Actors Beware of These "Manager" Contracts!

When it comes to the profession of representing talent the profession of personal manager is unfortunately the most fraught with shady characters. Individuals operating scams that at worst defraud actors. At best create a lopsided arrangement. One that is less an advisor-n-artist partnership but where the “manager” is a self-serving predator. Managers are not regulated by actor unions and/or local and state government oversight as are agents. Yes, there are reputable, respected managers. Their industrious support of actors is overshadowed by opportunists tagging themselves unjustly as a “personal manager.”

The largest red flag demarcating a “manager” of questionable integrity from a reputable personal manager is the ethically challenged “manager’s” manager-actor contract.

Answers for Actors reviewed one such eyebrow raising manager-actor contract littered with dubious clauses. Binding terms that are not in the best interest of the actor.

For identification purposes this management’s operation will be given hereinafter the fictitious moniker Management Extraordinaire: M.E. as an abbreviation.

Answers for Actors calls, B.S. on such a broad, and open clause.”


Actors beware of the following.

Commission:

First some good news. Some industry respected managers collect 10 percent commission on actor salaries derived from projects of which the actor participates as talent. It’s the same percentage that agents collect as regulated by performing artists’ unions. A larger number of managers collect 15 percent. Not so good news? Being that there is no government or union regulation or oversight of managers a manager can collect whatever percentage they choose, that an actor is willing to sign away. Management Extraordinaire collects 20 percent. Above the norm. An actor going into an agreement with a manager should not part with more than 10 – 15 percent commission.

To Management Extraordinaire’s credit—unlike one greedy “manager”—they don’t collect commission from the actor’s survival job(s).

Bilking the Actor:

Slipped slyly into Management Extraordinaire’s terms for commission is this:

“Artist agrees to pay or reimburse Manager for all out-of-pocket expenses which Manager incurs from time to time on behalf of Artist.”

Answers for Actors calls, B.S. on such a broad, and open clause. The “manager” could claim anything as “out-of-pocket expenses.” Agents are not permitted to invoke such a swindle.

Later in the contract Management Extraordinaire hits the artist again for reimbursement of operating expenses—which in any above-board representation firm are covered by the representation’s income that is earned commission. But M.E. is greedy:

“Pursuant to Manager’s Model’s Loan Agreement, Artist shall reimburse Manager for all costs incurred on behalf of Artist. Such costs, among others, include, messenger fees, comp cards, portfolios, web site charges and other such charges pertaining to the management and representation of a model.”

A franchised talent agent in Philadelphia had a similar scheme of charging actors for web site fees, office expenses and alike. Answers for Actors exposed the agent’s actions to Actors’ Equity Association, and SAG-AFTRA. The agent was instructed to cease and desist or lose their agent franchise agreement. Unfortunately with managers, no such Sword of Damocles can be held over the enterprise of the manager. If the actor signs a contract with a “manager” that has these types of soaking-the-actor-for-more-monies clauses—the actor is not the victim but the fool.

Fees:

Management Extraordinaire—like a bank manufacturing fees at whim—finds more ways to profit off of the actor with the following:

“Artist is aware and agrees that Manager is entitled to receive a service charge for any and all of the Clients who utilize Artist’s Services.”

Basically M.E. is attempting to additionally proffer with a service charge billed to producers who hire the actor. B.S. flag again. M.E. successfully asking for and receiving a service charge from producers is highly unlikely. Possibly, Management Extraordinaire negotiates a salary for the actor taking 20 percent commission plus an additional, undisclosed, amount from the salary as well earmarked as the “service charge.” How could they do this without the actor knowing more money has been deducted? The deception begins in an earlier clause in M.E.’s manager-actor contract.

M.E.’s contract gives the company power of attorney to “collect and receive monies on Artist’s behalf, to endorse Artist’s name upon and deposit same in Manager’s account with any bank, and to retain there from all sums due Manager at any time.”

The actor never receives monies directly from a producer. M.E. could be telling the actor that the producer has agreed to pay the actor $600 per week. But actually M.E. negotiated that the producer pay a higher amount. M.E. doesn’t disclose the higher amount to the actor, and since monies go directly to M.E.’s bank account, M.E. skims off the excess as the “service charge.” Plus, the 20 percent commission. The actor is never the wiser.

Manager as Loan Shark:

From M.E.’s manager-actor agreement:

“Artist hereby assigns to Manager the proceeds of all assignments performed by Artist, against which advance payment is made by Manager to Artist. Upon completion of this Agreement and pursuant to the terms of Manager’s Pay and Personal Loan Policy Agreement, advance payment is made if and only if vouchers are presented to Manager immediately after said assignments and are duly completed and signed by Client and Artist. If, in accordance with Manager’s voucher system, Manager does not receive a collection within three (3) months, Artist will upon request reimburse Manager for the sums advanced to Artist. Manager will take all reasonable steps to collect the amounts due with respect thereto. The risk of collection, in connection with Artist’s vouchers, and the legal costs thereto shall be borne entirely by Artist.”

