Thursday, September 18, 2014

Directors Guild report highlights lack of progress on diversity hiring

DGA report highlights lack of progress on diversity hiring.
Caucasian males directed seven out of every 10 episodes.
DGA president: It's time to 'stop making excuses' on lack of minority hiring.
Cable channels and broadcast networks have made little progress when it comes to hiring female and minority directors on episodic television shows.

That's the conclusion of the latest report from the Directors Guild of America analyzing the ethnicity and gender of directors hired for prime-time television shows across broadcast and cable networks, as well as programs made for the Internet.
The DGA analyzed more than 3,500 episodes produced in the 2013-14 television season from more than 220 scripted series.
The guild found that Caucasian males directed 69% of all episodes, down from 72% in 2012-13; minority males directed 17% of all episodes, up from 14% the prior year. Female directors, meanwhile, made no headway: Caucasian females directed 12% of all episodes, the same as a year ago; while the percentage of minority female directors remained static at 2% of all episodes.
The guild said the increase in episodes directed by minority males was attributable entirely to a single director, Tyler Perry, rather than a reflection of broad improvement in diversity hiring.

Overall, Caucasian males still directed seven out of every 10 episodes. Women and minority males combined directed just three out of every 10 episodes, the study found.

“Unfortunately, it can be shockingly difficult to convince the people who control hiring to make even small improvements to their hiring practices,” DGA President Paris Barclay said in a statement. "It’s time for the people who make the hiring decisions — be they studios, networks, production companies or individual producers — to stop making excuses, stop passing the buck and start living up to the country’s promise and possibility by providing true equal opportunity.”

The report also found that out of 225 series examined, 23 (10%) hired no women or minority directors at all, and 39 more series (17%) hired women or minorities to direct fewer than 15% of episodes, according to the guild.

Shows that had the poorest diversity records and landed a spot on the DGA's "worst of" list for a second year in a row included: "Bates Motel," "Boardwalk Empire," "Californication," "Castle," "CSI: Crime Scene Investigation," "It’s Always Sunny in Philadelphia," "The Mindy Project" and "NCIS."
Shows that hired women or minorities to direct at least 40% of episodes, making the guild's "best of" list, included "The Real Husbands of Hollywood,"  "Mike & Molly," "Homeland" and "Modern Family."

Credit card companies helping piracy and 'rogue' websites, study says

A new study charges that credit cards companies such as Visa and MasterCard are helping to fuel online piracy
Credit cards companies are helping to fuel online piracy, according to a new study.
A report from the Digital Citizens Alliance concludes that Visa and MasterCard are widely used by customers of leading "cyberlocker" websites, which are lucrative hubs for illegal copies of movies, TV shows, video games and other copyrighted content.
The report, entitled "Behind the Cyberlocker Door," surveyed 30 of the most popular cyberlocker sites -- those that store files for users to download or stream to their computers -- and found that they are highly profitable.
The sites, which include FeakShare, Uptobox, Mega and Putlocker, are primarily used for content theft and generate $100 million in annual revenues. Some make as much as $15 million a year in profit due to low operating costs and the fact that they pay nothing for the product they distribute, according to the study.
These online portals generate revenue from advertising and by selling subscriptions, typically about $10 a month, to buyers who use credit card companies such as Visa and MasterCard to process their payments.  Some sites produced as much as 70% of their revenue from subscription services enabled by payment processors such as Visa and MasterCard, the report said.
"Both Visa and MasterCard made statements saying 'we're not going to do business with these types of piracy sites,'" said David Price, head of piracy analysis at NetNames, the British firm that conducted the study for Digital Citizens Alliance, a nonprofit group that advocates for Internet safety and is supported by the creative industries.

"From our inspection, they have not put much effort into that area to really clamp down on the ability of people to pay for these services," said Price, whose company protects brands from online fraud.
PayPal was offered as a payment option on only one site (Mega) among those offering paid premium accounts. That's a big change from just two years ago when PayPal was the preferred method of payment, Price said.
"PayPal decided, we don't want to do business with these sites,"  he said.

