debor009

Finding actor representation can be tough, especially if you're looking to break into a new market.   You need an agency that has an established presence and a network of relationships so they can actively market you, not just submit you for roles. Life Coach Dallas Travers has some tips that I think address the difficulties in a very pro-active way.   In a nutshell, here is her 7-Step Plan (See her original post here .): Step 1: Send an email.   This email should be no more than three sentences, and should be structured as so: Introduction. Credibility. Invitation. Links. So, an example would be, “Hi, my name is …(introduction), and I recently graduated from ….. (credibility). I’m new to the LA (NY, whatever) market and would love to meet to discuss working together (invitation). Please click the link below to see my demo reel (links).” Sign your name, and hit send ! Step 2: Send a mailing.   Five days after your initial email, mail a postcard or one-sheet, whate...

This turned up on Facebook and, as an actress, rang a bell....

As I've often said in this journal, I'm a thinking actress, not a feeling actress, and I'm always looking for shortcuts to developing a character. Brits are known for an outside in approach, for example: get the walk and the talk first and then to let the character develop from there. Actor Michael Chekhov, nephew of playwright Anton Chekhov, developed a system that can help in capturing the walk and the talk. Chekhov said all characters fell into one of three archetypes, which he called Head-, Heart-, and Groin-centered. “Head” characters seem to draw their emotional energy from the head and all of their gestures seem to come from there. They slap or tap their head, scratch their head, make sweeping farewell gestures from the head. They also sit forward in chairs and walk forward on the balls of their feet. Head characters are perceptive. Consider Agatha Christie’s Hercule Poirot, who frequently tips his hat, touches his moustache, and nods his...

--> Australia-based casting director Greg Apps has an interesting piece in Backstage magazine, pointing to the differences in auditioning for shows on network television and cable.   While these won't hold true every time, the basics are these: Network is plot driven. Cable is character driven. Network shows are self-contained within one hour. The baddie must be caught, a relationship must be resolved. What happens is more important than to whom it happens. You need to deliver clear concise characterizations for network. Pace is more important than a pause. Do not overcook the character, because that is secondary to the story rhythm being clearly communicated. Cable characters make the audience work that little bit harder. Network delivers recognizable emotions and relationships. Cable delivers conundrums. Network programs concisely deliver a character’s feelings and emotions. The audience is comfortable. They know the territory. Cable series performance hints at a char...

--> You lost out. You auditioned and they loved you. Casting was so moved by your performance they were in tears. You were called back, more than once. They said you nailed it. Or maybe you even got the part in the big budget production and shot the scene. The famous director told you how terrific you were on camera. You went home walking on air. You told all of your actor friends. Everyone said you were on your way. And then….nothing. The part went to a different actor. Your scene was edited out of the film. Your big moment turned to sand. It doesn’t feel like a gift at that moment, (No, it hurts like hell.) but for an actor early in their career it may just be the best thing that can possibly happen. Why? Because you want that role desperately.   You need it. Your sense of self-worth hangs on it. You leave auditions replaying the scene in your head: “Maybe I should have done it this way, maybe I should have done it that way.”   You’re a bundle of nerves with ...

Auditioned this morning in NY for a role in a new TV series that's been green-lighted. A lot of production companies with streaming capability are bypassing pilots and committing to projects right off. This is a positive new trend, because it means they're putting thought and money into development of a superior product, like House of Cards . Anyway, this one is with a major production house. I think I did well, but two other actresses auditioning for the same role were on a first name basis with casting. It's a tough market. 4 a.m. in Washington's Union Station, waiting for a train.

I was off the radar this spring overseeing repairs to the house. Now things are picking up. I shot a principal speaking role in the Netflix series House of Cards , Season 3. Last summer I auditioned twice and was cast twice in speaking roles for two Season 2 episodes, both directed by James Foley , a wonderful director. Lost them both in editing. Getting edited out is one of the hazards in this business as filmmakers typically shoot much more footage than they can use. But actors mourn it when it happens (and I did). I have my fingers crossed that the scene for Season 3 stays in. So far, it looks good.  House of Cards is a wonderful series, beautifully shot and extremely well written.    A short film I was in earlier this year is about to come out, Shoshana Rosenbaum 's supernatural thriller "The Goblin Baby." Looking forward to seeing the finished version. I was also just cast in a lead role in a new Laurence Peters play, "The Illusionist," about the wor...