Saturday, December 30, 20124

BETTE DAVIS IN HER FIRST GREAT SCENE! 1931




The First Lady of the American Screen began her film career unspectacularly in the same 1931 motion picture melodrama that would also be the first movie for fellow Broadway actor and future co-legend at Warner Bros., Humphrey Bogart. The film was called The Bad Sister, and Davis would later refer to it in one of her autobiographies as a wicked thing. Despite co-starring Sidney Fox, Conrad Nagel, and Slim Summerville, The Bad Sister would otherwise be an inconsequential early talkie if it did not feature two of the four signature stars of Warner Bros.—working under what would be an abbreviated contract at a rival studio. Despite its primary significance being as a historical document, it does contain one truly fine sequence, which I have excerpted here. Perhaps this manifestation of unrequited love at its most painful was the scene that prompted legendary gossip columnist Hedda Hopper to take notice of Bette one year before her first film at Warner Bros. - Source: YouTube

Monday, January 5, 2015

How do I join SAG-AFTRA?





How do I Qualify?

Entry into the new SAG-AFTRA is the same as it was for the Screen Actors Guild. There is not open door. You must qualify. The message below is from the SAG Website (still in use).

A performer becomes eligible for Screen Actors Guild membership under one of the following two conditions: (1) proof of SAG employment or (2) employment under an affiliated performers’ union.
  1. Proof of Employment
    • Principal Performer Employment
      Performers may join SAG upon proof of employment. Employment must be in a principal or speaking role in a SAG film, videotape, television program or commercial. Proof of such employment may be in the form of a signed contract, or original pay stubs. The document proving employment must provide the following information:
      • applicant’s name
      • applicant’s Social Security number
      • name of the production or name of the commercial (product name)
      • the salary paid (in dollar amount)
      • the specific date(s) worked.
    • Background Actors may join SAG upon proof of employment as a SAG–covered background player at full SAG rates and conditions for a MINIMUM of three work days subsequent to March 25, 1990. Employment must be by a company signed to a SAG Agreement under which the Producer is required to cover background actors. Proof of employment must be in the form of original paystubs or a payroll printout faxed from the payroll house. Such documents must provide the same information (name, Social Security number, etc.) as listed above.
  2. Employment Under an Affiliated Performers' Union
    Performers may join SAG if the applicant is a paid-up member of an affiliated performers' union (ACTRA, AEA, AFTRA, AGMA or AGVA) for a period of one year and has worked and been paid for at least once as a principal performer in that union’s jurisdiction.
How do I join?

Legitimacy of Application

  • Your application and proof of employment will be fully investigated by the Guild for validity. Your application for SAG membership will be denied if you have falsified your credentials, or if your qualifying employment is not bona fide.
  • While it is your responsibility to ascertain the validity of your qualifying employment, the Guild will be the sole arbiter in determining whether the employer was legitimate or bogus, and whether the qualifying employment which you performed was actual production work or work created solely to enable you to gain Guild membership. Please be aware that false representation or deception on your part will jeopardize your chances to join the Guild.
  • Further, if after your application has been granted the Guild discovers such misconduct on your part, you may find yourself subject to disciplinary proceedings, which could result in your being fined, suspended and/or expelled from the Guild.

Appointments for Admission

If you are eligible under the conditions stated above, please contact your nearest SAG office BEFORE COMING IN so we can advise you of the amount of your joining fee and arrange an appointment.

Submitting Proof of SAG Eligibility

You may contact the Guild about your eligibility status. If your file is not on record or incomplete, you may submit one of the following documents as proof of eligibility:
  • Original paycheck stubs.
  • Original activity print-out or report from the payroll company that states your name, social security number, the name of the production company, the title of the production, the salary paid in dollar amount, and the specific date(s) worked. The payroll company must submit this document directly to the SAG Membership Services Department.
Background vouchers and copies of paycheck stubs are not acceptable as proof of work. Submitting these types of documents will only delay verifying your Screen Actors guild eligibility.
If you provide the Guild with your original paycheck stubs, please make copies for your records before submitting them to our office.

In addition to enclosing proper eligibility documentation, you will need to include a separate piece of paper with your name, current address, current telephone number, and date of birth. A self-addressed stamped envelope must also be included so that we may return your documents to you. We ask that you print clearly to avoid input errors. Once verification is completed, you will receive a letter of eligibility from the Guild.

