Harold Ramis on Directing Actors

Cover of Ghostbusters (Widescreen Edition)

Harold Ramis has had an interesting career. First appearing on SCTV (watch the DVD’s if you’ve never seen it) then moving on to directing (Caddyshack, Vacation, Groundhog Day) and acting (Ghostbusters, Stripes, Baby Boom, As Good As It Gets).

His new film is Year One (starring Jack Black and Michael Cera).

He gives an interesting perspective on how to direct and work with actors.

From Movieline:
Year One features a newer generation of talent than that which you’ve generally worked with. How do today’s newer batch of comic stars match up with guys like Bill Murray, Billy Crystal and others with whom you’ve made hits?
They’re great. And Jack’s been around. From the first time I saw him in High Fidelity, he was so good and so convincing that I wasn’t even sure he was a real actor. I thought, “Who is this guy? And how can he be so funny and seem so convinced himself?” And then to hear him play his music at the end of the movie? “Wow, he can sing and play?” Like everyone else in the entertainment word, I started tracking him and was just amazed at how winning he is and how much fun he is to watch. And now he’s done more movies than I have. And Michael, I started noticing him on Arrested Development — he came to that show when he was 13 years old. And I thought, “This kid has a seamless acting style. He’s totally convincing; he’s a total natural. And also funny.” He’s like a grown-up in a teenager’s body.

But when you work with your contemporaries, you tend know their sensibilities and what they’re good at. When you have actors like this, do you find yourself adapting more to their style, or the opposite, or both?
Well, they have this kind of thing where my movies to them were legendary in some way. And I don’t say that in a grandiose way; everyone kind of cherishes the media of their youth. So these guys have this reverence toward those early films, but in the end I’m a person, and they’re people, and their reverence would evaporate really quickly if we were doing a crappy job while we were shooting. So my take is that, as a director, I just have to remember that every actor speaks a different language. It depends on their training, their intellect, their psychology. So many actors are just not introspective. There’s no point in talking to them in a deeply psychological way. Others are completely introspective and require a lot of psychology. Others are completely mechanical; I’ve had some actors say to me, “I only need four directions: Bigger, smaller, faster, slower.” And that’s all they want to hear. Others are very political, and they want to talk about the sociology and the politics of the film and their role in it, or what it represents. I have to be able to speak in all of those modes, and that’s true of any generation.

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Do Bad Actors Headshots Mean Little Or No Success

Only yesterday I had a shoot with a woman who’d had several actors headshot sessions with other photographer both here and in the USA. She’d contacted me a few weeks ago in in a state of desperation and without much hope. She showed me some of her previous shots and explained to me that she wasn’t getting any auditions even though her agent was sending her up for jobs. To be honest she was fairly despondent and not very hopeful that I could get her a great actors headshot. But I knew better.

She’d asked me to look at her previous headshots and comment on them. There were two things that jumped out at me, firstly there were so many different looks, from short hair, curly hair, long hair and hair that had strong highlights in it. I wasn’t sure which hair style was going to show up for my shoot and knew that any casting director would have the same problem?

Secondly and more importantly her eyes were flat and lifeless. Anyone who reads my blog regularly will know how much emphasis I put on the eyes and having some form of emotion and connectivity in them.

I am very pleased to say how  happy my client was with her results, especially after her somewhat trepidatious start. She felt that she was doing something wrong, or not doing enough until I explained to her what to do exactly. After all that is what a client pays for; my skill, my knowledge, my encouragement and most of all results!

We were both really happy with the headshots and I am looking forward to following her future when using the new headshots.

Actors Headshots - Natalie Britton

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How To Deal With Your Agent

I came across this post on th Backstage blog and thought it would be useful to read as many actors simply sit back and wait for a phone call.

A lot of actors think that once they find representation, they can just sit back and wait for the auditions to start pouring in. Nothing could be further from the truth. Signing with an agent is a major step forward that signals a new phase in your career, but it doesn’t mean you get to stop being an active participant. If anything, this is the time to double your efforts.

