The car accident wasn't my fault, however, I feel an immense amount of guilt about it because nothing is getting resolved. The driver who hit me, as of Friday, (so day 5 after the accident) still hasn't returned or called his claims rep, and is not answering their calls. As much as I would love to give him the benefit of the doubt - I can't. He is screwing me over. I cannot get any money for my totaled vehicle until he makes contact with his insurance and gives his side of the story.
So the guilt - yes. I feel guilty because I can't fix the above problem, can't get money for the down payment of a new car for me, and I feel like all of this means I somehow I failed my husband, failed our partnership. I said no to collision when we were getting insurance together and trying to lower the costs. Something I had NEVER been comfortable with. The last two months, I kept reminding myself, remember when you get a new car, to add collision. add collision. I heard that voice. I ignored it. Tried to wait it out. Finally, finally, we had a little bit of savings, and we were going to spend that on plane tickets to visit his family for his Dad's 70th birthday. But I need a car and we do not have the money to purchase one. If I had collision, I would have been paid out immediately, and then my insurance would deal with all this without me. Instead,
Everything is still on hold. Everything.
Of course, if you asked my husband how I'm doing, he'd probably beam and say, "She's handling this very well! You should see her! She's so on top of everything! She's making calls and seeing what our options are."
The only problem is, of course, we don't have any options.
Not until that other driver calls his insurance and says, "Yes, I was driving that car."
I don't know what to do.
I don't know what I can do.
I have never felt so helpless.
Sunday, January 20, 2013
Thursday, January 17, 2013
Totaled
I was in a car accident on Monday and I just got the call today that my beloved little Toyota Echo is a a complete loss.
Now, I'm so incredibly lucky that I was not hurt, that the other driver was not hurt, that no bystanders were hurt, however, this whole process has been unbearably slow and completely throwing me for a loop.
As an actress in LA, I practically lived in that car, setting up shop sometimes on the 405 for a few hours, trying to get home at a pace a snail would lap. She had great gas mileage too. And the driver's seat sat higher than most, so even though she was a small car and I could parallel park anywhere, I still felt safe and like I could see around the other bigger, meaner cars.
So tomorrow the hubs and I go test driving for something with four doors because heck, maybe we'll have a baby. Isn't that a weird, terrifying thing to think?
Speaking of babies, a young whippersnapper wrote:
Hey Ari,
It's been a long, long time since I was last in high school, but even way back then, there were at least a few friends in my circle who had video cameras, and at least one of them could edit.
Nowadays, everyone has a video camera in their pocket or purse. How the times have changed!
You say you are at a performing arts high school and have never booked a job. Ahem. You mean you never booked a professional job outside of school, correct? Because you've been in plays, you've been cast in school projects. You've worked. At 18, agents and casting directors love those who did all the dramatic extracuriculars in high school. You committed to projects, to roles. You committed to rehearsals and performances.
So, I'm pretty sure you have a few monologues in your back pocket. A few scenes you've done for class.
You have material.
Should you record it and upload it to Actors Access?
Yes!
HOWEVER!!!!
Make sure that whatever you decide to do (do a monologue - then you save yourself from having to edit it) is WELL LIT meaning we can see you, WELL FRAMED, and that the SOUND IS AWESOME.
Heck, you can even write something for yourself all meta-like by writing a monologue specifically for a webcam - Like how you always think you look weird when you see yourself on camera! Whatever!
Make sure it sounds good, it looks good, and that it's you at your best!
And good luck! Have fun with it!
Now, I'm so incredibly lucky that I was not hurt, that the other driver was not hurt, that no bystanders were hurt, however, this whole process has been unbearably slow and completely throwing me for a loop.
As an actress in LA, I practically lived in that car, setting up shop sometimes on the 405 for a few hours, trying to get home at a pace a snail would lap. She had great gas mileage too. And the driver's seat sat higher than most, so even though she was a small car and I could parallel park anywhere, I still felt safe and like I could see around the other bigger, meaner cars.
So tomorrow the hubs and I go test driving for something with four doors because heck, maybe we'll have a baby. Isn't that a weird, terrifying thing to think?
Speaking of babies, a young whippersnapper wrote:
Dear Struggling Actress,
My name is Ari. I'm eighteen years old and a senior at a performing arts high school in NYC. While I've done some community theater when I was much younger and I've undergone four years of training, I'm incredibly new to the industry. I saw your post on how to use Actors Access effectively, and it was extremely helpful. I just have one question, though--I want to upload a reel to be put at the top of 'the pile', as you said, but I don't have anything to show them. I've never booked a job, you see. So what should I put up there? A couple monologues? A reel of my skills?
Hey Ari,
It's been a long, long time since I was last in high school, but even way back then, there were at least a few friends in my circle who had video cameras, and at least one of them could edit.
Nowadays, everyone has a video camera in their pocket or purse. How the times have changed!
