Monday, October 16, 2017

HOW A TV PILOT IS CAST - REAL TALK - FROM A TALENT MANAGER IN HOLLYWOOD



 Wendy Alane Wright is a Hollywood Talent Manager and the president of WAW Entertainment. Her clients have appeared on television networks such as ABC, NBC, TNT, CBS, Comedy Central, BIO, Lifetime, and more. They have booked TV shows including “Modern Family,” “Blackish,” “Extant,” “The Colony,” “Animal Kingdom,” “My Haunted House,” "Walk The Prank," “Henry Danger,” "Murder Among Friends," "Night Shift," as well as hundreds of commercials for major spots including Shutterfly, Mercedes, Visa, Taco Bell, Honda, Legos, Justice, Walmart, Little Tykes, Foot Locker, Hot Wheels, Home Goods, Universal Studios, and many more. Prior to being a manager and a talent agent at Burn Down Entertainment, Wright assisted many high profile managers, agents, and publicists. For 20 years she was a recording artist, actor, and music producer, and is now the author of seven books called, “Secrets of a Hollywood Talent Manager.” Wright teaches the business of acting all over the country and is on the faculty of the New York Studio for Stage and Screen in North Carolina. For years she has appeared in numerous magazines, and on radio shows and talk shows including “The Oprah Winfrey Show.” Wendy is also a Recording Artist, Actress, Author and Music Producer all  giving her a 360-degree perspective of the industry.


HOW TO BE AN ACTOR ON TV - REAL TALK - 
FROM A TALENT MANAGER IN HOLLYWOOD


If you are coming to LA for pilot season you need to read this.

First, your training is CRITICAL. Going to regional local schools to learn acting is a great START. Take Scene Study classes, On-Camera Acting, and Improvisation for sure. You should be in acting class 1-2 times a week and practicing your acting every day.

To move your training to the NEXT LEVEL I highly suggest you supplement your local training with LA level training from teachers in the LA market.

If you're close enough to be in LA - drive-in EVERY week and train. Train with John D'Aquino, Zak Barnett, Dana Gergely, Andrew Magarian, Diane Christiansen Lisa Picotte, Amy Lyndon to start for the next 3 years.

If you can't get to LA every week in person, do the NEXT BEST THING, see which of them offer Skype classes from their LA schools - then you can attend classes in person at your local school AND train on Skype every month. Without adding LA level training - you may have the "look" to get a big audition - but you'll RARELY book those Series Regular parts.

99% of major roles are booked in the room by LA actors with outstanding training and experience. Some newer actors may get close, but the actual role will go to the person who is BEST suited for the job. There is too much money riding on television shows and movies to give main roles to amateurs. That is why it takes years of training and getting lower-level experience in student films, short films, web-series, theater and local commercials to lose the "green status." Your acting skills are the final determiner.

Actors with stronger skills will ALWAYS beat you for a role. So you need to make your training a PRIORITY.

My working clients train in LA with Amy Lyndon, John D'Aquino, Andrew Magarian, Dana Gergely Bowling, Diane Christiansen, Groundlings, UCB, Zak Barnett, Howard Fine, Margie Haber, Diane Christiansen, Gary Spatz, Terry Berland, Judy Kain and Lisa Picotte. Training in various classes 3-5 days a week. Working actors practice DAILY.

If they don't live in LA they are Skype 2-3 times a week with LA trainers. They have to. I want my clients to BOOK. And I know competition is FIERCE. Casting sees 2,000 - 3,000 pictures for ever role. Mediocre is not good enough. And good enough is not GREAT.

You WANT to train with John D'Aquino because he has been in 75 Television shows and Films. He can teach it because he has done it. Check out his IMDB credits HERE. 
WATCH HERE

Or Amy Lyndon because she has been in 101 Television Shows and Films and 41 actors from her class have become Series Regulars. Check out her IMDB credits HERE.

Amy also has an on-line training course with hundred of videos teaching acting on her website The Lyndon Technique

Take this seriously! If you are in a regional market and can't train in Los Angeles. Find the best acting training you can in the biggest city in your state, supplement with online caching from LA trainers. Then when you come to LA for 2 to 3 months during pilot season - during the summer - or episodic season - TRAIN with some of the trainers above to continue advancing your skills to the NEXT level.

HOW DOES CASTING WORK?
When a Producer has a project they send the script to several Casting Directors who read through the script, think about all of of the actors they know and present a list of the actors -or types of actors they would choose - if they were casting the project. The Producers select which Casting Director is closest to their ideas and that is the Casting Director who gets the job.
The Casting Director now is in charge of bring people to Producers who may be right for the roles.

Let's break town the types of auditions. 
  • Audition. (also called a Pre-Read)
  • Callback
  • The Producer Session
  • The Chemistry Read
  • The Mix and Match Session
  • Screen Test Session
  • The Network Test Session
  • Direct Offer
CASTING A PROJECT
THE 1st STEP when a Project being cast is the Casting Directors send out DIRECT OFFERS to actors they KNOW they want to hire for certain roles. If those actors is interested in the part, and are available,  not working on another project at that same time, and the money can be agreed on - the role will go to an actor who receives a Direct Offer.

The roles that are not cast by Direct Offer will be going through various stages of the audition process. Some actors will go straight to Producers, some will go straight to Callbacks. That is because the Casting Director already knows the actor and TRUSTS their acting skills enough to skip the regular audition, also known as a PRE-READ and send them to Producers. Why does an actor go directly to producers? Casting may have already hired that actor for a previous job, seen their work in another project, loved their audition tape (which is also a pre-read) or have had them in to audition so many times that they are now familiar with their skill level. Being IN LA helps with all of this

PREREAD
If a Casting Director does NOT know an actor, or does not trust the actor's skills enough to bring them straight to to the PRODUCER or CALLBACK SESSION the actor will have a regular audition(pre-read) to determine if they should be seen by producers.

During the pre-read Casting is eliminating every actor who is not right for the role, does not have the skills to move to the next level, who had a good look but is boring or unbelievable, or can not take direction from the casting director when they offer other ways to play the role. Once 95% of those people are eliminated the handful of remaining actors will join the Callback Sessions already in progress and filled with the actors Casting already knows.

