What is a Demo Reel and How to Make Yours Stand Out with Reel Arc

Today I am joined by Guy Chachkes, the co-founder and managing partner of REELARC, a leading Cinematic Demo Reel Production Company that specialized in creating and filming original scenes for actor’s demo reels. REELARC is based in both NYC and LA. Guy and his team have filmed over 7000 scenes for actors and is your go to guy for everything you need to know about how to make your reel stand out! I partner with him in the Young Actors Film Experience where  awesome demo reels are created for  young actors. 

Denise: So actors need footage and they don’t have any. They audition more than they work and even if they have filmed something they might not get the footage for a while. So you create footage?

Guy: Totally. We exist for that specific reason. There is an outdated system of actor’s waiting for footage for projects that they work on… sometimes it is very hard to receive that footage so we exist for that purpose of filling those gaps in your demo reels. 

Denise: Let’s start with what a reel even is for those who may not know

Guy: A demo reel is a piece of media that an actor has for their marketing materials. It’s usually a video reel that is comprised of three clips at a minimum…but a demo reel should usually be a two minute video showcase of what you can do as an actor or pieces that you have done as an actor in television or film. A demo reel is usually a video representation of their work.

Denise: So in your opinion what makes a great reel?

Guy: That's a great question. There are several things that need to work in tandem. The brand of the actors needs to be presented well. The writing is important and needs to be a section within their piece that they’re representing on their reel that is very engaging. So how engaging the material is. And obviously talent. Talent is a big part of what makes a good demo reel. So when those three things work in tandem, the sky's the limit of how impactful you can be in your demo reel. 

Denise: So what do you think makes reel arc’s reel stand out from good self tape footage? 

Guy: So in addition to the brand engaging content and being able to extract or help nurture talent, we say that context is very important. So everyone can do an audition take or a self tape in front of a blue screen, but context is very important and sometimes you want to put yourself in the surrounding or setting {of the script}. We believe that setting an actor in an investigation room or a family drama actually taking place in an apartment and creating context behind their performance really brings in the watcher into the world and creates the connections in their mind. So in addition to having a great script and having the brand represented correctly, {we are} putting you in a context of what is shooting today.

Denise: Let’s talk about branding. What is branding? What is an actor’s brand? 

Guy: It’s so funny because saying that an actor should have a brand. It is a little hard to swallow because we are all humans and we all bring different things to the table, but in a funny way we have something we bring to the table that tells people what we are. When you walk into a casting office they are creating associations in their mind without you even beginning your audition. So the word brand is something that we use to represent that. What is your signal? What are you putting out there as an actor? If we have to break down what a brand is. 

• It really is what we think of you when you first walk into the audition or when you first submit that video and we press play. What is the association that we make in our heads about what that is as casting individuals?

  Denise: We know that kids are growing and changing so rapidly, so how often do they need to redo their reel?

  Guy: I would say a refresh for a reel… you definitely want to do it every year. That would be my recommendation because a kid that is eight years old and twelve is a completely different game. 

  Denise: So if somebody doesn’t have the footage or they have a little bit of footage and they want to supplement it and they come to you to produce the reel, how do they know what materials to use or what genre to use?

  Guy: You must create media content for yourself as an actor. They have to create those marketing materials because that is the first thing that people look at. 

  Denise: How does someone understand their brand? 

  Guy: So if they come to Reelarc, they first meet with a writer to understand what the best scenes are to produce for them. During this one on one we create our own way of finding your brand. We talk about adjectives, your store front, there are a lot of ways we go about how we find your brand.

   If you take your brand and embrace it and align your marketing materials around it then you find great success in this industry. Knowing your brand is so powerful because you know how to place yourself in this industry.

  Denise: So you’ve done this for a while now. So if someone doesn’t have a reel are they passed right over?

  Guy: Absolutely! Now there are all of these filters on these casting sites where they can filter by “show my demo reel only” and that’s what they do. They’re not going to spend hours looking at people without demo reels. You’re not even in the game if you don’t have great footage… or footage at all. You have to have some sort of video content to showcase you or you’re not even going to be shown to people.

  Denise: And I always say that not having footage is better than having poor footage

  Guy: If you have poor quality footage, it doesn’t matter if the sound is okay. The audio is the number one thing that makes us exit watching content. Also poor footage is not representing you in the right way. 

  Denise: If an actor is just starting out and they’re not ready to produce something yet, then they don't.

  Guy: I believe this with all of my heart. It doesn't have to be Reel Arc but you have to have video content that puts you in context and breaks down your brand in the simplest most digestive way that lets casting put you in their imagination that makes them think I can book this person for this role. A casting director needs to make the connection in their mind and they need to feel like they can trust you to come on set and perform. I actually believe that a reel as the starting point is the most important thing you can do. 

  Denise: If an actor has an agent or manager. What do they do once they have their reel?

  Guy: That’s a good question. First of all, get yourself on the casting profiles. Make sure that you align all of your branding materials together. You want to align all of your media marketing together to be able to have the most impact. Once you do that if you have an IMDB page, make sure that it is all aligned. For adults, start going to seminars or agent/manger casting seminars to make relationships and the preferences that are out there for submissions etc. Use these as a networking experience and how they should approach these industry professionals. Once you go on the path of creating everything in the right way, the industry will reveal itself. A lot of this has to do with talent. There is no secret sauce. This is about eliminating distractions to be able to book you. 

Audition Mistakes Young Actors Can Avoid

For more than 30 years, I’ve worked with young actors and found that many of them fall victim to the same simple mistakes. Talented children are regularly passed over in auditions because of bad habits that parents sometimes don’t even notice. I think we have already established that the business of show business is hard. There are so many factors that already have to line up in order to book a job.  Don’t let anything that is perfectly avoidable be the reason that your child isn’t able to get cast.

 A lot of times people are so focused on the end goal of being on Disney or Nickelodeon or Broadway that they forget all of the steps that go into making that happen. Like I have said before, this is a job, that is if you’re going to pursue it professionally. It is not something that happens overnight or is just luck. You have to work hard at it and you have to be smart about how you work at it. So I am going to lay out some of the small mistakes that often happen with young actors or actors who are just starting out. 

If you’re on the lookout for these common mistakes and can fix them, you might find your child getting more attention in the audition room. Here are seven mistakes you can help your kid avoid.

1. Not memorizing the script.

One big mistake I see is kids keeping their faces buried in their scripts, which makes it impossible to make a connection with their scene partner or audience. We want to listen to actors because of the human connection they create. I mean after all, that’s exactly what theatre and film  is about, the way we interact with other people- recreating stories and life on stage or in tv and film. When lines are memorized and young actors don’t have to think about what line comes next, they can really listen and develop connections. 

If casting directors, producers, and the creative team are distracted by all of the paper that your child is holding and they don’t even get the opportunity to see how talented your child is, you unfortunately leave them with no choice but to pass over your child and go another direction.

Especially with very young actors, reading can be a challenge that gets in the way of authentic performances. If they memorize the lines beforehand, they can focus more on the scene than on pronouncing the words. Plus, during TV and film auditions, casting directors expect actors to have the scripts memorized so that they can look directly into the camera instead of at a piece of paper. I know this seems like a lot of work, especially when you are first starting out, but the good news is that it only gets easier. This has to be the number one mistake I see-- don’t let it happen to you! 

2. Asking how to say a line.

No line readings! If you’ve heard of the great acting teacher Sanford Meisner, then you know that his definition of acting is “living truthfully under imaginary circumstances.” A child actor can only give a genuine performance when they know what a character wants and what motivates them to achieve that desire. Casting directors want to see children being themselves. When we tell them how to say a line, we aren’t letting them find their truth and create a compelling audition. That goes for parents as well! When you are coaching and filming auditions with your kids, be careful to not give them examples of “the right way” or “how a line should be read.” 

Your child actor is talented, that’s why you started doing this to begin with right? Trust them and their instincts. You have to allow them to fail in order for them to grow. 

The more the do it, the more understanding they will have in how to understand a scene along with a natural cadence for how things should be read. But let them develop their artistry, don’t stifle it because of how YOU interpret the scene, they are the ones on camera, so let them be the ones make the creative decisions. 

Now, don’t confuse what I am saying with helping provide support and advice during an audition. A lot of times actors will be coached during auditions, and this is different than a line reading. Asking questions about intention and different elements of the scene such as objective is instrumental to a good tape. These are things that your child should already be thinking about before putting something on tape, but if you see them struggling, ask questions about why the character is responding a certain way or what their relationship is with the other people in the scene. Fleshing out the given circumstances and what the character wants in a scene will be far more useful not only to the individual audition but to your child’s growth as an actor as well!

