The lovely and talented Ms. Tiffany Mak was born in “Winterpeg”, Manitoba and moved to Vancouver in 1998. She achieved a degree in Criminology from Simon Fraser University and planned to pursue a career as a lawyer. Even though Criminology doesn’t seem to have anything in common with casting, she says it’s helped her a lot with the job and environment.

“You learn to be able to read people quickly, be analytical about everything and appreciate that nothing in life (or casting!) is black and white.”

Outside of Criminology, Tiffany’s had some pretty crazy life experiences – some she can’t reveal in writing! But she says the most challenging and rewarding life experiences happened when she allowed herself to be outside of her comfort zone and really tested her emotional and physical limits – some may think they were reckless decisions but she thinks of them as character?building adventures.

That’s as far as the fascinating Ms. Mak is willing to go with her history so on with the interview!

Why did you choose to go into casting and tell us a little about your journey so far.

I’ve always been obsessed with the film industry and actors in particular. I knew early on that I wouldn’t be a very good actor, but that I had an eye and an appreciation for good acting. I worked in a variety of other positions (production assistant, background actor, extras wrangler, sandwich getter) and continued to read books and scripts and create my dream casts in my head. (This was a tip given to me by Lauren Schuler?Donner when I was a production assistant, and she remains one of my producer idolsto this day, even though she probably doesn’t remember me!)

As luck and hard work would have it, I had the privilege of assisting for two of the top casting directors in Vancouver for a couple of years and it was during this time that I opted to stay in casting instead of going to law school. The journey so far has had a lot of ups and downs but I still think it’s the greatest job in the world – the downs make the ups that much more rewarding!

There is a bit of mystique about casting directors amongst new actors. Could you explain what exactly it is that a casting director does and how much of a role they play in an actor booking a role?

You can simplify a casting director’s job by saying we’re basically glorified HR directors! We’re the gatekeepers who showcase actors to directors and producers. A lot of my job is getting the best performances possible from the actors I consider and really sell the ones I believe in to the powers that be…ultimately the final say lies with the producers but a casting director can make or break who gets considered and who doesn’t. At the same time, I want everyone to have the best audition they can so I try to keep my audition room relaxed and comfortable.

What are some common mistakes that actors make in the audition room that could easily be avoided?

Actors shouldn’t come in unprepared – know your lines, the script and the tone of the project and make clear choices about the character – and appear confident and ready to roll! I think actors are sometimes too scared to make strong choices because they want to seem malleable but it comes off like they don’t have a solid understanding of the role. Also, always bring your headshot and resume! I don’t understand the actors who don’t. An audition is basically a job interview, and you wouldn’t go to a job interview without your business card and resume!

What are some of the more impressive things you have seen in a casting room in terms of choices actors make?

Actors who take a role and completely make it their own always stand out – we see so many actors for the same role, so someone who makes us feel like we’re seeing the character for the first time always jump to the top of the heap. I still view those old auditions from time to time. But it’s important to make choices that are still true to the character you’re playing! Don’t be different just for the sake of being different.

Do you have PET PEEVES?

People who say “for all intensive purposes” and “I would of/should of…”

In the audition room, people who make excuses, whether it be actors, directors, producers, my staff or myself.  Also, I had an actor ask once if he could take off his pants for an audition that had nothing to do with him being sans pants. What’s that about??

Who are some of your favourite actors?

I don’t want to name any Vancouver actors but there are certain performers I audition and book consistently on my projects because they always impress me with their talent and charisma, and they’re fun to work with in the audition room. My favourite Hollywood actors are Jeremy Renner, Kate Winslet and the cast of Breaking Bad. I’ll watch them in anything.

What challenges do you face in your work? Anything: from Actors to Director/Producer sessions or the scarcity of work from time to time.

There are a lot of challenges but the one I’m constantly faced with is trying to keep all parties happy – directors, producers, agents and actors. Even though the casting process requires a lot of actors to be considered and rejected, I hate hurting people’s feelings. And there are a lot of egos to deal with all around. No one has it easy and we’re all just trying to get the job done so I try to make it as painless as possible. And there’s constantly the fear of when I’ll be getting my next job. I’ve been very lucky this year, but who knows what next year will bring??

Where do you hope to go in your career?

I hope to continue casting projects that inspire and excite me, and discovering new talent. Writing and producing is in the back of my mind but I’ve yet to find a story that inspires me enough. If I spent the rest of my life casting amazing projects and discovering the next big thing (and traveling the world in my down time)… I’d be as a happy as a clam.

Kirsten Clarkson is the Founder and Senior Education Advisor at Young Screen Actors Academy. For over 20 years, she has been coaching Vancouver’s top young actors who have book everything from actor to leading roles on films and TV shows. Kirsten has experience as an actor, writer, director, development executive, casting director and talent agent.

Related posts:

1. Casting Director, Stuart Aikins on Directing Asymmetry
2. How To Have a Great Audition from Casting Director, Bernie Telsey
3. Casting Director, Candice Elzinga: How To Make A Good Impression

Many of you know Stuart Aikins as the Emmy nominated and Casting Society of America Award winning Casting Director who is busy with many Film & TV productions that come to Vancouver. What you may not know is that he has a MFA in Directing and a faculty member at Capilano University’s theatre department.

Stuart is currently directing Reality Curve Theatre‘s production of Asymmetry by Rick Robinson which is running from Oct 25-30 2011 at the Havana Theatre.

We had an opportunity to ask Stuart some questions about working on this theatrical production and his thoughts on the current state of Vancouver’s film industry.

What is it about this production that got you interested in directing it? 

I loved the fact that it was a six hander and that each couple could be rehearsed separately. I wanted the reveals to be just as exciting for the cast as the audience. It also seemed the perfect vehicle for The Havana and a great way to get my feet wet in that space.

As an award winning and busy Film & TV Casting Director, why come back to theatre?

It’s what I do in the room, I work with Actors so coming back to the immediacy was easy. In TV and Film, you work on things years in advance of seeing them so even with a couple months of rehearsing, the end product is more immediate. It’s just another kind of joy.

What differences are there in your approach as a Casting Director for Film & TV versus a Theatre Director? 

I always have to think about the Director in TV and Film and what they are looking for or will understand. I certainly don’t have that thought when I am directing as I am no longer an intermediary.

Over the years there have been discussions within the arts community about the lack of cultural diversity within film, tv, and theatre productions that come out of Vancouver. What are your thoughts on that issue? 

I have to work overtime to fill the need for diversity in all my projects. It’s the only way that the diverse talent will grow and it’s mandated by the networks. I don’t actually subscribe to the opinion that we don’t cast diverse in this city. I know we do and have to.

With Casting offices and Talent Agencies downsizing over the recent years, do you have concerns about the long-term outcomes within the local film industry due to changes in tax incentives, HST, and economy as a whole? 

This business is cyclical. I have been casting for 35 years and have seen it ebb and flow many times. I came here from Toronto before the bottom dropped out there and it was a long time coming back. We have a wonderful infrastructure here and a brilliant talent pool. The money will return. We all have to get off our butts and develop during this lag and make sure we aren’t rusty when it does come back.

What do you hope the audience will walk away with after watching Asymmetry? 

An enjoyable evening at the theatre. If they see themselves in any of the characters then great but if they were removed from their stressful lives for 90 minutes then that’s even better.

What other directing gigs do you have coming up? 

I leave after opening Asymmetry to go to CCPA to direct Ten Lost Years which opens Dec. 1. I return and begin The Crucible at Capilano University which opens February 15. Yes, I am a busy camper.

