How To Enter The Business Of Commercial Modeling And Acting Without Getting Ripped Off
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How to Enter the Business of Commercial Modeling and Acting ... Without Getting Ripped Off by Stuart J. Scesney Pdf
Are You a Beautiful Woman? Great... Are You a Handsome Man? Great... You an Everyday Looking Person? Even Better! Not only BEAUTIFUL PEOPLE, 5'11" plus get work modeling and acting! REAL PEOPLE get work too! Think about it. Monitor your TV for 12 hours. What characters do you see more of on TV commercials, movies, infomercials, web commercials, etc.! It's the "real" person! "Real" people target the "real/everyday" consumer. Modeling and acting is not only fun...it's KILLER money!" Stuart Scesney Author, Talent Adviser Former C.E.O. Talent Factory & Stus Casting, Inc. "Shark repellent for the serious actor...I recommend this book to any new talent." Brian Robinson Marketing Director Morgan Creek Productions
How to Enter the Business of Commercial Modeling and Acting ... Without Getting Ripped Off by Stuart J. Scesney Pdf
Are You a Beautiful Woman? Great... Are You a Handsome Man? Great... You an Everyday Looking Person?Even Better! Not only BEAUTIFUL PEOPLE, 5'11" plus get work modeling and acting! REAL PEOPLE get work too! Think about it. Monitor your TV for 12 hours. What characters do you see more of on TV commercials, movies, infomercials, web commercials, etc.! It's the "real" person! "Real" people target the "real/everyday" consumer. Modeling and acting is not only fun...it's KILLER money!" Stuart Scesney Author, Talent Adviser Former C.E.O. Talent Factory & Stu's Casting, Inc. "Shark repellent for the serious actor...I recommend this book to any new talent." Brian Robinson Marketing Director Morgan Creek Productions
How to Become a Successful Actor and Model by Aaron Marcus Pdf
Have you ever dreamed about becoming an actor or commercial model but had no idea how to get started? Or, how to take your current career to the next level? Do you live in a small market and think there is no work available, can't find an agent or afraid of being scammed? Actors and commercial models of all ages and sizes, beautiful and real looking, are cast for magazine, newspaper and billboard ads and in TV commercials, films and TV shows. From getting discovered to landing your dream audition and role, How to Become a Successful Actor and Model is the ultimate step-by-step, no luck required guide to becoming a successful actor and model. For over 34 years, Aaron Marcus has worked as a full-time actor and commercial model, booking over 1,250 jobs. Some of his many bookings includes: Gotham, House of Cards, Heart of Life, Irresistible, Thespian, Philomena, Halt and Catch Fire, Project Almanac, The Wire and Do No Harm. He has taken all of the strategies, techniques and lessons he has learned over his career and boiled them down into a simple, sensible, engaging, and fun approach to how actors and models can book the job! This book explains how he did it, and how you can too. Aaron teaches you, in a practical, honest, and economical way, his secrets and strategies for getting started and succeeding no matter where you live. Aaron has written this book to not only help those wanting to break into the industry, but also to help those actors and models who want to take their career to the next level. The chapters in How to Become a Successful Actor and Model are: 1. What is Commercial Modeling? 2. Preparation for Commercial Modeling 3. Head Shots 4. Resumes 5. Composite Sheets 6. Makeup 7. Finding a Good Agent 8. How to Get Work 9. How to Work as a Professional Model 10. Auditioning (Including – How to Shoot Home Auditions) 11. The Realities of Being a Full-time Actor and Model 12. Now What Do You Do? 13. Resources **Bonus** Free list of over 500 agents (agents from every state in the U.S.) and in other countries as well
2002 Guide to Talent and Modeling Agents by Rachel Vater Pdf
MAKE YOUR DREAMS COME TRUE! Whether you want to get into movies, pose for magazine covers or walk a fashion show runway, 2002 Guide to Talent & Modeling Agents has all the information you need to find the representation that right for you. This one-of-a-kind directory provides you with the most detailed and current listings available for talent and modeling agencies, schools, conferences and scouts.Insider information details the age, size and "type" that each agency is looking for, what sort of work they specialize in (print, catalog, advertising, film or runway), which agencies charge, and if so, how much.You'll learn how to contact an agency, avoid scam artists, submit headshots, work with an agent, read a contract and locate legitimate agencies that don't advertise. All this, plus illuminating interviews with agents, bookers and scouts, and a resource guide for Web sites, magazines and newsletters makes getting "discovered"--and getting work--easier than ever before. It's the how-to, where-to guide you've been looking for!
How to Become a Successful Commercial Model by Aaron Marcus Pdf
Enables you to: get started; find agents and photographers; practice in front of a still camera; create powerful head shots and composites; market yourself and get work on your own; manage and understand the business of modelling; and impress agents, photographers and art directors and get them to cast you again and again.
