Acting Business Boot Camp

Impostor syndrome (also known as impostor phenomenon, impostorism, fraud syndrome, or the impostor experience) is a psychological pattern in which an individual doubts their skills, talents, or accomplishments and has a persistent internalized fear of being exposed as a "fraud". Letting Go of Shame by Patricia S Potter-Efron and Ronald Potter-Efron "Shame is more than a feeling, it is a set of physical responses such as looking down or blushing combined with predictable actions such as hiding or withdrawing from others or having uncomfortable thoughts such as, "I am such a failure in life" or spiritual despair. The definition of shame is a painful belief in one's basic defectiveness as a human being." We make choices based on our belief systems, our past, our values, and our collective consciousness. We always choose what is the best possible choice at that moment. We are always doing our very best. You are not responsible for your first thought, but you are responsible for your second. What do I intend to do for the next audition? What is the lesson? You prevent it from becoming an assumption. Reframing allows you to be more positive about what is happening. Can't—choose not to Should— Could Have to—Want to, Need to Try— Will You need to be there for you. "Change the way you look at things, and the things you look at change." Reframing is changing the way you look at things, to decide if that's who you want to be. You can restart your day at any point. When I am in imposter syndrome and I find myself asking, "who do I think I am?" Instead reframe it and ask, "who would I be if I don't do this?"

About Andy: Specializing in voice-over, Andy Roth is one of New York's busiest casting directors with a career that has spanned over two decades. After several years as the in-house casting director for one of the country's top commercial talent agencies, Cunningham Escott Slevin & Doherty (CESD), where he did the voice casting for over a thousand projects for animation, commercial, television, film, video games and more, he started his own company and has since been working with many of the biggest advertising agencies, casting houses and production companies in the world. He has cast shows for such high profile companies as Discovery Kids and Netflix and worked on projects for known brands including, Spotify, Oculus, Target, Calvin Klein, Geico, Kraft, Coca Cola and many more. His handiwork can be seen on just about any network, cable channel, video game system, and all over the Internet. As a voice director, he's directed shows for major companies including Netflix and Funimation. And as an award-winning producer, his most recent documentary "The Animal People," executive produced by Joaquin Phoenix, quickly became one of iTunes top 10 most watched docs. His award-winning animated projects "Enchanted Thyme – The Delicious Adventure Series," and "The Peculiar Adventures of Willow B. Star," for which he served as both writer and producer, have gained national attention. With a teaching resume that boasts three of the Hollywood Reporter's top rated college acting programs, Andy has served as a faculty member at New York University's Tisch School and is a regular guest artist/speaker at many highly regarded acting programs including Rutgers and Syracuse. His voice-over workshops sell out months in advance, and he was twice voted "Best Voice-Over Teacher in NY" by "Backstage". What do you want actors to know that you never really have time to tell them? The Casting Director is NOT THE ENEMY. Casting Directors is not higher on the food chain. It comes down to the work It's not about proving that you're a great actor. Walk into the room like you belong there. Make the choices based on the information that they have. Commit to those decisions. If you are called in to audition, either there's a personal trust OR it's a recommendation from some I trust. Not getting a job isn't a rejection, it's an inevitability of a freelance lifestyle.

From the book: Wisdom by Andrew Zuckerman "Tennis taught me so many lessons in life. One of the things it taught me is that every ball that comes to me, I have to make a decision. I have to accept responsibility for the consequences every time I hit a ball. It also taught me about delayed gratification. No matter how you look or how much money you have, you still have to learn your craft. You have to hit a lot of balls. You have to train. There are disciplines of life that you learn from tennis or other sports. Another thing is that you learn to adapt. I have two sayings, champions adjust and pressure is a privilege. When you're playing a tennis match you can't say stop I want to do another take or can I play that over. That's the way sports are. They're very real that way. They teach you lessons in life but the most important one is accepting responsibility. You have to make a decision, and live with the consequence, that's what tennis does with every ball that comes to me. And I just use my experience in tennis in everyday life now and it's fabulous. It's been a great journey to learn those lessons." Wanting vs deciding: Decide that you're going to get something done today, Catabolic vs Anabolic energy The energy of responsibility is how you get out of anxiety. Ask yourself: What am I not taking responsibility for now, which is freaking me out? You have to train. "You can't buy self-esteem you need to earn it and you need to earn it from the toughest person on the planet, yourself." Champions adjust. It's not the strongest who will survive, but who can best adapt to change. Pressure is a privilege.

Joel Steingold is known for his work on HOW TO GET AWAY WITH MURDER, HAWAII FIVE-0, and SHAMELESS. You can see him in numerous other Films and TV shows both on camera and as a VoiceOver actor. Catch him currently in THE CHI. Be an asset to the environment that you're working in. What are you doing daily, weekly, monthly, to enhance your career? "Work begets work." Specialize in the slow game Don't worry about the money initially.

Burnout means you are at a point where an extended period of time has gone by without you taking care of yourself. Whatever you put before taking care of yourself, you're going to lose. When you're burnt out take a step back and observe. Take time out to think about where you are in your life and where you wanna go. What my ego thinks I can get done and what I can actually get done are very two different things. Overwhelm happens when I am trying to catch up with what my ego thinks I can get done. Slow down and look at a week, a month, a quarter, a year. Start to plan, and take some of the pressure off. Emotions that come up: Burnout tired defeated disappointed in myself am I ever going to achieve this? Cure: Baby step it. Take time off and just take care of me. Journal. You don't to quit, what you want is a break. When I'm overwhelmed the number one thing I don't want to do is stop but the number one thing I need to do is stop. Expectations are premeditated resentments. Those expectations are from yourself. You can restart your day at any point. Identify the tasks that are on your plate that emotionally weigh you down, the things you most don't want to do. Once you've done that plan when you are going to do those things first.

