Tru Talent Management

A professional photo of your face is the most important thing about a headshot is that the photo looks like you, perhaps a better, more glamorous version of you, but still you. I’ve had directors not recognize the headshot and not remember the person’s audition. Your physical characteristics are the main interest of whatever job you are auditioning for. This is not always the case though, if you’re a good enough actor/actress; the casting director may pencil you in for another part if you do not have the specific look they are casting for mainly.

A resume is a very important tool, even if you do not have much experience. First off, it will tell the casting director who you are, measurements, and hair/eye color. Second, it will show your experience and special skills/interests you have. Third, the contact information on who to get a hold of to book you for the job. Remember, every job is different and you must treat it as though it was a job interview. Imagine how would you dress and act if you were to be interview for your dream job.

DO’S

· Print or staple your resume to the back of your headshot. I’ve been told that casting directors prefer you to staple the resume using four staples, one in each corner.

· If you are stapling, trim your resume to fit the headshot. You do not it want to look sloppy.

· Make sure the head shot shows your face. I’ve seen headshots that are so close-up, it’s hard to see the whole person.

· Have a few extra copies with you when you go to auditions. You never know who will want them. Keep them in your car, away from the sun; you never know when you may need them.

DON’T

· Lie about your experience.

· Make up special skills or write things down just so you fill in the special skill area.

· Have a resume and headshot that is larger that 8 × 10. An oversize headshot won’t fit in a standard folder and will probably just get thrown away.

· Have a resume that is more than one page. If they want more information, they will ask for it. Only include your most important and current experience that you think will “woo” the casting director. Remember, every job is different.

· Staple reviews or clippings to your resume. They just get in the way.

· Make the type smaller than 10 pt. If you have that much experience, edit it down. If your resume is cramped and hard to read, no one will bother.

Here are some things you want to think about when creating your resume.

A lot of theater is about connections. If you worked a well-known theater like the Long Wharf Theater or the Guthrie, make sure that the name of the theater is on your resume. If you worked with a well-known director such as Sam Mendes or Mac Wellman, make sure their name is on your resume.

One of the things that can happen in an audition is that a name on your resume is recognized, so it gets second look.

You do not have to list everything you’ve done. List the most important roles and events first.

The example resume has a place for everything including theater, tours, film, television and commercials. You don’t have to have all these things on your resume either. Cutting a major theater performance, just to listing a student film to demonstrate film experience is probably not worth it.

Just use common sense and don’t worry if it’s your resume doesn’t have any large theaters or major experience on it. Everybody has to start at the beginning. That is why Tru Talent is here. Feel free to ask you’re booking agent any questions or concerns you have, and we will try our best to help you reach your goal.

AUDITIONING ETIQUETTE

Auditioning can be stressful, but it’s the best way to find work in theater, film and commercials. Here are some helpful hints when heading out for an audition.

· FIRST AND FOREMOST, do not assume! When you go into an audition, do not do anything until the casting director directs you to. They are the ones interviewing you and will give you directions on what to do.

· Try not to apologize if you mess up. If you forget your lines, try to recover the best you can. Do not stop and ask if you can start over.

· Arrive at least 15 minutes early. You don’t want to have to rush into your audition. Give yourself time to find the space and warm up.

· Pack your bag with a book in case there is waiting and a bottle of water. Not every place has a water fountain.

· Be nice to everybody. You never know if the person you are speaking to is important.

· There may be several people waiting with you to audition. Remember that they are competing with you for the same job. Don’t let them intimidate you.

This is a guest post from one of our clients named Scotty.

Hello my name is Scotty. I recently relocated from a little “hick town” in Ohio to the Las Vegas area in the fall. I was looking for a fresh start in my life and a change of pace when I stumbled upon an ad in the newspaper.

The ad was for a modeling/acting agency with “Tru Talent Management”, so I called them up and scheduled an audition. The very next Saturday I went in for my audition and it went pretty well. I read a script from the movie “Disturbia”, the part where the main character is explaining to this girl that he likes how much he cares about her and the certain things that she does that he notices from his bedroom window while he is stuck at home on house arrest. Two of their agents seemed to like me, and not only did they want to represent me as a model in the industry, but they also offered me a position on their scouting team.

Everyone at Tru Talent Management has been very easy going and a great group to work with. I appreciate the wonderful opportunity that has been given to me and I know my career will be a success thanks to Tru Talent Management.

These audition tips are provided by Tru Talent Management’s very own, Gumby Kounthong.

- For Commercials look into the camera as if it was your best friend and Act Natural.

- For Movie or TV Acting roles- Do NOT look into camera for the audition while you are in character. Remember the camera does not exist but you do send your feelings into the camera. Do look next to the camera unless the casting director tell you to look into the camera for roles such as being a TV Reporter or Announcer (people who always look into the camera in real life) If there is not a camera-use the room and the people in it WHILE YOU ARE IN your character.

- You do look in the camera to slate. This means to say your name and agency SLATE ONLY IF THEY REQUEST IT

- Wear camera solid colors – be careful of large prints or patterns

- Staple a one page well organized resume back to back of your headshot and hand it to the casting director the first thing.

- Screen Actors Guild rules states that you must be provided with a script – you can take it into the audition with you – however you should know it well enough not to need the script because you have already created a character. Anyone looking down at a script breaks concentration.

- Keep your script after the audition in case you get a call back.

- Blend your make-up if you are a female – look natural like your photo

- Arrive early to sign and to practice sides.

- Never call the Casting Office of the Production directly- call the agency Memorize your part and FEEL it. Remember the realistic voice inflections and pauses.

- Create an Entire shoot able Character and STAY in that Character until the casting director says “Cut” or “Thank – you”

- Make a CHOICE for the character:

What is your character feeling? Happy/Sad? Mixed feeling? Is the emotion hidden? Where did your character come from and where are they going? Who is your character talking to and how does your character feel about that person? How does your character feel about what is happening in the script?

- React to things that could be happening around you. Make it so real that they can tell what is going on just by your reactions. They are looking for believable characters with believable reactions that make you interesting to watch just like the television viewers are. Remember: You get hired more for your REACTIONS than for your Lines you deliver.

- If you are a former Stage Actor – be aware of the large over exaggerated external movements that you generally use on stage and internalize the feelings for film.