Monday, September 15, 2014

Las Vegas Local Theater September 15 to 21st, 2014




by Joseph Kesselring

directed by Troy Heard

produced by United Production Works

currently running through September 20

Super Summer Theatre – Spring Mountain Ranch



by David Mamet

directed by David McKee

produced by Las Vegas Little Theatre

currently running through September 21

LVLT Black Box – 3920 Schiff Drive 89103



by Jeffrey Hatcher

directed by Walter Niejadlik

produced by Las Vegas Little Theatre

currently running through September 28

LVLT Mainstage – 3920 Schiff Drive 89103



by Tennessee Williams

produced by National Theatre

Tuesday, September 16, at 7pm



hosted by Keith Thompson

Wednesday, September 17, at 10:30pm

Cabaret Jazz Room – Smith Center



by Wolfgang Amadeus Mozart

produced by Sin City Opera

September 18-21

Container Park – 7007 Fremont Street 89101


staged reading: RABBIT HOLE

by David Lindsay-Abaire

directed by Ann-Marie Pereth

produced by A Public Fit

Friday, September 19, at 7:15pm

The Window – 150 North Las Vegas Boulevard #140, 89101



produced by SRO Productions

Friday, September 19, 7:30pm and 10pm

Onyx Theatre – 953 East Sahara Avenue Suite B-16, 89104



by Athol Fugard

directed by Clarence Gilyard

produced by Nevada Conservatory Theatre

September 19-28

UNLV Black Box Theatre 


staged reading: THE EBOOK OF LOVE

by Thomas Misuraca

directed by Sarah O’Connell

produced by Asylum Theatre

Saturday, September 20, at 8pm

Onyx Theatre – 953 East Sahara Avenue Suite B-16, 89104



by Paula Vogel

directed by Joe Hynes

produced by RagTag Entertainment

auditions are September 20 and 21, 2pm-5pm

performs November 14-23

Onyx Theatre – 953 East Sahara Avenue Suite B-16, 89104

Tuesday, September 2, 2014

From Earth to the Moon

Georges Melies' groundbreaking "A Trip to the Moon" opened on this day in Paris in 1902. Photo from the L.A. Times files.

SAG-AFTRA cost too much

When you are ready to be a professional, and like Tom Hanks at the first SAG Awards, hold it up with pride and talk about when and why you joined, then you are ready to pay the SAG initiation and join the ranks of professionals known as union actors.

I received a message, all caps, saying SAG-AFRTRA is a rip off and that the cost of "dues" (they meant initiation) were way too high, and that there is no work.

Let me deal with these one issue at at time:

Ask are you professional enough to join the union? Do producers cast you? Do you work often or at least whenever possible in the industry? Do you take classes, do theater, spend money on listing your services on the web or elsewhere? Have you found an agent or manager? Are you investing in your craft, in time, money or both?

If the answer is yes, then ask are you ready to become a professional by joining the Screen Actors Guild? Are you ready for the commitment of joining the union, with the work opportunities as they are today and with potential for your future that union membership brings?

What you will never get with non-union work:  ability to earn Health Insurance and a Pension; Unemployment Insurance; Worker's Comp; Guaranteed Minimums;  a living wage;  checks that arrive on time and when you need them, residuals, protection of your image and talents against future misuse, and a staff working on your behalf to resolve payment issues. 

The initiation fee helps fund the union you are joining. It is needed to pay staff who make it possible for you to enjoy the wages, rapid pay, safe working conditions, food and water on the set, "bump" income increases, protections of your talent (image, voice, uniqueness) and legal fees the Guild provides for all members. The initiation helps fund organizing so that there are jobs to employ you. Our staff of paid professionals, who work at well below the rates offered elsewhere in the industry because they believe in you, is there on the set when needed or called 24/7, even on holidays. They are the muscle just as stars, like Tom Hanks, are the profile, that makes SAG the most recognized and one for the most respected unions in the world.

There are payments plans to soften the blow, with additional plans are being finalized. Initiation in some markets where there is less work, including Nevada, are one third lower than in union security states where there is ample work.