CALLBACKS
When casting directors really know your acting skill level, they send actors STRAIGHT TO CALLBACKS, which means you SKIP the initial audition. Many actors go straight to the callback session. In the callback session they will be auditioning the actors who may have skills that could work for that job and who have the right look and feel for the part. They are comparing all the actors they see to see who is most believable, who has really brought the character to LIFE, who can take the best direction and re-direction from the casting director. (If you are brought to callbacks from a pre-read do exactly what you did in the pre-read. Don't change your audition unless casting has specifically told you to. Casting wants to show other people what you did for them in the pre-read. Even wear the same clothes)
                                                                                        WAW client Maddux Berry - direct offers.
As you can see there are MANY LEVELS ABOVE the initial pre-read basic auditions that beginners have. I have clients that get DIRECT OFFERS for roles. Some of my working Actors over the years have been very well trained and skilled - so they've SKIPPED the initial auditions and go STRAIGHT to Producers. Some go STRAIGHT to test. And when they're GREAT - they skip ALL of that and get a DIRECT OFFER for the role like my client Maddux Berry.
     
PRODUCER'S SESSION
From the callback session, and there may be several callbacks, a handful of actors will advance to the next level which is the Producer's Session. In the Producer's Session there may be many additional people in the room Producers, Writers or the Director who wants to see what you can do with the character. They want to see how you have brought their character to life. Great training is how you learn how to do this.

MIX AND MATCH
If the Producers and Writers like what they see, and feel you can take their direction, they may bring you to the next level of auditions called the Mix and Match session which allows them to see how certain actors fit and work together.


SCREEN TEST
They may choose to put some of these actors on tape in a Screen Test to see how they appear and fit on camera together. There may be props and a set will be used. The people at this level are the only ones in consideration for the job. To get to this level your acting skills and training is CRITICAL. They are deciding who can carry a show and the millions of dollars that are involved in this show. Amateurs do not get these roles.

SO WHAT DOES IT TAKE TO REALLY GET THE JOB ON TV? WHO WILL THEY CHOOSE?
  • They will choose well trained, experienced actors. 
  • Actors who know how to break down a script even if they hand them a new one and ask to see it in 10 minutes. 
  • Actors who can go all out emotionally and not hold back. 
  • Actors who are 100% confident in the choices they are making for that character without hesitation. 
  • Actors who are professional, humble and committed to the overall success of the project. 
  • Actors whose nerves don't show. (You may have them, but they don't show)
  • Actors who have left their egos and fears at the door. (You may have them but they are in check!)
  • Actors who are easy to work with and get along with. (Shows can run for years, they want people they like)
  • Actors who know how to work as a team and realize the project is not all about them.
  • Sometimes the Producer or Director's brother. (It's called nepotism - the practice among those with power or influence of favoring relatives or friends, especially by giving them jobs.)
NETWORK TEST
Once they have narrowed it down to 2-3 people for EACH role that have already tested and been approved of by Producers and everyone else involved with the project- they will present these choices to the Network who will make the final decisions on who gets these roles. (There is more after this, but I won't go into for this article. It all becomes very political regarding which shows actually get made)
                                                             
WHAT YOU NEED TO FOCUS ON TO MOVE UP THE RANKS IN THIS BUSINESS:
  1. Get educated about how the business works. My book gives you step-by-step easy to follow instructions to build your acting career. You can INSTANTLY download the 100+ page e-book here and get started today!
  2. If you're just starting out - your training should be the #1 number one most important thing you focus on.
  3. Getting acting experience in projects you SELF SUBMIT for including LOCAL student films, short films, music videos, and web series. And...Get a local agent to get you auditions for local commercials and local films. Some of these may give you good footage that your LA agent could actually use to submit you for bigger projects. Learn more about that HERE.
  4. Be patient. This business takes YEARS to break into. Smaller local parts are easier to get - but the big leagues takes REAL training and many years of classes and auditions. Did you know Mark Ruffalo who plays the Hulk in the Marvel Series had 600 auditions before he booked his first MAJOR role?
  5. Relax. Build your other skills along the way and enjoy the ride! 
  6. Realize that Casting Directors keep you in mind for a very long time. Every time they see you, even when you don't get the part, they will be considering you for future parts down the road. They cast many projects and they always need actors for them.  Just go in to your audition and do the BEST job you have been trained to do and let it go. You likely will never hear about that audition. That's OK.  Just move on to the next audition and the next one! Believe in your self and work over time up to the status of being called Directly to Callbacks, Producers and Direct Offers. Everyone starts from scratch. You can do it!
This business has TONS of opportunities but you need to work smart and be patient. Learn as much as you can about the business so you can have realistic expectation. Read my books, other peoples books. Fill your mind with knowledge about this business so it can help you succeed!         
                                
AND KNOW.... THE BEST IS YET TO COME!                                            -----------------------------------------------------------
If you want DIRECT advice to move your career further FASTER, I am here to give actors Valuable information to help build a strong acting career.

Schedule a Skype Acting Career Consultation to speak DIRECTLY with me for advice to build your PERSONAL career.
Set your consultation up by clicking:

YES! I WANT TO SET UP A CONSULTATION!

Subscribe to my You Tube Channel for helpful videos and sign up for my Mailing List/Newsletter for  important Industry Guidance and special discounts on actor related products!

See You On The Red Carpet,

Wendy Alane Wright
Talent Manager, WAW Entertainment
Acting Career Coach
Secrets Of A Hollywood Talent Manager



Friday, October 13, 2017

Interview with Talia Sperandio, Head Manager at MMG Models in NYC

Wendy Alane Wright is a Hollywood Talent Manager and the president of WAW Entertainment. Her clients have appeared on television networks such as ABC, NBC, TNT, CBS, Comedy Central, BIO, Lifetime, and more. They have booked TV shows including “Modern Family,” “Blackish,” “Extant,” “The Colony,” “Animal Kingdom,” “My Haunted House,” "Walk The Prank," “Henry Danger,” "Murder Among Friends," "Night Shift," as well as hundreds of commercials for major spots including Shutterfly, Mercedes, Visa, Taco Bell, Honda, Legos, Justice, Walmart, Little Tykes, Foot Locker, Hot Wheels, Home Goods, Universal Studios, and many more. Prior to being a manager and a talent agent at Burn Down Entertainment, Wright assisted many high profile managers, agents, and publicists. For 20 years she was a recording artist, actor, and music producer, and is now the author of seven books called, “Secrets of a Hollywood Talent Manager.” Wright teaches the business of acting all over the country and is on the faculty of the New York Studio for Stage and Screen in North Carolina. For years she has appeared in numerous magazines, and on radio shows and talk shows including “The Oprah Winfrey Show.” Wendy is also a Recording Artist, Actress, Author and Music Producer all  giving her a 360-degree perspective of the industry.





 5 Tips For Being SIGNED to a Modeling Agency


One of my friends Talia Sperandio is the Head Talent Manager at MMG. MMG is recognized nationally and internationally as a highly successful Model Management company. MMG is headquartered in New York City, the worlds' capital for Fashion, TV Commercials and Commercial Print. MMG currently manages, not only fashion models, but also commercial print models, actors, dancers, as well as, international recording artists. MMG is currently ranked by IMDB in the top 1% of all Television and Film management companies in the world.

