Spring 2017 GETTING. AND UNHOOKED By Lee Garlington IN THIS ISSUE: How to Register for Classes. Workshop Schedule 4-5. Workshop Descriptions 6-8

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1 Spring 2017 GETTING HOOKED AND UNHOOKED By Lee Garlington Entering into the life of the business of show, as I like to call it these days, requires developing a specific toolset for your emotional well-being. I mean, seriously, you gotta do it. It s a toolkit that is different for each and every one of us thespians because each us of has different ways in which we get hooked. What does getting hooked mean? It means that thing, that experience, audition or job, that comment by a frenemy, coach, agent, manager, teacher, casting director or even a well-meaning family member that gets its claws into your psyche and won t let go. I envision an actual fishhook. It grabs you, it hurts and it won t kill you as long as you get it out. Why does this happen? I think it s partly because we make our living in a way that usually involves us being vulnerable in front of others. We are not hiding out in the background; the camera or audience s eyes are on us. We put all of ourselves on the line, fully IN THIS ISSUE: How to Register for Classes Workshop Schedule Workshop Descriptions Conservatory Rules and Regulations visible, so that when something unpleasant this way comes, our psyches are open. We are available to be hurt a little more than the average bear. I get hooked by not getting a part I really, really wanted to get and was convinced I had done such a good job at the audition that no one could possibly have done a better job. Then I don t get that part. Then I get hooked. An old tape begins to play in my head and my heart: I m less than; I m not good enough; I m a failure; it s not fair; where s mine; why, God, why? My tape is about feeling like a victim. I m being victimized by the business of show. It doesn t happen very often I ve been doing this for a thousand years now, so it better not! But every now and then, one slips in and grabs me and I have to pick up my toolkit. My tools for getting unhooked are the following: 1. Right-sizing. I neither diminish nor augment what I m feeling. I don t make this one experience an indictment of the horror of the entertainment industry. I don t beat myself up because I m feeling disappointed and a little sorry for myself. I own it. I experience it. I see it for what it is: a part I didn t get that I wanted, not one I was entitled to. 2. Expressing my disappointment. I talk about it with my husband or a trusted friend. I write about it. I cry. I meditate. 3. Letting it go. I express my disappointment for a finite time period. I don t talk about it endlessly with multiple parties. I get it out, I feel the feelings and then I put a lid on it time to put on my big-girl pants and move on. I do have actor friends who don t go through this. At all. They are healthier and more well-adjusted than I am, and I secretly hate them. I have other actor friends who get hooked by completely different things: a director who wouldn t let them have that third take; a part that was bigger in the audition than it was on the set; feeling judged by fellow actors; feeling envious of another actor with a better career; never feeling that what they did was good enough. Those things don t hook me. Not today. What hooks you? Do you ever get caught by something that hurts you or makes you angry? What tools do you use? I have heard for most of my life that the hallmark of emotional sobriety is living with unresolved conflicts. There is so much of show business that is not explained, resolved or smooth sailing. There are tons of traps, triggers, pitfalls, and looming disappointments and letdowns. We have to be emotionally supple and flexible. In addition to taking classes and learning about the business side of show business, part of your job is to maintain your emotional well-being. Keep that toolset handy!

