THE. Spring Energy begets energy. What you put out there, with passion and consistency, comes back to you. SAG-AFTRA Los Angeles Conservatory

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1 THE SAG-AFTRA Los Angeles Conservatory Spring 2016 IF YOU RE THE SEED, ARE YOU PLANTED IN THE RIGHT SOIL? By Lee Garlington I was speaking with a client today who just got back from another city after being the lead in a workshopped play she loved doing. This, after a play she did last fall on the East Coast that was one of the highlights of her career. On the way home from play No. 2, her airplane seatmate was, coincidentally, the artistic director of one of the biggest repertory theaters in the country. They had a wonderful conversation for several hours, and she got to go into great detail about the merits of both plays. He took notes. So what is your plan to get work now that you re home, in terms of television guest roles and commercials? I asked her. Her energy sagged. She spoke softly about the lack of opportunities here, her frustration with ineffective representation, a dearth of auditions, the feeling that every time she takes one of these plays out of town, her agents have to be IN THIS ISSUE: How to Register for Classes Workshop Schedule Workshop Descriptions Conservatory Rules and Regulations reminded she s one of their clients. We talked a little about what she could do, came up with a few steps she can take to get in the audition doors, but there was a distinct lack of enthusiasm. So these strategies we re discussing for getting more auditions for guest spots on TV shows is this something you want to be doing, or something you think you should be doing? I queried. Energy begets energy. What you put out there, with passion and consistency, comes back to you. She thought for a moment. It s a should. Could you, happily, make your living doing theater the rest of you life? YES! she said, her face lit up, the answer out of her mouth before I finished asking the question. If you're watching cable news' coverage of current events, one word comes up, over and over: Authenticity. Individuals who are perceived as authentic are dominating the news. Authenticity resonates. Are you being artistically authentic, doing what you truly want to be doing? Forget, for a moment, what you should be doing, what you hope will happen in the future, or any regrets you have about what s not happening now. Forget whether or not your dream is practical. Right now, how would you like to be spending your time and energy? If showbiz was your oyster, if wishes were dishes and horses could fly, where would you be putting your energy right now? Energy begets energy. What you put out there, with passion and consistency, comes back to you. We re not in control of when or what form it takes that s hard to predict but your energetic investment is returned to you. Would you like to be the lead in a series that s built around you? I asked my client. Not a guest star or co-star, but a series regular, the star of the show? Well, yeah, she said, who wouldn t? Here s the thing: this woman is beautiful enough, talented enough, and young enough that it could happen. Not out of the realm of possibility. Continues on next page 2021 N. WESTERN AVE., L.A., CA CONSERVATORY@SAGAFTRA.ORG

2 AN EVENING WITH ILLEANA DOUGLAS COPIES OF AFI FILMS SEEK LOVING HOMES You auditioned, booked the job, shot the movie, screened the film and then??? One of the many great benefits of the relationship between AFI and the SAG-AFTRA Los Angeles Conservatory is that you, as the actor, are guaranteed to receive a copy of the work you have done for the firstyear AFI Cycle Films. Currently, we have hundreds of DVDs sitting in wait for their homes. Because of space limitations, we cannot keep these for more than two years, so please make sure you pick up your copy. You may call before coming in to verify one is waiting for pickup. Please have the name of the film project ready when you call and then you can come claim your footage during the Conservatory office business hours: Monday - Friday, 10a.m. - noon and 1-4p.m. The SAG-AFTRA Los Angeles Conservatory was delighted to present a conversation with acclaimed actress, director and Turner Classic movies host Illeana Douglas on Tuesday, Feb. 16, as a special guest for our monthly event, moderated by Lee Garlington, called The Actors Evening. Douglas is on a book tour for her new book I Blame It On Dennis Hopper. She told us stories from her life, book and films that were hilarious and poignant. Douglas has starred in such notable films as Cape Fear, To Die For, Picture Perfect and Ghost World. Illeana Douglas, 3rd from left, with members of the SAG-AFTRA Los Angeles Conservatory Committee, from left, Wynter Spears, Lee Garlington, Tim Powell, Michael D. Cohen and Reed Young Photo by Anthony Storwick IF YOU RE THE SEED, ARE YOU PLANTED IN THE RIGHT SOIL? continued from page 1... If you re the seed, the kernel of creativity, art, truth and light that emanates from your core; if you re being your authentic self and your life is not yet manifesting your dreams, maybe you re not planted in soil that s fertile enough for you. My client is now thinking about her show. She s going to be talking about it with all her creative friends, her improv group, her best friend who writes on a sitcom. Energy begets energy. You put it out there, it comes back. Maybe she won t be the star of a show, but I can promise you, her trajectory will shift as she plants her dreams in more high-yielding, nutrient-rich soil. By the by, I don t think it was a coincidence that artistic director was sitting next to her on the plane. That part of her life is happening because, there, she s authentically happy and artistically 2