Please mail your document to:

Screen Actors Guild
Membership Services Department – Proof of Eligibility
5757 Wilshire Blvd.
Los Angeles, CA 90036

You may also deliver your documents in person to the 1st Floor receptionist at the above address.
Once you have submitted your eligibility documents, please wait until you receive your original documents back in the mail before contacting us at (323) 549-6769 to schedule an appointment to join.

If You Move During the Joining Process

In order for Screen Actors guild to mail notifications out in a timely manner, we encourage all eligible performers to keep their mailing addresses current with the guild Notify us of your new address by phone (323) 549-6791, by fax (323) 549-6775 or by post. Your eligibility letter will list a SAG ID number, which should be written on all correspondence submitted to SAG.
We thank you for your interest in joining Screen Actors Guild.

We thank you for your interest in joining SAG-AFTRA.

Wednesday, December 31, 2014

Self-Taping Auditions Advice


The Art of Self-Taping

Andy Henry's POV: Self-Taping


So, last installmentAndy Henry contributed a great POV on self-taping and all the equipment actors need to have (and master using) to get their work in front of more and more buyers, these days. This time through, he's going to talk about the elements essential to your actual read, so that you can self-tape like a pro!

As I said in the last installment, in the past few years, it has become more and more common for those of us on the casting side of things to ask actors to put themselves on tape. Whether it is because you were on vacation or out of town working when we wanted to see you here in LA, or the film is casting in another part of the country or world, or even that we just don't have time to pre-read everyone but told your agent, "We would be happy to look at a self-tape," it is becoming more and more common--and thus more and more crucial--to know how to put yourself on tape in a manner that makes our lives easy and sells you in the best possible way. 
For more click on "read more" below or go to POV at Actors Access by clicking here.

The nuts and bolts of preparing for an audition

Auditioning: basic preparaton when you arrive for your audition

How To Prepare For Your Audition
from Ent1.org


Ensure that you have all the important information you need:

Location
Audition time
Type of audition
What to wear
Any other necessary information as specified by the agency
Questions to Avoid Asking Your Agent

How do I get there?
What is the job paying?
Who else from ENT1 is going?
How many people are they looking for?
How did I get this audition?
Note: Please have a map of your city and surrounding areas as well as the telephone number for your local transit service.

At The Audition

Arrive at the casting 10 minutes early, an hour in LA
Upon arrival, introduce yourself to the person in charge "Hi, I'm Jen Doe for Virgin Mobile for 6pm." 

Sign in for your audition, be sure you put the time.
Wait quietly in the casting waiting area
Be selective with the topics of conversation you choose
There should be no gum chewing or eating on the premises
You should have your portfolio book, comps and resume handy unless otherwise instructed
You will be given an information form. Please complete it correctly. 


Information Form

Include: Your name, measurements, agency information
Always put down the agency phone number as your contact number.
Most people are non-union when they first begin modelling/acting
Complete all information and hand back the form
You will be asked to pose for a Polaroid
You will then be called by your name
The Audition Exercise

You will be called into the audition room with others where you will be instructed on what is expected. Please listen carefully.

You will be asked to "slate." This means you must say your name (first and last) and your Agency as well...ie: "Hi, my name is Jan Doe, and I'm with ENT1."

The casting professionals will let you know what else you need to include in your slate

They may ask you to turn your right and left profile to the camera
THIS COULD BE ALL...OR...

You may have to interact with other contenders.

Remember to get into your character as much as possible and have fun!
After the Audition

Politely say thank you and then leave

Contact your Agent! Reasons to call include:
-we need to hear of any changes that happen while you are at the audition
-we need to hear your feedback
-we need to document our records
Once the audition is over, do not dwell on it

If you're to be used the Agency will contact you

Do not call the Agency to check up on the job, because it is impossible for the Agency to give an account to every Model about every individual audition

The Clients do not usually call to give feedback (only in special cases), however if there is something you should know, then the Agency will tell you
When You Get the Job

Make sure you have all information you need

Anything you are unsure of should be addressed with your Agent
Release Forms and Payment

A release form is a document which outlines the job you have performed as well as the use details

You will need to sign the release form. If you are under 18 years of age, then a guardian must sign for you

You need to hand back the release form form once it is signed
Payment

Acting Glossary and Industry Directory (draft 7-21-09)

c) Art Lynch

May 12, 2003 (update 07-21-2009)

Professor Ellis Pryce-Jones
Department of Theater
University of Nevada, Las Vegas

Sir;

    The following document represents the second of two documents to be submitted for fulfillment of the requirements of THA 795 for the spring semester, 2003. I have broken it into three parts: The Craft, Terms of the Craft Glossary and Things Actors Should Know From Working Professionals.

