What is THAT Smell?!

This week: The Stench of Desperation; Actors Trying too Hard

You and I both know how difficult the challenge often is to garner attention in our business. I’m speaking of positive, career-forward recognition, not the Lindsay Lohan lapses of judgment.

I’ve written in my book and spoken in classes of past gimmicks of actor ‘Look-At-Me!’ foibles that I and my colleagues have come upon. Ranging from footwear bribery, attempts at culinary collusion for a callback to cereal boxes loaded with an actor’s reel hidden deep within the cornflakes. (It’s not the children of the corn that are always the flakes.)

So, yes, I and many casting directors, talent agents, artistic directors, directors, choreographers, managers, producers, anyone who gives the nod of affirmation for employ has seen their share of actors trying too hard to gain attention. And there’s a single word for this act; desperation.

That noun describing an action or state of despair once displayed is difficult to remove from the memory of those who witness it. Kind of like the stench from when having a run-in with a skunk. The odor of desperation follows you. And sadly, people who make attempts for attention don’t often see themselves as coming across as desperate. With noble intent they charge forward in a manner that turns off their objective. Think of one of your past loves who whined or were needy for you and how disenchanted you became of their arduous affections. They, with a heart full of great desires, were desperate. The cause? For each scenario that differs. Sometimes fear of failure lures one to desperation. But often insecurity is the main culprit that leads the innocent into committing an act of desperation.

While casting for the national tour of The Diary of Anne Frank my office received possibly one of the more misguided attempts to gain attention and an audition appointment. Below are images of her cover letter. The actress’ name I’ve altered for privacy. Sadly the burn marks made by the sender for make-believe-authenticity are authentic to the actress.

Now take a closer look below and you’ll see that the actress, in attempt at making her cover letter look as if it were ripped from Anne’s diary, was summoning the departed victim of one of mankind’s darkest hours.

The actress’ intent went beyond desperate to bordering on an obsessive passion for the real-life character.

Entertainment is a business. When pursuing the employ of fantasy the pursuit should be as professional as with your approach to finding your survival jobs. I doubt that you would (and hope that you would not) send a query letter for employment like the above to a Fortune 500 company, the Trump Organization or any civilian employer.

My partner, the talent agency owner, recently received an 8”x10” mailing (below) from an actor that could be interpreted by any recipient to be another act of desperation for attention. Now, the young man probably did not perceive such as he spent many hours and monies upon marketing that he believed to be professional and slick:

Yes, it is a bit polished. No, you should not do similar. As a comp card? Possibly. As a headshot and resume which the above was intended to be? It’s too slick for our purposes. It and the actor try too hard. Less is more. A simple headshot with on the back a résumé printed on clean, crisp, white paper. That package would have been more effective and apropos.

But it wasn’t just the irregular P&R format that caught my attention. There was also a lengthy, five-paragraph, cover letter full of prose  containing near nothing as to valuable, substantial information like; education, past projects, and people he has worked and/or studied with. Much of the content mirrored the following phrase:

“Throwing my headshot into the trash can would be a mistake… some agent is going to make a lot of money.”

Oh, no he didn’t. But oh yes he did.

Now you may be formulating the following thought, But Paul, he got your attention. Yes. Yes, he did. But it’s not the kind of attention I believe he wanted. My initial reaction was, “My God, how much time and money did this young man spend to put together a mailing that overcompensates for lack of substance in his work history?” He was trying too hard to make up for a thin resume. Of which the latter (a thin resume) is not a crime or fault.

I and my colleagues would be thrilled to see the exampled actors here (and similar like them) succeed by making professional-in-appearance choices in their journeys instead of driving down dead-end driveways of desperation. I give hardball tough love here, in my book and in classes because I honestly want success for every actor I encounter. Their success is my happiness. Not because I arrogantly believe myself to be right but because I don’t enjoy seeing actors fail as a result of simple mistakes they have made. Overcompensating is one of those easily tripped upon errors.

We all begin with nothing. Be proud of what you have to offer. Don’t subjugate substance for splash. Don’t go Six Flags fireworks on your resume to overcompensate for a mom-n-pop history. Some of the most productive producers of story-telling art have been those lesser known venues. Never be ashamed. (And unless you want to permanently destroy a cover letter never take a match to your missives.)

You know where we all should be trying too hard? At enjoying life. Living to our fullest potential has no odor of desperation.

Besos,
Paul

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Paul Russell’s career as a casting director, director, acting teacher and former actor has spanned nearly thirty years. He has worked on projects for major film studios, television networks, and Broadway. Paul has taught the business of acting and audition technique at NYU and has spoken at universities including Yale, Temple and the University of the Arts. He writes a column for Back Stage and is the author of ACTING: Make It Your Business – How to Avoid Mistakes and Achieve Success as a Working Actor. For more information, please visit www.PaulRussell.net.