I spoke with Talia to get her insight in how new models can prepare to sign with a major Modeling agency like MMG.

WENDY:
Talia my first question is when an Actor starts out they need to subscribe to various casting websites like Casting Networks, Actors Access, Backstage.com and Casting Frontier to see acting job lists and audition opportunities. Is there an online program that Modeling Agencies use to submit their clients to potential modeling gigs??

TALIA: Yes, all agencies use booking software and charge the talent to be on the system. Ours is called Syngency. Because of the cost associated, the system is completely optional. We cover the expenses for Casting Frontier, Casting Networks, and Breakdown Express. If the talent just want to be on those systems, that's totally fine. Because of the enormous functionalities of Syngency (it has an integrated app, hosts video/audio/resumes, has a comp card printing function, etc...) that system is quite expensive and we cannot cover it for every talent. For our exclusive talent, we do cover all these expenses.

For non exclusive talent- since they can terminate their contract at any given point in time and are no contractually obligated to attend castings, that system we do make an out of pocket expense. We were putting out the money for so many models who were not attending castings and breaking their contracts, that we had to get strict. Syngency charges a one time registration fee of $250. That is a one time fee that a model will never pay again! Then for maintenance/submissions etc. it breaks down to about $31 a month- same as other casting sites I believe. This comes out to roughly $375 a year/ $250 to set up and $375 to maintain annually.

WENDY:
That is wonderful that the technology exists to make it easier for Agencies to get their models seen by buyers! I love it.  I always suggest models prepare before they approach a modeling Agency. What 2 or 3 things would you recommend an aspiring model can do before they sign with an Agency?

TALIA:
1. DO YOUR RESEARCH! Know who are you meeting with and what kind of company they are. What kinds of jobs do they submit on? Where do they submit? Are they any specific requirements for the company? Be as prepared as possible to avoid wasting anyone's time and make sure that you are meeting with a company that can help you reach your goals.

2. If you are an actor, get some kind of training! Don't walk in completely green. Give yourself an edge on the competition. There are tons of resources nowadays between youtube, skype, books, classes and workshops. If you are a model, snap some photos! The agents/managers will need to see what you look like on camera. Get yourself comfortable with having your photo taken. Learn your angles and your "good side". Learn whats complimentary for your body and face.

3. RELAX and be yourself. We do not want to meet with robots. We want to learn who your authentic self is if we are going to be working together long term. We need to know your strengths and your weaknesses. Bring your true self and your personality.

WENDY:
Love it this is so so helpful. What do they need in terms of marketing materials that they can hand you? Do they need tear sheets when they walk into meet you? Do they need a website up with a variety of headshots and fashion shots and pictures?

TALIA:
4. I think personal websites, especially for models, are becoming more of a thing of the past. We ultimately won’t use those to pitch to clients. A digital portfolio on an iPad or a physical portfolio in a book is preferred. For actors they should have a headshot and resume ready to go as well as a monologue to perform.

WENDY:
If a model goes into a modeling agency and are told "we really like your look - your very, very new - we need to see more tear sheets - come back in six months."  Do they mean the model needs to go out and do lots of shots with photographers to get more variety of images it looks?


TALIA:
5. Tear sheets are ultimately almost impossible to attain with out an agency since the majority of the legitimate jobs goes through agents. So, the best thing a model can do is test with a number of fashion photographers to show how they photograph and that they have experience behind the camera.

WENDY:
Yes that makes perfect sense. I'm assuming that when a modeling agency sees a client and says, " you have potential, you just aren't ready yet "- they want to see more images that BLOW them away?

TALIA:
Right- or they need grooming; hair, eyebrows, skincare, weight, etc..and in that case the agent should help do develop them. There are people I see potential in, but they need some work. I've had girls dye their hair, grow out their eyebrows, lose weight, etc.... That, or they just aren't comfortable or strong behind the camera yet. In that case they need to shoot more.

WENDY: AT first glance what is your assessment of these pictures?



TALIA: I'd have him get his chest waxed or shaved
that's my immediate feedback.

WENDY: As SEXY as he is :) and in such great shape - advertisers often want that clean shaven chest. Male models spend a lot of money on waxing. (Good thing this is an expense that can be written of on their taxes.) 


HERE ARE SOME ADDITIONAL TIPS ON BECOMING A MODEL FROM MALE MODEL JONAH LEVI TAYLOR

TALIA: Also- not great direction on the photography here. With male models - it's all about the JAW LINE.

This image where he is laying back in the chair gives him a double chin almost. Poor posing direction there.



TALIA: This 3rd shot is strong.



WENDY: Yes it is. Models need to continually learn new poses. I have my clients look at magazines and see what's really going on with other models and learn those ways of working for the camera. Even working models like this one always need to be working those angles.

TALIA:
Yes! Especially for men, angles/jaw/cheekbones/abs should all show in a portfolio.

WENDY: This has all been really great information Talia. I appreciate you taking the time to share your expertise with me and helping me help others.

TALIA:
Always here to help!!

WENDY:
Thank you TALIA! You are such a good spirit and super cool Model Manager!

I will see you at ATS/JMA Scouting event in South Carolina soon! We have signed some great talent from there. Cadence Kenion just booked a Walmart commercial. Discovering new talent and getting them working...I love what we do!



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SUBMIT TO MMG MODELS

To submit to MMG Models visit their WEBSITE HERE and follow the submission instructions. Good Luck!!

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As always I am here to give actors Valuable information to help build a strong acting and modeling careers. Stay close for information and resources you can TRUST.

Schedule a Skype Acting Career Consultation to speak DIRECTLY with me for advice to build your career.

Set your consultation up by clicking:

YES! I WANT TO SET UP A CONSULTATION!

Subscribe to my You Tube Channel for helpful videos and sign up for my Mailing List/Newsletter for important Industry Guidance and special discounts on actor related products!

