A Day in the Life of an Actor
In1982 Dennis Hoffman starred in the movie ‘Tootsie’. In the film he plays Michael Dorsey, an unemployed male actor who masquerades as a woman in order to land acting jobs.
As an actor you have to constantly and consistently keeping yourself at the top of your game, maintaining and further equipping your skills and abilities. An actor is a product which is constantly being compared to other products that are similar in appearance and function. For an actor to have a chance of securing a role in an industry where an average of 80% of them are out of work, time, effort and resources must be invested into the product.
“Ninety percent of all actors are out of work at any one time... And what they don’t tell you is that the same ten per cent of actors tend to work all of the time, the rest spending their entire lives working in bookshops, driving delivery vans or waiting tables... apparently strategy and luck are what you need. So it’s very actually simple. I’ve just got to make sure I’m in the ten per cent”.
After working within the acting industry for around 10 years I have discovered some of the basic needs and necessities I believe an actor must know as the embark on their journey towards potential career success.
After the actor leaves their institute of education, being either school, college, university or drama school (85% of working actors in the british theatre, television or film industry are drama school graduates) is when the real work beings, the work of securing professional acting work.
Most paid profession acting roles go through a casting process that involves either an ‘Agent’, ‘Personal Manger’ or ‘Casting Director’. For the actor to be able to attend auditions for professional acting roles they must have an agent who is willing to represent them and send them forward to auditions. This can been seen as a kind of ‘talent filter’, saying that only actors of a certain level are worth being represented. As many people think that acting is an easy job, or “anyone can act”, agents filter out those who aren’t seriously committed to the acting profession.
“Actors without agents tend to lack credibility in the eyes of potential employers. It's not fair, but it's a fact.” “Directors and casting directors rely on agents they trust to help in the filtering process of whom to interview.”
The actor also carries the reputation of that agency they are representing. If a production company or studio continues to get poor quality actors continually show up from a certain agency they will no longer consider that company when looking to cast future roles. So agents and personal managers look for actors who they believe will secure roles or at least give a good representation of the agency for future consideration.
“I have had actors come in who were not necessarily right for a role, but they do a great audition. I remember them as good actors and then bring them in again for something else for which they might be right”
Agencies look to have a variety of actors on their books so they have more options. It’s more likely that a company will take on an actor who is different from the actors already on their books. It seems to me that most aspiring actors aim to look a certain way, act in a certain way, and portray a certain image, a sort of ‘theatrical standard’. But actors like this are 2 to a penny, which is why individuality is so important. Embracing their own unique personality gives the actor their own distinct selling point when looking for representation, which is an aspect that Personal Manager Ingrid French desires to see in the actors she represents.
“Something else I want to see in that first meeting is what kind of personality they have and if we click.”, “the actors I work with so many times each day and they stop by my office, so they have to be people who Im excited about talking to and having stop by. For me, that personal connection is really as important as everything else.”
There are some companies however who do prefer actors that look and act to a standard that they are used to and are familiar with. I imagine that actors like these would work in more of a classical, and contemporary theatre setting, rather than with companies whom’s focus produce modern plays or create new theatre.
So for an actor to have the greatest chance of securing professional paid work they would need to acquire an agent or personal management.
The most commonly known way of getting agents to look at new actors are the end of year showcases that are held by professional drama schools. But for actors who don’t have the opportunity to go to drama school and feature in a showcase, or perhaps did attend drama school but got overlooked and didn’t sign on on the dotted line with an agent, there are still ways of them working, that will perhaps lead to securing an agent at a future date.
One alternative is an Independent showcase. How this tends to happen is that a group of actors get together, hire a venue and organize a showcase. The actors send out personal invitations to a number of agents and casting directors, which would comprise of an invite to the performance, a covering letter, CV and headshot. This is done in the hope that some of the invited agents would come along and spot an actor and offer them representation.
Securing an agent for an actor is as big a challenge as securing a role, subsequently what has developed out of this struggle is the emergence of ‘Cooperative Agencies’. Actors themselves work as casting agents in cooperation with other actors so they can be involved in the casting process and secure audition opportunities. “Co-op actors are usually more in touch with what's going on in casting, because they're also agents. All in all, co-ops are an excellent way to understand the industry and make personal contacts with those responsible for casting.”
There are numerous bogus “talent agencies” who prey on vulnerable enthusiastic performers. The key is to do research into the companies to see what work they have been previously involved in, and there is the basic rule of payment by commission. Agencies that ask for money upfront are to be avoided, but a legitimate agent will only take any form of payment from their performer after they have secured work, which is usually 10-20% commission of the performers pay.