2 Just Wing It By Bill Applebaum An actor may hear at an audition, Just wing it, but what does that really mean? The term to wing can be traced back to the late 1800s and the London theater, when actors played a role without fully knowing the text. They learned the best they could in the wings and then were given assistance when they were on stage by a special prompter who was screened by a piece of scenery or a wing of the stage. To wing it is now an idiom that means to do something without preparation, to improvise. However, even great improvisers never just wing it. People don t improvise in a void. They prepare. People can and do prepare to improvise. ACTORS NEED TO REMEMBER CREATIVITY IS A PROCESS, NOT AN EVENT. First, one learns the guidelines for what helps make successful improvisations. We all have heard don t deny, yes and, show us, don t tell us. But more importantly, one needs to know in what context are you improvising? Improvising on stage is different than improvising for film/ television or for commercials. Know what, if any, limitations there are when you are improvising. For example, it s unlikely in the U.S. market one would ever swear while improvising at a commercial audition. However, that likely wouldn t hold true for a theatrical audition. Knowing that context is important, which would then allow the actor to improvise creatively within that audition. Improvisation began as a way to help actors develop characters, examine possibilities and explore the creative process. Actors need to remember creativity is a process, not an event. Entering a creative state takes practice. Practicing helps suppress the need to be perfect and, when one ceases trying to be perfect, one becomes free to improvise creatively. That s what classes are all about: to practice, to learn what it feels like to be inspired and play in the moment. Don t worry about trying to be funny when improvising. That s not what improvisation is about. Improvisers aren t trying to think of funny things to say. They are listening to what their partner is saying, staying in the moment and discovering what is happening together. Improvisers share the experience in true ensemble fashion, playing the truth in what is happening, while trying to make their partner look good. If an actor does that, then the funny will come. The funny comes from playing the truth. Casting directors want actors to be able to improvise to free up their imaginations, not to be clever but to be creative. That affords each individual to bring their unique take on whatever role they happen to be auditioning for. So prepare yourself. Take an improv class. Take many. Don t worry if you don t think you re funny or if the idea of improvising terrifies you. Know that improvisation is just about learning to trust one s creative impulses. Once an actor understands that, they ll be able to just wing it anytime. IS IT TIME TO UPDATE YOUR REEL AND YOU ARE MISSING AFI FOOTAGE? 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 Conservatory is that you, as the actor, are guaranteed to receive a copy of the work you have done for the first-year AFI cycle films. Currently, we have hundreds of DVDs waiting 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 10 a.m. - noon and 1-4 p.m. 2

3 HOW TO REGISTER CLASS REGISTRATION IS NOW ONLINE! To see an online calendar of our classes and find links to enroll, please visit our website at sagaftra.org/laconservatory On the left side of the page click the link that says Workshops You must be logged into your SAG-AFTRA account to see the online calendar and to enroll in a class. Registration for classes and special events will open at exactly 10 a.m. one week prior to the individual workshop. Example: If the workshop you would like to attend is on Wednesday, enrollment will open the prior Wednesday starting at 10 a.m. Reservations are not accepted via voic or . 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 (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 WB: WARNER BUILDING *See back page for a map of the American Film Institute Campus DO YOU WANT TO AUDITION FOR AFI PROJECTS? CREATE OR UPDATE YOUR iactor PROFILE TODAY The Conservatory database for casting is 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 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* APRIL 2017 MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY 1 10 a.m. Self-Taping for Actors 3 Orientation 4 7 p.m. Actors Evening 5 7 p.m. Theatrical Video 6 6 p.m. SVW: 7 p.m. SPECIAL EVENT Intro to Stand-Up Comedy a.m. SPECIAL EVENT Remove the Subconscious Beliefs Holding your Career Back p.m. SVW: 7 p.m. Voiceover p.m. Improv a.m. Headshots: Review and Guidance 2 p.m. Social Media Strategy p.m. Theatrical Video 20 6 p.m. SVW: 21 6:30 p.m. Open Camera *each student assigned time slot 22 10:30 a.m. General American Accent Clinic 2 p.m. Chakra Acting Techniques p.m. SVW: 7 p.m. Voiceover 201 4

5 SPRING CALENDAR OF WORKSHOPS *PLEASE SEE DESCRIPTIONS FOR LOCATION* MAY 2017 MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY 1 Orientation p.m. SVW: a.m. Self-Taping for Actors Audition, Technique 7 p.m. Actors Evening 7 p.m. Theatrical Video p.m. SVW: 10 7 p.m. Improv :30 a.m. General American Accent Clinic 7 p.m. Voiceover p.m. SPECIAL EVENT Specificity- Creating Moments That Book Work 17 7 p.m. Theatrical Video 18 6 p.m. SVW: 19 6:30 p.m. Open Camera *each student assigned time slot a.m. Headshots: Review and Guidance 10 a.m. Chakra Acting Techniques 2 p.m. Social Media Strategy p.m. SVW: End of Spring Session 27 7 p.m. Voiceover MEMORIAL DAY Registration for all workshops and events is now online! Visit our website for more details. sagaftra.org.laconservatory You must be signed into your SAG-AFTRA account to view the online calendar. Reservations begin one week prior to the workshop at 10 a.m. exactly. All workshops are stand-alone classes. Reservations are required for all events and workshops. 5

