Green Room's topics - tribe.net

Acting Career FAQ - Talent 2 ... Will-Power 10

Mon, 07 Mar 2005 15:56:51 GMT

Acting Career FAQ
Talent 2 ... Will-Power 10
by
Bob Fraser

I am frequently asked what I think is the most
important ingredient in a successful performing
career -- talent, looks, connections or having
the right agent.

My answer is that those things can be helpful
but none of them are crucial to the successful
pursuit of an acting career.

In fact, when it comes to making your dream a
reality -- I believe that WILL-POWER is king.

Here's why: Back in '64 when I first wandered
Broadway with my headshots and resumés, I met a
man who taught me the meaning of will-power.

I was newly arrived from the "sticks" and I
jumped into the actor's life immediately -- I
got a job proof-reading the Manhattan phone
book.

When I wasn't at my J.O.B., I was at an audition.
I got Backstage early on Thursday morning and
spent every off work hour going to all the open
calls for Broadway shows, Off-Broadway shows,
off-off, touring groups --practically anyplace
actors lined up looking for work.

The first thing I noticed about all these auditions
was that I saw a lot of the same people at every
open call. It soon became clear to me that I was not
alone in my quest for a paying acting job -- that a
lot of actors got Backstage early on Thursday
morning... etc.

After several unsuccessful auditions, I began to
realize that 'making it' was not going to be an walk
in the park.

Of course I was talented! Heck, I was the best
actor to ever come out of Cheyenne, Wyoming.
Everybody there said I was going to be a famous
actor someday. So I was stunned by all the VERY
talented actors I was seeing at every audition.

I was a decidedly small worm in The Big Apple.

But I had reason to be optimistic, because there
were also a lot of actors I was seeing at the open
calls, who weren't really competition -- I mean,
some of them must have been delusional -- they were
so-o-o NOT talented.

Which brings me to the man who taught me a great
lesson.

He was a tall, strange dude with long unkempt hair.
He always carried two shopping bags full of food,
headshots, clippings, scripts, candy bars and second
hand clothes.

This is before folks were called "homeless" -- but
he would definitely have fit the description.

His auditions always consisted of the same "act."
No matter what kind of show he was trying out for,
he would get up in front of everybody, put on a
silly hat, wrap a scarf around his neck, haul out
a battered, out of tune ukulele and sing. He would
sing one of the recent hit songs from a Broadway
show, in a horrible falsetto voice. In those days
he was murdering songs like "Cabaret" and "Hello
Dolly."

At every open call, when his name was called out,
most of the other actors in the long line would
groan and grouse -- this clearly untalented BUM
was taking up THEIR valuable audition time.

The casting people just sighed. He was always
there. It was an "OPEN" call. They had to deal
with it.

He would sing his horrible song, get many unwanted
laughs, be dismissed with a loud "NEXT!" and then
endure a spate of mean spirited remarks from his
fellow actors, as he left the building.

"Stop wasting your time."
"You stink."
"You have no talent."

But this guy ignored his fellow performers and
just kept showing up. He was always the same:
Awful. And nothing anyone said to him had any
effect on his behavior. He didn't get better.
He didn't comb his hair or clean his clothes.
His singing got worse, if that's possible.

But he kept showing up.

I must admit I felt the same way about this
guy as most of of the other actors. I wasn't
vocal about it, but we were all so talented and
we weren't getting anywhere -- what made this
guy think he stood a chance?

Then, as sometimes happens with people who write,
I became fascinated by this character. I was
curious about what made him tick. What kept him
coming back?

He was never going to "make it"-- everyone could
see that. So, I made it my business to chat with
him. I discovered that all this pathetic guy wanted,
in the whole wide world, was to be in show business.
He was passionate about it. He just purely loved
performing. I also found out that he had been going
to open calls for close to 7 years.

7 years! To me, the idea of 7 years of failure was
very scary. Could I do it? Would I end up like this
guy -- who was clearly not the brightest bulb on the
tree?

Maybe I was delusional, like him, and everyone was
laughing at MY pathetic auditions. But, I kept going
to open calls -- and so did he.

A little way down the road, I got in an off-Broadway
show. The show ran 3 months. When I went back to
pounding the pavement -- the guy was still showing up
at every audition.

Then I went South on a dinner theatre tour. 4 months
later I came back to the city and, yes, he was still
showing up.