About Eric: Eric Nelsen is a multiple Emmy Award winning and Tony Award nominated American actor and producer. He is best known for his work as an actor in Hulu's revival of All My Children playing AJ Chandler, and most recently, his recurring role in season 4 of Showtime's hit drama The Affair. On stage, Nelsen portrayed Brett Sampson in the original Broadway production of 13, and starred in The Good Mother, produced by The New Group. He has appeared in over 30 television series, including The Blacklist, Girls, The Following, NCIS, Blue Bloods, and iCarly. Nelsen has also appeared in the Universal Pictures film A Walk Among the Tombstones opposite Academy Award nominee Liam Neeson and Coming Through the Rye opposite Academy Award winner Chris Cooper. In 2018, Nelsen most recently won a Daytime Emmy Award for Outstanding Supporting Actor in a Digital Daytime Drama Series for his work on the Amazon web series The Bay. As a producer, Nelsen has won three Daytime Emmys for his work producing The Bay and recently was nominated for a Tony Award for producing the Broadway play, The Inheritance. He also produced the indie feature Wakefield starring Bryan Cranston and Jennifer Garner. At age 23, Nelsen became the youngest producer in history to win an Emmy Award. What he learned about acting being on the other side of casting as a producer. You always have to be in class FOCUS ON YOUR CRAFT Surround yourself with the right people

So many feelings come up around the opening I'm not ready... How do I do this? Will I sound like a fool talking to real people? There is a special anxiety around it. There was anxiety around the pandemic because it had never happened before…but that same anxiety is around opening up because it's never happened before either. What are the things we can do to take care of ourselves emotionally while this is going on? Fear and anxiety are never going away, but how we handle those can change. When we stay in anxiety, we are in victim energy, catabolic energy— energy that eats itself, it's self-destructive. We want to be in anabolic energy. How can you break it down? Baby step it. Turn our attitude into if I'm anxious about xyz…then what you want to ask yourself is "how can I take responsibility for that? ie: If I'm afraid of redoing my resume, then what is one small action I can do to work towards that? Go as slowly as you need to in order to take care of yourself. Just do the next right thing. Whatever I put before taking care of myself, I am going to lose. Good self care is super duper important. What are things I can bring with me that will make me feel safe? A mask Some hand sanitizer Nice hand lotion Lip balm Little things that you can pack in your bag that make you feel good Water Tea We do have an anxiety epidemic right now. We are capable of getting through this. You are not going to be given more than you can handle, but you will be given more than you can control. This time is not about control, it's about good self-care and doing the next right thing Asking yourself where do I need help? How can I ask for it? What's the next baby step? Plan out your day the night before. Knowing that you have a plan, a road map for your career, for your life, these are the tools you can use to ease the anxiety that's coming up. You can move from being helpless to realizing you have a choice. When you do the thing that you are frightened of, you earn the one thing you can not buy— self esteem and confidence. Watch out for perfectionism. Perfectionism leads to procrastination leads to paralysis. Write this out: What do I think that I cannot handle in this moment? Anxiety is about not taking responsibility. Using the illusion of trying to control something that is just not controllable. Put your energy into the things that you can do something about. Go as slowly as you need to in order to take care of yourself.

About Mark: Mark Ivanir has been working as a professional film and television actor in Los Angeles since 2001. His first major film role was in Steven Spielberg's 1993 Oscar-winning epic SCHINDLER'S LIST. He rejoined with Spielberg twice, first for a cameo appearance in Terminal, then again for his much anticipated Tintin. A pivotal role in Robert Deniro's 2006 film, The Good Shepherd, landed Mark a role in Barry Levinson's What Just Happened, this time acting alongside Deniro. Currently, Ivanir awaits the release of four studio features: Johny English Reborn (starring Rowan Atkinson), Everybody Loves Whales (staring Drew Barrymore, Kristen Bell, John Krassinsky), A Late Quartet (co starring Philip Seymor Hoffman, Catherine Keener and Christopher Walken) and 360 (co starring Anthony Hopkins, Jude Law, Rachel Weitz and Ben Foster). He has booked over 35 Guest Star and Guest Lead roles on television shows such as: 24, Monk, CSI NY, Law and Order, Fringe, CSI Miami, Nikita and many others. Ivanir's road to Hollywood was circuitous at best. Born in the communist Ukraine (former USSR), he immigrated to Israel with his family in 1972. While serving in the Israeli Army he participated in the then clandestine mission to bring Ethiopian Jews to Israel. His military experience and expertise has been tapped for various roles including De Niro's CIA thriller THE GOOD SHEPHERD. After completing his stint in the Military, Ivanir turned down several job offers from Israel's Secret Service and gave up studying medicine to pursue a higher vocation—clowning. He completed two years in a Circus school, traveled throughout Europe performing on the streets, and ended up working in a Parisian Circus – Cirque Pawelles. After leaving the circus, Mark entered into formal theatrical training, studying at Israel's top acting school Nissan Nativ, later co-founding a theatre company made up of actors from the former USSR called Gesher Theatre. Within two years, Gesher became Israel's top theatrical outfit and was hailed by the London Times as "one of the six best theatre companies in the world." Tapping his command of Russian, English, and Hebrew, Mark performed many different roles, translated and adapted eight plays for the company, and performed everywhere from Lincoln Center to the National Theatre in London as well as major stages in Paris, Rome, and Berlin. After being cast by Spielberg in SCHINDLER'S LIST, Ivanir moved to London to study with Philippe Gaulier and the actors of the Theater De Complicite. During this stint, he landed roles in THE MAN WHO CRIED (with Johnny Depp) and SECRET AFFAIR which encouraged him to relocate to Hollywood. Ever since Ivanir has been working consistently in major studio film and television projects in eclectic roles spanning from a Russian spy to an Israeli producer to a German elephant trainer. Mark's advice to an actor who's struggling: Diversification Think outside the box Use your own special skills Knowing your lines really well even for an audition

Think of something that happened to you that you've held with you throughout your career and created some sort of thought attached to it. Think about how that instance is holding you back. "Forgiving is not forgetting, it's letting go of the hurt." Resentment- the only person it's hurting is you. Think of resentment as a replay on a football field. When you have a resentment, and replay what happened in your head, you are reseeing it. Ex: Two guys collide, and you hear the break of the bone, and the commentators go ooh that was a bad break, and they watch it again. The next time you swear the sound got clarified, louder, and you swear the grimace of the guy who got hurt got bigger, the color got brighter. And each time they play it again, the sound gets louder, the color gets brighter. Resentment does just that. "Don't allow someone to live rent free in your head." How many resentments do I have that are taking up energy and space? This is the question: Can I love myself enough to let go of my need to be right so that I can have inner peace? You can't buy peace of mind, you need to earn it. Empowering Questions: What or who am I resentful of? What do I feel they did to me? How can I see this from their point of view? What pay off or benefit am I receiving from hanging on to this resentment? By not letting go of this resentment, how does this keep me stuck? What limiting beliefs have I developed because of this resentment? How are these limiting beliefs being utilized in my career? How can I stop practicing these limiting beliefs so I can move forward? Tools from Previous Episodes: Listen to What is Your Strength Story? Listen to Limiting Beliefs and Empowering Questions. More Empowering Questions: What would my career or life look like if I no longer practiced these beliefs? What would it feel like without that resentment? You have a choice of what goes on in your head, use your mind to govern your brain. What are you thinking and are those thoughts healthy? Take responsibility for your resentments and set yourself free.

