Dear actor, "Re-su-me, I think that's Italian, no?" Basic tips for your resume

Dear Actor,

   Your resume and website(s) , like your headshot & reel, and are your calling cards. They are tools of the trade. If you were a lumberjack, you wouldn't use a dull, unsharpened axe to chop down a tree, right? Make sure your resume is updated, is truthful and accurate and sharp.  If it is clear and we can understand it, then your formatting is good.

Sincerely,
the other side


There will never be another you; your quirkiness, your being, your take on things. Treasure that and be the best you that you can be. That being said, in TV and in film, there are "types" or "looks" (lawyer, doctor, cop, detective, best friend, etc.) that actors can be approximated into and if you fit a "type/look" for a casting for a particular needed role, then your resume may merit a reading.

San Francisco 49ers NFL Hall of fame quarterback Steve Young  once said(as it related to his leadership style and presence),"Perception is reality. If you're perceived to be something, you might as well be it, because that is the truth in people's minds."

Primarily, your headshot and reel are the first impression you have on an online presence and contribute to a lot in how you are perceived (provided that casting deems that you are a proper type fit for a particular role) Your resume which is a quick snapshot of your declared skillsets and experience for the production to make a deeper decision. (Recommendations are another thing, but we'll cover that another time)

I recently updated my own resume on several casting sites and hardcopy. When I went on a couple of my online profiles, I was in a "Whoops, come on buddy, you have to stay on top of your junk" moment.

A few sites hadn't been updated in a while. Some of the errors and "subpar practices"( E.G. listing 'lead' instead of 'principal', having a background credit that was just filler, not having the most up to date contact/agent information, updated union status, or the most recent/most potent credits on the top of each section) I saw in going through thousands and thousands of resumes for casting sessions, I had seen in some of my older profiles. Whoops! DOH!

There are tons of tips for formatting actors resumes out there online. Find whatever works for you.  Running my casting sessions, I typically see something like this one page resume:

-----
Name: (your name)
Contact information: (Agency, Agent, or self)
Union affiliation: (E.G. SAG, SAG-E, Non union,  or Ficore)

FILM
Production title         Role or principal/supporting/U5         director/company

TELEVISION
Production title         Role or principal/supporting/U5         director/company

NEW MEDIA
Production title         Role or principal/supporting/U5         director/company

THEATER
Production title         Role or principal/supporting/U5         director/company

TRAINING
Commercial: teacher, school, or course  and maybe the year(s)
Theatrical: teacher, school, or course  and maybe the year(s)
Television/film: teacher, school, or course  and maybe the year(s)

SKILLS:
Whatever you can do
Whatever you can speak
Whatever you know

Commercial conflicts available on request

------
 Models and musicians sometimes have other sections for print, runway or performances. The order of sections is usually whatever you are most know for/most extensive credits/most note worth to the least. Whatever works for you, do that.

All that being said, it's really not a good idea to list principal TV and movie imdb credits that do not exist, or inflate your credits from background to principal on your resume. If you think it will impress people, it really doesn't. Yes, we check.

​Some directors I know are suspicious of "uncredited" and unverifiable credits. Sometimes, actors put credits for things that haven't been released yet, which I sort of understand (Although, some producers don't want actors to tip their hand that they are in something until it is completed and released) but for shows that already out and over that they weren't a part of? No, I don't think you should list anything dubious and patently untrue.

​ There is a saying  "Fake it till you make it" To me, that statement has to do with skillsets, but I would say, please don't lie about things that are blatantly untrue.
​
 It's really about the context. When I'm pitching a show, I don't feel comfortable recommending someone to a studio or director that an actor was in this production or that acting with this well known actor if what they are saying about themselves is false.

If all someone has done so far is background or stand in work and are building experience, that's fine but it doesn't necessarily let the studio or director/producer know they can act on the day if that someone was never actually there and just trying to project an image.

​Yes, of course there are many people who are talented, who have never acted before or little experience that are right for the role that get cast.
​
It's not that a brand new or old actor can't be marketed or don't have
talent, it's just when they themselves are marketing themselves that they did something and they didn't is the issue. Or declaring that they are an expert or fluent in something and aren't, that can be very dangerous and unsafe... especially if it comes to weapons experience, driving, stunts, or languages. At the end of the day its about the performance.

A good tip is to trim your resume to fit your 8x10 headshot and staple it on the back so we can just flip it over are read it.

 As a director or producer or casting director, what do I look for? Honestly, it depends on what project I am casting for, and it varies on the role, but I will usually skim it to see:

-union/non-union actor?
-Acted in TV or film? If yes, anything I recognize or of note?
-Too many Background items listed?
-Any training? If yes, with who and when?
-Any theater or improv training?
-Any relevant skills or languages for the role or of note in this or the future?