See You On The Red Carpet,

Wendy Alane Wright
Talent Manager, WAW Entertainment
Acting Career Coach
Secrets Of A Hollywood Talent Manager

Friday, October 6, 2017

How to Effectively Network at Film Festivals by: Rachel Amanda Bryant




Wendy Alane Wright is a Hollywood Talent Manager and the president of WAW Entertainment. Her clients have appeared on television networks such as ABC, NBC, TNT, CBS, Comedy Central, BIO, Lifetime, and more. They have booked TV shows including “Modern Family,” “Blackish,” “Extant,” “The Colony,” “Animal Kingdom,” “My Haunted House,” "Walk The Prank," “Henry Danger,” "Murder Among Friends," "Night Shift," as well as hundreds of commercials for major spots including Shutterfly, Mercedes, Visa, Taco Bell, Honda, Legos, Justice, Walmart, Little Tykes, Foot Locker, Hot Wheels, Home Goods, Universal Studios, and many more. Prior to being a manager and a talent agent at Burn Down Entertainment, Wright assisted many high profile managers, agents, and publicists. For 20 years she was a recording artist, actor, and music producer, and is now the author of seven books called, “Secrets of a Hollywood Talent Manager.” Wright teaches the business of acting all over the country and is on the faculty of the New York Studio for Stage and Screen in North Carolina. For years she has appeared in numerous magazines, and on radio shows and talk shows including “The Oprah Winfrey Show.” Wendy is also a Recording Artist, Actress, Author and Music Producer all  giving her a 360-degree perspective of the industry.


Today I am bringing you some outstanding information from Producer /Actress Rachel Amanda Bryant.  
 
Amanda is a busy actress who has produced and starred in the film "Jet Set LA," which has been nominated for over 10 awards (including a Best Actress) and the film has won 3 so far! She has also produced and starred in the film called "The After Party!" which is a Twlight-Zone esque drama written and directed by Colin Costello and shot in a film noir style. Here is some great advice for actors to help them learn how to create contacts at Film Festivals.

How to Effectively Network at Film Festivals 

Wanna meet tomorrow’s Spielberg?

And no, I’m not talking about meeting his son ;), I’m actually referring to meeting up-and-coming directors, writers, and producers. These filmmakers are taking the indie film world by storm with their shorts, features, and series and music videos. And they will potentially be directing, writing, producing big budgets films and television shows in the next 5-10 years. So how do you meet them? It’s super easy: go to a film festival! This is how I’ve been offered supporting and lead roles in amazing projects.

Attending film festivals is a great opportunity for actors to see a bunch of indie filmmakers’ work. And you get to see what themes/topics are present throughout the indie filmmaking world. It’s ALSO a place for actors to actually meet indie filmmakers, and to become legitimate fans of their work. Meeting these new, upcoming filmmakers is a great way to create new relationships in an industry that is well, built on relationships. It’s also a way to potentially work with these directors/producers on their smaller passion projects, before they hit it big.

I’ve been to countless film festivals now. I remember the first time I went I was so overwhelmed by the sheer number of filmmakers surrounding me. I had just watched these peoples’ films, and I felt as though I already had a connection to many of them. I wanted to let them know how their project affected me and to ask them questions about their creative process. I wanted to get to know THEM as an artist and storyteller. Seeing their films made me want to simply talk to them and get to know them better. What’s amazing about film festivals is that conversation is actually built into the schedule. There is always a mixer of some sort following screenings! I soon realized that I could actually tell these filmmakers all the things I’d felt and considered while watching their projects.

So that’s what I did. I started utilizing film festivals as a way to connect with filmmakers. I would simply start conversations with someone at the mixer (“Hey isn’t this cake great?” or “Were you in that last screening? Wasn’t that last short film crazy?” to even “Congrats on your film, your use of color was mind-blowing”). And then that conversation would lead to introduction, which would lead to them introducing me to their filmmaking partner. He’s by the way discussing a new project with a friend of his, and suddenly I’ve just met half a dozen people through honest interaction. If I had seen their work, I would give a sincere compliment to them about their film, and this inevitability leads to conversation as well. Then, they would ask what I was up to, what projects I’m in and what I had coming up next. Suddenly I’m discussing my upcoming films and the types of stories that I love to tell as an actress and a filmmaker. Usually by the end of the mixer, I have exchanged business cards with numerous people. I’ve even friended people on various social media platforms.

Sometimes, filmmakers aren’t able to attend their screenings or they are bombarded by people following a screening, and I’m unable to connect with them in person. So, if I am truly a fan of their work, I will cold email or message them on social media. I will write about how their film touched me, and I will always ask a question at the end of the message to encourage a dialogue. This has actually led to me meeting filmmakers in person for coffee etc, where we were able to discuss filmmaking and telling stories. One of my closest friends is a filmmaker that I met after I sent him a cold email after watching one of his films at a festival in Hollywood.

Meeting these filmmakers is a given when attending festivals and chatting with them at mixers, but what if you could parlay these new relationships into gigs? What’s funny is people love to work with people that they know and trust (I mean don’t you?). When you meet filmmakers at festivals, you start building a relationship to become someone that they know and trust. I’ve actually had direct bookings occur after I met filmmakers at festivals. How? I followed up (via social media, email etc) and continued to grow my working relationship with them. I’m genuine fans of their work, and consequently, they’ve become genuine fans of my work.

This all sounds great Rachel, so how do I do it?
  1. Google your city and “film festival” and make a short list of festivals you’re interested in. You’ll see that there are SO many to choose from: some that are very specific genres and others that span the spectrum of style and budget. Los Angeles is a particularly overwhelming city for this, simply because there are a lot of filmmakers here. So I recommend choosing festivals that resonate with you. For example, if you’re looking to meet diverse filmmakers, maybe the Los Angeles Diversity Film Festival is for you. Or if you’re looking for lower budget indies, maybe Dances with Films is for you.
  2. Attend the festival (if it spans over several nights, buy a ticket for a night that has a mixer immediately following the screening). Make a note about which films really spoke to you as an artist. If you’re not given a program with the films’ titles/creators, it will be posted online somewhere. Remember to jot down in your phone any notes you want to remember about a certain project. Head to the mixer and be ready to chat with filmmakers about their films etc. Be ready to talk about yourself too! These people want to know what you’re up to, and what you have coming up next.  Money saving tip: if you are on a tight budget, consider offering to volunteer at the festival.
  3. Follow up with them on social media or via email. Continue to correspond with them as their own work grows. Keep them up to date on your exciting wins.


REMEMBER: Be genuine with your feedback… You want to work with people that excite you as that will lead to a genuine friendship. It’s not about booking roles, that will inevitability happen. It’s about meeting storytellers and expanding your network of filmmakers that inspire you.


See y’all at a film festival soon!
For more information about Rachel visit her website at: 
http://rachelamandabryant.com/
 and here at IMDBPRO

For Booking Inquiries, please contact
Sally Hinata
Energy Talent Management
(310) 890 - 7135

For Commercial Booking Inquiries
David Levy Martin
Momentum Talent and Literary
(310) 858 - 6655

For Booking Inquiries (Southeast)
Kenneth Del Corral
Serious Actors and Models Agency

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As always I am here to give actors Valuable information to help build a strong acting career. Stay close for information and resources you can TRUST.


Schedule a Skype Acting Career Consultation to speak DIRECTLY with me for advice to build your career.