You say you are at a performing arts high school and have never booked a job. Ahem. You mean you never booked a professional job outside of school, correct? Because you've been in plays, you've been cast in school projects. You've worked. At 18, agents and casting directors love those who did all the dramatic extracuriculars in high school. You committed to projects, to roles. You committed to rehearsals and performances.
So, I'm pretty sure you have a few monologues in your back pocket. A few scenes you've done for class.
You have material.
Should you record it and upload it to Actors Access?
Yes!
HOWEVER!!!!
Make sure that whatever you decide to do (do a monologue - then you save yourself from having to edit it) is WELL LIT meaning we can see you, WELL FRAMED, and that the SOUND IS AWESOME.
Heck, you can even write something for yourself all meta-like by writing a monologue specifically for a webcam - Like how you always think you look weird when you see yourself on camera! Whatever!
Make sure it sounds good, it looks good, and that it's you at your best!
And good luck! Have fun with it!
Tuesday, January 15, 2013
Lucky
I can't sleep. I'm thinking about down payments and auto loans.
Yesterday, as I was driving home from visiting a friend, I saw a a guy making a left turn singing along to his radio. He doesn't see me, I thought. He's not going to yield! I braked hard and slammed down on my horn, knowing a hit was inevitable at that point. Don't hit the front of your car! Save your engine! I veered right, closed my eyes, and hoped for the best.
Impact.
I opened my eyes and I knew I had to get my vehicle out of the intersection. It slowly rolled and I parked it along the street. I called my husband. "I'm okay, but I was in a car accident." My voice wavered. "I'm at Cahuenga and Magnolia, parked next to the Little Caesar's" "I'm on my way," he said. I stuffed my phone in my pocket and gathered my license, insurance, a pad of sticky notes, a pen, my keys, and walked over to check on the other driver. He had already moved his vehicle out of the intersection as well. I didn't see it anywhere. A guy rolled his window down and said, "Hey! He's parked over at the gas station. Are you okay?" "Yes!" I called out. "And thank you!"
The driver was still near his car. I asked for his driver's license and registration. He said he didn't have that. I asked for his license. He repeated he didn't have one. I asked his name. Oscar Gomez. I asked for a credit card, registration, anything that verified the name he gave me. He refused. Okay, I said. I went to the back of his car and took a photo of his license plate. I came back to him and surreptitiously took two photos of his face. He told me that he doesn't even live here. Where do you live? Not here. Where are you staying? Hotel. What's the name of it? Cortez Hotel. Where is it? Sepulveda blvd. What is your phone number? I don't have a phone.
Everyone has a phone.
There must be a number I can reach you at. No. He said. You must have a wife, a daughter, who I can contact to get to you. He gave me a phone number with no area code. What's the area code? He gave it to me. Whose number is this? Mine, he said.
I need to see the car's registration. Reluctantly, he finally gives it to me, encased in plastic. This is all I have, he said. The last name is different on it than the name he gave me. I could have misheard him, but I think he was scared and outright lied to me. On the registration, it had his address, the license plate, the vehicle identification number. I flipped the plastic cover over. On the back was his AAA proof of membership. I took photos of both.
After asking for his license again, he said he didn't have one. I don't know if he was lying about that.
At this point, I should have called the police, but the last time I was in a car accident in LA about ten years ago, the 911 operator told me the police don't come to car accidents unless someone is injured. Neither of us were injured. I didn't think they would come out. They probably would have if I had told them this guy was breaking the law by not giving me his information, but I knew that by the time they'd arrive, he'd already be gone. Still, I should have at least called them to make a report.
I meant to take a photo of the damage to his car, but I didn't have the wherewithal to do that. I was very shaken up and not expecting the driver at fault to be so unhelpful. Eventually, we come to the point where I understand there's no more info I can get from him. "Okay then." I said. I wrote my name and number on a sticky note and gave it to him. Maybe he'd feel guilty? Call me?
I'm on the phone with a tow truck. I tell them the name of our car repair shop I want the car towed to. I'm then transferred to claims and am on the phone when my husband arrives. I haven't taken photos of my car yet, so I ask him to do it. He does. I'm still on the phone when I ask him to take everything in my car out. He does. Super helpful. I am calm but I'm so relieved he's here I almost break down into tears. Not conducive to the claims phone call, so I'm holding it together.
You should have called the police, my insurance says. Hindsight, yes. But if I had threatened Oscar with that immediately, I don't think he would have given me his registration card. He might not be Oscar, they said. He could be a relative or friend driving the car.
That never occurred to me.
They have to go through the DMV channels. They have to see if any of the information he gave me regarding the phone number and hotel match up.
I don't have collision insurance. If my vehicle is totaled and it's my fault, I'm at a loss. This, however, is an accident that's not my fault. Oscar didn't see me and didn't yield to me. Normally, his insurance, if he has any, would give my insurance all the money I need for repairs or the value of the car.
