What makes an actor truly great? Dee Cannon from The Royal Academy of Dramatic Arts should know. In this fantastic article below, she gives 10 questions that actors need to ask themselves in order to create a character.
1. Who am I?
2. Where am I?
3. When is it?
4. Where have I just come from?
5. What do I want?
6. Why do I want it?
7. Why do I want it now?
8. What will happen if I don’t get it now?
9. How will I get what I want by doing what?
10. What must I overcome?
Those are the 10 questions but read the full article as she goes in depth with each one.
Dear Clients, Associates & Friends
After casting for over 25 years, I have decided to retire.
My longtime associates, Mariko, Josh & Alan will continue to cast as two separate companies.
Mariko will cast as Mariko Ballentine Casting. Joshua & Alan will cast as Casting Brothers.
I am confident they will carry on the outstanding work that you’ve come to know,
and will continue to fulfill all your casting needs.
With Sincere Thanks,
Who are the Actors Rights Coalition? I have no freakin idea but this was in my inbox this morning.
What do you think?
Thank You for taking the time to read this important message from
Actors Rights Coalition.
We hope you find it informative and will forward it to other concerned actors.
*The Perils of a Faithless Membership*
SAG Should be Praised, Not Assailed
By DAVID MACARAY
On Friday, April 17, after nearly a year of negotiating, a humbled and
restructured Screen Actors Guild, SAG, reached tentative agreement with
the Alliance of Motion Picture and Television Producers, AMPTP, on a
two-year contract. The following Sunday the 71-member board narrowly
voted to recommend the agreement to the membership.
This contract is said to be no better than the one that’s been sitting
on the table since last summer and virtually identical to the one
accepted by Hollywood’s writers, directors and competing actors’ union,
the American Federation of Television and Radio Artists, AFTRA.
Because the original team, headed by SAG president Alan Rosenberg and
chief negotiator Doug Allen, couldn’t get the deal it wanted, Hollywood
is now piling on, accusing the previous leadership of having
under-estimated the Alliance, misread its membership, and failed to
anticipate the recession. Indeed, people are now saying the
negotiations were an exorbitant waste of time and money.
Those people are wrong.
First, to criticize SAG for not accepting essentially the same contract
that was accepted by the writers, directors and AFTRA is to miss the
point. Yes, the WGA, Writers Guild of America, signed the contract,
but they had to be dragged kicking and screaming to the table. Don’t
forget: They took a 100-day strike to avoid signing it.
Why did they strike? Because the AMPTP’s offer didn’t adequately
address critical issues, including New Media jurisdiction—an area which
happens to be, along with residuals, one of SAG’s key agenda items.
And Rosenberg’s committee believed the Alliance’s *last, best and final
offer* was still inadequate. Second-guess them all you like, but don’t
say they were wrong for wanting to secure the membership’s future.
Second, a quick look at the dynamics of contract negotiations tells us
that there are two, and only two, considerations that matter: fairness
and attainability. Obviously, what is deemed *fair* is subjective and
is going to depend, by and large, on where you’re sitting. What’s fair
to the union may not seem fair to management. That’s why you bargain.
As for *attainability,* that can never be known in advance, because a
union never knows what can be gotten until it sits down at the table
and tries to get it. Bargaining is not about sharing new ideas or
reaching a consensus; it’s about trying to get very powerful and
selfish people to part with their money.
Also, it’s important to remember that if organized labor had routinely
accepted management’s *last, best and final offer*—if they took as
gospel, management’s assurance that such-and-such was simply
unobtainable—we’d still be working 12-hour days with no health
insurance or overtime premiums.
Third, management will use any excuse to avoid sweetening the pot.
When there’s a recession, they’ll use the recession; when there’s a
hurricane, they’ll use the hurricane; and when the economy is healthy
and everyone is prospering, they’ll give you ten reasons why that
prosperity is irrelevant to your negotiations.
And finally, the union knows what to expect. It knows that taking a
hard line can be tricky, especially if management chooses to take an
equally hard line. On one side, you have management, fully mobilized
and dug in; on the other, you have your usual mix of union people:
loyal members ready to battle, puzzled members wondering what’s going
on, and nervous members ready to abandon ship at the first sign of
trouble. It’s Negotiations 101.
Similarly, union bargainers will be regarded as either weak and
gutless, or belligerent and stubborn. Unfortunately, there’s very
little middle-ground. If a negotiating team puts the membership in
jeopardy by asking for a strike vote, they’re militants; if they bring
back a lousy contract and recommend ratification, they’re wimps.
So let’s get it right, people. Labor relations is a contact sport.
Unless you take the view that your union should never fight, or that it
should fight only when it’s assured of winning, you’re always going to
risk having your butt handed to you in a sling. But if you’re not
willing to fight for a decent contract, you don’t deserve one.
And not to rehash the past, but if SAG’s membership had remained
faithful—if some of its big-name stars had not seen themselves as
deputy ambassadors, and set off on their own bizarre, diplomatic
mission—this bargain might have turned out differently.
Actually, it’s not over yet. SAG’s membership could still reject the
offer, which would put the AMPTP in a bad spot. The Alliance can
posture all it likes, but a membership rejection, particularly
after a board recommendation, would be a body-blow.
David Macaray, a Los Angeles playwright and writer, was former
president and chief negotiator of the AWPPW, Local 672.
For everyone who has been to any of our rallies, picketed outside the Guild or who wants to know more about why we should vote NO on the SAG TV/Theatrical Contract
DATE CHANGED to: SUNDAY, MAY 17, 2009 at 1pm to not conflict with Mother’s Day
Where: Griffith Park Old Zoo Picnic Area, Take Forest Lawn Drive to Zoo Drive, (inside the park) Go to Zoo parking. Old Zoo Picnic Area is on south side of Zoo.
Bring your own food and drink
Live Band – “The Other Side of Morning”
This picnic is a celebration of our tenacity and determination to get a deal for our members that allows us to feed our families, pay the bills and keep a roof over our heads – in short – to earn a livelihood at the profession for which we have trained and established careers.
Come to the picnic and we can talk about why we must Vote NO on the SAG TV/Theatrical Contract and what more we can do to spread the word to the members
Bring your families. Enjoy a day in the park
Ballots will be mailed on Tuesday, May 19, 2009
Deadline to return ballots Tuesday, June 9, 2009, by 5pm PDT
Sign up for our newsletter! Get info, freebies, discounts and more!
How To Become An Actor
How To Make An Acting Resume
The Best Places to get your Headshot Printed
Looking for more info? Acting Resume Acting Resume Template Headshot Photographers Los Angeles Headshot Photographers New York Headshot Photographers Find the Best Headshot Printers (discounts!) Top Casting Websites