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Sunday, May 31, 2015

If you are serious, and really want to do this...study your craft.

No shortcuts to success...except for those who profit from actors...

The birth of the ‘Short Cut to Success Once a Week Class Workshops came into existence in the early 70’s. Prior to this period if a serious and dedicated person wanting to study the craft of acting he went to The American Academy of Dramatic Arts, The Neighborhood Playhouse, The H.B Studio, The Actors Studio. They studied at legitimate theater programs at the Universities and Colleges like Yale Drama School, and Northwestern University in Chicago.

-Vic Perrillo

Wednesday, May 27, 2015

Hollywood Studios Sued for Recycling Film Soundtracks Too Much

-Hollywood Reporter (click here)

A new lawsuit from the American Federation of Musicians counts dozens of examples, from 'Bridesmaids' to 'Argo,' where music wasn't totally original.
 
'Tis the season for much discussion about the state of originality in Hollywood. In keeping with this theme, the American Federation of Musicians of the United States and Canada accused the biggest film and television studios on Tuesday of violating the terms of a collective bargaining agreement by going beyond the allowance for the re-use of previously recorded film soundtracks.

Sony's Columbia Pictures, Viacom's Paramount Pictures, Twentieth Century Fox, Universal City Studios, Walt Disney Pictures and Warner Bros. Entertainments are all defendants in a lawsuit that offers some surprises about how old film music has been recycled in recent years.

For instance, 1 minute and 10 seconds of music from Titanic was allegedly used in This Means War; 47 seconds of music from Die Hard and 30 seconds of music from The Bourne Identity was allegedly used in episodes of The Office; 18 seconds of music from Jaws was allegedly used in Little Fockers; 33 seconds of music from Cast Away was used in Bridesmaids; 35 seconds of music from Battle for the Planet of the Apes was used in Argo ... and so forth. (The complaint below has more examples.)

According to the American Federation of Musicians, producers agree in guild agreements that "all music sound track already recorded ... will not be used at any time for any purpose whatsoever except to accompany the picture for which the music sound track was originally prepared.”

The 2010 Agreement permits limited exceptions, adds the lawsuit, such as up to two minutes of an "un-synced clip," provided payments are made under certain circumstances.

The complaint filed in California federal court details the alleged failings of each of the studios to live up the agreement. For example, Fox is charged with going above 2 minutes is use of music from The Taking of Pelham 123 for the film Knight & Day while failing to make appropriate payments for use of Titanic music in some of its other films. Fox also allegedly licensed music from Thin Red Line and Die Hard to non-signatories to the guild agreement. Fox says it hasn't reviewed the complaint yet and can't comment.

The plaintiff, represented by Lewis Levy, requests damages for breaches of contract.

The American Federation of Musicians has become more aggressive in court lately. In April, the guild sued the studios for allegedly breaching the guild agreement by recording film scores outside the United States and Canada.

Lawsuit copy available by clicking here.

Tuesday, May 26, 2015

"The Art and Craft of Acting Held Hostage" by Vic Perrillo

 Click "read more" to continue reading...more to come in future installments...

