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“The trail may be cold, but the stories are hot!”

By ivi blog Guest Contributor Dr. Rob Moore

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In this series, we have seen examples of how Hollywood stardom has come to many who were willing to dream, develop world class skills, and persevere. We have also stressed that, often, the process of “becoming” a star is more rewarding than actually “arriving.”

In this article, we will acknowledge that, despite the exceptions who do indeed succeed in climbing the Everest that is Hollywood ambition, the odds are small an individual with modest personal resources (primarily contacts and money) will become a major player in motion pictures.

For perspective’s sake, one could say the same of becoming the CEO of a major US corporation…with the caveat that there are many more Fortune 500 CEOs than there are successful film stars.

With that as background, let us take a look at casting agencies, and the challenges they face, standing as they do between  ambition and big screen success.

We need to be clear. In the real world of northwest Los Angeles, equal opportunity is seldom the rule of thumb.

Why is this so? How can there be such a chasm between what prominent performers say about  social inclusion and the behavior of the industry they represent?

The answer is to be found in every Economics 101 classroom. The law of supply and demand.

For instance, in a previous article, we mentioned  that 3000 actors auditioned for the leading male role in the  TV series Moonlighting opposite Cybill Shepherd. Bruce Willis was chosen for the part, and the rest is TV history.

This number of persons may seem outsized. However, at least this many resumes are considered any time a good part in a film is opened to relatively unknown talent.

And, with technology now being used by casting agencies, the number of persons considered for each role of this kind may eventually reach the tens of thousands.

So what do casting agencies do?

On the low end of the prestige spectrum, we have agencies that primarily take orders for film extras. Those are the people you see in films crossing streets or dining in a restaurant when a staged gang hit takes place.

Then there are casting agencies established by former mid-level stars whose careers have run their course, but who wish to use their industry contacts both to make a living and also to help others obtain work, starting with extras and perhaps working up to some minor players. The hope of these agencies is to hit it big with a few performers, demonstrate their worth to noteworthy personalities, and, by word of mouth  graduate to the “big time.”

And finally, there are the big timers like the William Morris agency which serve functions somewhere between the casting agency and personal agent.  These are the kinds of agencies where newcomers need not apply unless they have serious contacts in the industry. If one is a daughter of Meryl Streep, fine. If one is the daughter of a Milwaukee bus driver, better apply to the city of Milwaukee for a driver’s license.

We need to remember also that there are casting agencies by the hundreds in the Hollywood area. Agencies that last, like shooting stars, for a brief moment, and are gone; and those that are well established. Typically, the longer an agency has been in business, the LESS accommodating it is to the newcomer. Once an agency has its stable of competent actors and actresses, that is, dependable revenue producers, these actors and actresses are the first contacted for meaningful roles. That is just good business. If a talent has proven to be a money maker before for an agency, that is, able to compete well at auditions, the more an agency will want to hold on to that asset by providing opportunities for him or her.

What to pay for casting agency services?

Established agencies will tell the newcomer never to pay a membership fee. However, of course, these agencies have usually been in the business awhile or have a guaranteed source of  work for their members, thus producing an income for the agency itself.

But what of the new actor or actress?  Newer agencies often must charge the newcomer a membership fee, sometimes as low as $50 per year. For this fee, the new casting agency can at least pay their office rent.

The key for the new actor or actress dealing with a casting agency is to use common sense. There is no guarantee that you will do any better with the no fee casting agency than one that charges a small membership fee to belong. You have to make certain though, if you do pay a membership fee, there is something positive happening within that business. The best bet is to check references before signing on.

A referral from a friend or acting associate; a list of “happy customers” provided by the agency itself can be helpful, even if one doesn’t follow through with actual phone calls.  Also, sometimes a search of the Internet can turn up valuable information about agencies who have had business complaints filed with the small claims court will give the new person a heads up. (But, be careful. Remember, you have never met the person or persons complaining. There are always two sides to every disagreement. And, only a very small percentage of newcomers without contacts will make a success of their Hollywood experience, if success is gauged by having one’s name high on a marquis. If everyone who failed to obtain work through a casting agency filed a small business claim, there would not be a casting agency in Hollywood without hundreds of them, unless they had just opened their doors.)

How you “feel” about the agency when you walk in is important. And, ALWAYS take paperwork home with you after the first meeting. Never pay a fee the first time in an office.

Once listed with a casting agency, we recommend that a new actor in town call every few days, dropping in at least a couple of times a month with a pleasant and hopeful smile on one’s face. We recommend attempting to acquire the “direct” number of the owner of a casting agency which he or she will usually give to a few favorites (his or her favorite “pests”). In other words, one needs to stay on top of the agency action. Those who have any hope of obtaining work via this avenue will need to belong to a half dozen agencies, spend lots of time on the telephone, and commute for their monthly or bi-monthly visits.

This is one of the reasons that an automobile is absolutely necessary for the aspiring actor or actress. Both for agency “stalking,” as well as going to auditions, the public transportation in the Los Angeles area is not dependable enough, or direct enough, for a person to show up on time for appointments set up by casting agencies. Sometimes one has as little as an hour to dress and be at the audition site. In those cases, underground transportation or buses are undependable.  Taxis are not the way to make it on time either. Nothing beats running down to your parking slot, jumping into your Rolls or 1980 Ford truck, and scooting off to an audition.