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The Reality Curve Theatre Co-Op presents Rick Robinson’s “Asymmetry“
October 25-30 2011 at Havana Theatre
Directed by Stuart Aikins.
Featuring Jessica Charbonneau, Leah Gibson, Cara McDowell, Paul Piaskowski, William C. Vaughan and Jerry Wasserman.
Music by Krystle Dos Santos.

Six lives. One night. Asymmetry chronicles the halting first steps of three fledgling relationships, as six damaged people fumble for intimacy and balance.

Sandy & Miguel struggle to recover what, long ago, might have become something beautiful; Julius & Priscilla reach out to each other, frantically seeking a way through the protective walls they’ve built around themselves; Maggie & Cody share an affliction, but fight against their very different views of life. Each of these broken relationships comes to a head in one night, in the same physical space, each couple unaware of the others even as their stories intertwine.

More information & tickets: www.realitycurve.com

Related posts:

1. Spotlight Interview with Casting Director, Tiffany Mak
2. How To Have a Great Audition from Casting Director, Bernie Telsey
3. Casting Director, Candice Elzinga: How To Make A Good Impression

Last week we featured the spotlight interview with 12 year old actor Julia Stone who stared in the feature film, The Year Dolly Parton Was My Mom.  We are continuing the interview but now with Julia’s mother, Sue Chappel, about the reality of parenting a young film actor.

How did you feel about Julia getting into acting?

Sue - Julia was 9 years old when she stated that she wanted to be an actor. I say “stated” because she just walked up to me while I was making dinner and made her announcement, as if it was old, factual news that I’d heard 100 times before. A bag of emotions bombed my brain.

Surprise!  Julia is an incorrigible introvert. How could such a shy, quiet, thinking/observing kid who preferred books to TV, desire such a public, extroverted career?  How does an arts child come from a math genius and science nerd?

Scared! I was worried about her big heart being crushed before she really started living!  I was even more concerned that she would change who she was, to pursue something that seemed to contrary to her personality.

Panic!  She was serious. I felt the winds of change blowing on my face with each uttered word.  Supporting her meant overcoming my own misconceptions and fears. There’s also the hypocrisy of being a big supporter of the arts, but blocking my own child from creating it. Finally, I couldn’t make personal peace with the duplicity of telling a kid that they shouldn’t chase impractical dreams.

So, I did what most parents do when their 9 year old scares them witless with intense proclamations: I delayed the inevitable for as long as possible by blowing it in another direction.

I held her off for a year.  We made a pact. She was to spend 1 more unfettered year becoming “Julia”. She had 1 more year to experience real life before letting other complex characters in confusing adult situations temporarily take over her mind and body. She also had to do some research to understand what a demanding, lifelong journey it is to become a great artist. Finally, she also had to consider whether she was willing spend the time developing her skills and making some sacrifices, even if she never booked a single role. Without any reminders and almost 1 year to the day, she confirmed that she was ready and proved that she did her homework.

In September 2008, Julia got an agent and enrolled in her first professional acting class.  By December 2008, she was hooked and happy. She became very serious about it.  Another pact was made.

I work full time. In fact, I work more than full time because I own my own business, have 6 employees, nearly 1000 clients and an office. Time is precious to me. Skiving off work and shirking business responsibilities to support a half- hearted hobby wasn’t a realistic option. So, I agreed to support her in proportion to the effort she put in herself. For example, I won’t change my work schedule to take her to an audition unless she’s put in the work herself to prepare. I won’t take her to a class unless she’s prepared for it. And finally, nothing happens until homework is done and minimum grades in a handful of subjects are maintained.

And so began our incredible journey into this new, wonderful and mysterious world. Armed with determination, moxy and a big bag of ignorance, we set on our way. As things turned out, Julia puts in a lot of effort and my clever plan boomeranged right back on me. True to my word, I give my full support in very happy measure.

If you had any hesitation what was it and have the things that worried you happened?

I had 4 concerns:

1. She would change who she was.
2. Constant rejection would crush her self esteem.
3. She would de-prioritize school.
4. She would stop pursuing and exploring other interests or having a balanced and diversified life.

None of these things happened. This is partly because she had a grounded sense of who she was before exploring and pursuing acting. In addition, when she became more deeply immersed in the art, we became more proactive in actively mitigating our concerns. Finally, and most importantly, we soon discovered that the film community is packed with extraordinary, powerful and positive role models for kids. Acting is a big positive force in Julia’s life. Irrespective of whether she’s among the fortunate few to make it a career, it has given her vital life skills, tools and the self discipline to succeed in whatever she pursues.

What kind of relationship do you have with Julia’s agent?

Our relationship is fantastic because we share common goals, concerns, and values. He’s supportive of Julia. He has a long term view. They share the same key ideals and artistic vision.

Every agent is different. Every kid is unique. It’s important to find an agent that’s well-suited to your child, their interests and personal goals. It’s also crucial that your agent respect the non-negotiable things. For Julia, it’s school. He also recognizes and supports Julia’s desire to explore the craft by volunteering herself for rich and challenging roles with local, emerging film makers.

Are you in any way a Mom-ager!?

My most important job is to be Julia’s mom. That comes first. I’m extremely time-crunched, so when it comes to acting, I delegate as much as possible. That’s why Julia’s agent is vital to our family. Also important are classes and the instructors she works with. They give advice and guidance. I depend on them for their experience and wisdom, and trust them.

Specifically, here’s what I do:

• Ask questions – everything except “Why aren’t there more auditions?”
• Review incoming auditions
• Scheduling ….& rescheduling!
• Research and book classes and workshops
• Research independent, volunteer role opportunities & do self-submissions.
• Maintain resumes, casting accounts (Casting Workbook, etc.) and web sites (IMDB, Facebook page). It’s faster than going back and forth with someone.
• Organize audition coaching and taping
• Drive!
• Administration and bookkeeping
• Discuss characters and scenes – but actual scene work is between Julia and a pro coach, (unless I’m her last resort.)

How have you had to change your life to make her dream happen?

I don’t make her dream happen. She does.

I can’t do the work for her. I can only help her create the time to get the work done, explore opportunities to learn and grow, and support her when things look grim. But, in the end, it’s up to her to make her dream happen and carry the load.

Having said that, our family life has changed quite a bit!

Here are some examples:

• Nothing is planned far in advance – many things have become last minute only.
• I start work a lot earlier and usually work late in to the evenings to make up for time away for acting-related things.
• I’ve become seriously mobile and adaptable. I can work from any location – including cars, cramped corners, trailers, tents, etc! My only needs have become warmth, hot water for coffee and a strong wifii signal!
• I’ve delegated a lot more responsibility to my amazing staff. I couldn’t support Julia without their support.
• I’ve stopped sweating the small, mind numbing and time-eating stuff in life.
• I’ve weaned myself away as much as possible from the comforting concept of a daily routine. I’ve accepted that it no longer exists for me or our family!
• I schedule meetings and time commitments with the upfront disclosed caveat that I may have to cancel due to family commitments. I used to be dependable. Now I am dependable with full disclosure of the risks.

Above all, the realities of the film industry have given me a great gift. They’ve forced me to live in, and appreciate, the joy of the moment. I rarely know what’s coming in the next one, so I really savour the present, the people and perfection of what’s in front of me. If it sucks, I exit to a better place.

Advance plans and schedules are reserved only for a very small number of truly important things

What can you tell parents to help them in their journey guiding young actors?

