Workshops & Masterclasses for Actors
Connection isn’t about being perfect. It’s about showing up. Your desire to create is a gift and who are you to question the giver (whoever you believe that might be)? The giver didn’t say, after you take another class, lose ten pounds, or master whatever it is you think you need to master, then you can begin to show people your work. The gift has been given and you need to explore what it means to be its possessor right now.
Have you ever gone to a party and been asked who you would most like to have a drink with? At the moment, if you were to ask me that my answer would be, Jenna Fischer. You know who she is, right? Pam Beesly from The Office is probably her best-known role.
Not only is Jenna funny, (which is what I definitely want in a drinking partner) but she’s also really generous. How do I know? Because she’s written a book called, “The Actor’s Life” that details her journey from a small-town Midwestern girl to realizing her dream to become an actor in Los Angeles.
It’s a 10-year odyssey packed full of funny anecdotes (and even a recipe for actor’s pizza that you won’t want to miss) about how she went from a starving actress to a working actor. Jenna spills plenty of tea about her more embarrassing moments, the times she wanted to give up, and the things that made her persevere. Sometimes, hope came from unexpected places but it always came when she most needed it. And she’s made it her mission to “pay it forward,” which really comes through as she lays out her tips on what you need as a beginning actor, what to expect when you begin to book work, and how to make the most out of your new status as a “working actor.”
I’m a working actor — albeit — nowhere near the level of Jenna, but I don’t have to wait tables or do temp work to pay my bills, and I can say this book was an honest look on the hard work and determination (and a soupçon of luck) that it takes to join the ranks of the 2% (which is supposedly the percentage of actors who actually make their living acting). Her advice is geared toward actors in Los Angeles but so much of what she says can be applied to actors everywhere. I’m in Munich, Germany, and found myself nodding along to her advice.
This book has something for everyone. Whether you are just starting out with stars in your eyes, you are already out there grinding away, or you’re an established actor, you’ll find something of value in this book — even if it only makes you smile (and sometimes laugh out loud).
Jenna, if you’re ever in Munich, hit me up.
Before you record your next audition discover the 10 rules for a failsafe selftape.
Casting Director Nancy Bishop gives tips on how to approach her and your casting for your next audition.
You learned your lines, you rehearsed your scene and you felt great about your work after your audition but you still didn’t get the role… Why not?
Give yourself more credit… you’re much more valuable than a diamond in the rough.
Here are the places you need to be.
In America and the U.K. there are a plethora of casting notice boards; online, offline, paid subscriptions, and free which can make looking for a job (not necessarily getting one) easier. There are a few reasons why that’s not the case here in Germany, the main one being that acting is considered a trade. That means you need to have studied the craft at a reputable school, which is very subjective.
In theory, it’s a great policy that keeps most amateurs from clogging up casting directors’ mailboxes. But what about those of us who have studied abroad, not at a university but somewhere like Stella Adler, The Actor’s Studio, or one of the many other great places to learn the craft of acting? Hate to break it to you but, it doesn’t count, unless… Unless you can prove you’ve worked in the business for at least 10 years. That will get you a membership to the Bundesverband der Film- und Fernsehschauspieler (BFFS) which is sort of like Screen Actor’s Guild — sort of, in that it’s not a union but it does offer some base guidelines and support. Being a member will give you some legitimacy and is a good start. Some of these notice boards cross over into also being databanks for actors and productions but we’ll cover databanks in another post.
Now on to the Casting Notice Boards:
CASTUPLOAD is relatively new on the scene and geared toward the German market. It has proven itself the darling of German casting directors. It’s basically a huge databank but they also post castings. It’s free to join and you can also link it to your account on Crew United. I would show you a screenshot but they insist on showcasing my age (supposedly only for the casting director’s eyes) and that ain’t nobody’s business. Don’t get me started on that rant — in Germany, you must include your date of birth and age on every casting platform and audition form you submit. I prefer the way it is in the States — you’re as old as you look. Amen.
Crew United Crew United is another website that began in Germany but now is representative of many countries in the EU. It’s basically the European version of IMDB and is widely used. You’ll find casting notices in their “jobs” section. Most of their postings are for low/no paying jobs but once in a while they’ll post something at standard pay; especially if it’s very specific (i.e. They’re looking for a Mandarin/German-speaking POC from Mozambique).
You can access their casting notices for free but if you’d like to see what’s in development or pre-production (which can be extremely helpful if you, like me, are proactive and want to network, you’ll have to sign up for full membership (59,90 Euros) but you’ll simultaneously be listed on Schauspielervideos.de which is used as a casting databank by many casting directors. Their layout looks great, too.
e-TALENTA which goes by the name CASTFORWARD in Germany is another Europe-wide casting portal. There is no need to join both of their sites. Membership in one will get you listed in the other. It’s free to join but if you really want to get the most use out of it, you’ll need to anti up for their pro account which costs 89 euros per year.
