Leaners vs Lifters 9/8/15 (been away in LA and working this month, next post soon)

Dear Actor, artist, musician, producer, director, writer, human,

  Press on. Support and uplift others but never expect others to support or uplift you. You alone are ultimately responsible for that, but appreciate and be grateful for the ones that do.

Sincerely,
 The other side


 I was on a film shoot recently taking a break. I made the unfortunate mistake of leaning against a wall on set. I thought it was clean, then I pulled back to see my grey button down shirt had a line of grease down my shoulder! Ugh! luckily I remembered there was a cooler with seltzer nearby and calmly, well, a bit frantically started scrubbing it down. By the time the production started up again, it was a little less noticeable and I was able to disguise it a little bit and we finished filming for the day with no one noticing... kids don't try this at home ;)

This episode of leaning got me to thinking about an saying that there are two people in life, people who lean on you and people who lift you up. There is an poem by Ella Wheeler Wilcox

There are two kinds of people on earth today,

Two kinds of people no more I say.

Not the good or the bad, for it's well understood,

The good are half bad, the bad are half good.

 

Not the happy or sad, for in the swift-flying years,

Bring each man his laughter, each man his tears.

Not the rich or the poor, for to count a man's wealth,

You must know the state of his conscience and health.

 

Not the humble and proud, for in life's busy span,

Who puts on vain airs is not counted a man.

No! the two kinds of people on earth I mean,

Are the people who lift, the people who lean.

 

Wherever you go you'll find the world's masses

Are ever divided into these two classes.

And, strangely enough, you will find, too, I mean,

There is only one lifter to twenty who lean.

 

In which class are you? Are you easing the load

Of the overtaxed lifters who toiled down the road?

Or are you a leaner who lets others bear,

Your portion of worry and labor and care?”

 

The entertainment industry, heck... business and life, can be cruel, dark and lonely at time... You have to have or grow a thicker skin to deal with rejection, disappointment, failures, envy directed to you... and... success.

Developing healthy and constructive ways of revitalizing and encouraging yourself and others is a very valuable and frankly, necessary part of anyone's career.  You may find these through

• communicating with you mastermind groups
• learning from mentors, a sifu or sensei
• being a mentor to others
• non profit or volunteer work
• meditation and/or prayer
• positive visualization and affirmations
• exercise: running, lifting, sports
• yoga 
• therapy
• reconnecting with nature,
• having interests and a life outside of your career or personal lives
• cultivating healthy relationships with friends and family
• journal writing or blogging

I encourage you to begin or continue to voice support and uplift others. However, never depend or expect them to do the same in kind. You may not like the people, your competitors or even some colleagues at times. You may not choose to associate with them, or they with you. If they do or accomplish something that is worthy of merit, you may think about voicing encouragement and not tearing them down, belittling or leaning on them. It's not respectful nor productive and it takes up your energy and time. It robs you of your own life force.

Most people that are successful doesn't care about other people's opinion that much, if at all anyway, so get on with your own life and improve your own thinking and condition rather than leaning or tearing down.

 At the least, encouraging will help you as a human being... anyone's success is a reminder that success is possible for you as well... and sometimes that is the one thing that will encourage you the most in your darkest hours and struggles and keep you going till you see the light again.

break a leg

Be well,
Vincent


My name is Vincent Veloso. I am a writer, producer, director, actor and musician and martial artist. I have worn many hats in my career, learned some things, still learning, but in this blog, I will be addressing my experience and insights making films and music... stories from casting to wrap party... the good, the bad, the really bad and the ugly.... and the really ungood.

I never use real names, and many times I address my concerns on the day directly to people in real time. I point out my own missteps  just as much if not more because I have been that actor/writer/producer/director who has made the same gaffes just as much if not more. Hopefully as I address the circumstances,  others can gain valuable insight, through story and my experiences, it will give people help. It is not meant to be mean spirited, but like all subjective commentary and blogs, and many other existing advice and commentary articles, I understand that audience perception is subjective and do hope you know that I hope to help others.

imdb.me/vincentveloso
vimeo.com/ondemand/changelingstheseries
facebook.com/changelingstheseries
facebook.com/cenotaphtheseries
dearactorfromtheotherside.blogspot.com/

© 2015 Vincent Veloso, Xavmax Multimedia Productions L.L.C. All rights reserved

Whose "sides" are you on? Tips/observations on reading sides 8/31/15

Dear Actor and director,

Whose "sides" are you on?

Sincerely,

The other side

Every actor has good and bad performances on auditions. Over the course of the last few months I've seen them from actors I've auditioned and had them as an actor... Oh yes, I've had really terrible ones and honestly, ones I felt and knew I nailed.

There is always an X Factor whether you will be cast or not. Maybe someone knows you or someone else. Maybe you are brought in as fodder so the casting director will recommend the candidate they really want. Maybe you are too this or not enough that.

Ultimately, you can't concern yourself with the outcome. Once you do your thing, it is really out of your hands. You can however strive to be the most prepared and adaptable candidate when you walk in the room and try to bring your consistency rate of good performances up.

One such challenge I have seen actors do is time limit reading new sides everyday. It's quite useful actually

Sometimes when you go into an audition situation you will be asked read for other characters, or in a worst-case scenario drill, they have other sides that you did not know were required and you may have a few minutes to try to memorize large passages of tricky lines, or have a very last minute audition.

The purpose and activity are much like sight reading for instrumental musicians. The more you do it, the better you become at it and desensitized to the shock of last minute things.

*As an exercise, try learning one set of new sides everyday from TV, films or plays. Give yourself a time limit, say 15 to 20 minutes. It doesn't have to be perfect but it may help you in both your set preparation and for 'emergency' readings*

Music sight reading and reading audition acting sides are very similar. Ultimately, It's all about the execution and also the phrasing/subtext.

Sometimes, in acting situations, you will have explicit stage direction or inflections/tone to emphasize.

Unless it is to put in parentheses are dynamics phrasing/ subtleties, it would be up to your interpretation as an actor.

When you read the piece of music there are dynamics phrasing. There are accent marks and articulations. However, at times, there are not any accent marks... you have nada. That's where your training and your experience as a musician in different genres and styles make a difference.