• Kids should only pursue acting if they love it and as if they’ll never book a paid role.
• Focus on the craft and art above all else. All good things like joy and fun, flow from there. One day, they may get paid for it. But that shouldn’t matter at this point.
• Know your real life priorities and preserve them. Instill them in your kids. Actors must live a full, diverse and authentic life. Acting is pretend. There’s no substitute for the real thing to fuel the authenticity of your pretending.
• Be realistic – there are no shortcuts. It takes 10,000 hours to be really good at anything. The 10,000 hour plan includes classes, volunteering for roles, being an extra, and any skill that helps them physically express a character. This could include voice and movement skills, like dance and martial arts.  It also includes understanding why people are they way they are, and why they do the things they do. Reading amazing books is a tunnel into a character’s mind – so encourage your kids to read a lot.
• There are no shortcuts. They must do the work and it takes a lot of time.
• Work and time don’t guarantee success.  And, since there are no guarantees of success, it’s important to do really, really well in school. It’s how they can get in to competitive, related film making, writing and digital technology programs later in life.
• They’ll write as they read and act as they read and watch. Pay a little more attention to what they’re watching and reading. Monkey see, monkey do.
• Give back to the film community, emerging writers and filmmakers in any way you can.
• Support local productions by seeing them in the theatres and renting them. Choose Canadian. Their success and growth are essential to a vibrant industry and employment. Learn more about what’s filming and showing at www.firstweekendclub.ca.
• When on set, tell your child where you are and make sure it’s out of their view while they’re working. You’re goal is to be present, but invisible and out of the way!
• There’s lots of waiting around for everyone while on set. Bring things to do while you’re waiting.
• Have and develop your own life, relationships and goals. Remember, your first job is to be their parent and role model.

How do you see the future for you and Julia?

Lots of skiing, movie watching, cooking, reading, learning and having fun working hard on our own respective goals that make our hearts beat just a little faster!  If Julia is lucky & keeps growing as an actor, toss in some film projects, meet some more fabulous people and travel to interesting places!

It goes without saying that acting classes are a de facto part of whatever is left of the daily or weekly routine. Expect Julia to be lurking around in pretty much every class opportunity she can find for the rest of her life.

We’re really close, so whatever Julia does and wherever she is, we’ll be close by cheering her on and helping out however we can. I’ll be the one waving from behind the computer screen with a big mug of steaming coffee.

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Kirsten Clarkson is the Founder and Senior Education Advisor at Young Screen Actors Academy. For over 20 years, she has been coaching Vancouver’s top young actors who have book everything from actor to leading roles on films and TV shows. Kirsten has experience as an actor, writer, director, development executive, casting director and talent agent.

Related posts:

1. Spotlight Interview: 12 year old actor, Julia Stone
2. Spotlight Interview with Casting Director, Tiffany Mak

Recently I interviewed Julia Stone and her mum, Sue Chappel about each of their journeys in the process. Julia is a student I began coaching a few years ago just before she booked her first job the much acclaimed feature, The Year Dolly Parton Was My Mom. Julia is much lauded for her work in this film and was called “remarkable” by Ken Eisner of The Georgia Straight. Not bad for a 12 year old in her first work!

Since then Julia has had non-stop success booking leads in features and series. Her parents have been an integral part of her career. Her dad (Wayne) has been left to hold down the fort while Julia and her mother have spent the last year traipsing around making movies in the bustling and glamorous film communities of Winnipeg and Moose Jaw.

How old were you when you knew you wanted to be an actor?

Julia – I think always. I have always loved stories whether they’re in books, movies or plays. Ever since I can remember, whenever I read or watched something, it was like I was in it feeling and going through what all the characters were experiencing, not just watching as an observer.  Then, when I was about 9, it finally came to me that instead of just watching, maybe, I could actually be an actor for real. It took a lot of persuading my mom (about a year), but when she was convinced I was ready to do this, she helped me get an agent.  From there, I started taking as many classes as I could, and getting as much experience as possible.  

Your parents have been incredibly supportive – what have they had to do to help you?

I’m really grateful that I have such amazing, supportive parents. I think that they see that this is what I really want to do, and that it gives me joy.  The most important thing my parents have done is to be realistic with me about everything.  They don’t sugar anything up and they put the work and outcome in my hands.  They taught me that people can achieve nearly anything they put their mind to, but that it also takes a lot of commitment, work and time. You have to believe in your dream, but you also have to commit to it and work at it.  They’re also strict about school and life balance – so they’ve helped me learn the value of time, fulfilling responsibilities and having a lot of fun along the way. They’re there for me no matter what and are always making sure that I’m still really happy and balanced in life.

What was your first audition?

My first audition was for Crowley. I remember when I went in I had no idea what it was going to be like and I was incredibly nervous! The whole thing went in a blur. That was what really motivated me to take classes; I wanted to be more confident and know what I was doing so that I would be fully prepared for the next one. It was about one year and continuous classes later before I booked anything. I still take lots of acting classes – there’s always room for improvement.

Do you remember your first booking?

The first project I booked was a student film for the Arts Institute called Hopscotch.  It was exactly one year after I started classes.  I was much more confident and prepared than I was in my first audition, because of the classes I had taken. I knew what to expect, and in the audition, I just had fun! When I booked it, I was really excited, and I’m really grateful that they took a chance on such an inexperienced actor.

What has your experience been like on set?

So far, I have only had great experiences on set. I really love how it feels to be part of a project that everyone’s working so hard on and cares so much about. It’s such a group effort and I think that a real bond forms between everyone on the cast and crew.  There was one morning on the set of The Year Dolly Parton was my Mom when it was really important to shoot the sunrise. So, early in the morning, we traveled across the prairies to base camp where we found that, as a result of the rain the night before, the trailers had sunken into the mud and the power was out! It was still really dark out, so makeup and hair was done in the headlights of a truck!

Tell us a little about what goes on in a day on set?

When I arrive, I report to the Assistant Director (AD). Then I get into wardrobe and head over to make-up and hair. Within a short time, the ADs take us over to blocking our first scene and things go on from there until lunch time. You can never really know what to expect on set because every project is so different and the cast and crew are always very different. I love being introduced to a new project and team and getting the hang of each different set. At wrap time, I sign out and head home!

Read our follow-up interview with Julia’s mom, Sue, as we find out what it’s really like to be a parent of a busy young actor.

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Kirsten Clarkson is the Founder and Senior Education Advisor at Young Screen Actors Academy. For over 20 years, she has been coaching Vancouver’s top young actors who have book everything from actor to leading roles on films and TV shows. Kirsten has experience as an actor, writer, director, development executive, casting director and talent agent.

Related posts:

1. Spotlight Interview: Mother of young actor, Julia Stone
2. Spotlight Interview with Casting Director, Tiffany Mak

Read Part 1 of this article, Secrets to Getting An Agent.

Meeting Potential Agents

When you meet with agents let them know you are meeting with a few and tell them you will be deciding in a few weeks. This eliminates the “first date” uncomfortable feeling when they offer to work with you but you have an interview with another agent the next day. That rejection is not nice for anyone and agents feel it too. If they are offering to work with you it is because they see you as a new partner and someone they believe in. Having that offer rejected is a drag. Set the meeting up well and every agent you meet will respect your professionalism.

You need to make sure you like your agent. This doesn’t have to be a love relationship but it really helps if you really like your agent.  Most likely this is a long term business agreement and it’s best to form those with people you have some affinity for.

Also, if your child is anything other than Caucasian, ask if the agent submits cross-culturally. If you hear there are no auditions for brown kids or yellow kids or red kids or whatever beautiful mix your kid might be you might want to consider another agent or ask your agent to submit to your child’s type and not skin colour.