What I really like about the above example is that should you choose to use the “about me” option, every profile starts with a quick introduction video that lets casting directors, directors, and producers see how you come across — what your essence is. They are also a great way to let people know what you look like right now without professional makeup. And lastly, in case you’ve made some major changes to your look, for example, grown a beard (not me, obviously), cut or dyed your hair, or suddenly decided that getting a facial tattoo would be a great idea, (if so, you might need to re-think your life choices -just saying), your “about me video” would be the place to showcase those changes until you get your new headshots.
IMDB.com IMDB is the industry standard for production companies and actors alike. It’s one of the first places casting directors go to check out what you’ve done. If you don’t have an imdb profile, I suggest you take the time to make one. It has just implemented a new casting notice system. It’s so new that I really can’t report on it yet but it looks very promising. While I can’t recommend their casting board just yet, I can recommend becoming a full member ($15.95 monthly or $124.95 annually). As a full member, you’ll have access to films in development and pre-production lists as well as direct links to the production company’s or the casting director’s websites.
451.ch This is a Swiss platform but they have a pretty far reach. They often post audition notices.
Casting Network offers a free option which is really meant for extras or “Kleindarsteller”, and a premium option which is intended for professional actors. Their premium membership costs 40,- a year. With this, you’ll have access to and be able to apply to casting notices for professional actors that match your profile, casting directors (as well as what they are currently casting and how they accept submissions), acting schools, and current workshops. They also put out a blog with industry insights and updates.
In actuality, there are many more casting notices posted on dedicated Facebook pages, Instagram, and casting databanks (which I will cover in another post). Until then, see you in the green room.
As an actor who does a lot of voice work, I’m often asked to do a “Mid Atlantic” or “Trans-Atlantic” accent. Oh, that elusive country somewhere between N.Y. and London that just does not exist. What my clients really mean, of course, if that they want me to not to speak in a “twangy” voice (which I don’t anyway). They want a neutral, or standard, American accent. The Mid Atlantic accent is a now-abandoned affectation from the period that saw the rise of matinee idols and Hitchcock’s blonde bombshells. If you were to talk like that today, people would think you had serious delusions of grandeur. But in the films and newsreels of the 1930’s and 1940’s all you heard was this fake British elocution. That’s because it was taught not only in finishing schools but also by the Hollywood studio system.
So, even though the country of Midatlantia doesn’t exist, the mid Atlantic accent does (or at least it did). It was made famous by actors like Cary Grant, Douglas Fairbanks Jr, Bette Davis, Joan Crawford, Eleanor Parker, and Grace Kelly, just to name a few. It represented an upper class upbringing from somewhere in the Northeastern region of the United States. Its instantly identifiable to anyone who’s ever watched a classic movie. And, as with so much of pop culture, it trickled down to the masses who wanted to emulate their idols. This style of speaking was epitomized in the 1930’s and 1940’s but rapidly began to disappear after World War II. I don’t know if it was the rise of actors like John Wayne and Humphrey Bogart or the surge in American pride, but by the 1960’s this accent had all but vanished. The video Wings Over the Golden Gate is an excellent example of this style as is this clip from Philadelphia Story starring Katherine Hepburn, Cary Grant and Jimmy Stewart.
For this session of the Weekly Workout we’re working on two plays. The first is Iron, which is a Scottish play by Rona Munro and the second is called The Violet Hour by Richard Greenburg. The Violet Hour is set in 1930’s New York and centers around 5 characters who all either are, or strive to be, upper class Americans. That means this accent comes into play big time.
Our dedicated group of actors really like to be challenged. So even though each week is really a continuation of the rehearsal process as opposed to a performance, we like to be as authentic as possible in our characterizations. That means actors will research the styles and social circumstances surrounding their characters and that includes speaking with the correct accent. The 1930″s really was a different time. Things seemed much more “affected” but it can be a trap to act affected. Actors will have to find the truth of their characters within the parameters of the times they live in. This can be extremely challenging but its definitely also very rewarding.
We all know that a good performance is a carefully connected dance of need driven actions. But sometimes, it can be hard not to refer back to our favorites time and time again. When you need a little something to spark the imagination, this slim little volume of action words will do the trick. It helps you find the perfect description for every beat so that your performance remains dynamic and unpredictable. Why just “tempt” when you could allure, attract, bribe, cajole, coax, entice, induce, influence, lure, seduce… Why “stop” when you could curb, block, confound, constrict, constrain, control, dampen, delay, discourage, encumber, fetter, gag, hamper, handicap, halt, hinder, hold, impede, inhibit, moderate, muzzle, obstruct, oppress, quieten, repress, restrain, silence, stifle, still, subdue, suppress, throttle, trammel…
You can see how each word subtly influences the way you would enact your performance. As an exercise during rehearsal, try using at least three variations of each word then pick the opposite word and try three variations of that. For example, antonyms for “Oppress” are: aid, assist, comfort, help, make happy, please, soothe, benefit, calm, compliment, delight, encourage, give in, inspirit, let go, praise, release, yield, surrender, boost, and gladden. Often when you try the opposite of what you think your action should be, you’ll end up with something that’s unpredictable and layered.
Our art is made up of words and actions. The more you have in your toolbox, the more varied you’ll be.
Go ahead and give it a try.