Then I got a national tour and was gone for half a
year. That's right, when I got back he was still
popping up at every open call.

I chatted with him again. I asked him directly
whether he ever felt that his desire to be in show
business was a hopeless cause. (As I thought it was.)

He said, "No. I will never give up, because it's
all I want. I know it's a just matter of time. All
it takes from me is the will-power to keep trying."

I probably chuckled -- in those days I didn't
believe in "will-power" or any other mumbo jumbo.
I believed in talent and agents and connections.

But mostly, I believed in talent.

His "will-power," in the face of eight and a half
years of rejection, just didn't make sense to me.

Then, I got cast in a long running musical, did a
couple of commercials and got an agent. I wasn't
going to open calls anymore -- and so, I never saw
this guy at an audition again.

CUT TO: 1970, some 5 years after these events, my
wife and I had bought a theatre in South Dakota.
That's where we were, watching TV one night, when
suddenly -- there he was! On television!

He was a guest star on Laugh-In. I was stunned.
He looked exactly like he'd looked years ago at all
those open calls. And he was doing the same act!
He strummed his bedraggled old ukulele and sang in
his off-key falsetto.

Then, as the months went by, he appeared on Carson,
then Merv Griffin, and he became a regular on
Laugh-In. His face was on magazine covers. His name
was immediately recognized. He went on to become a
world-wide celebrity. One of his TV appearances
still holds an all-time high rating record.

This strange, unkempt man had gotten what he
wanted. It took almost 13 years -- but he was in
show business, he was famous, he was making the big
bucks -- and, believe me, he had not become
talented, good-looking or connected in the meantime.

In other words, his "will-power" had conquered all
those seeming obstacles to his success -- and he
had reached his stated goal.

That's how Tiny Tim taught me that knowing what
your really want and will-power are more important
tools in the actor's kit-bag than a genetic gift,
like talent or looks.

So, the answer I give is this: I believe it's
critical to your dreams of success that you have a
clear goal and the will-power to beat the rejection.
(Which IS going to happen to you -- whether you are
talented or not.)

And, BTW, you remember those actors who complained
and made remarks about Tiny Tim wasting their time?
I've never heard from any of them again.

They didn't "make-it."

Probably because they were JUST talented.

* * * * * * * * * * * * * * * * * * * * * * * *

Bob Fraser is an actor, writer, director, show-runner
and author of You Must Act! "The Actor's Bible"

Find out more by clicking this link:

http://www.youmustact.com

* * * * * * * * * * * * * * * * * * * * * * * *

posted in Green Room - 4 replies

Acting Career FAQ - Representation

Mon, 18 Apr 2005 13:51:09 GMT

Agent? Manager? Do It Yourself?

I recently got an email (one of dozens I've gotten on
this subject) asking me if I could - "explain the
difference between an agent and a manager and which
would be better for me to sign with - to get my career
going?"

Here's my answer:

Dear *****,

Neither an agent or a manager can help you "get a
career going."

The concept that a powerful man or woman can step in
and help you skip all the hard work involved in
starting an acting career - is a "fairy tale."

There is no short-cut to the top of show business (or
even to the middle for that matter). There's also no
Great Pumpkin or Easter Bunny.

If it could be done this way, then agents and managers
would simply pick any actor out of the thousands of
headshots they get every week and turn them into stars.

It cannot be done this way - which is why agents are
so unresponsive to unsolicited headshot mailings.

The good ones are pros and they're not going to waste
their valuable time trying to accomplish what they know
cannot be done.

Their businesses are similar - but not the same.

One sells a product. The agent is a sales person for
the product known as YOU. Sales people (agents) judge
their how well their business is going by how much
money they make. A really good sales professional likes
to make lots of money.

If your product is not saleable (one that people aren't
ready to buy yet) then a sales person won't make a lot
of money selling it (you).

Not surprisingly, agents are coldly business-like about
this part. Until you've managed to start your career
yourself (making money as an actor) don't expect any
really good sales people to be interested.

Managers are just what the word implies. The manage
things. Mailings, bookings, transportation, job offers,
promotion - the day to day business of YOU. (But keep
in mind that in most markets, they are precluded
by law from seeking work for you.)

The top managers are usually the top managers because
they manage very successful careers.