    This text is a work in progress, prototype of what I hope to be a useful text or interactive resource for use by anyone interested in entering motion pictures, television or commercial acting as a career, particularly from Las Vegas.

    The glossary is meant to be casual, as complete as possible, covering many aspects of the motion picture industry. It is not a dictionary, but a teaching tool, complete with honest evaluations and web or e-mail citations for further study.

    The advice sections (including casting directors, agents, actors, directors and general entertainment professionals) will be expanded and updated over time. These are based on interviews I conducted or on seminars I attended or coordinated, primarily through the Screen Actors Guild. It is my intent to add additional Nevada and national industry interviews and references. I have additional interviews already set in May, June and later in the summer.

    The directories, charts and lists are designed to suggest further study and to compliment the opening introduction to the industry and craft narratives.

    While some of this work was completed prior to the semester, a great deal of additional information has been added, updates made and the first steps of creating a single document text begun.

     In preparation and research for this project I completed TCA 497 (Performing Arts Representation and Management) on-line and did an unofficial instructor permitted audit of TCA 496 (Entertainment on the Road), also on-line. I also conducted extensive interviews, both this term and achieved from my SAG Conservatory and teaching experience.


-Art Lynch


To read the document, click on "read more" below.

TNT Tribute to those we lost, December 2013 to November 2014...

C: 2009 Glossary draft

This site is a work in progress, and will be a part of an expanded web site under the home address of www://artlynch.org. Any additions, corrections, ideas, guest material are greatly appreciated. Please also review the material located along the right hand column, then contact me at createcom@gmail.com. No funds are collected or directly solicited by this site. Google Ads are used to expand Google search and tools reach. Web assistance and a web master are also being sought. Thank you in advance. -Art Lynch



*******************


C

CAA - Creative Artists Agency, one of the larger talent and talent management agencies in the country. http://www.caa.com/

CALLBACK - Any follow-up interview or audition.

CALL SHEET - A sheet containing the cast and crew call times for a specific day's shooting. Scene numbers, the expected day's total pages, locations, and production needs are also included. Usually equipment and location details are also listed. The call sheet serves as a method of assuring that the basic details of each shoot are met in advance and proper preparation are made. It is often important to collect call sheets and reference them in preparation and research for future work.

CALL TIME - The actual time an actor is due on the set. Also known as “call”, this usually includes details on where to be, when to be there and to whom to report.

CAMERA CAR - The camera car is used in filming moving shots, usually of actors while they are in vehicles. A camera is mounted to a car or truck to film other moving objects or vehicles.

CAMERA CREW - With the D.P. (Director of Photography) as its chief, this team consists of the camera operator, the first assistant camera operator (focus puller), the second assistant camera operator (film loader and clap stick clapper) and the dolly grip.

CAMERA OPERATOR - The member of the camera crew who actually looks through the lens during a take. Responsible for panning and tilting and keeping the action within the frame.

CAMERA REHEARSAL - A rehearsal in television to determine what cameras to position where and when, and plan ahead what shots to capture for the final product.

CAMERA RIGHT - A direction used to refer to or tall actors to move to the right of the camera, from the perspective of the camera and camera operator. This is the opposite of stage right. Camera left is to move or refer to the left direction from the viewpoint of the camera.
Camera right is also referred to as right frame. Camera left is left frame. Stage right is camera left and stage left is camera right. Stage directions are given from the perspective of the actor, while camera references are given from the perspective of the camera/viewer.

CAPITALIZATION BUDGET - in theater this is the budget to determine the amount of money that will be needed up to the opening day of the show, including all aspects of production and marketing.


CASTING AGENT- There is no such thing. In the words of acting coach Scott Rogers "Casting Agent: to the best of my knowledge, there is not now nor has there ever been, any legitimate job in the entertainment industry known as a “casting agent” (although I have heard it used in many scams and by many neophytes trying to sound knowledgeable). When people use this term, their ignorance is showing as they’re probably referring to a casting director or possibly an agent. On rare occasions you may find an agent who has an exclusive deal with an advertising agency to cast a commercial, too. If you do, you can call them a Casting Agent, if you really want to..."