3. Not making a choice.

Watching an actor stand and recite lines is boring and ineffective. The difference between a mediocre scene and a standout audition isthe intention your child puts behind the lines. What do they want to achieve in this moment? Why are they saying this line now? When they can make choices, they will be able to commit to making the scene their own. Understanding the character’s point of view will help them to make their scene specific, not general.

 On this same note, don’t let your child just stand there and recite lines into the camera. First of all, unless given strict direction, your child should never look directly into the camera, it should always be just slightly off to either side. Acting imitates life and there should always be a life and movement to your auditions as well.

 Challenging your young actor to make choices that encourage them to move will help loosen them up and make the scene better overall. Don’t let the fact that it is an “audition” or you are in front of a camera distract you from being natural and genuine. If your character starts off camera, walk into frame at the top of the scene. If they exit in the middle of the scene and come back, do that. If they’re reaching off camera for something, set it up so your child is able to do that. Very rarely should your self tape consist of you standing there and reciting lines. Do something. Anything that opens up your character and gets your young actor into their character instead of their head. 

4. Second guessing themselves.

Your child should trust themselves enough to make choices. Some actors get very nervous and question everything while they’re performing, including if they’re moving right, speaking correctly, are entertaining or boring, or if they’re even worthy of the part. All of this mind chatter will prevent them from listening to their partner or reader. When they second guess themselves and their talent, the noise in their head gets in the way of connecting with character and desire.

 Help your child build confidence so that their talent can shine through! Something I hear over and over again from my colleagues is that more than anything, they just want to see the uniqueness that is your child. They are enough.

They shouldn’t be worried about trying to be who they thing the casting director or production team wants them to be… in fact it will prevent them from getting more jobs than not. Many times, casting directors can see right through a “put on” personality and that will never be someone they can hire for a project. They want you. You are enough, and the earlier young actors trust that, the more projects they will end up booking.

 Nobody wants to watch a character be “the way they should be played,” they want to see a human being reacting and existing and the only way for an actor to do that is to be completely and 100% their unique and genuine self. You can encourage your actor to do this by not giving them line readings or telling them exactly what to do during an audition, but instead asking them questions that provoke a conversation about their character to get their creative juices flowing. The more understanding an actor has of their character, the more informed their choices are going to be surrounding that character and the less concerned they are going to be with portraying something “the right” way.

• 5. Showing up late.

  A child may be young, but they should still be professional. Remember, they’re working in an industry and they need to be respectful of other people’s time. Punctuality demonstrates that they can handle the responsibilities of a working environment and will reflect well on them with casting and others. Make sure your child understands the importance of showing up on time and being prepared. As the saying games, early is on time and on time is late and late is unacceptable. This is an industry with tight deadlines and every minute counts. You don’t want to be known as the person that hold up production or rehearsals because you are always running five minutes late. This will be a hard roadblock to overcome if that becomes your repudiation. Time is money in this industry and producers will not want to hire someone who wastes theirs. This is perhaps one of the easiest things to prevent so make sure you are setting yourself up for success. Always arrive at least fifteen minutes early. Even with 15 minutes you will have time to compose yourself and gather your thoughts prior to the audition instead of running in by the seat of your pants being unfocused and scattered.

  6. Bringing the whole family to auditions. 

  Nothing spells unprofessional like every sibling, uncle, and cousin showing up to an audition. It can make a child nervous before they audition, it makes the waiting room crowded, and it can be a nightmare for the creative team running the audition. Young actors show maturity and perform best when they don’t have an entourage. We know you are proud of your young actor or maybe even curious about what the audition is like, but remain professional. Just like a normal job interview, an audition is an interview, you would never bring a whole gaggle of people to a job interview so show the same amount of respect for your child’s audition. Additionally, many times the studios that auditions are held in are very very small and can’t accommodate additional people into the room. It also goes without saying that if you are able, you can always ask to be in the room with your child if that makes them more comfortable or you are concerned about their safety, but it really should just be one person and definitely not a group or anyone who is going to be distracting during an audition such as a friend or a sibling. 

  7. Skimping on training. 

  Even if a young actor has a great look and a great personality, they require training to succeed. Just like with sports or music, acting involves skill. Instruction in voice, speech, movement, technique, and even business savvy will not only improve an actors’ skills, but give them the confidence needed to get hired and give an excellent performance. 

  Be on the lookout for these mistakes so that you can help your child develop their skills, confidence, and attitude. A few simple tweaks can make the difference between getting passed over and winning roles. If you have learned one thing from my podcast, it is how instrumental good training is for an actor’s career. Nothing can replace it and nothing will service an actor more. Find good coaches that you trust and who come highly recommended and never stop taking lessons or masterclasses or classes from them. This is probably the most important thing you can do as a young actor. Rely on the work and expertise of experts. When you want to become a doctor, you aren’t just thrown into a patient's room and expected to know how to do everything, you learn from and observe great teachers and professors who teach you how to be a fantastic doctor, it is the same with acting, learn from and observe great professionals to become a great actor.

  This business is all about learning. Learning the skills to become better at your job, learning your process, and learning how to interact with the other people in the industry, but everything we talked about today is a great starting place. If you can tackle some of these hurdles at the beginning of a child’s career, you are going to be way ahead of the game! 

Surprising Life Lessons from Acting: Why Young Actors become Successful Adults

Kids are amazing. The way their brains work, the clever insights they have, the way they organize their thoughts. It never gets old and it is the biggest reason I have been able to remain so passionate about this industry for many years! Now, I talk to a lot of parents who are worried about involving their kids in the performing arts industry. And I get that, it's a scary business to get involved with and as we have mentioned so many times before, it is a business and it can be scary to expose your child to that, especially if they are very young or in a formative part of their development. But what I continue to tell parents over and over is that there are so so so many benefits to your child being involved in the arts! You are so lucky you have a child with a passion- a reason to get up in the morning. I have worked with students for over 30 years and for this business being so inconsistent, I can confidently tell you that some of the most successful and confident adults were the children I taught as child actors.

So many former child actors have not ended up acting but have become uber successful adults in their professions, in and out of the business. Some have become casting directors, producers, directors,writers, stage hands. And many have transitioned out of the entertainment industry entirely as chefs, teachers, entrepreneurs. What they all have in common is they are successful in what they are doing now. And all because of the life lessons learned while pursuing a business as a child.

But why is this the case? There are COUNTLESS life lessons and skills you can learn from being a child actor. 

1. Following Their Dream and Passion

Acting is hard work. It demands time, talent, and constant learning.

If your child is passionate about acting, they will have the experience of mixing that passion with hard work, a skill that will serve them all their life. 

When a new student comes to me and says they want to act because they want to make money or be famous, I worry that they don’t have the passion to sustain an acting career. The kids who make it in this business are those who are so passionate about playing roles or entertaining others that they don’t feel like doing anything else.

Giving your child the opportunity to dream and taking concrete steps to make that dream a reality is a powerful gift.

2. Being Present in the Moment

Sanford Meisner, one of the greatest acting teachers of the twentieth century, defines acting as “living truthfully under imaginary circumstances.” This is what I teach actors – to be present and in the moment. Learning how to be here, now, is an important lesson in life. Acting is really about listening and being honest. If your child is distracted – worrying about their audition, what will happen in the future if they get the role, or how their hair looks – they will not be able to be present and listen.

So much of our lives are wasted in worrying about the future or regret about the past. Acting teaches children and parents to stay focused in the present moment, because things can change so rapidly: productions get delayed, scripts change, the lead has the flu and suddenly the understudy is going on stage. So many things are out of your control. Learning to stay calm and centered in a shifting environment is empowering for children and parents alike.Being present is not always an easy skill to master, but just imagine your child as an adult who can maintain their composure no matter what is going on around them. You can help your child learn this important life skill and perhaps gain more of it yourself.

3. Developing the Resilience to Manage Rejection

Rejection is a given in the entertainment industry. Most of the time it’s not personal. Your child might not have the right hair color or height, or the director was crabby and just didn’t like anyone that day. When your child becomes an actor, they will experience rejection frequently.

Experiencing rejection teaches children that rejection stings and is disappointing, but is not the end of the world.

I teach my students that failure is their friend. It helps them learn to evaluate their actions to see if they could have been more prepared, and to accept that though they were not selected today, tomorrow will bring new opportunities. 

Life is not always fair or easy; the auditioning process teaches this clearly, which builds confidence. When your child learns that getting what they want takes effort and perseverance, they will become a more courageous and confident person.

Of course it’s hard for a parent to see their child face rejection. It’s very hard. You can be a great mentor for your child during times of rejection by listening, helping them stay optimistic about future opportunities, and helping them find the good in every outcome. 