Now, automobile insurance doesn't cover the drivers; it covers the car themselves. It doesn't matter if Oscar is a friend or relative of the vehicle owner. The car's registration also is up to date until Feb of 2013. And in order to be registered, you must have some type of insurance.
My husband and I arrived to our auto shop before the tow truck. We talk to the owner and showed him a picture of the damage, saying, we know you can't accurately judge anything until you see it in person, but here's an idea of the scope. Can your shop handle it? Yes he said. But let's wait for me to see it. Two minutes later, as the tow truck pulls into the lot, the owner, Aziz, says, It's a total loss. It's totaled. I'm so sorry. I'm going to unhook it from the tow truck and take a look under the hood, but it's not going to be good.
The car is taken off the tow and he pops the hood. "This is not as bad as I thought!" he says. He shows us to metal bars that surround the engine. "If you had hit this bar or that one, it'd be a total loss, but instead, the engine and those bars are intact. It's a lot of body damage, but it can be repaired."
At this point, however, we wait. A rep from my insurance will go see the car sometime today and see if it's worth fixing. My claims service rep is trying to find Oscar.
I am lucky.
I am not hurt. No one was hurt. No bystanders or pedestrians were hurt. I am okay. He is okay. We are shaken, but we're okay.
Lucky.
And hey, if the car is a total loss, I really wanted a four door car anyway.
Silver lining?
Yesterday, as I was driving home from visiting a friend, I saw a a guy making a left turn singing along to his radio. He doesn't see me, I thought. He's not going to yield! I braked hard and slammed down on my horn, knowing a hit was inevitable at that point. Don't hit the front of your car! Save your engine! I veered right, closed my eyes, and hoped for the best.
Impact.
I opened my eyes and I knew I had to get my vehicle out of the intersection. It slowly rolled and I parked it along the street. I called my husband. "I'm okay, but I was in a car accident." My voice wavered. "I'm at Cahuenga and Magnolia, parked next to the Little Caesar's" "I'm on my way," he said. I stuffed my phone in my pocket and gathered my license, insurance, a pad of sticky notes, a pen, my keys, and walked over to check on the other driver. He had already moved his vehicle out of the intersection as well. I didn't see it anywhere. A guy rolled his window down and said, "Hey! He's parked over at the gas station. Are you okay?" "Yes!" I called out. "And thank you!"
The driver was still near his car. I asked for his driver's license and registration. He said he didn't have that. I asked for his license. He repeated he didn't have one. I asked his name. Oscar Gomez. I asked for a credit card, registration, anything that verified the name he gave me. He refused. Okay, I said. I went to the back of his car and took a photo of his license plate. I came back to him and surreptitiously took two photos of his face. He told me that he doesn't even live here. Where do you live? Not here. Where are you staying? Hotel. What's the name of it? Cortez Hotel. Where is it? Sepulveda blvd. What is your phone number? I don't have a phone.
Everyone has a phone.
There must be a number I can reach you at. No. He said. You must have a wife, a daughter, who I can contact to get to you. He gave me a phone number with no area code. What's the area code? He gave it to me. Whose number is this? Mine, he said.
I need to see the car's registration. Reluctantly, he finally gives it to me, encased in plastic. This is all I have, he said. The last name is different on it than the name he gave me. I could have misheard him, but I think he was scared and outright lied to me. On the registration, it had his address, the license plate, the vehicle identification number. I flipped the plastic cover over. On the back was his AAA proof of membership. I took photos of both.
After asking for his license again, he said he didn't have one. I don't know if he was lying about that.
At this point, I should have called the police, but the last time I was in a car accident in LA about ten years ago, the 911 operator told me the police don't come to car accidents unless someone is injured. Neither of us were injured. I didn't think they would come out. They probably would have if I had told them this guy was breaking the law by not giving me his information, but I knew that by the time they'd arrive, he'd already be gone. Still, I should have at least called them to make a report.
I meant to take a photo of the damage to his car, but I didn't have the wherewithal to do that. I was very shaken up and not expecting the driver at fault to be so unhelpful. Eventually, we come to the point where I understand there's no more info I can get from him. "Okay then." I said. I wrote my name and number on a sticky note and gave it to him. Maybe he'd feel guilty? Call me?
I'm on the phone with a tow truck. I tell them the name of our car repair shop I want the car towed to. I'm then transferred to claims and am on the phone when my husband arrives. I haven't taken photos of my car yet, so I ask him to do it. He does. I'm still on the phone when I ask him to take everything in my car out. He does. Super helpful. I am calm but I'm so relieved he's here I almost break down into tears. Not conducive to the claims phone call, so I'm holding it together.
You should have called the police, my insurance says. Hindsight, yes. But if I had threatened Oscar with that immediately, I don't think he would have given me his registration card. He might not be Oscar, they said. He could be a relative or friend driving the car.
That never occurred to me.
They have to go through the DMV channels. They have to see if any of the information he gave me regarding the phone number and hotel match up.
