| How To Make It In Commercial Acting |
| Written by Jennifer Lee |
| Wednesday, 20 September 1995 10:11 |
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The Agent’s Perspective “Is she a keeper?” asks Vince Gerardis, of The Agency, as he holds up 8x10 of a pretty, blonde woman. “Uh…yes?” “Nope, not marketable,” Gerardis replies as he tosses the headshot int a nearby trash can. Not pretty enough? Too old? Too young? Too thin? Too fat? What is it that commercial agents are looking for in an actor? It is a ‘look.’ It may differ from agent to agent, but there is definitely an innate quality, no to be confused with talent, that commercial agents are looking for in an actor. “Commercial agents, as well as any agents, have to work on instinct,” says Gerardis conceding that much of that instinct comes from individual preference. “You can tell by a picture, there’s an aura [about a person]. Four out of five times it will be different when you meet them in person. [They are usually] not what we hoped for, but that’s because we always hope for the best,” maintains Gerardis. Gerardis contends that the quality of the photograph an agent receives affects their judgement of that actor. “Actors only overhead is their pictures,” Gerardis explains. “They should spend decent money to get decent pictures taken and then spend decent money getting them developed.” Grainy or unretouched photos score low in an agent’s book, Gerardis states, as he tosses away two more head shots for their lack of quality. Other than investing in quality photos, what can actors do to hook an agent? A good social skill, making personal acquaintances with managers and agents, is one way to get in the door. But be reasonable in your pursuits. “The number one biggest problem agents face is time management. There is not enough time to deal with all the bullshit… The most successful clients are the people who get along with their agents and who don’t inundate them,” maintains. Gerardis. “People who are happy with themselves and see commercial acting as a second income are more likely to succeed than someone acting out of desperation.” How much importance does the commercial agent put on an actors resume? A minimum of fifteen “things” is what Gerardis notices when looking at a newly submitted resume. Those things can include any type of acting experiences and training. “Training counts before you come to an agent,” contends Gerardis, who suggests that some of the best resources for aspiring actors are acting classes through casting directors are acting classes through casting directors. Union affiliation is not as important for the resumes of commercial actors just starting out. “It’s a big misconception,” Gerardis explains.” It is better if people are not union until they have to be. There is more work for non-union [commercial actors] than for union [commercial actors], it just pays less.” Gerardis contends that smaller agencies can sell non-union actors to union projects for $100.00 - $200.00 per day. So are commercials always the best stating ground for actors aspiring to be in television or film? Not necessarily. “It can be a good income if you are committed to commercials, but the way to break into feature films is to get involved in producing.”  Jack Tate You may recognize Jack Tate from the Jack in the Box commercials. Well, you may not recognize him without the suit on, he is Jack in the Box; not the voice, just the suit. He’s also the voice for Sony’s new play station, and in a few weeks, he’ll have 26 commercials running. As a puppeteer, Tate worked for Jim Henson and Disney. On ABC’s Dinosaurs, he was 93 different characters. After working on television and in commercials for over fifteen years, he has some sound advice for those just starting out in commercial acting. “Use the door, because there is no front door.,” Tate maintains. “If you have a special talent, make sure people know about it, that’s the way you can get in.” From puppeteering to juggling, stilt walking to ventriloquism. Tate is gifted with many talents. Tate got his start when he did a comedic play while he was a design student. He was funny enough to hook an audition for a commercial, even though he didn’t have an agent at the time. “Using the back door means you can get a job without an agent, and you can’t get an agent without a job.” Tate points out that acting in plays is one way to get an agent’s attention, but it is not very often that it happens that way. Still, it is important to send postcards with your face around to agents, announcing your show, if you do get cast in one. The toughest part may be finding your own niche. “As soon as you figure out your way to get in, that door closes… Figure out an angle that no one else has,” Tate explains. “You have to have the courage to get out and do it, all pumped up. “But making friends with and showing respect to crew members on the set are equally important, stresses Tate. On a more practical level, Tate suggests getting attached to some acting classes. “Do the research to find out who’s good,” Tate says. Like Gerardis, Tate notes the importance of a good head shot. “It’s [also] not a bad idea to do things like P.A. [production assistant] work.” Carmen Mormino met his manager and agents in the same restaurant-while waiting tables. “Some actors think they are too good to wait tables, but waiting tables is the best way to meet people,” maintains Mormino, who just completed his first national commercial for Miller Light. “They say after about 30 auditions or so, you book one. This was my 28th." After the audition, the call back and a rare, second call back, Mormino booked the commercial. “[When we shot it] they treated us like gold,” boasts Mormino, who had his own trailer for the shoot. But it was a long road to booking this commercial, for Mormino. His first audition was for a Sharps commercial, “It was such a big deal. But now, after 20 or so, you are confident… You have to be confident about what you are doing. 99 percent of it is that they are looking for a certain ‘look;’ they are looking for real people,” explains Mormino. “There are too many people trying to do the right thing instead of being yourself. [In commercials] they don’t want actors. You can’t guess what the casting directors is looking for,” Mormino claims. Mormino once auditioned for a Kellog’s commercial where thy were looking for a 20-30 year old Italian man named Carmen (a perfect match), “and I didn’t get a call back,” exclaims Mormino. Like Gerardis and Tate Mormino stresses the importance of training, “Whether I’m working or not, I’m always training. Acting is like a muscle, you have to train it.” Mormino, along time student of Howard Fine, notes the importance of having a good teacher, and not a frustrated actor who is teaching. Mormino will continue to audition for commercials but would also like to get involved in more theatrical acting. “It’s a natural progression,” maintains Mormino, who advises aspiring actors to, “not be waiting for success to come to you, you go to it. You can’t follow the rules, you have to find your own way to make it, [when obtaining an agent] you need someone who believes in you.” Darby Shaw has yet to have a principle role in a commercial, but her success as an actress has begun in other ways. Besides being Miss California, she has just finished filming an episode of The Fresh Prince of Bel-Air. Coming to Los Angeles from her native Edmonton, Alberta, Canada, Shaw was first studying marine biology and then started in show business as a make-up artist. “I have always wanted to act, I have always kind of acted.” Shaw has found that persistence and follow-up are what help actors succeed once they get through the door. “You need to be very persistent in a non-threatening way. Courteous but persistent. Don’t wait by the phone.” In Shaw’s opinion, commercial agents and directors want “everyday, next-door type people; people who can believably sell the product.” She advises, “Don’t try to be anyone but yourself.” Explaining how she was taught to staple her resume to the back of her head shout with just one staple, because people usually rip it off and just keep the picture, Shaw concedes, “They are looking for a look.” While Shaw contends that talent does not come in to plays as much in commercial acting, training can still help, “It is important to have good camera technique… Each minutes is worth thousands of dollars. Voice is also very important.” Shaw sees acting in commercials as a good way to get exposure, which in turn is a good way to be a role model. “I chose acting as a platform to educate people,” explains Shaw, who wants to send a positive message by eventually producing educational films. As advice to other aspiring actors, Shaw maintains, “It is an ego business and you have to cater to other people. It is more a psychological business than a show business. You have to have your business down before your talent comes into play. You only have one shot… Present your true self; visualize what you want. Thoughts are thing, they manifest themselves. [I takes] persistence, perseverance and patience.” Shaw wants to be working everyday. She asked about doing production work on the set of Fresh Prince, after her episode was shot. “You have to have confidence and assurance to present yourself.” She reminds others to remember, that, “casting is done in the casting office.” As a motto for herself and others Shaw maintains, “Whatever you conceive, that’s what you achieve.” |
| Last Updated on Tuesday, 26 January 2010 14:18 |