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HEADSHOTS II - TABLOID TIPS

HEADSHOTS II - TABLOID TIPS
 
by Bob Fraser
 
THE ACTOR'S TOOL KIT #10
 
 
Do you read The National Inquirer? People? The Star? 
 
Even if you don't read them, you can't help but notice 
them - as you are checking out at the supermarket. Face 
it, the tabloids are a part of our everyday experience.
 
Did you realize that there's a big lesson to be learned 
from them? If you are pursuing a career as an actor, I 
urge you to give the tabloids a closer look and discover 
something very important about getting your headshots...
 
Here's the way it works: The tabloids offer good money to 
photographers who can come up with a photo of a star 
looking like something the cat dragged in. Why? Because 
they know that their readers are curious. Everyone wants 
to know what the stars REALLY look like. (They can't all 
be beautiful, can they?)
 
Of course, the stars are aware that the paparazzi are out 
there. The paparazzi's goal is to get a money shot: An 
unflattering photograph of Jennifer or Ben. The stars' 
goal is to look like the stars they are, in every picture. 
 
So that's the game. The photogs snap and the stars pose. 
 
Watch any red carpet ceremony and you'll see the game 
being played out. Hundreds of people with cameras - scores 
of stars doing their best to look like, well, stars.
 
IT'S YOUR JOB
 
So what's the lesson? It's just this - no matter who the 
photographer is, it's the actor's job to make sure that the 
photos turn out well - for the actor.
 
This is especially true when you are paying the photographer 
to take your pictures. The idea that a certain photographer 
is going to produce a great headshot FOR YOU ... without your 
involvement ... is just not reality.
 
No matter who the photographer is, (and remember there are 
hundreds... of varying skills, at every red carpet event) 
it's your responsibility to look good in any photograph of 
you. 
 
Is this a matter of "looks?" No, it's a matter of knowing the 
skills needed when you are in front of the camera. Stars get 
to be stars because they know this ... and they work at these 
skills.
 
Most actors discover the hard way that spending hundreds of 
dollars to get headshots doesn't guarantee success. For some 
it takes years of frustration and disappointment (& sometimes 
thousands of dollars) ... before they finally get a headshot 
that gets them called in. 
 
Why? Because most actors learn these skills through a process 
called "figuring it out on my own." This is a costly approach 
... guaranteed to cause career problems for actors ... until 
they get a headshot that works - a headshot that gets them 
called in.
 
Let's get down to the facts ... nothing can happen until you 
 
GET IN THE DOOR.
 
Getting in the door is all about your headshot. Not getting 
called in? It's probably not you - it's more probably your
headshot.
 
I urge all actors to watch the red carpet - and see what the 
actors who've succeeded are doing. 
 
And don't forget to check out the tabloids while you're in 
line with your groceries - and see what happens when stars 
are not "in the game" and doing their part.
 
 
"Reprinted from ACTOR'S TOOL KIT, the email course just for 
subscribers of Show Biz How-To, the free e-zine for actors. 
 
Get your own subscription at: www.showbizhowto.com
 
© 2007 Bob Fraser Productions All Rights Reserved"
 

YOUR HEADSHOT - THE CRITICAL TOOL

YOUR HEADSHOT - THE CRITICAL TOOL
 
by Bob Fraser
 
THE ACTOR'S TOOL KIT #9
 
 
I frequently get emails from actors asking me to assess 
their headshots. I cannot give them much help, because 
I usually don't know them - and I rarely see them in 
person. But, in order to provide some general information 
on this subject, I've taken to the word processor:
 
The most important feature of a great headshot is that 
it WORKS! 
 
When I say works, I mean it gets you called in to 
an agent, casting director, director or producer - 
whom you want to meet, impress, and convince that you 
are the actor they're looking for.
 
The second most important feature is that your headshot 
looks like you.
 
Since the goal you hope to achieve with your headshot 
is to get called in - you should start your plan by 
getting rid of any notions that a headshot should make 
you look glamorous, hunky, hot, or better than you 
really are, in some way. 
 
Because if you ARE called in -- and turn up looking 
nothing like your headshot - you lose. 
 
It's misleading advertising. 
 