In the past two decades the professional manager class
has had its own difficulties with an influx of "bottom
feeders."

The worst of these are outright crooks, whose only goal
is to separate you from you money or your credit card
with no intention of helping you in any way.

Almost as bad are the ineffectual show biz hangers-on
who rent offices and go about the business of "signing"
practically anyone who walks through their door - then
what they do is they send out your pictures to every
little thing listed in the Breakdowns.

It's just postage.

Since these folks are generally clueless themselves,
they will submit you for stuff you aren't right for.
This is a good way to get labeled as a "clueless"
actor by the casting people.

Many young actors are fooled into thinking that they
must have a manager, any manager - that it's "good
business".

It isn't.

In reality you are signing an agreement to give someone
25% (or more) of your income after YOU successfully
ESTABLISH YOURSELF as an actor who makes money.

Bottom feeders spend a great deal of their business day
writing threatening letters to collect money from actors
who have realized their mistake and don't want to pay 25%
of their income for someone to do ineffective mailings.

The big boys (and girls) in the management game, are
just like agents when it comes to money. They want to
manage a "going concern" and they spend all their time
looking for the next "big thing."

Think about that.

Professional managers make a boatload of money when
they manage to sign on with a Vin Diesel or J-Lo - isn't
it reasonable to assume that they are LOOKING ALL THE
TIME. In fact, they hire people to look - they've got
part-time, secret lookers on their payroll.

Believe me, If you have what they want - if you are a
going concern with a name that you've made for yourself
- they know their managing skills will take you to a
whole new level (making LOTS of money) and they get a
big chunk of a LOT - then, believe me, they will seek
you out.

3. Most importantly, as long as you continue to
believe that your main job is looking for someone else
to help you "build" your career -- you won't be spending
enough time doing the crucial things you need to do
yourself to build your own career.

This is a very bad tactic which results in frustration,
wasted years and, ultimately, failure to achieve what
you want.

If you don't concentrate on doing your part it's
unlikely that you will ever build your business into
something big enough to be noticed by a good agent or
a good manager.

In other words, by all means keep looking for a sales
staff, and a management team - but don't neglect your
business while you're doing it.

Hope that helps.

P.S. A lot of you have written to asking me how to get
the free "Hello Pages" (Over 6000 Show Biz contacts -
casting directors, agents, managers, web sites, film
festivals, acting teachers and coaches, etc.)

Here's how it works: Go to my site, scroll down to the
VERY bottom of the home page and click on "FREEBEES."

When you get to the freebees page, sign up for my
free newsletter, Hollywood How-To, which is all about
your acting career and comes to you once a month.

You will get an email from me asking you to "confirm"
your subscription (this is so people won't sign up
other people without permission) when you confirm that
you signed up, you will get another email (in about 24
hours) that gives you the download instructions for
The "Hello Pages."

I know it's a little round-about, but I hate being
accused of sending a famous prepared meat product.

Wouldn't you?

Have a great week and ...

Much Success,

Bob Fraser

***************************************************

Bob is an actor, writer, director and showrunner. You
can find out more about him on IMDb.com or read his
bio on the site.

Bob's amazing new acting career course, You Must Act!
has been called -- "...a blueprint for success in
this industry." and "The Actor's Bible."

Why not check it out today?

http://www.youmustact.com

***************************************************

posted in Green Room - 1 reply

Inside the world of Comedy

Psychedelic — Sun, 30 Apr 2006 12:41:23 GMT

For a glimpse into the world of Comedy and a littler glimpse into Vaudeville, rent the movie "The Aristocrats".

It's a sort of interview documentary on a very very dirty, old joke that comedians tell amoungst themselves, but never actually perform for paying audiences. (Well, until recently never performed; Gilbert Godfrie is a semi-genius!)

Then, tell us your personal favorites here!

I won't tell you mine yet until a few of you do; I don't want to skew your perceptions. But I can barely wait!

Warning: if you get offended by the words or concepts of sh*t, trap*ze, f**k, boog*rs, f*re, vom*t, h*ppopotamuses, inc*st, sh*t, beast*ality, m*mes, f*sting, sh*t, sh*t, j*ggling, and sh*t, then maybe this isn't the joke or movie for you...
(I'm not kidding.)

posted in Green Room - 2 replies

Warm Ups

Psychedelic — Fri, 28 Jan 2005 00:35:19 GMT

I was wondering what people do in the few minutes before the curtain opens, when you perform at places with a sitting, waiting audience and a curtain...