But just as with buying insurance, a car, a house, or a good pair of shoes, you have to pay to finance the costs of providing you a quality product. Nothing is free.

SAG-AFTRA has among the lowest percentage dues of any union, as SAG financing is subsidized by initiations. And unlike the "evil" way unions are being painted as giant political manipulating machines, less than three percent of your Screen Actors Guild Dues goes to political purposes, with none going to any candidate (SAG advocates for issues benefiting actors, and is prohibited from endorsing any political candidate).

It takes union organizing, the commitment of talent in any market and the reality of the business climate to generate jobs. SAG does cannot employ actors. SAG can only help productions to become union.

As talent you have to stop working non-union. The availability of actors willing to work non-union is only an incentive for producers to continue to not pay enough, to pay when they feel like if they feel like it, to not provide the contract wages, working conditions or protections a union enforces. There is no reason to go union and pay union wages if qualified performers continue to do non-union work.

You have to set the value on your talents and time that make you a professional. That value is a union contract. Only then will you be respected as a professional and given the pay, residuals, respect and credits you deserve.

The nation is in, or recovering from (definitely not in Nevada or California), the greatest recession since the Great Depression. The motion picture industry, unlike its fast recovery from the Depression, has proven less resilient this time around.

Agents, casting companies, production companies, independent producers and distributors and even large studios have folded, sold or scaled back. Many industry related, and even the restaurants and other businesses that surround the studios, have gone out of business in Hollywood much less Nevada.

States where production is booming give away the store and are now finding that incentives are a two edge sword, as tax income is down. Nevada already is business friendly and does not have the taxes or fees to put rebates or loophole for the industry into force.

The person who wrote to me seemed to blame the union for a lack of work.

Look around you at  closed business fronts, vacant condo's and homes, the increase in "street people" and you will see that there is a much larger element at work today. 90% of Nevada homes were, and many still are, "under water", owing more than they could sell for. 70% faced potential foreclosure. Our unemployment rate wass the highest in the nation.

Like the plaque on a previous presidents' desk "It's the Economy, Stupid".

But things will get better.

Production is starting to pick up.

And if you keep your instrument tuned, your heart committed and your eye on the future...the future is only limited by your ability to "tough it out" for the prize of being on a set or stage and acting.

First posted May 5, 2010

To the mother of a child actor...on all questions concerning joining SAG, must join, RTW or payment plans contact you local SAG office.  For Nevada contact
Julie Crane,

Art Lynch's Teaching Philosophy

This blog is for community service, the advancement of union professional performers and for the education of any student interested in the crafts, for fun or as a profession...


How good you are, how skilled, how studied depends entirely on how much you want to put into it.

There is aptitude and there is talent. Both can be developed to meet personal, community, and professional needs.

Opening our minds; agreeing to disagree; positive argumentation; understanding how we all communicate and why are key to citizenship, personal growth, prosperity and education itself.

There is no more important job than teaching, and I am gratified to be a part of this profession. I enjoy the opportunity to help students open their eyes, to dream, to flex their muscles, expand their horizons, forge new paths, and reach their goals. I hope that students see how much I enjoy being in the classroom, and that this enjoyment (really passion and enthusiasm) creates a positive classroom experience. My philosophy is rooted in passion, engagement, support and flexibility.

I believe every person has potential, perhaps more than they may realize.  The struggle may be great, but we have it in us to get there.  Individual effort is important, but reaching out for help is equally important. Also important is having a quality of curiosity, openness, and persistence, and being willing to experience some discomfort along the way.  For many students, going to college is scary – taking a lot of determination, with many students being the first ones in their family to take this step.  Coming from a working class Chicago background, I understand that students may want to focus on practical goals. I also continue to appreciate the impressive diversity of the students in my classroom, in terms of age, nationality, and socioeconomic background.

I believe in an open discussion classroom and encourage students to ask questions and learn from each other. I learn from them every term. I also assume that students have different learning styles, coming from different places and backgrounds.