Eventually, this routine will produce at least small “under five” parts for an actor or actress. There is a different pay scale for any part in a production with less than five speaking lines (so-called under fives), than for a part with more than five lines. So, an actor can say, “Will that be all, sir?” and be classified in a certain way for purposes of pay. However, more than five lines, and one becomes a “day actor or player” and must be paid a different scale. (These have to do with union regulations.)

However, in order to obtain a part in most any Hollywood  production, one must be a union member. This requirement is even more restrictive than competing with the hordes at the casting agencies.

A general rule among human beings is the following: Individuals, businesses or organizations first claiming a territory will always organize in such a way so as to discourage competition.

Many businesses restrict competition by lobbying for regulation that they themselves would not have satisfied when they first opened their doors. Others simply tell any audience that will listen to beware of the scammers, defined as just about anyone not operating business as they do.

Whether it be casting agencies releasing negative publicity regarding each other; actors’ unions excluding truly talented competition; the AMA excluding chiropractors or other competent medical practitioners; or the American Bar Association disallowing perfectly capable schools; or wrestling organizations, the principle is always the same: Those first in line make rules that create obstacles for those who come later. They do this for two reasons. First, in some cases to actually improve service to the public, but, more often, to limit competition.

Therefore, at this point, I am going to advise the newcomer to use common sense rather than lay down absolute expert rules of procedure. If you can find a relationship that will help your career, and not abuse your pocketbook beyond reason, it is probably a good idea to proceed.

You will need to write a resume for a casting agency listing your show business experience and skills, as well as have photos taken (some casting agencies like head shots only, some head and torso. All like as many kinds of “looks” as you can manage. For example, for men, a tux shot, a cowboy shot, a worker shot, an athletic shot, a waiter shot — all of these are good, especially if the casting agency is primarily set up for “extra” work.

Also, more and more, casting agencies, instead of working with early 1950’s methods, are FINALLY going to online databases. This is not only more efficient, but much less expensive for the new actor or actress.

Clothes can be a factor with many casting decisions. If a newcomer owns a tux, AND a cowboy outfit, AND a chefs hat and apron, AND, well, you get the idea. On many films, the “wardrobe” budget is limited. The call will come into a casting agency for actors and actresses who have their own, let’s say, formal clothes. So, for example, for an actress listed with a casting agency, throwing away the prom dress is a bad idea. You never know when you will be able to obtain work, sometimes for several days, dancing in a ballroom scene.

Casting agencies also want to know if you have a Screen Actors Guild Card.

This card is harder to obtain than a Green Card to work legally in the US.

The Screen Actors Guild is virtually a closed shop for all but those who can find a person on the inside to give them a part in a union sanctioned film. And, of course, the Screen Actors Guild is expensive, currently $2277,  often to have one’s  performance in a single college play verified.

For a hopeful actress currently washing dishes in a Hollywood restaurant waiting for her big break, a $2277 nonrefundable initial fee represents lots of chapped hands.

In other words, the Screen Actors Guild is a simple way for the profession to select their own, and reject the masses out of hand. This author does not believe that that judgment is too harsh.

Please know that there is a dilemma here. Simply too many great (and poor) hearts believing that Hollywood is the land of open arms. Too many people who believe the great principle of equality mentioned prominently in three places known to them, 1) The US Constitution; 2) The Bible; and , 3) Hollywood press releases.

It is now time to turn this project over to the aspiring actors and actresses who have so faithfully studied this series.

In parting, please allow the author to recommend some additional reading that hopefully will fill in some of the gaps inevitably left in a series of this kind.

Recommended reading:

Levine, Michael, 1954-
Title    Charming your way to the top : Hollywood’s premier P.R. executive shows you how to get ahead / Michael Levine.
Publisher    Guilford, Conn. : Lyon’s Press, c2004.

Wood, Edward D. (Edward Davis), 1924-1978.
Title    Hollywood rat race / by Edward D. Wood, Jr.
Publisher    New York : Four Walls Eight Windows, 1998.

Orth, Maureen.
Title    The importance of being famous : behind the scenes of the celebrity-industrial complex / Maureen Orth.
Publisher    New York : H. Holt, 2004.

Ripley, Jacqui.
Title    Celebrity style secrets : an insider’s guide to looking A-list / Jacqui Ripley.
Publisher    London : Piatkus, 2003.

Frank, Robert H.
Title    Luxury fever : why money fails to satisfy in an era of excess / Robert H. Frank.
Publisher    New York : Free Press, 1999.

Jazwinski, Peter, 1964-
Title    Act now! A step-by-step guide on how to become a working actor / Peter Jazwinksi.
Publisher    New York : Three Rivers Press, c2003.

CELEBRITY GOSSIP comes to the ivi blog via Guest Contributor Dr. Rob Moore, Ph.D. Dr. Moore is a mathematician and academic, has enjoyed social life in Hollywood for many years, making many friends in the acting and directing film communities. Dr. Moore regularly writes for the blog of ToysPeriod, a premier source of classic Lego set toys and model trains.