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2. Television - Do's & Don'ts By Gerry Sont 1. Don't be late. Be 10 minutes early if possible, make a cup of coffee and relax. 2. "High-Lite" your dialogue. Always have a pencil to add directions.

3. Keep script changes to a minimum. But if something is too banal then request and offer a possible alternative. 4. Always prefix what you say with "Do you think." etc, when addressing a director or "Is it possible." 5. It's always impressive if you know your script. Then at the rehearsal (which is really blocking) you can do your "performance" so that the director can have a chance to offer advice. Tape day is too late. They rarely leave the control box. 6. Always have script memorized for Tape day. 7. Never make suggestions to other actors. 8. Don't be over enthusiastic - be calm and focused. 9. If you hate your wardrobe / hair / make-up - be subtle about it. 10. If you fluff during a "take" - say damn (or similar) so they have to stop tape. Otherwise your fluff goes on air. 11. Two takes is OK. Five you're a worry. 10 you will never work again! 12. Listen to your floor manager. He knows "who, what, where, when" etc. 13. Try to keep your cool even if you are 2 hours behind schedule, you've got an appointment and the crew are slow and your fellow actors can't get it right. 14. Watch, Listen and Learn. 15. Do not rush off set to view the playback on a monitor. Start preparing for your next scene.

16. A lot of time is wasted while actors wait for their next scene - avoid gossip and discipline yourself with work or a good book etc. 17. Television gets monotonous very quickly - Stay alert and creative building character life in each scene. 18. If you don't have an agent to represent you for television or commercials, be sure to get one. A great place to start is sending a headshot and resume to these agents: http://www.actortips.com/products/labels.htm ---------------------------------------------------------2. GET MORE ACTING JOBS WITH PROFESSIONAL HEADSHOT ENVELOPES "Chad: My daughter has booked eight commercials in the past two years having two agents. Seeking to expand her exposure, I marketed her to every SAG agent in Florida this past summer using your clear headshot envelopes. What a response! We have TEN agents now! This upcoming season should be extremely busy as a result. Thanks for a wonderful product! - Lorien G. Orlando, FL" Stand out with these clear front headshot envelopes * Impress busy casting directors * Shipping costs less * Make a professional impression * Add note, get noticed instantly * Avoid ugly, bulky alternatives * Get special treatment!

1. How to Choose the Best Audition Monologue By Chad Gracia Choosing the best audition monologues requires a little more time, effort, and research then most young actors (and quite a few

experienced ones) tend to put into the choice. An audition monologue MUST put you into a character immediately. You cannot splice and dice dialogue from a play to form your own monologue; you need several strong, short pieces that reveal your strengths as an actor. You need to have at hand between two to four contemporary pieces, and two to four classic pieces. The idea is to show off your best skills as an actor, emotionally, physically, and psychologically. When choosing your audition piece look to the plays both on and off Broadway that have done well for the last three or four seasons. They will lead you many times to other plays and scripts by the same writer. You are going to choose something age appropriate and a stretch ONLY in that it can show your emotional range while in character. For younger actors, some of these books might be helpful: http://www.actortips.com/products/monologue_books.htm In an audition, you don't have time to create a character; you must literally be a character all within a space of one to five minutes. If you are physically young looking then steer away from attempting old age and vice versa. Choose a character that you immediately understand and fit with. Beware choosing the monologues that have been done to death from standard, favorite plays. Not only to they usually come with the burden of having been created by a particular actor or actress, who it is entrenched in people's memories as 'belonging' to that person, but to a word weary director they can unfortunately cause him or her to tune out. Called "Listener's Boredom", it is simply the case of having heard one too many Annie Sullivan's from the Miracle Worker or, in the case of the classics, one too many Juliet's or Romeo's. Of course, that doesn't mean that you can avoid learning a "classical" monologue. Usually that means one from the Greeks, Shakespeare, or something a few hundred years old and in verse.

Here are 50 of my favorite classical monologues for women and girls: http://www.actortips.com/products/classical_monologues_f_desc.htm Properly chosen audition pieces will allow you to not only demonstrate emotional depth, but also character motivation. Naturally, some of the best monologues in plays come at key points, but, again, read the whole play and there is a good chance you will see some subtler, but equally rich, speeches that show character motivation leading up to the critical juncture of the play. They may sound fresher, causing the artistic and casting directors to pick up their ears, and they demonstrate your ability to understand the character on an intellectual level. Rehearse, rehearse, and rehearse, of course, but you also need to have your monologues critiqued prior including them in your repertoire. What does a respected director or teacher/coach think about your choices and what does the average person on the street think about them as well? Solicit up to three opinions of people you trust to give you an honest and unbiased evaluation. You may want to prep them by writing a two - to five question questionnaire to help them know what to watch for in your performance. Ask them what would they suggest you do to improve - ignore their compliments, their criticism is what's most important to you. It is better to run the risk of auditioning with a well-rehearsed monologue that is short, than worrying about running over time. Do NOT dress the part of the character as much as suggest the character through a piece of jewelry or article of clothing that may add to your confidence without detracting from your performance. If you chose to do a monologue from a play not immediately familiar to the masses, it is a good idea to memorize a one to two sentence summary of the play and character to set the scene. Audition monologues should not remain static despite the fact you can call them up and perform them instantaneously. The best way is