I think life it too short to ascribe to those kinds of values and those blocks in working, thinking and living. When I was an agent I treated the sexism, racism and other biases in the writing of scripts and breakdowns as a mistake. I submitted across the board if there was nothing preventing it (like the characters are described as identical red-headed, left-handed, skateboarding Chinese speaking twins with a pronounced lisp).

Most casting directors are not bigots and they will see the actor. At least they did when I submitted. Different ethnic groups get “hot” at different times. Since there is currently a larger buying group in Canada that are Asian or South Asian there are more opportunities for actors in those groups. This is a case where actors can also strike when the iron is hot.  You can also take advantage of cultural biases. If the character is written as a Caucasian computer geek who loves math why not submit a child who falls into the cultural bias?

Do You Have Your Tool Belt Ready?

Once you have selected an agent and you are working together supply your agent with the tools they need, and create a strong working relationship remembering to update them about every loose tooth, haircut and vacation plan.

Tools agents need are the following:

An Acting Demo Reel: Put together two contrasting scenes that are SHORT. Reels should be about 2 minutes in length. Make sure to think about your child’s type or hit when selecting scenes. This is a marketing tool not a painter’s palette.  DO THIS WITH A PROFESSIONAL. Bad sound is the bête noir of production. People will watch a great performance with a not so great image but they will not tolerate bad sound.

A Voice Over Demo: Not as important at the start as an Acting Demo but a great supplementary tool. VO is an industry that does not die and is a great way to have fun and bring in college money.  It is equally important to have a professional demo for this. Have a listen to the reels on kokoproductions.com for an idea of what this will sound like.

Updates On Training: Let your agent know what your child is studying and with whom. If they have just taken a commercial audition class it is likely that the agent will then send them on commercial auditions!

Special Skills: If your child plays a sport or game, speaks another language, can dance or sing – you MUST let your agent know. Auditions are often about special skills. This can be a foot in the door. Don’t miss out on the new Barbie commercial being shot in Mandarin because your agent assumed your very Caucasian looking daughter didn’t have the language. Special skills also allow for quirky things like your child being an amazing baker or hoola hoop champion at the age of 6. Speaking of championships: include awards from academics to volunteering. They all spark interest and reveal the soul of the child.

In my experience it is best to communicate with agents via email. Actors invariably call when an agent is doing breakdowns and very busy. It’s easier to read an email and get back to you at their convenience.

I would say it’s really important to be unreasonable when helping your child along this path. Reasonable people end up accountants (not that there is anything wrong with that). Unreasonable people set impossible goals like being a successful actor. Don’t be reasonable in your ambition but do be reasonable about the steps you take in this journey.

I have notice in my more than 20 years working as an agent, casting director, producer, director and finally now as an acting coach that parental support is the magic that makes the journey an exciting ride to success rather than a terrifying journey. Kids and teens need your love and support even more when they are working toward a difficult dream.  In fact they need to believe that the impossible is just a short distance away.

To quote the fabulous standard “Crazy He Calls Me” sung by the incomparable Billie Holiday, “ The difficult I’ll do right now… the impossible will take a little while.”

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Kirsten Clarkson is the Founder and Senior Education Advisor at Young Screen Actors Academy. For over 20 years, she has been coaching Vancouver’s top young actors who have book everything from actor to leading roles on films and TV shows. Kirsten has experience as an actor, writer, director, development executive, casting director and talent agent.

Related posts:

1. The Secrets to Getting An Agent | Parents Guide for Child Actors
2. Parent’s Guide to Film & TV for Child Actors
3. 1 on 1 with Talent Agent, Dylan Maher – Part Three

Fairytales can come true, it can happen to you – but it probably won’t.

I don’t hate dreams but don’t think they are particularly useful past the initial inspiration stage. In my own life real has been so much better than dreams. It’s great to dream you’ll get an agent and end up with a fabulous career but it’s much better to work step by step toward making that real. This article is a step by step map to getting a real agent who will then help you get a real career. I’ll write about how to help create and handle a successful career for your child in another article.

Odds are your child won’t get an agent standing in line at H&M but it does happen. Even if it does happen that way getting an agent is not the whole of the moon.

Looking for an Agent

Selecting an agent is the first step in your journey. If your child’s acting instructor says “get an agent” – get one. There can be timing elements involved in a child’s career. If your instructor knows its Kid & Teen season (late spring to early fall) and your child is ready, they will encourage you to get an agent and give you referrals.

If your instructor isn’t comfortable doing this (for whatever reason) then ask friends and other kids in class. A referral is worth its weight in gold. Also, ask your instructor why they won’t refer. Maybe they don’t know any agents taking clients or maybe they have been burned by clients previously. It’s important to pay attention to the reasoning. It could be your child is not ready. If they are – strike while the iron is hot.

If you have no connections through friends, contemporaries or instructors have a look at Vancouver Actors Guide. There is a comprehensive list in the information section of the guide and there is a wonderful mastermind group of actors on the forums who will help you with their mostly unbiased opinions.  They love to help. Let them.

Character “Type”

The agent you select for your child should have a roster that does not include more than one of your child’s HIT or TYPE. The hit or type is what your child will be cast as: bully, geek, girl next door, sporty, class clown, etc. If your child is blond and blue eyed – you have a marketable but common type for a child actor– it’s tough to find an agent without a couple of cute blonde kids but it is possible. It is important that your agent have a reasonable sized roster.  Like in any business if you are taking care of too many clients the ones who are bringing you the least money suffer.

Business of Agents

Agents work for free in the beginning of a client’s career, helping develop them by getting them out to Casting Directors for auditions via two primary services: Casting Workbook and Breakdown Services. You will pay to have your child on Casting Workbook (a nominal yearly fee) and the agent pays for Breakdown Services (a larger monthly fee the agency pays). It is imperative that agents have access to both services as Casting Directors use both. Ask. If they are not on both they are not real agents.

Agents take a 15% commission in Canada and 10% in the US. Don’t worry about US representation at the beginning of your child’s career. Your child will be better off developing a career in Canada, compiling a list of professional credits and press in all media. If your agent has a reciprocal (commission split of any sort) with a US agency, that’s great. If they don’t, that’s fine too. It’s not imperative at the beginning and actors often find US representation after they are cast in series or film produced by the larger US production companies.

Submissions

In order to submit to an agent you will need a short professional cover letter. You will have researched the agent or had a referral so DON’T submit to, To Whom It May Concern. Know who the agent is and address them by their correctly spelled name.  You will need Headshots and a resume as well.

Great Headshots: If you are new it helps to look professional. Don’t cheap out. Most photographers offer reasonable deals to kids and teens. Get referrals from the usual suspects: instructors, contemporaries, and agents.

A Professional Resume: There is an example on the VAG. Casting Workbook also has a great system for setting up your resume online. Don’t worry if you have nothing but training to put on your resume and DON’T LIE. As long as your contact information (phone and email only -  no one needs to have access to where your child lives) and training is on your resume you are fine.

Next time we’ll continue the “getting an agent” article with details on what to expect when you meet with a prospective agent, and building that relationship.

———————-
Kirsten Clarkson is the Founder and Senior Education Advisor at Young Screen Actors Academy. For over 20 years, she has been coaching Vancouver’s top young actors who have book everything from actor to leading roles on films and TV shows. Kirsten has experience as an actor, writer, director, development executive, casting director and talent agent.

Related posts:

1. The Secrets to Getting An Agent, Part 2 | Parents Guide for Child Actors Series
2. Parent’s Guide to Film & TV for Child Actors
3. 1 on 1 with Talent Agent, Dylan Maher – Part Three

Alien Abductions and Hockey Dads in Crisis

Does it seem as though an alien life force has abducted your daughter? Is the former introvert (who hid behind the curtains when company came to call) suddenly declaring loudly for all the world to hear that she is going to be an actress on TV?