4. Mastering Social Skills. This life lesson benefits every child. Acting requires many social skills including communication, collaboration, improvisation, professionalism, stress management, and confidence. Kids are just developing these skills, so no one expects them to be perfect. However, only actors with confidence get hired. Your child will develop confidence as they learn to step out of their comfort zone and try new things, whether on stage, in sports, or in the community. Confidence comes from knowing that you have skills and abilities. Each time your child masters a new acting skill, does well in an audition, or has a productive conversation with an agent or casting director, they gain more confidence.

Acting fosters social skills at every turn. Your child will experience many different personalities on stage or on set. They’ll have the opportunity to learn how to ask for help, take direction, respond to feedback, and think on their feet when someone forgets a line or a prop goes missing. They’ll continually be asked to try new things and they’ll learn how to recover from disappointments. All these experiences will help your child develop maturity and confidence, which they will carry with them into adulthood. Later in the book you’ll read interviews with former child actors. All of them mention confidence as one of the greatest benefits of performing.

5. Learning Public Speaking

Public speaking is one of the most common fears limiting adults. Making a wedding toast, presenting a business proposal, and speaking up at a PTA meeting all require the ability to communicate effectively and confidently in front of others. Performing will erase this fear for your child. They’ll enter adulthood feeling comfortable speaking in any setting, which can lead to career success in many fields including business, teaching, public relations, politics, and the media.

6. Brain-Building

Acting requires memorization, reading fluently and with high comprehension, and often reading music. It also requires critical thinking, creativity, and problem-solving skills. All of these skills enhance academic performance.

Your child does not have to be a genius to act, but many children who participate in acting achieve academic success later in life. I remember working with All My Children’s Eden Riegel and observing her academic potential. It was no surprise to me that she was accepted at Harvard.

All child actors in the US are required by law to continue their education. They have homework just like other kids, but have less time for study, which means they need to develop focus and time-management skills, which fosters effective planning skills.

7. Growing Self-Discipline

Self-discipline is one of the most valuable life skills acting teaches. Being an actor demands a lot from a child. There must be time for homework, memorizing lines, acting classes, perhaps classes in singing or dance, auditions, rehearsals, performances, sports and fitness, friends, family, and for just being a kid on top of all that. All those demands require a child to be accountable, prioritize, set boundaries, say no, and reassess their priorities over time. For example, a child might focus heavily on auditioning in the spring and summer but say no to opportunities in the fall so they can play on their school soccer team. During the teen years they might want to decrease travel time so they can have a traditional high school experience, or they might want to get their GED so they can spend more time acting.

Child actors work in an adult business and are expected to be professional, show up on time, be prepared, have a good attitude, and work well with others. When they are young you will need to help them with time-management and self-discipline. However, as they age it is essential that they take more responsibility for themselves. When children have this opportunity, they develop the independence and self-discipline that will help them navigate the adult world successfully. They enter the adult workforce with maturity, a strong work ethic, and the ability to make wise choices. Just imagine the edge that provides!

• 8. Conquering Perfectionism

  Our world teaches kids that they must be perfect, look a certain way, and compare themselves to others. Have you noticed that movies, television shows, and plays are full of quirky and interesting-looking people? Each child has a unique look and personality that will win them roles more easily than if they pretend they’re something they’re not. I remind my students that “to compare leads to despair.”

  When I was a teen actor, I tried to be someone I wasn’t. I had thick, curly hair that I used to iron to try to match the other girls I thought were prettier than I was. All teens have that experience of trying to fit into the crowd. But in acting, your quirks and unique looks are assets, which means acting truthfully. A child can’t learn to act truthfully if they are worried about their hair or a blemish on their chin. If a role requires skill in gymnastics, and your child can’t turn a somersault, they’ll learn that this opportunity wasn’t for them, but that the next one might just be ideal.

  Your child will also learn that it is okay to make mistakes. Everyone forgets a line, sings off key, or muffs an audition. Sometimes an error becomes the best part of an audition because it allows the director to assess how the child recovers and thinks on their feet. Directors know they are working with children who are still developing; perfection is not required. Personality and passion are.

  9. Managing Expectations

  Your child will learn that there are things they can control and others they can’t. They can control how prepared they are, what food they eat, their physical fitness, and whether they get enough sleep or show up with bags under their eyes after a night of partying. They can’t control if they will be selected for a particular role, how tall they become, or when their voice will change. Knowing the difference between what you can control and what you can’t is a valuable life lesson with many applications in the adult world.

  Another component of managing expectations is learning what is expected of you and speaking up if something makes you feel uncomfortable or is beyond your ability. If a role requires a British dialect and your child is not proficient at that, they will not do well in that role. Some parts include profanity, which can be uncomfortable for many children. It is important for a child to learn how to communicate their abilities and needs clearly. This skill develops over time. You’ll be asked to speak for your young child; however, as they grow older, give them the opportunity to speak for themselves and watch them grow more confident.

  10. Gaining Exposure to the World

  You can’t always learn in the classroom what you can out in the world. A national tour or a tour in Asia where you can try new foods, see a different culture, and have adventures that the average second-grader doesn’t experience. Whether your child acts locally or on a world stage, they will meet fascinating people and encounter a diverse set of experiences that will expand their world-view and their understanding of other cultures.

  11. Empathy and Emotional Intelligence

  When your child assumes a role, they will learn to step into another person’s shoes and experience their feelings. Great acting is fueled by the emotional connection between the actor and the character as well as the actor and the audience. Your child will naturally become more empathic and understanding of others’ emotional experiences as they take on different parts.  

  12. Transferable Skills

  Regardless of what career your young actor decides to pursue in adulthood, the life lessons learned in acting transfer and enhance their professional success. Your child will naturally learn to tell a story, to think on their feet, to appear confident even when nervous, and to work collaboratively. Every one of the life lessons presented in this book help shape your child into a confident and successful adult, and transfer to any career pathway.

  As you can see, there is more to acting than just the fun of being on stage. For children with a passion for it, acting provides enduring life lessons and wonderful memories. One of the most important things you can do to support your child is reinforce these life lessons. There will be many teachable moments in your child’s acting career that will help them grow into a remarkable adult. 

  As long as you are encouraging and supporting your child to fearlessly pursue their dreams, I promise you will end up with an adult that is brave, proud, passionate, composed, strong, and powerful.

College Theatre Audition Insight with University of Michigan’s Mark Madama

I am excited to share another guest with you. Mark Madama is a professor at the University of Michigan, teaching musical theatre performance classes at levels from freshmen to senior; musical theatre history classes from the 1860s to the present; and directing numerous productions including Assassins, Rent, Big River, Guys and Dolls, Company, City of Angels, and more! He has also worked on the yearly “Senior Showcase,” which is presented in Ann Arbor, Michigan and New York. He is a great resource for anyone who is considering or preparing to audition for college theatre programs. 

Denise: I cannot believe how popular a theatre and musical theater major is. I’m seeing every year more and more students want to study theatre. 

Mark: I think one of the reasons is that for musical theater especially has become a venue that so many young people are getting jobs in. So they are able to go to New York and see themselves…involved in Broadway shows. And the profession doesn’t seem like something that is being taken up by someone who is older. 

Denise: And good actors make it look easy and we both know it is hard hard work. And your program is so well renowned. How difficult is it to get into your Musical Theatre Program?

Mark: It is hard. It’s hard to get in but the other part about tit is that we have to have a class. If you want to go to the University of Michigan. Start looking at it… know what goes on here and then do the training while you’re in high school do the training in all these workshops and in studios…and be ready for that audition. I wouldn't want anyone to be deterred, being as competitive as it is… there's no reason that anyone listening can’t be one of the {students in our program}. I think that’s what you strive for because whether or not you go to the University of Michigan, you are going to put in all that work to go to wherever you are going to go and you’re going to be such a better performer for it. 

Denise: It’s a huge market and it’s great that so many people want to do it and like you said there is a place for everyone. Let’s talk about some generalities for the college process. First of all, we agree… training is important… Do you recommend when a student is getting ready to apply to college that they use a college training program?

Mark: I think it is helpful… It is really helpful. I think it is going to help you navigate what is going on. There are so many variables from these universities. If you get into a good college prep program, the college prep coaches are going to need {all of those variables}

Denise: I teach one myself and I see the success that the kids who have taken these programs have had in getting into many of their choices.

Mark: Yeah, it takes away a lot of stress along the whole process. 

Denise: I’ve spent my life looking for great material for these young kids, and a lot of students don’t know where to find materials. I think that's another great reason in these programs to go to someone who Knows where to go to find material for you because I think a lot of young people don’t know how to do that. 

Mark: Yeah, I think that now that we have the internet we have a great facility to find how you want to present yourself and you bring that to your college coach and your coach will be able to help you. 

Denise: You mentioned you watch the pre-screens. I think a lot of students don’t understand what the prescreen is about, but the prescreen is really their first audition? 

