Craze Agency

A question and answer article with Craze Agency CEO Troy Lee and Children In Film.

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1.     What is the most important trait you look for in child actors?


The ability to be relaxed, comfortable, disciplined and natural in front of virtual strangers is a hard quality to find. Clients want kids to be real kids not seem like they were forced or coached by their parents.

2.       What would be the ideal attire for children to wear to an audition? An interview?


Simple age appropriate clothing not to casual but also not overly dressy for both an audition and an interview. No hats or makeup. We want to see what they naturally look like.


3.       Upon first impression, what might immediately deter you as an agent from selecting a child?


Pushy parents that answer the questions for the child, kids that cannot sit still very long or have a hard time taking direction. Parents who have unrealistic expectations

4.     What would you say are the perks of a small boutique agency vs. a large company?


Though we have agencies in Utah and Idaho and work primarily in the Intermountain region we also find work in many surrounding markets. Because we are not in a top ten populated market we find work in many areas. Commercial print modeling, Lifestyle print modeling, a little bit of High Fashion modeling, Small budget and Feature films, Commercials, Website spoke persons, Brand Ambassadors and trade show modeling.

In order to provide clients with appropriate talent, we represent quite a few people that just do this part time and not as a career. We also assist talent in getting larger market representation once they are qualified and ready. I have found that successful agencies in smaller markets cannot specialize as much as most of the larger market agencies.

5.       As an out-of-L.A. agent, what would you advise other out-of-L.A. parents & child actors to do to gain exposure?


Get a reputable agent in your market. It is too hard for an individual to get their foot in the door with most paying clients. Many agencies in smaller markets also rely on training the models and actors for income. This is not always bad but if you want your child also promoted properly, you have to be extra careful because they may make the majority of their income training the talent.

Do not worry too much at first about spending a ton of time finding national work for your child. Try to develop their skill level and resume with local jobs. If they want to be an actor research the best film and commercial acting instructors. In our market most theatre jobs are low or non paying so we spend our time with film, TV and commercials. Make sure your child’s headshot and resume are of industry standard quality. Then mail them with a brief cover letter to every ad agency, commercial photographer and casting director in your market.  Also it is all about networking so at first do low budget or free projects just to get out there and create visibility and experience.

6.       What is one important thing you feel a parent can do to benefit their child to become more successful in the industry? Or what not to do?


Encourage the child but never force them to be in the industry. Educate them on the good and bad points and be realistic. Usually there is not as much consistent work for kids until they get a little older.

7.    At what point would you advise to parents choose to move to L.A.? Is it imperative?


For acting once the child is one of the most booked children in your State, which is a very small percentage. Also if they can be SAG eligible and have 2-3 years of really good experience on their resume.  For modeling I would say they probably would also need to be a pretty good actor because there are a ton of cute kids already living in L.A. so they need to be able to do both well to catch the eye of the better children’s agencies.

Over the years I have had a number of really good actors and models jump too quickly to L.A.,  even though they were making some good income in our market and developing a nice track record with the local casting directors and ad agencies. Though I counseled them to first further develop their acting skills or modeling portfolio with tear sheets etc. they would listen to many so called industry people advising them they are L.A. ready now. Most of the time they go before they are really ready and end getting discouraged and they just quit the business… For many actors or models L.A. or New York should be the goal, but just make sure you give yourself the very best chance possible to succeed!

8.      How did you get started in the entertainment industry?


I had a high school friend who managed an agency offer me a new faces recruiting agent position even though I had little experience in the Modeling and Acting world other than doing many trade show spokesperson jobs for various companies. After about a year of working for this agency I realized there were better ways to promote and recruit the talent, so I worked hard and opened up my own agency and have now been promoting talent for about 25 years.



9. What is the most important lesson you have learned working in entertainment outside of Hollywood?


I have had to be extremely diversified to grow and succeed. Sometimes there are a ton of movies all going on or commercials or print jobs and other times almost nothing. We are usually busy all the time because we have such a diverse section of talent that we can find opportunities daily. Also sometimes smaller market agents are just as smart and savvy as major market agents. They have to be just to survive.

10.  Why are you passionate about your agency and/or being an agent?


I have a fantastic team at the Craze Agency that has worked together for years.  It really gives me pleasure when I see one of our talents careers begin to flourish. I also love the fact that over the years we have assisted thousands of people in achieving some of their dreams in the entertainment industry.


Get a great modeling and Acting Headshot or Zed Card

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Lots of Personality!! Give them fun or serious facial and body expressions. For modeling show off all your best poses and angles. Also show variety in poses, locations and clothing for modeling, this will make you appear to be more experienced. Many people may have a similar look to you- it’s your personality that makes you standout.

Don’t be typecast- Do not dress like a specific character or look, lawyer, nurse o police officer only a swimwear model etc… You want the viewer to be able to imagine you as many different characters from one or more pictures.

Clothing choices should be simple. Avoid patterns and prints in favor of solid colors. No white or very light pastels or large logos. Simple clothing helps the viewer see you. You are not selling the clothing with your headshots or zeds cards. Also to tight of clothes or loose and layered clothes do no photograph well.