It's very similar to acting sides. Subjects mean phrasing, slang, multiple meanings, double entendres are not always explicitly put into scripts. It is between the director and actor to find that interpretation. I've been on auditions where directors don't want to tell you anything because they want to see your interpretation. They want to see your range and figure it out.

However, it is good to know when directors wanted specific adjustments or have specific intentions/ideas in mind to communicate that to your actors. Actors are not psychic and neither are directors. If the production wants specific interpretation it should be communicated in a clear calm manner in real time, preferably in advance.

Remember, you both will ultimately be on the same side, and same page, if the goal is to create a great performance and production.

Break a leg.

Be well,
Vincent


My name is Vincent Veloso. I am a writer, producer, director, actor and musician and martial artist. I have worn many hats in my career, learned some things, still learning, but in this blog, I will be addressing my experience and insights making films and music... stories from casting to wrap party... the good, the bad, the really bad and the ugly.... and the really ungood.

I never use real names, and many times I address my concerns on the day directly to people in real time. I point out my own missteps  just as much if not more because I have been that actor/writer/producer/director who has made the same gaffes just as much if not more. Hopefully as I address the circumstances,  others can gain valuable insight, through story and my experiences, it will give people help. It is not meant to be mean spirited, but like all subjective commentary and blogs, and many other existing advice and commentary articles, I understand that audience perception is subjective and do hope you know that I hope to help others.

imdb.me/vincentveloso
vimeo.com/ondemand/changelingstheseries
facebook.com/changelingstheseries
facebook.com/cenotaphtheseries
dearactorfromtheotherside.blogspot.com/

© 2015 Vincent Veloso, Xavmax Multimedia Productions L.L.C. All rights reserved

Know when to walk away off a set 8/17/15

Dear Union Actor,

Know when to walk away off a set

Sincerely,
The other side


I have walked off of sets for different reasons from safety to professional disputes. I will address one reason in particular now. I am a full SAGAFTRA union actor. If a production doesn't have its paperwork in order and a proper SAG contract, I have had no problem walking off of a set. I have walked off at least 6 productions that didn't have their papers in order. I have explained why to the production on every occasion.

These ranged from student projects, colleagues' and friends' films, short films and features. Did I feel badly?  I did feel disappointed to a certain degree because I had to give up opportunities and "inconvenience" people, but not because I was doing the "correct" thing.

  They said they were going to apply for a SAG production, they were going to fill it out at the school later? "Don't you trust your friend when they said they had already filled out the paperwork and got their id number?"... but no one on the production team could produce a signatory/production ID or SAG rep name in charge of their case,  number in 5 minutes, let alone a day? They may have said they were sag sanctioned, but the night before say they don't have their contracts or haven't yet gotten approval?  Did they not have an approved SAG contract on set?

There were roles I wanted to do and had prepared for, that I walked away from or had to turn down. I wanted to act in that part... I wanted to see and get the footage, I wanted collaboration and to help, wanted to build working relationships and get the experience... why did I walk away and adhere to union rule number 1, to not work on a non union production?

 Do you think it gave me a good reputation? Do you think it made me popular with colleagues and friends who were willing to look the other way just to get the job or the film done?

One of the reasons I walked, in many cases, was because the production had misrepresented themselves. Whether it was intentional or by mistake or by not getting the papers done in time,  in any case, you can't call yourself a union production unless you have a production ID number and a Signatory number. Period.

Can't you just look away and help the project get done and then have them deal with the formalities and technicalities later? Do you have to be so rigid?

You can't film and then go back retroactively and fill out your paperwork in. Why not?

 
Think about it.... you film on a set where the producers say they will fill out the signatory papers later or have them pending.... what happens if they aren't approved? What does that leave anyone with? What happens if the producer goes, "sorry, I'm just going to release it anyway... without making it a union project"?


I remember walking off one set and hearing a union actor say to another about me walking, "He's doing the wrong thing. You know those contracts are really just meant for people you don't trust"

Are you going to allow every project you work on that 'latitude' of not having some basic required things in order? Will you look away all the time?  How much improper procedure would you allow at a doctor's office, at a lawyer's office, in construction, in any business?


 It doesn't matter if the cast is 90% union actors. If the production isn't a union production,  that 90% are working on a non-union set.

The production, or the actors themselves, would be putting their union actors in a compromising situation and any non union actors would not be eligible for Taft-Hartley to become SAG-eligible even though they may think they are working on a union set.

You could have 1000 union actors on it, the production STILL wouldn't be union production until it has gone through the appropriate channels.

You'd be in violation of the union regulations. You would have no recourse against certain production situations and conditions if they arose. You are on your own, and also may be subject to union fines or disciplinary action depending on the circumstances.

"But, these are just small time productions, the union wouldn't care, can't you just look away this one time so we can get this done and then we can fix it?", I've also heard or been asked.

To me, if I get in that habit of looking the other way on basic required things on a small production, I may be tempted to do that on larger ones when more money or prestige may further complicate and tempt things to be harder to walk away from... to compromise integrity for quick results.

Personally, I feel that it would be better to be known as someone that people know they would to have their business in order if they wanted to work with you and to be known as a producer that does right by people. It's not about money, it's about standards and expectations. Doing right things and doing things right.

I have produced SAG productions and been expected to have things in order and would expect productions to have their effects in order both from an actor and from a producer point of view. I have been fortunate to have worked with many productions that have had things done right and I look forward to working with more of them in the future.

If you film your production and then apply to get your signatory and production ID later, don't you think the SAG rep may look at your proposed shooting dates (especially if they have already passed) and ask if or why you have filmed already? Will you lie, ask your cast and crew to misrepresent, and say you didn't shoot yet? Will they say that any footage filmed prior to the approval date is not sag approved? Will they ask if the actors listed participated?

It's very possible that nothing would happen. It's possible that you may luck out and get things done and not have anyone find out except you.

I just wouldn't want to put myself, my fellow actors, crew or my production in a potentially bad situation or a situation that could escalate into a bad situation.

Break a leg.

Be well,
Vincent


My name is Vincent Veloso. I am a writer, producer, director, actor and musician and martial artist. I have worn many hats in my career, learned some things, still learning, but in this blog, I will be addressing my experience and insights making films and music... stories from casting to wrap party... the good, the bad, the really bad and the ugly.... and the really ungood.