About Ed: Ed Lewis is a Voice Director for Video Games, Animation, Audiobooks, Commercials, Documentaries, Promos and for pretty much anything else you want him for. Ed's extensive experience casting Film, Television and Theatre for ten years, paired with his actor training from the University of Michigan give him a unique perspective on how to approach Voice Over projects. He treats his work as a VO Director exactly the same as his time directing auditions for The Wire, Chappelle's Show, 24 and others. Ed's experience working in casting with amazing directors like David Simon, David Koepp, David Esbjorson and all other sorts of Davids has taught him how to direct projects from children's animation to first-person shooters. Communicating with actors can be a challenge, but Ed has the vocabulary, insight, experience and knowledge to communicate the client's vision and to make the recording sessions productive with even the most difficult and complex individuals. What did casting directors do during the pandemic? It's not the casting director's job to make the choices for you, it's that actor's job. You don't have to throw a ton of ideas out, you have to settle on your choices. Casting directors are put under such rigorous standards, actors need to realize that CD's have so much going on. Audiobook: Prepping is your friend! Prepping for Commerical and VO auditions: Watch a lot of commercials! Watching commercials online vs watching on TV: If you don't know a product exists, you're not going looking for it as opposed to watching tv commercials on cable, these products come up. It's not about your voice, it's about your acting and you got to make a full scene. Video games: Play a lot of video games There are so many roles right now for women, women who can fit into that world and understand the action world, there is a huge market Casting Directors love actors, they want you to succeed! His pet peeve? Apologizing for your work!

When are we doing too much? When are we doing too little? What is our responsibility and what isn't? My Part vs. Not My Part The Serenity Prayer Grant Me the Serenity to Accept the Things I cannot change I cannot change other people, places, or things, or outcomes. I did my part but I can not control how that director took my performance in my callback. Courage to Change the Things I can, I can only change myself, my attitudes, and my actions. And Wisdom to know the difference. Wisdom to know the difference between the things I cannot change, and what I can change. Thank you for helping to change the things I can control, and to let go of the things I can't. Recovering your True Self—The awareness of who you will are When in doubt, leave it out. Don't just do something, sit there. When in doubt, slow down, pause, journal, and make a plan for how you are going to take care of yourself. Journal, talk it out, find a bookend. Show me what I need to learn today. Help me to show up for myself and my career today. Show me how I can be of service in my art today. Today I take actions for myself that are appropriate and healthy. I strive for the balance between self-responsibility, responsibility to others, and letting go.

About Maria: Maria Dizzia currently teaches an ongoing scene study class at The Freeman Studio in NYC. She has taught both Public Speaking and Acting at the University of California at San Diego as well as master classes at Wheaton College, Penghao Theater in Beijing and the Sichuan People's Art Theater in Chengdu, China. She was a Beinecke Fellow at Yale School of Drama and a 2011 recipient of the Fox Foundation Resident Actor Fellowship. Broadway credits include: In The Next Room by Sarah Ruhl (Tony nomination Featured Actress; Lincoln Center). Recent theater credits include If I Forget by Steven Levenson (Roundabount Theater Company), Belleville by Amy Herzog (Drama Desk Nomination; New York Theater Workshop, Yale Rep), Annie Baker's Uncle Vanya (Soho Rep), Drunken City by Adam Bock (Playwrights Horizons), and Eurydice by Sarah Ruhl (Second Stage, Yale Rep, Berkeley Rep). Outside of the United States, Maria has performed at The Gate Theater in London with The Civilians and at the Garasjen theater in Norway with Young Jean Lee's Theater Company. Television credits include: a recurring role on Louis C.K.'s "Horace and Pete," recurring role on "Orange Is the New Black" (SAG Award, Outstanding Ensemble), "Louie," "Master of None," "Newsroom," "Elementary," and "The Blacklist." Among her film roles are: Christine, Martha Marcy May Marlene (Gotham Film Award nomination, Best Ensemble), While We're Young, and Margin Call. To find a teacher who sees something in you and be able to have an adult conversation with you is essential. Everybody who keeps acting keeps learning. When it's with Zoom, you get to take responsibility for yourself. When you work with celebrity, they love the story that they're telling. Meeting them is wanting to tell that story with them, and to understand their vision. Really dig into the work relationship part of it. It always comes down to the work.

Email [email protected] to get a replay of the Webinar. "If we treated our friends like we treated ourselves, we'd all go to jail." There are no mistakes. I use my mind to govern my brain. The mistakes stem from my brain, or my heart, or both. Why is it so bad to give yourself a break? Ask yourself what was the lesson, what can be learned from this experience? The next time I'm in this situations, this is what I intend to do. There are no mistakes there are only choices. If you let go of it being a mistake, and allow it to be just something that happened, then you prevent it from becoming an assumption. The Thought, Action, Emotion Triangle. Why do I feel that I always screw up __________? What do I need to work on? Reframing thoughts empowers us to be more positive about what's happening. When we are more positive about what's happening, we get more positive results. Change can't to choose not to, change should to could, change have to choose to, change try to will. Dr. Wayne Dyer, "Change the way you look at things, and the things you look at change." "If you want to be happy, put your effort into controlling the sail, not the wind." Anonymous There's no such thing as getting it right. Life is a journey, it's a becoming, it's a growing, it's a process. To live in the moment, means not to measure success in the realization of a specific goal, but also by the process, because it's in the process that we decide our won measure of success. "Do something today that you will thank yourself for a year from now." Each moment we have an opportunity, we can always choose something different. You can restart your day at any point.