You wonder how casting directors are going to find you. Of course you do! Whether you have an agent or not, you’re out there ready to go to work and you want casting directors to know how great you are. You send us postcards. You e-mail us newsletters. You follow us on Facebook. You self-submit. You even send along Starbucks gift cards around our birthdays. You go to casting director workshops and wait two hours for your five minutes in the room with us. But nothing happens. Why is that? It’s disheartening. It’s frustrating. What more can you do?
First of all, don’t despair. Know that we very well may acknowledge your efforts without you even realizing it. If we’ve seen you do great work somewhere, you’re likely in our “favorite actors” files. There may not be a job or a role right this minute for you. We may not even be working at the moment. But your talent is deeply appreciated.
That said, don’t wait around until we open that file. And don’t rely on the mailings. If we know how wonderful you are, remind us with consistent great work. If we don’t have a clue, produce wonderful work that we’ll discover. What’s going to get our attention is the strong work you’re doing all over the place. You’re bringing the house down on stage. You’re in class working out consistently. You’re creating content in your own short films, videos, and webisodes. You’re writing scripts and articles. You’re putting up a comedy sketch show every week. You’re doing exceptional work when you attend workshops. You’re out there doing the best work of your life. Casting directors, directors, writers, and producers will hear about it. We’ll see you. We’ll support you. We’ll bring you in for a role. Hell, we might even cast you.
There’s still the fable in L.A. (and other towns) that you’re meant to showcase your work on the stage primarily to get hired in film and television. While the L.A. theater scene has evolved over the past several years, some still believe that stage work is a vehicle for getting screen work. Getting a job this way may be a byproduct of doing excellent work on stage. But you must be doing your best work in a production, in class, and in a workshop because you love to act and you’re compelled to be in the work all the time—not because your goal is to book a guest star on a show. You have to wake up and fall asleep craving the artistry of it. You have to love it for its own reward. You’ll be doing better work. You’ll be happier. And those people who can hire you elsewhere will be drawn to your talent. Audiences and professionals alike are desperate to experience extraordinary work, to celebrate it, and to ultimately reward it.
We truly are one large (and sometimes not-so-large) community of artists and professionals. We track down the fantastic work you’ve created, get excited about it, write about it, tweet about it, and hire it. We want to be a part of it. It’s exciting.
A couple of years ago, I went to see John Pollono in the incredible play he wrote and starred in, “Small Engine Repair.” The play had some buzz around it. Jon Bernthal was in it, and it was my kind of theater. So I trekked to Pico from the Valley, hopeful that I wouldn’t be disappointed. John’s work, the play, and the production were extraordinary. I was blown away. I instantly engaged in a steadfast working relationship with John and have cast him in “Masters of Sex” two years later and championed him and his play, which is now in rehearsal in New York at MCC Theater.
John works hard. He’s incredibly talented, but for him it’s about the doing his best work whenever he can. And he’s finally getting the accolades he deserves. What’s really interesting is that he just wants to continue creating dynamic, spirited work. He cares most about doing personally rewarding, challenging theater. That’s why he’s succeeding.
Not everybody appreciates that rolling up your sleeves and getting down to the hard work daily is imperative. Here’s the real secret: If you’re willing to work tirelessly, you’ll outrun everyone else. If you’re willing to engage in the work with passion and conviction, you’ll be dancing triumphantly atop the Rocky steps of the Philadelphia Museum of Art. And the people who need to find you will. After all, who else is jumping up and down at the top of those steps in the cold every morning at dawn?!
Risa Bramon Garcia is partnered with Steve Braun in The BBG Studio, dedicated revolutionary acting and auditioning training. New career changing classes and workshops are happening now. Career and audition coaching and taping are in full swing. For more go to www.bramongarciabraun.com.
For the past 30 years Risa has worked consistently as a director, producer, casting director, writer, and teacher, collaborating with some of the most groundbreaking artists in the world. Having directed two feature films ‐ the cult classic, “200 cigarettes,” and “The Con Artist” in Canada – Risa’s also directed for television, including multiple episodes of “The Twilight Zone” for New Line/UPN, and shows for HBO, Lifetime, and Comedy Central. She’s directed dozens of plays in New York (The Ensemble Studio Theatre, Second Stage, Manhattan Theatre Club) and in Los Angeles. Risa’s casting resumé includes more than 65 feature films, classics such as “Something Wild,” “At Close Range,” “Angel Heart,” “Fatal Attraction,” “Wall Street,” “Talk Radio,” “Jacob’s Ladder,” “Born on the Fourth of July,” “JFK,” “The Doors,” “Sneakers,” “The Joy Luck Club,” “True Romance,” “Speed,” “How To Make An American Quilt,” “Dead Presidents,” “Twister,” “Benny and Joon,” and “Flirting With Disaster;” and numerous television shows, including “Roseanne,” “CSI:NY,” “The Cape,” and most recently “A Gifted Man” for CBS and the pilot “Rewind” for Syfy. ” Risa served as a producer on Oliver Stone’s films “Heaven and Earth” and “Natural Born Killers,” which she also cast. She’s currently casting the new Showtime series, “Masters of Sex.”
Thanks to Backstage.com for the wonderful article from Risa Bramon Garcia.