CASTING DIRECTOR - The producer's representative responsible for choosing performers for consideration by the producer or director. 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.

CASTING SOCIETY OF 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. 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.  http://www.castingsociety.com

CASTNET - One of the two most reputable and used Internet casting submission services. This subscription-based service allows actors, agents, managers and other individuals to submit talent for specific roles or general consideration directly over the Internet. Unlike The Link, actors may submit their own work (The Link requires photos and support materials be submitted by a union franchised agent). The service also provides scripts, interviews, on-line chats and other services to assist actors and other talent in learning more about the field and networking. For extra fees additional photos, résumé’s, audio, video and even personalized web pages may be linked to the service, which also allows casting directors and others to search for talent from their end. This is a well-financed service, used by an increasing number of younger casting directors in every entertainment field. The caution is that since the Breakdown Services are close to monopoly in status and that service is attached to Castnet’s competitor, The Link, there is a significant portion of the industry that cannot be reached through Castnet. How serious is the company’s investment in the industry? They occupy much of the first floor of the office building in which AFTRA and Equity have their west coast offices, and where SAG’s national offices are located. The office is also close to the offices of Billboard, Hollywood Reporter and Variety.


CATTLE CALL – A casting session similar to a modeling “look see”, where large numbers of actors are called to the set or a casting location at a single time, were casting professionals select or weed out groups until they eventually find what they are looking for. As a rule union actors must be paid if they are at a cattle call for more than an hour. However this contract only kicks in if there is an actual project being cast. If the cattle call is for general talent files or recruitment, actors may face long lines or waits. An alternative definition that is also used is the the actual time you are due on the set, however most actors identify with the first definition while the second may be referred to as “call time.” The most interesting “cattle call” story come from Billie Crystal, who tells of the time on the set of “City Slickers” when the director took one look at the calf selected to “play” Norman, and decided it was too ugly. The calf was of the same breed as the herd, but that did not matter. One by one calves of every breed they could find were paraded to the directors trailer until one was “cast” as Norman, the cow Crystal helps bring into the world and later adopts as a pet.

CATERER - Responsible for breakfast, lunch and dinner on a set. Different from Craft Services, which provides food and drink on the actual set available all crew working hours.

CATV - Community Antenna Television, also known as cable television. Transmission over cable television networks or local use fall under different contracts than broadcast networks or local stations, and traditionally pay talent at a negotiated lower rate. As of this writing courts have determined that transmission over satellite and over the air on the  “side band” or “multi-plex” signals using high definition television falls under the cable contracts and compensation, despite being “broadcast”.

CD - Compact Disc. A 4.5 inch plastic disc containing digital audio recording, and sometimes additional data, played back optically on a laser equip disc player.

CD-G - Compact Disc with Graphics. In addition to audio, this format captures and allows the end user to view graphics such as text or still images. Also known as “enhanced CD.” Sometimes used in storyboarding, this technology is not uses as often as CD-RW or other computer based formats.

CD-R- CD Recordable - A home or small studio recordable CD, used for demonstration audiotapes in the voice over and music industries. Also used to copy music, voice and other audio files for achieve or future playback.

CD-RW - A format where CD’s can be recorded on more than once. This format is also used for transfer of CD computer data and programs. DVD-RW is used for video.

CD-ROM - Compact Disc Read Only Memory. A compact disk that holds text, music and images. One of the principal new venues for interactive video games as well as for full motion video films. Acting for CD-ROM's is a new arena for actors. SAG 's Interactive Media Contract covers salaries and working conditions for this new medium.

CG - Computer Graphic or Computer Generated image. This refers to the words or images added either during recording or on “post” editing. The most common use of CG’s is in commercial or news programming and in rolling ‘credits”. CG space refers to leaving room on the visual image to superimpose graphics at a later date or in “post”.

CHALKS - Chalks are another name for ‘marks’ or anything used to remind the actor where to stand at a specific time in the sequence of a scene. Chalk, tape or objects are used during rehearsal. They may or may not be in place while the cameras are rolling.

CHANGES - Outfits worn while performing. The number of times a performer must change wardrobe for different shots and/or character portrayals.