Set your consultation up by clicking:

YES! I WANT TO SET UP A CONSULTATION!


Subscribe to my You Tube Channel for helpful videos and sign up for my Mailing List/Newsletter for  important Industry Guidance and special discounts on actor related products!

See You On The Red Carpet,

Wendy Alane Wright
Talent Manager, WAW Entertainment
Acting Career Coach
Secrets Of A Hollywood Talent Manager





Sunday, October 1, 2017

Interview With Hollywood Film and TV Producer Leigh Scott


http://www.secretsofahollywoodtalentmanager.com/store


 Wendy Alane Wright is a Hollywood Talent Manager and the president of WAW Entertainment. Her clients have appeared on television networks such as ABC, NBC, TNT, CBS, Comedy Central, BIO, Lifetime, and more. They have booked TV shows including “Modern Family,” “Blackish,” “Extant,” “The Colony,” “Animal Kingdom,” “My Haunted House,” "Walk The Prank," “Henry Danger,” "Murder Among Friends," "Night Shift," as well as hundreds of commercials for major spots including Shutterfly, Mercedes, Visa, Taco Bell, Honda, Legos, Justice, Walmart, Little Tykes, Foot Locker, Hot Wheels, Home Goods, Universal Studios, and many more. Prior to being a manager and a talent agent at Burn Down Entertainment, Wright assisted many high profile managers, agents, and publicists. For 20 years she was a recording artist, actor, and music producer, and is now the author of seven books called, “Secrets of a Hollywood Talent Manager.” Wright teaches the business of acting all over the country and is on the faculty of the New York Studio for Stage and Screen in North Carolina. For years she has appeared in numerous magazines, and on radio shows and talk shows including “The Oprah Winfrey Show.” Wendy is also a Recording Artist, Actress, Author and Music Producer all  giving her a 360-degree perspective of the industry.

Interview With Hollywood Film and TV Producer Leigh Scott



Hi Leigh thank you for taking time to talk with me today about Actors! It's my favorite subject:) You have produced or directed over 30 projects for networks or major distributors. You  have 15 projects in development as we speak. Actors are always asking me questions and being able to speak with people of your caliber is always exciting for me and helpful to the actors I help.

You have cast so many great actors in your project. Actors I have grown up watching. I will just name a few; Christopher Lloyd, C Thomas Howell, Dean Stockwell, Wil Wheaton, Robert Davi, Jack McGee, Bruce Boxleitner, Stacey Dash, Stephen Dorff, David Boreanaz, James Woods, Dominic Purcell, Ray Liotta, Forest Whitaker, Common, Michael Chiklis. So many talented actors. You know so much about filmmaking and the entire process.  I always tell actors to create their own projects and I am sure you would agree. You produced and directed your first feature film Beach House at age 22. Then you followed that up with Art House, a comedy that was an official selection at the Aspen U.S. Comedy Arts festival. Let me ask you....

WHAT IS THE AVERAGE AMOUNT OF TIME IT TAKES YOU TO WRITE A SCRIPT? WHERE DO YOU GET YOUR IDEAS AND INSPIRATIONS?
It varies from script to script, but I'm pretty fast. I really enjoy working from classic Frankenstein Reborn because you get to put your own spin on something many filmmakers have tried in the past.

I really enjoy working from classic stories as inspiration. I've been catching a lot of heat lately for making "rip-offs" of old movies or studio movies, but I don't see it as a 100 percent bad thing. A lot of stories have never been done right, or need a new spin. It's fun to make a film like

DO YOU HAVE ANY ADVICE FOR LOW-BUDGET FILM MAKERS JUST GETTING STARTED?
Keep filming. Don't be arrogant. You're not that good! No matter how bad-ass I thought I was at 22 when I made my first movie, I learn something about myself and the craft every day. Also, nobody likes a jackass. Don't hide your insecurities by being pretentious or a loudmouth. Get your crew behind you. Get your actors behind you. You never know when you're going to want to shoot a 15-hour day.

LET'S TALK ABOUT ACTORS. DO RELATIONSHIPS HELP ACTORS GET MORE AUDITIONS?
I was doing a TV movie for NBC and I recall the casting director just focusing on people from specific managers and agencies. I threw a fit because it was my first TV movie and I wanted to see everyone, so, she ended up expanding the call. But, yes Wendy, that's a real thing. Personal relationships with casting people is a big deal, so work on those and maintain them. I personally have a thing about being fair and wanting the best, but not many directors want to do the effort.

AS A TALENT  MANAGER I SEE MANY BAD HEADSHOTS. WHAT DO YOU HAVE TO SAY ABOUT HEADSHOTS?
When it comes to headshots, sure, make it's good. It can't be amateur and needs to look like the person that comes in the room. If your headshot is a decade old, you need to get it redone, but, too many agents and managers who are lame use your headshot as an excuse. What do YOU think? Do you like your headshot? Does it look like you at your best? If it does, it's probably fine and I really wouldn't worry about it.

DO YOU WATCH ACTOR'S REELS WHEN CASTING?
When it comes to reels, that only matters when you are "in the middle." The means that I, as a producer and director, don't know who you are, but the casting people and agents say that you're up and coming and amazing. We rarely watch reels for people who audition in person or send in taped auditions. It's mostly something that we use for people who can't audition, but have done enough that their agent or manager pushes them.

HOW CAN AN ACTOR IMPRESS YOU?
What impresses me? Well, stuff that I recognize. If you've been on a big show or in a big movie, that makes me pay attention. Anything that shows commitment or range will also impress us. Don't put too much on because we have hundreds of videos to watch. You know in your gut what's awesome, so, just put that out there.

HOW DO YOU CHOOSE THE ACTORS THAT APPEAR IN YOUR FILMS?
At the end of the day, when it comes to auditions, there are two things to consider. One is make me want to work with you. Are you fun? Are you serious? Are you laid back? Depending on the role, we have to deal with you for several weeks, so people who seem to be fun and grounded will always beat people who are uptight and weird. Let me see who you are because I'm looking for a creative partner.

WHAT TURNS YOU OFF ABOUT ACTORS AUDITIONING?
Don't tell me that you "just got the sides" or that you have "ten auditions so you really didn't get a chance to look it over" because that just tells me that you don't think my project is important and that you may be too frazzled or difficult to deal with on set. Even if that stuff is true, just do your best. Don't call attention to it because it makes you seem high maintenance.

Leigh thank you for all of this useful information and sharing your expertise. I know you are extremely busy so I have one last question for you....