Finding a suitable agent for the individual performer is an extremely complex affair, not only does the actor have to be right for the agent, but the agent has to be right for the actor. I myself was represented by an agent which was well known but found that I was not presented with the floodgate of opportunities that I dreamt I would be, and over the 2 years I spent with that agent I found and secured most of my roles myself.
Debi Allan of DAA Management was asked if she were an actor what would she look for in a agent?
“If I were an act looking for an agent, I would firstly want someone who I knew was a genuine fan of my work. Someone who actually respected what I did and thought I was unique. Someone truly believing in you is more important than anything else.
“Secondly, I would want someone who wasn’t jaded, that loved the business and still went out regularly to theatre and television recordings and film screenings etc.
“Thirdly, I would want someone who didn’t have too many clients, who knew who I was when I rang up and who also seemed pleased to talk to me.”
An actor with an agent and an actor without an agent can still be both out of work for months at a time, and it’s not uncommon for a represented actor to go for months without even an audition. What is important is that this time is used wisely to invest in the actors abilities and connections.
Just like any skill if you don’t use it you lose it, some actors might be able to fall back on their natural ability, and in the competitive world of entertainment you can be guaranteed that someone is waiting in the wings ready to take your place as soon as there is a slip up. Just as workmen maintains his tools, an actor must maintain their tools, being their mind, body, and voice so when that last minute audition call springs out of nowhere the actor will be prepared to give a strong audition.
“The only thing you can influence in auditions is your own readiness. So be prepared.”
The ‘in between jobs’ actor should have a weekly routine where time is dedicated to improving and honing their acting ability. Learning and rehearsing new monologues, reading plays, having a fitness regime that keeps the body in shape, healthy, and energized. A vocal routine that maintains the actors clarity of speech keeping them vocally strong. Frequent outings to watch a variety of performances and make connections. There are a host of theatre performances that free or cheap tickets can be found for online at different websites such as Timeout London, or groups such as luvtheatre@yahoo.com, where different people meet up to watch various theatre shows.
Acting ability is also something that can diminish over long periods of inactivity, so joining a weekly drama group or attended classes or workshops will keep the actor sharp, and their creative mind active.
Looking for work independently of an agent is something that I and many actors wouldn’t of expect to have to do, but it is a necessary part of an actors life. (If an actor has an agent they must inform them of any work taken or considered) Ingrid French wants her actors when not working to be proactive. “It may be that the actor isn't being proactive at all and that he/she is back on the couch waiting for the phone to ring, which puts pressure on the talent agency that is sending them out, but more importantly its about what is the actor doing to promote himself or herself to try and get work?”
Experience in playing roles is extremely important for an actors development. Unfortunately many jobs on offer for a newcomer will be without pay, but this displays that the actor has drive and a determined character, which are well respected within the acting industry, and also adds to that all important CV.
“Do short films - you’ll be surprised who sees them” - Andy Mcphee, Actor
Performing in small scale shows, showcases, scratch nights, short films, sourcing different opportunities to perform, develop, and gain experience is how time out of contracted acting work should be used, rather than waiting for the phone to ring hoping that it’s your agent, and it turns out to be your mother, it’s always your mother.
Online you can find a host of casting opportunities where you can apply for a variety of roles from amateur non-paid work to professional paid work. Websites such as Casting Call Pro, StarNow, Talent Circle, and Shooting People who all offer annual subscriptions to their sites where you can upload headshot’s and CV and apply for a variety of performing roles. A quality ‘Showreel’ video of any recorded performances will increase the chance of being shortlisted for an audition.
“Getting notice is about doing your own work and getting people to see you in it. There really isn’t any other way. Look, you can do stupid things to get noticed, but that doesn’t usually go down too well. - Tony Knight, acting teacher/director
‘Spotlight’ is a professional casting database where casting directors can search for performers of all kinds. Spotlight is only available to professional actors, these are either graduates form drama school or have experience of paid professional (speaking parts) acting work, which doesn’t include work in short films, commercials, walk-on, or promotional work. This is an essential casting resource for actors who are seeking to book professional paid work.
‘Equity’ is the UK trade union for professional performers and creative practitioners. Equity works to support actors by negotiating their terms and conditions including fee structures, and also provide information and advice to help prepare actors for work in the industry. They also cover health and safety regulations; royalties and residuals, and members' pension and insurance schemes. Becoming a member of Equity is another must have for the actor that should be put in place at the earliest possible opportunity.
“In this profession we are all vulnerable, it is so insecure and I think to have a union behind you is one thing you can rely on – your one piece of security – to help you out, to make sure your contracts are legal, to make sure that you get paid.” Alison Steadman
Other tools that the actor needs are the industry standard headshot and CV.(and perhaps a memorable business card will come in handy also) These are basic essentials, and an actor wouldn’t be taken seriously without them.