CHARACTER DESCRIPTION - a description of the character usually found at the beginning of the script or just before the characters first appearance. Character descriptions are guidelines subject to the creative interpretation of talent and of the director.

CHARISMA - An exceptional quality or magnetic power an individual has that allows them to stand out in a crown or draw followers to that person’s cause, talent or career; a characteristic that often leads to stardom on stage and screen.

CHEAT - The actor's adjustment of body position away from what might be absolutely "natural" in order to accommodate the camera; can also mean looking in a different place from where the other actor actually is. Also used to “open up” the performance so that the camera or audience may best read the emotions or intentions of the scene or shot. In its historic and simplest definition, “cheating” refers to the tendency for action upstage to grab attention from downstage action, and a series of techniques used to compensate and direct the audience where the direction feels their attention should be.

CHECK AUTHORIZATION FORM - The CHF is a standard form used by production offices for actors whose contracts require, or who choose, to have the check sent to their agent, who then deducts the commission or fees and issues the actors an agency check. This is not required, but is a common accounting practice with working actors.

CHECKING THE GATE! - A verbal command to check the lens on the camera; if the lens is  “OK” the cast & crew will move on to the next scene or shot.

CHIEF ELECTRICIAN - Heads the electrician crew; also called the Gaffer.

CINEMATOGRAPHER - Director of Photography (DP) or in larger productions the DP’s boss. The cinematographer is hired to add their vision or to execute the creative vision of the producer and director onto film or video tape (where the same job is often referred to as videographer, shooter or shootist). All camera operators and camera crew are responsible to the DP. Cinematography is an art form that simply means images with film, as opposed to photography, which means capturing images with photographs.


CLAP BOARDS- Clap Boards are most commonly known as “slates” because at one time they were made of blackboard slate. These boards are used to mark significant scene information for the camera, to allow for the director and editor to find specific takes or camera “rolls”. The most common information includes the production name, production number, date, scene number and letter; take number and letter and the director’s name. Additional information can be added. Today clapboards are mostly digital, including a synchronized digital time code read out with the camera and any audio recording device. The clapboard itself is on top of the slate and makes a ‘clapping” sound at the start of each camera toll. The clapping of the board provides an audio and visual marker for both sound synchronization and film or video editing. In motion picture work the audio is usually recorded on a separate device from the camera, often called a Naugra  (after the manufacturer of audio equipment most popular within the traditional film industry). DAT equipment and digital sound stripping on film and video are replacing Naugra style multi-track tape in most production.

CLEAN ENTRANCE- a clean entrance or exit means moving in a natural fashion completely in or out of the frame of the shot before breaking character or changing the way you walk. It is one of many marks of professional talent.

CLOSE-UP (CU) - Camera term for tight shot of shoulders and face A close u (CU) is usually head an shoulders, or inclusive of not much more then the actor’s face, or whatever item is specified in the script. Extreme Close Up (ECU).

COLD READING - Unrehearsed reading of a scene, usually at an audition.

COMMERCIAL - A video or film used to advertise a product or service, generally with a “call for action” which request or requires the consumer to buy, do, support or believe something. Lengths vary, but the most common durations are one minute, 30 seconds, 15 seconds and 10 second. In union production each version is considered a separate commercial. Compensation may vary by market or length of time used on the “air”. Contact SAG or AFTRA with any questions or for details.

COMMERCIAL COMPOSITE - A commercial composites is an expanded version of a “headshot” containing more than one image. Usually two sided, the commercial composite usually features four to six images of an actor in different characters. It is important that real emotions be present, instead of simply changing clothing and props. Composites go in and out of popularity in the commercial production industry. A rule of thumb is that the primary shot should be “friendly”.

COMMISSION - Percentage of a performer's earnings paid to agents or managers for services rendered.

COMPOSITE - A series of photos on one sheet representing an actor's different looks.

CONFLICT - Status of being paid for services in a commercial for one advertiser, thereby contractually preventing performing ser ices in a commercial for a competitor.

CONTINUITY – Being able to match scenes, keeping action, props and all aspects of the physical identical for the purposes of editing or matching shots. Continuity also refers to the keeping of detailed notes and records for use by the director and the film editor. The work of the continuity crew is vital to the final editing and production process.  Continuity is also the British term for the Script Supervisor.

CONTROL ROOM - the room where all technical is run in theater or television, including decisions on lighting, camera movement, deciding what is goes on tape or film and in the case of live broadcast, what goes over the air.