7 Reasons Actors Should Be on Twitter


7 Reasons Actors Should Be on Twitter
Despite being around since 2006 and having 302 million monthly active users, I still hear so many people declare the reasons why they’re not on Twitter! 
Why should you make the effort? I’ve got seven reasons for you!
1. Instant access to VIPs. We’re living in the golden age of social media. Most VIPs, celebrities, and thought leaders are still representing themselves online. You can literally reach just about anyone and everyone. Want to share your thoughts with political leaders, create a bond with the top opportunity-makers, or even fast-track customer service? Twitter can help. Just start thinking and acting like an influencer. I know firsthand that you can skip the gatekeepers and #MakeThingsHappen!
2. Instant global reach. Facebook only displays your posts to a percentage of your friends, fans, and followers. Provided your Twitter followers visit their stream, your tweet is displayed to all of the eyes and ears that you’ve worked so hard to earn! That’s power, my friend. Use it wisely.
3. Twitter contests. Because Twitter has the potential to reach millions so effectively and economically, many brands run Twitter contests. I've won a Stagelighter consultation, Starbucks t-shirt and, best of all, a complimentary stay at the St. Regis on New Year’s Eve! Tune in. You may be missing your own #PricelessSurprises! Remember that luck is when preparation meets opportunity.
4. Say more. Because Twitter is such a quick stream, you can post more often. Now, I always teach quality over quantity. However, you can “spread the wealth” on Twitter. The easiest analogy would be to treat your Facebook posts as juicy entrées and Twitter as delicious nuggets. Think of tweets as treats! What are you serving today? Make it rich.
5. Characters count. Twitter counts characters…so you have to make the characters count! This is great, as specificity often yields the best creativity. The 140-character limit (usually) manifests rich, concise communication. Remember: Tweets are treats! Write wisely.
6. Interest-based. Facebook can be so dramatic. They’ve intentionally created a network based on personal relationships and display content based on emotional intelligence. Twitter takes out some of the drama. You can follow whatever or whomever interests you—and unfollow at your will (without the drama of “un-friending”). In general, Twitter is much less personal than Facebook. It’s a one-way connection based on shared interests. As such, don’t feel the need to follow everyone back. It’s your Twittersphere! Create the world you want to live in.
7. Listen only. I hear your inner critic saying that you don’t have anything interesting to say. Sorry, but I don’t buy it! Kindly tell him or her to shut it. Tune into your true inner voice and work on garnering the confidence to turn up the volume! 
Even if you have doubts and insecurities (we all do), 44 percent of registered Twitter users have never tweeted. Know what that means? Almost half of the party is just listening and grooving along—and that’s great! 
Like acting, social media should always start with and return to listening. Tune in. Twitter can be an instant RSS (or news feed) of people and brands that interest you. After listening, start engaging. Reply, favorite, or retweet others’ posts when authentically compelled. When you’re ready, I challenge you to say something yourself! 
Twitter can be a very powerful platform for you to be seen, heard, recognized, and remembered. Interested in starting an account? Click here.

Sunday, May 24, 2015

What is SAG-e



 
People who list SAG-e of SAG Eligible are NOT MEMBERS OF THE UNION and do not pay for the support and serices they receive while on a SAG set working a SAG-AFTRA job. 

In fact is cost the union money at the expense of other services..

So what is SAGe? 

It does not exist except for the fabrication of Actors Access sign up. It means you have the voucher or vouchers to join SAG but are not a member and have not joined. Eligible. To professionals it means you are not committed to your craft, to non-union it means they risk you turning union. Either way it is a negative that so many are wearing with pride thinking it makes them look professional.

There is nothing wrong with remaining non-union until you are ready to make the commitment to do only union work and have the protections of a union.

Pre-union (not to be put in resumes) means you are working toward being a qualified professional performer and will join when you have the tools and are ready.

Do not, however, once you have your vouchers, keep working "Taft-Hartley", taking union jobs, as you are taking money and benefits, even food and shelter from qualified union professionals who need it. In effect you are also costing the union money and therefore taking away from potential services each time your work.

Working union past the vouchers to join, when you are pre or non-union, is in effect stealing from union members.

Keep doing non-union until your self-worth, talents, skills and heart tells you you are ready to join the professional ranks.

Art Lynch Acting Studio at Lynch Coaching

Wednesday, May 20, 2015

What Belongs on an Actor’s Résumé?


Backstage Experts Answer: What Belongs on an Actor’s Résumé?
Photo Source: Jesse Balgley
 
Whether you’re an actor, lawyer, doctor, waiter, or anything else, résumés stump professionals across a variety of careers. 
Today our Backstage Experts give their best answers to the question: What does and does not belong on an acting résumé? And, what can you put on a résumé when you're just starting out?

Here are several answers from industry professionals spanning different areas of this business to give you some perspective!
Wondering what this new column is all about? Backstage Experts Answer takes your questions and brings them to our incredible network of Experts. If you missed the last installment, check out “14 Tips for Determining Your ‘Brand’ ” and see how to get your acting questions answered at the bottom of this article!

Carolyne Barry, on-camera and commercial teacher
I believe résumés don’t have to be long, but rather they just need to be impressive. Agents and commercial and theatrical CDs have less than a minute to look at it. They are usually not interested in the volume of what they think is not significant. They look for teachers, schools, theaters, studios, directors, etc., who they respect. Then, agents and CDs could bring you in. (Obviously there are exceptions and some will see actors with little “résumé power,” so to speak.)
Actors can honestly make their credits, training, and skills appear stronger. Here is an example in each category of what I suggest:
Theater:Los Angeles (or wherever)
Show Name    Role    Year (if fairly current)    Theater or Director
Film, TV, or Web Series:Film or TV Name    Role    Year or City    Production company, Director, or Studio
Training:Course Name    City    Year    Teacher or Studio 
When actors are starting, their skills and hobbies can get help them get commercial auditions and sometimes other acting work (when physically right). For the value and how to make it powerful, read this Backstage article of mine on the topic.