Resumes, to me, are one of the last things, AND one of the first things I check. What do I mean by that? On casting sites, after the headshot, I will go to your resume or the reel. At a casting session, I will just glance at the resume to reconfirm skills and if I see something I may ask to demonstrate.

For example, I was casting a role for a German speaker. I noticed on resume, this person mentioned she was fluent in Russian. I asked her to please read the lines and translate them to Russian. On the day (the audition) she couldn't translate..... ok, then she isn't fluent.

Another person couldn't translate into Spanish, another person with Mandarin... both saying they were fluent and weren't... it got old really quickly.

And then there was the weapons training.... but that is a story for another blog post....

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

"Lean back, lean back" Desperate times, desperate actors 4/20/15

Dear actor, 

Please don't persistently hound the production about whether you've been cast or if production has made any decisions, especially when a listing says shooting dates TBD, or if the dates are set for that matter. There may be more things going on than you know about while production is setting the table. 

Sincerely, 

The other side

As an actor, I know the feeling of wanting to know if I was cast for something. However, I learned very quickly from fellow actor friends and my own experience, not to ask, or if I did ask,  not to be pushy, ask many times, or to be desperate because I need a gig. Many times actors want to announce that they are a part of a project and share it right away, which is understandable. But as a producer, sometimes productions don't want things and specific details out there until the time is right and it makes sense FOR THE PRODUCTION, the adverts, the publicity, and other factors.

 As a musician, I learned never to assume that things were set unless it was in writing, and even then not to assume things were solid until things were over and done. I don't believe it until I'm on the plane, on the stage, gig is done, I got paid and am back home.  As an actor, go in there and do your thing at the audition and then just let it go, never assume you were or WEREN'T cast.

 As a producer and director, I know there are productions who won't say anything to you if you have or have not been cast yet. That is just a given. Some productions will tell you if you have not been cast via email, but never assume they will. However, don't bad mouth the production because their timetable is not yours. Because:

A) sometimes you were on a list of contenders and may not have been the top choice, but something happens and the lead actor has to bow out. Guess what? Your name is back in discussion for the project, but if you are pouting or disrespecting the cast, crew, producer, director or casting director on social media or word of mouth (word travels quickly back to people) they may be disinclined to consider you. You might have been the runner up but since you griped and complained, you now are no longer in the running.

B) You may be auditioning for the same people in the future for different productions. They may not want to have to deal with the same drama again if they can help it.

C) Schedules change and time is valuable, both yours and everyone else's. There may be more things going on than you know about while production is setting the table for you the potential actor. 

There are more courteous ways go around asking rather than getting in the casting director's face and saying point blank "So when are we working together?" 

Especially if: 

A) you've just met us and we don't even know you even on a social basis so it is very presumptuous and pushy that you assume that level of familiarity. (this has actually happened to me on a few occasions, an the person never auditioned for me in the first place, the person just knew I help produce and cast) EVEN and ESPECIALLY if you do know us and are friends, don't get in our faces.

 B) It kinda ticks us off getting multiple messages from you assuming that you have or haven't been cast. I once had a actor send me 12 messages inquiring if they were cast and in contention in the span of an hour and a half across phone, email, text, and Facebook. The person had just auditioned.

No one wants to be on a train with a desperate conductor. 

There's that old song from Terror Squad and Fat Joe called "Lean Back". Be prepared, do your audition to the best of your efforts, and let the importance of the outcome go. If you do contact the casting director later on, be friendly, don't inundate us with messages, and don't assume the outcome one way or the other.

You may have been in the running, but because you are desperate or apologetic for your audition, when you don't even know if we liked it or not, you may be taken out of the running. I know how it feels, I've been there too. Just "lean back" and relax and in the mean time, keep getting out there and get on with your life. Lean back... lean back...

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

Dear Producer, There will never be a 'perfect' time to be successful. Go figure it out. Go produce.

 Dear producer,

 There will never be a 'perfect' time to be successful. That being said, you are a captain of your production. Don't send your cast and crew out there with a sinking ship with no map, no supplies and no hope. Go figure it out. Go produce.

Sincerely,
The other side

There are a few proverbs I would like to relate.

There is an ancient Chinese food fortune cookie saying: "Man on top of mountain with mouth open will wait a long time before roast duck will fly into it." (Fly into his mouth, not him or the mountain)

Life is too short to not go after what it is you really want in life. You can't be passive and expect to get everything in life by doing nothing or going after things half-heartedly.

At a networking event, I was introduced by the host to two people, who looked to be in their mid twenties, who wanted to get into producing. They asked my advice and experience on directing and producing. They told me they wanted to get something done but kept telling me about perceived obstacles and personal shortcomings. Eventually, I had enough and asked them...