WHAT INSIDER ADVICE DO YOU HAVE FOR ACTORS AUDITIONING?
The casting process is as brutal and rigged as you fear it is. But, that doesn't mean you can't beat it. There's a right way to do a line, a wrong way to do a line... and a BETTER way to do a exactly the same way you do. And that may be the "right" way to do it. But try and find the "better" way. Impress the director and producers and make it your own. It's much more frightening, but it's the key to success. If you fall back on the "right" way, then it comes down to how you look etc. Are you the right hair color? Are you the right height? BUT, if you give us something new and fresh, even if we hate it, we know that you are capable of taking the material to different places. And that throws EVERYTHING out the window and makes us want to cast you. I can't tell you how many times I've completely changed the look of a character based on someone who demonstrates the ability to mix it up. Always try to find that fresh and exciting interpretation. You don't realize it but there are probably 50 people who come in that office and do it

It's really that simple.

Good luck to all of you. I quit being an actor after less than a year because it's so tough, so I feel for you all!

Leigh Scott

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With more than three dozen feature films under his belt, Leigh Scott has been working as a professional writer, director, producer, editor, and cinematographer in the film industry for nearly twenty years.

He attended USC's prestigious School of Cinema-Television. While in school he obtained an internship working for Roger Corman's "Concorde Pictures". At Concorde, he worked in production, marketing and development.

Upon graduation, at the age of 22, he successfully produced and directed his first feature film, Beach House. He followed that up four years later with Art House, a comedy that was an official selection at the Aspen U.S. Comedy Arts festival.

Leigh has always looked to push the envelope in both the business and creative aspects of the industry. He was one of the first filmmakers to encourage digital acquisition over film and embrace digital post production. He trained editors at Warner Bros. in the use of computer editing systems as early as 1994, was one of the first directors to shoot on RED digital cinema cameras, and supervised some of the earliest motion-capture tests and shoots for Microsoft.

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As always I am here to give actors Valuable information to help build a strong acting career. Stay close for information and resources you can TRUST.



Schedule a Skype Acting Career Consultation to speak DIRECTLY with me for advice to build your career.
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See You On The Red Carpet,

Wendy Alane Wright
Talent Manager, WAW Entertainment
Acting Career Coach
Secrets Of A Hollywood Talent Manager







Monday, September 25, 2017

How To Be A Star Right Where You Are: Secrets Of A Hollywood Talent Manager





BEST SELLING BOOK HOW TO BE A STAR RIGHT WHERE YOU ARE.

EVERY actor wants to make it in Hollywood. 

That is the big dream. It is a great dream. I want every single actor to know HOW to become a successful actor so I wrote this 100+page book  "How To Be A Star Right Where You Are; Secrets of A Hollywood Talent Manager."


Actors in The USA and around the world use it to start their acting careers.



I am a Talent Manager in Los Angeles. I discover NEW talent and get them on Television, in Movies, Print Ads and Commercials. My clients have been on shows like Modern Family, Extant, The Colony, Henry Danger, Sharp Objects, Night Shift, Blackish, Walk The Prank, Animal Kingdon, American Horror Story and so many more. They have appeared in thousands of commercials and print ads for major brands like Visa, Shutterfly, Justice, Honda, Universal Studios, Target, Disney, Lego, Taco Bell, Walmart and on and on.




There are very specific things you need to do to become an actor. There are very specific things everyone needs to do to become an actor who works on TV, Film Print and Commercials.


"How To Be A Star Right Where You Are; Secrets of A Hollywood Talent Manager" will teach you how to become a working actor -WHEREVER you live in the world.


You will learn how to start building an acting career WITHOUT an Talent Agent or Talent Manager.
BUT.... it will be like having one because I am a Talent Manager explaining exactly what you can do!
That's awesome :) 



There are 6 easy to read chapters with specific step-by step instructions and links to help you take the actions. This book will guide you for YEARS. 


There is a LOT of false information out there. There are people trying to charge new unsuspecting actors thousands of dollars for nonsensical showcases, headshot packages and training. Avoid ALL of that. This book was written to PROTECT you, INFORM you and HELP you.

Actors that have used it have said:



"I wish I'd known about this book earlier; I would've saved myself a lot of time and money." - JP



"My acting career has taken a drastic turn in a little less than 2 months. I have booked 2 lead roles on 2 feature films, a supporting role on a pilot web-series, a healthcare commercial, and will be directing my adaptation of Wanda Mckiver’s novel, “Beautiful” as well as appearing in the film. - Alyssa Brayboy

"Absolutely incredible. A MUST read if you are thinking about breaking into this industry!!!" - August Beach


So many coaches focus on their own products but real results come from using many resources, you just need to know which ones are RELIABLE.

So a very important thing about "How To Be A Star Right Where You Are; Secrets of A Hollywood Talent Manager" is I give you information and links to OTHER helpful industry resources in this business that you NEED. I refer you to all kinds of great acting teachers, excellent headshot photographers, agents, marketing people and the best online casting sites.

How To Be A Star Right Where You Are; Secrets Of a Hollywood Talent Manager covers in details with pictures and step-by-step instructions the following information:



CHAPTER 1 - HOW  TO START BUILDING YOUR CAREER WITHOUT A TALENT AGENT

23 Ways To Break Into Your Own Market & Start Building An Acting Career Right Where You Are!
What is the RIGHT Training that Every Actor Needs


Where to find the RIGHT Acting Training

How to get work in Student Films, Short Films and Webseries

How To Get Exposure with Casting Directors, Producers and Directors






CHAPTER 2 - HOW TO SUBMIT YOURSELF TO LEGIT ACTING PROJECTS ONLINE
What Online Sites Should You Be Submitting To?
How To Submit Yourself To Legit Acting Projects Online
How To Correctly Self-Submit
What Are Breakdowns?


How To Get More Acting Jobs
What do do When You Get A Call Back
How To Correctly Self-Tape 



CHAPTER 3 - HOW TO GET A TALENT AGENT RIGHT WHERE YOU LIVE

How To Get A Local Talent Agent Where you Live


How To Use IMDB Pro

How To Write A Good Cover Letter
How To Correctly Submit to Agents


How You Can Build Powerful Relationships that Get You MORE Acting Jobs



CHAPTER 4 -HOW TO CREATE YOUR MARKETING TOOLS
The Correct Way To Format Your Resume


Resumes Samples

How To Discover Your Type

How To Find The Right Photographers
What To Do During Your Photo Session?
How to Dress For Your Photo Shoot
Where to Get Your Headshots Reproduced
How To Create Good Actors Website
How To Create A Great Demo Reel
Demo Reel Samples


CHAPTER 5 - HOW TO GET YOUR CHILD INTO MODELING AND COMMERCIALS RIGHT WHERE YOU ARE
How To Get Your Child Into Modeling And Commercials Right Where You Are
Practice Taking Pictures Of Your Child 

Have Your Child Memorize Poses
How To Find Local Photographers To Shoot With


How To Do Local Print Ads

Learn What the RIGHT Acting Classes for kids are.  