I never use real names, and many times I address my concerns on the day directly to people in real time. I point out my own missteps  just as much if not more because I have been that actor/writer/producer/director who has made the same gaffes just as much if not more. Hopefully as I address the circumstances,  others can gain valuable insight, through story and my experiences, it will give people help. It is not meant to be mean spirited, but like all subjective commentary and blogs, and many other existing advice and commentary articles, I understand that audience perception is subjective and do hope you know that I hope to help others.

imdb.me/vincentveloso
vimeo.com/ondemand/changelingstheseries
facebook.com/changelingstheseries
facebook.com/cenotaphtheseries
dearactorfromtheotherside.blogspot.com/

© 2015 Vincent Veloso, Xavmax Multimedia Productions L.L.C. All rights reserved

Collaborations & reasons someone might want work with you or want you to work with you 8/9/15

Dear actor and producer,

Collaborations: Many hands make light work. Making music and movies are often very collaborative endeavors. Even if you are creating everything yourself, eventually you have to work/deal with somebody to get your stuff out there.

Sincerely,
The other side.

Whether you are on cast or crew, any time you potentially lead or are a part of a production, you can keep these points in mind, which may help things run smoother.

There are basically 4 types of relationships

1. win/win: mutually beneficial
2. win/lose: I win, you lose in the interaction
3. lose/win: I lose, you win in the interaction
4. lose/lose: I lose and you lose in the interaction

Hopefully, you will only work in situations that mutually beneficial and that are win/win.

There are several reasons why someone may want to work with you and it's not always because they are getting paid. Some of the reasons could be:

1. they like/respect you
2. they like the material: script, music, etc.
3. they are getting paid for it
4. they want to gain more experience in something in the production
5. they want to gain a new skill set that the role/position would require (learning a new language/ learning a martial art, etc)

Why might you want to work with someone? (these could also be reasons why someone would hire you) Again, there could be many reasons, but the list could include:

1. skillsets/areas of strength an expertise
2. connections/resources
3. reputation
4. attitude/vibe: how you treat and deal with others
5. track record

You are assembling a mastermind group, a team, you would want to be sure the team has:

Unified vision: People need to know where they are going and what the endgame is. Good script, schedules and clear defined timetables and expectations are all part of communicating that unity of vision.

Diverse skillsets: a team needs people with different strengths to be sure everything is covered. Probably not a good idea to have a basketball team of all centers.

I had seen and interview of Quentin Tarantino where he mentioned he was told by Director Terry Gilliam (paraphrased)that the role of the director is to communicate the vision. Surround yourself with people that know their specialties better than you do.

Break a leg.

Be well,
Vincent

My name is Vincent Veloso. I am a writer, producer, director, actor and musician and martial artist. I have worn many hats in my career, learned some things, still learning, but in this blog, I will be addressing my experience and insights making films and music... stories from casting to wrap party... the good, the bad, the really bad and the ugly.... and the really ungood.


I never use real names, and many times I address my concerns on the day directly to people in real time. I point out my own missteps  just as much if not more because I have been that actor/writer/producer/director who has made the same gaffes just as much if not more. Hopefully as I address the circumstances,  others can gain valuable insight, through story and my experiences, it will give people help. It is not meant to be mean spirited, but like all subjective commentary and blogs, and many other existing advice and commentary articles, I understand that audience perception is subjective and do hope you know that I hope to help others.

Dangers of venting & texting and possible remedies & tips.... 7/28/15

Dear actor, producer, director, writer, musician, human being...

Be aware of dangers in lack of discretion/forethought in venting/blasting and texting/email. Understand what these dangers are, and know what you can do to make sure there are no misunderstandings and that real issues are addressed properly and in the best way.

Sincerely,
The other side

I was on the phone with a music producer friend of mine who was working on an album some time ago who was venting to me about a subcontractor who had let him to believe the subcontractor was working on the files for five months.

The subcontractor had texted him at 1 am one night, to say he was sending the files back to the music producer so that the producer could work on it himself and that the subcontractor was too busy and giving up. When that producer opened the files up, the files were a mess, the tracks were unlabeled and the  tracking timelines were incoherent... no work had been done, and my friend was stark raving mad and venting.

I bring this episode to illustrate the importance of the proper uses of text messages, direct phone calls and of venting. I seen and have been on both sides of these kinds of episodes and hopefully these tips will help you avoid giving and receiving the consequences as I had.

TEXTING/EMAIL
-you should be using emoticons as needed. and sometimes a j/k or lol can help. On texts, people may not get your sense of humor.

- Any mistake or big news should be delivered in person or a phone call ( if you need too additionally text then do so, but deliver the message in person or a phone call!)

-REMEMBER that once a message is sent, it is out there. It can be copy/pasted and forwarded anywhere and everywhere, taken in context or out of context. Before you put it out there, you better be DAMN sure it is conveying what you want to put out there.

-On occasion, the relationship and transactions are not just between the 2 parties but may involve many other people and projects, both personal and professional: choose your actions and words wisely... they may have very lasting effects.

VENTING/BLASTING
- Sometimes things DO need to be expressed right away in real time, not only after some time has passed. Many times if a screw up happens, there is an urge to blow up right then and there.

-The author Dale Carnegie once wrote that one should (paraphrased) "Praise in public, criticize in private"

-Sometimes it is best to take the person aside and give your two cents away from the rest of the group. I had to do this with someone on a production not too long ago. The person had screwed up and I let them know privately away from the rest of the cast/crew. Doing so let them save face at that time, let me address the concern and take a corrective action immediately, avoided spilling toxic vibes into the set and ultimately let us finish the filming on time.

-One tip I had given to this music producer was to take some time and his phone/recorder and tape himself talking to himself in private, in a mirror or to an object that represented the person he wanted to vent/chew out/ reprimand/ explain things to. Go full force, say everything you need to say.

Then, go back and listen and transcribe what was said.