Makeup. Yes, you want to look your best for your headshot, but that doesn’t mean layers of eyes shadow and unblended blush or too bright of lipstick. If possible hire a professional makeup artist. Keep in mind, you should pay close attention to what your makeup artist does so when you go to an audition or to meet an agent you can walk in the door looking as close to your photo as possible. Men, just make sure your skin is not shiny and your lips are not chapped.

Look like your headshot. This is not a time to be a beauty queen. You need to give casting directors and clients an accurate version of yourself. Look like your everyday self but just a little better. Sometimes your little flaws will actually get you cast! Keep your current look close to your photos, if not update your photos.

What kind of work you are trying to get? Do you want to do film, commercial or modeling work? They are all shot a little different normally

Don’t show a lot of skin! Females, this means no excess cleavage unless you are doing a modeling zed card, do a few swimwear of tasteful lingerie shots if you have an amazing body. Also remember to do some headshots and a variety of looks. Guys, keep your shirts on unless it is a modeling shot for your zed card. Casting directors want to see you, but not that much of you!

Face shot or ¾ shots. ¾ shots are useful to show a casting director your body type.         This can be good if you are looking to do commercial work modeling clothes. Be careful, though.

Your eyes really need to be the strongest part of your shot. Of course your smile is    important, too, but the eyes can make or break your picture. Your eyes give you the opportunity to show the layers in your personality. Rather than thinking about the viewer looking at your picture, think about you looking at the viewer.

In a ¾ shot, your eyes can get lost. A facial shot is the best way to show your eyes and your personality…

Try to be unique and show who you are in the photo. Clients often shuffle through dozens of cards and you need to stand out in a positive way.

Printing. Make sure your great photo is printed on quality card stock and is full of vibrancy and contrast

Film, Theatre and Modeling terms from C.I.F.

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Above-the-line – Creative talent such as actors, directors, producers, and writers OR the part of the budget which includes costs and fees associated with the above talent.

Actors Equity Association (AEA/ Equity) – A union that has jurisdiction over performers in live stage productions in theaters, such as Broadway and community theater.

A.D. – Assistant Director.

Agent – A representative of talent, petitioning on behalf of the talent for work within the entertainment community.

American Federation of Television and Radio Artist (AFTRA) – A union that has jurisdiction over performers in live and taped television and radio, which may include soap operas, sitcoms, newscasts, talk shows, award shows, radio broadcast and music recordings (albums, CDs).

Attachment – Talent (actor, director) that has committed to being in/working on a film. When producers/agents are shopping around a script they may say “So and So is already attached” to up the ante.

Back-end – Deferred payment of fees and/or percentage of net profits paid to certain above-the-line players once a film turns a profit.

Blocking – Working out the action before filming begins, including where the characters should be, and the camera angles.

Breakdown – The listing of the projects currently being cast.  The breakdown contains the producer, director and casting director.   Casting Directors send out breakdowns – information about the project being cast – so that agents and managers know to submit their clients for possible auditions and roles.  There are many sites that offer breakdowns in order to connect casting directors with actors and agents.

Callback – A follow-up audition, after they have narrowed down the competition.

Call Sheet –
The daily schedule of a given production, listing “call times,” actors involved and scenes.

Cast – A collective term for the actors appearing in a particular movie.

Casting – The process of hiring actors to play the characters in a script. The lead roles are typically cast by the director or a producer, minor roles and bit parts by a casting director.

Casting Director – A person responsible for selecting actors to play roles. Some casting directors specialize in selecting extras.

Cattle Call – An open casting or audition to which masses of people respond.

Character Actor
– An actor who specializes in playing a particular style of character, often stereotypical, offbeat, or humorous.

Choreographer – A person who plans and directs dance sequences within a production.

Cinematographer – Responsible for elements viewed through the lens, the cinematographer works closely with the director to create appropriate shots and organize the visual elements of a scene (props, extras, lighting, etc.).

Close Up – A shot in which a character or item takes up a large portion of the frame. Often used for dramatic effect, or to highlight emotion or something to which the audience should be paying attention.

Commercial Agent – an agent that represents talent for television commercials.  This is not to be confused with a print agent which represents models for commercial print ads.

Commercial Modeling – Otherwise known as Print Modeling, this is modeling done for print advertisements, catalogs, etc.

Countercross – A shifting of position by two or more actors to balance the stage picture.

Cross – The movement by an actor from one location to another onstage.

Cue – The last words, action, or technical effect that immediately precedes any line or business; a stage signal.

Day Player – An actor who is paid a flat daily rate and generally only has a few lines in the production. Characters that appear in only one scene are generally played by day players. This is sometimes a “step up” for an extra who is asked to read a line on-set.

Dailies – As the film is shot, production and development units view footage the following day. This film stock is known as ‘dailies.’ The producer, director and various studio department heads critically analyze the previous day’s results, looking for any visible problems, from wardrobe to set dressings and performances. In theory, dailies depict the progression of the film in relation to the course of production.