Ask any casting director.
 
NEWS FLASH! IT'S NOT ABOUT THE PHOTOGRAPHER!
 
A headshot just isn't about making you look good. At 
the risk of being repetitive... it's only about getting 
you called in.  
 
Keep these distinctions in mind as you go to the trouble 
and expense of getting this critical acting tool. If 
your photo doesn't look like you - AND get you called in 
it's useless.
 
Many actors (unfortunately) seem to think that certain 
photographers possess the 'silver bullet' for headshots 
that all they must do is find the right photographer and 
their work is done.
 
The idea that photographers do all the work - and actors 
get all the results - is just wrong. That's an idea that 
can cost you hundreds (if not thousands) of dollars, 
months or years of anguish, and slow down your career - 
dramatically. 
 
Now, while it's true that a professional photographer 
generally knows precisely when to click the shutter - 
unless YOU give them something to shoot, it is unlikely 
that you will achieve that great headshot (the one that 
"works") except by happy accident. You can reasonably 
assume that waiting for an accident to happen is not a 
very good business strategy.
 
Which means, in the final analysis, you will have to do 
most of the work.
 
SPECIFICITY WORKS!
 
To accomplish the working headshot, you must know 
precisely what you need. The photographer's job is 
to help you achieve that specific result.  
 
Most actors learn the hard way that a non-specific 
headshot can be a career stopper. If you don't have a 
clear idea of what you are trying to sell to the 
business, your headshot will not reflect your best 
(and most saleable) qualities. 
 
In reality, you have almost total control over this 
part of marketing your business ... your acting business. 
If you hand that control over to someone else - or 
believe that any photo will do - you will most likely 
waste many years trying to get your career moving. 
 
And, like most skills you need to advance your acting 
career - if you don't take the time to learn how to do 
it... believe me, it just won't get done.
 
 

"Reprinted from ACTOR'S TOOL KIT, the email course just for 
subscribers of Show Biz How-To, the free e-zine for actors. 
 
Get your own subscription at: www.showbizhowto.com
 
© 2007 Bob Fraser Productions All Rights Reserved"
 

THE STAR'S CREED

THE STAR'S CREED
 
by Bob Fraser
 
THE ACTOR'S TOOL KIT #8
 
"I'm an assistant storyteller. It's like being a waiter or a 
gas-station attendant, but I'm waiting on six million people 
a week - if I'm lucky." ~ Harrison Ford 
 
This is one of my favorite quotes because it contains three 
of the most important elements you must understand in order 
to become a successful actor.
 
First, Mr. Ford tells you what the job is. Storyteller. Then 
he tells you how he thinks about his audience. He wisely 
considers them customers. Finally, he reveals the secret to 
becoming a big star - have a lot of customers. 
 
In other words, if you want to be a successful actor, you 
must build your customer base. You must attract an audience.
 
This is just a fact of life in our business. Entertaining 
the audience is what you will get paid for. Whether you ply 
your trade anonymously behind a microphone, appear in 
Broadway musicals, act in commercials, sing for your supper, 
do your thing in sitcoms or soaps, make independent films, 
or interpret Shakespeare in the park - your primary focus 
(as a business person) should be the audience - the paying 
customers. 
 
Understanding the "butts in seats" part of your acting 
career is crucial to your eventual success.
 
ATTRACTING THE CUSTOMER
 
Too many actors lose sight of this fact when they get caught 
up in the "inside" stuff. "Who's my agent? How do I get the 
casting director to notice me? What do you think of my 
headshots? Maybe I should get my nose fixed. How can I get 
into the union? Should I go to New York or Hollywood?" 
 
Believe me, our customers don't care about any of that. Not 
one customer in a thousand can name Harrison Ford's agent. 
It's unlikely that you know who it is and you're in the 
business. I doubt that any casting director has ever asked to 
see Harrison Ford's headshot or resume in the last twenty 
years. And try this experiment; ask 100 civilians what union 
Harrison Ford is in. Be prepared for some blank looks. 
 