“It’s an awful analogy but an actor is like a product... but there are several brands that can do the job, just as they’ll be several actors who can play the role. That’s where the packaging comes in. The packaging is something that attracts our eye to the product. For actors the packaging is the photo, the resume, and the way they present themselves when they come into the room.”
The headshot and CV are what sell the actor to the casting departments, so both need to be at there best. The headshot should be flattering and truthful to the actors actually image, if you were invited for an audition because your ‘look’ fits the role, and a totally different looking person shows up, the casting team won’t be to pleased for having there time and money wasted.
“The people casting have a business to run, and time is money. If they perceive you as wasting their time they are less likely to want to hire you for current or future projects”
CV’s likewise should be truthful and up to date, a professional casting director will spot a phony with just a few questions about the actors past performing experience, if found out to be lying about former roles the actor could damage their reputation and hinder the prospect of future castings. Professional photographers and CV writers can be found online with a basic search, and it’s always good to check agency websites to take a look at the headshot’s and CV’s of the actors on their books to get an idea of what they expect.
Added to this the actor should keep themselves well groomed, with suitable outfits to attend castings that will enhance their audition. For instance if going for a role of a ‘lawyer’, turning up in trousers and a shirt would be far more beneficial than wearing a pair of jeans and a hoodie. The saying ‘First impressions count’ rings truer within the audition process than anywhere else. Also having the ability to drive a vehicle is an desired skill which could make the difference of being cast or not when involved in film or television.
In years gone by if an actor wanted to stand a chance of making as an professional the done thing was to (if not already situated there) “relocate to London”, as most performing opportunities would be in the capital. "There's a perception among the media elite you can't be any good as a performer, or someone who works in this business, unless you go to London.”
But not so much now as other cities around the country such as Manchester, Liverpool and Birmingham are developing in there cities by investing in the arts. And the BBC has recently relocated some of their services to Manchester, London is not the only hub anymore. A BBC spokesman commented that they were "committed to improving portrayal of those living in the nations" and bringing on new acting talent from across the UK.”
Now more than any other time are we seeing more theatre, film, television, and radio being produced outside of London. If the actor is considering a change in location some thorough research into ‘what sort of work they are hoping to get involved in?’ needs to be done before the decision is made, as relocation itself has it’s challenges and could also be unnecessary.
While the actor pursues their dream all the time money is being spent on food, travel, clothing, photo’s, cv’s, and rent. And so the “day job” plays a very important role in the actors life. The “day job” has to be able to provide enough income for all the actors outgoings, and have the flexibility to enable the actor to attend those last minute audition calls. Waitering in restaurants tends to be near the top of the list as shifts are varied and includes the opportunity to make tips. Along with promotional and sales work, where actors use their communicational skills to sell products with the possibility to earn commission. Temporary work is also an option, working as a ‘temp’ for an agency leaves the acotr with the option to leave that job whenever needed, but also return to that job if a position is available.
“Make sure your temp agency knows you’re an aspiring actor an request all types of work related to the entertainment industry. (Some temp agencies even specialize in filling positions with the entertainment industry.) You may get a temp job working as a receptionist for an agent or casting director who you may not otherwise have gotten to meet on your own.”
What the day job shouldn’t do is take up to much of the actors time, thought, energy, and focus if the actor stills wants to become an actor, or the “day job” will eventually turn into “the job”.
Pursuing a career as an actor is different from most of professions as it doesn’t offer the stability that most professions do. At anytime an actor can go from earning good money to no money, which wouldn’t suit a person who was perhaps looking to buy a home or start a family. An actor committed to earning a living with their art needs to be focused, determined, flexible, optimistic, and make the most out of their opportunities. But there’s another reason why acting is unlike any other career. In most professions at the end of your working day you don’t have a group of people stand up to applaud you, just to let you know you did a good job.
“An actor must never be afraid to make a fool of himself.”
― Harvey Cocks
Bibliography
Jonathan Flom (2009). Get the Callback: The Art of Auditioning for Musical Theatre. Maryland, USA: Scarecrow Press, INC. 15.
Larry Garrison, Wallace Wang (2002). Breaking Into Acting For Dummies. Indiana, USA: Wiley Publishing Inc. 256.
Marnie Hill (2007). The Actors' Handbook: A Guide to the Australian Entertainment Industry. Australia : Kylie Smith. 120.
Marnie Hill (2007). The Actors' Handbook: A Guide to the Australian Entertainment Industry. Australia : Kylie Smith. 120.
Marnie Hill (2007). The Actors' Handbook: A Guide to the Australian Entertainment Industry. Australia : Kylie Smith. 117.
Michael Simkins (2003). What's My Motivation? . London: Ebury Press; New Ed edition. 83.
Simon Dunmore (2012). An Actor's Guide to Getting Work . 5th ed. London: Methuen Drama. 89.