Mark: Completely, it is basically the way you are screened out. We go through the prescreens multiple times and we figure out what would this person be like in the room and what is this person presenting themselves as. It also gives us the opportunity to see your work ethic. There are multiple prescreens that come in where the students will be singing the wrong rhythms or pitches or lyrics and you listen to that and you say “wow this is something they had control over and they didt’ take the time to make sure they were singing the right rhythms, pitches, and lyrics. And that’s what I'm talking about having those coaches help you so that they can double check that your first presentation in front of someone will make you look the best in the areas that you can control.

• Denise: I imagine you are looking to eliminate because you can’t possibly see that many live auditions. 

  Mark: Yeah, we will take out around 1000 people in the prescreens.

  Denise: Can you talk about vocal health?

  Mark: Sure, absolutely, I mean when we are listening to the singers sing we are looking to see how healthy their instrument is. And that is going to be something that will absolutely be put into the calculation when we are looking at you and say this person has a damaged voice and it’s not going to be a good time having them study at a university, they are going to have to get themselves fixed first.

  Denise: It’s a rigorous four year program and they have to be able sustain that.

  Mark: And have the work ethic to be able to do that.

  Denise: How early do you think students should start looking into college programs? 

  Mark: I think if you’re serious about getting into a college program. By the time you are in your sophomore year you should start thinking about it. You don’t have to be obsessed about it but start thinking about it because there's a lot of research to be done also. 

  Denise: There are so many different types of programs so it is so important for students to know themselves… or heave mentors and guides who can help them develop that list so they are applying to the right schools. 

  Mark: Yes, if students come to me and say i never want to take another class in science then I would say you are probably going to be happier at a conservatory

  Denise: Do you think an actor needs to even go to college to become an actor or can they just move to New York or LA and be an actor? 
  Mark: Yes, you can just move to New York or LA to be an actor. I don’t know if you’re ready as a person at that point. Those are two hard cities and they are really hard on young people to navigate and to be able to stay focused and to be able to afford to be there. I think that college years are so important to anybody who is developing. I cannot express how different a freshman is from a senior and how you mature and focus and understand what exactly you want in your life. I think the college years are developmentally so important for you. Smart actors are actors that work and in those years you are in college you are going to learn so much about yourself and so much about the world around you.

How to be the Best Reader for Your Child

Now most of what an actor is going to be doing is auditioning. Getting the job is gravy. It is the actor's job to learn what it takes to be great at auditioning and it is the parent’s job to be the best support team and cheerleaders possible. I know for your first couple of self tape auditions, it is going to feel overwhelming and unclear about what to do. And there is a lot that goes into a self-tape. You need to have the right set up. The right lights. A clear background. It’s a ton. But more important than any of those things is the actual audition. 

You want to make sure you are creating a safe and comfortable space for your child. You want a space where your child feels free to experiment and take risks. You don’t want your child worried that you’re going to be a bad scene partner or even be more nervous, anxious, or stressed than they are.

A couple of quick notes about general self- tape set up details.

• When your child is preparing for a self tape, be sure that they are put together, if they have just come from playing outside, brush their hair, make sure there aren’t any stains on your clothing. Now, the only exceptions to this would be if the character your child is reading for is a specific look. It is always a good industry practice to never “dress” for the part, but to maybe include something in your wardrobe or styling selection that is a nod to a character. For example, if you are playing a baseball player, maybe wear a jersey.

• Also, don’t wear anything in your hair that is too distracting or gets in the way of your face. No big bows or flowers and definitely not any hats. The background for your tape should be clear and ideally a color that is gray or blue. Don’t wear a shirt that is the same color as your background!

• Ideally, the lighting should be natural, but when you’re just starting out, you might not have the resources or space for fancy lighting. A ring light  and filming in a room that is well light with natural light is always a good place to start. You don’t want a lot of shadows behind you when you are filming and absolutely no shadows on your face. All of your features should be clearly visible. For cropping, it is always standard to crop your video from the mid chest up leaving a little bit of space between the actor’s head and then top of the frame. You will also want to invest in a simple tripod or something to mount your phone on. There are a lot of options available on amazon or other photo stores that are affordable. 

• You always want to film horizontally preferably using the back camera on your phone because it will be a better quality. 

• You don’t have to be a trained actor to be a good reading partner for your child. Even if you have your own acting talent, while reading with your child, remember to keep the focus on them. In the supporting role of “great reading partner” for your child, you are just that, a partner. You shouldn't be taking away the spotlight or dimming that of your child actor. 

  So here are a couple of tips to help you be the best reader!

  1. Basic set up should include you standing or sitting offscreen. You should not be seen on camera, so position yourself right next to the camera. Unless directed otherwise, sit where the actor can look at you while speaking, instead of them appearing to address the camera. They should be speaking and connecting with you, so stay at her eye level.

  2. Speak softly and give the actor a microphone. As a reader, you don’t want to steal the focus. It is your child’s audition, not yours. Since you are positioned closest to the camera, the device will pick up your voice more easily, making it sound louder than the actor’s. Remain aware of this when reading and speak softly. You are not co-starring in this scene, but rather providing a framework that supports the actor’s purposes. In addition, it is wise to use an external microphone for the actor’s voice, to tip the sound balance in his favor. Microphones can be purchased for as little as $10 each and are well worth it. Not only do you get more clarity with a mic, but microphones with sensitivity-control have the flexibility to make great recordings in quiet and chaotic settings alike.

  3. Read fluently. Practice your lines. The more familiar you are with the script and lines, the more effectively you will be able to support your partner. You are there to help the actor do the best job the can do, so invest the time needed to prepare. Pace is important, especially in comedy, so you also need to know the timing. If you are reading too slowly or too quickly, it can throw the actor off and kill the humor. Ask for help if you are unsure of the best pace or timing. A great way to get a better understanding of pacing is to attend masterclasses or workshops or even youtube videos that focus on specific genres. If another family member or friend has better acting or comedy skills than you and offers the time, allow them to do the readings with your child! Remember, this is not about you, and it is important that your child have a competent reading partner.

  4. Read all the other parts, and skip the stage directions. One person reads for all of the characters in the scene. Having additional people play other parts is confusing and unnecessary. Keep in mind that stage directions are there for information only! Make sure you and your child have read and know the stage directions, but stick to the usual protocol and do not read stage directions aloud on camera.

  5. Don’t judge or criticize. This is not the time to offer advice on your child’s performance. An actor should not be distracted by concerns of the reader’s perceptions during this process. If you have an idea or healthy suggestion to offer, feel free to take notes for discussion at a later time, as long as jotting your thoughts down does not interfere with the flow of the reading. While reading, your focus needs to stay on playing the character(s) opposite your child, and providing the support he needs.

  I know that people have a ton going on and that life can get really busy. Getting a request for a self tape can sometimes be the last thing you want to add to your to do list for the day, but i can’t stress enough that if you remain calm and collected and be as prepared as possible, it will make the filming smooth and easy with your child actor. Your mood affects them more than you know! Especially in high stress situations. Finding treats and rewards that work for your child and family during a self-tape experience is also a great idea, whether that be m&ms or their favorite snack after they finish.

  Make sure you are encouraging your child and building them up during a self-tape. This business is hard and kids can take a lot of the weight of it on their own. 

  There is a lot of rejection and a lot of hard work for not a lot of reward. Make sure you appreciate their skills and talents when you are working with them. More than anything, try to not rush your actor during a self-tape process. I know that is sometimes unavoidable, but the best you can do to make the experience smooth the more they are going to look forward to doing it each time.

How to Find the Best Training for Your Child Actor

One of the scariest things about going into this industry is finding the right people to be a part of your child’s team. I’ve talked a little bit about finding the right people to represent your child’s career, but just as important, maybe even more important is finding the right people to train and teach them. Today I will discuss how to find the best training for your child actor and red flags for scammy teachers online. 

First and foremost, I cannot stress enough how important training is for actors of all levels and experience. Whether you’ve been in countless classes or you are just getting started, the most important thing is that you are in a class.

 Recently, I spoke with one of my colleagues who is a manager in the business and they said that they don’t even consider repping a child if they aren’t CURRENTLY in a class. That is not abnormal.

It is a ton of work for managers to pitch young, up and coming talent to casting directors, producers, and networks so for them to know that the actor is also doing their job of continuing their education. And it is exactly that. This is a business and the actor’s job is to make sure they have updated footage and reels and headshots and resumes, but to also be sure they are TAKING CLASSES. 

I have worked with child actors for years, and the ones that I see the most success in are the ones who are constantly involved in classes whether that be a training program or workshops or showcases.

Additional benefits to taking classes include: 

1. Confidence building- if you are constantly presenting material in a class setting, you are only going to get better at reading out loud, and making adjustments on the fly. 

