to be pictured you can pay online by going to the website and click on Contact Us.  To make your AgencyPro Account “Active” there is also a charge from AgencyPro. You can pay monthly or yearly. When Active your account has a lot more functions. Having an “Active” AgencyPro Account is NOT required. 4

5 Register on all of these websites ASAP!!! This is where you are being submitted for the principle roles!! Only people that are represented by the Agency are allowed to register on these sites. DO NOT SHARE THIS INFORMATION WITH ANYONE THAT IS NOT A TALENT OF ACTORS CHOICE TALENT AGENCY!! Register on all of these websites ASAP!!! This is where you are being submitted for the principle roles!! Only people that are represented by the Agency are allowed to register on these sites. DO NOT SHARE THIS INFORMATION WITH ANYONE THAT IS NOT A TALENT OF ACTORS CHOICE TALENT AGENCY!!   Click on representation and add Actors Choice Talent Agency.   Agency Code: 68A3AA0   Click Talent Rep and add Actors Choice Talent Agency   Click on Representation (may also have to Click New Orleans) choose Actors Choice Talent Agency   Click on Representation and add Actors Choice Talent Agency   Click on Profile and Representation and add Actors Choice Talent Agency 5

6  The Agency Forms are sent to you via from RIGHT SIGNATURE. There are copies of these forms on the website on the Members Only Tab.  Check your for the from Right Signature.  Click the link in the Right Signature .  Fill out the documents online.  Print out the Limited Power of Attorney Page, have it notarized and mail to me. See the Checks go to Agent page for the address to mail it to.  PARENTS OF CHILD TALENT ONLY  For Child Talent…. In addition to the child's Limited Power of Attorney Page, Print out the Coogans Account documents, fill them out and fax them to the number in the instructions. When you receive proof of your child's Coogans Account, scan and to me.  For Child Talent….. Also me the child's Birth Certificate and Social Security Card. The documents are required to get a Work Permit for your child from the Department of Labor to work on any movie. NO TALENT WILL BE SUBMITTED FOR ANY WORK WITHOUT ALL DOCUMENTS AND PAPERWORK!! 6

7  NOTE: ALL RESUME’S SHOULD DISPLAY YOUR AGENCY ADDRESS AND PHONE NUMBER ONLY!! NO PERSONAL CONTACT INFORMATION.  There’s a standard format for résumés that, while not a hard-and-fast rule, is typically followed. You use only one 8½” x 10” page, so arrange your space carefully. The format will cover the following and typically are in this order.  1. Start with your name. Boldface, center.  2. Beneath your name, also centered, list your professional affiliations such as SAG, AFTRA, Equity. If you're not a member of a union, simply skip this step.  3. Give your physical description—height, weight, hair and eye color, and sizes. If you’re a singer, specify your vocal range.  4. List contact information—Since you now have an agent, put agency name here under "Represented by...."  5. Also add Agency Website and Agency Address.  6. Experience. This is the most difficult to organize because space is limited. Subdivide this section into: “film,” “television,” “stage,” “voice overs,” “commercials,” “print”, and “other” such as trade shows, theme parks, or cruise ships. You’ll want to devise a table to organize the categories in columns. (Tip: Leave off any headings that you are not using to save space.)  Column One: Name of play or movie. Column Two: Role you played. Column Three : director’s name.  7. Training. Acting, voice, dance, workshops, scene study—where you studied and with whom. If space permits, and if the training session was substantially long, consider indicating how long you studied.  8. Special talents. List your special skills such as juggling, acrobatics, pantomime, dance, stage combat, ability to speak foreign languages, dialects, and the like.  9. Theatrical awards and honors. 7