What Kinds of Headshots do my Children Need?

When Should My Child Join The Union Sag-Aftra?

Should I Pay for Talent Showcases?

Should they Participate in Agent and Casting Director Workshops?

What Do Casting Directors Really Want From Actors

Sample Talent Agency Contracts

CHAPTER 6
 HOW TO BECOME A SINGER RIGHT WHERE YOU ARE
22 Ways To Start Your Singing Career
How To Get Exposure
How To Get Discovered





"How To Be A Star Right Where You Are; Secrets of A Hollywood Talent Manager" is  the best resource available for anyone who wants to become an actor in TV, Film, Print and Commercials.  By the end of this year, if you follow the suggestions in this book you will be substantially ahead of where you are now! No Joke. Be ready to take BOLD ACTION going forward. Her advice works if you WORK IT. Just having knowledge is not enough. ACTION is what turns a dream into reality.

 To INSTANTLY download your copy of "How To Be A Star Right Where You Are; Secrets of A Hollywood Talent Manager" Click HERE:




By the end of this year, if you follow the suggestions in this book you will be substantially ahead of where you are now! No Joke. 

MY CLIENTS HAVE TO DO EVERY SINGLE THING IN THIS BOOK. THAT'S WHY THEY HAVE AN ACTING CAREER.

If you are serious about becoming an actor...and not just curious be ready to take BOLD ACTION going forward. My advice works only if you WORK IT. Just having knowledge is not enough. 

ACTION is what turns a dream into reality. 

Denzel Washington says..." A Dream Without Action Is Just A Dream."

See You On The Red Carpet!

Wendy Alane Wright
TALENT MANAGER
WAW ENTERTAINMENT
Coaching Website: Secrets Of A Hollywood Talent Manager 


If you want to have a one-on-one Acting Career Consultation with Wendy please visit her coaching website:

http://www.secretsofahollywoodtalentmanager.com/copy-of-how-to-be-an-actor

Thursday, September 21, 2017

20 Film Audition Tips from Casting Director – Donna McKenna

 


Wendy Alane Wright is a Hollywood Talent Manager with WAW Entertainment. Her clients have appeared in numerous national commercials, movies, webisodes, short films, and on television networks such as ABC, NBC, Comedy Central, BIO, Lifetime, plus many more. Wendy clients have booked TV shows including MODERN FAMILY, BLACKISH, EXTANT, THE COLONY, MY HAUNTED HOUSE, AMERICAN HORROR STORY, THE NIGHT SHIFT, ANIMAL KINGDOM, MURDER AMONG FRIENDS, NIGHTSHIFT and HENRY DANGER, as well as hundreds of Commercials for major spots including Shutterfly, Mercedes, Visa, Taco Bell, Honda, Legos, Hot Wheels, Little Tykes, Foot Locker, Target, Walmart, Justice and many more. Previous to being a Manager and a Talent Agent at Burn Down Entertainment, she assisted many high profile Managers, Agents and Publicists in the careers of Neil Patrick Harris, Johnny Galecki, Sarah Michelle Geller, The Four Tops, The Bee Gees, Meatloaf, Whoopi Goldberg, Steve Guttenberg, The Cranberries Michael Jackson, Barbra Streisand, Kenny Rogers, and Neil Diamond. Wendy is also a Recording Artist, Actress, Author and Music Producer all  giving her a 360-degree perspective of the industry.

20 Film Audition Tips from Casting Director – Donna McKenna

May 18, 2016
YES! You read that right.
 
We have 20 golden nuggets of advice that will help you rock your next film audition. These 20 simple yet vital points, are brought to you by renowned Casting Director – Donna McKenna.
Donna McKenna, CSA – Is an international award winning casting director and producer for independent feature films, shorts and web series. To date she is responsible for casting over 56 projects. In 2015 she was awarded the Casting Award of Merit at the IndieFest Film Festival for casting the film Leaves of the Tree which stars Eric Roberts, Sean Young, Federico Castelluccio and Armand Assante and was filmed on location in Texas and Sicily.

#1. Make smart, real, fun choices and bring a little of your personality into it
You don’t have to go too far to make a smart choice.  For example, you don’t have to scream to be angry. You can slam your water bottle on the table, or your expression can show how angry you are. You don’t have to be big, but build the character. Especially if you only have a couple of script pages. Interpret what is going and keep the choices real. We make independent films. It’s very real. Think about every day, and incorporate that into the choices you make.

#2. Listen and react!
Reaction and listening are really important. Don’t worry about getting the words out. I can tell when an actor only cares about what is in their head. Sometimes I put a new line in the script and have the reader say it to see if the actor is listening and reacting to the crazy line I put in there. I think being in the moment is very smart.

#3. Come in and have fun
Show us that you want to be there. Have an energy as you come in. I can see if you are happy. I can see the fire in your eyes. The passion.

#4. Know that Casting Directors are routing for you
I love actors, and I am cheering for you. In fact, most of the time I give the full script to an actor so they have more to work with. Especially if they are in three or more scenes. I also have the director give director notes, and that goes with the script. So if you come in and follow what has been said and give it a lot of thought, you have a great chance of winning.

#5. Research who you’re auditioning for
I always tell actors to find out who they are auditioning for. You can find anything about people online. Their interests. Then you can get a sense of the energy in the room and what we like or don’t like. It will give you a sense of what you’re coming into. It helps to take the nerves off. I’ve been getting a lot of calls lately that make me excited, where actors say they did this and it really worked.

#6. Keep nerves in check
I always say not to be nervous. Of course that’s easier to say, and even I am nervous because I want my actors to do well. I literally say prayers that every actor comes in and does well and feels confident. I want actors to be calm and know they did a good job.
And I tell actors – go out after the audition and reward yourself.  Have that ice cream, or cocktail, or cake because you deserve it. You worked hard. Don’t’ say should have, would have, could have.  Many people think they didn’t get the part, and when I cast them they’re surprised. You don’t know. So try to not be nervous.

#7. Rehearse on camera
Tape yourself before you come in for the audition. And put on the wardrobe you want to wear. Don’t wake up and throw on clothes and be unhappy with what you are wearing because I can tell. Wear your clothes and do the scene a couple of times. See what you liked, and didn’t like. It works. I’ve been getting a lot of calls that this works and it makes me happy.

#8. Be real and comfortable
It isn’t a matter of what you look like – it is a matter of how you feel. For actors it is stressful enough auditioning, so put in the work so you feel comfortable. I always tell girls to watch that your hair doesn’t hang in your face. I got to the dollar store now and get the hairbands and leave then on my desk because so many girls have their hair in their face and we can’t see them. For indie films you don’t have to be so camera ready. Be real.