Sign up for the FREE Webinar HERE. How David got into casting. The only thing you can control is the work that you do in the room. When you need a surgeon, you want someone who knows anatomy. When you need an actor you need someone who knows the anatomy of a scene. Acting is a craft and you have to learn your craft. The Three Jobs of an Actor: Becoming the best actor you can be Learning the business Maintaining your health and your mental health What makes a great commercial audition: An authenticity A point of view that is specific and personal A willingness to play Not bring a fixed point of view into the room Auditions are performances Auditions are not opportunities to sort of kinda maybe get it right… If you come into the room and give me nothing, the Casting Director has nothing to work with Don't be afraid to make choices There is no right choice, there is no wrong choice, there is just your choice. Commercial acting is how much you can be yourself in front of the camera. Nail it on the first take, then show them something different. Cautioning against perfectionism, you can prevent mistakes, you can't protect yourself from making mistakes, and you have to love your nonperfect self. You have to believe as an actor you can do that, and you can do it every time. Are you going to be able to do that every time? No, and you have to be able to forgive yourself every time. Auditions are collaborations between you and the Casting Director.

Sign up for the FREE webinar HERE Helen Keller, "to keep our faces towards change and behave like free spirits in the presence of fate, is strength undefeatable." Why is it so hard to be ourselves? Big T Truth vs. little t truth When you let your ego drive, you give up your power Giving yourself the courage to be yourself. You can not buy peace of mind, it needs to be earned. Truth, is infinitely powerful little t truth is EGO Easing God Out little t truth is based in fear T- we are in reality t- some sort of obsession or worry Thoughts: Use your mind to govern your brain Take a blank piece of paper and put a line down the center Right side little t truth Write down all your negative thoughts Left side Big T Truth Write down the opposite "I'm not good enough" —> "I am enough" "I suck at commercial auditions." —> "I master my commercial technique and I am successful in all my commercial auditions." little t thoughts are based in people, places, and things Big T thoughts are thoughts we can choose, "Hey I am what I am," "I am enough," "I take good care of myself and I can handle this situation" Our self worth comes from within

Sign up for the FREE Webinar HERE. Malissa's Motto, "One foot in front of the other." In this episode Malissa and I talk about: Why you MUST invest in a self-tape setup. What it means to be a bicoastal manager. What she looks for when looking for new talent. What a pitch deck is for actors looking for representation. The importance of following up. Your resume and skills should be honest. Qualities of her favorite clients: Wow factor in self-tapes Paying attention to instructions Positive energy Gratitude Follow directions What Melissa wants actors to know but doesn't have time to tell them: Know you as the actor has a business and work side to it Make the chart Know who you saw and what they called you in for Send thank you's to casting directors after an audition Coaching and classes Keeping your instrument tuned

Sign up for the free webinar HERE The Language of the Agents and the Casting Director is spoken in: Your Resume Your Pictures Telling agents and Casting Directors you are not green. Have a good follow up, how, when and what you say in your follow up. Your Demo Reel, how it's edited, where is shown, what you put on it. Website— always put your direct contact info, even if you have an agent. The outline of a resume: If you put so much stuff on it that it's hard to read, it's going to get deleted or discarded and you don't want that! The Letterhead: Your name Your union affiliation Cell Phone Email Website Social Media Handles Your stats: Hair and the eyes Your height and Weight (or size) Vocal Range (if you are a singer) The Film Section 3 columns only Any info you want me to know with an asterisk (ie: *scene with Tracy Morgan) The role you played Production Company Director's name underneath that Television/ New Media 3 Columns Name of the Show What kind of role you played (Series Regular/Guest Star/ Costar/ Featured) Name of the Network or where it was shown Theater 3 Columns Name of the Play Name of the Character/ Kind of Role you played (Lead/ Suporting/ Small Supporting/ Ensemble) Name of the Theater and City Director/ Musical Director/ Choreographer (if it's a big dance show) underneath that Commercial/ Print/ Industrials/ Voiceover/ Cabaret List upon request Cabaret set up like you did in the Theater section Training If you have graduated from any school Name of the degree, school, city/ state List who you've been studying with for acting, improv, commercials, singing, dance, etc. Skills You want to be intermediate or advanced in any skill you list Languages, accents, types of singing you do, sports, and an other category. End with drivers license, passport, covid vaccine (as the last thing)

How does a casting director get hired? By reputation. Selling themselves and working with them and getting rehired. How does the process work? Ad agency hires the director They will send scripts, usage, when it's shooting, the boards, and conflicts, character breakdowns. CD sends them out to agents-- to their favorite agents (about 10). Agents send a list with pictures and CDs send back a list of who they want to see/ self-tape. CDs send the auditions to the ad agency and the director. Ad agency and directors send back a list of callbacks. The client decides who gets the role. Commercials are 50% unions 50% nonunion Qualities of actors you love to have in the room: Show up on time Have other lives outside of acting Put the work in to get to know you as well Mistakes actors make in callbacks: They go into the callback putting too much pressure on themselves. "You don't go in asking for the job, you go in the room doing the job." Go in knowing you got the callback so you're right for the job. Advice for beginner actors: Get in class! From a reputable person Come in prepared Google any class. Knowledge is power Self tapes are here to stay and every actor needs a good self tape setup.

Sign up for the Free Webinar, The Three Pillars to a Successful Acting Career, also known as, How to Become a Working Actor Without Breaking Your Bank and Wasting Your Time, HERE What is Life Coaching? One on One Support System Accountability NOT Therapy Help you move your life closer to the version you want to be Goal Setting What are your ultimate goals? Then we start to work on the action steps? When they don't get done, what is getting in your way? "Don't ever underestimate how good you have to be." The Importance of Core Work "For Coaching work to be successful, it has to be nuanced." Goals: What are you doing to achieve this goal? "Anxiety and fear come into the room because they are there to serve us and protect us." "Choose your hard." Choose the hard that serves you and your end goals. Tool: Ask yourself, "What's happening now?" Fight, flight, or fawn— Show up in auditions Know yourself and know your triggers. Rituals: What are the things that activate your senses that bookend an experience that you know is going to be anxiety inducing. Cues of safety Creating safer containers for you to exist and opportunities to reground The Serenity Prayer: "God, grant me the serenity to accept the things I cannot change, courage to change the things I can, and wisdom to know the difference."