3 HOW TO REGISTER REGISTRATION OPENS AT EXACTLY 10 a.m. ONE WEEK PRIOR TO THE INDIVIDUAL WORKSHOP CALL Monday - Friday 10 a.m. - noon and 1-4 p.m. Example: If the workshop you would like to attend is on Wednesday, please call the prior Wednesday starting at 10 a.m. You must have your SAG-AFTRA ID number ready when you call to reserve your space. Reservations are not accepted via voic or . Only cancellations are accepted via voic or . DO YOU WANT TO AUDITION FOR AFI PROJECTS? CREATE OR UPDATE YOUR iactor PROFILE TODAY! The Conservatory database for casting is now online! We have joined forces with iactor and all Conservatory members wishing to be considered for AFI projects must have an iactor account. Click the link to create or update yours today. sagaftra.org/iactor-online-casting LOCATION OF CLASSES All workshops are held in the Mayer Library Building (LIB) at the top of the hill (the building where the office is located) unless otherwise noted. LIB: LIBRARY BUILDING WB: WARNER BUILDING (Example LIB 100 is Library Building, room 100) F/B: FRANKOVICH BARNES SCREENING ROOM First floor Library Building MGSR: MARK GOODSON SCREENING ROOM Second floor Library Building *SEE BACK PAGE FOR A MAP OF THE AMERICAN FILM INSTITUTE CAMPUS MISSION STATEMENT The SAG-AFTRA Los Angeles Conservatory exists as a place for actors to stretch their artistic muscles, practice their craft and sharpen their skills. The Conservatory also provides actors the opportunity to build an artistic community in a safe and relaxed setting. Overseen by dedicated professionals, the SAG-AFTRA Los Angeles Conservatory offers members a means to nurture their talents, mechanics and skills through workshops, seminars and AFI student projects. The goal is to lead to a better understanding of the role of the professional actor in the business of acting and to a more successful and productive career. 3

4 SPRING CALENDAR OF WORKSHOPS *PLEASE SEE DESCRIPTIONS FOR LOCATION* MARCH 2016 MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY APRIL 1 APRIL 2 NO WORKSHOPS 6 p.m. SVW: APRIL 2016 MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY p.m. SVW: 6 p.m. SVW: 7 p.m. Theatrical Video 7 p.m. Actors Evening p.m. SVW: 6 p.m. SVW: 6:30 p.m. Open Camera *each student assigned time slot 7 p.m. Voiceover p.m. SVW: 6 p.m. SVW: 7 p.m. Theatrical Video 7 p.m. Improv p.m. SVW: 6 p.m. SVW: 7 p.m. Voiceover MAY 2016 MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY p.m. SVW: 6 p.m. SVW: 7 p.m. Theatrical Video 7 p.m. Actors Evening p.m. SVW: 6 p.m. SVW: 7 p.m. Voiceover p.m. SVW: 7 p.m. Theatrical Video 6 p.m. SVW: 6:30 p.m. Open Camera *each student assigned time slot 7 p.m. Improv p.m. SVW: 6 p.m. SVW: END OF SPRING SESSION MEMORIAL DAY WEEKEND 7 p.m. Voiceover 4