Now, here’s what you need to understand: When you first sign with a talent agency, you’re nothing more than a name on a list. Unless you bring a lot of credits and money to the table, your agents will view you as the new actor in a certain age category, and that’s about it. Naturally, they have every intention of working for you, but like it or not, you’re the new client whom no one really knows. In a sense, you’re being given a blank slate to prove yourself, both as an actor and as a person. And this is where most of you drop the ball by disappearing off the face of the planet.

I can’t begin to tell you how many times this has happened to me: I have a meeting with an actor who makes a terrific impression. Excited, I introduce him to the other agents in my office, who like him too. So we agree to represent the guy, hoping our instincts pay off. The actor comes in with an excited smile pasted on his face, signs the contract, drops off his pictures and reels, and then he’s gone—never to be heard from again.

If you want to have a successful relationship with your new agents, you have to give them a chance to get to know you as a person, not just as an actor. That’s how you become more than a name on a list. If your agents start seeing you as a real human being, with a life outside the industry, they’ll be more likely to start working harder for you. Needy actors with no lives are boring to us. Real people aren’t.

Now don’t get me wrong. I’m not suggesting you act like a pest, dropping by the office all the time, calling every hour to ask what’s going on. That would be a major mistake. You need to be smart about how you cultivate a relationship with your new reps.

Here’s my advice: Invite each of your agents to lunch, one at a time, so you get some valuable face time with everyone. Just don’t waste this golden opportunity by talking about your career. Instead, try to create an environment where there’s a lot of back-and-forth about each other. Ask as many questions as you answer. Get to know each other as people. You want your agent to go back to the office and tell everyone how much fun he or she had at lunch with you. Trust me, that kind of positive energy will pay off big time.

You can also find excuses to drop by the office every now and then, so you can see your agents in person. Just the other day, my assistant told me a new client was in reception and wanted to tell me how great his audition for “Grey’s Anatomy” went. So of course I stepped out of my office to say hello and hear the great feedback. By doing that, the actor showed me his gratitude for the opportunity, and that made me feel good as a person. Mission accomplished.

Remember, agents get 10 percent while you get 90 percent. So you have to work harder than us if you’re going to succeed. That means staying in class, having great headshots, networking, doing well at auditions, and, most of all, being more than a name on your agent’s list.

You can view the original article on the link below.

http://www.backstage.com/bso/advice-secret-agent-man/don-t-be-a-stranger-1004041891.story

Great Actors Headshots In London

http://www.nickgregan.com Fantastic insight a top actors headshot photographer in London. He reveals tips and ideas to get the best actor headshot for Spotight and Castings. Call now +44 2085333003

The Early Bird Gets The Worm

As we roll into September we start the academic year again. It’s such an exciting time for actors and performers as we enroll in our courses and meet new people.

There are many exciting thing to do and some not so exciting ones too, things like reading and research, studying texts ( not the one’s on your phone ) and scripts. Like most people the thrill of performing and actually doing far out weighs the everyday tasks involved in studying. There is one job however that has to be approached fairly soon, and that is getting your new or updated headshot done.

Actors Headshots In London

Many students leave this until towards the end of the year academic year, putting it off until it becomes absolutely imperative to get it done at the last minute. This often leads to stress trying to find a photographer and having the time to get it done and printed before your showcase is upon you.

My advice as a busy actors headshot photographer in London is to plan early, take the time to find a photographer who’s photos you like and who you like personally – someone you think you can get along with.

Often you’ll find many photographers offering student discounts in the early part of the academic year.

Try to avoid the stress and worry this year plan early – remember the old adage ‘ fail to plan and you plan to fail’

Is there a Golden Rule of a great headshot?