I usually have my intruments already on-stage when possible, or in my hands. I think I just kind of mindlessly pass the time, which is not necessarily the best preparation. But you never really know how much time you have...

Karadeniz

posted in Green Room - 14 replies

DVD Promo Video - Dance or Music

Talisen — Mon, 07 Nov 2005 15:01:41 GMT

I am putting together a DVD promo Video for a dancer, and I would like to ask what you all think would be good to include on a disc such as this, specifically I was thinking of keeping it multimedia thus allowing PDF files for documentation that could be accessed and printed. Such as a hard copy of a Dance or Music Resume, Certificates, and so on, this is all in addition to the actual video for display on DVD player.

I would love to hear about any other stuff that you think might be useful to have on something like this.

Thanks

Jesse
www.bardicproductions.com

posted in Green Room - 1 reply

Our First Topic: Gig Bag!

Psychedelic — Sun, 23 Jan 2005 14:02:01 GMT

Whether you're a sound board operator, lighting techie actor/actress, juggler or musician, you should have a gig bag! Those little odds and ends will someday keep your cables together, your pants from falling down, or your fire from exploding the stage.

What kind of person are you, and what do you have in your gig bag/purse/instrument case/utility belt?

Person: I mostly a musican, and sometimes a dancer. I do some out door shows, parties, small stage, and large stage shows. I try to always have

paper
black pens
tape
black magic marker
vial of safety pines, various sizes
capo
tuner
9 volt batery
pocket knif with stuff on it, like bottle opener and screw driver
** small flashlight
hair ties
dental floss and tooth brush
picks for stringed instruments
extra strings
small bottle of water

** That flashlight is an absolute essential for finding other things...

This all fits in one pocket of the book bag that I carry flutes in. This book bag has a side holder for my bottle of water. Love it!

posted in Green Room - 21 replies

What to charge?

starshineon — Tue, 11 Oct 2005 01:21:42 GMT

Hey friends,

I am out here in Tucson Az. now and I want to start performing around town but I don't know what to charge. I do Hoop, Poi, Baton, Fire Fingers. eat and breathe. What does a girl charge for somewthing like that? People are asking and I have NO clue what to tell them.

Anyone?

posted in Green Room - 2 replies

Worst Thing That Could Happen...

Psychedelic — Tue, 05 Apr 2005 23:41:38 GMT

What are some of the worst things that have ever happened to you during or relating to a performance?

Please be sure to explain what was suppose to happen, what actually happened, and how you adapted. Did your adaptation make the performance significantly different, or maybe even better than the original intended show?

Don't be afraid to relate events second-hand that you know have happened to other people!

posted in Green Room - 22 replies

Tiny Tim

Psychedelic — Mon, 04 Apr 2005 05:10:05 GMT

Tiny Tim was an interesting and fabulous performer, generally a nice but troubled person, and one of my personal heroes.

Here is a nice site about him:

http://www.tinytim.org/

Karadeniz

posted in Green Room - 1 reply

Drum Workshop - August 6th - Melbourne Florida

Talisen — Mon, 01 Aug 2005 14:25:41 GMT

Just wanted to remind everyone about the upcoming workshop with Abdel Tahour on August 6th in Melbourne Florida.

There will be two workshops available that day as follows:

Beginner / Intermediate
This class will cover traditional hand technique and the most commonly played Middle Eastern rhythms. For the dancers in the class, Abdel will also discuss drumming for dancers to a live drum solo.

Intermediate / Advanced
This class expands on hand technique and rhythms and introduces drum solo phrasing. There will also be a discussion on drumming for dancers and dancers dancing to a live drum solo.

The Cost of each class will be $25 for pre-registration which can be done through our website www.bardicproductions.com or $30 at the door.

Do not miss the opportunity to learn from this Master.
Location: Marine Resources Council of East Florida (The Lagoon House)
3275 Dixie Hwy NE, Palm Bay, FL 32905 - 321-725-7775 (click on link below for map to the Lagoon House)

If you have never seen Abdel play you can view his playing on his website
http://www.abdeltahour.com/orlando tabla video clips.htm

Abdel is a master doumbek player and has played around the world and is a regular at Universal Studios and Disney Epcot center.