#9. Dress right for the part
I put in the audition invitation what you need to wear or don’t. Like if the role calls for lingerie don’t come in lingerie, come in yoga pants. Don’t wear anything flashy. Stay true to the character. Even if it calls for flashy you can be subtle about it. And if you aren’t sure – ask. But use your common sense. If the role is for a secretary, don’t ask if you should come in business attire because of course you should. You wouldn’t come in jeans and a t shirt. Sometimes people come in and they are dressed so wrong for the role, and you may get a team member who can’t picture you beyond what they see. So go ahead and look like the role. Try and stay true to the character. Don’t come in costume, but looking the part does help. I was casting nurses for a movie and all four candidates were amazing. One came in with scrubs on and I liked that she went that extra mile.
I heard this once and really like it…
You are the artist. You hold the paint brush. I am the blank canvas. You paint me the picture.

#10. Be off book
Memorize the script. You can keep the paper with you, but be off book. Every scenario is different with casting directors. I love improv, so I want you to be off book so you’re familiar enough with the scene and will be comfortable enough to improvise.

#11.  Win over the room
I tell actors all the time – you aren’t just auditioning for that one role. I keep you in mind for future roles. Yes your goal is to get the job, but your bigger goal is to leave a lasting impression on me as to why I want to bring you back in.

#12. Be nice!
This is a big one. I tell actors in my classes – You don’t get a job because of talent alone. I cast on 50% talent and 50% personality. Especially because I go on location a lot and I am in charge of everyone. I have to make sure I’m not bringing a crazy person on location.
I tell people – when you walk into the building, that is where the audition starts. I often have eyes all over the place because I can’t have a disruptive person on set. There was a girl when I did a SAG workshop who was in the elevator with me and she didn’t know who I was. After chatting with me, she said, “I hope they like you.” And then she said I should come sit by her. She had no idea I was teaching the workshop, she was just nice. I call her my elevator girl because she was so kind.
I also like when actors recommend others. Say you can’t do the role but know someone else who would be great. That is nice to share.
Being mean doesn’t work. I was in the bathroom at the audition hall once and I heard two girls chatting about another actor they both knew, saying, “Oh did you see that girl is out there auditioning. Let’s make a pact that if one of us gets the part, and she does as well, we will make her life miserable on set.” —Really? I knew who the girls were. I knew their voices from their reel. I am the one who called them in. And I did let them audition, but I wouldn’t cast them.
It happens with parents of kids too. A lot of times I audition the parents as well as the kids and I can’t hire a kid if their parent is problematic, even if I’m not hiring the parent because they will also be on set. It breaks my heart, I feel bad for the kids, but that’s why everyone must be kind to one another.
It is a small industry and we all know each other. On the set, your PA is going to be the director one day.
So stay true to yourself. Have integrity and be nice.

#13. Know that casting is a puzzle
Casting is putting together a jigsaw puzzle. Every part has to fit. Say I cast you as someone’s best friend, but then the other person gets a big Hollywood role. Guess what. I can’t cast you anymore because the two of you fit together. It is all part of a puzzle, and many times actors don’t realize why they get a part or don’t. So you can’t take it personally.

#14. Don’t let the reader throw you
My readers are always someone in the cast, or I call in one of my friends who don’t need to audition for me or impress me, and the reason I do this is because I want the actor to do their best. I get calls from a lot of actors who I audition saying they had fun and the reader was amazing. I want the reader to bring out the best and I call in favors to make that happen.
But when I did use readers I didn’t know well, I felt as if they were reading to impress me instead of being there for the actor. When this happens, when a reader isn’t helping you out, make them give something to you. Look into their eyes and shake their hand when you walk into the room. Make a connection. If they still don’t give you anything, imagine that they are giving you every piece you need. I know its tough out there, but it is your room.

#15. It’s okay to say NO
If there is something in a script that you don’t like – be honest about it. Don’t come in and audition and get us excited about you and then when we call to give you the role you say you didn’t like the role or didn’t relate to the character. Be honest up front. I give the entire script as often as I can so that the actor knows what they are getting into. I lay it out so there are no surprises because there is nothing worse than getting excited about someone who then doesn’t want the part.

#16.  Learn the biz
For new actors, if you haven’t been on a film set yet, Google film terminology and learn about all the terms you’ll hear on set so you know what it means. Like striking and hot set. It makes you appear more professional, and it makes the crew members happy.

#17.  Keep it professional
You don’t want to be overzealous or over friendly. I had someone follow me into the bathroom once to leave a headshot on the sink. I know actors are passionate – but when I gotta go, I gotta go. Keep it nice and professional.

#18. Submit appropriately
Make sure you follow the directions on a breakdown. Lately I have been asking actors – Please do not contact the producer or director even if you know them. I do this because I’ve been asked to place that note, but also to see if you can take direction. It’s my first sign of if you’re paying attention. If you can’t follow the breakdown and take direction, why would I want you on set?
I did a casting for Japanese actors and got a lot of blondes submitting.  The director even had Japanese interpreters in the room because she really wanted authentic Japanese people. She was matching up a family. Submitting appropriately matters.
And if it says “name only” – that means I need to be able to go up to twenty people in NYC and say your name and have them know who you are.

#19. Network
Be on NYCastings. I love this site because you can put your reel up, and so many pictures. I have cast many people on there.
And do monologue slams. I love them. I used to not like monologues but I do now. They paint a picture. I love when actors do originals too. I am a judge now at Manhattan Monologue Slam.
Networking is important. So continue with NYCastings, FiLMAGON, and the other networking groups.

#20. Stick with it!
No matter how tough it seems, hang in there. Your time will come when it is supposed to come. If this is what you really want, and you are passionate about it, the puzzle pieces will fit eventually. Sometimes it takes me a while to cast someone who has auditioned for me. It may just be that I haven’t found the right part for that actor yet.

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As always I am here to give actors Valuable information to help build a strong acting career. Stay close for information and resources you can TRUST.

Subscribe to my You Tube Channel for helpful videos and sign up for my Mailing List/Newsletter for  important Industry Guidance and special discounts on actor related products!

Actors go out into your life and be focused, believe in yourself and KNOW that anything is possible.

See You On The Red Carpet,

Wendy Alane Wright
Talent Manager, WAW Entertainment
Acting Career Coach
Secrets Of A Hollywood Talent Manager
IG: Wendyalane1

HOW A TV PILOT IS CAST - REAL TALK - FROM A TALENT MANAGER IN HOLLYWOOD

 Wendy Alane Wright is a Hollywood Talent Manager and the president of WAW Entertainment. Her clients have appeared on television networ...