We are each the product of our own belief system Carl Jung, "Man is so imprisoned in his type of thinking that he is simply incapable of fully understanding another standpoint." Warranty, "if you don't like the one you have, you can return it for one that is more preferable." You can change the beliefs that created your reality. Limiting Belief: Something you accept about life, about yourself, about your world, and the people in it that limits you in some way. Curt Carlson, "Obstacles are those frightening things you see when you take your eye off the target." The thing that gets in the way: all the bullshit in the industry that has actors going in too many directions. Big T Truth vs little t truth: The Bit T Truth: Who you really are, all the best aspects of you. The little t truth: the truth you think you are, or ego's truth. Write down 3 Limiting Beliefs about you or your acting career. Ask yourself these Empowering Questions: How True is that belief? Where did you get that idea from? How has that belief affected you? What would it feel like if you let this belief go? What would be easier for you? How can I let that belief go? How can you put that letting go into action immediately? What are Empowering Questions? "Quality questions create a quality life. Successful people ask better questions and as a result, they get better answers." Tony Robbins They are: Open ended Clarity seeking Probing Challenging Thought provoking Future directed Solution oriented They spark your imagination and they get you to think The right questions at the right time for the right reason in the right format to get the right response. What can I do? How can I make that work? What other choices could I make? How would someone who really loves me tell me to look at this? What is going to be my next step? What have you been able accomplished in the past and how able to accomplish that task? Remain teachable.

Intimacy Coordinators: Act as an advocate and a liaison between actors and other parties, directors producers. Help co create choreography within the boundaries of all parties involved in a scene Is safe and repeatable. Actors are trained to say yes, and consent is not engrained. Our job is to be a cocreator, a colleague and peer. Clarification is not accusation. The mitigation of power dynamics. what makes it hard to ask clarifying questions? Regulating the nervous system Intimacy Coordinators take the pressure off the actor by being their advocate Somatic Regulation: How your nervous system talks to you. How we regulate or disregulate and how we engage in behaviors, reactions, responses based on past traumas, overwhelm, stress, or sleep. The reactions are often from a disregulated nervous system and coming back into regulation and body can be very powerful. How Amy helps get actors back into regulation when they've been triggered. Costume tools for keeping the actors protected. Questions to ask: Do you have an intimacy coordinator? Or how is that to be handled? What am I wearing? How is the garment coming off? Where will the hands be? What are the shots? How many cam ops? Will the set be closed? How the stream being regulated? Boundaries and advocacy go so far beyond just intimacy on set. Consent must be informed for it to be true consent. COVID: Ask if there's going to be a covid compliance officer. Is everyone going to be tested? Whos enforcing it? DONT let it be a producer or a pa. Will 6 feet be regulated? What is preload? Having as much information as possible before you set foot on set is going to set you up for success. It will help you move with some changes. There is a big difference between being unsafe and uncomfortable. Uncomfortable is always going to happen, but having the information keeps you from being unsafe. Amy does consults for prepping intimacy scenes. Got questions, reach out to Amy via our email: [email protected]

"Teaching is just rehearsal, it is desensitizing the instrument, actor, the artist, to get them to come out to play." If you want to be in the major leagues, you gotta training with people who are on the level of the major leagues. The importance of having a life. Never stop training Remain humble about where you are as an artist so you are constantly striving. You can't say that you're done learning. The key to staying sharp— read! Things not in the field Articles Newspapers Things in the field Be a researcher If you're not a reader and if you're not someone who's willing to say I don't know how I learn as an adult, I know how I'm taught as a student until you figure out that switch, you have less power. You have to find things that as an actor you are drawn to. If you don't know what you like, you are basically just prey to anyone telling you what to do. Don't be that actor who just shows up after all the words are written. Two types of actors: That show up expecting to be given things Those that say, "I know what I want and what I like and now I have to find a way to meet you and your ideas with as much thought as my own" If you can be clear and memorable and open and available then I will go toward you. How to approach Co-star and Guest Star auditions

I AM FEAR by Lou Tice I am Fear. I am the menace that lurks in the paths of Life, never visible to the eye but sharply felt in the heart. I am the father of despair, the brother of procrastination, The enemy of progress, the tool of tyranny. Born of ignorance and nursed in misguided thought, I have darkened more hopes, stifled more ambitions, Shattered more ideals and prevented more Accomplishments than history could record. Like the changing chameleon, I assume many disguises. I masquerade as caution. I am sometimes known as Doubt or worry. But whatever I am called, I am still Fear, the obstacle of achievement. I know no master but one; is name is Understanding. I have no power but what the human mind gives me, And I vanish completely when the light of understanding Reveals facts as they really are, for I am really nothing. Awareness, acceptance, and action. Where do you feel fear? When do I use fear for healthy reasons, and when do I use fear for unhealthy reasons? Thoughts that work against you vs. for you How can I move my misguided thoughts into positively guided thoughts? Use your mind to govern your brain. What has fear stopped me from doing in my past that I wished it hadn't? How does my fear masquerade itself? In what forms? How can I have it but still do it? Still pursue my dreams? Michael Jordan, "why would I worry about a shot that I haven't even taken yet?" Have a game plan for when your fear comes up again.

About Robert: Robert is currently starring as Weselton in Disney's FROZEN. Other Broadway credits include: THE LION KING (Timon), THE MYSTERY OF EDWIN DROOD (Durdles), ANYTHING GOES (Purser/Moonface), CHICAGO (Amos), THE LITTLE MERMAID (Chef Louis), CHITTY CHITTY BANG BANG, and JACKIE MASON'S LAUGHING ROOM ONLY. He was co-author and star of the hit Off-Broadway musical CAGNEY which ran at the Westside Theatre, NYC for over 500 performances. For that role he won the Fred Astaire Award for Outstanding Male Dancer and was nominated for the Drama Desk and Outer Critics Circle Awards as Best Lead Actor in a Musical. Last season he was a recurring guest star on the CBS series The Good Fight. Other guest-starring roles include Elementary (CBS), Law & Order (NBC), The Family (ABC), and Life on Mars (ABC). For his cabaret "Ain't We Got Fun!" he won NYC's prestigious Bistro Award for Outstanding Entertainer. His debut album Ain't We Got Fun! was released in 2012 on the LML music label. Robert's First Show and How he Made the Shift Director Kent Paul Wanting to be an actor vs deciding to be an actor You have to decide beforehand. Build your foundation of training. "Be realistic about your gifts, but if you think you got it, then you have to decide there is no give up." Keep taking right action. Don't get discouraged and keep moving forward. How Cagney came to be. His Audition Process for Frozen