Development – Development is the process of advancing a story from idea to green-lit script. At its core, development is an editing tool for the screenplay, allowing entities that oversee the project’s process to mold it into the necessary form. As a contemporary notion, however, it’s become an expansive portion of the above-the-line procedure that includes many elements. The development process spreads into casting, production, and even distribution. The main tasks of an executive working in this field include the acquisition of material, advancement of the screenplay, and packaging.

Director – The principal creative artist on a movie set. A director is usually (but not always) the driving artistic source behind the filming process, and communicates to actors the way that he/she would like a particular scene played. A director’s duties might also include casting, script editing, shot selection, shot composition, and editing. Typically, a director has complete artistic control over all aspects of the movie, but it is not uncommon for the director to be bound by agreements with either a producer or a studio. In some large productions, a director will delegate less important scenes to a second unit.

The Director’s Cut – It’s industry standard and a guild requirement to leave a director alone with the print until they’ve finished the first version of the film. Although a studio selects the laboratory, sound transfer facility, optical house, and other facilities of the kind, the director is provided six weeks to complete the version or ‘cut’ they prefer.

Directors Guild of America (DGA) – A guild representing motion picture and television directors and assistant directors.

Distributor – From studios to exhibitors, the distributor sells viewing rights for a finished film. Somewhat of an intermediary function, distribution creates initial revenue for the source that financed the project. Its basic function is to sell the viewing rights of a motion picture to specifically designated areas. Based on the elements involved in the feature, the costs of these rights vary and are just a fraction of the income for distributors. Others include merchandising, television, and video. In each case, however, the distributor’s main source of revenue for a film comes from how well it plays. Although they sell exhibition rights, the main source of income derives straight from the box office.

Dubbing – The technique of combining multiple sound components into one. The term is also used to refer to automatic dialog replacement of a new language.

Editor – The editor cuts the film. Using an Avid and/or digital splicing mechanisms, the editor orders individual scenes into a complete, coherent story. The director and producer usually, with approval from the studio, hire this key position. Editors, like directors and writers, are chosen for the genre in which they are most proficient.

Executive Producer – A producer who is not involved in any technical aspects of the filmmaking process, but who is still responsible for the overall production. Typically an executive producer handles business and legal issues.

Extra – A person who appears in a movie where a non-specific, non-speaking character is required, usually as part of a crowd or in the background of a scene. Extras may be recruited from the region of the shoot location or through an agency. Contrast with non-speaking role.

Feeding – Giving lines and action in such a way that another actor can make a point or get a laugh.

Film Stock – The physical medium on which photographic images are recorded.

Foil – An acting role that is used for personality comparison, usually with a protagonist or main character.

Frame – An individual picture image which eventually appears on a print.

Greenlight – When a project receives a greenlight, the funding entity approves it for production. In order for this to happen, the script must be ready to shoot and major elements, such as the stars and directors, must be in place. Once the project is given the ‘go,’ the producer and their team assemble cast, crew, and other necessary elements to make the film.

Independent Producer (Indie) – Autonomous of the studio system, independent producers not only develop material, but secure financing (studio and non-studio) to make their movies.

Line Producer – The hands-on manager of a film set, the line producer organizes the practical aspects of production. Although the job’s stability is less speculative than creative producing, like most industry jobs, it remains primarily freelance work. Line producers and production managers are responsible for budgeting, scheduling and implementation.

Log Line – A brief summary of a script, novel, or manuscript that gives the basic premise in 2-3 lines.

Looping – The term used to describe an actor matching his or her voice to picture.

Manager – Known for paying special attention to both a client’s personal and financial needs, the manager assists in administrating an artists’ personal business. Agents and managers share many of the same functions, but tend to fill very unique rolls. Managers usually work with smaller client lists, as they’re known for providing more focused attention on the growth and development of a clients’ career. Managers focus less on business negotiations and more on placing the client in a position to have negotiations arise. The recent trend of managers shifting into producer roles, may be viewed as an extension of their involvement in a client’s life under the terms of a specific project.

Method Acting – A style of acting formalized by Konstantin Stanislavsky which is believed by some to create more realistic performances. Essentially, the theory requires actors to draw experiences from their own personal lives that correlate to the character they are playing – an extremely demanding process emotionally. In some cases, “method” actors take the theory even further by arranging events in their private lives to resemble the lives of their characters.

Milk – To draw the maximum response from the audience from comic lines or action.

Monologue – A scene or a portion of a script in which an actor gives a lengthy speech without interruption by another character.

Networking – Often referred to as ‘schmoozing,’ networking is the act of building a personal slate of business contacts and relationships. The process of developing these relationships comes from an array of communicative activities ranging from phone conversations to business meals to meeting recommended professionals. As is the case with most businesses, networking is a key element to surviving every realm of the entertainment industry. Since much of the movie making business is project to project, relationships created in networking situations often lead to a professional’s next job.

Pilot -The first episode of a television show or cable show used as a “test run” amongst networks and producers before the show is greenlit.

Pilot Season -The time between around January to about May when pilot episodes are filmed and tested and possibly given the greenlight to begin production.