6 WORKSHOP DESCRIPTIONS ACTORS EVENING First Tuesday of each month Mark Goodson Screening Room (MGSR) Limit 136 students Industry professionals appear in a seminar format to discuss their business and answer questions. CHAKRA ACTING TECHNIQUES Saturday, April p.m. -and- Saturday, May a.m. - noon Library Building Room 102 Limit 25 students Using the chakras (or the body s natural energy centers) to tap into what is already inherent in our body as human beings is a way to physically, vocally and intentionally warm up the actor s instrument: the body. The actor will then learn how to incorporate the chakras into their character-building and scene work to garner rich, connected results that happen organically. This approach empowers the actor to shift from a heady approach to utilizing the whole body and voice as a true instrument, while delivering strong, concrete decisions in their prep work. 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 TECHNIQUE Monday nights Library Building Room 100 Limit 14 students Focused commercial audition training of all types: subtle and broad comedy, commercial, improv, using the board, process and pre-game, taking direction and redirects, room etiquette, insider tips and more. COMMERCIAL ORIENTATION First Monday of each month Frankovich Barnes Screening Room (FBSR) Limit 74 students *A prerequisite to Commercial. This workshop will offer a solid understanding of the commercial side of the business and cover everything from how commercial is different than theatrical, essence and brand, marketing, headshots, reels, representation and strategy. This course will cover the entire casting process through avails and booking. GENERAL AMERICAN ACCENT CLINIC For non-american actors and American actors with regional American dialects Saturday, April 22 -and- Saturday, May 13 10:30 a.m. - 1 p.m. Library Building Room 101 Limit 10 students Are you originally from another country and want to master the General American accent to have more acting opportunities in America? Are you an American actor with a regional American dialect who would like the option to speak neutral Gen Am? Get down to the nitty gritty with Gaby Santinelli at this rapid-fire diagnostic American accent clinic. Gaby will determine where you re at today with your General American accent. And she ll guide you toward what to do next. Please bring two printed copies of a one-minute monologue. Alternatively, text will be provided for participants on the day, for a cold-reading-in-general-american experience. We offer beginning and intermediate classes in our Cold Reading and Scene Video workshops. Please read the self-selection process carefully. We ask that you please follow these guidelines so that you and your fellow actors will have the best experience possible. Please see page 9 for the selection criteria 6

7 HEADSHOTS: REVIEW AND GUIDANCE Third Saturday of each month 10 a.m. - 1 p.m. Frankovich Barnes Screening Room (FBSR) Limit 74 students *This workshop is being offered twice, it is not a two-part class Taught by Theo and Juliet, along with occasional special guest CDs. They will review your current headshots, make personal recommendations and teach the strategy actors must have to get the most out of their photos and marketing. Theo and Juliet have been industry-leading headshot photographers for over 25 years. Here is your chance to experience why. IMPROV Second Wednesday of each month 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. SELF-TAPING FOR ACTORS First Saturday of each month 10 a.m. - 1 p.m. Library Building Room 102 Limit 30 students This workshop covers low-cost, simple techniques for producing quality video uploads for auditions. Learn lighting basics, producing quality audio, framing and videography as well as file compression, size reduction and internet delivery. Best practices for the best results. SOCIAL MEDIA STRATEGY Third Saturday of each month 2-5 p.m. Frankovich Barnes Screening Room (FBSR) Limit 74 students *This workshop is being offered twice, it is not a two-part class Learn how to develop a beneficial social media presence and incorporate it into your daily life. Will include Facebook, Instagram, Twitter, YouTube and other relevant platforms and outline how they can best be utilized as an actor. For the more savvy digital marketing actor, learn to make more efficient use of your media platforms, including tools and techniques to use your brand to fine-tune fan and follower engagements and interactions. Topics will include following relevance in casting, content calendars, sponsored content, timed and precise posting, and gaining smart and interactive followers. 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 a picture and resume. VOICEOVER Second and fourth Tuesday Library Building Room 102 Limit 15 students Voiceover Second Tuesday: An introduction to a career in VO, covering basic mic techniques, working with commercial copy and finding your voice. Voiceover 201 (VO 101 a prerequisite unless a working VO actor) Fourth Tuesday: More in-depth techniques in the areas of animation, promo and narration. 7

