Here’s some extremely good news for the Chicago acting community: The Sun Times reports that the USA show Sirens is shooting its second season in Chicago. All rejoice, more work more work.
I’m a little tuckered out so that’s it for tonight. But, considering the magnitude of the news, I don’t feel so bad. 😉
Do people call them tapes anymore? Anyway, I love audition tapes. I think with active viewing, much can be learned about acting craft and audition skills.
My favorite example is Rose Byrn’s for Get Him to the Greek. In addition to awesome comedic timing, I love the suggestion of the character. We get “hot mess” immediately with nothing more than a few strands out of place and a subtle smudge of eyeliner. She’s not “dressed up” for the role, she’s hinting at it.
However, this isn’t to say that dressing up, when done well, can’t be a successful tactic. Check out Jason Momoa’s Game of Thrones Audition for stellar use of costuming elements in an audition.
After I watched Killer Joe last week, I was perusing interviews with William Friedkin (director) when a reporter’s question stuck out at me. I can’t remember which article it was or I would link it, but the gist of the question was whether Friedkin held Matthew McConaughey’s romantic comedy past against him. Seriously? The blatant snobbery of the question got me thinking.
It also sent me back to my first year in my theatre undergraduate program. Down in a basement classroom the professor asked for a show of hands for who wanted to do movies. I raised my hand. Solo. I was pretty surprised that no one else had the desire, or at least wasn’t admitting it. He asked me whose career I would like. “Meryl Streep.” I quickly replied, thinking that she at least had some major theatre cred. “Well, at least you didn’t say Jessica Alba.” The class laughed and we moved on. In another time (like now) I probably would have countered with a statement along the lines of “if I could, I would have her’s.” Because what is Jessica Alba doing that I’m aspiring to? Working. As. An. Actor.
Sometimes you’re going to take roles where you sell a car to a regional audience or (if you’re blessed with good genes and work out a lot) run around an exotic location in a bikini or maybe be Elf #7 in a children’s Christmas show. And that’s ok. I promise. Your career is up to you. The shape of it is no one’s business but your own. You get to decide if you’re going to take the Elf #7 job and get paid or pass.
Don’t let someone make you feel less than worthy as an actor for taking an acting job.
If it’s time to re-brand because you are unsatisfied with your career, say stopping romantic comedies and seeking grittier fare a la McConaughey, do it. If you’ve gotten to the point where you can make 89 minute romantic comedy space travel adventure movies for the rest of your life and want to do it, do it.
We’re going to have misfires now and then. Passion projects will turn out horrid and roles we hated may take us to previously unassailable career opportunities. Do what you do. You know whether you are willing to sell mops on a commercial or that you will never, ever do commercials. Either choice is a valid one. It’s your career, don’t apologize for it.
Here’s a little inspiration from Kacey Musgraves. Appropriately titled “Follow Your Arrow.”
Chicago is a secondary market. It’s not New York or LA, though, as I reported in a previous post, it is making some major headway in film and television production. I had not made this connection until class last week, but being a secondary market means that things are run a little differently here. Makes sense right?
*Note that from here on out I will be writing about things that are generally true. The business relationship between a specific agent and actor may be different from what I describe.
Chicago is a “scale” town. In other words, most working actors in the Second City do not command paychecks beyond those mandated by the unions. This in turn, means that the role of a Chicago agent is oftentimes a little different from that of a coastal agent. Due to the realities of his/her respective market, an agent in New York or L.A. is going to be more heavily involved in the shaping of an actor’s career, as well as, negotiating an increase in pay (or as the adage goes, negotiating you out of a job). Here, for the most part, an agent acts as the first line between the actor and the job. They are, if you will, expert curators of marketable talent. More than likely, before you get called in to read for Chicago Fire you need to have been picked up by an agent. His/her relationships with the casting directors in town are invaluable. If you want to move up the ladder of work in this city an agent’s partnership is necessary.
HOWEVER, this is absolutely NOT to say that the lack of an agent keeps you from submitting directly to casting directors. Absolutely do that. Even after you get an agent don’t stop doing that. Even the greatest agent in the world is not responsible for the shape of your career. You are.
Acting Studio Chicago (where I’m currently enrolled) has a list of agents and casting directors. They also have a ton of other useful information on their website. Check them out.
Comments? Concerns? Corrections? Let me know.
And, because I mentioned Chicago Fire, I give you Severide. You’re welcome.
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| Taylor Kinney as Kelly Severide — (Matt Dinerstein/NBC) |
This is the first of (hopefully) many interviews that I will be doing with artists that have chosen Chicago as the place to build their career. When deciding where I wanted to base my acting career I had a lot of questions. I googled things like “best city to live in as an actor” and “where should I live to work as an actor” etc. Obviously, there were loads of articles and opinions about acting in Los Angeles and New York. I hope that this series of interviews will make the case for acting in Chicago, or at least provide enough information so that you can make an informed choice when deciding where you’re going to work. I also wanted to know how people support their acting habit so I’ll try to find out what their actor survival jobs are as well.
I’ve known Justin Kimball since approximately the fifth grade. We didn’t live in the same town, but, much like Chicago, the arts community where we’re from is pretty small. There’s a lot going on if you are willing to drive 45 minutes to get there. I knew when I thought of this series he would be the perfect person to kick this off. So, without further ado, Justin Kimball.