Pitch – The meeting held between key players of a film or broadcast literary work. In most cases, this is where the writer(s) attempt to ‘sell’ their product to the producers by explaining why their product should be made by that company into a motion picture.

Post-Production (Post) – Once principal photography wraps, post-production begins. ‘Post’ is where the project goes from hundreds of hours of film to a hundred minutes of story. The post team edits the film into a two hour story, loops in necessary dialogue, adds sound design and music, works in visual effects, and reshoots scenes requiring further work. Notoriously, post-production can either save or kill a project. Much like developing a script, it’s important to have a solid post-production crew.

Pre-Production – Prior to principal photography, the production team and the director use pre-production to assemble the key elements of the movie. The producers settle on a budget, create shooting schedules, and scout locations. The casting director fills acting roles, the camera team works out their shots, physical production dresses sets and designs costumes, and the unit production manager hires the rest of the crew. Also in this period, the director storyboards, rehearses, and makes any final preparations for shooting. Aligning these elements makes this one of the most important parts of a film’s creation.

Principal Actor – an actor with speaking lines.

Principal Photography / Production – Production is the actual shooting of the film. Also known as ‘principal photography,’ cast and crew formally map and shoot scenes. In order to do this, they weave individual talents into a single, functioning entity, in order to create a core concentration of footage for editing.

Print Work – commercial modeling work done for ads in magazines, newspaper ads, internet and direct mail pieces and for packaging on products.

Producer – The producer’s job is to successfully turn a story idea into a film. The true creator of the project, the producer engages in all aspects of the filmmaking process. They develop with the screenwriter, collaborate with the director, and make key decisions at every stage of production, including casting, editing and composition of music. Producers usually work on a contractual basis and run companies staffed with teams to assist in development and production.

Production Company – The production company acts as central headquarters for all stages of production. They range in size from a single person to over twenty employees and commit to duties ranging from the inception of an idea to making sure the final print is delivered to the theater on premiere night. Their core functions, however, are to assist the headlining producer in developing scripts, attaching talent, and running the day-to-day production activity. Although a handful of production companies fall under corporate studio umbrellas that cover their overhead, most work on a project-to-project basis, much like the artists.

Residuals – Fees paid to performers for the reuse or re-broadcast of TV shows, films and commercials. Principals earn residuals but extras do not. Usually you must be a member of the Union to receive residuals.

.Role Scoring – The analysis of a character.

SAG – the Screen Actors Guild.  SAG is an actors union.

Set – An environment used for filming. When used in contrast to location, it refers to one artificially constructed. A set typically is not a complete or accurate replica of the environment as defined by the script, but is carefully constructed to make filming easier, but still appear natural when viewed from the camera angle.

Screen Actors Guild (SAG) – This union has jurisdiction over performers in most productions recorded on film, and may include commercials, films, television shows, student films and industrial films.

Screen Test – A form of audition in which an actor performs a particular role on camera, not necessarily with the correct makeup or on the set.

Script – The screenplay. Different mediums have different standards, all of which, if done imaginatively and effectively, can be broken. General industry rules are as follows — Pages: Depending on the genre, average length ranges from 105 to 120 pages. Font: Courier or New Courier; Times New Roman is usually accepted, as well. Spacing: Single space when describing action or a person’s continuing dialogue; double space between new action lines and/or character dialogue. Screenwriting programs: Final Draft, Movie Magic, Script Thing, Dramatica Pro, Scriptwright, Movie Master, etc.

Shooting Schedule – The shooting schedule is the production bible. Including everything from rehearsal times to effects set-ups, the shooting schedule helps manage the daily events on set.

Short List – Short lists contain consensus candidates in the decision-making process. The list displays second/third tier results in the whittling of acting, directing, writing and other key crew decisions.

Sides – Half-sheet pages of a script which contain the lines, cues and business of one character.  An excerpt of a script given to auditioning actors.  The side generally has an important bit of dialogue giving the actor insight into the character and showing the director/casting director if the actor has the ability to convey the character’s emotions, background, etc through that particular dialogue during their audition.

Slate – To slate your name (and age, if a minor) on camera; used as identification on the audition tape.

Slug Line – A header appearing in a script before each scene or shot detailing the location, date and time that the following action is intended to occur.

Station 12 – The department of SAG that confirms an actor’s union membership and dues status.

Stand-In – A person who has the same physical properties of a particular actor, and takes their place during the lengthy set-up of a scene. This allows the actor to prepare for the filming itself.

Taft-Hartley – A federal statute that allows a non-performer to work in a union position without having to first join the union. It is in effect for 30 days from the first day of employment, after which the performer must join the union.

Tag Line – The last speech in an act or a play, usually humorous or clever.

Take – A single continuous recorded performance of a scene. A director typically orders takes to continue until satisfied that all of his or her technical and artistic requirements for the scene have been met.

Taking the Stage – Giving the actor the freedom to move over the entire stage area, usually during a lengthy speech.

Talent – While talent usually refers to actors, it can also refer to writers and other artistically contributing members of a production. In studio terms, “attaching talent” is the key to moving a project forward.