2. Networking- your teachers are your biggest advocates. That’s why it is so important to find the right ones! I say this over and over that I take great pride in recommending my clients to my colleagues for representation. Your teacher should be well connected and liked in the industry so they can send you lists of agents and managers to reach out to as well as pitch you to them as well. 

3. Combating Habits- When you are in consistent training, the teacher will start to get to know you on a deeper level then one off classes or masterclasses. When a teacher sees you over a longer period of time, they are able to catch your habits or tendencies that you fall into. It is so important to have someone look out for those and give you the tools to get rid of them so that you don’t fall into common actor pitfalls in your auditions.

4. Interacting with your peers- As important as it is to network with current industry professionals, it is just as important to network with your peers. I always say, your peers are the ones that are going to cast you in projects in the future. You never know when you are in a class with the next big name in casting, directing, or producing. It is the actor’s job to network throughout the entire industry. In fact, when you meet with agents and managers they will want to know who you are connected with so they will have an easier time pitching you to projects that those people are working on. 

5. Class is where you fail. If you never fail, then you are never going to take a risk and then you will never continue to grow. Many people are afraid of failing. I understand that. Class is a safe place to do that. Not in the audition room. Not during performance but in the classroom where you are allowed the space to see what you need to work on and receive feedback.

• With all of the information available to us online, it is incredibly easy to find training programs, unfortunately it is also very easy for people to scam you out of a lot of money for advertising to be a training program that they are not. I have seen these countless times, and it is honestly discouraging. But I want to be sure to give you some fail proof ways to distinguish legitimate programs from ones that are not.

  1. Know their credibility. Any teacher that is worth their weight, is going to be connected with reputable industry professionals. Reach out to people you know and see if they have experience working with the teacher in question or if they have heard anything about them. 

  1. Research their students. Do they have any students who have worked on any major projects. A teacher’s best resume are their students. If they have students who are working in the business, especially working consistently in the business then they are probably a great resource for your child as well. Talk with other parents and actors in the business as well and see who they recommend. Word of mouth has always been the best form of marketing for people in the entertainment business because it is also the best way to find vetted professionals. 

  1. Beware of large promises and dollar signs. Anyone who is guaranteeing you results should be avoided. I see this all of the time. There are so many teachers who promote that if you buy their training guide or sign up for their program that you are guaranteed to sign with representation or booking your first big professional gig. This will never be true. The industry is so finicky that it is absolutely impossible for anyone to guarantee you success.  

  Know the difference between someone believing in you and guaranteeing success. 

  Many times, after an initial meeting, a teacher will be able to assess a child’s natural ability or their “it” factor if you will. They will be able to give you an honest assessment of your child’s skills and potentially their current and future marketability in the industry. HOWEVER… if they make grand promises of immediate jobs or success or fame, run! These people are not worth your time OR your money, trust me. They understand the entertainment training market and they understand marketing, beyond that they more than likely don’t understand the first thing about acting. Nobody can be sure how a child or anyone is going to measure up in the industry. Sure, we can have good feelings and assess natural skill, but it is a changing industry where something can be in one day and out the next so being able to guarantee a certain thing is never the case. People who promote that are not worth your time

  1. Beware of over optimism. Look, of course we need positive and resilient influences in children’s lives, but when people hide behind optimistic messaging, it is another sign that this is probably not the right coach for you. Oftentimes these people are more focused on making a quick dollar instead of actually growing your child’s career. Just like the people who promise immediate success, they don’t actually know what they are talking about and instead want to prey on your naivety. 

  1. The anonymous teacher. If there is a training program where you are watching a bunch of pre-recorded videos or sessions, this is not real training. Acting training is not like traditional school or classwork, it is very hands-on and involved. If you are watching these videos and never interact with an actual teacher, your child will learn nothing. You want a teacher who is engaged on a zoom call or working with you one on one in the classroom. 

The bottom line with finding great training for your child actor is to do your research. If you spend some time online and discussing with other parents or trusted industry professionals in your circle, you will find that it is not as hard as you might have imagined to find great teachers whether that be online or in person

I can’t stress enough that if you pursue acting professionally…it requires constant work and effort. It requires research and due diligence. 

Networking and maintaining relationships is perhaps the most important element of this business and that comes more from training and classes then it does from anywhere else. Whether it is a showcase or that the teacher is casting a project that you would be perfect for, you have to be prepared to showcase your best self in class work just as much as auditions.

How to Audition for Nickelodeon or Disney with Krisha Bullock

I am super excited for today’s episode because I am being joined by LA based youth Casting Director, KRISHA BULLOCK, Krisha is one of the most influential, award-winning casting directors in the industry today and She specializes in youth casting. She has worked on everything from television shows to feature films and some of her credits include your favorite iCarly, Zoey 101, Henry Danger, and Victorious. She is also currently working on Danger Force, Side Hustle and Fairly Odd Parents - Fairly Odder. She has guided many up-and-coming actors who have gone on to massive success making her another fantastic asset to your child’s career

Denise: I don’t know what you think about this, but I like to call you the queen of multi-camera comedy casting and that’s just because you cast and live in a multi- camera comedy world. Let’s start with telling our listeners what multi-camera is

Krisha: I like to say I live in the multi-camera comedy world since that is the primary thing I have been casting for so many years. Multi camera comedy is comedy… primarily kids comedy although there are some multi camera comedies for adults as well where there are four cameras that are working at the same time. So all four cameras are recording what is happening on stage at the same time and they edit between the four cameras. So from the actor’s perspective they are in the same sort of physical way standing and performing to an audience in the same way that you would do for live theatre… multi camera comedy has the same sort of vibe to it

Denise: What is the difference between multi-cam and single cam?

Krisha: Multi-camera is much closer to live theatre where you would be literally projecting to the audience so your volume is a bit louder, your pace is a bit higher, your energy is a bit higher. You don’t need to project because your camera is picking up all of the emotions from a very different close up way versus the projection that is needed for both theatre and multi camera. 

Denise: So when you put out a casting breakdown for a young actor do they know it is a multi cam versus single camera project

Krisha: We put in our breakdown that it is a multicam project… that does not necessarily get translated to the actor… I get the sense that most actors have an idea of what it is.

Denise: That’s why the training is so important because you have to understand the genre and the medium that you are auditioning for.

Krisha: 

Absolutely and I am a big believer in research… that when you get a project you need to be doing the research knowing what all the words are and if the show has aired on television, watching it, luckily now with the internet everything is accessible so there is no reason to not be doing research any longer.

Denise: So your main role is a casting director. If you could really define that because I think parents/young actors have a misconception of what a casting director is. What is your role as the casting director for the projects you work on?

Krisha: Thank you for asking, I think it is a very misunderstood role in production. Casting directors in my world work very closely with the writers and the producers for a project. Our job is really to bring that vision of the writer along with the producer and  sometimes with the director if you are working on a film… we are bringing their vision to life so it is a cooperative, creative conversation that happens where we are asking what they have in mind as they were writing what they have in mind as they are producing and we try to bring that vision to life. And when I say that I mean we break it down what it is that we would be looking for in the actor to fulfill that role, we search for an actor who brings that role to life in a very organic way… that is the best fit for the role. Carrying on from that. Once we have held the auditions and we present who we think are the best choices to the creative team. There is always a conversation. It’s not one person, it is always multiple people who weigh in not only the creative writers and producers but also the network will also weigh in on those casting choices. Then the last part of my role is to fight for people I think are right if other people are overlooking them and then once a decision as finally being made, we make an offer and deal with the agents and managers in the negotiation of that offer and generate the contacts and cast lists and share it with the rest of production.

Denise: But what I’m hearing is that you have a lot of jobs, but at the end of the day it’s not YOUR decision

Krisha: It’s never really one person’s decision on any project anywhere. Every project is a collaboration and I don’t think there’s any world where there’s just one person from start to finish.

Denise: I love that because when I work with young actors we’re really trying to get them to make interesting choices and sometimes those choices will be able to tell the creatives something that they might not have seen but now they’re bringing something to the role that all of a sudden the creative team is going to say “wow I didn’t see that… that’s even better”

Krisha: Absolutely!...

Really what we want to encourage young people to do is not only bring interesting bold choices but the most interesting bold things that come out of them. It comes from inside of who they are and bringing that out. They are always going to be interesting if they reach the truth inside of them because every person is interesting in their own way.

Denise: Would you say there are certain skills that are important for young actors to have if they want to book comedy?

• Krisha: I think it’s good for young actors to practice their improv skills. It gets them thinking outside the box; it helps them think of all of the different ways a scene can be played. I think it’s also important for young actors to understand that there are a lot of different ways for actors to come at the role and if they are training in improv and scene study they can use both of those skills as they figure out what is funny in the scene and how they can make it funny.  