  Hopefully, you'll figure out really quickly what you want to keep and what you want to erase. Once you get the words out and on paper for you to try to clearly communicate , ***THEN DELETE THE RECORDING!!*** and when the communication is finished ****DESTROY THE TRANSCRIPT*** (as applicable)

Sometimes pausing and buffering is the thing that will enable you to salvage a potentially devastating outburst from happening, potentially poisoning future activity. (my friend's priority is currently  trying to get the project completed and done... so he has to communicate with this person to at least see if he can figure out how he recorded things, then he'll see what he has to do with everything and everyone else involved)

-Yes, boundaries and expectations have to be reaffirmed and the working relationship has to be redefined. However, It's like a play in a sporting event,  or a maneuver in a battle:

If something goes wrong, what are you going to do? Will you sit there, vent, complain and blame? OR will you  get your emotions under control, use your mind to get the next actions/alternatives figured out, get back in the fight and get whatever needs to get done completed?

Your call.

Be well,
Vincent

My name is Vincent Veloso. I am a writer, producer, director, actor and musician and martial artist. I have worn many hats in my career, learned some things, still learning, but in this blog, I will be addressing my experience and insights making films and music... stories from casting to wrap party... the good, the bad, the really bad and the ugly.... and the really ungood.


I never use real names, and many times I address my concerns on the day directly to people in real time. I point out my own missteps  just as much if not more because I have been that actor/writer/producer/director who has made the same gaffes just as much if not more. Hopefully as I address the circumstances,  others can gain valuable insight, through story and my experiences, it will give people help. It is not meant to be mean spirited, but like all subjective commentary and blogs, and many other existing advice and commentary articles, I understand that audience perception is subjective and do hope you know that I hope to help others.


imdb.me/vincentveloso
vimeo.com/ondemand/changelingstheseries
facebook.com/changelingstheseries
facebook.com/cenotaphtheseries
dearactorfromtheotherside.blogspot.com/

© 2015 Vincent Veloso, Xavmax Multimedia Productions L.L.C. All rights reserved

"Numbers must have tags" Never assume I know how to reach you, and who you are and what you want. 7/20/15

Dear casting agent,

Thank you for contacting me via a certain messaging service, but if you want me to get in get back in contact with you, please remember to leave your contact information because there is no reply option or no way else on the site or service to get in contact with you via that certain messaging service... thanks!

Sincerely,
The Other Side

When I was in high school, my chemistry teacher always reminded us that "numbers must have tags" 35 by itself means nothing, but  $35 and 35 degrees Celsius have very different meanings.

Today we have caller ID, email, but you'd be surprised how many times your number won't be on the call history if you leave a message.

Never assume a casting director or, from the other side, an actor knows how to reach you and/or who you are.

I've seen it from both sides and am probably just as guilty as everyone of not remembering to do so. I've gotten voice messages from both actors and from production wanting information from me and not being specific about who they are and forgetting to leave their contact info. There are certain online services which don't allow you to reply to a message or the user may have forgotten to enable that option.

 John could be about 20 people I know. It could be anyone, John Rambo, John Doe, John Wilkes Boothe, and if you have a similar name to another actor or production member, googling it may not help getting found. Numbers must have tags, names must have numbers, contact and context of what you want and how you know me or how I know you.

Also, another tip from an actor friend is when an actor sends a requested photo, the actor should name each character photo with their name/phone number... You shouldn't  just name the photo "lawyer" (for example) if 10 pictures all get forwarded to the director, he may not have time to look up who this actor was. Adding your name to photos can help your chances of being called and ultimately booked.

If you do happen to find an email/contact number online with a number and want to take it on yourself to contact, remember: NEVER ASSUME IT IS THE PERSON WHO SENT YOU THE INITIAL MESSAGE.

Please be polite, get to the point and get out.

possible example

Hi (casting director),

 

 Mr. Actor responding to a message about X. You had asked me about ABCDE.  Response and details

 

. There was no contact reply listed, I am presuming this is your email contact. If this is not X for casting Y, my apologies and please disregard this email. Thanks.

 

Be well,

Mr. Actor

555-555-5555

your website

your email address

Break a leg.

Be well,
Vincent




My name is Vincent Veloso. I am a writer, producer, director, actor and musician and martial artist. I have worn many hats in my career, learned some things, still learning, but in this blog, I will be addressing my experience and insights making films and music... stories from casting to wrap party... the good, the bad, the really bad and the ugly.... and the really ungood.


I never use real names, and many times I address my concerns on the day directly to people in real time. I point out my own missteps  just as much if not more because I have been that actor/writer/producer/director who has made the same gaffes just as much if not more. Hopefully as I address the circumstances,  others can gain valuable insight, through story and my experiences, it will give people help. It is not meant to be mean spirited, but like all subjective commentary and blogs, and many other existing advice and commentary articles, I understand that audience perception is subjective and do hope you know that I hope to help others.


imdb.me/vincentveloso
vimeo.com/ondemand/changelingstheseries
facebook.com/changelingstheseries
facebook.com/cenotaphtheseries
dearactorfromtheotherside.blogspot.com/

© 2015 Vincent Veloso, Xavmax Multimedia Productions L.L.C. All rights reserved

What to do when you have a screw up on an audition or film set: Recover. 7/10/15

Dear actor and director,

Everyone messes up. We hope you don't. But, the important thing is if the mess up happens, it's about how fast you get back up and how you recover and keep going that can make all the difference. RECOVER AND KEEP ON GOING

sincerely,
The other side.

I had spoken a little bit about screwing up in an audition/performance in a prior blog entry "Ain't nothing but a lesson son" , which dealt with viewing past mess ups as a building blocks and lessons for future improvement. Today I will talk about mess ups on the actual day, what you should do, and what I've seen in the casting room and on sets.

Firstly, there is a saying that "Fortune favors the bold." I would like to slightly amend that to "Fortune favors the bold and prepared"

The more prepared you are with the audition material, the greater chance you will be confident and competent in your performance. There is no substitute for preparation/rehearsal for great execution.

That being said, what do you do if things don't go smoothly and mistakes happen? (this happens in live acting, live music, sports, human interactions, the crew and producing)

One word: RECOVER.

One sentence: RECOVER, ADJUST AND KEEP GOING

No matter what happens, keep your composure and keep going. Get through it. If you forget/mess up a line, you recover by completing the scene or going to the next lines until you are stopped. (It's like sight reading for a musician, just get through it, keep going.) It may seem like a fairly basic concept, but I have seen people forget that that is what they really should do.

An audition room and a set are really the SAME thing.  As a director or producer , we hope you, the actor, are ready and don't mess up, but we may also look to see how you handle a potential screw up if/when it occurs. How you handle yourself and adversity in an audition can be an indicator of how you may carry yourself on a set.