5 WORKSHOP DESCRIPTIONS *PLEASE REFER TO CALENDAR FOR EXACT DATES* BEGINNING & INTERMEDIATE WORKSHOPS We are now offering beginning and intermediate classes in our Cold Reading, Commercial Audition and Scene Video Workshops. This is to better meet the needs of our membership. Please read the self-selection process on the next page carefully. We ask that you please follow these guidelines so that you and your fellow actors will have the best experience possible. This is not a consecutive program. It is requested that you stay in your level until your experience changes to fit the next level. Please see page 6 for the selection criteria. Actors Evening First Tuesday of each month 7-10 p.m. Mark Goodson Screening Room (MGSR) Limit 136 students Industry professionals appear in a seminar format to discuss their business and answer questions. Cold Reading Tuesday and Wednesday mornings and rotate days 10 a.m. - 1 p.m. Library Building Room 101 Limit 10 students Learn and develop effective auditioning techniques. Commercial Audition Monday nights and rotate weeks 7-10 p.m. Library Building Room 100 Limit 10 students Learn how the commercial audition process works in an on-camera workshop that simulates a real audition. Your work will be videotaped, followed by viewing and comments. RESERVATIONS BEGIN AT 10 a.m. EXACTLY, ONE WEEK PRIOR TO THE WORKSHOP. ALL WORKSHOPS ARE STAND-ALONE CLASSES. Improv Third Wednesday of each month 7-10 p.m. Library Building Room 102 Limit 30 students Learn improvisation skills to help make you a more creative actor. Open Camera Third Friday of each month *6:30-9:30 p.m. (each student is assigned a specific 30-minute time slot) Library Building Room 101 Limit 6 students. Students get a half hour with director, Nick Leland to work on camera. Bring a prepared monologue or scene (with another Conservatory member only), or even try different looks. Please bring a flash drive to record your work and take it home to study. Scene Video Workshop Tuesday and Thursday nights and rotate days 6-10 p.m. Library Building Room 100 Limit 10 students Upon arrival, you will be given a scene, paired with a partner and given instruction. You will have minutes to work on the scene. All students then shoot the scene on camera and watch your work followed by comments and direction. Theatrical Video First and third Wednesdays 7-11 p.m. Library Building Room 100. Limit 8 students Simulated theatrical interview and cold reading on video followed by viewing and comments. Bring picture and resume. Voiceover Second and fourth Tuesday 7-10 p.m. Library Building Room 102. Limit 15 students Learn various voiceover techniques for commercials, animation and narration. 5

6 BEGINNING & INTERMEDIATE WORKSHOP SELF-SELECTING CRITERIA Some of our workshops and classes are customized to experience levels. Please select the level that most appropriately describes your experience. We suggest that you meet three of the four criteria to join in the level. If you are unsure which level you are in, please take the beginning class to start. This is not a consecutive program. It is requested that you stay in your level until your experience changes to fit the next level. Also, if you are an intermediate-level actor, you do not need to take the beginning class. BEGINNING SAG-AFTRA ACTING EXPERIENCE: Background work and/or one TV co-star role and/or two TV commercial credits (include union productions before you were a member) OTHER ACTING EXPERIENCE: None or limited to community theater STUDENT or AFI FILM EXPERIENCE: None or up to three credits ACTING TRAINING OUTSIDE OF SAG-AFTRA CONSERVATORY: None or limited to one year or less of training INTERMEDIATE SAG-AFTRA ACTING EXPERIENCE: Has two or more co-star or guest star credits, and/or four or more TV commercial credits (include union productions before you were a member) OTHER ACTING EXPERIENCE: One or more professional theater acting credit (preferably Equity or Equity Waiver) STUDENT or AFI FILM EXPERIENCE: Four or more credits or a lead role credit in two or more projects ACTING TRAINING: Equivalent of two years or more of ongoing classes THE PRACTICAL ACTOR Advice from a Working Actor By Kevin McCorkle Q: HOW DO I NETWORK TO BECOME MORE SUCCESSFUL? Relationships are the most valuable part of your acting career. Building, nurturing and maintaining those relationships is essential to your success. You will find that as your career grows and matures, there will be thousands of people that influence you and have a hand in your progress and ultimate success. Relationships, just like your career, will have ups and downs and will ebb and flow. Some relationships will be strategic, you will pursue them in a calculated and well-thought-out way based on research and planning. For instance, your pursuit of an agent that effectively represents you may happen in just this way. Often though, relationships develop through showing up and being open to the possibility of a relationship developing. You could meet someone at a volunteer event, at a union function, at an audition, at a social function, at a workshop or class. There are even networking functions designed to allow people with similar needs and interests to get together. I have to admit I am not a fan of the word networking or the premise behind it. We are all much more than what we do and relationships are based on this idea. Of course, we enjoy our work and often we even enjoy the tough pursuit of the work. My older self would tell my younger self that it s important to ask what I can give to a relationship rather than what I can get out of it, and to ask how can I help someone rather than seeking their help. When you approach it in this relationship-building manner, then the foundation of the connection you build will be long lasting and beneficial. If you set a goal of getting out there, showing up and diving in, then your circle of friends and connections will grow and your foundation will become stronger. It is a natural way to build relationships and surround yourself with like-minded and successful people. Once you are in that group and supported by a team, your opportunity for success is strengthened and enhanced. 6