Has your outgoing athletic son found himself the star of a school play and decided this is his destiny? You’re a Hockey Dad. You’ve always been a Hockey Dad. What the hell does a Drama Dad do?

You want to support your child in his or her dreams. You want them to have every opportunity to live their lives to their fullest but you don’t know this world. Film and television is a foreign land to you. You can’t even imagine the first step.

Don’t worry! Help is on the way. I’ll take you through the steps as I know them.

First things first: child actors are professionals. They do everything that adult actors do – audition, book series and TV, travel for work, do interviews, get paid and pay taxes and agents fees. They work fewer hours on set but are expected to be professionals. Like all professionals the right kind of education offers all the advantages. For example if you go to Harvard Law School the connections you make there would be far more valuable and the education you receive would be far superior to the experience you would have at an online university. Make sure you pick a good school. Bigger isn’t always better. It’s results that you should be looking at.

One way to find a good school is to call agents and ask them who they recommend. Agents see the results of the training. They see if their actors are booking or not after taking classes and they hear from the students about the quality of instruction.

You can ask the school to provide you with references from actors, their parents or agents or get a list of actors they have trained and look them up on IMDB.com (a resource for professionals that is often used by the public). For information specific to Vancouver you can have a look at Vancouver Actor’s Guide and see what parents and kids are saying there.

Once you’ve decided on the school see if they have resources for parents as well as actors. Agents are not going to be able to train you to be a good “stage mom” but you do need some guidance in this area as there are many choices you will have to make.

Next time I’ll cover how to find the right agent for your child and you.

——————-

Kirsten Clarkson is the Founder and Senior Education Advisor at Young Screen Actors Academy. For over 20 years, she has been coaching Vancouver’s top young actors who have book everything from actor to leading roles on films and TV shows. Kirsten has experience as an actor, writer, director, development executive, casting director and talent agent.

Related posts:

1. The Secrets to Getting An Agent | Parents Guide for Child Actors
2. The Secrets to Getting An Agent, Part 2 | Parents Guide for Child Actors Series
3. Actors: Work With Your Allies – Part Two

You’ve done it.  You have spent weeks, months, even a year or more getting your story down on paper.  Perhaps you have gone to the extra length of getting the input of a script consultant to ensure that it is in the best shape possible.  Writing a script is a major accomplishment!

So what’s next?

That all depends on what your motivations and objectives are.  Some writers just need to purge their story onto paper as an exercise.  Others may have visions of their film hitting the festival circuit, garnering press and accolades, and some writers may have a larger goal in mind – mainstream international box office success!  While all really great goals, it is important to be pragmatic.  While there are those amazing success stories out there, it certainly isn’t a home run every time.   To give your script the best possible chances of being looked at, produced and distributed, there are steps you can take to help you along that journey.

Your Target Audience

You must give some consideration to who your target audience is.  What are your lead characters like, and who would find them most accessible?  Are they male, female, gay, straight?  What is the genre of your story, and where does it take place?  Do your characters speak English, or do they have diverse ethnic backgrounds?  All of these aspects and many more must factor into defining your target audience.  If your goal is international exposure and success, you have to have as many common denominators in place that will help it translate to that kind of audience, whether initially through box office, or via ancillary means.  It is all about how you frame your story and position your project.  Once you have thought about who you have written your story for, next you have to determine how you are going to get it to them.

Planning Your Approach To Funding

First off, if you don’t have exceptionally deep pockets and a burning passion to produce, you will have to find the money somewhere.  To a certain extent, it is a bit of a “chicken and egg” scenario, because there are different avenues to explore, and they can work in conjunction with each other, but you need to be savvy, and most of all – patient.

There are several ways you can start the ball rolling.  First, you need to decide how you plan to define your specific role.  Do you want to be involved in getting it off the ground, which would mean acting as a producer?  Or would you just like to pitch it and sell it and hope that it gets made?  In either case, the merit of your project will increase if you do some research and due diligence.

The objective is to create interest in your project, and to gain strategic and creative “attachments”.  Actors, directors and producers can all be attached, but it is difficult to get some without the others, and all require funding, or the very real promise of it.  With the right attachments, funding may become more accessible because of the packaging.  For example, if you attach a recognizable actor in a significant enough role, it may encourage a production company to seriously consider reading, and maybe even producing, your script.

When you have various elements attached to the project, it can be seen as a vote of confidence in the strength of the story and the project overall.  It can open doors, and hopefully, bank accounts.  There are no hard and fast rules about how to package or sell your script, and no two potential projects are alike in how they may come together.  This is meant to act as a catalyst and to give you some ideas.

Preparing Your Pitch

How do you get started?  Do your research and prepare!  Prepare a one-page synopsis of your script, and develop a two minute pitch that you can deliver orally on the spot – you never know when you might need this.  You can also do a character break-down or description of the key roles in your script to help you pitch them.

And then it has a lot to do with hustle.

Do research on production companies to find those that might make a good fit for your script in terms of genre, budget levels they work with and other key factors.  Come up with a short-list.  You could, at this point, submit your script to be reviewed, but right now, it is just that, a script, and there is nothing to differentiate it from all the other scripts that have also been submitted.  It doesn’t matter how amazing your story is if no one picks up the script to read it.  This is where attachments can help.  Anything “extra” you have that will make your submission unique is an asset.  A properly presented screenplay with elements already attached can set itself apart from all the other screenplays in the stack.

A good starting point, believe it or not, can be with the actors themselves, especially in Canada.  If you have any connections in the business, network all you can.  If you know a way to get your script in front of someone that could help with this process, do it.    Remember the character break-downs and descriptions I mentioned earlier?  Now is the time to use them.  Come up with a list of potential actors you would like to see in each major role.  I am not suggesting you come up with your favourite action hero or someone who did 100 million in box office last year.  Your list needs to be, sensible, and potentially achievable.  You need to be creative and strategic here – think of actors that have some “name” appeal and are recognizable in some way, but have maybe been out of the loop for a while.  Is there a fun cameo in your story?  Perhaps a specific actor would be interested in a quick two day shoot for fun.  You never know what the circumstances are of any particular actor, so be realistic, but come up with some unique, inspired ideas.  Keep in mind, you want to go after actors that will be attractive to a distribution company as well.  You won’t know until you try.  Your goal here is to “pitch” your project and make it appealing enough by description, that it will convince an actor to actually read it.

For Canadian films and Canadian actors, things are somewhat less complicated than navigating through the major gate keeping agencies south of the border.  Research your actor on the internet, and you might be able to find their contact information, whether in Canada or Los Angeles.  You may even find their own specific website that accepts materials directly.  Whatever contact information you find, if it says they accept materials for submission, follow their submission guidelines to the letter.  Often, that is the one page synopsis only, so make sure yours is accurate and compelling.

If you are able to get an actor to read your script, you may get an expression of interest for a particular role.  The door is now open a crack.  How you proceed  depends on the rapport you are able to establish with the actor’s representatives, and what they would like out of the equation.  If an actor is willing to come on board, you now have an attachment that can help you shop your script.  Then you can move on to sharing your script with production companies and distributors.

Again, research is key.  Figure out the best production companies that would be a likely fit for your project, and make a submission.  Be sure to express in your letter to them that you have an interested actor to play a particular role, waiting in the wings!