The Three Pillars The Core Work The Quality of your acting Training The Language of the Agents and the Casting Directors Your Audition/ Meeting Notebook Get a little notebook! Date What was the Audition/Meeting for? What was the Type of Audition? (OC, Industrial, Print) Who was the Casting Office? Specific Casting Director? What Material did you do? (Script, take a picture) What did you wear? Hair? Facial Hair? Makeup? Where was I emotionally? What did I do well? What is my intention for my next audition? Additional notes Your follow up list

About Scott: For the past twenty-five years, Studio Head, Scott Freeman, has taught at many of the nation's premiere actor training programs and is recognized as one of the leading acting teachers in the country. Mr. Freeman was a member of the founding faculty of The Actors Center in New York City, where he taught throughout the eleven years of its existence. In addition, he enjoyed a long association with The American Conservatory Theatre in San Francisco as a core faculty member of its MFA program and a member of its acting company. He also served as the founding Head of the University of Minnesota/Guthrie Theater Actor Training Program. He has also taught at Rutgers University, NYU, SUNY Purchase, The Atlantic Theatre Company, and The Stella Adler School of Acting. As an actor, theatres he has worked at include The American Conservatory Theatre, South Coast Repertory, New York Theatre Workshop, Mark Taper Forum, The Magic Theatre, San Francisco Shakespeare, San Jose Repertory, Cincinnati Playhouse, and St. Louis Repertory. In addition, he has several film and television roles to his credit. How did Scott become an acting teacher? "Actors, not students, but Future Colleagues" How "ego" can help you. Teaching isn't all about knowledge, its also about form Why is curiosity important to an actor? "Its a curiosity about people and why people are the way they are" "How did they get there?" "Having an insatiable curiosity is paramount to being an actor." Tips about Acting Class: Carve your own path and say what you need Make your ears grow bigger Make it about your technique Resist the urge to make it about your career Craft in the Class, The Business outside Do you have ownership of your craft or are you just waiting for someone else to tell you what to do? Reliability and Longevity If you have questions, make them about craft! Start to figure out why you want to do this and what you want to do When you know what it is, just keep imagining how good it's gonna feel when you achieve it! Advanced/ Intermediate Actor: They know where to go How to build this character Determine what they're going through And the ability to go there Advanced actors can do this more reliably. You can work on pure craft and the career "I'm trying to get you to work fast and slow at the same time." You have to get to product while having the integrity of process. Tap into the jugular vein. "It's not about showing I know what I am doing, it's about me knowing what I am doing."

"How you do one thing, is how you do all things" We want to start making the uncomfortable, comfortable. The Three As Awareness Acceptance Action Used as a tool to change so you can fulfill your life's and career's potentials. Awareness: In order to change we must become aware of what needs to be changed Acceptance: Once we are aware, we need to accept where we are at with it. Action: You can't take action without the first two. Definitions: An intention: the message you give yourself about what you are planning on doing. It is how much and what type of energy you have to put towards it. Consciousness: You awareness of who you really are as opposed to the "you" that you believe you are or were taught that you are 3 Circles Intersecting that make up your Consciousness Who you are—Your Awareness What you do— The Acceptance How you do it— The Action How do you describe yourself? How do you move beyond them? Ask These Empowering Questions: How do I limit myself by putting a label on myself? How do I limit myself by putting a label on my acting career? How do I limit myself by putting a label on my abilities as an actor? Bonus Empowering Questions: On a scale of 1 to 100%, what percentage of my potential do you believe you are currently using or living? On a scale of 1 to 100%, what percentage of my potential do you believe you are currently using in terms of your acting career? What action could you take to boost that percentage by 5% of your life and your acting career?

About Amanda: Amanda Quaid has over 15 years of experience teaching speech, dialects, and language skills to actors and other speakers from around the world. In addition to her coaching on plays, films, and television, she maintains a thriving private practice in New York City. She's been featured as a dialect expert on WNYC, and her book, American Accent Drills for British and Australian Speakers was released in 2020. 1. Oral Posture: Position your articulators are in for the Duration of the Accent ie: A low jaw, pursed lips 2. Signature Sounds: The vowels, consonants, and intonation Axis of Expressivity (Pitch variety) How Amanda approaches American Accent Acquisition (as opposed to accent reduction) 3. Find out what the Accent brings out in you Techniques for rehearsals, performances, and auditions The Importance of Breath Inhale— The act of taking in the partner Exhale— The act of giving a part of yourself The Miller Method

The Power of Affirmations Principle: Energy attracts like energy. Gandhi, "Be the change you wish to see in the world." "Be the change you wish to see in your acting career." We attract and create our world. Focus on what can be. We do this through affirmations and self-talk. Create a healthy, productive, and friendly neighborhood in your actor brain. Living an abundant life begins with believing in and focusing on an abundant world. Assignment: Practice gratitude in your acting career. Creating a gratitude list with at least 5 things on it If we focus on lack, that's what grows. Truth: the world is an abundant place and there are enough resources for all. "Winners focus on winning, losers focus on winners." Truth exists regardless of belief or consensus. Truth vs. truth truth: ego's truth Truth: Universal Truth Empowering Question: Sit down, set a timer, focus on this question for 15 minutes. If I did _______________, for my acting career, what would be possible for me? Consciousness: Your awareness of who you really are, as opposed to the you that you believe you are and were taught that you are. Affirmations: Use your mind to govern your brain. "I love myself and I approve of myself." Assignment: Practice these affirmations I am enough I am a working actor. I am a successful working actor. If that's hard for you try adding, "I am willing…" If you still can't get there, add "I am willing to be willing to believe…." Practice consistency. Write them out 10 times a day.