to lay them aside for a few weeks and then pick them up again. Have you been allowing the character to emerge with a distinctive voice or have you let the novelty wear off and present them with scant attention to speech and pacing as well as emotions? As you grow and change as an actor, you will also need to add new monologues to your repertoire - ones that can begin to convey a broader range. Properly chosen audition monologues are yet another part of the successful package you present to a director along with your resume and headshots. Their importance lies in not only what you bring to them, but also what they bring back to you as a showcase for your individual talents. Once you've got the perfect monologues, you're ready to polish up your auditioning skills. The best coach in the world for this is Linda Zern, and you can learn about her amazing approach here: http://www.actortips.com/products/audition_coach.htm _______________ Curious if you have what it takes to be a successful actor, check out our new book, "Becoming a Successful Actor," here: http://www.actortips.com/products/acting_book_desc.htm 2a. Hints for Headshots in LA By Chad Gracia Your headshot is the one critical element that will keep you either in or out of the casting directors' trash pile. Entire careers have been launched on just that right "twinkle in the eye," so don't just think that a headshot is just an actor's business card. It's your career on an 8x10" glossy. Casting directors are so swamped with headshots that some may go through thousands just to fill a bit part, and will likely look at

each one for less than a second. You have to consider the headshot a critical marketing tool where every aspect is as close to perfect as you can get it, in order to make the most of that fleeting gaze. Note: Remember, with clear headshot envelopes you can get the edgehaving your picture in view without even opening the envelope. Learn more here: http://www.actortips.com/products/headshot_envelopes.htm Choosing the right photographer can make or break your headshot. Don't just go through the Yellow Pages or even the trades to make your choice but visit their studio, preferably unannounced so you might catch them working, and observe. Are they taking the time to get the most from the subject or is it an assembly line operation? Are they communicating or just barking out orders? Take your time to study their portfolio and be critical. If the lighting is too dramatic, the depth of field is off, or even if the expressions are wonky, then look elsewhere. Don't expect the perfect photographer to be located near Sunset and Vine or even in The Valley. Some superlative photographic artists are located in the OC or even the Inland Empire, and they are worth seeking out. Steer clear of $99 "complete packages" designed to appeal to naive amateurs. You should count on spending at least $300 and possibly more for a shoot that will likely last several hours. When you do find a photographer you're comfortable with, forget the "glamour shot." Your clothing, makeup and hairstyle should be neutral, so avoid handicapping your headshot with Western, Street or other costume cliches. Stick with simple solid colored clothing of elegant but minimalist design. Beware of excessive expression. A humorous headshot could eliminate you from the running for a drama, and vice-versa. You want to promote your personality and depth, so you have to make love to the camera like you never have before.

Don't rely on Photoshop to fix the image, so make sure your eyes aren't bloody from drinking all night, or your teeth stained from smoking. Eat healthy, drink plenty of water and stay out of that California sun for at least a week prior to your shoot, so you'll look your best. Plan to keep your hairstyle and overall look for at least a year, as you want to walk into the casting director's office looking like your photo. To a greater degree in L.A. than elsewhere, many of the conventional restrictions surrounding headshots have been relaxed lately so that can be used to your advantage. You can now submit black and white or color photos, either in portrait or landscape mode, and even in full bleed (no white borders) allowing for greater latitude in photographic creativity. Remember to never vary from the standard 8x10" size and keep the photo airy, avoiding the current trend to claustrophobic over-cropping. It's very easy to end up with a bad headshot, but considerably more difficult to get a great one. Therefore, take your time, use common sense, and stay focused on quality and detail. Your career will certainly benefit! Note: Once you've got a great headshot, make sure your resume matches, get tips here: http://www.actortips.com/products/acting_resume_template.html

2b. Behind the Scenes of New York Theater Tickets By Chad Gracia Let's face it, paying full price (or God help me more than full price from the most evil of creatures "a Broker") for theatre tickets is for bus tours from Baltimore on their way to one last "Beauty and the Beast" hoorah, or ladies groups with names like "No Kids 2nite" from Long Island who just gotta see "Jersey Boys" on a Saturday. Those of us not in the Red Hats, who don't play bridge

and rarely tunnel, except through our laundry for that still sort of clean sweater, have almost no excuse to be caught shelling out our shekels even for the best show seats. How do you get those cheap seats? The first thing to know is producers want desperately to fill their houses. An overflowing house means a prosperous show, and in the business of show, appearances are all that matters. Often, either to bolster the beginning of a new show or as the show houses start lagging, the producers hemorrhage tickets. They almost never give these out very far in advance and they're almost never for prime nights, so you may have to be willing to take up arms on a Tuesday at very short notice. Note: Seeing shows is a great way to get see some quality acting and get monologues ideas to boost your own repertoire, find more monologues here: http://www.actortips.com/products/classical_monologues_f_desc.htm