  Denise: What is funny? Do you think that’s just innate or can someone learn to be funny?

  Krisha: I do think there are a lot of young people that are innately funny. They just understand what is funny and they understand the comedic timing and how to make words on a page read even funnier than maybe we’ve read them in the first place. And then you can 100% learn to be funny. You can take the classes and understand where the funny beats are and how to utilize different techniques to find whether or not that is funny…I absolutely think people can learn anything. It’s just going to require work and practice.

  Denise: I think that that word “truth” is so important!

  Krisha: 100%. We are funny people. All of us are funny people. What happens in your life is much funnier than creating something else. One of the things that I get asked most often is actors always saying:  I always want to know what you’re looking for.

  I like to remind young people that we are looking for YOU. We are not looking for a thing or something that’s outside of you, we’re always looking for you… for truth. Which brings us back to that truth is where the funny is. I always just want people to bring themselves to the role and accentuate different parts of yourself.

  Denise: If we could just spend a few minutes on why the slate is so important especially in multi cam comedy

  Krisha: Well the slate is important for a lot of reasons. Kids have to slate so we can hear their voices. Hopefully they are speaking in their natural voice that we are finding out how old they are. How tall they are and what grade they are in. It is an information gathering place for us. The slate is now the only introduction we have. When kids used to walk into our room, they used to have to slate all of that information but we had the opportunity to have a little bit of chit chat and get the sense of who this person is and we don’t have that anymore because it’s all self tapes. I have noticed that people who slate like they are actually talking to a human makes a difference.

  Denise: I think just in a slate you can learn so much if that person is creative or funny. And you want creative and funny people

  Krisha: Exactly. 

  Denise: I just want to talk a little bit about this self tape world. That is a big change from being in the room. Are you solely casting from self tapes? 

  Krisha: We are doing all of our first calls via self tape and then depending on the situation and the role and so many factors sometimes we are casting right from that self tape sometimes we ask people to record additional things. Sometimes we will use zoom or facetime or eco cast so that we can have more of a one on one experience with the actors. That’s the biggest part I really miss is being able to work face to face and with the people in the room. 

  Denise: Then the actors need to be really good at self taping.

  Krisha: Yes, it’s a lot. We are asking a lot of young actors right now. And Parents. I do understand and have great compassion for what we are asking people for. 

  Denise: And now you can see actors from all over the country!

  Denise: Is there any advice you have for actors or parents in self taping?

  Krisha: Yes, make sure you can be seen. Make sure there aren’t shadows on your face. Make sure you can be heard: that the audio and the video match up. Have your camera at the eye level of the performer. I like a plain backdrop. I don’t think it needs to be professional…I think you can grab a blue sheet and you can tape it to your wall. The top of your head should be at the top of your screen. The bottom of the screen should be waist. I like actors to stand when they audition. I think actors get more energy and through that energy there is more connection to creative truth. Try to make sure that whoever is reading with you is keeping the pace and volume the way the actors are speaking. The reader is there to help the actor be the best actor they can be.  

  Denise: What about memorizing?

  Krisha: Actors have to be memorized. That’s their job. Their job is to memorized and audition until they book the job. For memorizing it is just a month. It is just not optional. The competition across the board has gone from a very very huge pool to a monstrosity of talent now and the people who aren’t memorized will just immediately sink to the bottom.

How to Get Cast in a Broadway Show with Merri Sugarman of Tara Rubin Casting

Today I am especially excited for you to sit in on my conversation with Merri Sugarman, a top NYC casting director with Tara Rubin Casting. A few of her Broadway and National Tour credits include Les Miserables, Phantom of the Opera, Miss Saigon, Dear Evan Hansen, SIX and many more. Merri has also worked on film and TV projects as the Director of Casting for Dramas and Movies at ABC Television, overseeing the casting of NYPD Blue, Alias, and The Practice. She also teaches, and I am lucky enough to have her teach many of my students in the Denise Simon Acting and Coaching Workshop Series. 

Denise: You and I have worked a lot together over the years and I not only recognize your talent not only as one of the top casting directors but as a well respected teacher…let’s just dive right in. I’d love you to start off by clarifying exactly what a casting does. 

Merri: Of course, a casting director is hired by the producers of a show, which is sometimes one and the same as the general managing company of the show and tt is usually with the creatives… at this stage because of Tara Rubin Casting’s reputation and longevity that we get hired based on repeat business but sometimes we “audition” and that is sort of going through an interview process. But basically what we do is we sit down with the creative team and we talk about their concept and the number of people who are going to be in the show… and what they are looking for in each role. Then we put out a breakdown. And then we start looking at the submissions for the breakdown and we look at our files and we start deciding who we are going to set up and get into the audition process. With a muscialt that means cutting sides and getting audition material ready for people to learn. It means doing open calls especially for kids all over the country.

Denise: I’ve heard it said that you bring people to the party, but at the end of the day, you are not that final decision maker about who gets cast in the show… and that’s the misconception... You have to be so good at know where to go and get {actors} but how do you find them or how do they find you?

Merri: I actually kind of start fresh with each new project so you know putting out the breakdown and having agents submit people who are hopefully actually available and interested in pursuing the job is extremely helpful. When it’s a long-running show, then I've been keeping files of pictures and resumes of people that I’m seeing over the course of months and sometimes years and i’m sure to look at them when we are looking for replacements… 

No matter what I am working on, I am constantly thinking about all of my other shows as well. The open calls are really helpful, the equity calls are really helpful especially for banking people and the breakdowns are our three biggest resources

Denise: So many kids are not in the union, so when there is a union call I have always encouraged my clients to go because at the end of the day, chances are there is going to be time for you to see them. Is that true?

Merri: Not always, you should always still go if it isn’t keeping you from something that is important. You might just get a little facetime and you can always drop a picture and resume off which will get to me and I will look at it and based on my needs, it is something I’m going to heed at that moment.. I think the more exposure you have the better and if you don’t show up there’s that much less of a chance.

Denise: What if an actor doesn't have an agent or manager, then how can they get to you?

Merri: They can show up for equity or open calls. You can google local auditions for regional theatres and Broadway shows… To be far, without an agent or a manager it can be hard and you're not going to know about everything. 

I always say if you’re actually good… we will find you for what we need to find you for once we know you actually exist so that's why showing up is so important. 

Denise: So how do you accept pictures or resumes? 

Merri: You have to think outside the box a little bit.. How can I make myself known to somebody? 

Denise…Speaking of kids, they come with parents… How much does the parent’s involvement play a role with if the kid gets cast or not? Do you interview the parent as well?

Merri: I don’t normally interview the parents, but I do usually have some sort of contact…we see the parents in the waiting room and outside the auditions. We know that we are going to speak with them about things like housing and what kind of commitment it’s going to be and flat out asking them if this is something they are ready for… It’s a huge commitment and responsibility for the parents. I don’t really know how they do it but they are amazing. With most parents I have worked with they will move heaven and earth to make it work because it is a dream come true and just to be completely blunt about it there is an end date because they do age out.

Denise: I think so many people are scared of casting directors and thinking they are judging me and are they going to like me and it’s scary, but really you are there for them and you want them to be the best they can be in the room I imagine. So you really are this wonderful cheerleader for them. 

Merri: I don’t think I'm so noble or extraordinary about that… i just think without creating a warm environment people can’t do good work. I definitely try really hard to create an environment where people feel as safe and relaxed as possible… but to be completely transparent you can tell which kids are ready 

Denise: I would love you to elaborate on readiness.. What does that mean for a child to be ready to book a broadway show or national tour? 

Merri: There’s only so much you can tell a child actor and their parents or guardians about what to expect… 

I think it works the best and it is the most successful when kids are still allowed to be kids and that feeling pressure is really normal and that we’re going to try to tailor make everybody’s experience in order to succeed, but being ready means handling a lot. 

Denise: I actually quoted you in my book that the most talented kid doesn’t always get the job but that there are so many other factors that go into it. 

Denise: I would love to circle back about something you brought up of a child’s height and voice changing. Parents contact me all of the time… and they want to get them into professional work but they are 5’3” and she’s 15 years old. Can you talk about that age where it sort of starts dying off for kids to be able to book professional roles. 

Merri: I think that is just the fact of it.  Kids are going to have a chunk of time where they are much less castable, especially when they get into their teen years which is why you have so many young adults playing teens. It is a much more complicated process to hire kids. 

Denise: Look, you’re a teacher at heart. You mentor, you teach parents, you teach kids. I think it is up to people like us to help guide because there is no “how to”

Merri: That’s the hard thing. You can never say, this is how to do it because it is constantly changing. Especially with kids, parents need some sort of something that is consistent.  