Basically M.E. is loaning out to the actor the anticipated income from a booking. This should never be a consideration. With union projects, a bond is required of the producing organization. Some sum due to the actor is guaranteed. With M.E.’s inclusion of this clause it means that historically M.E. has booked their past or existing actors with likely non-union entities that stiffed talent on payment. And in those instances the actor paid to the manager the monies never received from the booking(s).

If I State in Writing I as Your Manager Can Not Manage or Negotiate Your Deals—But I Negotiate Anyway—I Can’t Be Violating the Law, Right?

M.E. is trying to be clever and coy stating in the contract they’re not really part of job procurement for the actor. But M.E. lacks grammatical dexterity to cover their ass that they are negotiating:

“Artist shall advise Manager of all offers of assignments submitted to Artist with respect to modeling and will refer any inquiries concerning Artist’s services to Manager. Artist acknowledges that Manager is not an “artist manager” under the labor code of New York or an employment agency in any jurisdiction, and Manager shall not be required or expected to obtain offers of employment for Artist.”

There are, reputable, transparent, well-regarded personal managers. The contractual abuses highlighted here should not deter actors from seeking a manager. If a contract—with these or similar terms—is presented the actor must heed caution before proceeding further.

There are several personal manager associations that managers can join which screen managers for legitimacy. Joining one of these associations is voluntary. Legitimate managers exist who are not members of manager associations. Self-regulating, the associations set professional operating standards for approved members. The U.S.’s prominent personal manager associations are the National Conference of Personal Managers, and The Talent Managers Association. Both have a Code of Ethics. The Talent Managers Association (TMA) has the more extensive Code of Ethics which includes limiting commission a manager may charge clients. TMA establishes limits on managers as to how long the manager represents an artist under a single-term contract. Plus TMA’s Code of Ethics expressly prohibits managers from charging clients fees for: coaching and acting classes, office expenses, and web site registration.

Both TMA and NCOPM have on their web sites their individual Code of Ethics, plus listings of current manager membership.

When signing with representation—agent or manager—bear in mind these guidelines:

  • Representation should only be collecting commission from the actor on projects from which commission collection is permitted.
  • Representation is not to be charging an actor fees for any operating expenses related to representing the actor.
  • No Advances. No Loans.

CASTING DIRECTORS, TALENT AGENTS, DIRECTORS & ACTORS

LOVE PAUL RUSSELL’S BEST-SELLING BOOK FOR ACTORS ACTING: MAKE IT YOUR BUSINESS!

“Humorous and witty…

Actors everywhere who are trying to succeed in the business, young or old, on stage or on camera, anywhere in the world, take note:

This is your roadmap!”

— BERNARD TELSEY, casting director – CSA (Mary Poppins ReturnsHamiltonThis Is Us,NBC’s Jesus Christ Superstar – LIVE!Wicked)

Get smarter on the business of acting from legendary Hollywood & Broadway actors and talent agents in a casting director Paul Russell’s Best-Selling Book ACTING: Make It Your Business!

Secret to Acting Career Longevity

 

Paul Russell PaulRussell.net

What is most vital to maintaining a life-long, acting career isn’t a skill taught or learned. It’s not talent. Nor a physical attribute inherent, altered or purchased. It doesn’t exist from collecting the industry connections nurtured and maintained. No acting book reveals a 10-step process to achieving it. No army of talent representation, public relations handlers, image and branding consultants, astrologers or life coaches bring to an actor’s career this one vital component that keeps an acting career sustainable.

I’ve witnessed in entertainment the careers of actors, agents, managers, directors, and production personnel flame out because they lost, or abandoned, what sustained them professionally. One recent surrender was on my Facebook news feed. The actor wrote:

This actor had many desirable elements of an acting career. Well-regarded representation.  A lengthy resume of professional credits that would be the envy of many aspiring actors I meet at universities. Why the public display of despair? Rejection, loss and B.S. in the acting trade is routine. Blaming the obvious isn’t why he was giving up. The cause came from within him but he didn’t know it. How am I certain? Because I have nearly lost the vital “it” myself.

At those moments I remind myself of my final statement to actors I meet at universities. An advisory more important to adhere to than all I shared during our prior time together. The one vital component to career longevity they must always maintain is:

Idealism.

I beg they hold tightly on to their idealism. Never let it go. If they feel it slipping, they’re to remind themselves of their youthful hopes. The love. The passion. The excitement. The drive that had them forsaking all else in their life. Or as simply put in the Stephen Sondheim lyric from FOLLIES: “When everything was possible and nothing made sense.” Once an actor shuns their idealism it’s time to step aside. Curtain.

Cynics scorn idealism as folly. One definition for idealism includes the following description: “The practice of forming or pursuing ideals, especially unrealistically.”