I don't have collision insurance. If my vehicle is totaled and it's my fault, I'm at a loss. This, however, is an accident that's not my fault. Oscar didn't see me and didn't yield to me. Normally, his insurance, if he has any, would give my insurance all the money I need for repairs or the value of the car.
Now, automobile insurance doesn't cover the drivers; it covers the car themselves. It doesn't matter if Oscar is a friend or relative of the vehicle owner. The car's registration also is up to date until Feb of 2013. And in order to be registered, you must have some type of insurance.
My husband and I arrived to our auto shop before the tow truck. We talk to the owner and showed him a picture of the damage, saying, we know you can't accurately judge anything until you see it in person, but here's an idea of the scope. Can your shop handle it? Yes he said. But let's wait for me to see it. Two minutes later, as the tow truck pulls into the lot, the owner, Aziz, says, It's a total loss. It's totaled. I'm so sorry. I'm going to unhook it from the tow truck and take a look under the hood, but it's not going to be good.
The car is taken off the tow and he pops the hood. "This is not as bad as I thought!" he says. He shows us to metal bars that surround the engine. "If you had hit this bar or that one, it'd be a total loss, but instead, the engine and those bars are intact. It's a lot of body damage, but it can be repaired."
At this point, however, we wait. A rep from my insurance will go see the car sometime today and see if it's worth fixing. My claims service rep is trying to find Oscar.
I am lucky.
I am not hurt. No one was hurt. No bystanders or pedestrians were hurt. I am okay. He is okay. We are shaken, but we're okay.
Lucky.
And hey, if the car is a total loss, I really wanted a four door car anyway.
Silver lining?
Friday, January 11, 2013
Scary Things
Y'all know how much I like writing, right?
Maybe you haven't noticed.
But one skill that is sorely lacking, is my ability to write a good sketch. I don't know the format, I don't know how to take the idea and expand it. I don't know how to even begin it.
So!
I'm taking a sketch writing class at Upright Citizens Brigade, and I'm both terrified and ecstatic.
If you're in the same "free agent" theatrical boat as me, these next few months are going to be slow and boring. Take advantage of it. Do stuff for yourself.
I mean, I'm also taking a belly dance class, cause why not?!
Yay 2013!
Maybe you haven't noticed.
But one skill that is sorely lacking, is my ability to write a good sketch. I don't know the format, I don't know how to take the idea and expand it. I don't know how to even begin it.
So!
I'm taking a sketch writing class at Upright Citizens Brigade, and I'm both terrified and ecstatic.
If you're in the same "free agent" theatrical boat as me, these next few months are going to be slow and boring. Take advantage of it. Do stuff for yourself.
I mean, I'm also taking a belly dance class, cause why not?!
Yay 2013!
Monday, January 7, 2013
Take the Job
Aussie reader Rachel writes:
Hey Rachel! I'm not returning to retail or hospitality either, so I totally get where you're coming from. Part time jobs involving folding clothes and inventory, or hot plates of food and hungry customers wear down on one's soul.
You already understand that although you'll be working at an acting school, you won't be given time off for auditions. You will, however, be given one year of a stable income. Argh! the Dilemma! What to do!?
I'll tell you what to do. If you get the job, TAKE IT, with the understanding that you are NOT auditioning for the entire year. Sure, submit for everything and anything while you're working. Maybe you'll get a chance to tape yourself for the audition, but if booked, will you get the time off? Probably not. So you'll have to work on projects that only film during the weekends. Figure at least a two weekend shoot, and you're working 14 days straight. Yuck. I've done that. Not easy.
BUT HERE'S THE THING: You can still work the OTHER aspects of the actor world even though you're not auditioning. You can take singing lessons! You can take dance classes in the evenings or weekends! You can see if ModelMayhem.com is also in Australia (it's basically a facebook for models/actors, photographers, makeup artists so you can build your modeling portfolio).
If you get this gig, you will have a year to save your money, take fun classes, and learn how to pose like you're doing a spread in Vanity Fair.
Once the woman you're filling in for returns from Maternity Leave, you now have a nice savings account, tons of great photos, and a few extra skills. This is a win/win situation.
Good luck! I hope you get it!
xoxo
Lira
Hi Lira,
I've been told about a full time job opportunity. It's not an acting job - it's administration at an acting school, 1 year maternity leave position. I'm going to apply for it and decide whether or not to take it if I am successful.I was wondering whether you had ever taken a job that was essentially inflexible? And if so, did you regret it? Did you feel the pros (money, a period of stability) could compete with the cons (not much chance of weekday auditions, etc?)I've worked casual jobs for years and unless I absolutely have to, I'm not returning to retail or hospitality.If you had any thoughts I'd love to hear them.All the best,Rachel
Hey Rachel! I'm not returning to retail or hospitality either, so I totally get where you're coming from. Part time jobs involving folding clothes and inventory, or hot plates of food and hungry customers wear down on one's soul.