After all, things can change on the day, and you may have very little time to prepare a new set of rewritten lines or action adjustments on set and hopefully your training, instincts and understanding will help you deliver the performances.

The casting director or director in the room or the director on the set may do one of the following on a mess up:

1) the director may stop you or ask you to take a passage over again right away.

2) the director may ignore it and just hope you keep going and not disturb the recording. Sometimes the director just wants the scene to keep going to collect footage,  and if you draw attention to a screw up, it will interrupt the flow of the action and acting and may give less material to work with later as the editor won't be able to use because you are freaking out, potentially making part of a take unusable.

As a director, you may have to deal with actors who are frustrated, upset or flustered because they are messing up or not getting the performance they want from themselves. I've seen it on sets I've been on and have had to personally direct actors through events like that.

 How you communicate and deal with them at that moment will make a difference if the work gets done or grinds to a halt, if people are offended to the point where they won't work, or if they will be empowered to finish.

Remember to treat people with respect and empathy.
You may want to give them space and time to recover as needed. Sometimes you have to challenge them to get back up.  It's kind of like being a sports team coach. Sometimes its like being a therapist. Each situation and actor/crew/business contact are unique.

 I have also seen actors, even name actors and stars, go back immediately and start over an earlier line on set, although many will keep going. Both are always a possibility, depending on the actor's influence, and how the show is produced.  But I've also seen that many understand that part of being a good actor is understanding that 'the show must go on' and the professionals will recover and very quickly keep going .

Be well,
Vincent

Break a leg.


My name is Vincent Veloso. I am a writer, producer, director, actor and musician and martial artist. I have worn many hats in my career, learned some things, still learning, but in this blog, I will be addressing my experience and insights making films and music... stories from casting to wrap party... the good, the bad, the really bad and the ugly.... and the really ungood.


I never use real names, and many times I address my concerns on the day directly to people in real time. I point out my own missteps  just as much if not more because I have been that actor/writer/producer/director who has made the same gaffes just as much if not more. Hopefully as I address the circumstances,  others can gain valuable insight, through story and my experiences, it will give people help. It is not meant to be mean spirited, but like all subjective commentary and blogs, and many other existing advice and commentary articles, I understand that audience perception is subjective and do hope you know that I hope to help others.


imdb.me/vincentveloso
vimeo.com/ondemand/changelingstheseries
facebook.com/changelingstheseries
facebook.com/cenotaphtheseries
dearactorfromtheotherside.blogspot.com/

© 2015 Vincent Veloso, Xavmax Multimedia Productions L.L.C. All rights reserved

Dear producer, remember the martial arts phrase "position before submission" 7/5/15

Dear producer,

 There is a saying in martial arts circles that may come in handy before you start sending your clips, movies and trailers for contests and festivals.... even before you start preproduction... remember "Position before submission"

Sincerely,
the other side

Happy 4th of July weekend.

There is a reason you build a foundation before you build the roof of a house. There is also a reason you draft blueprints before you build a foundation. It saves, time, resources, effort and you have a pretty clarified idea of what your expected final outcome is going to be.

It really isn't any different in producing film, or baking a cake. Every new endeavor will be unique and have its own challenges and advantages, but there are similar overall steps from project to project.

The same goes with what you are going to do with your film in the end, after you've completed it. What is your final platform for it? Will it be on youtube? social media? on demand? fourwalled into theaters? submitted to contests and festivals? sold? all of the above? some of the combination of the above?

I am not in a position to tell you what you should do with your project. And there are many options and deals you can pursue. But before you even start casting, getting crew, equipment, lighting, locations, you want to BEGIN WITH THE END IN MIND.

There is a saying in wrestling and judo: "Position before submission" before you try to lock up or pin your opponent, you must put yourself in the most advantageous position or know what moves you can do from the position you are already in.  A lot of that comes from training with people better than you and gleaning experience from them and from yourself.

Likewise, in this example, before you start submitting to tons of festivals, which can be very expensive even if you have allotted a post production budget (we'll get into that another time) you want to put yourself in the best position to succeed to have a successful submission.

Why are you submitting to that particular festival? Why are you submitting to the number of festivals you are? What items do you need to submit?

Each festival has it's benefits. Be sure you research what they are and aren't just collecting laurel leaves to make yourself feel good and brag about it on social media.

The two primary submission sites I have encountered are filmfreeway.com and withoutabox.com. Each has it's particular festivals. Sometimes they overlap. Each site has it's own strengths.

Just like as an actor, to put yourself in the best position, you might want to think about having a good headshot, resume, reel and business cards as your basic toolkit (on top of your training and actual acting skills)

When you start producing and submitting, you should also be prepared with some kind of E.P.K (electronic press kit)
-reel
-set photos
-press photos
-press statement
-director statement
-project description and press blurbs
-any press
-any awards
-cast and crew listing
-etc

This should be factored into your PRE-PRODUCTION and PRODUCTION plans and budget, so that you have them for POST PRODUCTION.

 Both websites help you set up things for uploading, but you actually have to have things ready to upload to them otherwise you are wasting your time.

Always remember there is a huge difference between activity and accomplishment.

Always welcome and be grateful for support from friends, family, colleagues, supporters, and fans, but never assume or expect it.

 There is a saying "If it is to be, it is up to me" No one does everything by themselves, especially creating film, but that mindset of "I am responsible. If it is up to be, it is up to me" will take you far in producing and may help in other aspects of your life.

Be well,
Vincent

Dear actor, be aware and beware of "occupational hazzards" 6/29/15

Dear actor,

Be aware and beware of "occupational hazards" and take measures to protect yourself and be smart about avoiding or extracting yourself from potentially rough situations.

Sincerely,
The other side.

As an actor with many female friends who are actors, models, dancers, musicians and bartenders, I have heard many stories of 'occupational hazards'

Not just drugs and alcohol, but to put it discreetly, unwanted advances. It also happens with men, though I seem to I hear and see stories of it seemingly more happening with my friends who are women. Be careful and aware of your surroundings and dealings.

Any harassment such as  intimidation, extortion, unethical agreements, inappropriate unsolicited photos of  male/female 'equipment', and unwanted advances have no place in a professionally run production or career.

