<COMMERCIAL ACTING OPPORTUNITIES
There are two types of commercials, which frequently cast models. Non-air commercials are those not intended for broadcast use, such as non-broadcast audience reaction commercials, copy testing, or client demos. Photomatics are one specific type of client demo - they use a still photographer and the images are converted to video using special techniques to give the feeling of movement, as in ordinary film. Non-air commercials give new actor-models a chance to see what it takes to produce a commercial and provide valuable experience to add to acting resumes.
The second type of commercial involves real movement, and may have speaking or non-speaking parts. Models cast for this type of commercial may find themselves modeling clothes, advertising a store, selling a mattress, buying a car, opening a bank account, eating an ice cream - you name it.
Speaking parts usually require voice training. Be advised having a regional accent will severely limit your speaking parts. Voice training will be necessary if you are serious about your acting career.
A principal part is the position held by the featured actor in a commercial. That actor is the representative of the product the consumer will focus on, and the part may be either speaking or non-speaking.
Extra parts, which may be speaking or non-speaking, are held by people who are strategically placed to fill unwanted space in a commercial. Being an extra is a terrific opportunity to learn the inside workings of commercial production without the stress of being a principal. It allows you to observe what is required of the principal actors, the creative process involved, and the roles of the production team.
TRAINING
Regardless of what country of market the commercials you wish to audition for are aimed at, you must have proper training. To learn more about the commercial acting business, take some on-camera commercial acting class. You’ll also learn techniques for psyching yourself up for auditions and overcoming intimidating directors..
“Acting in T.V. commercials is lots of fun. It can also be very demanding - doing take after take until it is exactly right.
Commercial acting can be a regular and lucrative source of income, you might begin to aspire to “higher things.” If you develop serious theatrical ambitions, you would be well advised to undertake proper training at a reputable drama school. It is rare to find a theatre professional who gives much credit for commercial acting experience. It just isn’t in the same league.
The transition between modeling and acting, you face many obstacles. The simple fact is that models are not taken as seriously as classically trained actors, and as a result they must work even harder to gain respect.
Any model who wants to act is to immerse themselves into classes. This is not a short term commitment of taking just one class; you need many. A cold-reading class is beneficial because copy is often not available before an audition. I also urge my models to take improvisation acting classes. These teach you how to be free, less inhibited, and not afraid to do something silly. Finally, get a monologue under way and audition for theatre.
Models need to separate the two worlds of acting and modeling. Use your composite for modeling and your headshot and resume for acting.
“Before professional and come prepared to an audition. This means to be on time, know your lines wear the appropriate clothing, listen, take direction, and be self-confident.”
If you treat acting like a business and treat it with the same enthusiasm and drive you do modeling, success should surely follow.
NETWORKING
Finally, don’t overlook one of the most important resources that an actor can have. This business is about people and about information and about people talking to people and passing on pieces of information. This process has come to be known as networking. You could call it gossip, or you could call it contacts. Don’t neglect this aspect of your business. Keep your ears open. And follow up leads. You may be surprised at what a rich resource other people in; your profession can be.
RESOURCES
Faithfully read the trade papers every week. They will be a major source of casting information, although in Los Angeles the most up-to-date news is “published” on the grapevine, and usually only agents have the most recent inside track to what is happening.
Backstage (New York, weekly)
Drama-Logue (Los Angeles, weekly)
The Hollywood Reporter (daily)
Daily Variety
Variety (weekly)
Ross Report Television (casting, scripts, and production, Long Island City, NY)
Television Index, Inc. (published monthly and widely available in bookstores)
Another source of information is bulletin boards: at the union offices and at your acting school.
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CHILD MODELS
The child who is polite, well-disciplined who can follow directions and is natural has a great advantage in this business. If a child pouts and refuses to behave at home, it is a good chance that when they get to the audition they will behave the same way with agents or casting directors. The child who will get the job usually falls somewhere between too shy and/or too outgoing.
Children should never be dropped off at a photo shoot or casting. Remember to be lighthearted if they don’t get the job, rejection is not easy at any age. To take away the pressure of being successful again and again, try not to cause too much of a fuss if they do get the part. They’ll begin to feel, if I get it-great, if I don’t, it’s still O.K.
Try as much as possible, to keep from pulling a child out of school for auditions. Studies are important. It is very stressful on a child that is involved in school activities to have to choose between their commitment to the organization they participate in and a chance at the glamour of appearing in an advertisement or on television. As a parent you must try to maintain a good balance.
Runway competitions, don’t try to make your children walk and turn like a professional adult model. Let them be natural, and dress them in something attractive and comfortable. Allow children to be children, on the runway, in front of the camera, or on-stage.
Children should never be made to feel that getting a certain commercial or print job is a matter of life or death. Do not live your dreams through your children. This is a problem many agents have with children. This should be a fun experience for them, and when you notice that it is no longer fun, don’t push, they should get out of the business.
For parents of daughters, one complaint from agents in particular is when girls come in with make-up on to make them look older. Don’t do this. Agents want girls to look as young as possible. Agents are looking for children who look like children.
It can become a full-time job for mothers for really successful, in demand children. The hourly rate for print shoots runs from $50 and up. An average is $75 an hour.
There are con artists waiting to take advantage of naïve parents who want to get their children into modeling. Be very careful, here are some standard operating procedures for finding an agent and getting your child started has a model.
Professional test pictures will need to be taken once the agent has agreed to represent the child. The photos will be used for the child’s portfolio, headshot, and comp card. You shouldn’t pay more than a couple hundred of dollars because children change so quickly and photos need to be retaken often. If someone is trying to persuade you to use a photographer who charges outrageous fees, beware!
The agency will charge a fee for the agency book, which contains pictures of all the children the agency represents. The fee can run from $200 to 300. This is a legitimate charge that’s a worthwhile investment.
The only money you should pay an agency is a commission on fees your child earns for working. Charging registration fees, or any kind of fee just for representing your child, is not legitimate.
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