Types of Modeling-There are various types of modeling to choose from and most models don’t just stick to one kind. Very broadly, they can be classified into Fashion Modeling, Body or Body Part Modeling, Commercial Modeling. The following are the most ethical types.
- Fashion modeling of course can be further divided into print, runway, editorial, catalog, lingerie, bathing suit, fitness, size specific (petite, plus size etc) modeling and possibly a few more.
- Commercial modeling this is actually the busiest modeling in a medium to small market size. This includes lifestyle modeling, sport modeling, modeling for trade shows, product promotions, etc.
- Body part modeling is actually an off-shoot of fashion modeling which uses models for specific body parts. So for example, a model with great hands would be used for an ad for a hand cream.
Finding Work-There is never a lack of work for models but for paying jobs it is very competitive. Finding work can be hard on your own, especially if you’re an unknown face with no proven talent. The best way to start out in modeling is to work with a reputable agent who takes you under their wing. It is the agency’s job to promote you and find you work and it helps you gain a foothold while you’re still new to the industry.
Versatility-You will immediately become more employable when you are versatile and can pretty much suit any role a client needs. Versatile model are just as comfortable at photo with different photographers and products at photo shoots as they are saying lines for various TV commercials or working as a spokes model. Once you’ve proven your abilities, you will soon become the person the client asks back for the next promotion as well. This is when it becomes much easier because you do not have to continually audition, they just directly book you.
The Client-Your career is client-driven. Your ability to book jobs is based on how well you can help the client sell the product or service. Without the client you will have no work, and obviously no pay. Doing an amazing job when you are booked will force the client to hire you over and over again.
For more advice call the Craze Agency at 801-438-0067
Or go to
Craze Agency values hard work, loyalty and integrity. We work on a simple commission basis. Craze Agency is now auditioning and Craze booking models, actors and extras of all ages!
Craze Agency has achieved an A Rating and proud members of the Better Business Bureau. Craze Agency is one of the top ranked Agencies in the world according to the largest, most unbiased, award-winning talent rating site on the planet. IMDB.COM
Craze Agency represents premium models, actors and extra’s. Established in 1999
Craze Agency Casting Calls-New Disney Channel Sitcom, “Jessie” auditioning actors for series regulars. Debby Ryan will play the starring role of au pair Jessie.It’s A Laugh Productions, a subsidiary of The Walt Disney Company, will begin production on a new promising family sitcom for Disney Channel titled, “Jessie” this summer, 2011. Auditions are underway for the series regulars, and additional casting will continue throughout spring 2011. Casting calls have gone out to talent in Los Angeles, New York, Chicago, Miami, Vancouver, and Toronto for the series regulars.
Starring Clair Danes-AS COOL AS I AM (Regional Release) Feature Film SAG Producer: Anthony Mastromauro, Judd Payne, Matt Williams start Date: May 9, 2011
Las Vegas Film- A Tamas Horvath Film A United Vision Film “What a Chance”This film will be shot with an HVX200-a camera with P2 support. Filming is expected to take 3-5 shoot days and will start shooting in late April or early May depending on the schedules of the cast and crew after casting is completed.
Casting session For Craze Agency Talent For Intermountain Healthcare Cancer Brand TV spotsAuditions will be 5 minutes for each spot Here are the specifications…
Client: Intermountain Healthcare
Current spots are :30Rate: $700.00 Patient
$300.00 Featured Extras
$150.00 Kid Extras (cast by head shots only)Market:
Utah Buy: one year, Television & Web Shoot Date: April 13-14th, 2011 (full day)
Walmart Demo Dates: 4/16/2011 to 4/17/2011 Times: 12:00 PM to 4:00 PM4 hour demoLocations: Utah, Idaho Rate: $60 per event
Now Casting 24 Models for Stock Image Work Breakdown:
Seeking 2 Males and 2 Females from 6 Ethnicities (Caucasian, African, African-American, Asian, Hispanic, Islanders, and Native Ethnicities or multi-racial)
Age: Mid 20’s – Early 60’s
Seeking 24 models in total.
Casting Models 17 years and Up Paying-The Craze Agency has been working with a Utah Photography studio out of Salt Lake City/Duchene, Utah
The Craze Agency and the Photographer will be conducting a Model Casting Call on Friday, April 8, 3:00pm- 5:30pm in Sandy, Utah. Selected Models will need to plan for a 5 minute interview/audition.
Snowbird Shoots- We have a client that is looking to do a Print Photo shoot in Utah April 17-18 Rate is $750/day for Adults. Children $300/day. Half day shoots, 2-4 hours.