As someone who studied martial arts (judo, jujutsu, aikido for years I was taught several concepts:

• martial arts is a lifestyle and self defense is a life skill.

• Self defense is not just about kicking and punching, if absolutely necessary to defend yourself from harm and escape it may be needed. Self defense is understanding that you and your loved ones have your personal borders, your standards, your space, your life that no one has the right to violate or interfere with those,  and you can take healthy measures to preserve and protect those.

• Self defense can mean protecting your assets and intellectual property with legal means and business entities as needed or copyright and trademark forms (I am not a lawyer and cannot give out legal advice)

• Self defense can mean being aware of your surroundings, your environment and your associates or potential associates.

• Self defense can mean keeping your eyes open before you enter agreements or locations, as you enter agreements and locations and knowing if there are outlets to get out or escape agreements and locations.

• Self defense can mean keeping yourself mentally, physically, fiscally, emotionally and spiritually fit, responsible, and prepared for whatever may come

• self defense can mean being spatially aware of strangers and know that action is faster than reaction, keep a healthy distance as you ascertain intentions

• self defense can mean knowing how to de-escalate arguments, and get yourself and others out of compromising situations before it is too late.

Studying a martial art can help you grow tremendously mentally and physically. However, I know from experience, a friend of mine who was a black belt was killed by an ex-con over a 'wrong place-wrong time' misunderstanding and dispute that escalated with my friend being murdered in the street and that con being put away for 25 years, that self defense is never a set thing.

There are always x factors now matter how much you know or have trained,  and one of the best ways to 'win a fight' is to not put yourself in bad positions in the first place and survive and protect yourself and your loved ones... not only from a life and death situation, but professionally as a musician, actor or business.

Be well,
Vincent

My name is Vincent Veloso. I am a writer, producer, director, actor and musician and martial artist. I have worn many hats in my career, learned some things, still learning, but in this blog, I will be addressing my experience and insights making films and music... stories from casting to wrap party... the good, the bad, the really bad and the ugly.... and the really ungood.

I never use real names, and many times I address my concerns on the day directly to people in real time. I point out my own missteps  just as much if not more because I have been that actor/writer/producer/director who has made the same gaffes just as much if not more. Hopefully as I address the circumstances,  people can gain valuable insight, through story and my experiences, it will give people help. It is not meant to be mean spirited, but like all subjective commentary and blogs, and many other existing advice and commentary articles, I understand that audience perception is subjective and do hope you know that I hope to help others.

imdb.me/vincentveloso

vimeo.com/ondemand/changelingstheseries
facebook.com/changelingstheseries
facebook.com/cenotaphtheseries
dearactorfromtheotherside.blogspot.com

 

© 2015 Vincent Veloso, Xavmax Multimedia Productions L.L.C. All rights reserved

Dear actor, Questions direct thinking. Statements direct destiny. 6/21/15

Dear Actor,

 Questions direct thinking. Statements direct destiny.

Sincerely,
The other side.

I had taken part as an industry guest in several industry actor meet up events where producers/directors/writers/casting agents meet with actors in 3 minute speed meetings with about 10 industry guests.

 There is value to be gained and learned in these kind of events. However, before you go to one of these kinds of events, you may want to be ready for questions the guests may ask of you and be prepared to ask questions if you have anything you'd like to know, not as having canned responses ready but really thinking about it for  your benefit. (take some time to learn about the guests you will be talking to)

Each event, guest, actor and time is different and depending on what projects(s) a guest is working on or what their agenda and priorities are, you may find yourself asking and receiving many of the same questions like:

• What are you currently working on?
• What are you looking to work on in the future, more of (whatever your resume says your focus is on) or branching out into other media?
• What do you consider your type?
• What kind of roles do you like to play?
• What kind of roles do you want to play?
• What is your dream role?
• Have you ever written or produced for yourself?
• If you could describe yourself in 3 words what would they be?
• If you could describe how you see your type, what would it be?
• What is your greatest inspiration?
• What is your greatest fear?
• Do you sing? What is your range?
• Do you have any questions for me?
• Etc...

If you have never been asked or asked yourself these questions as an actor, you may want to contemplate what answers are right for you at this point in your career.  Those types of questions, along with others you may come up with, direct your thinking about how you may improve your acting, your career choices, your relationships and your life.

Having answers to those kinds of questions may help directors/producers/casting keep you in mind for the future, even though they may not have something that you would be fit for at the moment.

One of the best ways to make sure you have a great part is to write yourself one.

Your statements about yourself direct your mind into the kind of person and the kind of behaviors you deem congruent and acceptable for yourself and define who you are to yourself and others. They are like affirmations. For them to be effective, they should be framed in the first person, active, positive.  For example: "I am (this)"

Not everyone wants to self produce, which is fine. Not everyone wants to write. As an actor, however, I would suggest you attempt those activities at least once in your lifetime.

You may gain a deeper understanding of what the other side is looking for, the challenges they face, and how it may help you find work and get cast.

Simply put:

Writing informs/enhances your acting
writing informs/enhances your directing
writing informs/enhances your producing

acting informs/enhances your writing
acting informs/enhances your directing
acting informs/enhances your producing

producing informs/enhances your acting
producing informs/enhances your directing
producing informs/enhances your writing.

directing informs/enhances you acting
directing informs/enhances your writing
directing informs/enhances your producing

I started off as a musician and I can relate acting, producing, directing and writing to creating and studying music.

• There are fundamentals in technique and theory in craftsmanship.
• there are styles. you can copy or you can come up with your own based on your influences and taste
• there are composition and writing techniques you can learn, then it is up to your instincts and creative imagination to create something from nothing.
• There are rhythms to things, harmony between cast and crew members, dynamics and arranging parallels to all these activities.

Be well,
Vincent

My name is Vincent Veloso. I am a writer, producer, director, actor and musician and martial artist. I have worn many hats in my career, learned some things, still learning, but in this blog, I will be addressing my experience and insights making films and music... stories from casting to wrap party... the good, the bad, the really bad and the ugly.... and the really ungood.