“Unrealistically?” Many practices in entertainment are unrealistic. Breaking into song. Super-hero movies. Walking into a sterile room, and pretending to be someone else before strangers in order to get a job. It’s all silly and unrealistic. The odds of an actor becoming a household name are unrealistic. But for a majority of actors; that’s not what sparked their desire to make acting a profession. Love is often the flame that ignited the passion. Love is an ideal. There is no more a realistic ambition or virtue than the idealism of love.

An actor’s idealism is constantly challenged. The actor must oppose the relentless resistance with unrealistic strength. As actress Bonnie Black spoke of an actor’s life in my book ACTING: Make It Your Business, “An actor must have the hide of a rhinoceros and the soul of a child.” Our inner child is our idealism. Idealism is the oxygen that fills our dreams and gives breath to hope.

If, at some point, the flame that is your idealism flickers and burns out; do not fear what comes next.

Have a candid discussion with yourself. What do you want of your life, professionally? If it’s still the business. Good. But don’t limit your scope. Consider how you can diversify into other areas of the business that restores your idealism. Leverage every professional contact. Ask for help. People love helping; especially in our community of entertainment. If you want a clean cut from the business—make it. I have witnessed others rise from despair. From casting directors, agents, directors, to actors of all levels of visibility. They are happy once more in new pursuits. They don’t perceive the change as failure. They embrace the change as a success to being fulfilled once again. Idealism rekindled.

At times an actor may feel like they’re screaming into the wind and not being heard. We are hearing you. Are you hearing yourself? That voice is the most important. Look inward. What idealism fuels your inner eternal flame?

Paul Russell’s career as a casting director, director, acting teacher and former actor has spanned over thirty years. He has worked on projects for major film studios, television networks, and Broadway. Paul has taught the business of acting and audition technique at NYU and has taught master classes at dozens of acting programs at universities including Hofstra, Elon, Wright State University, and Rutgers. He is the author of ACTING: Make It Your Business – How to Avoid Mistakes and Achieve Success as a Working Actor.

For more information on Paul’s projects, visit www.PaulRussell.net.

Share this:

Casting Directors, Talent Agents, Directors & Actors

Love Paul Russell’s Best-Selling Book for Actors
ACTING: Make It Your Business!

“Humorous and witty…
Actors everywhere who are trying to succeed in the business, young or old, on stage or on camera, anywhere in the world, take note:

This is your roadmap!”
BERNARD TELSEY, casting director – CSA
(The InternHamiltonNBC’s Jesus Christ Superstar – LIVE!, Wicked)
“All the right questions asked and answered…
and with a generous portion of good humor.”
SUZANNE RYAN, casting director, CSA
(Law & OrderUnforgettable)
“I love this book!
Paul’s book tells you what you don’t want to hear but really need to know
EVERY actor should read this book!”
DIANE RILEY, Senior Legit Talent Agent
Harden-Curtis & Associates
“Paul’s book made me proud to be a part of this community we call ‘show!'”
KAREN ZIEMBA, TONY & Drama Desk Award Winning Actress
“Paul Russell’s words are not only blunt & accurate they zero in on all the questions every actor wants to know but is afraid to ask!”
KEN MELAMED, Talent Agency Partner
Bret Adams, Ltd.
“I had my Business of Acting, BFA Seniors, class do book reports on a variety of “business of acting” books and ACTING: Make It Your Business came out a clear winner—considered to be essential for their bookshelves!
Dr. NINA LeNOIR,
Dept. Chair – Dept. of Thtr.
Chapman University

Get smarter on the business of acting from legendary Hollywood & Broadway actors and talent agents in a casting director Paul Russell’s Best-Selling Book ACTING:AMIYB_Amazon Make It Your Business!

Why LA LA LAND Fails Actors

An actor isn’t successful unless famous. A number of actors so starved for a portrayal of the profession, even false, will champion any story about actors even if it’s Wonder Bread, idealistic mythological tripe.

la-la-land

Paul Russell_HeadshotPaul Russell
PaulRussell.net

An actor isn’t successful unless famous. A musician isn’t successful unless they have a bountiful bank account. The anachronistic movie musical LA LA LAND, filmed as a late 1940s / early 1950s movie musical set in modern day, demonstrates how Hollywood perpetuates a mythical La La Land that doesn’t exist but insists to civilians, “This is how the entertainment industry really is.” No, it’s not.

.
Young, generic actresses without an agent don’t get into first-rate auditions or are plucked from one-night showcase obscurity into fame as this film pretends is reality. But yet the film, like most 3rd rate Hollywood portrayals about Hollywood, relies on worn clichés as fact: Casting directors are distempered women. Directors are cold hearted. Young actresses are all white and from Small Town, U.S.A. Jazz musicians are predominantly black, but if white they’re moody. Actors would be truly happy if the love of their life gave up his dreams so I can achieve the success I desire.