Students have the opportunity to excel to their personal best through written work, discussion, tests, and assignments. I offer a variety ways to engage students, through workshop actions, lectures, story telling, films, web-assist and online resources.  Occasionally I have students who are surprised (or frustrated) that a class would include a range of topics, including current events, history, and social issues.  By covering these issues students are exposed to discover new things about their characters, given topic ideas, learn more about different sources and become exposed to conflicting opinion. Research and presentation skills are needed for future academic and professional growth. This provides good preparation for, and helps students to have, a learning experience that is more interesting and challenging than a rote series of theory lectures and speech assignments. Plus this helps to encourage a habit of critical thinking.

Teaching communication and acting, means that many students are going to be more anxious than in other classes. When you are up there you are vulnerable. An important part of my job is helping students gain confidence through a gradual progression toward goals. Students are often pleasantly surprised that they have achieved (or simply survived) this experience. 

I earned my Ph.D in part with a disseration that focused on the work of John Dewey, and I am reminded why I this philosopher impressed during my undergraduate days in Chicago.  The notion that learning should be an active process of discovery, and be relevant to student learning [that teaching should not crush curiosity and creativity] and that an education is a social and community project, not merely an individual goal, grounds my philosophy. I will never become complacent about teaching, and hope to continue offering my services as long as I am allowed.

Art Lynch

(702) 454-1067

Where is the industry going?

There is difference on how industry people look at things.

Those with money look at it as money and see the future in Europe, China and eventually Africa, with North America in time becoming a consumer market (as if we were not already).

Those in production see a fight to bring back production to Hollywood as a battle they will win and we can return to the security of Hollywood being the center of production and the industry. I should say the world wide hub. 

And why not? Those who live and work in Los Angeles prefer to return to their families and their own beds, when they can, and to commute to and from work when possible. The infrastructure of the industry (old technology based in too many cases) remains in what we refer to as Hollywood (actually regions of the city of Los Angles and subburbs).

This group that sees Hollywood as the place to be and become "a star" is made up mostly of those who dream of spotlights and beaches, sunshine and "I'm ready for my close up" and those who are hanging on as working class or middle income professionals in all areas of the trade.

Creatives around the country, and the world, look at the future as decentralized, with creative, and too often non-union work, filling in the future landscape from all points outside of the "non-creative" swamp of LA.

Those living in mainstream Hollywood still say "if you are ean actor, you would live in LA" and "if you are an actor you should live in New York and do legitimate theater.

Any way you excuse it, the reality is that the brave new world is here, with locations opening up, green screens and even newer technology making it possible to be anywhere at any time, cameras producing acceptable product for far lower costs and with far shorter production and post-production schedules, crews are shrinking, non-actors (read non-union) able to pass on camera without killing the final products quality or costing the production large amounts of money.

Qualified talent pools, both in front of and behind the camera, exist in hundreds of markets in the US and thousands around the world, with the quality of artistian often as good as or better than in Hollywood.

Where once the best moved to Holllywood, now they can work in the industry and remain wherever they feel at or call home.

Consumer taste seem to also be changing away for high quality to fast immediate satisfaction, from high quality production values to "simple tell me the story", from long form to shorter and shorter form and widely diversified formats and delivery devices.

And then factor in that it is easier for the untrained consumer to make their own "movies" and "videos" and share them with an increasingly large base who consume them as fast food preferred over expensive sit down restaurant meals.

Where you see the industry going, how you see the "Film LA" movement and perhaps how you view my precious unions depends on where and how you consume...

Also education, age, gender, geography and many other diverse factors impact opinions on the state of and trends in the industry, on those who work in the industry and what form of entertainment you expect and enjoy.

Most consumers under 30 prefer chase scenes and little dialogue, minimal character development (the use of stereotypes) and when possible, sex. Of course this is the general trend, there are plenty out there who break that mold or are the exception to the rule...

So what are your feelings on what I wrote above?f

Feedback is welcome!