David Patrick Green, founder of Hack HollywoodWhat should you put on your résumé? As little as possible. Put yourself in the shoes of the person viewing it. In most cases, they only have a few seconds to look at your material. If it is crowded and overwritten, it will be hard to latch onto what is relevant to their project.
If you don't have much acting experience then substitute it with training and/or life experience. Tell the story you want people to hear. The only thing that matters is whether you can do the job. If your experience does not make that clear, tell them something that does.

Cathryn Hartt, founder of Hartt and Soul StudioWhat’s on a résumé: hair and eye color, height and weight, date of birth (for anyone under 18), credits, training, and special skills.
Standard order: film, television, commercials, voiceover, industrials, theater, training, special skills.
Film and television: List the project, credit (character name optional), and studio or production.
Voiceover: Voiceover work, music videos, personal appearances, etc.
Theater: List the production, character, and venue
Training: List the class name, coach, venue, and city
Special skills: List physical abilities or other skills that might be needed to land a job.
What’s not on a résumé: age range, categories in which you have no experience, modeling and print work, and background work.

Tony Howell, founder of Creative Social MediaWhat does belong? Union affiliation, contact information, height, vocal type/range (for singers), credits, training, and special skills.
What doesn’t belong? Fancy fonts and formatting, your address, eye/hair color or weight, false credits, skills you’re learning and ranges you’re reaching, and staples (more than one page).
Starting out? See all of the above, and work with what you have! Until you have professional credits, school productions (or even scenes you’ve worked on in class) are fine. Just notate this experience truthfully. Until you have representation, personal contact information is fine. Bottom line: Package and present yourself as professionally as you possibly can. 

Joseph Pearlman, L.A.-based acting coachYour résumé is simply a document which shows your credits, training, and special skills in a professional manner. If you don’t have a lot of recognizable credits, there are still ways to enhance the overall presentation. For example, if you acted in indie films which played at festivals or won awards, you can denote that on your résumé with an asterisk and a note at the bottom. If you’ve just done student films, list the name of the director rather than the name of the university, unless it’s a prestigious film school, such as AFI or NYU. Highlight your training and make sure the résumé demonstrates that you have studied with reputable teachers. Use the special skills section to list abilities that could add to a production, such as firing a pistol, gymnastics, and foreign language skills. Have fun with the special skills section! Add an offbeat special skill such as “dropping electronic equipment” or “catches every Seinfeld reference no matter how obscure.” Often that can be an organic and fun talking point during an audition. In our Career Coaching Program, we help actors launch their careers and construct résumés for maximum impact. 

Jackie Reid, manager, and owner of L’il Angels UnlimitedThings that typically go on the top an acting résumé are your name, representation, and age range. In the body of the résumé goes your credits, including the name of the project, your character name, and the network on which the show appeared. If it is a theater/feature film project, you would list the name, your role name, and the director’s name. You should also specify if the role was a co-star, guest star, or lead. Next comes education. This is not the name of your high school English teacher; these are classes that are relevant to the industry such as acting lessons, improv, cold-read technique, singing lessons, dance training, etc. Your next category is skills, (speaking fluent Spanish, horseback riding, and ice skating, playing the oboe, or driving a motorcycle). Things that aren’t special skills would be enjoying shopping, reading spy novels, and eating sushi. Save those for your Match.com profile.

When you are first starting out, the first thing that casting directors look at is with whom you trained. Seeing acting coaches that they know and respect will open doors when you have a résumé with no real acting credits on it.

Jessica Rofé, founder and artistic director of A Class Act NYOne thing that absolutely does not belong on a résumé is your home address. Especially when dealing with kids, this can be quite dangerous if it falls into the wrong hands. For kids and teens who may not have a lot on their résumés, they should include any school or community theater productions they have participated in, as well as classes they have taken. Also list all special skills. This is especially important when it comes to commercial casting. If your child has a special skill—like are fluent in Spanish or they are a brown belt in Karate—put that down. You never know when a job calls for a kid who can do something special! 

Denise Simon, NYC-based acting coachA résumé not only supplies your contact information, but provides all of your experience, training, and special skills. Your name should be in a larger font up top with your contact phone, email address, and if you have one, a website and union below. Never put your home address, as you don’t  know where your photo will end up. You can list important facts such as height, weight, hair and eye color, and if you are a musical theater performer, your vocal type as well. 