Practice Your Patience

The window for a production company – even in Canada – to review a potential project and get back to you can easily be three months or longer.  This is normal and a part of the process.  If a production company is interested in exploring your project, they may have their own ideas for how to package it further, and often have relationships already in place with distributors and directors.  Always be open and flexible to their ideas, and if you are just interested in selling your script, you may have found a home for it.  If you are interested in staying more involved, that is something you will have to discuss with interested parties.  The major coup here, is interested parties.  When making submissions, expect a fair share of disappointment – it goes with the territory.  You will likely get many “passes” or have difficulty even getting it read by anyone.  Persevere.

You may also approach distribution companies directly.  Canadian and international distribution companies may get involved, but you have to do the legwork before you make your submission.  Give them as many reasons as possible to pursue looking into your project further.  An interested actor, producer or director can make the difference, and help your script to stand out.  The most important thing is what you are starting with – the script has to be good!  Then it is up to you to get it in front of the eyes that make the decisions and can make a difference!

Related posts:

1. Story Editor vs Script Consultant: Your Guide to Fresh Eyes, Fresh Perspective

UPDATE (Jan 11 2011 ) – In less that 24 hours since posting this article, the contest’s website was deleted. To view screenshots of the website click here.

At the end of November, we posted our initial article about the Vancouver International Acting and Screenplay Contest (www.vaninternationalactingcontest.com).  We posted up observations that we made about how they presented themselves on their website and promotional materials.

Since then we have received emails from people all over the world who have been in contact with contest representatives.  I was  personally contacted by the contest organizer just before Christmas in which I was threatened with a lawsuit against me and my company for defamation of their contest.  I have since been in email contact with the contest organizer, Melissa Anderson, and had a chance to talk on the phone with business associate, John Santorelli.

(Note: We have not been able to independently confirm the contest organizers’ identities.  Nor have we been able to confirm the identities and involvement in the contest with any of the listed judges.)

This article will highlight the information that I have been able to gather from various sources, the answers the organizers have provided me, and questions that still linger.

TABLE OF CONTENTS

As this is a very detailed article, I have split it up into sections and have provided a table of contents.

The Conclusion and Summary is conveniently the first topic but I encourage you to read the full article.

• Conclusion and Summary (Top 12 reasons why I would not recommend this contest)
• Previous Questions (I acknowledge their response to my previous article.)
• Their Pitch (This is their marketing and promotional pitches seen across the internet.)
• Was Kenji Maeda involved in this contest? (I was asked. I answer.)
• The Lawsuit and Email Exchange (Review the emails between me and the organizer.)
• Email from one finalist (One finalist confirmed her participation in the contest.)
• Calling the other finalists (I called the finalists and this is what I found.)
• Contest co-organizer answers questions (My chance to get a direct response from those in charge.)

CONCLUSION AND SUMMARY

My role is to report the facts of my investigation. I provided opportunities for the contest organizers to answer the questions that I had. Melissa Anderson answered via email while her business associate John answered questions via a blocked phone number.  At the end of all this, many of their answers have been inconsistent.  Their testimonials have been inconsistent.  And they admit providing false information within their promotional materials.

In point form here are the Top 12 reasons why I would not recommend anyone to participate in this contest.

1. Lie: They lied and told someone that I wrote my warning article because I had been fired as a judge for this contest. (Details)
2. Technical Detail: They claim their first contest was in 2009 but their domain name was only created on Sep 22 2010. (Details)
3. Privacy Concern: They were concerned enough to not provide me with their own phone number, yet they immediately gave me their finalists phone numbers without prior consent.
4. Major Red Flag: After calling the numbers provided for five finalists, two of the three I talked to did not know anything about the contest or persons involved. (Details)
5. Major Red Flag: One of the finalists told me via email that she had met with two judges, Lisa and Rishi.  During our phone conversation, she mentioned meeting with Lisa and Aaron. (Details)
6. Misleading: In their promotional material they reported their winner had a Guest Appearance on NBC’s “Community”.  On the phone, it was clarified that it was one of the finalists, not the winner, but they did not have a guest appearance. Instead she was an extra in one episode. (Details)
7. Major Red Flag: Both Melissa Anderson and John Santorelli have not been able to provide any reference or details that would allow me to independently confirm their identities.
8. Major Red Flag: They list a Film Reviewer from Peak Magazine as a judge. Contest organizer, John Santorelli, clarified that it’s an SFU publication.  SFU reports that their publication is actually called The Peak, it is student run, and they do not provide titles (ie “Film reviewer”) to regular or sporadic writers. (Details)
9. Major Red Flag: Contest organizer, Melissa claimed that they don’t have a record of any past media because “until a year ago peek [sic] magazine does not give archived copies of their articles.” The Peak confirmed that their publication is archived online. (Details)
10. Questionable Business Practices: John said that all the contest judges had full access to the primary email address for this contest. That would be a total of approximately 6 people who had free range to check and reply to emails on behalf of the contest. I question why judges need access to the contest’s primary email.
11. Questionable Claim: Melissa and John both claim a past judge had, without permission, posted dozens of promotional ads across the web, contacted people via facebook, and emailed others from their official email account, including the email that claimed that I (Kenji Maeda) had worked for the contest. (Details)
12. Questionable Claim: Melissa claims that they could not provide names of past winners and finalists due to contractual reasons. I question how or why a contest would create a contract which would ultimately stop the ability to publicize their winners (isn’t that the whole point of the contest?) or their contest as a whole.

WHAT WE CAN LEARN FROM THIS?

Always do your research on any company or organizations that are asking you to part with your money. You should be very clear and comfortable about who the company is.  If you’re uncomfortable it’s best to stay away.

If you have questions or concerns about any business or contest geared toward actors that you see online, we’d like to hear from you. Email us at info@vancouveractorsguide.com.

Continue reading below to get into the details of our research.

PREVIOUS QUESTIONS

I want to acknowledge that since our warning article, the organizer has posted on their website names of 2 winners (acting and screenplay), 4 finalists, and 4 judges. They have now also included details about which talent agents they “plan to submit” the winner’s information to for a “chance at representation from some of North America’s top talent agencies.”  I looked into the names they released with details further in this article.

THEIR PITCH

If you saw this contest before reading our article, you likely either found them to have posted details on various websites like Craigslist or StarNow, or you might have been sent direct messages via YouTube or Facebook.  Messages similar to this:

My name is Kate Norah.  I am a talent agent for the biggest talent agency in the world, the CAA (Creative Artists Agency). This is the same talent agency that represents Will Smith, Halle Barry, and Brad Pitt.I have personally worked with people like Will Smith, James Cameron, Al Pacino, and Julia Roberts.

I have created the Vancouver International Acting and Screenplay Contest. It is an online acting contest that gives aspiring actors a chance to show their acting skills. The winner receives a 300 dollar prize and a guaranteed interview with a talent agent at CAA. [...]

Last year we were featured in The Now newspaper and Mehfil magazine.

And the message/ad continues on. There are other ads and messages with a similar pitch but using the name Angel Greene, also claiming to be a Talent Agent from CAA (Creative Artists Agency).

One person on Facebook told us that she called CAA to check if there was an agent by the name of Angel Greene. When CAA confirmed there wasn’t, this person informed the rest of their facebook group for screenwriters about it.  Angel Greene replied back with:

It has come to my attention that you have complained about our screenplay contest.

I have sent emails and a link to your facebook page to all major talent agencies in America and will make sure that no talent agency in America will ever sign you.

The members of the screenplay group are old enough to think for themselves. No one is obligated to send us their screenplay. No other contest reveals who it is run by. If you had questions you could have contacted us.

Way to go.
Sincerely,
Angel Greene

- Back to Table of Contents -

WAS KENJI INVOLVED IN THIS CONTEST?