Teleplay – A script written to be produced for television.

Teleprompter – A type of camera in which the performer can read his lines right off the camera lens; usually used for daily shows and news broadcasts where hosts have little time to memorize lengthy scripts.

Tempo – The speed at which the action of a play moves along.

Theatrical Agent – an agent that represents talent for television and film work.

Top – To build to a climax by speaking at a higher pitch, at a faster rate, or with more force and greater emphasis than in preceding speeches.

Tracking Group – A security-protected internet community of development executives who

Trailer – An advertisement for a movie which contains scenes from the film. The name derives from the fact that these advertisements used to be attached to the end of a newsreel or supporting feature. Doing this reduced the number of reel changes that a projectionist would have to make.

Treatment – Similar to an outline, a treatment is one of the first steps in developing a project. It adds depth to character and story by filling in missing blanks. The treatment’s main purpose is to tell the complete story before setting it in script form. Most are written in prose and range from ten to twenty pages. The treatment is the best place to hammer out initial story and character problems. Unless a script is sold on spec, most buyers require a treatment (or very detailed) outline from its writers before commencement of the actual screenplay. If financed independently, the treatment’s often a part of the initial fundraising package.

Unit Production Manager (UPM) – An executive who is responsible to a senior producer for the administration of a particular movie. UPMs only work on one film at a time.

Upgrade – an upgrade occurs when an extra on set is given speaking lines in a scene (usually last minute), and the actor (former extra) is now guaranteed full union pay.  This happens more often in films than in television. In right to work States there is no guarantee of upgrade in rate unless negotiated.

Voice Over – Indicates that dialogue will be heard on a movie’s soundtrack, but the speaker will not be shown. The abbreviation is often used as an annotation in a script.

Walk-On – A small acting part which has no lines.

Wrap – To finish shooting either for the day or the entire production.

Zed Card – A composite of photos printed on a 6″ x 8″ card, used by models. Also sometimes called a ‘comp card.’

Craze Agency Acting checklist

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Actors Checklist

1-Always bring a photo to the audition, a callback or you have met the client before. No exceptions!

2-Always bring a resume to the audition. No exceptions!

3-You must staple the resume back to back to your photo. Do not ever attend an audition without both your headshot and resume stapled back to back. One staple in each corner!

4-Always be 10-15 minutes early to your audition and make sure you have the correct address and directions to the audition. No exceptions or excuses!

5-Once at the audition look for a sign in sheet and make sure you clearly fill in the correct information if there is a sign in sheet.

6-Do not bother or ask the Casting director a lot of questions, research them before the audition.

7-If they are recording the audition they will ask you to slate. When they say “slate” look into the camera and smile and confidently say hello my name is (state your full name). They may also ask you to state the part you are playing and your agency. Do not tell them this information unless they ask for it!

8-When you are ready to perform your part find the mark or place they would like you to stand or sit (your option to stand or sit unless they specify).

9-When you start your performance only read to the person you are having the dialog with. Do not look at the camera or the casting director, client, etc. unless they are performing the scene with you.

10-Give as much eye contact as possible to the person you are reading with, even when they are reading their lines. Really listen to them and react naturally to what they say.

11-When you perform the scene; act as natural and believable as possible. You must come off as being very relaxed, comfortable and confident.

12-Really know the scene and characters inside and out. Prepare it over and over. Try to have the scene memorized, but make sure you know the lines and never break character!

13-The auditions are not practice sessions. The clients auditioning you expect you to know what you are doing and be a professional finished product. Get the training before you start attending auditions!

14-Often they will not have you do the scene more than once. If they do and they give you directions or changes really go overboard making the changes.

15-Have fun! Remember you are an entertainer. Clients do not want to hire or be around boring run of the mill talent.

16-If you receive a call back, try to look and perform the scene the same way.

17-Do not call you agent after each audition asking if you were hired or have received a call back. The agent will call you if they want to book you.

18If you accept an audition you must attend!!!! No exceptions. If you are not 100% sure you can attend, do not accept the audition, we will understand. (We usually give the client an advanced time sheet on who exactly will be at the audition and what time they are scheduled). If you are not going to be available when the job if being completed do not accept the audition.

19-Do not get discourage if they did not hire you. Every client and situation is different. The biggest key to success in this business is patience and perseverance!!!!!

20-It is your career, so practice, practice, practice, because the competition is! If you need

An Actors preperation guide before auditioning

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These are some of the questions you should answer when you prepare to perform or audition an acting scene. Be creative and try to think out of the box. Casting Directors, producers and directors respect actors who are original and creative

If you do not know the answer below just use your best judgment but make a choice. There really is not a right or wrong but just your interpretation.

By using this list below it should help you to perform and understand the acting scene much better.

Casting directors stress that you need to make and be able to perform strong choices when auditioning.

When practicing your audition do it for a friend or family and see if they are able to answer these questions by witnessing your actual performance.

Always try to remember the audience only knows what you are thinking by your actual performance. They do not have a script in front of them.

Learn to connect with the audience by being able to let them feel and understand what you are thinking and conveying.