Your experience should be divided up into  categories: theater, TV/film, and commercials. In three columns list the name of the production, the role you played, and where you performed or who produced it. Your résumé should be on one page only and laid out simply in columns, making it easy to read. 

Warning: Do not lie! If you are just starting out, list any local or school credits you have. If you have none, just put your training and special skills. Your special skills should only include those you excel in. For a sample résumé visit this link on my website. Best of luck.

Ilene Starger, NYC-based casting directorIt is so important to have an impeccable résumé, check it often for accuracy, update it, and also check to make sure you have the correct spelling of titles/personnel mentioned. I often see résumés with typos, and that can embarrass an actor. Don’t put a small photo of yourself on the résumé, or your weight and height; keep it clean and uncluttered. 
  
List contact info and projects in which you’ve acted (not extra work). List your training/education. List your special skills, but only if they are serious skills (musical ability, foreign languages spoken/dialects which you can do, ability to ride a horse, etc.) if applicable. If you have dual citizenship, list that, and whether or not you have a green card (if you’re not a U.S. citizen). Don’t put silly skills down which would have no bearing on your ability to do a role. And be careful about not overstating your skills. I once cast an actor who said he could ride a horse, and, on the film shoot, he was frightened of the horse and it caused serious problems for the production.  

If you’re just beginning, put your education and whatever acting you’ve done on your résumé, as well as teachers with whom you’ve studied or classes you’ve taken. Most importantly, even if you have no credits, be truthful!  There is no shame in being a beginner!

John Swanbeck, director-authorMany film and television directors, versus stage directors, aren’t as interested in résumés, as they are with headshots and demo or sizzle reels, which they prefer above all. Interestingly, what film and television directors notice when they do look at an actor’s résumé is whether or not the actor has every played the genre of the film or television show the director is casting, whether or not the actor has ever played a similar type of role, as the one for which he or she is auditioning, and, if so, how often, and whether or not the actor can bring anything to the project that will increase the project’s profile within the industry, or on the festival circuit, or to financiers and distributors. Barring that, they love discovering someone new.  I once hired an actor who had only credit on her résumé. It read, “Your next movie.”

Have a question? Message us on Facebook or tweet @Backstage.

Tuesday, May 19, 2015

The ABC’s of Email Etiquette


The ABC’s of Email Etiquette
We’re moving to an age of constant notifications on our televisions, eye glasses, and watches, not to mention the mediation of our daily adventures through live video streams.
As things become more and more digital, the world is seemingly becoming more noisy and impersonal. Am I wrong? 
However, it’s never been easier to reach anyone and everyone! So how can one use these tools of instant global access for good? How can one effectively communicate in the digital age?
Well, first, here’s a K.I.S.S.S. Keep it short, simple, and sweet!
Social media rocks my world. However, sometimes an old-fashioned email (or even a handwritten letter) is the most effective way to reach someone and get results. Going back to basics can always help you grow. You’ll find innovation—the freedom within the form.
Follow these ABC’s of email and see what happens!
1. Always be courteous. Start with a warm greeting. 
Examples:
  • Good morning and Happy Monday,  _______!
  • Hello,  _______! I hope you had an awesome weekend.
  • Hi _______, Ever since I saw/read _______, I’ve wanted to write you.
No need to be obsequious (fancy word for kissing @$$), but you do need to first establish a connection. Relationships come before opportunities! If you proceed with a request, be sure to prime the pump. However, remember that brevity and specificity are part of being courteous in the digital age.
2. Always be clear. In the same way I recommend returning to “why” to grow fans and followers, start your emails with purpose. What do you want this person to do? Try writing this sentence first and composing around it.
Dallas Travers taught me to ask “how” questions. The response will be more helpful feedback than just a plain “No.” These open-ended questions require a more thoughtful response. 
Examples:
  • How open are you to a quick phone call?
  • How possible would it be to get an appointment?
  • How much would it cost to work with you?
Take it a step further and highlight any pertinent information (such as how questions or deadlines) with text treatment.
3. Always be concise. In business, emails are often sent like text messages. Yes. No. Got it. Thanks!
I was in the elevator last week with someone who said he doesn’t reply to any emails that are longer to than two or three sentences!
The truth is that we’re all busy. No one has time to read an epic email or write an equally crafted response.
Duncan Stewart taught me to write like a surgeon. Approaching the task (or the ask) might seem messy and scary! Still, you have to get in and get out as quickly, cleanly, and directly as possible. Go after what you want, but always take impeccable care!
4. Always be credible. If you’re using email as a way to network up, establish trust and credibility.
Examples:
  • It’s amazing to me that with _______ mutual friends, we haven’t yet crossed paths!
  • _______ recommended I contact you.
  • After working on _______, I realized I had to reach out to you.
Trust and credibility can come from mutual friends, one common relationship, or even one of your credits. You’re not name dropping or “humble-bragging.” You’re simply being transparent and sharing common ground.
5. Always be courageous. You’ll never get what you want if you don’t have the courage to ask. Failure and rejection are better than regret. Go for it, my friend. (Just act like a surgeon!)
6. Always be centered. I’ll conclude by reminding you to write from a calm, collected, and centered place. Private emails are used in court all of the time. Never respond or write an email out of emotion. Save it as a draft and return to the email when you’re back down to zero. 
Watch this week’s #TellMeTony video to learn when, how, and why to create a new email account!
Like this advice? Check out more from our Backstage Experts!
Tony Howell is an actor, digital marketing strategist, founder of Creative Social Media, and Backstage Expert. For more information, check out Howell’s full bio!