You already understand that although you'll be working at an acting school, you won't be given time off for auditions. You will, however, be given one year of a stable income. Argh! the Dilemma! What to do!?
I'll tell you what to do. If you get the job, TAKE IT, with the understanding that you are NOT auditioning for the entire year. Sure, submit for everything and anything while you're working. Maybe you'll get a chance to tape yourself for the audition, but if booked, will you get the time off? Probably not. So you'll have to work on projects that only film during the weekends. Figure at least a two weekend shoot, and you're working 14 days straight. Yuck. I've done that. Not easy.
BUT HERE'S THE THING: You can still work the OTHER aspects of the actor world even though you're not auditioning. You can take singing lessons! You can take dance classes in the evenings or weekends! You can see if ModelMayhem.com is also in Australia (it's basically a facebook for models/actors, photographers, makeup artists so you can build your modeling portfolio).
If you get this gig, you will have a year to save your money, take fun classes, and learn how to pose like you're doing a spread in Vanity Fair.
Once the woman you're filling in for returns from Maternity Leave, you now have a nice savings account, tons of great photos, and a few extra skills. This is a win/win situation.
Good luck! I hope you get it!
xoxo
Lira
Monday, December 31, 2012
Do Over!
Nothing like a year of booking only 3 voice over spots to really have you reevaluate your brand!
Ah, 2013. We're about to meet in a few hours, but I've spent the last month here in 2012 looking over the list of what I wanted to accomplish and failing to see any checkmarks next to them.
Okay, I take that back. I did pick up a new fire dancing skill (and performed in a conclave twice and as a solo performer at a private party. Not bad!), and I also added a voice over reel last January. Although I still can't get a vo agent (argh!) I still booked three small spots. I was also a part of a nominating committee (but I can't tell you which one! boo!) and got to see a ton of screeners. That was fun.
But I didn't book any commercial work in 2012 and I'm shocked. SHOCKED, I tell you! I booked three and was on avail for another in 2011. I thought 2012 would be amazing. Not so much. I also had two different theatrical agents who couldn't get me out.
I've had a lot of time to sit and think and ponder about what would make me really happy.
You want to know something?
I'm bored.
I'm BORED.
I'm bored of my hair, of my look, of this weird "every woman" type I've tried to play for the last several years. Maybe I should call it an epiphany, but here's the deal:
I'm NOT the every woman.
I look really ethnic. My curly hair screams "FABULOUS!" and yet I've always tried to make myself look "normal."
You know what? I'm not normal. I'm kinda kooky. I'm weird.
And what's the one thing I have that I have been kinda denying about my brand?
My freaking crazy hair.
So we're changing it up in 2013! I'm gonna cut it and highlight it and wear smokey makeup and boots and skinny jeans and I am going to make myself a little edgier, a little more rock n roll, and PLAY UP the thing that has always made me different, always made me stand out, always made me recognizable.
Is this smart?
Eff if I know.
But I'm not happy not expressing myself through my appearance. I want colored highlights. I want funky clothes.
I'm putting myself into a much smaller niche.
Does this give me panic attacks?
No.
Because I feel like I'll have a better chance of booking stuff that is specifically geared to my wild and funky type than trying to fit into a mold. I see the late 20s-early30s women in commercials and they all wear khakis and wear their straight hair in a half pony tail.
I'm not that girl. I never will be.
2013 is about looking more like ME. Who I'm growing up to be.
I'm kinda excited.
Happy New Year.
Ah, 2013. We're about to meet in a few hours, but I've spent the last month here in 2012 looking over the list of what I wanted to accomplish and failing to see any checkmarks next to them.
Okay, I take that back. I did pick up a new fire dancing skill (and performed in a conclave twice and as a solo performer at a private party. Not bad!), and I also added a voice over reel last January. Although I still can't get a vo agent (argh!) I still booked three small spots. I was also a part of a nominating committee (but I can't tell you which one! boo!) and got to see a ton of screeners. That was fun.
But I didn't book any commercial work in 2012 and I'm shocked. SHOCKED, I tell you! I booked three and was on avail for another in 2011. I thought 2012 would be amazing. Not so much. I also had two different theatrical agents who couldn't get me out.
I've had a lot of time to sit and think and ponder about what would make me really happy.
You want to know something?
I'm bored.
I'm BORED.
I'm bored of my hair, of my look, of this weird "every woman" type I've tried to play for the last several years. Maybe I should call it an epiphany, but here's the deal:
I'm NOT the every woman.
I look really ethnic. My curly hair screams "FABULOUS!" and yet I've always tried to make myself look "normal."
You know what? I'm not normal. I'm kinda kooky. I'm weird.
And what's the one thing I have that I have been kinda denying about my brand?
My freaking crazy hair.
So we're changing it up in 2013! I'm gonna cut it and highlight it and wear smokey makeup and boots and skinny jeans and I am going to make myself a little edgier, a little more rock n roll, and PLAY UP the thing that has always made me different, always made me stand out, always made me recognizable.