Make a worksheet every time you audition and fill in the following questions.

What is the physical description of my character?

What is the personality like of my character?

What are my emotions?

What is the personality of the other characters in the scene?

What is our relationship?

Where is the scene taking place? Describe the setting.

What is the time of day?

What type of Film, T.V. series or Commercial is this?

What is my character trying to accomplish?

What are the other characters trying to accomplish?

What details or nuances that make sense I can add to the scene?

What is the pace of the scene?

Where are the key shifts in the scene?

Do I completely know and understand the scene?

Now see if your performance conveys these details. With this method you begin will start to understand your character and provide a much richer and interesting audition. Now go get an audition and have a blast with it! If you have further questions call us at 801-438-0067, 208-433-9511 or go online to

What to expect when you work on a movie set!

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Hints for Working on a Movie Set

Work on a movie set often means “hurry-up and wait”.  You’re going to be asked to wait for long periods of time in between your scenes.  If you don’t know what’s expected of you during these waits, you might accidentally make a serious mistake and be asked to leave.

To keep you alive and well on the set, here are some of the directions you, as Background Artists, are required to follow:

Bring ORIGINAL DOCUMENTS for your I-9 information to the set. This includes your driver’s license and social security card, or, birth certificate, or passport.  You will not get paid be asked to leave if you don’t have these.  Print legibly. If your paperwork cannot be read, this will slow down the process for you to get paid.

Be prepared to stay all day (about 12 hours). Once you’ve been established in a shot, you must be there in case you’re needed again.  If you choose to leave, you will not be paid or rehired. Sometimes the production will end quickly and they will let you go but you must let them give you the OK.

o       Arrive 15 minutes before your actual call time. You will use this time to fill out paperwork and to get where you need to be.

o       Be very quiet on the set and in the holding areas. Everyone needs to hear all of the directions at all times.  You surely don’t want to miss a cue.

o       Do NOT approach the cast and crew with questions, for autographs, or for photos.

o       Do not touch any equipment.

o       Leave your valuables at home. Do not leave valuables in your car.  They are not responsible for lost or stolen items.

o       Be patient and pay attention.

  • Put your cell phones on silent or vibrate, and do not answer it while they are shooting.
  • If you make a commitment you must show up!!!!!!!!!!!!

Important Terms & Phrases

When on set, expect to hear the following:

1)      Rehearsal – practicing the shot.  Sometimes this will be with just the cast or just the camera.  Often it will include background.  The AD (assistant director) department will be very clear as to who is participating in the rehearsal so that everyone is aware.

2)      Picture Is Up – this means we will be shooting the next time (rolling film).  Everyone that has been directed to work in the shot will participate.

3)      Rolling – the camera and sound begin to record.  Please stand by.

4)      Background Action – this is where all of the background act and do what they have been directed to do.

5)      Action – the cast (those speaking) begins their acting.

6)      Cut – everybody stops acting and listens for instructions.

7)      Reset or Going Again – We will do the same shot again.  Please return to where you started on the previous take.  Please do the same exact thing as the previous take unless directed to change it.

8)      Check the Gate – last stage before setting up a new shot.  Please stand by.

9)      Moving On or New Deal – A new shot will be set.  Please listen for instructions as this may be an appropriate tie to use the restrooms or get food and water.


Please bring at least one outfit that would comply with the descriptions below but not to exceed 3 outfits.  If you don’t have anything vintage, then clothing of the appropriate type and color (described below) are also acceptable.


****This may be obvious to many of you, but please wear proper undergarments in case you are asked to change clothes.


Light blue                                                                      Hot pink

Red                                                                              Lime green

Peach                                                                           Bright White

Navy                                                                             Orange

Pink                                                                              Brown

Black                                                                            Burgundy

Off-white/Ivory                                                              Gold

Pale yellow                                                                   Green

Tan                                                                               Fluorescents



As non-descript as possible.  PLEASE avoid ultra-modern, huge, high-tech tennis shoes.  If period appropriate shoes are not available, dark shoes in general are quite helpful. .  Sandals and platform shoes are also useful.


Again, as non-descript as possible. Grey, black, tan, and pastel trousers are acceptable.  Wide leg is acceptable for women, as well as some flare.  No bell-bottoms.  NO SHORTS.


Shirts and blouses in the preferred colors are appropriate.  Oversized T-shirts are not appropriate.


Some scenes may be outside, bring appropriate clothes to keep warm when not shooting


NO Big logos (i.e. Nike, Coke, Gap, Rocca, Enyce, etc.)

NO Acid washed denim

NO High contrast patterns/plaids

NO Super baggy hip hop clothes

NO Shorts

Please keep dates and production information in case you need it to track payment issues or for your resume.

Do not gossip or speak badly about the production, other talent, agencies etc., clients want positive professional people.

Remember every production is different be ready for different methods in everything they do. Also generally it takes 2-3 weeks to get paid but sometimes it takes longer!

These tips are generalities and will help greatly, but remember every client will have various things they may expect so be sharp and ready.

Have a great adventure!