A black & white 8×10 headshot is a must have for all those who are aspiring actors or already actors hoping to move their career forward. Why black and white? It’s quite simple really. Firstly it’s a historical issue. Over many years the black & white headshot has become the industry standard. One of the main reasons, because it was easier for photographers to shoot in black & white due to the technology available at the time and the extra cost incurred when shooting colour. Over that same time period casting directors and agents have become used to seeing a monotone headshot and have become comfortable judging an actors suitability from that type of print. Admittedly with the advent of digital technology these factors are no longer a real issue anymore.

Another point to consider is that with experience casting directors don’t have to think about the skin tone as an issue as you would in a colour shot as everyone looks similar within their ethnicity. The vagaries of colour printing mean that often the colour of a persons skin or hair can appear one colour in the photograph and yet in person there is no relevance to the person in the shot, the printer may have added too much yellow or red to give an unusually warm tone, or too much blue to give to cool a tone.

Having black & white headshots also looks professional. There are very few chances to give yourself a professional introduction so taking a chance on using a colour print that may well have had some underlying colour enhancement. If your hair is almost white and your skin is pale, there may be a great role for you. But applying with a picture that has lots of yellow and warmth in the colours gives the impression that your hair is golden and you have a slight suntan may well be misleading.

The above points all bring you back to complying with the ‘golden rule of a headshot’ it must look like you!

Click here for my FREE  ‘7 Secrets Of A Great Headshot’

actors headshots actors headshots in London actor headshots

http://www.nickgregan.com One of London’s top actors headshots photographers shows his work. Make sure your headshots have the wow factor.

actors headshots actors headshots in London actor headshots

http://www.nickgregan.com One of London’s top actors headshots photographers shows his work. Make sure your headshots have the wow factor.

Should You Twitter at an Audition?

By Dave Itzkoff

http://artsbeat.blogs.nytimes.com/2009/08/14/should-you-twitter-at-an-audition/

This is the full blog by Dave Itzkoff without comments by me, I thought it was most enlightening and useful.

Daryl Eisenberg Casting on Twitter

Updated | 5:29 p.m.
On Friday afternoon the casting director Daryl Eisenberg met with representatives from Actors’ Equity. After the meeting Ms. Eisenberg and Actors’ Equity each released statements about the use of Twitter during auditions, which are reprinted in full at the end of this article.

As Twitter becomes increasingly popular, the online social network has infiltrated nearly all the cracks and crevices of the arts world. But does it belong in an audition room?

That question isn’t academic for several New York actors and a casting director. A series of messages was posted Wednesday on the Twitter feed of Daryl Eisenberg, a casting director whose company, Daryl Eisenberg Casting, has handled shows including “Altar Boyz” and has cast for “Gossip Girl” among other television shows.

On Wednesday, while Ms. Eisenberg was conducting a casting session for “Gay Bride of Frankenstein,” a show that will be performed in late September as part of the New York Musical Theater Festival, she was also tweeting about the performers who were auditioning for her. Without mentioning actors by name, Ms. Eisenberg appeared to be commenting on their performances with messages like, “If we wanted to hear it a different way, don’t worry, we’ll ask,” or “if you are going to sing about getting on your knees, might as well do it and crawl towards us…right?”

In later messages on Ms. Eisenberg’s feed (which now has more than 1,800 followers), she also fired a preemptive strike at any potential critics, writing: “There is NO rule/guideline against Twitter/Facebook/MySpace/Friendster. Freedom of speech. Ever heard of it?”

Within hours, actors who had read Ms. Eisenberg’s tweets began debating the appropriateness of her actions on message boards at theater Web sites including BroadwayWorld.com. As one commenter who uses the screen name CapnHook wrote there: “I don’t care that she twittered anonymous audition feedback. As long as she didn’t name names, I think it is perfectly fine. It’s even interesting to read. Some of her tweets provided legit tips to actors.” The commenter added: “I think it is rude to be on your phone and/or on your laptop in the audition room.”

A BroadwayWorld.com commenter called SporkGoddess wrote that Ms. Eisenberg’s tweets “aren’t necessarily helpful hints. It’s all her opinions and caprices.”