Is this smart?
Eff if I know.
But I'm not happy not expressing myself through my appearance. I want colored highlights. I want funky clothes.
I'm putting myself into a much smaller niche.
Does this give me panic attacks?
No.
Because I feel like I'll have a better chance of booking stuff that is specifically geared to my wild and funky type than trying to fit into a mold. I see the late 20s-early30s women in commercials and they all wear khakis and wear their straight hair in a half pony tail.
I'm not that girl. I never will be.
2013 is about looking more like ME. Who I'm growing up to be.
I'm kinda excited.
Happy New Year.
Saturday, December 15, 2012
The Show Must Go On
When tragedy strikes, it is our job as creators - writers, musicians, dancers, actors, etc - to continue on with our work.
It is our job to create a space, a diversion, a song, so that those who are in the midst of immeasurable pain and sadness, can escape their own life for a minute or two and breathe.
The Show Must Go On.
You owe it, as a creative who has embraced their calling, to find ways to help heal others' pain.
Write your lyrics, strum your guitar, lace up your ballet shoes, and help heal those who need it most.
My heart goes out to everyone affected by these terrible events these last few days.
The Show Must Go On.
It is our job to create a space, a diversion, a song, so that those who are in the midst of immeasurable pain and sadness, can escape their own life for a minute or two and breathe.
The Show Must Go On.
You owe it, as a creative who has embraced their calling, to find ways to help heal others' pain.
Write your lyrics, strum your guitar, lace up your ballet shoes, and help heal those who need it most.
My heart goes out to everyone affected by these terrible events these last few days.
The Show Must Go On.
Friday, November 30, 2012
Headshot Critique
Julian writes:
Hey Julian! Thanks so much for reading! I'm glad you're finding my blog helpful. :)
Let's talk about the photos on your website first.
Now, because you're Asian, your age range is a much, much bigger than mine. I like to say I'm 24-29 and I think 29 might be of a stretch. Do you see that? My five year age range? LAME. At auditions calling for early 30s, I look like a child compared to the other women there.
Your age range, (are you ready?) is 18-35. Now, it might lesson once I see you in person, but based on your photos, 18-35 is what you can play. Why? (and forgive me for sounding racist) Because Asians are damn lucky. Ya'll are practically ageless. My friend Tanya, who is 1/2 Vietnamese and 1/2 French went out for a 35 year old doctor role when she was only 25 and she was PISSED because she thought there was no way she could ever pass for 35. But 35 year old Asian women could pass for 25. (See this cartoon!) View your enormous age range as a gift! Harry Shum Jr. is playing a 17 year old high school student. He is 30 years old.
On your website, you have five photos. Number 2 and 3 are my favorite. Number 2 with the big laughing smile makes you look 18. Number 3 with the layered look makes you look 22-35.
I would like to commend you on your choice of headshot photographer because technically, the shots are good, however none of them look like they were Photoshopped. It looks like there needs to be a little bit of color correction, and your skin could use a little smoothing out. Photoshopping your photos is ALWAYS a good investment! At $25-35/pop they can get pricey, but it's only going to help you.
Now let's talk about your AA account.
Actually, let's talk about cropping.
The most flattering headshot photos show a little of your neck and chest, otherwise, you look short and squat - like a little kid trying to jump into the frame. You need to call Actors Access and let them know you need to recrop your photos. (Or actually, you're just using your two freebies, right? Just take them down and reload them back up) Take a look at my profile picture on my right sidebar. I've cropped the top of my head off so you can see my neck and a little of my chest. You need to do the same for yours.
When I go to your website and look at the thumbnails, they're cropped way better than the ones on your AA account. Use your website thumbnails as your guide.
Also, if you're only going to use two photos on AA, which is FINE, pretty please make sure you're wearing a different outfit between your theatrical and comedic shot. It seems silly, but it gives you more range.
Bottom line - you've got good headshots. Recrop the ones on your AA profile, or, better yet, get them retouched first, then put those up, cropped so that we can see your neck more. I honestly think you'll get more auditions if you follow my advice.
xoxo
Lira :)
Hi Lira!
Hope all is well. Been reading and rereading some of your blog posts,
and must say I learn something new each time.
I was wondering if you could take a look at my headshots and let me
know what you think. The main two that I use for submitting on actors
access are here:
http://resumes.actorsaccess.com/julianyuen
More looks on my site:
http://julianyuen.com/headshots/
Thank you so much, and I look forward to hearing from you.
Hey Julian! Thanks so much for reading! I'm glad you're finding my blog helpful. :)
Let's talk about the photos on your website first.
Now, because you're Asian, your age range is a much, much bigger than mine. I like to say I'm 24-29 and I think 29 might be of a stretch. Do you see that? My five year age range? LAME. At auditions calling for early 30s, I look like a child compared to the other women there.