I never use real names, and many times I address my concerns on the day directly to people in real time. I point out my own missteps  just as much if not more because I have been that actor/writer/producer/director who has made the same gaffes just as much if not more. Hopefully as I address the circumstances,  people can gain valuable insight, through story and my experiences, it will give people help. It is not meant to be mean spirited, but like all subjective commentary and blogs, and many other existing advice and commentary articles, I understand that audience perception is subjective and do hope you know that I hope to help others.

imdb.me/vincentveloso

vimeo.com/ondemand/changelingstheseries
facebook.com/changelingstheseries
facebook.com/cenotaphtheseries
dearactorfromtheotherside.blogspot.com

 

© 2015 Vincent Veloso, Xavmax Multimedia Productions L.L.C. All rights reserved

Pragmatism vs single focus 6/17/15

Dear Artist,
 If you really want to be something, why don't you just be that?

Sincerely,
the other side.

ALSO

Dear artist,
did you know you don't have to starve as you pursue your craft?

Sincerely,
the other side.

When I was still an undergrad at NYU, I had interviewed one of my professors as part of a course requirement. I had asked him how he had survived as a musician.

He had mentioned that he did club dates on the weekend and taught during the week. He made enough money to do his jazz gigs which did not pay much. He had said he knew cats that spent 40 hour a week "temping" and had no time to do any music as in contrast to his way which was to play a few club dates on the weekend,  see people dance and have a good time and make the bread. That way he had the time to do what he wanted to do during the week and make his music.

A few years later I was auditioning for a club date agency when I ran across a well know jazz drummer I knew, who had a teaching studio in the same building the agency was holding auditions. He saw me and was surprised I was there. Then he invited me into his studio to talk to me. When I was there, he shut the door and started cursing me out to the effect of " what are you doing man? you are a jazz musician! I would rather dig ditches than play that &^#$@ on those club dates. " I responded to him with something along the lines of what my professor at NYU had given me.

He was silent for a second and replied to me. "If you want to do something and be something, why don't you just do it? If you want to be a jazz musician why do you just be that?"

Years later I still reflect on those 2 seemingly contrasting points of view.

The first is a pragmatic way of survival while still going for what you want.
The second is an all out approach, blinders on to what it is you really want in life.

Each person's situation is different in life an I am not in a position to tell what is the best for someone, provided they are not breaking the law or taking advantage of someone else.

In your career, in your life, what approach do you take? is it one end or the other? or a bit of both? For me, I have gone through all 3 approaches at different stages in my life and career.

The road to success is different for each of us as artists, actors, musicians. Some will say you should go all out, while they ignore the realities of survival. Others remain overly pragmatic and never reach the full heights and potential of their success.

Some that go full out and some that are pragmatic 'make it', while others 'won't make it.' Nothing in life is ever guaranteed, but that doesn't mean that you should not go for what it is you really want in life. We are more than what we do. We are more than what we own. We are not just our survival jobs. We are not just our 'successful' artistic career.

I will say that any success is helped by sustained focus over a long term, and those that see themselves as what they want to be and work toward it, tend to manifest that. What approach is best? Which ever one 'works' for you.

Be well,
Vincent

My name is Vincent Veloso. I am a writer, producer, director, actor and musician and martial artist. I have worn many hats in my career, learned some things, still learning, but in this blog, I will be addressing my experience and insights making films and music... stories from casting to wrap party... the good, the bad, the really bad and the ugly.... and the really ungood.

I never use real names, and many times I address my concerns on the day directly to people in real time. I point out my own missteps  just as much if not more because I have been that actor/writer/producer/director who has made the same gaffes just as much if not more. Hopefully as I address the circumstances,  people can gain valuable insight, through story and my experiences, it will give people help. It is not meant to be mean spirited, but like all subjective commentary and blogs, and many other existing advice and commentary articles, I understand that audience perception is subjective and do hope you know that I hope to help others.

imdb.me/vincentveloso

vimeo.com/ondemand/changelingstheseries
facebook.com/changelingstheseries
facebook.com/cenotaphtheseries
dearactorfromtheotherside.blogspot.com

 

© 2015 Vincent Veloso, Xavmax Multimedia Productions L.L.C. All rights reserved

Dear actor/agent, "Ask and shall receive before you ask, but think about what you are asking for" 6/5/15

I had recently set up casting sessions and a few hours before heading out to the castings I received several familiar messages, the last minute, last second cancellations, no shows and requests. Here were a few of my internal thoughts on two....

Dear agent or actor,

Please don't ask us the morning of your client's audition if we can see your client a few hours before castings actually start because something came up. If you are paying for the studio time and the transportation for the producers and casting director, we might consider it, although probably not because we are busy people and specifically booked certain times for a reason.

-ALSO-

Dear actor with a confirmed audition time,

Thanks for sending me a message last minute that you will arrive 15 minutes early... before any castings actually start... and if I can see you before castings even start, then great, if not, fine, because you have a prior engagement you cannot break... hmm? What?!

Sincerely,
 The other side

There is a saying "ask and ye shall receive." It can help to ask for a last minute schedule shift if something super urgent or critical happens, and who knows, maybe things would work out. But you may also want to think about what you are asking and if the request you are asking is unreasonable or unfair whether, you are represented by an agent/manager or not.

 As a producer, resources and time can be at a valuable premium... not to mention the logistics of getting a director, a producer and a casting director in the same room at the same time on the same day if applicable, which in this case it was.

Also, when we are seeing over 100 actors per day over multiple days or weeks, many productions I've worked with like to give them confirmed timeslots, so that we know who we will see, and also so we don't waste the actors' or our time by waiting around all day. Time is valuable. Time is life. Please don't waste yours and please don't waste ours. 

Having a great professional agent or team of agents can be very valuable. You don't necessarily need an agent, depending on where you are in your career and what you want to do, and many actors, who do have agents and managers, still self submit and hustle for jobs. However, some, among many, advantages of working with good agents are:

• You have other eyes looking for opportunities for you to partake in

• They may have relationships with other agents, production, managers and can potentially get someone to listen or read something or get you in front of that, you may not.

• You have a buffer between you and productions that... may not be quite ready to work with you yet, or downright have terrible track records and reputations dealing with talent.

• Some agents and agencies specialize in print, tv, theater, films, and their experience can be invaluable.

Take care and do your research in choosing what particular agent or agency you want to work with- some may more aggressive in representing you and some have particular strengths and expertise. If they list a roster or recent projects they've helped cast, you may get an idea of how they operate. Word of mouth and recommendations can help tremendously as well.