COPY - The script for a commercial or voice over. The actual words in a commercial script or any body of print advertising.

CORPORATION - A form of business structure that offers protection for individuals involved and their personal assets from most liabilities and lawsuits. Creates a new entity capable of doing business in its own name. Owners are free from most personal liability for the obligations of the business. Artist as individuals are often encouraged to form personal corporations or limited corporations to protect their own interests and assets.

CO-STAR - On screen credit below the star or series regulars. When a performer has a major roll, their agent negotiates the “billing” or positions the performer places in the credits (in fact not all actors under the Theatrical Film and Television Contract are guaranteed on screen credit, so it is vital an agent negotiate proper screen credit). Regardless of on-screen credits, “co-star” can be used in professional resumes and credits for major roles performed.

COST PLUS - An approach to business that allows the actual production costs to be paid for by the studio, distribution company or record label. This approach allows the entity paying the costs considerable creative control and a larger interest in any potential profits.

COVERAGE - multiple cameras shooting the same scene or additional shots taken of a scene to cover all possible editing uses. For example close up reaction shots may be needed, long shot establishing shots, two shots, close up of action with props, point of view shots or static shots to be used as inserts. All camera shots other than the master shot; coverage might include two-shots and close-ups.


CRAFT SERVICES - On-set beverage and snack table. Different from the Caterer, as while it sometimes may provide breakfast food or sandwiches, craft services is primarily to provide snacks, access to energy foods and beverages for the cast and crew during filming (all work hours for the crew). Catering provides three full, in most cases, hot meals a day and must meet union contract requirements.

CRANE SHOT - A camera shot raised over or above the set or the action.

CRAWL - Usually the end credits in a film or TV shot which "crawl" up the screen.

CREDITS - Opening names in a film or TV show; also refers to a one's performance experience listed on a resume or in a program

CREW - anyone who works behind the scenes on a production. Crew includes, but is not limited to, camera operators, lighting technicians, make-up and wardrobe, sound technicians, drivers and production assistants.

CROSS - Movement or blocking from one point to another. Often done for emphasis or to balance the stage or camera frame.

CUE - Hand signal by the Stage Manager. A cue can also be a spoken word of physical movement which indicates when a performer is to say a line or taken an action.

CUT - The verbal cue for the action of the scene to stop. At no time, may an actor call, "cut!" This is usually the sole responsibility of the director or of someone delegated the authority by the director.

CUTAWAY - A short scene between two shots of the same person, showing something other than that person. Cutaway may also refer to a set specifically designed with a portion of a structure or vehicle missing to allow for the unobstructed filming of the scene.



*******************


This site is a work in progress, and will be a part of an expanded web site under the home address of www://artlynch.org. Any additions, corrections, ideas, guest material are greatly appreciated. Please also review the material located along the right hand column, then contact me at art.lynch@artlynch.org. No funds are collected or directly solicited by this site. Google Ads are used to expand Google search and tools reach. Web assistance and a web master are also being sought. Thank you in advance. -Art Lynch


Acting Classes

My acting classes are a way of giving back to the town and encouraging new talent to develop and stretch its wings. Rates are reasonable and payment is through two separate employers (unless private lessons or semi-private small groups are desired). I do allow a free audit, however each employer may have their own policies when you contact them.

Acting Classes With Art Lynch
At
Casting Call Entertainment
2790 East Flamingo, Las Vegas
(Weekly Class part of full week multi-class package

Includes all classes offered Monday to Saturday
at Casting Call...
Art Lynch class is on Friday 6 to 9:30 PM
Master Class and private lessons available
(702) 369-0400

http://sagactor.blogspot.com/2009/09/casting-call-introduces-art-lynch-sag.html

At

Lynch Coaching

Private and Small Group Lessons
$50 an hour in BC, Casting Call sets rates at their studio
($ 100 per hour –negotiable- at your business or home)
Rates as low as $10 if in groups of 4 or more.

INTERNET AVAILABLE


Lynch Coaching
lynchcoaching.com
dr.artlynch@me.com
(702) 682-0469

and

Boulder City Parks and Recreation
For more information, contact the Recreation Department at 293-9256,
Specify they should contact Art Lynch to set up classes.



Netplosion or direct through Art Lynch

Also Public Speaking, On Camera PR, Improvisational Workshops, and Confidence Clinics on Request.