Every successful actor I've ever met (or know about through 
reading biographies) has accomplished that success by one 
method. They've attracted an audience. Their focus is on the 
audience - the customers. They've worked hard at building 
their customer base. The other stuff is grunt work. Sure, 
it's an important part of taking care of business - but none 
of those things will make you more successful.
 
It's like a plumber spending a lot of time picking out his 
wardrobe. "Look, I don't care about your outfit. Just fix 
my toilet."
 
Is it easy to build a customer base? Even a plumber knows the 
answer to that. If it were easy, everyone would be successful.
 
Is the method a deep dark secret? Not really. All you must do 
is concentrate your efforts on your audience skills. 
 
Believe me, if your only goal is to entertain an audience, 
your success in the business is assured - when you treat 
them like customers and run your business as if your future
depended on it, because (not to put to fine a point on it) 
it does.
 
Agents, casting directors, managers, other actors, & network 
vice-presidents of talent are not your customers. They are 
co-contractors. They are only helpful to you if you already 
know how to "fix the toilet."
 
IT IS NOT REALLY LUCK
 
Many will argue that success in the entertainment business 
is a matter of 'luck.'  It is. But look closely, Harrison 
Ford's definition of 'luck' is doing your job for the 
audience and hoping they like it well enough to pay the 
admission.  
 
If your definition is that anyone can get to the top by 
getting lucky - like it's some sort of lottery - well, if 
you believe that, I know about some beach front property in 
Bagdad, you can buy cheap.
 
Some will even say that what counts is who you know. Again, 
that's almost true. The reality is this: What really counts 
is who knows you. The more people who know you and want to 
see you perform - the larger your success will be.
 
Then there are those actors who believe that there's a short 
cut. Get the right agent or manager. Find the "magic" monolog.  
Make friends with casting directors. Go to the right parties. 
Network until you find someone who will help you 'make it.'
 
DO YOUR RESEARCH
 
I urge you to read the biographies of successful actors. You 
will not find a single instance of these sorts of tactics 
leading to the promised land of stardom. 
 
If you still believe that actors are being discovered at 
the drugstore or the gas station - well, that Bagdad beach 
is beckoning ... and I can get you a rock-bottom price.
 
It all boils down to this: any business person who does not 
consider the customer the most important element in the 
enterprise, is doomed to failure.
 
Becoming a successful performer is a matter of performing in 
front of an audience as much as you possibly can - serving 
your customers until you are doing what Harrison Ford is 
doing - "waiting on 6 million customers a week."
 
It's all about the audience. Customers make careers - not 
door keepers.
 
 
"Reprinted from ACTOR'S TOOL KIT, the email course just for 
subscribers of Show Biz How-To, the free e-zine for actors. 
 
Get your own subscription at: www.showbizhowto.com
 
© 2007 Bob Fraser Productions All Rights Reserved"

Scrubs (Complete Fourth Season)

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Scrubs (Complete Fourth Season)
More guest stars move through the revolving door of Sacred Heart Hospital in Scrubs' fourth season, with results as uneven as the show itself. With last season's climactic end to J.D. (Zach Braff) and Elliot (Sarah Chalke)'s relationship resolved within two episodes, Heather Graham (Boogie Nights) comes on board as a cheerful psychiatrist/love interest, and Julianna Margulies (ER) as a cutthroat malpractice attorney/love interest. But the real love story of Scrubs has always been between J.D. and Turk (Donald Faison), a point that is poked fun at in the season opener, as the two joyously reunite after Turk's honeymoon with nurse Carla (Judy Reyes). Turk and Carla struggle to navigate newlywed life, made all the more complicated by J.D.'s drunken kiss with Carla. Meanwhile, at the hospital, it's Elliot who proves the more proficient doctor when she shares co-chief resident with J.D., and a few (though not enough) patient stories, including Saturday Night Live alum Molly Shannon as a chatterbox ambulance driver with a secret, Matthew Perry (Friends) as an air traffic controller estranged from his dad (played by John Perry, his real father), and in the most bizarre bit of stunt casting, Colin Farrell (Miami Vice) as an unintelligible Irishman (so, basically himself) and American Idol runner-up Clay Aiken as a singing cafeteria worker(!). Some of Scrubs' special features this time around are ho-hum, including short vignettes on "The Mysterious Janitor" and more on J.D. and Dr. Cox. The only pleasant surprise is an audio commentary from Braff (who was absent from season three's commentaries and was ribbed in season two's disc for being too important shooting films to contribute), speaking on "My Last Chance," which he directed. Season Four is a letdown compared to the previous seasons' smooth navigation between belly laughs and heartache; here's hoping Scrubs' trademark hysterics get resuscitated for season five. --Ellen A. Kim

THE AGENTS BRAIN

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THE AGENT'S BRAIN

by Bob Fraser

THE ACTOR'S TOOL KIT #7

Agents are salespeople working in an employment agency.