Looking for Snowboarders with all different levels of experience. If you are comfortable on a Snowboard, you will be considered for the job. The children will be on a Bunny Slope.
Male or Female Brand Ambassadors ages 18-60 for Wal-Mart Frito Lay Event, UTAH, IDAHO, AND WYOMING!!! DEMO PROGRAM EVENT DETAILS
Program Name: Wal-Mart Week 8 – Frito Lay
Requirements: Standard Demonstrator, age 18-60 Paying
BOISE Casting Voice Actors. To voice various characters for an upcoming project. All casting will be done by submitting an audio file audition.Paying
Characters GUY D’ FEET- 83-year-old (middle aged for his kind) Rodent with a French accent.DEAN SUSIE- 47-year-old Dean of History. She’s an airy, sing song sort of speaker THEODORA- 55…
All Craze Markets-Disney Parks Talent Casting is seeking energetic College Students interested in the Walt Disney World® College Program.
Male and Female performers are needed to bring to life the world famous Disney Characters. Character performers play before thousands of guests each day in “meet and greets”, parades and stage shows …
Actors and Actresses wanted, Cortez, Colorado
8 part web series. Production begins in early April and ends in June. Will be shooting evenings, nights and some weekends. Extremely flexible with scheduling.
Looking for a couple of Males (mid to late 20′s) who can do some excellent fight and action scenes. Also looking for a Female (20′s)
UTAH EXTRAS WILL BE BOOKING EXTRAS FOR THE NEW DISNEY CHANNEL FEATURE,GUIDE TO LIFE
Produced by Salty Pictures
Shooting dates are 4/20/11
Shooting in and around SLC and St. George, Utah Paying
KIDZBOP 2011 COMMERCIAL CASTING, boys and girls ages 8-14 NON-UNION
Please be advised that the is selected based on their uploaded video. IF selected, you will be flown to a casting location closest to you by the production company. Pay $10,000
Project: University of Phoenix commercial (non Speaking principals)
Casting Buyout info.: Unlimited versions/lifts. All forms of broadcast television including National TV, Cable, and Regional. Internet. Industrial. PR/Agency reels. 1 year. North America Pays well!
Children ages 7-11, Utah The “Scripture Stories” broadcast on the Mormon Channel has been one of the most popular (frequently accessed) programs for the last two years! They are now casting to find children to participate.NEEDED: Children between ages 7-11 years as of September 1, 2011.
Boise-Military Family Photo/Video Shoot,
We have a studio out of Boise, Idaho that is interested in doing a Military Family stock video/photo shoot using Male and Female Models. Non-speaking
Looking for actual Military personnel with a Uniform. It doesn’t matter if you are current or not.The shoot will be the end of this week or begin…
Utah-Looking for extras
Boys/Girls age 9-12
Adults (male/female) ages 30-50
Please email Craze
We are in need of a 2 Male actors between 5’6″ and 5’8″ with slim builds to play Megamind from the DreamWorks movie, “Megamind” for an in-store event coming up this weekend.
OMISSION Produced by Jason SteadmanWritten & Directed by Steve GreeneAuditions will be held on the Salt Lake Community College campus in Taylorsville, Utah on Thursday,
Spokane-Needing several actors for a short project film ,
Need a few people who are interested in acting for a small project that is being planned. These are non speaking roles, which will be filmed as a music video of sorts.Need are as follows-A couple (female and male)3 males and 4 females
The Biggest Loser is holding a Casting Call on March 12 in SLC!
Be part of the most inspirational show on TV. Several contestants from Utah have come to our castings and have made it on the show!
BYU Student Film Casting, Males 25-45 and Females ages 7-12, Utah
Casting session It will be held in South Salt Lake City
Casting session on Friday, February 18 from 9:00am- 10:00am for Craze Agency Talent in downtown Salt Lake City.
For Pacific Corp. (Rocky Mountain Power) Commercial Spots
Auditions will be every 5 minutes for each spot. Great Pay
Male and Female Promo Models ages 18-35 for Las Vegas Expo
We are working with an event management company looking to hire Male and Female Promo Models ages 18-35 for an upcoming expo in Las Vegas Tuesday, March 1 & Wednesday, March 2. Paying
Utah-In a clever parody of the current “Jimmermania” frenzy, BYU’s library is creating a comedic short, one-minute promo video. This video will primarily be distributed across the BYU campus.
Two college-age males (18-26)
The University of Utah Department of Film and Media Arts announces an open casting call for this year’s student film productions. Actors of all ages and experience levels are welcome.