Your age range, (are you ready?) is 18-35. Now, it might lesson once I see you in person, but based on your photos, 18-35 is what you can play. Why? (and forgive me for sounding racist) Because Asians are damn lucky. Ya'll are practically ageless. My friend Tanya, who is 1/2 Vietnamese and 1/2 French went out for a 35 year old doctor role when she was only 25 and she was PISSED because she thought there was no way she could ever pass for 35. But 35 year old Asian women could pass for 25. (See this cartoon!) View your enormous age range as a gift! Harry Shum Jr. is playing a 17 year old high school student. He is 30 years old.
On your website, you have five photos. Number 2 and 3 are my favorite. Number 2 with the big laughing smile makes you look 18. Number 3 with the layered look makes you look 22-35.
I would like to commend you on your choice of headshot photographer because technically, the shots are good, however none of them look like they were Photoshopped. It looks like there needs to be a little bit of color correction, and your skin could use a little smoothing out. Photoshopping your photos is ALWAYS a good investment! At $25-35/pop they can get pricey, but it's only going to help you.
Now let's talk about your AA account.
Actually, let's talk about cropping.
The most flattering headshot photos show a little of your neck and chest, otherwise, you look short and squat - like a little kid trying to jump into the frame. You need to call Actors Access and let them know you need to recrop your photos. (Or actually, you're just using your two freebies, right? Just take them down and reload them back up) Take a look at my profile picture on my right sidebar. I've cropped the top of my head off so you can see my neck and a little of my chest. You need to do the same for yours.
When I go to your website and look at the thumbnails, they're cropped way better than the ones on your AA account. Use your website thumbnails as your guide.
Also, if you're only going to use two photos on AA, which is FINE, pretty please make sure you're wearing a different outfit between your theatrical and comedic shot. It seems silly, but it gives you more range.
Bottom line - you've got good headshots. Recrop the ones on your AA profile, or, better yet, get them retouched first, then put those up, cropped so that we can see your neck more. I honestly think you'll get more auditions if you follow my advice.
xoxo
Lira :)
Monday, November 26, 2012
Casting Director Workshop with Greg Apps
*If you're not an LA native, you will still find this post highly informative.
Greg Apps is an Australian Casting Director with more credits than a kangaroo can stuff in her pouch. When I received an email from his assistant inviting me to his workshop, I was wary. After the initial email exchange, when still no dollar amount was listed to join, I emailed how much it cost. "It's free."
Free? Hmmm. So I figured it was a Free Class he was doing to help sell his new classes in LA. I was cautious. I couldn't understand why I was contacted and what it was for.
I get there on a very rainy day on the 17th. Greg is a charming man, shook our hands, welcomed us to the room he had reserved on the third floor of Space Station Casting on Highland.
Greg explained he was only in LA for the week; every few years he comes round to the studios to remind them he's available in the Southern Hemisphere to cast actors on their behalf.
A few more actors trickled in until we had a total of about 10.
Have you ever done an LA Casting Director Workshop before? They're cold and sad. Every actor in the audience is paying upwards of $30 to audition so that they can hopefully be brought in later. The people running Casting Director workshops in LA say they're running a valuable teaching workshop, but every actor who does one knows they are essentially paying for a job interview - which is illegal. After performing a scene, very little useless feedback or direction is given, and every actor in there looks sad and desperate by kissing casting's ass. [That is another long discussion at another time!]
This workshop was not that. Greg actually shook all our hands, learned our names (!) and chatted with each of us a few minutes before his workshop began.
And yes, this was a workshop where we actually LEARNED things. Greg started off as an actor, and once he was finished with that, he moved on to casting and loved it so much that he quit acting altogether. Casting fulfills him in a way that is completely obvious in how he talked and got to know us, and genuinely cared. He spoke to us in actor terms and knew what he was talking about.
This workshop was treated like an On Camera class; we all got up to perform our scene, he gave us a few quick notes, redirected us, and then had us all do the scenes again. We were taking a class and learning from a CD who rented the space on his own, and wasn't charging us.
He instructed us on how to come in and "own" the auditioning space. He recommends that you have things in your pockets (cell phone, wallet, etc.) and slowly take them out and place them on a nearby table while making small talk and asking about the character. It was so cute and really made me want to audition in Australia, because NO WAY would that fly here in LA. Your pre-read is created to get you in and out of the office super fast and I can only imagine how annoyed the cd would be if you're creating any sort of wait for the actors in her lobby. Time is money in LA.
But here's some gems I want to share with you:
- If, after a line delivery, you can add the word 'idiot', you're saying it with the wrong intention. For instance, saying "Is that what you think?" with the intention of making the other person feel stupid vs "Is that what you think?" with the intention of making the other person feel safe and that they can open up to you, changes everything. And if your character is in a romantic relationship with the person they're in the scene with, well, you probably don't want to make your lover feel dumb. That's just bad manners, and probably NOT what the writer intended.