Everything is so fleeting and so changeable that I think it makes it a really scary endeavor for parents to allow their kids to do it, but theatre especially in my opinion is a really joyful place and a lot of kids find their people there. 

Denise: Not only that but it sets them up to be really successful adults with all they’ve learned. 

Denise: One of the things that has changed…many of the auditions are on self tape and is that going to be the way of the future?

Merri: Yes, it’s interesting. I don’t know if people realize but as far as pre-screening goes…we’ve been doing self-tapes for a very long time….that is usually what we start with. Especially since we’ve cast our nets so much wider… especially with kids… we often start with a self tape. I don't think that’s going to change anytime soon, but I don't think anyone is going to get cast in a broadway play, an off-broadway play, or even a regional play without being seen in person at least once. I think the self-tape is really just the jumping off point.

Denise: You mentioned that you’ve done a lot of work with college students. We talked about those ten years where there isn’t a lot of work for actors… I always advise kids to train during those years because it’s so competitive, but what advice do you have for kids between the age of 12 and getting into college? 

Merri: The same advice you have. That is the time to be in plays and read plays and watch television and see movies and start to formulate ideas about what moves you and what kind of work you want to doa nd how to continue to grow and get better at that. Sometimes that means a saturday morning class in the city…or hanging around your local community theatre and getting an internship…maybe you’re not a singer but now is the time to take voice lessons for six months so you start having an idea about how you want to sell yourself. It’s not about building your resume, it’s about honing your craft. 

Denise: You teach, it’s another part of what you do and it complements your job I imagine…but when they’re young there’s a fine line of natural ability coming out and then somebody being trained. How do you feel about young actors training or what age do you think they should start training? 

Merri: I don’t think it’s ever too early to start training. I do think sometimes parents will have to kiss a lot of frogs to find the person who is right for their kid. 

{They’ll} know if someone is right for their kid if their kid is happen when they are working with them and if they are being taught that the human part of acting, the part that you get to just create a character, and that that character doesn’t have to be more than who that child is in that moment of their lives that's the most important thing: that a kid doesn’t feel like they have to be anything more or anything less than what they are.

Denise: …You have so much to offer and I tell parents this is a wonderful industry and don’t be scared of it because there are wonderful generous people like yourself who make such a difference in kids life and I think for parents if you’re on the fence…why not, just be smart about it.

Merri: I so appreciate that. I feel so privileged to walk in this world. I wouldn’t give it up for anything…I think people have this idea that the world of show business is intimidating and that people are mean…it’s just you’re always ong to find people who are unkind in every single business but i think here it's just so conducive to just doing you and being accepted for being your own amenable creation and keeping it fun and joyful, you know that’s the challenge because it’s a job. I don’t know anyone who hasn’t found their best friend in the world of theatre.

Look out for Casting Scams

I know the business of show business can be intimidating to get started in and it is even worse when there are people out there who try to take advantage of you or your child’s career. 

We’ve all made mistakes where we might have been a victim to something that sounded too good to be true.  So today I am going to point out some traps so you can recognize the signs and hopefully save yourself some money and embarrassment if you fall victim to one of these hucksters.

REPRESENTATION SCAMS

Perhaps this has happened to your child: getting stopped at the mall or the street when someone tells them they can make them a star. Although this happens it is very VERY rare and can oftentimes be very misleading about what it means to break into the industry. 

Becoming successful in the performing industry takes a lot of hard work that is complimented by years of training and experience… It is important that you know what to look for and ask when seeking professionals to be a part of your child’s team and ultimate career journey. 

Here are a couple of things to help you identify the right people to align with.

• Legitimate agencies see promise and potential in their clients, but do not make grand promises of stardom, especially on the first or second meeting. Their websites also do not glamorize the life of an actor. Real agencies know that acting is a tough business. There are no guarantees, even when the actor is talented and has great looks.

AUDITION SCAMS

• One of the biggest scams in the show business industry is AUDITION SCAMS. Nowadays with the prevalence of the internet, it is so easy for anyone to post an audition or job posting online. Here are a couple of ways you can make sure you don’t fall prey.

  1. If it sounds too good to be true, it probably is.

  2. Promises of high pay are another red flag.

I had a client who was told they would fly her out to LA for extra work and make $300 per day. It would only cost her $100 to sign up. RED FLAG. Someone’s asking you for money upfront. Make sure you are learning about the industry and talking to other people in the business so you know what to look out for and what is considered a standard industry call. Knowledge is power and the more you are spending time on casting sites and learning about the industry the better prepared you are for fighting off scams.

• Rush casting calls and immediate auditions.

Casting representatives that are in a rush are often trying to close the deal. They know that people tend to make poor decisions under pressure and are more likely to make a payment for some legitimate sounding purpose. This business does move quickly and casting can happen quickly but it is important to be prepared. Legitimate agencies occasionally cast last minute; however, they generally require you to submit a headshot and resume well before they invite you to an interview or audition. If anyone is claiming they can cast you without at least seeing what you look like and what experience you have, avoid them at all costs. 

• Casting call ads on Craigslist.

Established production companies in urban areas use established casting agencies to provide extras for their upcoming shows. Those agencies do not advertise on Craigslist, in classified ads, or through representatives stopping people in a shopping mall. Most reputable projects will not post any of their information or casting calls on craigslist. I would go to other sites that post audition breakdowns such as Backstage, Actor’s Access, Playbill, Casting Networks or even the casting agencies own website or facebook page. A lot of times these days, casting directors will post their calls for extras or other roles on their social media pages. Make sure you are following these and staying up to date about who is looking for what talent.

• Another casting call or audition to be cautious of is when it is seeking all ages. Many times casting will have a clear idea of what they are looking for, especially when it comes to age. If it is an open call for all ages and not a lot of other information, do some more research before moving forward. 

• Here’s another red flag: Major casting agency accepting calls until 10:00 PM. Most initial auditions will end around the end of the work day. Occasionally dance calls or callbacks will go later into the night but the initial audition will often times never go bast 5/6pm. 

• If you aren’t able to find a lot of information online about that casting agencies that is another red flag.  Major casting agencies never hide their identities. Neither do they have operators standing by to take your call late into the night. Sketchy and suspect contact information is a big tip-off to a scam. Do not call agencies that provide a telephone number with no other identifying information.

WEBSITE RESOURCES

What’s a new actor to do and who should they trust? Before plunking down your hard-earned cash, follow the tips above and do a little research. Legitimate agencies have legitimate websites. Try entering the website address at whoishostingthis.com. You’ll be able to see when, where, and by whom the site was created. Search the individuals listed. If they are a successful casting agency, you will not have any trouble linking the people behind the website to real people in the industry. Don’t stop there. Search the company name for complaints with reputable reporting agencies such as the Better Business Bureau at bbb.org and your state’s division of consumer affairs. Be wary of comments on commercial websites, either positive or negative. Those comments, while sometimes helpful, are generally unverifiable and often misleading.

Protect your child. Make sure you or a trusted guardian are attending these casting calls with your young actor. There are too many people today who are trying to take advantage of young talent and it is important to make sure you are protecting your child. If you are not sure if this is legitimate or not and you accompany your child to the audition, ask if you can be in the audition room. Anyone who is acting fishy about letting that happen is also a red flag. 

TRAINING PROGRAMS

Make sure that you are also being diligent about the training programs you are signing your child up for online are legitimate. There are a lot of scams even in the acting training world. Any program that asks for a lot of money or promises your child success is not going to be a beneficial investment for their career. Now people do charge money for legitimate services, but do your research. There are so many people who claim to know about the industry or have fake testimonials about their programs online. Don’t believe that your child will become a star after downloading a pdf workbook or buying into a membership program without any real benefits. 

Make sure that the training program actually delivers on what they promise. If they are guaranteeing an industry showcase, how many industry people are attending? How many of their students are currently represented by the industry professionals they bring in? Is the teacher accredited by other respected industry pros? Read bios on the teachers. Where did they train? Do your research, reach out to other people you know in the industry to get their opinion on it and to see if they have ever heard of that individual. If you already have representation, one of the best ways to find good training is to ask your representation for recommendations. If they are good representation, they will already be connected with many great teachers and coaches. Also be cautions of training programs or agencies that project overly optimistic messaging such as Don’t stop believing, Chase your dreams, follow your heart, and other inspirational messages are meant to lure in people who are desperate for success and have little experience in the acting industry. Legitimate agencies look for confident, successful, and poised talent. Sure, they want actors with big dreams, but they also want people who are ready to work and train hard. 

Most of all TRUST YOUR GUT if something doesn’t feel right, it probably isn’t. Gain knowledge, reach out to other people you know in the industry, and don’t be afraid to ask questions or check in on the legitimacy of an agency or training program.