-Art Lynch


12 Major Faux Pas to Avoid on Set

12 Major Faux Pas to Avoid on Set
Photo Source: Levy Moroshan
Early in my career, I was invited to the set of a film I had cast. The producer seated me near the monitors and gave me a headset, so I could see and hear the action. Imagine my horror when my cell phone went off in the middle of a take, ruining the shot. I’ll never forget the crew’s faces as I panicked to turn the thing off.
The good news is that it has never happened to me again. 
In hopes of sparing you from similar faux pas, I asked around for the best examples of actors’ worst on-set nightmares. Kudos to ye who submitted these fantastic tips, all based on actual occurrences. Read and take heed…or prepare to bleed!
1. Working with cameras and mics. “One of my most embarrassing acting memories was forgetting I was miked.” Between takes, the crew can hear your every word. Never make fun of, hit on, gossip, or gripe about your colleagues. This is one of the most common on-set blunders.
See also: looking into the camera; not being off book.
2. Handling food and drink. “During the lunch break, I dipped my tie into the BBQ sauce and soiled my white shirt.” Protect your wardrobe from spills and stains. Also avoid overeating—or eating the wrong foods—on a shoot day, otherwise, as one actress put it, “your stomach may improvise its own lines.”
See also: pocketing craft service items for later; chewing gum on camera. 
3. Blocking and moving around. “Once I walked into the lead actor’s line of sight during a take, and let me tell you, he was furious.” Similarly, if you fail to watch your back-to-one, you just might kick your “unconscious” co-star in the head, not realizing how close they are to your feet. There’s a lot happening on set, so be hyper-aware of your surroundings.
See also: missing your mark, tripping on cables; bumping into lighting instruments and set dec.
4. Interacting with the set and props. “I peed into a toilet that was actually part of the set.”Know what you’re allowed to use and not use on a set. If unsure, ask!
See also: taking a bite out of waxed fruit they were going to use later as a prop.
5. Negotiating hair, make-up, and wardrobe. “I thought I blew my audition for a guest role, so I cut my hair very short the next day. When I booked it, they freaked.” Ask before changing your look whenever you’re up for—or have booked—a role.
See also: shaving your beard after your character has been established; forgetting sunscreen and getting sunburned on set; not bringing everything Wardrobe has requested or not wearing exactly what they asked you to wear.
6. Making people wait. “I had to pee for at least an hour, and when I finally did jump off set, I failed to tell the AD. When I returned, I got the ‘Where the hell were you?’ vibe and they never hired me again.” Relieve yourself before being called to set. Always inform the first or second AD if you need to leave for any reason, and pay attention in case your name is called. Everyone’s tired; they don’t want to wait for you.
See also: wandering to craft service for a latte without telling anyone; heading to base camp when everyone else is returning to set.
7. Losing focus. “Don't listen to the lead who tells you funny anecdotes and keeps at it until you break. SHE gets away with it because she is a mega star. You are not going to get out of it unscathed.” We all like to have a good time on set, but remember that production is on the clock, and every minute costs money. Be friendly, but don’t allow others—including the names—to distract you too far from the task at hand.
See also: freaking out, swearing, or having a meltdown after blowing a line.
8. Knowing your place. “I sat in the star’s chair for 10 minutes before the director approached and sent me to base camp. I recall a group staring at me, including the lead actor, who was very tired.” Set regulars may seethe when actors or background usurp their assigned chairs. Don’t do it, unless you’ve been expressly invited.
See also: announcing impatiently to the director after a take, "We got the shot, we're moving on!"
9. Behaving awkwardly or unprofessionally. “I once stared straight at the lead actor when I was an extra. Like, intensely staring. I thought we were having a moment. We were told the next day that we were not allowed to make eye contact with the actors.” Everyone gets a little star-struck at times, but try not to unnerve co-workers by gawking, blurting out how much you love their work, or otherwise acting weird.
See also: cracking insensitive jokes; blatantly hitting on someone; being intoxicated on set.
10. Knowing whom you are working with. “I asked the lead where the coffee cups were, because I thought she was Craft Service.” Another actor nearly scolded a famous director for calling “Cut!” not knowing that the director was playing a small cameo opposite him. Read the call sheet, and if necessary, research the VIPs you’ll be working with prior to arrival, so that you recognize them.
See also: initiating small talk with a crew member about a celebrity who committed suicide, only to find out it was his father; raving about a famous actor to his ex-flame, then discovering Make-Up has been instructed to make you “look ugly.”
11. Being upfront about your abilities. “I was asked to force the lead actor to the ground, handcuff him, pick him up, and slam him on the police car hood. Instead of admitting this was incredibly intimidating, I tried to pick the handcuffed star off the ground, and accidentally dropped him.” Speak up if you’re nervous about doing something, and don’t pretend to know a skill that you don’t. Otherwise, you’re inviting disaster.
See also: volunteering to jump over a stair rail in a chase scene and then eating it; not mentioning you’ve lost your voice until you’re on set and have to be replaced.
12. Maintaining confidentiality. “I posted a photo of myself in the make-up chair of a TV series. I was then told that was a career-ender.” Networks and studios are paranoid about plot points and casting choices being disclosed prematurely, so photos on set are a no-no. The same goes for commercial shoots: products and marketing strategies are confidential prior to release. Do yourself a favor and put the smartphone away.
See also: spoiling the season finale of a TV series on Twitter, invoking not only the rage of fans, but a public lambasting by the executive producer. 
Casting Director Lana Veenker began her career in London and, upon returning to her Northwest roots, founded one of the top location casting companies in the country.
Recent projects include “Wild,” starring Reese Witherspoon, NBC’s “Grimm,” now in its third season, and 64 episodes of TNT’s “Leverage.” Gus Van Sant, Robert Benton, Guillermo Arriaga, Catherine Hardwicke and Tim Robbins figure among past film clients. Commercial accounts include Nike, Apple and Nintendo, and international campaigns from Shanghai to Santiago.
Lana is a member of the Casting Society of America and the International Casting Directors Network. She frequently lectures across the U.S. and abroad, most recently at the Finnish Actors’ Union in Helsinki, Amsterdam School of the Arts, The Actors Platform in London, The Acting Studio in Berlin, Studio Bleu in Paris and Prague Film School.
Complete her survey to be entered into a contest for a free career consultation here.
She has been featured in The Hollywood Reporter, USA Today,,,, and Wired, among others. Follow her on Twitter @lanaveenker.