Fantastic. That’s how I would describe this evening’s class. We had another mock cold read audition with some commercial copy. What was awesome about this evening was the postmortem (that’s what my undergrad program called it. Weird right?) discussion.
This evening I learned: which agency I should absolutely not submit to (I’m sorry I can’t share it, circle of trust and all); that there is absolutely nothing to be sorry about when you refuse to do something that you’re not comfortable with; the relationship with an agent is a partnership he/she is not your boss; and you need to market the hell out of yourself, agent or not.
Also a theme for the evening, and something you’ve read a few times here, create your own content.
A few more tidbits: you need a website; the reel may be on its way out, clips are on the cusp of being the “it” tool.
I shot two shorts in the last three days. Both were for a DePaul Grad school directing course.
Let’s start with the bad news.
If you still watch Supernatural (absolutely obsessed with it in college), you probably saw the episode that took place in Chicago. It was actually shot here which is fantastic. The episode was to serve as a backdoor pilot to the Supernatural spin-off Bloodlines (formerly Tribes). I watched it, and what I remember thinking is: “Why are Sam and Dean not in this more?” I really, really don’t think they should have treated the pilot this way. If you’re going to start a new series, commit. It wasn’t fair to the idea or the cast/crew to smoosh it in a series that viewers tune in to for two specific characters. But, nobody consulted me, and the series is dying an early death. I don’t know if it was going to be shot in Chicago, or if they were going to replace the city with Canada, but I must admit I was totally dreaming hard core. I loved Supernatural. It would have been awesome to know that its underdog cousin was filming here.
The good news: The Lee Daniels written and directed Empire is filming its pilot in the city. The empire of the title is of the hip-hop variety. The cast is impressive: Terrence Howard, Gabourey Sidibe and Taraji P. Henson. However, it’s set in New York City. I hope this doesn’t mean that there will be a location change if it’s picked up.
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| By K Whiteford |
I’ve not done a lot of film work. Fifty percent of that work happened around three weeks ago. I’m gearing up, however, for a rather hectic schedule over the next month. I’ve been cast in three short film projects that all start shooting this month. I’m pretty excited. Baby steps and all.
Tonight I started my first On Camera course. I’ve taken a seminar before, but nothing as in depth as this class. The first meeting was interesting. It’s a mix between the business of acting in Chicago, and working on audition technique for film. This evening we did an interview style audition, something that would happen if the spot (commercial) called for someone to merely be reading a book or sleeping on a couch, for example, rather than having a copy (script) with lines.
My question was what super power I would have if I could have anything, except flight “because everyone picks that.” Well, I was going to say flight, obviously. I chose invisibility instead and launched into an explanation of how I would use this power to become a super villain cat burglar.
“So you would use your power for evil?” The instructor asked.
“Right, evil,” I replied.
Evidently I also require henchmen to carry out the “fine” art I steal and a driver who drives an invisible BUT cream colored Bentley for me. I’m not really sure what this says about me, other than my adoration of Catwoman (Michelle Pfeiffer 4eva) has carried on into my adulthood.
Anyway, we watched the playback of our interviews with one question to answer, “Were you genuine?”
Yep, I think, that’s me, making weird faces and plotting world domination.
Playback was invaluable. I now know: I need to keep my chin down, that was not a great angle for me; I will never, ever, wear that outfit again on camera; though hair my looked fine in the mirror, it did absolutely nothing for me on screen.
So, how am I going to use the next seven weeks? Learning to audition and auditioning different hair styles and outfits. I hadn’t thought to do this, but what a great way to determine what translates well to the monitor and what doesn’t. Live, learn, and fix it.
P.S.
On my way from class I got lost on my way back to the bus, which runs along Michigan Ave. How? Well, let me tell you. Where I was at, you had to go up some HIDDEN stairs to get back to the street. Absolutely baffling. I figured I just needed to head in the direction of the lake. False, silly country mouse. City engineers, how do you do it?
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It’s been a pretty busy few days for me. I was out of town for Easter–wonderful to see friends and family and, I hadn’t realized I missed wide open spaces until I was in them– and then came back to double stacked auditions. Today I have two more in the Loop.
Which brings me to: What, exactly, is the actor’s job?
I was recently listening to an online seminar, and the lecturer stated that the actor’s job is to audition. Not to get booked, but audition. I don’t agree with the statement. In my opinion, the audition is simply a job interview. The purpose is to determine not only whether I am capable of performing the part (which lots of people who audition will be), but also whether I (me, myself) am a good fit for the project. Do I look like what the director wants? (Do I look exactly like the lead when I’m being called for a supporting role?) Do I present myself as someone people would want to spend weeks and even years with? This is why it’s so important to be “on” the second you walk into the building. You must be nice to the monitor, you must be personable. There is no sense in blowing an interview because you’re having a bad day and take it out on the person checking people in. The audition isn’t your job, it’s the gateway to a job. We just have a higher turnover than other trades.
A job pays, auditioning does not. If we are serious about pursuing this as a career, we must believe that what we do, what we bring to the table is worth compensation. I don’t consider an interview in any other business my job, and acting, as much as we may resist, is a business. We need to acknowledge it as such.
Right now, I’m auditioning LIKE it’s my job, but it’s not.
Any opinions? Am I just arguing semantics again?