Advice & Critique: How to listen when it's not what you want to hear

In The Actors Guide To Everything, under REPRESENTATION, we write that a manager "advises clients on career choices, grooms them for the industry with guidance on new headshots, resumes, classes, type choices, etc., and personally advises every step of their business, which includes some aspects of life coaching."

Presumably actors know this - and want this - when they are seeking a personal manager, or other form of representation. Yet I can't tell you how many times I have met with an actor for the first time - for our "interview" - and started to tell them something they didn't want to hear - that I was unable to represent them, or that they needed to get new pictures, or ... well, you get the idea - and watched them "tune out" I can watch it happen before my eyes: their eyes glaze over, they nod like they are listening but I can tell they just want to get out of my office as soon as they can.

Actors frequently come into my office thinking I am going to be amazed at how talented, professional and on top of things they are, and they seem to think I will simply agree to represent them with no advice to offer. When they hear my suggestions, they look stunned and uncomfortable. I wonder how well they take direction on stage or on screen. I wonder what is going to happen if we decide to work together and we encounter a crisis -- how can I help someone who can't listen to my advice, or accept anything they feel is critical of them?

A happy life & career require personal growth, and understanding criticism is essential to personal growth. Criticism is everywhere, so use it to your advantage.

Here are some simple steps to deal with criticism: Hear it, evaluate it, learn from it and take action.

Hear the criticism: Just listen. Resist the urge to justify, excuse or defend yourself. If you're not ready to analyze the critique, analyze it later.

Evaluate the criticism: Does this criticism apply to you? Is the critic speaking truth or is he/she off the mark? If you are unsure if the critique is true, ask someone close to you, who you trust.

Learn from it: If the criticism is justified, you have been made aware of something you need to adjust, change or do. Accept this knowledge.

Take action: Once you have figured out what action you should take, do it. This is a typical time for procrastination, but make the choice to make the changes instead.

This process of "dealing" with criticism will be a tremendous advantage to you as an actor.

If you need more tantalizing information on receiving criticism, check out Bob's Corner!

Trends in the Business

Trends in the business

Show business has trends, just like in the fashion business: certain types of action movies may be popular (THE AVENGERS, THOR, SPIDER-MAN, etc.), or there might be a surge of tv or film projects featuring young singers & dancers (GLEE, SMASH, etc.). This means that certain types of actors will be cast more than others during these trends. It is important to spot these trends in the business.  Is there a particular ethnic group that is "hot" right now?  Perhaps women with curly hair are in now.  There was a time when men with five o'clock shadows were everywhere. 
Trends are important to recognize -- perhaps your "trend" is hot, or you might be able to adjust your image to fit a trend.  One time I remember one of my clients who used to do well commercially had stopped getting callbacks.  I thought this was so odd, since she had previously been so "popular".  I watched TV for several days in a row and concentrated on those commercials that my client had auditioned for --  I noticed that the women who landed the roles all had curly hair.  Aha! I had spotted a new trend.  I discussed this with my client, and she stopped straightening her hair; she soon began to get callbacks again.  Now I know this might sound rather simple, but sometimes it is simple -- so simple that we fail to see what is there right in front of our eyes!.  The whole point is to always be aware of the currect trends, and to see how you might fit into them.  Sometimes it works! If your type is not "in" right now, keep looking for the trends - they are always changing, and a trend for your type may not be far behind!

I hate my "day job" but I need the money - what should I do?

Most of us have, at one time or another, worked at a job that we did not like. Sometimes the boss seems penurious (my new favorite word - look it up), or the coworkers are mean, or the pay is too low for the amount of work required, or the work itself just does not appeal to us. Here are some thoughts about dealing with this problem.

To figure out how best to proceed, ask yourself the following questions:

• What is it I don't like about this job? 
• Is the thing I hate about this job fixable?
• Would it be worth staying at the job if I could fix the problem?

Let's break it down:

What is it that you don't like about your job? Is it a personnel matter, i.e. you have a problem with people you work with, like the boss or a coworker? If so, possible solutions include asking for a private meeting with the person or persons, in which you make an effort to find out what they are thinking, and to make your feelings known. This can clear the air, and get the unspoken issues out in the open, with the hope that all those involved can adjust their behaviors accordingly. Remember to be professional and try to be respectful, because being disrespectful and angry will very likely sabotage any potential progress. Sometimes our coworkers and supervisors have no idea that their words or behaviors have upset others, and simply making them aware of your thoughts and feelings can be enough to bring them around.