.
You’d think the actors, who daily seek a respect for their profession from family and detractors, would demand Hollywood rise to elevate the portrayal of the journeyman actor. No. On my Facebook feed I read of actors fawning over the failed-to-impress homage to the glamorous Rogers and Astaire movie musicals. A number of actors are so starved for a portrayal of the profession, even false, they will champion any story about actors even if it’s Wonder Bread, idealistic mythological tripe as is LA LA LAND.

.
In the entertainment industry an actor doesn’t:

– Repeatedly get 1st class film auditions without having representation
– Have a 1st class casting director attend a one-night showcase that has no heat or audience

,

Even the portrayal of the Hollywood backlot is a fantasy too far cliché. A saloon set not worthy of a theme park. Actors kissing in a filmed scene, but then when the director calls “cut” the actors are bitterly fighting. And where are the actors or entertainment personnel of color? The swimming pool party scene is more West Chester than West Hollywood.

.
If this is an homage to the classical Rogers and Astaire movie musicals that are the hallmark of cinema glamour of the 1940s, LA LA LAND fails in its unglamorous casting. Further disappointment comes during a promising opening number winking as a hallmark to movie musicals but then fails to drive the story as stalled drivers dance on a freeway. An opening number in a musical is to inform the audience of the story and expectations. In LA LA LAND the number “Another Day of Sun,” picked up from the cutting room floor, seems more like an exercise of instructing the audience that LA LA LAND is going to be a musical but, “We know it’s awkward for you to witness but bear with our indulgence. We’ll get to the storytelling shortly.”

.
If a fantasy, which LA LA LAND pretends, then those within the entertainment industry–the journeymen actors who don’t require fame to consider themselves successful–should demand a dose of reality within the fictional portrayal of their profession. LA LA LAND perpetuates the myth that an actor isn’t an actor unless famous. They’re just a barista hoping to be discovered on a backlot, and any acting work they do that is not in the global spotlight is without merit. Move along. Next.

.

Paul Russell’s career as a casting director, director, acting teacher and former actor has spanned over thirty years. He has worked on projects for major film studios, television networks, and Broadway. Paul has taught the business of acting and audition technique at NYU and has taught master classes at dozens of acting programs at universities including Hofstra, Elon, Wright State University, and Rutgers. He is the author of ACTING: Make It Your Business – How to Avoid Mistakes and Achieve Success as a Working Actor. For more information on Paul’s projects, please visit www.PaulRussell.net.

Share this:

Casting Directors, Talent Agents, Directors & Actors

Love Paul Russell’s Best-Selling Book for Actors
ACTING: Make It Your Business!

“Humorous and witty…
Actors everywhere who are trying to succeed in the business, young or old, on stage or on camera, anywhere in the world, take note:

This is your roadmap!”
BERNARD TELSEY, casting director – CSA
(The InternHamiltonNBC’s The Wiz – LIVE!, Wicked)
“All the right questions asked and answered…
and with a generous portion of good humor.”
SUZANNE RYAN, casting director, CSA
(Law & OrderUnforgettable)
“I love this book!
Paul’s book tells you what you don’t want to hear but really need to know
EVERY actor should read this book!”
DIANE RILEY, Senior Legit Talent Agent
Harden-Curtis & Associates
“Paul’s book made me proud to be a part of this community we call ‘show!'”
KAREN ZIEMBA, TONY & Drama Desk Award Winning Actress
“Paul Russell’s words are not only blunt & accurate they zero in on all the questions every actor wants to know but is afraid to ask!”
KEN MELAMED, Talent Agency Partner
Bret Adams, Ltd.
“I had my Business of Acting, BFA Seniors, class do book reports on a variety of “business of acting” books and ACTING: Make It Your Business came out a clear winner—considered to be essential for their bookshelves!
Dr. NINA LeNOIR,
Dept. Chair – Dept. of Thtr.
Chapman University

Get smarter on the business of acting from legendary Hollywood & Broadway actors and talent agents in a casting director Paul Russell’s Best-Selling Book ACTING:AMIYB_Amazon Make It Your Business!

Actors Trump Hate

Anger is passion. Passion is love. Love the passion that is the fight against hate.

“This was unexpected,

What do I do now?

Could we start again, please?”

Jesus Christ Superstar – Movie

 

Paul Russell_HeadshotPaul Russell
PaulRussell.net

 

November 9, 2016 wasn’t a morning of light for many but a gray day of mourning. That on the U.S. east coast the day was chilly with rain seemed cliché for the frightening prospects from the results of the U.S. presidential election. But a darkness shadowed many hopes and footsteps the morning after the election. I was among the grieving. Lost. Hope seemed cynical. How was I, in 24 hours following, to be a positive guide to young actors I was to visit at a university?

 

I looked to actors for a flicker of light to guide me through my darkness.

 

On Facebook I posted:

 

“Help. I’m a little lost here. I’m leaving this morning for a weekend of teaching young actors at Elon. At the end of my stay at each school I visit I stress to the ambitious actors the importance of retaining their idealism. For if they lose that on their journey– its game over. With my own idealism diminished greatly, what do you suggest I tell the young actors?”