However, do remember that your agent and manager if applicable ideally work with you. Agents make a commission off your booked work an managers can take a percentage manager fee and/or whatever arrangements are stated in your contract with them.

 I was casting a production, looking for name talent, and skipped a few profiles because their headshots weren't quite what I was looking for and there were no notes left to the casting director, which in this specific instance, was the director and producer as well. On the second go around after I scanned over 3000 submissions, just out of curiosity I clicked on a few I had earmarked or caught my eye on the second pass and found that this or that actor had extensive experience and name recognition.

You the actor are ultimately the key individual in shaping your brand and name recognition. Help your agents and managers to promote you by being sure they know what to promote of you and discuss with them how you would like to be presented.


Break a leg and have a great pilot season.

Be well,
Vincent

My name is Vincent Veloso. I am a writer, producer, director, actor and musician and martial artist. I have worn many hats in my career, learned some things, still learning, but in this blog, I will be addressing my experience and insights making films and music... stories from casting to wrap party... the good, the bad, the really bad and the ugly.... and the really ungood.

I never use real names, and many times I address my concerns on the day directly to people in real time. I point out my own missteps  just as much if not more because I have been that actor/writer/producer/director who has made the same gaffes just as much if not more. Hopefully as I address the circumstances,  people can gain valuable insight, through story and my experiences, it will give people help. It is not meant to be mean spirited, but like all subjective commentary and blogs, and many other existing advice and commentary articles, I understand that audience perception is subjective and do hope you know that I hope to help others.

 Break a leg and have a great pilot season.

Be well,
Vincent

My name is Vincent Veloso. I am a writer, producer, director, actor and musician and martial artist. I have worn many hats in my career, learned some things, still learning, but in this blog, I will be addressing my experience and insights making films and music... stories from casting to wrap party... the good, the bad, the really bad and the ugly.... and the really ungood.

I never use real names, and many times I address my concerns on the day directly to people in real time. I point out my own missteps  just as much if not more because I have been that actor/writer/producer/director who has made the same gaffes just as much if not more. Hopefully as I address the circumstances,  people can gain valuable insight, through story and my experiences, it will give people help. It is not meant to be mean spirited, but like all subjective commentary and blogs, and many other existing advice and commentary articles, I understand that audience perception is subjective and do hope you know that I hope to help others.

imdb.me/vincentveloso

vimeo.com/ondemand/changelingstheseries

facebook.com/changelingstheseries

facebook.com/cenotaphtheseries

dearactorfromtheotherside.blogspot.com/

 

© 2015 Vincent Veloso, Xavmax Multimedia Productions L.L.C. All rights reserved

Pick a card, any card? Tips on business cards for actors and their importance 5/31/15

Dear Actor,

  When networking, a business card is a headshot and a resume. When used correctly, while remembering to be a being a good person,  it can be the difference between a collaboration or being forgotten. Fortune favors the bold and prepared.

Sincerely,
The other side.

Success, relationships and collaborations go hand in hand in life in all fields. A business card is just a card. It's the person or company behind the card that matters. How someone treats someone else, their work ethic, trustworthiness and commitment to excellence and professionalism is the thing that really matters for good relationships and great results.

That being said, I have a few tips on business cards from a producer/director point of view... especially when it comes to networking with actors.

I've gotten hundreds of business cards thrown at me in the course of a networking event from many actors, hopeful that I may remember them from their card. Honestly, I've seen good cards design and not so good card designs and sometimes their cards are... woefully insufficient for me to remember unless I make a note with a pen.

First and foremost, if someone doesn't seem very appealing or unkind as a human being, I may not file the card in my outlook express or database at all. I might toss the card into a large plastic bag I have that houses all the business cards I've collected over the years. How someone interacts with me and others; and how they talk about themselves, their companies, services, skills and others may lead me to make notes on the cards for following up with them or not.

Honestly as a casting director, I may not be looking for your type at the moment, but I will keep you in mind as a human being and as an actor, especially if I have a face to go with content.

Just like your resume and your reel.... GET TO THE POINT!!!

 

Vague/strange descriptions of who you are and what your company does serves no one, especially not you. "Audiovisual multimedia hive" or "initial intermediary", mean nothing if I can't put a face to the description and remember how I met you and our conversation and interaction.

Ideally,  you should be able to look at a card and figure out INSTANTLY who and what company you are dealing with

I am currently redesigning my card with new headshots, but this is something along the lines of right to the point cards that I have seen, filling in the blanks with my own info for an example

(I've omitted my email and phone number for this example and used an old candid headshot)

 

FRONT OF THE CARD

Headshot or Headshots:

Name:

title:

Professional affiliations

brief description of skills/services

website

phone number a

email address would also be a good thing to have on it,

 

BACK OF THE CARD

blank or any other info or headshot you deem essential

 

 My recommendation is to have your headshot on your card, but not your entire front of your card. Make room on the front of the card for a description of who you are and interesting skills.

 

You can create inexpensive business cards at sites like vistaprint and others.

 

Sometimes, you may randomly meet a new contact and having a card can make all the difference in a future collaboration or a lost opportunity. "Maybe not today, maybe not tomorrow, but soon...." Classic film buffs, you know the rest of the quote.

Break a leg.

Be well,
Vincent


My name is Vincent Veloso. I am a writer, producer, director, actor and musician and martial artist. I have worn many hats in my career, learned some things, still learning, but in this blog, I will be addressing my experience and insights making films and music... stories from casting to wrap party... the good, the bad, the really bad and the ugly.... and the really ungood.

I never use real names, and many times I address my concerns on the day directly to people in real time. I point out my own missteps  just as much if not more because I have been that actor/writer/producer/director who has made the same gaffes just as much if not more. Hopefully as I address the circumstances,  others can gain valuable insight, through story and my experiences, it will give people help. It is not meant to be mean spirited, but like all subjective commentary and blogs, and many other existing advice and commentary articles, I understand that audience perception is subjective and do hope you know that I hope to help others.

imdb.me/vincentveloso
vimeo.com/ondemand/changelingstheseries
facebook.com/changelingstheseries
facebook.com/cenotaphtheseries
dearactorfromtheotherside.blogspot.com/

© 2015 Vincent Veloso, Xavmax Multimedia Productions L.L.C. All rights reserved