8 SPECIAL EVENTS INTRO TO STAND-UP COMEDY Instructor: Matthew Moore and Corey Craig Thursday, April 6 Library Building Room 102 Limit 20 students Learn how to make your life experiences the subject of a killer stand-up set! This workshop will go over stand-up comedy basic rules including setup, premise and stage etiquette, and everyone will have the opportunity to test out freshly mined material before the end of class. Taught by Cool Beans Comedy regular host Matthew Moore and producer Corey Craig, with a collective 20 years of stand-up comedy experience. REMOVE THE SUBCONSCIOUS BELIEFS HOLDING YOUR CAREER BACK Instructor: Kym Jackson Saturday, April 8 11 a.m. - 2 p.m. Frankovich Barnes Screening Room (FBSR) Limit 74 students Why is it easy to achieve some goals while others feel out of reach? Why do we self-sabotage? Do you ever not follow up after meeting someone? Not learn your lines until the last minute? Procrastinate? Beat yourself up for over it, but still do it again the next time? Most successful actors have learned to overcome these issues and they move forward swiftly as a result. This invisible force causing us to procrastinate lies deep within the subconscious beliefs we have developed throughout our lives. These blocks plant fear and doubt deep in our minds and prevent us from moving forward in the pursuit of our dreams. TV Academy member, working actor and author Kym Jackson will share with you proven, specific, tools and strategies you can immediately apply to locate and clear your subconscious blocks and align yourself energetically so the right people, roles and opportunities show up with ease all the time. Save the Date! 2017 Summer Intensive July 28 - July 30 SPECIFICITY - CREATING MOMENTS THAT BOOK WORK For actors at the advanced level (Beg. and Int. invited to observe) Instructor: Michael D. Cohen Tuesday, May 16 Mark Goodson Screening Room (MGSR) Limit 136 students (not all will work) We often try to be unique and creative as actors, but the most effective way to book work is by accessing our authenticity and creating full, memorable moments one after the other. This workshop, taught by Michael D. Cohen, will invite advanced-level actors to work at the front of the room to hone their specificity in scene work and auditions. Beginner/intermediate level members are encouraged to attend and observe. Please see page 9 for a list of criteria for the advanced actor. ACTORS WANTED AFI directors and cinematographers are often looking for actors to volunteer and assist in various classes and workshops on the AFI Campus. Although no footage is given from these classes, you have the opportunity to work alongside and network with some of the best up-and-coming filmmakers in the industry. Many times, actors are needed for a few hours during the day or evening, but in those hours, great relationships are often formed and it can also be a fantastic learning opportunity for you to gain more insight into the world of filmmaking from the other side of the camera. If you are interested, please Dawn at conservatory@sagaftra.org or call the office at

9 BEGINNING, INTERMEDIATE & ADVANCED 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. Note: For example, if you are an intermediatelevel 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: 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 OUTSIDE SAG-AFTRA CONSERVATORY: Equivalent of two years or more of ongoing classes. ADVANCED SAG-AFTRA ACTING EXPERIENCE: Three or more co-star or guest star credits, and/or five or more TV commercial credits (include union productions before you were a member), and/or one or more recurring guest star credits, or three or more co-star recurring credits, and/or one or more series regular credits on a broadcast (ABC, NBC, CBS etc.), streaming (Amazon, Netflix, etc.) or cable (HBO, Showtime, etc.) network. OTHER ACTING EXPERIENCE: Three or more professional theater acting credits (preferably Equity or Equity waiver.) ACTING TRAINING OUTSIDE SAG-AFTRA CONSERVATORY: Equivalent of four years or more of ongoing classes. 9