 

Over 2 dozen actors lit flares:

 

Broadway actress, and teacher Rachel Ulanet posted…

“Encourage them to get involved. Kids feel empowered when they feel that they are part of a greater whole, especially one that works to make things better for all. We have told our girls this repeatedly over the past 24 hrs, and while they are still very teary and anxious, it does seem to calm them down. Also- that they are part of the ebb and flow of history. We all are! We have lived through bad presidencies before (though admittedly yes – this one is particularly scary), AND we will get through this one.”

 

Actor, (and former student of mine) Joseph Christensen offered…

“Art arises out of times of great struggles. Remind them that these events can be a catalyst for making change and telling stories that need to be heard. Finding expression is essential now so they don’t build a blockage on their creative energy.”

 

And then there came advice which had me uncontrollably sobbing as I shared it with the Elon students.

 

Actress, and TONY recognized acting teacher Beth Baur wrote…

“Remember that they are artists. There is their power! Write, Create, Paint, Dance. Create! Let your art guide you, speak, be the voice of your spirit. Even if it explores diminished idealism!! Or the pain. Or the anger. Or the confusion. MAKE ART.”

elon2016
(Above: Elon B.F.A. Acting Majors Class of 2016, Paul Russell (center), Fred Rubeck – Department Chair (seated) and Marty the pup)

Many actors shared wonderful, hope inspiring words of support and encouragement. We must look to the best within ourselves, and each other, to trump the hate that barrels towards us. Anger is passion. Passion is love. Love the passion that is the fight against hate.

My best,
Paul

Paul Russell’s career as a casting director, director, acting teacher and former actor has spanned over thirty years. He has worked on projects for major film studios, television networks, and Broadway. Paul has taught the business of acting and audition technique at NYU and has taught master classes at dozens of acting programs at universities including Hofstra, Elon, Wright State University, and Rutgers. He is the author of ACTING: Make It Your Business – How to Avoid Mistakes and Achieve Success as a Working Actor. For more information on Paul’s projects, please visit www.PaulRussell.net.

Share this:

Casting Directors, Talent Agents, Directors & Actors

Love Paul Russell’s Best-Selling Book for Actors
ACTING: Make It Your Business!

“Humorous and witty…
Actors everywhere who are trying to succeed in the business, young or old, on stage or on camera, anywhere in the world, take note:

This is your roadmap!”
BERNARD TELSEY, casting director – CSA
(The InternHamiltonNBC’s The Wiz – LIVE!, Wicked)
“All the right questions asked and answered…
and with a generous portion of good humor.”
SUZANNE RYAN, casting director, CSA
(Law & OrderUnforgettable)
“I love this book!
Paul’s book tells you what you don’t want to hear but really need to know
EVERY actor should read this book!”
DIANE RILEY, Senior Legit Talent Agent
Harden-Curtis & Associates
“Paul’s book made me proud to be a part of this community we call ‘show!'”
KAREN ZIEMBA, TONY & Drama Desk Award Winning Actress
“Paul Russell’s words are not only blunt & accurate they zero in on all the questions every actor wants to know but is afraid to ask!”
KEN MELAMED, Talent Agency Partner
Bret Adams, Ltd.
“I had my Business of Acting, BFA Seniors, class do book reports on a variety of “business of acting” books and ACTING: Make It Your Business came out a clear winner—considered to be essential for their bookshelves!
Dr. NINA LeNOIR,
Dept. Chair – Dept. of Thtr.
Chapman University

Get smarter on the business of acting from legendary Hollywood & Broadway actors and talent agents in a casting director Paul Russell’s Best-Selling Book ACTING:AMIYB_Amazon Make It Your Business!

The Background Actor with The Extra Smell

Background actors, also known as extras, are often the most underappreciated and despised positions of employ within screen acting. Mostly because too large a percentage of background actors have that extra smell.

Extra Background Actors

Paul Russell_HeadshotPaul Russell – author ACTING: Make It Your Business, director & casting director

Background actors, also known as extras, are often the most underappreciated and despised positions of employ within screen acting. Mostly because too large a percentage of background actors have that extra smell.

Extras are the actors required to fill-out the background of a screen story. Without extras, the world of film and television would appear as empty as a movie theater playing a marathon of Adam Sandler flicks.

Some actors leverage being an extra–the grunt work of acting–as a chore for financial survival. Temporarily they’ll network on set with entertainment colleagues with the knowledge that the belittlement withstood of being herded like cattle around a set is a temporary gig and not a career. These actors though will encounter on set delusional actors who fervently believe that being an extra will eventually propel them to having their own star on the Hollywood Walk-of-Fame; possibly aside Donald Trump’s unearned star. These are the actors who are known in the industry as “having that extra smell.”