From the creator of the popular website Ask a Manager and New York’s work-advice columnist comes a witty, practical guide to 200 difficult professional conversations—featuring all-new advice! There’s a reason Alison Green has been called “the Dear Abby of the work world.” Ten years as a workplace-advice columnist have taught her that people avoid awkward conversations in the office because they simply don’t know what to say. Thankfully, Green does—and in this incredibly helpful book, she tackles the tough discussions you may need to have during your career. You’ll learn what to say when • coworkers push their work on you—then take credit for it • you accidentally trash-talk someone in an email then hit “reply all” • you’re being micromanaged—or not being managed at all • you catch a colleague in a lie • your boss seems unhappy with your work • your cubemate’s loud speakerphone is making you homicidal • you got drunk at the holiday party Praise for Ask a Manager “A must-read for anyone who works . . . [Alison Green’s] advice boils down to the idea that you should be professional (even when others are not) and that communicating in a straightforward manner with candor and kindness will get you far, no matter where you work.”—Booklist (starred review) “The author’s friendly, warm, no-nonsense writing is a pleasure to read, and her advice can be widely applied to relationships in all areas of readers’ lives. Ideal for anyone new to the job market or new to management, or anyone hoping to improve their work experience.”—Library Journal (starred review) “I am a huge fan of Alison Green’s Ask a Manager column. This book is even better. It teaches us how to deal with many of the most vexing big and little problems in our workplaces—and to do so with grace, confidence, and a sense of humor.”—Robert Sutton, Stanford professor and author of The No Asshole Rule and The Asshole Survival Guide “Ask a Manager is the ultimate playbook for navigating the traditional workforce in a diplomatic but firm way.”—Erin Lowry, author of Broke Millennial: Stop Scraping By and Get Your Financial Life Together
If you want your startup to succeed, you need to understand why startups fail. “Whether you’re a first-time founder or looking to bring innovation into a corporate environment, Why Startups Fail is essential reading.”—Eric Ries, founder and CEO, LTSE, and New York Times bestselling author of The Lean Startup and The Startup Way Why do startups fail? That question caught Harvard Business School professor Tom Eisenmann by surprise when he realized he couldn’t answer it. So he launched a multiyear research project to find out. In Why Startups Fail, Eisenmann reveals his findings: six distinct patterns that account for the vast majority of startup failures. • Bad Bedfellows. Startup success is thought to rest largely on the founder’s talents and instincts. But the wrong team, investors, or partners can sink a venture just as quickly. • False Starts. In following the oft-cited advice to “fail fast” and to “launch before you’re ready,” founders risk wasting time and capital on the wrong solutions. • False Promises. Success with early adopters can be misleading and give founders unwarranted confidence to expand. • Speed Traps. Despite the pressure to “get big fast,” hypergrowth can spell disaster for even the most promising ventures. • Help Wanted. Rapidly scaling startups need lots of capital and talent, but they can make mistakes that leave them suddenly in short supply of both. • Cascading Miracles. Silicon Valley exhorts entrepreneurs to dream big. But the bigger the vision, the more things that can go wrong. Drawing on fascinating stories of ventures that failed to fulfill their early promise—from a home-furnishings retailer to a concierge dog-walking service, from a dating app to the inventor of a sophisticated social robot, from a fashion brand to a startup deploying a vast network of charging stations for electric vehicles—Eisenmann offers frameworks for detecting when a venture is vulnerable to these patterns, along with a wealth of strategies and tactics for avoiding them. A must-read for founders at any stage of their entrepreneurial journey, Why Startups Fail is not merely a guide to preventing failure but also a roadmap charting the path to startup success.
COMMERCIAL ACTING OPPORTUNITIES There are two types of commercials, which frequently cast models. Non-air commercials are those not intended for broadcast use, such as non-broadcast audience reaction commercials, copy testing, or client demos. Photomatics are one specific type of client demo - they use a still photographer and the images are converted to video using special techniques to give the feeling of movement, as in ordinary film. Non-air commercials give new actor-models a chance to see what it takes to produce a commercial and provide valuable experience to add to acting resumes. The second type of commercial involves real movement, and may have speaking or non-speaking parts. Models cast for this type of commercial may find themselves modeling clothes, advertising a store, selling a mattress, buying a car, opening a bank account, eating an ice cream - you name it. Speaking parts usually require voice training. Be advised having a regional accent will severely limit your speaking parts. Voice training will be necessary if you are serious about your acting career. A principal part is the position held by the featured actor in a commercial. That actor is the representative of the product the consumer will focus on, and the part may be either speaking or non-speaking. Extra parts, which may be speaking or non-speaking, are held by people who are strategically placed to fill unwanted space in a commercial. Being an extra is a terrific opportunity to learn the inside workings of commercial production without the stress of being a principal. It allows you to observe what is required of the principal actors, the creative process involved, and the roles of the production team. TRAINING Regardless of what country of market the commercials you wish to audition for are aimed at, you must have proper training. To learn more about the commercial acting business, take some on-camera commercial acting class. You'll also learn techniques for psyching yourself up for auditions and overcoming intimidating directors.. "Acting in T.V. commercials is lots of fun. It can also be very demanding - doing take after take until it is exactly right. Commercial acting can be a regular and lucrative source of income, you might begin to aspire to "higher things." If you develop serious theatrical ambitions, you would be well advised to undertake proper training at a reputable drama school. It is rare to find a theatre professional who gives much credit for commercial acting experience. It just isn't in the same league. The transition between modeling and acting, you face many obstacles. The simple fact is that models are not taken as seriously as classically trained actors, and as a result they must work even harder to gain respect. Any model who wants to act is to immerse themselves into classes. This is not a short term commitment of taking just one class; you need many. A cold-reading class is beneficial because copy is often not available before an audition. I also urge my models to take improvisation acting classes. These teach you how to be free, less inhibited, and not afraid to do something silly. Finally, get a monologue under way and audition for theatre. Models need to separate the two worlds of acting and modeling. Use your composite for modeling and your headshot and resume for acting. "Before professional and come prepared to an audition. This means to be on time, know your lines wear the appropriate clothing, listen, take direction, and be self-confident." If you treat acting like a business and treat it with the same enthusiasm and drive you do modeling, success should surely follow. NETWORKING Finally, don't overlook one of the most important resources that an actor can have. This business is about people and abo