His style of teaching will motivate you and he will patiently go over the rhythms and finger techniques so one can produce the needed sounds from the doumbek. If you have always wanted to learn to play the doumbek or would just prefer to enhance your playing technique do not miss this great opportunity to meet and work with this master doumbek player.

Afterwards we will be heading to Casablanca Mediterranean Grill for a Hafla / Party beginning at 7pm. All are welcome. Come out and Drum and Dance the night away with great food and great people.
Casablanca’s – 57 Ocean Blvd Satellite Beach – 321-777-1019
NEED A ROOM FOR SATURDAY
Anybody coming out of town and needing to spend the night, we suggest the Super 8 Motel which will be right up the road from where the classes will be and about 20 minutes from the hafla. 1515 Harbor City Blvd. 321-723-4430.
Please make your reservations by August 1st to ensure you get one of these rooms if you are planning on spending the night.Mention "BARDIC PRODUCT." or "BARDIC PRODUCTIONS" and/or the date of August 6th . There are 7 rooms blocked. You will be about a mile or two up the road from the Workshop which is located at 3275 Dixie Hwy. (Same road, just changes names ). You will be very close to downtown Melbourne, the beach, restaurants, etc... The discounted rate will be $62.99 and with taxes, goes to $69.99. Rooms must be reserved by August 1st. (normally, the regular rate starts at 69.99 before taxes).. I was hoping we could do better for you than this, but this was the best for convenience and location...

posted in Green Room - 0 replies

Bardic Productions - New CD's, Artwork, Audio Book - Independent Publisher

Talisen — Wed, 25 May 2005 02:58:41 GMT

Bardic Productions is proud to announce the addition of new products!

www.bardicproductions.com all of our new products are listed right on the main page, you can hear the CD's by clicking on the pictures to go to the individual CD page, this way you can hear it before you buy to make sure you like what you are getting.

For those of you who do not have PayPal, or do not like to use Online Payments you can now make your purchases utilizing Check or Money Orders, just click on "Ordering with Check or Money Order" link at the bottom of the page, and you will be taken to the page that will allow you place your order through the site and pay with your check or money order.

NEW CD - World Beat

Talisen - Kef - a new world beat percussion CD - This is Talisen first solo CD (with the help of a few friends) It has that traditional Middle Eastern Sound with a number of pieces done on frame drums, it is a very diversified collection of percussion music that is great to dance to or just meditate, initial reviews are very promising for this CD, we know that you will like it alot.

NEW CD - Avant Garde

DX - Superdog - for those of you into the strange and unusal this one is straight up your alley, it is musical soundscaping, from the producers of the popular D2, another fine mix of industrial sounds, some of which could be pretty spooky driving alone at night with this CD in the player.

NEW Audio Book

The Circle Inside / Theological Analogy - Talisen - You get two books for the price of one, The Circle Inside is a look at Paganism from the basics to the philosophy behind it, a good entrance or refresher book for everyone. Theological Analogy is the second book of pagan oriented poetry by Talisen, another insightful group of poems that will make you think about the world around you.

New Chap Book

Theological Analogy - Talisen - For those of you who like to hold there books in hand this is a book of pagan oriented poetry by Talisen, another insightful group of poems that will make you think about the world around you.

New Artwork - Gaia and Wood Sprite by Tiffany

We have two new pieces of artwork that are available in print form, as well as available on a number of products through Cafepress, so get our wonderful artwork on your coffee mug, mouse pad, or a number of different articles from underwear to complete outfits.

If you are just looking for the print click on the Artwork text link under "Our Store", if you are looking for our other products just click on the picture you are interested in and you will get to our other products at Cafepress.

Jesse

www.bardicproductions.com

posted in Green Room - 0 replies

a question on intellectual property? (long post, but I really need feedback)

Mabjustmab — Fri, 15 Apr 2005 17:07:17 GMT

a wee bit of background for those who don't know me - I spent 4 years in art school and have been making my living as an artist in some way or another since 1991. that does ~NOT~ make me an expert or a "authority" or any kind of bullshit title.