The extra smell actor is the actor who believes their self-declared stunning beauty or unusual look once glimpsed on the screen for less than a nanosecond will have a director or producer rise pointing to the screen and shout, “Get me that actor! That’s the star of my next budget-busting-blockbuster!”

More Characteristics of Actors with the Extra Smell

1. Actors with a shopping list of credits on their resume that are named as the following actual credit from an actor’s resume: “Professional business man on the park bench reading The Wall Street Journal as Jennifer Anniston jogged by.”

2. Actors who when opening their wardrobe closet refer to clothing by project names: “For my date tonight, I think I’ll wear The Lovely Bones.”

3. Actors with an app on their smartphone a search engine for public bathrooms that can be used as a changing room while on location.

4. An actor with more autographs of the principals “worked with” than principal credits on their resume.

5. An actor with a composite card that displays them in various costumes from their roles as an extra, and then they utilize that comp card as a headshot to casting for principal work consideration. Extra smell.

6. Actors who send a picture and resume to a casting office that casts only principals and the actor requests consideration for extra work. Doubly extra smelling.

7. A background actor listing the extra credits on their resume as “featured.” “Bingo!” called for the extra smell in the corner of your screen.

8. The extra actor who complains to the caterer at craft services that over the past several years the caterer’s tri-colored pasta salad has been deteriorating in quality. Table for one extra smell.

9. Actors who faithfully believe that if the director happens to silently notice them then that director will instantly, without hearing the actor speak, catapult that actor to principal status.

10. Actors who gaze dreamily at a nearby honeywagon on set and fantasize it’s an oasis of stardom. There’s a room for the actor with an extra smell.

11. If while dressed uniformly among peer extras, there’s the extra actor who notices that their robe has a silver buckle upon its sash while the extra standing aside them has a sash with a gold buckle. And this slight in lower metallic grade on a costume ignites the jealous actor’s anger. Wardrobe knows who has that extra smell.

12. An extra arriving on set with a backpack bulging with screenplays they wrote as vehicles for themselves to star in and their sole intent for the day is to distribute them to anyone who makes eye contact. Everyone sees that extra smell coming.

13. An extra working on a James Cameron film, and the closest proximity they made to Mr. Cameron is the third AD. But later when speaking to fellow extras the actor claims, “James thinks I would be fantastic for the president alien who stops the oil tanker from plowing into the Statue of Liberty.”

14. Actors who mistake casting directors Mali Finn and Jonathan Strauss for a Vegas act.

15. Actors watching a movie who ignore the principals in order to evaluate the extras in the background.

16. Actors lobbying SAG-AFTRA, The Academy of Motion Pictures & Sciences, and The Academy of Television Arts & Sciences that each implement the award category: Best Extra in a Comedy, Drama or Musical.

17. Actors whom after being cast announce on social media, “I got casted.” There’s an actor whose vocabulary has an extra smell.

Put into proper perspective by the participant background work as an actor does have benefits: A paycheck. A networking opportunity. When work for an actor as an extra is approached by an actor with fantasies that the silent background cross or sitting at a table will lead to eventual fame; that actor has an extra smell that prompts principal professionals to run. Talent representation and casting directors advise actors who want to seriously pursue principal screen work to minimize or delete all their extra credits from the resume when an acting resume is sent to principal casting directors and Legit talent agents.

Now, before some actors misinterpret that prior statement and post on an online message board misinformation stating, “Paul Russell said….” let me re-state more plainly. Take the paychecks. Remove or minimize the extra credits on your resume if you want to be considered for principal work on screen. Have a separate resume listing acting history as an extra for when submitting for work to casting directors who cast background actors.

What if extra credits are all an actor has listed under the Film/TV header of their Legit resume and that actor wishes to grow beyond being an extra? Minimize. Actors with that extra smell will often include on their Legit resume every silent walk-on. Which in turn leads the purveyor (casting directors and talent agents) of the actor’s work history to ponder, “Can’t act. Directors don’t trust him or her with an Under Five or better.”

(continue reading)

HAMILTON’s casting director
praises Paul Russell’s book on acting
as “a must read for all actors… the actor’s roadmap!”

AMIYB_Amazon

There’s nothing disgraceful about being an extra (other than the sometimes disgraceful treatment of extras on set). An actor as an extra produces a paycheck. The under-appreciated work provides an actor with fresh contacts. The temporary employ won’t be an end-solution for becoming a star. Which by-the-by, fame should never be the reason for being an actor, and if that is an actor’s sole intent for being in the arts–that actor has that extra smell.

My best,
Paul
www.PaulRussell.net

Share this:

Casting Directors, Talent Agents, Directors & Actors

Love Paul Russell’s Best-Selling Book for Actors
ACTING: Make It Your Business!