Craze Agency tips to help us help you

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When booked for a job, often the talent stress out because they do not hear from the client or Craze until the night before on the details of the job. This happens a lot because in many situations they do not know exact times until they finish the previous days shooting.

Trust us, if they contact us we will let you know ASAP! Please make sure to keep your phone close and check your email. Please be patient and understand it is not that they are not organized but that things don’t always go perfect because of so many variables they have to deal with.

This is just part of the business but if you are patient things usually work out.

Craze never wants there to be rescheduling or date conflicts but it is out of our hands when it comes to this area.

Do not call your Agent after each audition asking if you were hired or have received a call back. The Agent will immediately call or email you once we are notified if they want to book you.

Sometimes it can take a few days for the clients to book the talent sometimes many months so always keep your sides just in case. There are times when we are working on dozens of projects and waiting on hundreds of possible bookings.  If we let every person know when they did not receive a part all we would have time for is contacting our talent and we would never find new jobs or be able to book the jobs we are doing at that time.

Many National and some local Clients take more than 30 days time to pay you, even when your agent bills them with a 30 day voucher.

We hate it as bad as you do, (we all have bills to pay). Often they have 2-4 clients they bill to get you paid (art directors, photographers, ad agencies, casting directors or the actual client), so it can take sometimes 60-90 days or more.

We will do everything in our power to collect, but it has always been that way and it will probably never change with the big national companies. Clients are aware they get a lot of people work so if you or Craze harasses them too much the client will just use someone else or another agency.

We want to get you your hard earned money and our success rate is over 98 Percent!  Remember, we will email you the day the check clears so you can pick it up. Please don’t bug us because it does no good, we have a great billing system and stay on top of all our invoices.

If a client asks you what your rate is, say, “call my agent” or you can call Craze and let us know and we will negotiate it for you and get legal contracts for you. That is our profession and we will make sure to get documents signed if needed and get you the best rate possible for that type of project in our market. Usually clients that do not want to initially go through agents and deal directly with the model or actor will either never pay or low ball you or work in a very unprofessional manner.  If there budget is small we still know how to get the most money possible for you. Remember, you are responsible to let the agency know about these projects and pay your commissions. It does you or us no good letting us know after you have done the project!

Our goal is to help nurture, educate and establish you in our markets so that we both can have a fantastic long term relationship and continue to grow. Generally having a successful career in our business takes time, hard work and patience. We hope this helps you to understand the business a little better.

Thanks for your loyalty and hard work,

Craze Agency

Models and Actors don’t play the blame game!

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As an actor or model you will be dealing with many types of hiring clients such as Photographers, Casting Directors, Art Directors, Talent Agents, Talent Managers, Film Directors, Producers, Ad Agencies, and Networks etc.

Many models and actors feel that one or all of the above is preventing their success?

Constantly the Actor, Model or Entertainer deal with a lot of unknown factors such as; why don’t things happen quicker in my career? Who is slowing down my career? Why didn’t I get the role when I performed excellently? Why am I not going out on more auditions?

In order to for you to get to where you want to go ask yourself these questions.

1-Do I need to update my pictures/resume/reel.

2-Perhaps I should go to a casting director workshop to get one-on-one time with that casting director.

3- Maybe I should ask my agency for directions on what to do next.  Have I recently auditioned for my agent?

4-Maybe I need to do something different about my technique and look at what various modeling and acting classes have to offer.

5- Maybe the old hairstyle or look I have is not working now.

6-Perhaps I should be marketing myself differently.

7-Maybe I need to realize that I do not look the same as I did at 18 as I do at now and apply for the age appropriate jobs.

8-Do I truly understand how the business works?

9-Am I staying involved and proactive or am I just sitting back and waiting for things to happen?

Instead of working on the things you can control many actors and models play the blame game.

Example: That Casting Director just doesn’t really like me or, that person is just racist/sexist/ageist and unwilling take a risk, or all the clients want are tall, skinny models etc.

It’s natural that we sometimes make false assumptions; it protects us when we feel weak and unable to change, whether because of financial conditions or lack of motivation.

Over the years it seems the really successful talent will take a hard look at themselves first and try not to play the blame game very often.

So have some courage and look at some of the things you can change!

Here’s how to be pro-active.

Reel- Commercials, Feature Films, Student Films, Independent Films, Webisodes, Runway shows. Get a get reel of your work made with a professional reel company. Get it reviewed by your agent and get it published.

Pictures-Have your agent advise you to keep the ones you have or to get more accurate updated or flattering pictures.

Resume-Keep it updated and give it to your agent.

Coaches— Do you need referrals to acting coaches? Ask your Talent Agent, Manager and friendly Casting Directors.  How often are you practicing? Your competition is probably daily.

Casting Director Workshops-You get one-on-one time with a casting director who can tell you straight whether you’re terrific or need work. You will learn their particular style that they prefer when casting talent.

Test Shoots-Build your portfolio with professional test shoots from reputable photographers. Have your agent assist you in putting together your portfolio.