Prepared monologues are preferred, but cold readings will be available.
Auditions will be held i Friday, February 25 from 3-8:30 PM.
To make an appointment…
Casting Call- Men ages 20-30, Las Vegas
“The Suspect”is a dramedy about two detectives who are attempting to solve avery serious case.
Production Company: Dark Water Productions
Casting Director: Helen McCready
NON-UNION CHARACTER BREAKDOWN
Web instructional video
Production Company: Handstand Productions(Greg Windley)
Rates: Day Players = $500
Half Day Players = $350
Utah-Local Director is looking for a young girl from the age of 2-5 with blonde hair to imitate their six- year- old actress.
They will need to go with the Director around SLC, to parks, etc. and get some snap shots to use as “family photos” for the movie.
This is for the short film, IMAGINE,
Paul Mitchell Caper Event, a beauty/fashion/hair show.
Prep day is Feb. 8, morning-late afternoon; show dates are Feb. 9 & 10, morning-late afternoon in Las Vegas, NV.
Seeking—Models: females, 18-40, any ethnicity, any height, all types, all hair colors & textures
Audition Date: Monday, February 7, 2011 at 5:30pm in Las Vegas
Utah-We have a casting call for a Mother, Daughter, and Female friend.
Mother (Tatia), Caucasian, 20’s, blonde or light brown
Daughter (Kaia), Caucasian, 3 (or around that age), any color hair
Friend (Becky)-Female, Caucasian, 20’s, any color hair For shooting Monday, February 7th @TBA for 3 hoursAuditions for lead actress 18-25 years old. Babysitter type. Sides provided at audition. Bring Headshot and Resume.
When: Wednesday, February 2nd from 7:30-9:00pm
Auditions for a fractured commercial will be held Tuesday, February 1, at 7:00 to 9:00pm
The shoot will take place the following Saturday, February 5, at a time to be arranged with the cast.The shoot will only take 2 or 3 hours in the studio at the same location.
Ages can range from 20s to 50s
Extras needed for this Wednesday, February 2nd.
Immediate response needed.
Project: made for BYU TV feature film, THE LETTER WRITER, written and directed by Christian Vuissa, director of One Good Man and Baptist at our Barbecue.
Utah Photographer is looking for 3 High School students to photograph for their business portfolio.
(2 Females and 1 Male)
The ideal students would be involved in sports, theatre, rodeos or play a musical instrument
Major Model Casting Call- ages 5-60- Boise and surrounding areas Craze Talent only!!!
The Craze Agency has been working with a Photographer/Stock Photo and Video Studio out of Boise, Idaho. Their studio exclusively uses Craze Agency Models for their various concept shooting.
The Craze Agency and the studio will be conducting
MAJOR CASTING FOR HILTON PARK CITY PHOTO SHOOT, Adults 30-49, kids 6-7 and 12-14, Utah
Casting on Wednesday, February 2 for an upcoming Hilton shoot in Park City, Utah.
Shooting will be March 2 and 3 (Wed. and Thurs.). This will be a video and still casting, although the actual shoot is a still photo shoot.
America’s Got Talent, a network TV competition variety show. Hosted by Nick Canon, the series involves a celebrity panel of judges that provide commentary on performers of all varieties. Shooting across the U.S.
Seeking—Contestants: males & females, all ages.
Auditions Feb. 19 & 20
Las Vegas Audition”There’s Zombies Out There” CAST
STEVE age 20-30 A thin, lean, laid back security guard
Chester (Male 8-12) red-headed nerdy -Haylie ( Female age 8-12) Average looking Calvin (Male age 8-12) Average looking-Becky (Female age 8-12) Mr. Davis (Male age 20-40) A lean teacher- Zombie girl (Any Ethnicity, female age 18-30.
Male and Female Talent/Models, ages late 30’s, Utah
One of our local Utah clients will be coordinating some talent for another print ad.
They are looking to hire one Female, and one Male who can look like they’re in their later 30’s.
Fit, healthy, good acting skills a plus. Paying
Fantasy Web Series Auditions, Kids and Adults, Utah Pink Wombat Cinema announces auditions for an untitled fantasy/adventure/Comedy webseries about fantasy gaming, written and directed by Paul & Patrick Gibbs, co-creators of the hit webeseries “Manic City”.
The series will film from February to April (primarily weekends).
Boise area Female 21 -36 must be thin, beautiful, Mediterranean or Italian looking for Print Illustration modeling. Paid assignment. Also looking for thin African American male 24-40. Will be shot sometime next week. If Interested
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.
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
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.’
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.
18–If 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