“Humorous and witty…
Actors everywhere who are trying to succeed in the business, young or old, on stage or on camera, anywhere in the world, take note:

This is your roadmap!”
BERNARD TELSEY, casting director – CSA
(The InternHamiltonNBC’s The Wiz – LIVE!, Wicked)

 

“All the right questions asked and answered…
and with a generous portion of good humor.”
SUZANNE RYAN, casting director, CSA
(Law & OrderUnforgettable)

 

“I love this book!
Paul’s book tells you what you don’t want to hear but really need to know
EVERY actor should read this book!”
DIANE RILEY, Senior Legit Talent Agent
Harden-Curtis & Associates

 

“Paul’s book made me proud to be a part of this community we call ‘show!'”
KAREN ZIEMBA, TONY & Drama Desk Award Winning Actress

 

“Paul Russell’s words are not only blunt & accurate they zero in on all the questions every actor wants to know but is afraid to ask!”
KEN MELAMED, Talent Agency Partner
Bret Adams, Ltd.

 

“I had my Business of Acting, BFA Seniors, class do book reports on a variety of “business of acting” books and ACTING: Make It Your Business came out a clear winner—considered to be essential for their bookshelves!
Dr. NINA LeNOIR,
Dept. Chair – Dept. of Thtr.
Chapman University

 

Get smarter on the business of acting from legendary Hollywood & Broadway actors and talent agents in a casting director Paul Russell’s Best-Selling Book ACTING:AMIYB_Amazon Make It Your Business!

Paul Russell’s career as a casting director, director, acting teacher and former actor has spanned over thirty years. He has worked on projects for major film studios, television networks, and Broadway. Paul has taught the business of acting and audition technique at NYU and has spoken at universities including Yale, Temple and the University of the Arts. He is the author of ACTING: Make It Your Business – How to Avoid Mistakes and Achieve Success as a Working Actor. For more information, please visit www.PaulRussell.net.

How a Director / Casting Director Casts Actors

How does an actor get chosen for an audition? How does an actor succeed in the audition room? How does an actor have a successful career without a need for monthly visits to…

Casting

Paul Russell_HeadshotPaul Russell
PaulRussell.net

How to get an audition.

How does an actor get chosen for an audition? How does an actor succeed in the audition room? How does an actor have a successful career without a need for monthly visits to CVS for Xanax?

Live, from the rehearsal hall directing the 1st, post-Broadway U.S. production of MAMMA MIA! director (and casting director) Paul Russell shares with actor, and host of Theatre Matters, Justin Tyler Lewis the ins and outs of auditions, casting, and a successful career in entertainment in a must-listen podcast.

Click Player Below to Listen:

Non-Player Access: Click Here

PaulRussell.net

Tickets to 1st Post-Broadway MAMMA MIA!

Share this:

Paul Russell’s career as a casting director, director, acting teacher and former actor has spanned thirty years. He has worked on projects for major film studios, television networks, and Broadway. Paul has taught the business of acting and audition technique at NYU and has spoken at universities including Yale, Temple and the University of the Arts. He is the author of ACTING: Make It Your Business – How to Avoid Mistakes and Achieve Success as a Working Actor. For more information, please visit www.PaulRussell.net.

Casting Directors, Talent Agents, Directors & Actors

Love Paul Russell’s Best-Selling Book for Actors
ACTING: Make It Your Business!

Actors everywhere who are trying to succeed in the business, young or old, on stage or on camera, anywhere in the world, take note:

This is your roadmap!”
BERNARD TELSEY, casting director, CSA
(Hamilton, The Intern, NBC’s The Wiz – LIVE!, Into The Woods – The Movie, Wicked)
All the right questions asked and answered…
and with a generous portion of good humor.”
SUZANNE RYAN, casting director, CSA
(Law & OrderUnforgettable)
“I love this book!
Paul’s book tells you what you don’t want to hear but really need to know
EVERY actor should read this book!”
DIANE RILEY, Senior Legit Talent Agent
Harden-Curtis & Associates
“Paul’s book made me proud to be a part of this community we call ‘show!'”
KAREN ZIEMBA, TONY & Drama Desk Award Winning Actress
“Paul Russell’s words are not only blunt & accurate they zero in on all the questions every actor wants to know but is afraid to ask!”
KEN MELAMED, Talent Agency Partner
Bret Adams, Ltd.
“I had my Business of Acting, BFA Seniors, class do book reports on a variety of “business of acting” books and ACTING: Make It Your Business came out a clear winner—considered to be essential for their bookshelves!
Dr. NINA LeNOIR,
Dept. Chair – Dept. of Thtr.
Chapman University

Get smarter on the business of acting from legendary Hollywood & Broadway actors and talent agents in a casting director Paul Russell’s Best-Selling Book ACTING:AMIYB_Amazon Make It Your Bu

Black-market Breakdown Theft Catches Actors

Sellers and conduits of black-market breakdowns and their customers—actors—infringing on Breakdown Services’ subscription copy write are being found, prosecuted, and fined. An actor need not participate with dollars in the subversive selling/buying of breakdowns to be caught in an attorney’s cross-hairs.

black market breakdowns

black market breakdowns

Paul Russell_Headshot

Paul Russell
PaulRussell.net

black market breakdowns

Sellers and conduits of black-market breakdowns and their customers—actors—infringing on Breakdown Services’ subscription copy write are being found, prosecuted, and fined. The dark shadows of online black-market breakdowns for casting of major studio films, network television, Broadway and prominent regional theater digitally dots a trail to the sellers who profit on the desperation of actors. A digital marker is also placed on the hopeful actors illicitly paying for casting breakdowns that only franchised talent agents and Breakdown Services vetted managers receive.