 

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The Ugly of Our Trade

This Week: It’s All Business

Recently I was talking to an agent regarding two actors I had brought to his/her agency. For sake of clarity and protection of all involved I’ll name her Sue. (Why oh why do I hear Johnny Cash in the background?)

Sue was discussing the future of two clients I had brought to her agency. One signed. (Amy) The other, not signed. (Peter) Peter was not fully represented but in a popular show for which Sue had helped negotiate the contract for his participation. Both wonderful people but as actors their type and/or skill-set have been a challenge for professional advancement. And so Sue spoke with me about releasing Amy and not taking on Peter. I was troubled. For I, the person of “This is a business folks, treat it as such.” found myself asking Sue to consider emotion and state-of-being for Amy and Peter before casting aside each. But Sue then reminded me of the harsh realities of our trade. If the actors were not making money for the company or as in Peter’s case, not an easy sell, then it only made sense that they be let go.

Damn.

In Amy’s case Sue spoke of how her office had gotten Amy — never before represented — into all the major NY casting offices for Broadway; Telsey, Rubin, Carnahan, Binder, Howard et al. And noted that in the two years that Amy has been with the agency there have been no call-backs. Zip. Nada. None. The creative teams were nonplussed. That silence was accompanied by a lack of interest from those same offices in seeing Amy again for other projects.  Sue then reminded me that Amy failed to get call-backs on projects cast by my office. Because of Amy’s lack luster performance in audition studios agents in Sue’s office stopped submitting the actress on projects, including readings. To which I argued with Sue that since she as owner of the firm has her name on the office door her employees should follow her directives. Sue countered by reminding me that you can’t force someone to be enthusiastic for a client if the results are lacking and love has waned. She continued by adding the reverse by an actor could and has happened to Sue and many other agencies. If an agency wasn’t producing  an actor’s desired results then that actor would not think twice about severing ties.

Check-mate.

As to Peter, the actor for who Sue only represented regarding the hot hit in New York, it was his age and type that was holding him back from being welcomed as a member of the agency’s family. Selling him to the gate-keepers would, as in past similar instances, provide few if any results. A cruel reality I know all too well. Casting directors have far better and more experienced choices of actors at Peter’s age. Unfortunately I could not argue from a business stand point with Sue. My heart wished for another reality but knew the truth. She was correct. I’ve seen many wonderful actors of a certain age or type with few credentials fall by the wayside. There’s little an actor can do if at a point of maturity they have not had a work history that can compete against the resumes of their peers. (For anyone who is going to point out the elder actress, Gloria Stuart, in Titanic; that was a fluke. Plus the creatives wanted someone of age not known. How many decades did Ms. Stuart while toiling away in the civilian world after her acting retirement in the 1940s have to wait for that one last, grand opportunity? You do the math.)

We are not alone with our industry for this precedent of seeking the more qualified on paper over the lesser curriculum vitae holders.

Now while you may be angered by this, think of the following. How many small-town mayors go from governing a village directly to Commander-In-Chief? (O.K. well, it almost happened and didn’t thank God.) On a personal level would you feel more comfortable if your cardiac muscle needed care with a heart surgeon of a twenty year practice or a resident internist? If you thought the latter then either you’re lieing or are fool hearty with your health.

We as artists often keep marrying our lives and personalities to what we do for work thus we feel we are entitled to a leeway for opportunities; believing that the human condition should be taken into consideration when it comes to who is best suited for a job. In response I ask: Do you hold that same standard when choosing teachers of your trade? When buying a car do you consider the car salesman’s “personality” or how well the automobile performs? When opting for one food brand over another do you do so because you like the taste of one over the other or do you consider the emotional well being of employees toiling at remote factories manufacturing both your likes and distastes?

I’ve stated many times, yet sometimes fail to recall myself, that as an artist one must separate who we are from what we do. Our work is product. What you do is not you.

Do not expect that because you bring cupcakes to your agent, flirt with a director, write postcards to a casting director or attend a producer’s wedding that these mannerly niceties of life guarantee you a dedicated response to your product. Sometimes they will help to keep you in mind by the recipient. But if there’s a better choice of product, like all of us, they are going to go shopping for what suits professional and/or personal needs the best. And dependent upon your view; that’s the ugly side to any business.

‘Till next week for something… completely different.

My Best,
Paul

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Paul Russell’s career as a casting director, director, acting teacher and former actor has spanned nearly thirty years. He has worked on projects for major film studios, television networks, and Broadway. Paul has taught the business of acting and audition technique at NYU and has spoken at universities including Yale, Temple and the University of the Arts. He writes a column for Back Stage and is the author of ACTING: Make It Your Business – How to Avoid Mistakes and Achieve Success as a Working Actor. For more information, please visit www.PaulRussell.net.

 

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