Art Lynch
(702) 454-1067 • (702) 682-0469 cell
dr.artlynch@me.com

Thank you from SAGACTORONLINE.com


Hello Group members,
do you find yourself to grow as an actor everyday, of course you do and personally speaking i find myself everyday researching, continuously studying, stopping at mirrors and just breakdown re-creating new character performances for auditions and film roles that have past and say damn now that was wayyy better should have used that, hey next time thats all we do our best at the time we have to see fit one should never dwell on your short comings we live, breathe, learn, grow and most of all have fun with it, not the end of the world so don't give in keep at it and entertain the world the audience needs us likewise. ~Christopher Alan
Good website/blog with alot of info check it out, Happy Holidays !

When you are serious about being a working actor...

How to Join SAG-AFTRA

Initiation Fee Loans - Find Out More
Member Benefits

WHAT YOU NEED TO KNOW

Are You Ready to Compete as a Professional?

SAG-AFTRA membership is a significant rite of passage for every working professional in the media and entertainment industry. (performer). However, don’t be in a hurry to join unless you are sure that you're ready to compete as a professional. For performers, you should prepare yourself by studying, performing in plays and non-union on-camera projects in order to build your resume and gain valuable experience.
When you are offered your first principal union job, we urge you to consider joining SAG-AFTRA, but understand it is a commitment. For broadcasters, membership in SAG-AFTRA is governed by the provisions of the collective bargaining agreement under which you are employed. Contact the National Broadcast Department or your nearest Local when you are offered a job in a SAG-AFTRA shop for more information and initiation fees. Once you are a member, you must abide by the rules of membership, starting with Global Rule One and the No Contract/No Work Rule. And, whether you are a SAG-AFTRA member or not--never accept work during a Union strike!

Steps to Join

To see the steps to join, click here.

HOW DO I QUALIFY?
A performer becomes eligible for SAG-AFTRA membership under one of the following two conditions: (1) proof of SAG or AFTRA employment or (2) employment under an affiliated performers’ union.
  1. Proof of Employment 
    SAG-AFTRA membership is available to those who work in a position covered by a SAG-AFTRA (or AFTRA or SAG) collective bargaining agreement, provided that any person qualifying through work as a background actor must have completed three (3) days of work as a background actor under a SAG-AFTRA (or AFTRA or SAG) collective bargaining agreement.
  2. Employment Under an Affiliated Performers' Union
    Performers may join SAG-AFTRA if the applicant is a paid-up member of an affiliated performers' union (ACTRA, AEA, AGMA or AGVA) for a period of one year and has worked and been paid for at least once as a principal performer in that union’s jurisdiction.
  3. Potential broadcast members should contact the National Broadcast Department or their Local for information on joining.
HOW DO I JOIN?
Legitimacy of Application
  • Your application and proof of employment will be fully investigated by the Union for validity. Your application for SAG-AFTRA membership will be denied if you have falsified your credentials, or if your qualifying employment is not bona fide.
  • While it is your responsibility to ascertain the validity of your qualifying employment, the Union will be the sole arbiter in determining whether the employer was legitimate or bogus, and whether the qualifying employment which you performed was actual production work or work created solely to enable you to gain Union membership. Please be aware that false representation or deception on your part will jeopardize your chances to join the Union.
  • Further, if after your application has been granted the Union discovers such misconduct on your part, you may find yourself subject to disciplinary proceedings, which could result in your being fined, suspended and/or expelled from the Union.
Appointments for Admission 
If you are eligible under the conditions stated above, please contact your nearest SAG-AFTRA office  so we can advise you of the amount of your joining fees.
Submitting Proof of SAG-AFTRA Eligibility 
You may contact the Union about your eligibility status. If your file is not on record or incomplete, you may submit one of the following documents as proof of eligibility:
  • Original paycheck stubs.
  • Original activity print-out or report from the payroll company that states your name, social security number, the name of the production company, the title of the production, the salary paid in dollar amount, and the specific date(s) worked. The payroll company must submit this document directly to the SAG-AFTRA Membership Services Department.
Background vouchers and copies of paycheck stubs are not acceptable as proof of work. Submitting these types of documents will only delay verifying your SAG-AFTRA eligibility.
If you provide the Union with your original paycheck stubs, please make copies for your records before submitting them to the office.
In addition to enclosing proper eligibility documentation, you will need to include a separate piece of paper with your name, current address, current telephone number, and date of birth. A self-addressed stamped envelope must also be included so that we may return your documents to you. We ask that you print clearly to avoid input errors. Once verification is completed, you will receive a letter of eligibility from the Union.
Please mail your document to:
SAG-AFTRA
Membership Services Department – Proof of Eligibility
5757 Wilshire Blvd. 7th fl
Los Angeles, CA 90036
You may also deliver your documents in person to the 1st Floor receptionist at the above address.
Once you have submitted your eligibility documents, please wait until you receive your original documents back in the mail before contacting us at (323) 549-6769 regarding joining fees. 
We thank you for your interest in joining SAG-AFTRA.