That's what they do. They call people who have jobs to
fill and they try to sell the business people they
represent (actors). They are just like salespeople at
a temp agency. Just because they sell actors doesn't
change the job.

The most important thing to understand about them is
that they do it for money. Like many people in many
professions - no, like all people in all professions -
agents like to make money for their efforts. Unlike
lawyers, however, agents rarely do pro-bono work.

I've only had two agents during my acting career, but
I know a lot of agents - including some of the biggest
in the business. I've gone to parties with them, played
poker with them, and softball - seen 'em at picnics,
awards ceremonies, golf tournaments ... you name it.

Bottom line: I know these folks.

THINGS AGENTS NEVER SAY

Read the following very carefully:

I've never heard an agent say, "Yeah, I just took
on a client who's thinking about being an actor. She
hasn't done much on her own but I think I can teach
her to work. I've got plenty of time to show her how
to be a pro. And even though she's got the wrong
attitude, it probably won't take too long to explain
why her attitude is problematic. I know she hasn't
managed to get going on her own but I'll just send her
out for every part in her age range until she gets work.
I know it's risky, but she's got a feeling she's going
to be a star, so I'm going to give it a shot."

I've never heard anything like that.

WHAT AGENTS REALLY WANT

This is the kind of thing I hear agents say when I'm
playing cards or lining up a putt, "Yeah, I just took on
a real comer. This guy can do it all. He's a good actor -
wait'll you see this little student film he did. He's
smart. He's been making pretty good money - all non-union,
but he's ready. Hustle? The guy's been in like a hundred
plays, he teaches a class to kids. He's doing a one-man
show over at this Equity waiver theatre in West Hollywood
- go go go. I tell you, Bob, I'm going to make a fortune
off this kid."

Do you see the difference? Of course you do.

In your heart of hearts you know that this is reality.

You know it.

So, how does this help you to get an agent?

In this crucial way: Now, you KNOW what agents are
really looking for.

INTEREST = MIND-SET + RESULTS

1. Actors who are acting for money. Because 10% of
that amount is what the agent lives on. It is his
income. If the actor cannot book work - nada.

2. Actors who are getting cast. They've been in plays,
student films, non-union work, it really doesn't matter
what level of work is, as long as the actor has a
history of getting cast. It's a good indication for
most agents.

3. Actors who work hard at getting good enough to
compete for jobs - actors with the right attitude.
(They know they have to commit and work hard.)

4. Actors who hustle.

NO INTEREST = LACK OF COMMITMENT & HARD WORK

You now also know what they are NOT looking for.

1. Actors who haven't made the commitment to act for
money. (This kind of self-induced commitment is probably
harder than you think it is.)

2. Actors who haven't bothered to do much without anyone
else's help.

3. Actors who believe that an agent can "make it happen."
(Rule of Hollywood: Agents don't make actors - actors
make agents.)

4. Actors who take an attitude because of that belief.
("They just don't care about talent," is a hollow
complaint - and changes nothing.)

5. Actors who think agents don't know what they are
doing. (Maybe the agent knows what she's doing and the
actor doesn't know what he's doing. It's a possibility.)

Now, these 'observable realities' can lead us to only one
conclusion with regards to your "getting an agent" problem.

IT CAN BE DONE

IF ... you are the type of actor they are looking for.


"Reprinted from ACTOR'S TOOL KIT, the email course just for
subscribers of Show Biz How-To, the free e-zine for actors.

Get your own subscription at: www.showbizhowto.com

© 2007 Bob Fraser Productions All Rights Reserved"

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