Is the thing you hate about the job fixable? If your coworkers or your boss still make you miserable, or you can't seem to find  a way around the thing you dislike, then it probably is time to look for employment elsewhere.

If you dislike the work itself, the best thing to do is to figure out what you would prefer to do, and then look for a job where you can do that instead. Sometimes this is simply looking at what jobs you can find, and then choosing the best out of the bunch (we can't always find the perfect job right away). In the meantime, since you need to keep your job until you can find another, try to make the best of it, and to take the path of least resistance. Sometimes it just doesn't pay to argue with people when you already know you can't win. Try just agreeing with them, and letting the conflicts just roll off your back, knowing that you will soon be gone from the unpleasant situation as soon as you can.

Remember ... communicate effectively. Use your friends and family as support systems & to help get the word out when looking for a new job.

What Kinds of Showcases should I do? What form?

Showcases come in many "types" (scenes, monologues, one-acts) and "styles" (improv, acting, musical theatre). The "type" or "style" is the LEAST important thing to consider when thinking of developing or participating in a showcase. The MOST important element is the overall way the showcase is packaged, or the "WOW factor", if you will.  I have been to hundreds, if not thousands, of showcases over the time I have been a manager - more than 25 years - and I can count on one hand those I actually enjoyed and benefited from.  The rest were quickly forgotten, mainly because they were uninventive, unstimulating and downright BORING. 

Let me explain.  You will draw more flies to the honey if your "showcase" has an interesting "gimmick".  This can be in the form of a fascinating venue: a park, an old gutted warehouse, an ice cream parlor, on a bus, on a train, in a public restroom (oh people, PLEASE - I am KIDDING...but only partly.  Come on, do you mean you wouldn't be a little interested if you were invited to a showcase presented in a public restroom?).  OK, even a theatre will do, AS LONG AS the show is of interest.  Try hiring a director of note to help add legitimacy and buzz around your showcase.  How about scenes interspersed with music from a well known or up-and-coming composer?  I have always wanted to start a play contest by soliciting plays from playwrights that are no more than 10 minutes long.  I'd choose 6 of the best, cast them with great talent, and spread the word.  People attending would not only benefit from seeing new talent but also the work of some new playwrights.

If you are thinking of developing or participating in a showcase, make sure it is exciting, unique, and has a great selling point!  Above all, DO NOT participate in a showcase for the sole reason of getting casting directors and agents to come to advance your career.  Your main reasons to do a showcase should be because you like and admire the other people involved, you like the concept, it promises to be a learning experience, and (IMPORTANT) it should be FUN!  Of course you will invite industry folk to come and see it, but it WILL NOT be the ONLY reason to participate in it. 

Right now a client of mine and I are developing a "showcase" of a new play we found, which my client would direct (she is primarily an actress but we are beginning to explore directing opportunities for her). This play we found is perfect for high schools and community theatres across the country, and getting it up in public will help in getting this play produced elsewhere. I will cast the roles with many of my clients to give them more exposure, and to provide them with a creatively fulfilling project.  Those are three excellent reasons for us to do this showcase. 

Understand? Good - now go start a showcase of your own!

I have an accent - will it hinder my opportunities?

Let me start by saying that the more versatility an actor has can only provide him/her more opportunities.  You certainly can get work with an accent, but it will limit the jobs you can get.There are only a few movie stars that have done quite well with an accent, such as Antonio Banderas, Penelope Cruz, and Holly Hunter.

In general, it helps to be able to learn to speak without accents or regionalisms (such as a Southern, a Boston, New York or Midwest American regional accent). Anna Torv and John Noble, the two leading actors on the J.J. Abrams series "Fringe", are both from "Down Under" (that's Australia, people!), yet they speak with neutral American accents on the show.

A Speech Coach or Voice Coach can help you learn to speak without your accent - you can find them on our website in our RESOURCES under CLASSES.

DICTION is the important thing to remember if you intend to keep your accent or regionalism. If you have an accent, we MUST understand everything you say!  The Casting Director or Director will appreciate it, as well as the author whose words you are saying!