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10  CD: Casting Director – The person or persons who will be casting talent into the specific roles for specific projects.  Slate – Your introduction either at the beginning or at the end of your audition (CD will let you know when to slate).  Breakdowns – Another term used to describe the Actors Access website.  Submitted – Means you were sent in for the role. The CD has to review all submissions and pick who they want for each role.  Booked – Means you were picked by the CD for the role and will be working on the specified day.  TERMINOLOGY  Action : The cue that is shouted when the camera starts rolling  A.D.: Assistant Director  Ad Lib : made up dialogue that is not scripted; a form of improvisation  Art Director : Person who creates and designs sets  Avail : a courtesy situation extended by an agent to a producer indicating that a performer is available to work a certain job. Avails have no legal or contractual status  Background Talent : Also known as extras  Best Boy : In films, the assistant to the electrician  Billing : The order of the names in the titles or opening credits of a film or television show  Bio : (or biography) A resume in narrative form usually for a printed program or press release  Blocking : The physical movements used by actors in a scene  Booking : A firm commitment to a performer to do a specific job  Boom : An overhead microphone, often used on-set, usually mounted on an extended pole  Breakdown : A detailed listing and description of roles available for casting in a production  Buyout : An offer of full payment in lieu of residuals, when the contract permits  Callback : A follow-up audition  Call sheet : Production term for daily listing of shooting schedule, scenes and cast involved  Call time : The time you are due on a set  Cattle call : often known as an “open call”, a large open audition  Close-up (CU) : Camera term for a tight shot of the shoulders and face  Cold reading : An unrehearsed reading of a scene, usually at auditions  Commissions : Percentage of a performer’s earnings paid to an agent’s managers for their services  Composite : A one-sheet of photos representing an actor’s different “looks”  or local agencies  Wrap : finishing a production  10

11  Conflict : Status of being paid for services in a commercial for one advertiser, thereby contractually preventing performing services in a commercial for a competitor  Copy : The script for a commercial or voice-over  Craft services : On-set catering  Dailies : Screening of footage before it is edited  Day-player : A performer hired on a day-to-day basis, rather than under a long term contract  Downgrade : Reduction of a performer’s on-camera role from principal to extra  D.P.: Director of Photography of Cinematographer  Dress the set : To add items/props to the set  Drive-on pass : A pass to drive on and park at a studio  Emancipated minor : A minor under 18 who has been given the status of a legal adult by a judge  Employer of Record (EOR) : The company responsible for employment taxes and unemployment benefits  Executive Producer : The person responsible for funding a production  EXT. (Exterior) : A scene shot outside  Field rep : SAG staff member who ensures contractual compliance on a set  Forced call : A call to work less than 12 hours after dismissal of the previous day  FX (Effects) : Special Effects  Gaffer : A crew member who places lighting instruments  GED : General Equivalency Diploma  Gofer : An errand runner  Golden time : Overtime after the 16th hour  Grip : A crew member who moves set pieces or props  Hiatus : Time when a TV series is in between production  Hold : A contractual obligation for a performer to be available for work  Holding fee : Set payment by an advertiser to retain the right to use a performer’s services, images or likeness on an exclusive basis  Industrial : Non-broadcast, often educational films  INT. (Interior) : A scene shot indoors  In time : The actual call time or start time; also refers to return time from a break  Looping : An in-studio technique matching voice to picture (Also known as ADR) 11

12  Meal Penalty : A set fee paid by the producer for failure to provide meals as set by the contract  Monologue : A solo performance by an actor  Out time : The actual time after which you have changed out of wardrobe and are released  Overtime (OT) : Work extending beyond the contractual workday  P.A. : Production Assistant  Pan : A camera shot which sweeps from side to side  Pick-up : an added take because of a problem with a shot  studio production  Pilot : The first show introducing the characters and situations for a potential series  Popping : A vocal term used to describe the sudden release of blocked air into a microphone causing a popping sound  POV shot : A point of view shot; camera angle from the perspective of one actor  Principal : A performer with lines or special business which advances the storyline  Producer : (or Line Producer) The person responsible for the day-to-day decision making on a production  Re-write : Changes in the scripts; often made using color-coded pages  Scale : Minimum payment for services under Union contracts  Scale+ 10 : Minimum payment + 10% to cover agent’s commission  Script Supervisor : The crew member assigned to record all changes or actions as the production proceeds  Sides : Pages or scenes from a script used for auditions  Sight-and-sound : Parent’s right’s under Union contracts to be within the sight of the child performer at all times  Signatory : An employer who has agreed to produce under the terms of a union contract  Slate : A small chalkboard and clapper device, used to mark and identify shots for editing; also the verbal identification by a performer in a taped audition (i.e. “Slate your name.”)  Stage Manager : The person who oversees the technical aspects of an in-studio production  Station 12 : At SAG, the office responsible for clearing SAG members to work  Studio Teacher : Set teacher or tutor, hired to provide education to working with young performers; also responsible for enforcing Child Labor Law  Stunt Coordinator : The persons in charge of designing and supervising the performance of stunts and hazardous activities  Submission : An agent’s suggestion to a casting director for a role in a certain production  Taft-Hartley : A federal statute which allows 30 days after first employment before being required to join a Union 12