Agents and Managers

By Art Lynch

Agents should make money only when you earn money under contract.

A few quick notes. Union actors should pay commission only to union agents. If you are submitted by a non-union agent you do not owe them a commission. 

A well-known agent, speaking at ActorFest, an annual seminar sponsored by Back Stage West in Los Angeles, once described a manager as someone who she could call and find out the availability for and interest in a part she was submitting an actor to audition for. With established personalities, the same speaker said, managers “take on all the business responsibilities” to help the stars spend more time “working, relaxing and enjoying their money.”

Managers are not needed, but can be useful, as long as they are legitimate, do what they promise to do and are someone you can trust and do business with. Investigate and do your homework before trusting your career to any manager.

At the same seminar, another speaker advised that beginning actors should select managers who can help them “scrub off the barnacles, polish the silver,” prepare them for the industry and “introduce them to the right agents and producers.”

A common feeling at these seminars appears to be that until you are rich and famous, or at least working all the time, managers may not be necessary if you can handle your own business affairs (like contact notes and so forth) and make the same solid decisions for which you pay a manager.

Click read more (below) to continue)

Nevada Agents

Use SAG Franchised Talent Agencies

(as of September 9, 2009)

This post includes key information about SAG Franchised agencies, the mandatory exclusive use of such agents by SAG talent, links to addtional information about agents and their agencies and a list of Nevada SAG franchised agents. Scroll down to find a current SAG Franchised list for Nevada.  All franchised agentsin Los Angeles, New York and nationally can be found by starting with the SAG home page. Each market is searchable as are individual agencies. 

For more on agents see  the Agent Directory Links and go to the area you are interested in reading morea bout. These links will be extended as this web blog expands in content and participation.