I received a message from a person asking me if I had previously worked for the contest because they had sent my warning article to the contest organizer and got the following response:

Kenji Maeda who operates the vancouver actors guide was fired last year from us because he proclaimed to be a actor but with further research we realized that he has never acted in any feature films. Kenji was hired as a judge for us.

(click on the image below to see the original email)

I’ve never been a judge for them and I have never been involved in any way with them.

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THE LAWSUIT and EMAIL EXCHANGE

On Dec 21 2010, twenty three days after the first article, I received an email from their “info@” email address entitled “Lawsuit.”  I have included portions of our email exchange to give you an idea of what was discussed:

From Vancouver International Acting Contest (VIAC)

Dear Kenji Maeda,

• Answer any questions you may have about our contest to the best we can
• Drop any litigation towards you and your company
• Never post on your facebook group, or message board
• And perhaps build a friendship with you. This may come as a surprise to you but we do not want to create any enemies and want to create some positive energy.

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EMAIL FROM ONE FINALIST

I received an email from one person who claimed to be a finalist from the last contest. Through the email exchange she mentioned meeting two of the judges, Lisa Peters and Rishi Brar — both are listed on their website as film studies phd students from UBC and SFU, respectively.  She also forwarded a copy of a reference letter she received from judge, Lisa Peters. (I later called this finalist on the phone. See below)

CALLING THE FINALISTS

On a privacy level, I was surprised that Melissa had declined to provide me with her phone number yet without asking she immediately gave me the phone numbers of last year’s finalists.  Given that new information, I proceeded to call the numbers that were provided.

Phone Number # 1 – The owner of the number was not the person listed as a finalist. Nor did they know anyone else on that list. And they confirmed that they have had that phone number for many years.

Phone Number # 2 – Same situation as #1. No knowledge of the names.

Phone Number # 3 – This number belong to a young woman who had previously emailed me (see above).  She again confirmed that she was a finalist of the contest and that she met two of the judges – Lisa Peters and Aaron Lee.  (*NOTE: This information is inconsistent with what she had mentioned to me in the previous email.)

Phone Number # 4 & 5 – I have not yet been able to talk to anyone from the remaining two numbers.

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BUSINESS ASSOCIATE ANSWERS QUESTIONS

I was quite insistent that I talk with Melissa Anderson, the organizer of the contest, however she never made herself available. She then connected me with her business partner, John Santorelli on the phone to provide an official response to many questions I had about the contest.

Were you involved in the contest last year?

I helped her (Melissa) out with the site last year and the same thing this year. I helped her out with setting up the accounts. As far as the creative control of the contest, that’s up to her.

When was the contest in 2009 held?

It started in August and the contest closed in mid-September and we announced the winner in October and handed out the letters to the winner and finalists.

Was the submission process in the first contest similar to this year?

The only difference is the entry fee was $10 and the grand prize was $150.

What do you consider the benefits for a finalist or winner of this contest?

For talent agents who accept submissions via email, I think it will give special attention to finalists and actors who get noticed through the spirit of competition. I think it sets people apart a little more. They might get noticed more.

What was the media coverage for last year?

We were briefly mentioned in Peak Magazine.

Where is Peak Magazine based?

It’s an SFU magazine. One of our judges works there. We had a connection with it.

Note: On the VIASC website, that judge is reported as a Film Reviewer. I emailed “Peak Magazine” at SFU. They informed me that:

“The Peak, is a collective based on contributor output from the SFU community [and] does not give out titles to regular or sporadic writers. [...] Has he reviewed film for The Peak? Yes, he has, a few times. Is he our “film reviewer”? No, we don’t have one.“ They go on to mention that “we are not ‘Peak Magazine’, we are ‘The Peak’, and are technically a ‘Student Newspaper’, as it says on the cover of every issue we print.” (Note: While the person may exist, I want to make it clear that we have not been able to confirm the participation and connection of this or any judge to this contest.)

What about Now Newspaper?

We were never featured in a newspaper and that information was spread by someone who is no longer involved with the contest.

Where have you been promoting this contest?

We mainly promote in-person. We’ll go to Kwantlen’s Theatre Arts department and hand out flyers. We think it’s more effective that way. Then people see who we are. We tried Craigslist last year but that didn’t work because it got flagged all the time. We tried Craigslist once this year and the same thing. We do it more in-person now.

If it’s all in-person, then why is the wording, “international” contest?

We want to make it worldwide. We want to reach out to people in Ireland and stuff because we had people last year that… we had contestants from Ireland. What we would do is give out flyers to the Arts Department at Kwantlen or any other place and they would send out advertisements for us and that really helped us.

The list of talent agencies that was recently posted up, I see that there are no Vancouver talent agencies listed.

The idea last year was to submit it to the Big 5 – WME, CAA, Paradigm, UTA, and others. That didn’t work out well because they only go after talent that is already well known. We want to [this year] market to local talent agencies to help local talent.

From that list of talent agents, there are none from Vancouver.

That’s right. That’s going to change too. Mel is looking into local talent agencies now. She’s in Ottawa at the moment, or somewhere stuck in an airport so we are still updating it.

Are you already connected or partnered with agencies?

We have no prior agreement with any agencies. We are actually going to do that after the contest is over and hopefully see what happens.

Who manages the emails that come from your official (info@ and submissions@) email addresses?

Before, it was everyone – all the judges and Melissa. But have recently made it only accessible by Melissa and myself.

I was forwarded an email from someone who received an email from your official info@ address. In that email it says that I had worked for the contest last year and was fired. This was in response to being asked about my warning article.

That email was sent by a person who was let go and previously had access to the emails.

Was it only this one person who was mis-representing your contest?

I think she had posted under various aliases online.

From the promotional material that I’ve seen, it mentions that the winner had a Guest Appearance in NBC’s “Community.”  Is that true?

One of our finalists was an extra in one of the episodes but we don’t take responsibility of her being in that show. She did that on her own.

But it does say “Guest Appearance” in your promotional materials.

Yeah, the wording is really wrong. What we should have wrote was “extra”.

Also mentioned in the promo material was that there would be a guaranteed interview with an agent at CAA, and that the judges would be professionals from the film industry who have worked on major productions.

Again, that was the person who was let go.

In the submission process details, it mentions that you can do a monologue from a silent film. Can you clarify that?

In the movie, Silence of the Lambs, the main actor has a silent role and he won an academy award.  So Mel was thinking that a person can do a Charlie Chaplin or Philip Seymour Hoffman where they just act.

This is the second year of your contest but records show that the domain name you have now was only created on September 22 2010. Were you using a different website url before that?

We were using a different hosting server. The actual name of the website, I think, was the same. It was just through a different website provider.

I looked into the details about domain registration and the standard is that the domain “Created on” date stays consistent if you switch hosting providers. The times when the creation date might be changed is when the domain registration expires and must be re-registered.

Instead of Melissa giving me her number, she gave me the numbers of the past finalists without being asked for them. I was a bit concerned about the privacy issue.

I told her that we should get consent from those finalists first. She never contacted them through phone but she did email them to say that she was going to reveal the numbers to one person, and that’s you. All the numbers are the ones that were provided to us and I don’t know if they belong to the contestants directly or a parent or friend.

I called the numbers and two of the numbers I called had no knowledge of the contestant names while also confirming they have been the owner of that phone number for many years.

Which numbers?

I am not revealing which numbers but two of the five I was provided had no knowledge.

Ok. I’ll let Mel know about that.

- Back to Table of Contents-

Read our conclusion and summary at the top of this article.

Read our initial warning article or share your thoughts by posting in the comments below.