Joe Reich: Veteran Casting Director

-->
"Be an Applicant

Not a Supplicant"
JOE REICH:
Veteran Casting Director
   “There is a big difference between a supplicant and an applicant. Actors will not be taken seriously until they approach casting directors as applicants.”

   “We prefer local hires,” says casting director Joe Reich “but in a changing environment we also keep Hollywood actors in mind as a ‘just in case’. Many New York and Hollywood actors are willing to travel to locations and work as ‘local hires’. It’s a mobile industry. You have to be as ready, as prepared and as good as every competing actor no matter where you live,” is the advice Joe Reich, a single card casting director, meaning his name appears alone on the screen at the beginning of many of the projects he casts. Reich adds that when you audition the casting director already knows who they will bring with to do the job and how to reach them, should he not find the talent he or she wants during local auditions.

   “Your photo must communicate your inner life, it must project through.”

   “What I care about is your eyes, the emotion behind those eyes and that takes an old fashioned close-up head shot.”

      The project casting director will usually work through a local casting director for day players and extras.

   “If that person is not up for the job, then my impression of the local market will be a poor one and I will bring more talent with me.”


Click on "read more" below for more advice and observations from CS Joe Reich.

Should I Do Theater


‎"Should I do theater? 
Local filmmakers are telling me not to."

Idiots in the film community may tell you not to, but they do not work with the quality of actor I have worked with or serve with on the National Board of SAG-AFTRA.

A student wrote me and said they were advised by the "film community" not to do theater.

Bunk!

Why do you think almost all of the key National Board I serve on are actors who work regularly have theater experience and do theater whenever they can, including Broadway. James Cromwell of "The Artist" does far more theater than he does film or television. Tony Shalhoub, "Monk," recently completed a one man show on Broadway, just as one example. Former national SAG president Melissa Gilbert has done "Little House: The Musical" and other shows over the past few years. Current National SAG-AFTRA President Ken Howard is a regular on Broadway, in London and LA on the stage.

Actors are actors and should do it all.

Actors act.

We come alive when we are acting, whether on stage, on film, at auditions or in classes. Heck, we are acting in real life more often than not!

What unprofessional or amateur filmmakers are really saying is that for film you need to be "real", "fresh" and "flexible." They do not know what it is like to work with real professional talent, not self proclaimed "real actors," but those who love the craft and have trained and are skilled in the craft.

All actors who are pros know and can do both. Beginners and what pros call "community theater" actors have a hard time toning down the character and letting the eye and expressions do the work...yet these are skill developed with theater.

A good on-camera coach can help stage actors with film technique, although as we increasingly use microphones on stage and big screen video of the events on the boards, theater is increasingly morphing into a form of film or video, with audiences expecting an almost film like experience.

Casting directors vary...but most know that theater trained actors understand the craft, are always learning will listen to director and that theater teaches an actor the skills needed. Casting Directors may test you at the audition to see i you can tone down to what they are looking for (often not as natural as most actors think).

I do not sing my own song often.

I am Chicago trained and experienced in theater. I studied and also have a degree in theater, with some of the best instuctors in Chicago. I went back to UNLV and almost completed an masters in theater before shifting to a PhD in education. I have a solid stage background.

My passion and experience in the craft are why I love to teach, share and see others reach for their own potential and their dreams, even if they use it in church and community theater or film, or if they move on to study in LA, Chicago or New York and enter the industry.

Do not let anyone ever tell you not to do theater or that film actors do not do theater.

It is simply not true, except for flash in the pan one reel wonders. And they do not have real acting careers.

And do join the union when you have the chance.

Be serious about this if you seek to make it your life and career.

Click on "read more" below to continue reading.