For more advice call the Craze Agency 801-438-0067 or go to

New Casting call Craze agency

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Grand Junction and South Eastern Utah areas. Over the year we work with a few Stock and commercial photographers who shoot on location in these areas. They generally look for fashion and commercial models who live in the vicinity because they do not pay for travel. All ages, experience with photo posing. .

New Boise film many ages needed Sour Bamboo Pictures-A young girl witness to her family slaughtered at the hand of petty robbers in a bind. 12 years later she seeks revenge, her whole life based on this moment. But will we feel pity for those 3 young men that did this now that they have moved on and have families of there own?

Currently seeking talent for IMAGINE an independent short (30 min) film. Created by Jahanara Saleh, Jonathan Steven Green, Austin James Green.

…The intention in producing this film is for film festivals. Utah Staged Production Auditions- Spokane, Washington: White Christmas Spokane Civic Theatre. Singing and dancing roles:11 men (ages 18 – 50) 10 women (ages 18 – 35)1 woman (age 40 – 60)1 girl (age 9 – 12)Non-singing role:1 man (age 50 – 65)Additional:1 …girl (age 9-12)* 2 boys (age 9-12)*

Boise-Stock photo studio looking for- Girl 1-3 light complexion and hair, very expressive face. Girl 6-9 Ethnic and fairly thin body type. Medium to long hair. Boy 2-6 Ethnic, medium body type, can play sad. …Boy 9-13 Freckles or lighter complexion, looks like a trouble maker. Girl and Boy to play brother and sister 14-18 all ethnicities and sizes, real family members preferred but not required.

MAJOR OPPORTUNITY!!! Craze Models, Actors, Singers and Dancers ages 5-49! We are extremely proud to be bringing in National Talent Agent and Scout, Carol Henderson.Carol represents the Global Stars Network.They are an elite network of Agents, Managers, Casting Directors, Scouts, Models, Actors, Directors, and other industry professionals.

Utah, Idaho, Wyoming, Washington and Colorado Stock Shoots 2010 Stock and Video firm seeking photogenic children and teens 1-17 years of age to be used to advertise there business. Pay is $50 per hour or $300 day rate.h


Actors (Western Slope) and Grand Junction Area Colorado, Actors needed. Wicked Muse Cinema is looking for enthusiastic, reliable people, who have a passion for movies. Whether you have a desire to make entertainment a career or just a part time gig. Wicked Muse Cinema would like to hear from you. Please send an 8 x 10 photo and resume to:

COMPANY OF FOOLS Announces Boise Auditions Friday, August 6, 2010 – 3PM to 5PM…Appointment Only Company of Fools will be holding auditions in Boise for specific shows in their 2010/ 2011 Season

Audition for Feature Film, Must Come Down Utah- Title: MUST COME DOWN Production Company: Malatova Productions Producer: Dominic Fratto Producer: Patrick Fugit Rates: The budget is based on a SAG


What hiring clients look for in Actors and models

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With 25 years experience and as President of the Craze Modeling and Talent Agency booking 1000’s of models and actors, here are some of the most important tips that hiring client’s look for when booking talent for paid speaking roles or modeling assignments!

1- Polish- The talent must be polished and confident enough to do the job with little or no direction if needed.

2- Experience-Does your portfolio or resume show you have worked and trained successfully in the past?

3- First impression-Often they have to make a hiring decision within 30-60 seconds. If they cast you and they have not worked with you before they are taking an educated risk. A good impression is made by being early, prepared, looking like a professional and having amazing charisma!

4-Can you think quick on your feet? Sign of an experienced professional. Can you make the adjustments they ask for?

5-Are you worth the money they are paying? If the client is going to pay a rate of $400-$1500 a day, you must show them you are worth it. They have to account for every dollar spent.

6-Originality-When auditioning many models or actors it becomes hard to differentiate between each talent. You need to make a creative statement and lasting impression within the context of the project.

7-Be prepared to be uncomfortable. It is natural not to feel natural. (That is why it is important to constantly be practicing and training).

8-When you first get into the acting business, go to every audition that you fit the profile on regardless if it is a lower or non-paying project. This business is all about networking and exposure.

9-Ability takes time. Be patient with yourself and your agent.

10-You can spot an experienced Model or Actor a mile away. You cannot fake it!

11-Keep your sides after every acting audition, sometimes it can take weeks for the callbacks to occur.

12-Keep a journal and detailed notes on all of the auditions you attend. Track what happened, how you did, things that worked and things you need work on. Note how you adjusted to each audition, who you met with, etc.

13-When you book a job, always make a note on what the project was, what part you played and who the production company, casting director or client was. Update your resume and make copies for your agent and yourself. That may land you your next job.

14-Pay you agents commission ASAP, they really do notice who pays quickly and will send you out more often. After all it is a business.

15-Never get discouraged. That is why most Actors and Models fail!

Circle yourself with positive people who are also in the industry or support you in your passion.

16-Always aim to become the best  Actor or Model in the entire world.

It takes that kind of mental approach and dedication to achieve results in this competitive

Always remember these tips and your chance of obtaining success will dramatically increase. The Craze Agency is here to help! If you would like more Information about us call 801-438-0067 or go to