Remember, just because you have learned to speak without an accent doesn't mean you must live the rest of your life without it. Use it at home, use it with your friends, just leave it at home when attending to your business.

How do I get "discovered"?

Ahhhh, that is the 10-million-dollar question!  I assure you, you will find the secret to being discovered right next to the answer to "How John Essay lost 100lbs in two weeks to become the most gorgeous male in the world!"  If you can find THAT, your dream will come true, because that is all it is: a "dream", a "fantasy".  Show me any successful career and I will show you a lot of blood, sweat and tears that helped get them there.  Nothing in life comes easy, it just doesn't.  OK, sometimes (but rarely) there are exceptions to this rule (or ANY rule, for that matter), but an exception should never be confused for the general rule, or even considered a realistic possibility.

Having said that, there are many things you can do to HELP yourself be seen along the way.  So many people have claimed to have "discovered" Barbra Steisand, and indeed, they "discovered her" - meaning they saw her for the first time - but Barbra was out there plugging away, making herself available to be seen, in cabarets, clubs auditions, etc. The word "discovered" implies that you need to be available for discovery.  A buried treasure is VERY hard to discover unless you know to look in the general vicinity it is located.  The same applies to you.  Making yourself available aids in helping you get discovered.  Going to plays, movies, industry parties, taking classes and perhaps some "pay to display"/"Meet and Greet" sessions, or anything else that will enhance your "life experience" is a step closer to being "discovered" or seen by someone on your way to a successful career.  Of course, if you clicked on this link in hopes of actually finding the answer to immediate stardom, you may want to take a good look at yourself and why you are still trying to reach for this unattainable fantasy. 

In my 25 years as a manager, I have only represented two clients who experienced what most people would call "overnight success".  The first was an incredible actress (of course!) who was catapulted into the stardom arena without being a star herself - that is, she was not a star but was competing with stars for roles.  We were lucky enough to have her up for every major feature of the time - SILENCE OF THE LAMBS, REVERSAL OF FORTUNE, SOAPDISH, and WHAT ABOUT BOB?, to name a few.  However, it was always between her and a real bona fide star - in her case, usually Elisabeth Shue.  Of course, the outcome was always the same for my client - she lost out to the bigger name.  After several years of getting so close to being cast (sometimes up to eight auditions), it took a toll on my client, and after much soul-searching and a heart-to-heart with me, she decided to leave the business and pursue another career.  So, be careful what you wish for!  My second client who has achieved this level has proven more resilient - though always competing against household names, she is still managing - by being available and connected - to find a niche for herself as her star slowly rises. 

A slow building career is so much better than an overnight sensation.

What should you do if you have a bad reader at an audition?

Well, here you are: you've just arrived at your audition - and early, to boot! Now you have time to relax, to go over your lines again, and to freshen up in the potty room. You have read all the juicy tidbits of information on on our website and now you are implementing some of those new tools today. You look great, you feel great ... bring it on!

The monitor calls your name and you confidently enter the audition room. You exchange pleasantries as well as brief introductions. You notice there are two chairs facing the "casting table" and a reader is already seated. You are asked to begin your scene.

You begin your scene with your reader, and as you progress into the scene you realize ... THIS READER IS AWFUL! You can barely hear him/her, there is no eye contact, and worse of all, there is no emotional connection between the two of you.

DON'T PANIC! You have worked on this scene, and you know where the emotional connections are.

DON'T shrink to the level of this bad reader! You must trudge on, imagining that you are getting everything you need from this reader.

DON'T waiver. If you try too hard to connect to this reader, you risk being sucked into his/her low-energy-lack-of-connection vortex, and then you would be doing yourself a great disservice. The "casting people" will see your acting with thoselimitations, and they will assume that THAT is the BEST you can do.

Be prepared in advance for the possibility of an inadequate reader by always rehearsing your material as if your partner is awful. Besides, this kind of communication happens all the time in real life. You are upset about something your significant other did, and when you passionately try to explain it to him/her, he/she SHUTS DOWN. NO NOTHING. But you still go on trying to make them understand ... ! It is the same in an audition with a bad reader. You just have to go on and be passionately engaged in what you are doing, indeed become even more determined to get them to HEAR you, REACT to you, while still being authentic and "in the moment".