"Are you over 18?",  to which they said yes.
"Are you over 21?" I asked. Again, the reply was yes.

I said, "If you are over 18, you are supposed to be an adult... then you are responsible and capable enough to figure out what to do. Don't look to your parents or anyone else to solve your situations. If you want to get something done in your life, go figure it out, what needs to be done, and go do it."

Look, I can relate to the questions and that feeling they had. Things don't always work out, you don't always win. I've been there many times... where you can feel uncertain and unsure. Things can seem insurmountable, where you feel alone and don't think things will be successful. However, when I have been successful in life, especially in producing, writing, directing, acting, making music, teaching or doing martial arts, I found that something made me press on in spite of that uncertainty. Just keep going. Keep taking ground. Do what you can with what you've got in the time you have left, because you don't know how much you have left. Press on.

I've heard that many times people will crash into a telephone pole in a wide open field because, as they lost control of the car, they were telling themselves "Don't crash into the pole"

Instead of that kind of though popping into your mind, you have to visualize the end goal as if it were already successful and excellently completed and keep your focus on that, especially if you are producing and if you are directing a cast and crew and most vehemently when times get tough and things don't go to plan. If something happens, you have to think your way to a solution and sometimes very quickly. As my aikido sensei repeatedly told me "You get into a situation, YOU gotta find your way out of it"

One time, we were on set and needed to warm up the special adhesive with a microwave for the sets of false teeth. The only problem was the space we had obtained had no microwave and it didn't look like there was any way to heat things. One thing we did have was spearmint gum in craft services and my contingency budget. I asked the Assistant Director to go get some and get it to the SFX makeup people. Problem solved. (I learned that trick from watching a documentary on horror legend Lon Chaney Jr.)

The point is, If you look for problems and reasons why you can't do something, you will keep finding them. If you look for the optimal end game, you will have a better chance of reaching those goals.

That being said... if you are going to do something, do it right and do well. Chart your course. Plan your work and work your plan. Especially if you are going to be directing cast and crew. Each production is different with different variables and resources. There is knowledge and experience you can glean from many sources, those change too. Make sure you plan out what you need to do meticulously.

People don't want to be a train with a desperate conductor. They will be looking to you to lead them to success.When I was younger, a mentor  told me that "Things are created 3 times. Once in your mind, the second on paper and the third in reality."

Begin with the end in mind.

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

Dear actor, "Throw the book at em... character determines destiny" 4/9/15

Dear Actor,

"Character determines Destiny" The script is the starting point of the performance, not the end of it. We're looking for the character, your unique quirky take on the character, and your character... not just a canned performance or a reading of the lines. 

Sincerely,
The other side

    

I had recently completed a casting and curiously noted that a lot of people weren't off book for this round of auditions. As an actor, I know that we don't get things till last second or don't always have time and need to look at things very last minute. Also, dialogue can vary and be tricky from project to project.

However, what was interesting to see was that some actors who got the sides the same day were completely off book and more relaxed than those who had the sides for multiple days and some who were seriously credited actors and had vast TV, stage and film experience, still on book, but more to the point, kept looking at their scripts at in my opinion, inopportune beats that broke up the flow of the reading and scene. I know it happens but I was just wondering why it was that way this time.

Having been on both sides of the table, I can understand that you have to go with your instincts a lot of the time. However, the more you know the material, the less concerned you are with the words, the more you can be attentive to creating your subtext of the words, reacting and responding in your own unique actor way... creating your performance and giving us your distinct version of the character.

 As a director, I'm looking for a semblance of the character immediately, and sometimes I cast because someone walks in and starts talking and something clicks either immediately or after a few seconds or minutes. They ARE that character, not someone trying to be a character to please the production and fumbling with the lines.

Sometimes we want to see if you are creative, collaborative and take suggestions and direction well, and will give you context and scenarios on the day. The dialogue may be appear to be serious or funny, but be prepared to switch if it was meant to be played in another variation.

There are a lot of factors on who you finally get to collaborate with, being prepared helps a lot. To paraphrase another actor/producer friend of mine, "Your job as an actor is: can you deliver the line on the day? (5, 10, 20, 30, 40 times) And guess what, the audition IS the day. That's what they hire and pay you for" Can you consistently deliver the line and the performance that is needed take after take after take?