About Frank: Frank is a 30 year veteran of the music and post-production industry, which a long list of IMDB credits from TV networks, feature films, and animation companies like Disney, Nickelodeon and Cartoon Network. He spends his days making commercials, cartoons, TV shows and more at Digital Arts in NYC. At night, he's on a mission during Covid Times to get everyone up to speed so we can continue working together! First thing: Get a coach, take the classes, learn the craft! Common Biggest Mistakes: A home studio is not a USB mic, a laptop in the middle of your living room Your mic isn't connected Think outside the box Forgetting to turn phantom power on Turn the Rolloff off Mouth noise tricks Stop ruining your sound by over-processing it

Values: What Motivates you to Pursue your Goals in 2021? They make you tick or drive you Fear Based Values vs Conscious Based Values Fear Based Take action to avoid Half Truths, I have to do this, I have to do that Conscious Based Allow you to take positive actions Want or need to choose Comes out of wanting to fulfill that goal Are you choosing from your passion or choosing from your fear? Empowering questions to ask: My objective: Help you to be more true to your conscious values Think about a time in your acting career when things were really good. Ask yourself, "what value was being expressed or honored at that time?" Think about a time in your acting career when you were really upset. Ask yourself, "what value was being challenged at that time?" What is really important to you? Why are you doing this? When do you compromise your values and why? What stops you from doing your best? What will it take to get you off your goal? Let's look at the things that you feel you must experience in your life. Why is that so important? We're learning what are your fear based values and what are your conscious based values? Accountability Accountability is the process by which we help ourselves keep the commitments we have made. What is it that you will do? And by when are you going to do that? Who could help keep you to that goal and time frame? The brilliance of book-ending. The tool of prioritizing. The most important thing you need to do now and why you need to do it. Rank. Look at values. Why do you want to achieve this goal? What is at stake? Why does it matter? You want to be brave AND rigorously honest with yourself. "Let go of your good and focus on your great." Inspiring You are stimulated and lifted to a new level. You see the absolute best in who you want to be and what you want to create Who would you like to become? What are positive affirmations that I can say to myself to back this up? What are the actions to illustrate that this is who I am now and who I am to be? Championing Done before a task is done or completed Being your own cheerleader! Trying to bring out the best in yourself and have faith in your own abilities. "Act as if…" Take the action, let go of the result. Good healthy self-talk and good healthy action Celebrating The skill of honoring your accomplishments Make yourself conscious of the good you have done and allowing yourself to appreciate the accomplishment of your goal. Acknowledge what you say and celebrate what you do. How am I going to celebrate the completion of this goal? How am I going to feel when I do what I say I am going to do?

Two Types of Goals Achievement Goals and Habit Goals Achievement Goals- One Time Accomplishment Habit Goals- Regular Ongoing Activity Requires maintaining a practice You want them to begin with action verbs Want to have a start date Frequency Time Trigger Streak Target "Right Goals" and Action Plans: AIM A-cceptable- What is the acceptable minimum? I- Ideal- What is the acceptable maximum? M- Middle. What is a reasonable stretch? SMARTER Goals Specific What is the first step you are going to take? Make it really simple! "Anyone can eat an elephant one bite at a time." Measurable Action-Oriented (ex: run 3 miles 2 times per week) Verbs! Reasonable OR Risky How reasonable is it that what you're say8ing you're going to do, you're actually going to do Out of our comfort zone Time-Oriented By when exactly will you complete the first step of the goal Exciting Compelling Does it ignite your imagination? What will you feel like when you finish accomplishing this? Relevant Is it appropriate for your season of life? If the ideal image of you doesn't resonate with the image of you now, then no matter how bad you want to achieve it, it's not the right goal for you now. You want to make sure that your goal is in line with your current concept of your who or your consciousness. Your consciousness is your awareness of who you really are, as opposed to the you that you believe that you are or that you were taught that you are. The Power of Empowering Questions- they are powerful, they open-ended, they are clarity seeking, they are probing, they are challenging, they are thought-provoking, they are future-directed, they are solution-oriented questions that cause you to search for answers and new possibilities, they are value-seeking questions. Why? Why do you want to achieve this goal? What is at stake? Action Steps: Write down all of your goals. Ask yourself these two questions Go through AIM and SMARTER Rank your motivations for these goals "Leave what you are good at aside, and focus on your great."

About Heidi: Heidi Dean is the industry's top social media expert for actors. She's a social media writer for Backstage Magazine and a frequent speaker at film festivals, conferences, SAG-AFTRA foundation panels, podcasts and the creator of Marketing4actors.com. Heidi was a proud member of SAG-AFTRA & AEA and a working professional actor for over 20 years. Now she combines her years of industry experience with cutting edge social media strategy to help actors and content creators open more doors for their careers. Her clients include Emmy Award-winners, Broadway stars, recording artists, directors, producers, and filmmakers. Heidi turns social media rookies into rockstars! Social Media can be an AMAZING TOOL. Build Relationships Research A Virtual Stage for you to Perform First thing actors need to know on social media?-- People are looking you up! Social Media Profiles are a direct reflection of you and show you're a team player. 5 Things You Absolutely Need to Know: People are looking you up and that first impression is everything You are so much more than the projects you book Mix of storytelling posts, community posts, self promotion posts Free video, youtube.com/heididean It isn't just a self promotion tool- it's a storytelling tool You don't have to be good with technology to rock your social media Who do you know in the business? Who do you want to know? Use social media to talk with people, rather than a megaphone to broadcast at them Social Media is all about RELATIONSHIPS Video is your Best Friend Perfectionism leads to procrastination, leads to paralysis Use social media as a business tool, create a strategy. Check out Heidi at marketing4actors.com

"Lead the good aside and focus on the GREAT" About Bill Bill Timoney has worked in the Arts & Entertainment industry for over four decades. As an actor, his extensive resume includes Broadway and regional theatre, films, prime time & day time TV, commercials, and voice-acting (he specializes in dubbing English language versions of foreign language movies, TV shows, and animated programs). Bill's eclectic and wide-ranging work experience also includes producing independent films, writing (including a screenplay for the Nickelodeon Channel's TV movie division), directing, stand-up comedy, brief stints working for both a casting director and a talent agency, advising film festivals, and even coordinating stunts for low-budget Horror flicks. For the last five years, Bill has operated a coaching service for actors and a script coverage & assessment service for producers and talent agencies (by recommendation only). He often works with his longtime friend and collaborator Bryan Cranston; Bill helped Cranston's production company "Moonshot" create & develop the Amazon Prime TV series "The Dangerous Book for Boys" (for which Bill also served as the on-set acting coach for all the child actors in the cast). Bill currently writes the column "Heard and not Seen: Adventures in Voice-Acting" for the national publication Videoscope Magazine. Why you need to create your own opportunities. Become an Actors + 3 Things to Know Before You Begin Know the Market Debra Jo Rupp It's Always about the Work Paul W. Downs and Lucia Aniello's Mixed Tapes Parody Current Events Matt Stone and Trey Parker Collaborate Stop writing only dialogue The less you speak, the better The less verbal your film is, the wider the international audience It's about the global industry now Stop talking Plus: Bryan Cranston Anecdotes!