- The character not the dialogue must be what pops. Every other person auditioning already kind of looks like you, they're already framed the same way in the camera, they're all saying the same exact thing you are. And there's about 100 of them. So how do you stand out? Eye contact (only making it when making a point, just like in real life!) mannerisms, tics; THOSE make a character, and therefore YOU pop.
We had a Q&A session afterwards and he told us that the reason he was doing this workshop was because he eventually wants to retire from casting but still teach actors online.
Now of course, I recommend finding a teacher you love where you're located, so you can actually get up and work in a group of people and blah blah blah (I'm sure you're sick of me touting my favorite LA instructor) But his technique and approach are invaluable for those who aren't in LA or NY or heck, even the United States.
So check him out on facebook at www.theauditiontechnique.com and follow him on Twitter @AuditionTechniq and see what he has to say.
I recommend him.
Greg Apps is an Australian Casting Director with more credits than a kangaroo can stuff in her pouch. When I received an email from his assistant inviting me to his workshop, I was wary. After the initial email exchange, when still no dollar amount was listed to join, I emailed how much it cost. "It's free."
Free? Hmmm. So I figured it was a Free Class he was doing to help sell his new classes in LA. I was cautious. I couldn't understand why I was contacted and what it was for.
I get there on a very rainy day on the 17th. Greg is a charming man, shook our hands, welcomed us to the room he had reserved on the third floor of Space Station Casting on Highland.
Greg explained he was only in LA for the week; every few years he comes round to the studios to remind them he's available in the Southern Hemisphere to cast actors on their behalf.
A few more actors trickled in until we had a total of about 10.
Have you ever done an LA Casting Director Workshop before? They're cold and sad. Every actor in the audience is paying upwards of $30 to audition so that they can hopefully be brought in later. The people running Casting Director workshops in LA say they're running a valuable teaching workshop, but every actor who does one knows they are essentially paying for a job interview - which is illegal. After performing a scene, very little useless feedback or direction is given, and every actor in there looks sad and desperate by kissing casting's ass. [That is another long discussion at another time!]
This workshop was not that. Greg actually shook all our hands, learned our names (!) and chatted with each of us a few minutes before his workshop began.
And yes, this was a workshop where we actually LEARNED things. Greg started off as an actor, and once he was finished with that, he moved on to casting and loved it so much that he quit acting altogether. Casting fulfills him in a way that is completely obvious in how he talked and got to know us, and genuinely cared. He spoke to us in actor terms and knew what he was talking about.
This workshop was treated like an On Camera class; we all got up to perform our scene, he gave us a few quick notes, redirected us, and then had us all do the scenes again. We were taking a class and learning from a CD who rented the space on his own, and wasn't charging us.
He instructed us on how to come in and "own" the auditioning space. He recommends that you have things in your pockets (cell phone, wallet, etc.) and slowly take them out and place them on a nearby table while making small talk and asking about the character. It was so cute and really made me want to audition in Australia, because NO WAY would that fly here in LA. Your pre-read is created to get you in and out of the office super fast and I can only imagine how annoyed the cd would be if you're creating any sort of wait for the actors in her lobby. Time is money in LA.
But here's some gems I want to share with you:
- If, after a line delivery, you can add the word 'idiot', you're saying it with the wrong intention. For instance, saying "Is that what you think?" with the intention of making the other person feel stupid vs "Is that what you think?" with the intention of making the other person feel safe and that they can open up to you, changes everything. And if your character is in a romantic relationship with the person they're in the scene with, well, you probably don't want to make your lover feel dumb. That's just bad manners, and probably NOT what the writer intended.
- The character not the dialogue must be what pops. Every other person auditioning already kind of looks like you, they're already framed the same way in the camera, they're all saying the same exact thing you are. And there's about 100 of them. So how do you stand out? Eye contact (only making it when making a point, just like in real life!) mannerisms, tics; THOSE make a character, and therefore YOU pop.
We had a Q&A session afterwards and he told us that the reason he was doing this workshop was because he eventually wants to retire from casting but still teach actors online.
Now of course, I recommend finding a teacher you love where you're located, so you can actually get up and work in a group of people and blah blah blah (I'm sure you're sick of me touting my favorite LA instructor) But his technique and approach are invaluable for those who aren't in LA or NY or heck, even the United States.
So check him out on facebook at www.theauditiontechnique.com and follow him on Twitter @AuditionTechniq and see what he has to say.
I recommend him.
Monday, November 19, 2012
Twenty Minutes
Today, you are going to treat yourself to Twenty Minutes of a video by Eat Pray Love author Elizabeth Gilbert so that you can understand why you have the desire, the want, the call to be an actor.
Find twenty minutes, just 20 minutes, to listen to this. You will be thankful you did. And I'd love to read your comments.
Thanks, Anthony, for the link. :)
Find twenty minutes, just 20 minutes, to listen to this. You will be thankful you did. And I'd love to read your comments.
Thanks, Anthony, for the link. :)
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