I am currently known for music and dance. a majority of the music that I play has been around for at least a 100 years. I try to extremely hard to be aware of copyright infringement. I have done some recording and I made sure to look up the copyright on all the modern/contemporary songs I play. there is also the topic of individual interpretations. I'm not gonna play Uskudara (one of the most overplayed turkish songs out there -but a good one ;-) exactly the way Turku arranged it. that would be silly. because when I play it like Turku, the audience wouldn't be hearing my skill/talent/whatever, they would be hearing Turku's.

now that leads to another thought. why am I performing? well, if I was performing so people would look at me and tell me how wonderful I am, then I suppose ripping off other people's stuff wouldn't be a problem. but that's not why I do what I do. sure, It's nice to get feedback on my ideas. but I perform so I can share my thoughts, to give people something to think about, touch them in some way.

really what I want to know is...where does one person's intellectual property end and another's begins? at what point am I ripping of another persons ideas? how much is too much. in copyright law, it is X number of seconds (I can't remember the specific number offhand) or x% of the total song.

here is more info on copyright from the governments mouth. http://www.copyright.gov/

the other part of this question is: what do you do when you feel someone ~has~ taken one of your ideas? to me, copying ideas means one of two things, someone paying a compliment to me, and/or someone lacking ideas of their own. after the motivation is determined, then a course of action can be better planned.

share your thoughts on this - and I promise, I will publish them all in a book titled "I thought of all this by myself with no help from anyone"

I really appreciate you reading to the end of this post and I apologize for the length ;-)

mab

posted in Green Room - 14 replies

group fission

Mabjustmab — Sat, 30 Apr 2005 00:23:51 GMT

I have a friend (who shall remain nameless) who's former groupmates have split and formed their own group. before they left, they got a hold of all my friend's contact lists. they have been soliciting old contacts and telling them that the group no longer exists (untrue) and that they (the new group) will do gigs for a fraction of the price.

this displays multiple problems. 1 - undercutting, common and more easily handeled. and 2 - missinformation from a seemingly reliable source (ie. the group is disbanded when it is not).

the undercutting thing is not that hard to handle. if this new group wants to offer 6 people for 8 showes for a total of $800, that's their problem. they get what the deserve.

the biggest problem lies with the misinformation and the new, splinter group using the highly polished press kit of their former group and then saying that group doesn't exist (which it does), but have reformed as this new and improved group.

ok. so we all know that's just wrong. it's obviously unethical. but my question is....how does one handle the obvious lies?

looking for so ideas. (personally, I want to take out a big stick and let my Piece do my talking.....but...there has to be another solution)

mab

posted in Green Room - 1 reply

Label yer stuff

Psychedelic — Sun, 23 Jan 2005 14:13:13 GMT

Dang I did it again, left something behind...

Label your things, especially things that other people bring too and that get moved around by yet even other people.

Case in Study: My one and only microphone stand, looks like so many others. Needs tape on it with my name on it. Left in in Asheville, but I need it in Atlanta this comming weekend...

posted in Green Room - 3 replies

Performance Foot-Wear

Psychedelic — Tue, 08 Feb 2005 02:10:03 GMT

Hi all,

I think feet are great, usually well engineered for what we need to do. But often they can get a little help from foot wear! And sometimes, alittle help is really a lot of help...

What kind of footwear do you wear during your performances, and why, and do you have any horror stories about shoes or feet related to performances?

When I do musical performances, about any kind of shoe will do. But I usually take them off anyways shortly before the performance and just wear socks or sometimes perform barefoot.

When I've done vigorous dance performances, I've worn black "walking" shoes built for comfort, with lots of padding and rubber soles. I have worn jas shoes and love them for regular club dancing, because they are so light, but have given up because they don't give me enough protection from other people who step on my feet, often with large boots, and sometimes drunkenly...

posted in Green Room - 2 replies

Welcome to the Green Room

Psychedelic — Tue, 25 Jan 2005 00:30:22 GMT

Hi everybody,

Thanks for comming in to look at the Green Room.

The membership is over 30 people, and it's only the second day!
Right now, most people in Green Room are my real life or Tribe.net friends, and some others who are members of dance and music tribes that I advertized on. I am also hoping to recruit people who are do theatrical decorating, lighting, and sound production people. Perhaps also people who run venues such as coffee houses, restaurants, and live entertainment bars.

So if you know anyone who fits the bill, go ahead and invite them in to the Green Room.

Thanks!

posted in Green Room - 4 replies