The Truth is: The point of Power is in the present moment. Staying in the moment in acting, is the same way in life and humanity. 1. You can handle this when your anxiety shows up. 2. Ask the question: What do I think I can not handle in this moment? Anxiety is about not wanting to take responsibility in the moment, and not accepting the reality in the moment and feeling a lack of control. Once I ask myself what am I not accepting? What is it that I'm trying to control but can't. Then things have the space to shift. The fact of the matter is we are going to have these feelings and these situations are going to come up, so the only thing we are left with in a productive way is, "How can we best deal with it?" 3. "I will never be given more than I can handle, but I will be given more than I can control." 4. What do I think I can not handle in this moment? Live life on life's terms. 3 Energy Levels Victim Anger Responsibility The difference between catabolic and anabolic energies. How am I behaving like a victim in my acting business? Where is my anger coming into play in my acting business? How can I take responsibility in my acting business? Journal on these for 20 minutes. Share with someone you trust Susan Jeffers: "Fear is a fact of life, it is not a barrier to success, the fear will never go away as long as I continue to grow." Use your fear to succeed. Fear Success ————————> You need bravery! Assignment: Ask yourself, "What is your ultimate career goal?" "What are you afraid of in regards to that goal?" Journal for 10 minutes "What would I do if I were brave?" Journal for another 10 minutes. Fear Truths The Fear will never go away as long as I continue to grow The only way to get rid of fear is to go out and do it The only way to feel better about myself is to go out and do it Pushing through fear is less frightening than that underlying fear that comes with a feeling of helplessness

1- Post-Covid: Movie Tickets— Research a theater near their office/ home 2- Gift Certificate— Research what do they actually like (ie: Starbucks vs. Dunkin) 3- Charity— Ask which charity they support 4- Food Bank— Possibly to one in their hometown —————— The Crucial Follow UP List Go through you contacts Type up writers/ directors/ producers/ agents/ managers/ CD's The Benefits of Postcards Holds Avails Callbacks Bookings Separate commercial/ print list from theatrical list Forward moving energy, put all your resources towards what will move you forward. No E-Cards

About Roger: If New York City is the voice-over capital of the world, then Roger Becker is the Mayor. "Hizzoner" has been working steadily in every aspect of the business for two decades. With a background in post production, Roger left that world in the 1990's to direct talent at a prestigious NYC talent agency. Along with running their in-house studio, he worked in the Broadcast Promotions division to bolster his understanding of talent/producer relationships. In 2005, he returned to directing voice-over full time at a casting house in New York City, eventually accepting the position of vice-president of the company. He has cast for major accounts in all arenas of the business, from commercial to film to narration to animation…and has taught children and adults about all facets of VO work. Show Notes: Audition Space must be comfortable. You're going to spend all of your time in your booth setup. Overview of 3 things to Up your VO Game: Specs Perspective/ POV Proximity and Visualization Bonus: Be the Alpha How to approach Specs: The value is in the WORDS Want creativity and to make the words their own. Be aware of specs but focus on the words. They either want you or they don't want you so just BE YOU. Humans. Own experience It's up to you to bring your essence and A-Game into the audition room Not interested in adjusting vocals up and down in register. Just BE YOU for commercials. What you think they want and Confidence Confidence- perspective. Point of View. You Must know what you are saying. What does the person at the other end want to hear? How does the audience want to receive the message? What is the script about? What is the value of the script? (Hint: it is NOT the product) Be the "ALPHA" in the booth Don't get trapped into "how can I make this sound so they'll like me" It's Fraudulent and they will be able to hear it. JUST BE YOURSELF Roger's One on One Formula Now Hosted over zoom Everybody is different with skill level and life experience so he takes that into account Break it down- power of the words POV and Perspective Breakthroughs happen when actors confront what scares them and makes them uncomfortable Roger's Self Mantra: Remember that actors are auditioning and donating their time for Free. He understands that this is an acting business far more than it's a radio business. Study with the best so the best can guide you to the best you can be.

"There is no glory in thinking of yourself as less than." Core Work: "It's about who doesn't blink." The Power you can harness from your own Strength Story. "To keep our faces toward change and behave like free-spirited in the presence of fate is strength undefeatable."— Helen Keller Brain Cell A, Brain Cell B Synapses. Changing the "I am not enough," to "I am enough." Something happens Something Happens React React STOP! Take a Step Back Observe Is this healthy for me or is this unhealthy for me? Respond Affirmation- I LOVE MYSELF AND I APPROVE OF MYSELF. There is no glory in thinking of yourself as less than. Stop continuing to play small. Affirmation- I AM ENOUGH I AM SUCCESSFUL AT COMMERCIAL AUDITIONS. Enjoy being you!

1 - Resume simple easy to read quality is more important that quantity list by credible credits, not by date done the importance of CREDIBILITY! 2 - Pictures embrace your age and "you-ness"- "I am what I am" don't try and be something that you are not watch TV and find yourself - be what you see on TV, but be yourself! 3 - Cover Letters and Emails Mailings DO WORK! But they MUST to be done in the Language of the Agent and the Casting Director or they just don't work Helpful to study with teachers that the industry recognizes as the Best. Keep all communications brief! Cap & Bold anything credible! 4 - Follow up List Always mark down and keep an updated list of every Agent/Casting Director/Writer/Producer, etc you have met face to face on on a Zoom call. Have their updated contact info and let them know when you have booked a job, gotten a call back, or been put on hold. Keep these updates solely to the people who work in the particular area you have booked a job or gotten a callback in - for example - Commercial and Print callbacks and bookings only go to Commercial and Print Agents and CD's - not to Theatrical Agents/CD's - same with Theatrical (Film/TV/Theater) those updates go to Theatrical Agents and CD's - not to Commercial and Print Agents and CD's 5 - Demo Reel Something is better than nothing - it is about the WORK! A 30 second great scene is a better reel than 2 minutes of blah that includes a 30 second great scene - get right to the good stuff and delete the blah 6 - Website EVERY ACTOR MUST HAVE A WEBSITE! Keep it simple and user friendly! Website Pages: Home/Pictures/Resume with Downloadable PDF/Reels/Press (Optional)/Contact Page