Offiicial Release from Screen Actors Guild (9/14/09)

This is for member information, but may be of use ot non-members in why they should use SAG Franchised agencies and consider joining the Screen Actors Guild.    -ed

Because of the inherent complexities of agency relations today, Screen Actors Guild has received numerous requests from members in the Las Vegas area to clarify the status of SAG agency franchises, and Union members’ obligations thereunder.

Pursuant to SAG’s Rules and Regulations, Guild members in the Las Vegas market who wish the protection of Screen Actors Guild in their relationships with their agents are required to choose from the SAG franchised agencies in the market. Except under very limited circumstances, choosing to be represented by non-franchised agencies is a violation of SAG Rules and Regulations and may subject the member to potential disciplinary action from the Guild.

This precaution is necessary in order to ensure that our members’ rights are fully protected in any and all of their dealings with their primary representatives. Please note that franchises are not assignable, and never follow an agent when (s)he moves from one agency to another. Franchises are also not assignable when one franchised agency is sold to another company. If you have any questions about the franchised status of anyone offering to represent you, we strongly urge you to contact the Guild (see below) to obtain the necessary information regarding your representative’s standing with the Union.

Moreover, please note that SAG franchised agencies cannot offer you an agency contract that has not been approved by the Guild. Franchised agencies (as well as the SAG members that they represent) are protected by, and are bound to, the terms and conditions of Rule 16(g), a/k/a the SAG Agency Regulations. 

Agencies in the Las Vegas market that are not franchised are outside SAG’s jurisdiction; Guild members should be careful not to place themselves in violation of SAG rules by working with such entities. You may not sign with or work through a non-franchised agency. Never commission a non-franchised agent or commission any agent more than fifteen percent for work in television, film, commercials or SAG-AFTRA areas of jurisdiction.

Also refer to this link:

Please see below for a list of the Las Vegas SAG franchised agencies:

Baskow, J &Associates
Full Service (All Ages)

2948 E. Russell Rd.
Las Vegas, NV  89120
(702) 733-7818

Lenz Agency
Full Service (All Ages)

1591 East Desert Inn Road
Las Vegas, NV  89109
(702) 733-6888

eNVy Model & Talent Agency
Full Service (All Ages)

101 Convention Center Dr.
Las Vegas, NV  89109
(702) 878-7368

Best Agency
Full Service (All Ages)
5565 South Decatur Blvd.
Las Vegas, NV 89118
(702) 889-2900

Should you have any agency-related questions, please do not hesitate to contact SAG’s National Agency Department in Los Angeles at (323) 549-6745, or Nevada Executive Director Steve Clinton at (702) 737-8818 or 800-SAG-0767, x7.

Casting Directors

By Art Lynch

Updates, corrections, news, links and other information concerning the arts in Nevada are welcome. Please send them directly to examiner Art Lynch at

A Casting Director is the producer's representative responsible for choosing performers for consideration by the producer or director, keeping the creative, business and other goals of the production in mind.

It is a very large, time consuming and creative job. The job of a casting director is to weed through the forest of potential talent to portray a role and find the handful that come closest to meeting the vision of the producer or director. In some cases casting directors also negotiate with named actors or working actors who are offered the role without an audition, find alternatives should negotiations fall through and help keep the talent part of the ledger within budget and under control.

Casting directors do not work for actors. They are management.
To best understand the process of casting and the mind of the casting director, it is recommended that you attend seminars, read articles in Back Stage West and other publications, read books by casting directors, research their careers and read the following interviews carefully. Take from them the advice or ideas that work for you.
There are several local casting directors for film, although many projects may bring in their own location casting crew and others are locating in Nevada as production increases. The longest established local casting directors are Marilee Lear of Lear Entertainment/Lear Casing and Ray Favero, who is freelance. There are others, who enter or leave the market on a regular basis. Goldman and Associates is a second generation reestablishment of a firm first lunched by Charlene Goldman back the the "Ve$as" days.