In a later posting, BroadwayWorld.com reported that Ms. Eisenberg had written similar messages at earlier auditions. For example, at a casting session on July 22, she tweeted, “Seeing #70 right now. I’m tired. My ears are bleeding,” and “Holding your foot above your head IN YOUR HEADSHOT is a BAD IDEA!”

Actors’ Equity Association, the union that represents actors and stage managers, said that it was displeased with Ms. Eisenberg’s actions.

In an interview, Maria Somma, a spokeswoman for Actors’ Equity, said that “the auditions are job interviews. It’s a very long road for an actor to get from seeing the casting notice to getting that audition. To have it mocked is unfair to the actors and to the other people who are working on the particular project. It’s very simply that there is an expected level of respect and professionalism, and these values were violated.”

In an e-mail message Friday, Ms. Eisenberg offered apologies to “those hurt by this” and wrote that she would be “definitely considering the appropriateness and professionalism of the timing and tone of my communication in the future.” (BroadwayWorld.com also posted this Q&A with Ms. Eisenberg)

She added that she would be meeting with Actors’ Equity on Friday “so that we can discuss Twitter’s place in this industry and how I can help put this behind us amicably.”

In an interview, Gary Zuckerbrod, the president of the Casting Society of America, said that he believed Ms. Eisenberg’s actions were wrong. Actors, he said, “are exposing themselves in the audition process. They are emoting in a way that is not normal in any other kind of interview.” What happens in an audition room, he said, “should not be publicized, especially in a derogatory manner.”

Mr. Zuckerbrod said that the society would not take any formal action against Ms. Eisenberg. “We’re hoping that Actors’ Equity solves this,” he said.

The composer Marc Shaiman posted a comment on ArtsBeat saying that he contacted Ms. Eisenberg directly to tell her that he was “appalled” by her behavior. “To undercut the confidence of actors at this most vulnerable moment is not just mean, but for a casting director, rather insane,” he wrote. “A casting director should nurture and build confidence. She did her employer no favors.”

Billy Butler, the producer, composer and co-writer of “Gay Bride of Frankenstein,” said in an interview that he had scheduled a new round of auditions for the show on Monday, and would allow actors who attended the earlier Wednesday audition to attend this session. Ms. Eisenberg, he said, would also be present.

“She is under contract,” Mr. Butler said, “and though I don’t condone what she did, she is doing her job for me. We just have some great talent that she’s found.”

Mr. Butler, who is a member of Actors’ Equity, said that the newness of social networks like Twitter means that their users may not be aware of potential consequences of using them.

“It’s a fine line with this whole Twittering thing,” he said. “It’s a whole new world and nobody expected this. I didn’t expect certain things to be said and done, and honestly when it comes down to it, I have a show to cast.”

And at the next casting session, he added, things will be done a little differently.

“I’ll be running the audition,” Mr. Butler said. “All cellphones, and computers and digital watches will be left in our bags.”

Later on Friday, Ms. Eisenberg and representatives from Actors’ Equity met, and afterward released these statements:

Ms. Eisenberg’s statement:

After a productive meeting with AEA this afternoon, I’m happy to report that we have agreed to both put this behind us.

By mutual agreement, future tweets will not be coming from the audition room regarding the actors auditioning.

I apologize to the actors and professionals who put themselves on the line every time they audition, and will continually strive to make the audition room an inspiring, nurturing place for creativity and talent.

I look forward to working with AEA and its members on future projects, and hope to see you all in the audition room soon.– Daryl Eisenberg

The statement from Actors’ Equity:

Earlier today representatives of AEA had a productive meeting with Ms. Eisenberg to discuss her use of twitter in auditions. AEA firmly blieves that twitter is a valuable promotional tool for producers to reach a wide potential audience but that tweeting has absolutely no place in the audition room, which is a safe haven for actors who are seeking employment in this competitive market. We believe this incident is now closed.

Some of my favouite actors headshots.

Some of my favourite actors headshots

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