Meet and Get to Know Top Agent David Doan

Joining me today is David Doan. David is the Vice President of Young Talent in the Theatrical Department at CESD Talent Agency in NYC. He has been in the industry for over 20 years and been recognized for his work specifically with developing breakout youth talent. When he worked in casting he was  nominated for a 2012 Daytime Emmy Award for Outstanding Casting for an Animated Series or Special for Nick Jr.’s Bubble Guppies.

I have received so many questions about representation and bringing the right people alongside you in your career journey. So I’m thrilled to have David with us today. He is a long time colleague of mine and  one of the most trusted agents in the business. He will answer many of your questions. Questions that people are often left to figure out on their own. By the end of this episode you won’t be left wondering about anything. David, thank you so much for taking time out of your busy schedule to chat with me today.

Denise: David, thank you so much for taking time out of your busy schedule to chat with me today

David: Thank you, Denise. Thank you so much for having me

Denise: First and foremost, people really want to know, what are you looking for in signing talent

David: The answer to that question changes as different time periods go by.

“The main thing that I look for is confidence in young talent. Obviously we want to see a personality. Someone that is comfortable in their skin and not overly nervous. A sense of fearlessness and commitment. And a support system around them.”

David: We want kids that are well rounded. It’s not like we are looking for kids that eat, sleep, and breath only performing. It is a combination and variety of things…So much of it is about personality off the camera and when you aren’t performing. 

Denise: That was a great explanation. I hear that term “it” factor quite a bit. I use it myself. I have to imagine that parents know what that means or maybe all parents think their child has the it factor.

David: I think maybe the latter. I don’t know if everyone can actually tell… I have to believe that every parent believes that their child is special and I think that’s great and you need that kind of support to succeed anywhere in life. 

Denise: Working with younger talent, obviously you are dealing with the parents… I am wondering if you can speak about how the parent can help or how they sometimes might hurt their child’s career.

David: Yes, I can speak on that. You know there’s this whole mommy board world where people get so much disinformation. And sometimes it makes our job difficult when everyone gets alerted when auditions go out… and sometimes we get the calls like “Why didn’t my daughter didn’t get an audition for this?” “Did you submit so and so for this.”  We see the breakdowns, it is in our best interest to procure work for you so  anything that your child is right for, we are pitching and trying to get the appoint because this is a business after all and we want to make money and we want to book your child or we wouldn’t represent them if we didn’t think they were competitive. I guess it’s one of the small annoyances I have when there’s all this misinformation out there, wherever it’s coming from,  that it makes our job a little bit more difficult and makes us not want to deal with you as much. Depends on the parent as well of course. Another that makes our jobs easier is just following instructions. Everything right now is self tape so there’s a lot of instructions…and it just makes our job a lot easier when you follow them.

Denise: There's so much that goes into it all and I'm not sure everyone understands… you’re working so hard on your end and it’s perhaps silently and people don’t always know and they just have to trust if they’re going to sign with you that if you’re doing your job and they have to do their doing their job and that they have a job.

David: That’s exactly right. There has to be a form of trust as a client and an agent and when you sense that there isn’t that trust then it gives you a little bit more of a pause of do i want to work for this person that i constantly have to answer questions about why you’re not getting an appointment for something when it is sometimes as simple as an age range or ethnicity or hair color.

Denise: Have you had a client that was working and doing well and you had to let them know because the parent wasn’t really a team player?

David: You know I would say yes. You know, rarely. I like to think we are able to put out those fires with early warnings or signals. So I would say rarely, but I would say yes, absolutely. And I would have to say my least favorite part of my job as an agent is parting ways with clients, especially young talent that you have worked with for many years, and in some instances their whole life. 

“Having to part ways with a client for whatever reason is never fun or enjoyable. But sometimes it is appropriate to part ways whether it is because the client needs a new set of ears and eyes to see them in a new light…to pitch them in a different way. There’s a plethora of reasons.”

David: But, yeah it is never a fun thing to do. 

Denise: It is a relationship like any and if you want it to be healthy and honest and good and it has to work for both parties and if it’s not working then the two of you together might not be the best fit and the client may be better served by someone else. 

Denise: So what are some of the best ways that actors can get representation? 

David: You know I think the easiest way for me to find talent is through referrals. A lot of the talent we end up meeting are referrals through casting directors and a lot of managers. Referrals through current clients we have… showcases that I attend… as many as I can to see as much different talent as I can from different parts of the country. And I might have opposition to this, but blind email submissions to me, I’ve found a lot of people that way. Not that you should just start emailing everyone out of the blue, but if you have a really good professional email together with a current headshot and a professional looking resume and a link of some work. It doesn't have to be professional, but a self tape or two. And if it is a category we are looking for, I have found lots of talent through blind email submissions…You know having your materials together, and current, and strong, and not trying too hard is either going to capture someone's attention or not. 

Denise: How do people know how to email you? 

David: You know all of our emails at the agency are on our website. The amount of unsolicited emails we get is pretty large but I scroll through and if there is something that catches my eye then I open it and look further.

Denise: Are you interested in signing newbies? 

David: Absolutely, we do sign all levels of experience. Clearly if you are a six year old, we don’t expect you to have a full resume… you know the older you get the more we would like to see on a resume, but we go to college graduating showcases and meet and sign early twenties talent that have no professional experience on their resume. But it’s not a set general rule. Having something for us to see that is current that will make you pop is really what we are looking for. 

Denise: Can you speak about how you feel about your clients being trained and kids in general being trained. 

David: 

“You know I think training is important. I think it helps hone and develop young actors. Whether it’s one on one coaching… or in a class setting… that gives you a place or sanctuary or a place to feel a party of a group. I think that’s why so many young people are attracted to acting in the first place…”

David: The training goes along with starting to understand what this business is about and what it is actually like to be an actor…I think it all starts with training because that’s where you figure it all out and that’s where you figure out if you want to do this for a career…

Denise: I’d love to dive deeper into growing the best relationship with your rep. If a client is lucky enough to be repped, what is the best way to have a long and lasting relationship? Something I hear a lot from parents is they want more done so they think it’s time to add a manager to the team, maybe even without knowing what that is. 

David: Correct, I do hear that a lot. And sometimes parents think adding a manager to the team will get you more opportunities, and sometimes that is true… it depends on who that person is…It should be a team. 

Denise: What if a client comes to you and tells you that it might be time. Is that something you assist with? 

David: Oftentimes, yes. If it is a client we don’t want to lose, we want to make sure that whoever they are adding to their team is someone we can work with or hopefully that we have a previous relationship with, and if not then we want to have that relationship with them prior to entering into this partnership with them.

Denise: Something you said earlier, we were talking about clients not always knowing the work that you are doing. I’m curious, when you are working with clients…how does a client know they are submitted for projects

David: The simple answer is, most of the time they don't know, it has to come down to trusting your representation and trusting that they are trying their hardest to get opportunities for you. I have seen people in the past ask for submission reports and we don’t do that. One, it makes us feel like there is a lack of trust already by asking that question. If you’re not happy with your representation because you feel like they aren’t getting you enough opportunities… then maybe it is time to find other representation…they can certainly ask about specific projects without being too overwhelming about it… but it shouldn't feel like we are defending ourselves every time you are reaching out to us. 

Denise: I am so happy to hear you see that it is a wonderful time to be in the business and that there is lots of opportunities for kids… but it is probably more competitive than ever? 

David: Yeah, I think it definitely is more competitive now that a kid from Texas can compete for a Law and Order episode. They don’t have to be in town. Previously if you weren’t here for the actual live audition, you couldn’t even compete. And if you’re able to be a local higher, it doesn't matter where you are at the moment. 

Denise: The world is changing, it’s always changing, and it’s always going to change. I think for parents to know what was in yesterday might not be in today and it may be different tomorrow. Understanding the market a little bit. I just wonder what your thoughts are on that marketability piece. What is in right now? 

David: What makes you marketable is,,, I don't think there is one thing. Obviously having your materials together is extremely important. Social media I think falls into this question… you have to be very careful with what you put out there… does having an instagram page for the 10 year old make a difference? it definitely does start to make a difference when you get more into the teen world and the young adult world. Not only because people are looking at it, but it gives people a sense of who you are.  As a young actor, sometimes that can work against you..,so you just have to be careful and specific about what you are putting out into the world. Also, making sure that there aren’t any videos on youtube that you don’t want people to access. You have to make sure that you only have stuff that you want out there, out there because everyone is looking and anyone can.  

Denise: David, you have shared so much. I respect you and I think you are one of the best. I appreciate you being my first guest! [David] and I hope that you enjoyed the episode and that it answered some of your questions and perhaps provided some clarity about representation and how to build your team as your grow your career!