Monday, May 11, 2015

A TED speaker coach shares 11 tips for right before you go on stage


http://blog.ted.com/a-ted-speaker-coach-shares-11-tips-for-right-before-you-go-on-stage/

Gina Barnett advises a speaker during TED2014. Below, her best last-minute public speaking tips. Photo: Ryan Lash/TED
Gina Barnett advises a speaker during TED2014. Below, her best last-minute public speaking tips. Photo: Ryan Lash/TED
The weekend before a TED conference, each speaker rehearses their talk in the TED theater. It’s a chance for the speakers to get to know the space, for our curators to give last-minute suggestions on talk content, and for our speaker coaches to give advice to help each speaker feel their absolute best the day of their talk. During this time, we overheard speaker coaches Gina Barnett, Michael Weitz and Abigail Tenenbaum give a few extraordinarily helpful tips that we’d never heard before.
We asked Gina Barnett, longtime TED speaker coach and author of the upcoming book Play the Part: Master Body Signals to Connect and Communicate for Business Success (to be released in June), to share some specifics:
  1. Start drinking water 15 minutes before you start talking. If you tend to get dry mouth — that scratchy feeling where it’s hard to swallow — start drinking water 15 minutes before you go onstage. Why? Because the microphone will pick up that sticky, clicky sound. “When you close your mouth, don’t let your tongue hit the roof of your mouth,” Barnett offers as a pro tip to avoid popping audio. “Imagine a half a plum on your tongue, which will keep a vacuum from forming.” .
  2. Psych yourself up, not out. Barnett warns that negative self-talk can become a self-fulfilling prophecy. So don’t stand backstage thinking, “What if I mess up?” Think more like an athlete before a big game, she says. Psych yourself up with phrases like, “I’m so excited!” “It’ll be great!” “I can’t wait to share this idea!” Basically, whatever key phrase makes you feel happy. “Even just thinking the word ‘YES!’ over and over — feel how the thought enters your body and boosts your confidence,” she says. .
  3. Use your body’s nervous energy for good. Don’t try to contain all your nervous energy. Let it move through you and energize you for your talk. Do isometrics while you waiting backstage if it helps. Shake your hands out. Barnett remembers one TED speaker who found a private corner backstage to put on headphones and dance — and that speaker walked onstage feeling like a rockstar. And, if nothing else, always remember TED star Amy Cuddy and how to power pose. .
  4. Focus on your breath when you feel the adrenaline. What should you do if you feel the panic of nerves? “Breeeeeathe,” says Barnett, extending the sound. “Weʼre often not aware of how shallow our breath becomes when weʼre nervous or stressed.” The exercise Barnett recommends: “Take three or four conscious, evenly-paced, smooth inhalations and exhalations. Let the belly go and let the breath go all the way down into your abdomen. This can center your energy and focus your thoughts.” .
  5. Beware of repetitive motion. On stage, people often deal with adrenaline by unconsciously swaying or shifting their weight from foot to foot. This is not good. “Repetitive movements are distracting and set up a lullaby pattern in the audience’s brain,” says Barnett. The best way to make sure you aren’t doing this? Rehearse in front of people, who can point it out to you. And also rehearse out loud in front of a mirror to self-diagnose. .
  6. Think about how to use movement wisely. “You can walk,” says Barnett, “but not pace. You can step forward and or back, but not rock.” These are just as bad as swaying — they create that lull. Barnett has a great tip for how to make sure that you move in a way that adds to your talk rather than detracts from it. “Practice moving to make a new point,” she says. “Try coming closer to the audience when the content of your talk calls for it.” One technique she likes for this — rehearse while standing on newspapers spread out on the floor. You’ll be able to hear your movement as the paper crunches so you can really move “with intention and purpose.” .
  7. Use your tone to strengthen your words. Merge your tone with the topic of your speech, says Barnett. Don’t deliver great news in a monotone voice or serious news too excitedly, as disjunctions like that will distract the audience. Barnett recommends going through your script and tagging what each piece of news means. By doing that, you can focus on how your tone can strengthen the message, rather than undermine what you are trying to get across. .
  8. Give people a chance to adjust to your accent. Everyone has an accent — at least, when someone else is listening. Luckily, TED has a global audience and is very comfortable with hearing different varieties of speech. That said, speakers can make their accents more accessible to listeners all over the world. Barnett’s advice: keep your opening sentences slow and over-enunciated, so the audience can adapt to the way you speak. “Our ears are trained to adjust to accents,” says Barnett. .
  9. Focus on something outside of yourself. Barnett has a favorite exercise for someone who is just about to go onstage: she calls it “focusing out.” She explains: “Pick anything — like the color green — and look all around you to see where you spot it in the room. Or pick an object to observe. Notice what shoes people are wearing, or whoʼs wearing a watch. Or try paying attention to how light reflects off surfaces.” Doing something like this will shift the focus from what’s going on in your body and mind to something outside. It can definitely help you relax. .
  10. Remember that the audience likes you. As Barnett says, “The TED audience — as big, scary and remote as they may seem — is totally on your side. They want you to have a good time up there, they want to hear your ideas, even if they don’t agree with them, and they want you to succeed.” Enough said.
  11. And finally, no matter how well you prepare — be okay with the unexpected. You may forget a word; someone may drop something backstage; there might be a technical difficulty. Take a moment, breathe deeply and just roll with it. As one TED speaker laughed today as her slides spiraled out of order in rehearsal: “It’s just about having fun, right?”