Also, actors, please note that your glasses can be a distraction if you aren't aware that you are fiddling with them or taking them off or putting them on trying to enhance a dramatic moment. The camera wants to see your face and your eyes and not your hands blocking them fiddling with a pair of glasses or if your eyes are always looking down to read lines or keeping track of the reader's dialogue making sure you come back in correctly. Paraphrasing the actor Michael Caine, "there is a lot of power in stillness" and paraphrasing director Irvin Kershner "there is nothing more interesting than the landscape of a human face"

I got a lot more "advertisement mail" this time meaning a lot of actors clipped invitations to their plays or shows to their resumes, and invited me directly to see them perform, like right before they auditioned. Not sure if I like that trend.

I mean, thanks for inviting me to see you perform, but you're here to try out for this role right now, and I may never have met you before, and right now is what the production team is concerned with. It seems a little premature to invite me, if I've never seen you act live before. Other casting directors may like getting invites on the day, but personally I'm not really a fan of it. When we are auditioning you just focus on creating a great character. As the saying goes "Character determines destiny"

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

"Unless I book a Job I am totally available to audition" The cost of flaking out. 4/3/2015

Dear Actor,

When replying to an invitation to audition, probably not a good idea to include the words (paraphrased) "unless I get booked for a job, I'm totally available." That makes casting totally not want to reserve you a spot and instead give it to someone who will at least initially humor us to believe that they will make the intention for a time reservation and a priority to show up.

Sincerely,

The other side

I can't make this stuff up... this actor beat out 1000 other actors to secure an audition spot and then their response had the director not want to see this actor.
Yes, it's a little bit different to say those words after the audition has completed, if this is an answer to availability questions and scheduling, especially if the shooting dates aren't locked in stone versus pre-announced, versus as an answer trying to get booked for the audition.
I've been a part of teams casting both union and non union productions for people and have seen the good the bad, the really bad and the ugly.

 I was speaking with another indie film director who had a 30% actor audition  attendance record. 
 Let's say for example that for every hour, 10 slots were open and of the 10 actors that were invited, only 3 showed up. Imagine it costs $20 per hour to book the studio and it's roughly 5 minutes per audition.(depending on what is needed the cost can vary, but we'll use $20)  3 actors x 5 minutes = 15 minutes total productive time auditioning actors.
Multiply that by 8 (total of 8 hours) and the producers have spent $160 and only seen 24 actors in 2 hours (as opposed to 80 actors in 8 hours) and sat around for 6 hours waiting for no shows. (This example not the same as an open cattle call, first come first served. This is where the actors have been pre-screened from their headshots and reels and recommendations from sources, and specifically called in for specific audition times).
Actors, agents, and managers please put yourself in the producers' shoes. That wasted $120 could have gone to festival submissions, lens and equipment rentals, lighting, insurance, gas for transportation, van rentals, food for the cast and crew... OR been used to see actors who do want to audition and do want to work. Even if you get an audition space for free, that's 6 hours that could have been used on script rewrites or negotiations or living a life.

Fortunately, when I have my casting hat on, I've had a pretty good record with audition attendance. My actor audition attendance record is roughly 82%. (Not too bad, but still not 100%) I used to work at a corporate job where we had to confirm our job applicants multiple times in very specific ways. Because I learned that from that corporate job, I confirm the hell out of actors or their agents. 

Every slot that is not filled because of a no show is another actor the production does not get to see, and as an actor, an opportunity thrown away by another actor. I take that very seriously and remember agents, managers and actors who don't. It's productions' money and if you want your completed footage and credit, it makes it easier for them to finish the project by using all their resources effectively.

Most of success is about being there, about showing up and then delivering. Always do your best to make your auditions and give a heads up if you can't make things. Production, casting, directors...We're human. We know things come up and emergencies happen, but not all of us are psychic and if you as an actor or agent don't say anything to casting before or after a cancellation or no show, we may form assumptions one way or the other which may influence our asking you back in the future.

I'm amazed at actors , both non-union and union, some celebrities as well, who have applied for breakdowns, who are invited, who confirm and never show up to a casting. Then, there is no follow-up explanation, let alone any apology... and then the next time you cast or help cast a new production, they apply again and they think you don't remember that they flaked out on you once, or unfortunately, several times before.

 Every time you flake out, you deny someone else a shot at that timeslot, you make yourself, your agent and/or manager look bad, you show no consideration for the people giving you the opportunity and you are building your reputation, an unreliable BAD reputation.

There is a saying, 'you don't build a reputation on what you are going to do, only on what you've done." It's very easy for us to project how you would behave on set with cast and crew, where every second counts, if you flake on your audition. Do what you say you are going to do. It's not about what you start, it's about what you finish.

Also, you never know who else may be in the room. I've had actors come in who were cast for my stuff and subsequently for other people's stuff because there was more than one producer or director in the room with different productions in the pipeline. Please set yourself up to win and don't shoot yourself in the foot. Show up.

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,  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