Related posts:

1. WARNING: Vancouver International Acting and Screenplay Contest

Pam Bentley is a writer/producer hailing us from many places including Louisiana, Ottawa and New Mexico.  I was delighted to have the chance to sit down and discuss her view on the acting world, making movies and overall telling a story.

Meeshelle: So, Pam, tell us a bit about yourself and what brought you to Vancouver.

Pam: Well, I have had lots of experience with story, in many different forms: teaching high school drama & English, teaching college literature and composition, helping other people tell their stories, writing, narrative poetry, writing novella- I just finished a draft of a novella and then, you know, writing scripts – it’s all about story right?

I came to Vancouver to kind of start another phase of my life where I’d stopped teaching and I wanted to do my stories instead of teaching or helping other people do their stories.  But what’s been good about that is, working with film you work with a whole team of people and of course you all work together.  So as a producer I get to help them make it happen.

M: During a conversation we had a while ago you mentioned auditioning a group of dogs and how you wish actors could have seen that.  Can you elaborate?

Pam: I had put up a description onto Craigslist of the five dogs that we needed and I was describing a look and an attitude.  So, I’m looking through these e-mails and these pictures and going, “That’s a great dog, but it’s not anywhere near what I described or what I’m looking for,” and I thought, “This must be what it’s like (when looking) for actors,” but for actors it’s harder to not take it personally because actors go to auditions and then they think that it’s because they can’t act but it might not be that at all.  It might just be that you’re not right for what somebody who has the most power on the decision-making team has envisioned for that part.

So, in that light I thought it might be very good because I know it can be ego bashing for actors to go to auditions but it just made me realize that oftentimes it’s nothing you have any control over.

M: What about when you were looking for voice-over actors?  How was that?

Pam: Well, that… (she laughs) the voice over actors were more just who was available to do it.  We asked people who we knew had a great attitude.  We knew people who were experienced voice actors but there was this one person we got because he was an experienced voice actor and he also does sound work and he had to cancel on us the day before.  So we ended up getting the roommate of somebody who Tara (the director) knew and he was awesome.

M: What has been the hardest part of being a producer?

Pam: I enjoy the parts where I get to put together the team.  I really enjoy the parts where I’m problem solving.  The parts that are tough or the parts where I go, “Oh no I’ve put myself in a role that separates me out and takes me out of the fun,” or when you have to say some version of, “the clock is ticking and the money drawer is open.  Let’s go here.”

I want to be part of the process and because I’m a writer as well, it’s really thrilling for me to see the work come to life. I know each of the people on the team in varying degrees and don’t want to squash or limit or take away from what they’re doing but as the producer I’ve got to say, “We’ve got another hour and, this has to be done today, so if you want that shot, you gotta move it.”  And sometimes people get a little annoyed and that was the hardest part… that and the reaction to me playing that role… because, I would love to just let it go.

M: What’s the biggest challenge to you as a writer?

Pam: I love seeing my work come to life but then when you hear something and it’s not working or it really sucks, like something that you didn’t notice until you hear it in the actors’ voices and it’s too late to change.  That’s hard.

Knowing that it might never be made.  Something you’re writing might not ever be made because you don’t have access to the power to make it happen.

M: I can see how that would be especially difficult.  From a producer/writer standpoint, what are you looking for when an actor auditions?

Pam: Well, the look and attitude of the character.  So, they’re close enough to it that they can do it naturally or it’s just easy for them.   I want them to be interested in the project.  I want them to have read the script and I want them to have thought about the character and I know that that’s not industry standard (to have read the script), and I know that not everyone is going to be as passionate about it as the person whose project it is but I want to know that that person somewhat ‘gets’ what you’re trying to do and at least has some passion for it.  Because otherwise perhaps they would be better off working on something that they do have passion for and we would be better off with someone who gets what we’re doing and delights in it as well.

M: What can they bring to the role or to set?

Pam: I think that they need to be willing to have fun.  That’s huge for me.  I think the creative process is fun and you have to be willing to have fun.  And, I want to hear their ideas.  I want them to be open to collaboration.

M: How would you respond if an actor feels they’ve blown the audition and asks to go again?

Pam: It depends on how they ask.  I would let them do it and see what they bring the second time.  The more money you have the less personality matters but when you’re working on small budget stuff, it’s all about who you are and the attitude you’ll bring to set.  Aim to be gracious, always.

M: Do you ever go elsewhere to find talent?

Pam: I go to the cold reading series and am blown away by the talent there.  I would like to see more diversity on television (and in general).  That’s why I like British TV. People look like people.  I mean, I wrote a script in the hopes that we would cast fuller figured women but I have some sadness around the thought that if it gets picked up they’ll change the women to a size zero.  Beauty is so much more varied than that.

I have a friend who says that if he’s watching a show and all the characters look too similar, within the first five minutes he’ll change the channel.  I love that.  He just, changes the channel.

M: Nice.  So, let’s go back to the writing aspect.  Your latest project was co-written.  How was that for you?

Pam: I love co-writing, particularly if you have a co-writer who is good at the things that you might not be so good at.  So one of my things is actually getting the draft down but once I’ve started on it, it gets some momentum but my co-writer is good at just getting things down.  I guess it’s that kind of tyranny of the blank page.

I also think a lot when I talk, so with co-writing you can talk through ideas and in comedy in particular you can riff off each other and the jokes come a lot faster and I think they are a lot funnier that way.

M: What sort of advice do you have for actors in general?

Pam: I don’t know… that’s a tough one.  I don’t know if I’m qualified to give advice.  I’m old enough to know that I’m wise enough to not know.  (both laugh)

M: What did you used to tell your acting students?

Pam: When I was teaching high-school drama my background wasn’t actually theatre.  I had a Masters degree in English and I got into teaching drama because I was teaching at a small school and they needed a drama teacher and I was willing to try, so I learned a lot as I was teaching.  That’s why I hesitate.

When I taught high-school drama it was more about the drama rather than theatre because I think high school drama is more for the kids to become comfortable in their own skin and whether they become actors or not, because there’s probably one out of 1000 who do go on.

There were a lot of kids who are told directly to their face that they are stupid or what-not so then as a composition teacher you help them find their voice, right?  And when you teach high school drama you help kids find their voice, whether or not they use it for acting.

It’s all about story and voice.

Through helping people become more comfortable in their own skin I learned to do it myself too.  ‘Cause I was only 27 when I started.  I wasn’t comfortable in my own skin yet.

So maybe it’s that.  Be comfortable in your own skin.  Don’t take it so personally. 

M: It’s a hard thing to do.  Intellectually we might know but when all you hear is “no no no” and get that constant rejection, it’s hard not to take it personally.  So, that’s what made me want to interview you.

Pam: Ok, so here’s another example, you might not use this but think about the rejection in a romantic sense.  You go to a bar and don’t want to approach anyone because you don’t want to get rejected or whatever but… you have no idea why they might be saying no to you.  Maybe you look like their mother.  Maybe your voice sounds like the teacher they hated in high school.  Maybe they’re coming down with the flu.  You know?  But… what do we do to ourselves?

M: Exactly.  Well Pam, thank you for letting me interview you.  Do you have any parting words?  Anything we haven’t covered?

Pam: Yes.  Trust your director.  The producer and director have probably had a lot of talks about what they’re looking for.  The director does not work in a vacuum and there are a lot of producer/writers out there.  And have fun.

Pam’s words about wanting more diversity made me think about ‘reality’ television.  Perhaps that is why we are drawn to these shows that are often extremely far from ‘reality,’ but tend to have people of varying weight, height, colour and background.  As much as I hate to say it, in that way reality t.v. shows give us the diversity we so crave.

Episode 1 of  The Dogumentary

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