7 THE SAG-AFTRA LOS ANGELES CONSERVATORY COMMITTEE The Conservatory is run by a team of committed volunteers who form the SAG-AFTRA Los Angeles Conservatory Committee. They are responsible for directing the programs, panels and events at the Conservatory and put a great deal of time and commitment into making this great entity of ours run strong. We have some wonderful returning members and some new ones as well, and want to take this opportunity to introduce them to you. MURISA HARBA NICHOLAS LELAND TIM POWELL BOB TELFORD TEDDY VINCENT WILL WALLACE MICHAEL D. COHEN GABY SANTINELLI ANGELA WATSON KEVIN MCCORKLE BILL APPLEBAUM SHAAN SHARMA MARI WEISS LEE GARLINGTON WYNTER SPEARS REED YOUNG 7

8 SAG-AFTRA LOS ANGELES CONSERVATORY Rules and Regulations 1. Membership subscription is $35 per annual season and is non-refundable. 2. You must be a paid-up SAG-AFTRA member in good standing. However, only those who reside in the Los Angeles area may participate in the AFI projects. Conservatory membership begins when your application is received and processed, and will continue through July of the following year. 3. If you are unable to attend a workshop or attend an audition, you must call the office in advance if possible. Cancellations will be honored until 9 a.m. the following day for night classes, and up to the start time for day classes. If you fail to cancel, a no-show will appear on your record. After one "no-show, you cannot take the missed workshop for three months. If you get three no-shows, you will be prohibited from taking ANY workshops for three months. 4. Workshops are closed 15 minutes after the scheduled start time. Latecomers may not be allowed into the class and will be recorded as a no-show. Please be courteous of others and be on time. 5. Workshop leaders will announce the applicable rules and regulations of each particular workshop at the start. If a member breaks any rules, the Committee reserves the right to remove the member from the workshop and/or the Conservatory. 6. Members who miss an audition for any AFI project without calling to cancel will lose the right to audition for the remainder of the semester. The SAG-AFTRA Conservatory office will notify members that they have two weeks to explain their actions in writing. If a letter is received, the Conservatory Committee or its designees will accept or deny the excuse. Incidences deemed unexcused will result in the member being marked ineligible for any and all casting consideration by AFI fellows for the semester. Members may appeal the decision by requesting an appearance before the committee as detailed in section 7 below. Repeat occurrences may jeopardize membership in the Conservatory. Members who have broken any of these rules, or who have been cited for conduct unbecoming will be notified in writing of the grounds for dismissal. The member has the right to a hearing before the Conservatory Committee and will be provided a description of the process in advance of their appearance. a. If the member elects to have a hearing, it is the member s responsibility to contact the office at within 10 days, or as otherwise instructed, from the receipt of the Committee s letter. Members who do not appear before the Committee will have their Conservatory membership canceled. b. Hearings shall be held at SAG-AFTRA offices before no fewer than seven Conservatory Committee members at the next scheduled Committee meeting. c. The decision of the Conservatory Committee is final. Appeals may be requested within 10 days of the receipt of the Committee s decision. Appeals must be sent to the SAG-AFTRA Los Angeles Executive Committee. SAG-AFTRA members are expected to conduct themselves in a professional and respectful manner at all times. This includes their fellow members, the SAG-AFTRA volunteers and staff, as well as the AFI fellows and staff. We appreciate your cooperation in helping to make the SAG-AFTRA Los Angeles Conservatory a great place for actors to work and learn together. By joining the SAG-AFTRA Conservatory you have taken an aggressive and positive step in advancing your career. Congratulations! We hope you ll make the most out of your experience here by participating in our workshops and special events, volunteering, and contributing your talents to AFI directing and cinematography classes, as well as, of course, the first and second year films. AFI is a two-year Masters program and, with our SAG-AFTRA agreement, first-year students, called fellows, are required to use SAG-AFTRA Los Angles Conservatory members. We are located on the campus of The American Film Institute 2021 N. Western Ave. Hollywood, CA If you are heading east on Franklin Avenue, turn left (north). The AFI campus is halfway up the hill on the left. Turn into the driveway and go up the hill (past Immaculate Heart High School). The first building on your left is the Warner Building, where many auditions for student films are held. To get to the SAG-AFTRA Los Angeles Conservatory office, continue driving further up the hill. As you veer left, you ll see a white two-story building, the Mayer Library Building. The SAG-AFTRA Conservatory office is located in the Library Building, room 100, on the ground floor N. WESTERN AVE. LOS ANGELES, CA PHONE: CONSERVATORY@SAGAFTRA.ORG SAGAFTRA.ORG/LACONSERVATORY 8