10 THE PRACTICAL ACTOR Advice from a Working Actor By Kevin McCorkle Q: I am so frustrated it seems like I m not getting anywhere with my career. People all around me are booking, but I can t seem to get past the call backs on commercials or being pinned for TV and movies. How do I break into that small percentage of actors that make their living doing what they love? A: You are in a space that many actors find themselves in. The state of overwhelm. We look at the statistics, the percentages, the odds and the successes that others are experiencing and we panic, fall apart, give up, settle for working for any job that comes along. It is a downward spiral if we let it take over and tear us down. Most actors experience this feeling of hopelessness and downright despair at points in their journey, others sink into it like quicksand and never escape the devastating effects of overwhelm. How do we deal with it? The pressure, the rejection, the sheer numbers and statistics that we face on a daily basis as we pound the pavement seeking agents, managers, auditions, opportunity, acceptance, approval, validation, pay for our work, respect and much more. When I find myself faced with overwhelm I don t turn to alcohol, drugs or any type of distraction that will keep me in that state by hiding it or masking it from my consciousness. I accept the overwhelm and decide to take it on, crush it, deny it the ability to paralyze me or even slow me down. I take an honest look at where I am, what I am doing, what I am capable of and how I can destroy overwhelm in a practical, strategic and consistent manner. Overwhelm is all about perception. Where you want to be as opposed to where you are and the steps, action, work and opportunity you need to get there. When you begin to compare yourself to others who are far more successful or ahead of you, then you are only looking at part of the equation. You are living in a state of want, need and sometimes even entitlement. To see the big picture, you also have to look at those who are less successful than you are those who are behind you. If you see the whole picture, then you know that you are somewhere in between. In order for you to escape overwhelm you must acknowledge your strengths, advantages and capabilities and use them to move forward. It is equally important to determine your weaknesses, challenges and deficiencies, and focus on changing them to prevent them from holding you back. Writing down a list of pros and cons is a good way to start the process of championing what you have, who you are and what you can change to put yourself in a better position to succeed at what you love. Once you begin to act on it, you can transform the feeling of being overwhelmed into managed purpose and determination. The odds that seemed so insurmountable will disappear into a perspective of possibility. The percentages that seemed so great against you will begin to tip in your favor. The feeling of weakness and incapability will transform into empowerment and skill. If overwhelm is stopping you or slowing you down, try writing down what you are grateful for, what makes you special, what advantages you have already manifested toward your success (living in Los Angeles and being a member of one of SAG-AFTRA, the most powerful and beneficial unions, are two items on the list that put you ahead of thousands of other actors). Don t overwhelm yourself with the list; make it 10 points or less at first. Next, write down 10 things or less that you could do to improve your chances of being a successful actor. Now do those things for at least 30 days before you write your next list of 10 and 10. Watch your attitude shift and your career move forward in ways you never thought were possible. REGISTRATION FOR ALL WORKSHOPS AND SPECIAL EVENTS IS ONLINE Visit our website at sagaftra.org/laconservatory Be sure you are logged in to your SAG-AFTRA account Click Workshops to see an online calendar. Reservations are required for all events and workshops. 10

11 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 want to take this opportunity to introduce them to you. MURISA HARBA NICHOLAS LELAND BOB TELFORD TEDDY VINCENT JANE AUSTIN TIM POWELL WILL WALLACE KEVIN MCCORKLE GABY SANTINELLI ANGELA WATSON BILL APPLEBAUM SHAAN SHARMA MARI WEISS LEE GARLINGTON WYNTER SPEARS 11

12 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. GETTING THERE 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 at the north end of the building.