The trail begins simply. Actors receive an email from a supposed seller or conduit:

“Hello bd friends,

“Big apologies if you’re receiving this message more than once! It’s AVP Wilson (also known as Music Staff or XBD Henry), back once more with some very good news about the bd’s. The supplier I told you about a while ago has now cut their charge in half…

“So, as before, if you’re interested, just send an e-mail to “********** [at] ******* [dot] com” and ask about the “recipes,” and please tell them AVP sent you. They are very security-conscious, so please do not use words like “bd,” or what that stands for, or “casting” or “actor” or anything like that. Just use the word “recipes” and they’ll know what you’re looking for.

“Feel free to pass this on to friends, but please, only people you know are trustworthy and serious about their acting careers! If you do pass this on to anyone, I’d prefer that you not forward this message, but put the essential info (e-mail, recipes, avp etc) in your own separate message.

“Thanks, have a wonderful spring, and break a leg! AVP”

Sent from several email addresses the connector, which in this case may also be the seller, sent a blast email previously this year to actors announcing:

“… as some of you may recall, someone “outed” me in early 2014 and I got into big trouble. So I’m staying out of the game. However, since a number of you have asked where you might find another “source,” there is one I can recommend…”

How was AVP and the management company caught leading to legal action taken against them? These emails are also sent to Breakdown Services, which then forwards them onto the IT department, and then legal counsel.

Email isn’t anonymous. Email leaves a digital trail between sender and recipient. The latter tracing should strike grave concern to the hopes of actors who buy black-market breakdowns. If an actor is traipsing in black-market breakdowns more than likely that actor’s identity is known to investigation, as is known the identity of sellers and intermediaries. To be identified an actor need not participate with dollars in the subversive selling/buying of breakdowns. Receiving the emails alone from black-market breakdown parasites leaves a digital trail crawling to the actor’s inbox and identity.

Big brother Breakdown Services is watching. Or, is big brother’s ‘watching’ an in-house drawing in of actors with the prior email pitch for actors to buy black-market breakdowns? The actor won’t know. But when an attorney for Breakdowns Services reaches out to the actor, the actor will know they’ve been caught. In this business of ‘show’ will the actor then be smiling when they are low?

PaulRussell.net

Share this:

Paul Russell’s career as a casting director, director, acting teacher and former actor has spanned thirty years. He has worked on projects for major film studios, television networks, and Broadway. Paul has taught the business of acting and audition technique at NYU and has spoken at universities including Yale, Temple and the University of the Arts. He is the author of ACTING: Make It Your Business – How to Avoid Mistakes and Achieve Success as a Working Actor. For more information, please visit www.PaulRussell.net.

Casting Directors, Talent Agents, Directors & Actors

Love Paul Russell’s Best-Selling Book for Actors
ACTING: Make It Your Business!

 

Actors everywhere who are trying to succeed in the business, young or old, on stage or on camera, anywhere in the world, take note:

This is your roadmap!”
BERNARD TELSEY, casting director, CSA
(Hamilton, The Intern, NBC’s The Wiz – LIVE!, Into The Woods – The Movie, Wicked)

 

All the right questions asked and answered…
and with a generous portion of good humor.”
SUZANNE RYAN, casting director, CSA
(Law & OrderUnforgettable)

 

“I love this book!
Paul’s book tells you what you don’t want to hear but really need to know
EVERY actor should read this book!”
DIANE RILEY, Senior Legit Talent Agent
Harden-Curtis & Associates

 

“Paul’s book made me proud to be a part of this community we call ‘show!'”
KAREN ZIEMBA, TONY & Drama Desk Award Winning Actress

 

“Paul Russell’s words are not only blunt & accurate they zero in on all the questions every actor wants to know but is afraid to ask!”
KEN MELAMED, Talent Agency Partner
Bret Adams, Ltd.
“I had my Business of Acting, BFA Seniors, class do book reports on a variety of “business of acting” books and ACTING: Make It Your Business came out a clear winner—considered to be essential for their bookshelves!
Dr. NINA LeNOIR,
Dept. Chair – Dept. of Thtr.
Chapman University

 

Get smarter on the business of acting from legendary Hollywood & Broadway actors and talent agents in a casting director Paul Russell’s Best-Selling Book ACTING:AMIYB_Amazon Make It Your Business!