Mary Lear is a member of the Casting Society America. CSA is a voluntary association of professional casting directors, formed to assist in bringing positive ad uniform standards and practices to and industry soiled by the ‘casting couch’ image. To place CSA after their name on their business cards members must qualify to join through sponsorship by existing members and actual major casting credits. Since participation is voluntary, there is no guarantee that even members abide by their own guidelines, however membership is a first test in determining how legitimate and professional a casting director is. Along with her sister-in-law, Sally Lear (who is no longer a part of the business) Lear set forth to form a viable and Hollywood standard full service casting company and eventually studio in Nevada. One caution, she does promote participation in the Nevada Players Directory, which to keep within CSA regulations is actually published by her husband under a separate business license. While I recommend participation in the Directory, please be aware that this is one of possibly several ways that Lear Casting may be sidestepping CSA regulations. Lear Casting is located just north of Charleston, at 41 N. Mojave Road, Las Vegas, NV 89101 (702-385-9000 / 474-6362 fax).

The Casting Society of Ameria, CSA is a voluntary association of professional casting directors, formed to assist in bringing positive ad uniform standards and practices to and industry soiled by the ‘casting couch’ image. To place CSA after their name on their business cards members must qualify to join through sponsorship by existing members and actual major casting credits. Since participation is voluntary, there is no guarantee that even members abide by their own guidelines, however membership is a first test in determining how legitimate and professional a casting director is. As a disclaimer, be aware that many working casting directors who are legitimate choose not to become members of CSA. The CSA web site also contains information concerning the industry for actors and those interested in careers in acting, casting or production.

Never pay more than a “reasonable fee” to list with a casting director. Question paying for services directly through a casting director or promises of packaged talent kits and lessons through a casting directors office. SAG-AFTRA and other union actors should never have to pay to list. For additional information contact the Screen Actors Guild or the Nevada Motion Picture Division.
For northern and central Nevada, the established casting company, which by necessity also operates in an agency capacity, is Nevada Casting Group, located at 100 Washington St. Suite 100, Reno, NV 89503 (775) 322-8187 Nevada Casting was also started by Sally Lear (who, as with Lear Casting, is no longer associated with the business). Since there is little union work outside of Las Vegas, Nevada Casting also is affiliated with talent representation (a potential violation of CSA guidelines and SAG contracts with the producers who hire casting directors for union projects). Nevada Casting is an aggressive and active company, with affiliations with several other casting organizations, including Lear Casting.

 Listing for casting directors or agents should not be linked to classes, photographs or other services. There is a casting company in town that implies casting if you pay them and purchase a package that includes ‘free’ acting lessons. Most states, all unions and most professionals in the industry look down on and steer clear of this practice. That does not make it illegal, and it is most certainly the decision of the individual actor as to where to spend or invest their money.

Casting directors work for management and their job is to find actors to fit the role and fulfill the director or producers’ vision (several casting directors are interviewed elsewhere in his book). They do not represent talent and CSA guidelines clearly state they do not sell their services to talent. Payment of a ‘reasonable fee’ to be put on file is considered legal, but most casting directors will not charge talent (except for background actor or extra talent listings). Again, Casting directors work for and are management.

Agents work for talent, their client. Managers work directly for you as talent, or should if you select the correct manager. While the lines may be blurred in the business practices of many agencies, the delineation is clear in the SAG Franchise Agency agreement (applies to agents not managers) and in the basic ethical structure of the industry.

The job of a casting director is to submit actors for the consideration of work. “Casting Agent” is a made-up term usually used by location casting directors who predominantly find background extra talent and report to the Casting Director. “Talent Scout” is also a term that is overused, and could mean anything from an employee of an agent or casting director, to someone trying to sell you products or services.

Nevada companies that may cast roles or play host to production company casting directors include:

Baskow & Associates
(702) 733-7818

Casting Entertainment
(702) 207-4447

Goldman and Associates
(702) 990-3210 phone

Lear Entertainment
(702) 438-9111
On Location Casting
(702) 917-5501

Red Agency
(702) 242-1770
(702) 866-5924

Wild Streak Talent
(702) 252-8382