Sunday, May 3, 2015

Creating Your Résumé



YOUR NAME
AFFILIATIONS (if any) such as SAG / AFTRA

William Morrison Agency
Height: 5' 10"
Bob Smith
Weight: 160 lbs.
Telephone: 213-555-1212
Hair: Black
agentname@wma.com
Eyes: Blue
www.agentwebsite.com
Film


Titanic
Mike
Dir. James Cameron
Over the Hedge
Lou (voice)
Dir. Tim Johnson
Star Wars
Hans Solo
Dir. George Lucas
Hart's War
Lt. Hart
Dir. Gregory Hoblit



Television


CSI New York
Lab Tech - Featured
Dir. Rob Bailey
Lost
Other George
Dir. J.J. Abrams
Grey's Anatomy
Bob the Orderly
Dir. Shonda Rhimes
Alias
Mr. Kahn
Dir. J.J. Abrams
ER
Head Injury Patient
Dir. Christopher Chulack



Theatre


Catch that man
Lou
Theatre of the Arts
Mental case
Bob
Elite Theatre
Lovely Tom
Tom
The Clash Theatre



Commercials


Conflicts available upon request





Training


UCLA, BA Dramatic Arts


Brian Reise
Scene Study & Cold Reading
Los Angeles, CA
Howard Fine
Comprehensive Technique
Los Angeles, CA



Specials Skills


Basketball, African Dancing, Martial Arts, Mime, Extreme Biking, Rock Climbing, Hip Hop, Singing, Stunts, Basketball, Football, Diving, Precision driving, Fluent French, Cry Easily, Current Passport



See also:

From Showbiz Extras

Published by Cheryl Woolsey
First of all let's differentiate between a résumé you would use to get a job in an office environment versus the type of résumé you would use as an actor. A business résumé will contain your name, contact information, work experience and skills relative to the corporate world as well as education. An acting résumé will include your name, your contact or agents contact information, personal details about you, the film, television, theatre projects you've worked in, what role you played, any acting training/education you've completed and any special skills you have to bring to a role. As you can see, the only information they have in common is your name and contact information, unless of course you choose to use a stage name instead of your birth name or you have an agent. Other than that, the two are fairly dissimilar.

Click on Read More (below) to continue or go to Showbiz Extras by clicking here. Additional resume and photo advice can be found in the links listed in the right hand column of this blog/newsletter.