13  Take : The clapboard indication of a shot “taken” or printed  Take 5 : The announcement of a periodic five minute breaks  Waivers : Board-approved permission for deviation from the terms of a contract  Walk-on : A very brief role  Wardrobe : The clothing a performer wears on camera  Work Permit : A legal document required to allow a child to work, issued by various state 13

14  Look directly into the camera not at the casting director.  Speak clearly and with confidence. Do not sound like you're asking a question. For example, say "Jane Doe." NOT "Jane Doe?" You know your name. Just take a deep breath and introduce yourself. Your name should be followed by your height and agency that represents you. On occasion you may receive additional information to say during your slate.  A proper Slate: Hi, my name is _______. I am ______ tall and represented by Actors Choice Talent Agency. 14

15  ALWAYS BRING YOUR HEADSHOT AND RESUME TO AN AUDITION WITH YOU!!!  Do not walk up to the casting director and shake his/her hand when you are introducing yourself. It may seem cold, but casting directors usually do not want to be approached or made direct contact with. Slate, perform, be polite...that's it.  After you slate, wait for the casting director to prompt you to begin your performance, and then go right into it. There's no need to say anything else, just get to business.  If you make a mistake or fumble the words, just try it again and move on. You don't need to explain a problem or excuse. It’s better to just keep things moving. 15

16  Learn Your Craft: Too many people think that acting is easy. Just like any art form, acting is a craft and must be mastered. Take acting classes, watch other actors and take the time to hone your craft. There are a number of top tier actors who make a point of working with acting coaches to be sure they remain at the top of their game.  Never Be Late: This might seem obvious. Casting sessions are usually just a few minutes and are scheduled at odd times like 7:25 or 6:50 on purpose. Be early or don’t bother showing up. Patience weighs thin at a casting session and few things will hurt your chances more than being late.  Know Your Lines: Again, this might seem obvious. Spend time preparing your lines. Prepare not only what you’re going to say, but how you’re going to say it.  Don’t Rewrite Your Lines: Never, ever, ever say something other than what’s in the script. There’s no better way to offend a writer than to come up with your own lines.  Listen, Listen, Listen: I repeated this one three times because I’m hoping you’re listening. Listen to what you are being told. Sometimes the casting director will give you a bit of direction prior to the audition or during the audition on a particular line. Listen to what they’re saying.  Make Sure Your Headshot is Accurate: There are few things more annoying then getting a headshot that looks nothing like the actor who shows up. Be sure your headshot accurately portrays who you are now. If you’ve gained weight, cut your hair, gotten a few years older then make sure your headshot shows this. Your headshot won’t be the one getting the job and you certainly won’t either if you look completely different than what people were expecting to see.  Commit!: Actors who genuinely commit to a reading are fun to watch. They literally transform themselves into a character. By committing fully to the reading, you will not only dissolve any nervousness, you’ll show the decision makers that you should be considered because you can play the part with a genuine passion.  No Excuses! The fact is no one cares that you had any incidents pop up. Life happens and sometimes things go wrong and in a normal world, this might be taken into consideration. No matter what excuse you give for your tardiness, or unpreparedness, there are dozens of other people happy to take your place with no excuses.  Being an actor is not the easy life it may seem. There are often long periods of financial insecurity, huge amounts of competition along with multiple forms of rejection that make the overall process that much more difficult. Many actors will never succeed simply because they ignore some of the most basic elements. Give yourself the best chance at success by following these simple tips and you’ll quickly find that you’re already ahead of the game. 16

17  Photographers  Aimeezing Faces Photography – Aimee & Ron Carr –  Bleu Photography – Quinn Gordon –  Hera Photography – Michelle Dry - (225)  Coaches/Trainers/Consulting  Actors Alliance Productions – Veleka Gray – –  Lance Nichols – – 17

18  to-take-the-perfect-headshot-six-tips to-take-the-perfect-headshot-six-tips   taking-better-headshots.html taking-better-headshots.html 18

19  If you have any questions, that are not answered in this Handbook, please me at: 19


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