Hollywood Brass Talks

Case study:Jacob Jacobs moved to New York City 5 years ago. He arrived with an intense passion for his craft, and a powerful belief that he possesses the spark of greatness he has heard the Hollywood Brass Talks hosts debate about. But 5 years in the city, and a host of disappointments has left him wondering if there is any greatness in him at all. Should he hang on, because possibly his spark is simply misplaced? Or is it true that some people just don't have it; and should he head back to Ohio to utilize that Economics degree for which he continues to repay crushing student loans? Is this talk of greatness just an illusion? What should Jacob do? Let's get into it!

Paolo Minetti is fresh out of school. He went to a drama school and they did a good job teaching him how to get a job in a play. He is a bit befuddled by the film and television process and he really wants to crack that world. He has taken workshops and tried to find books that could give him an insight into the casting process for these jobs but is coming up short. He really wants to know about the process and the machinations of the casting director. How does he even get into the rooms? How does he build a career in film and tv without this knowledge? Lets get into it!

Case study Read By Claire HernandezCase Study: Carla Carlson After years of study in conservatory and private classes sharpening her tools, Carla Carlson is ready to start cutting. She has sought advice from industry experts, and is an avid Hollywood Brass Talks listener. So, she knows her next step is getting an agent – and, due to her lack of credits, she needs powerful evidence of greatness, and a cover letter that is eye-catching. But she has heard different accounts of what works. Carla has an actual list of tactics that have been suggested, but she wants to know which are effective, and which are urban legend.Will someone review her list, and set the record straight?Lets Get Into It!

Case Study: Read by Steven Holmstrom Amelia is an actress in Los Angeles. She moved here after high school and is celebrating her 15th year in Hollywood. She has had a few agents over the fifteen years and has booked a few non union commercials for little money, a print job or two. She has done a bunch of plays in small theaters around the city and joined a theater company.  She holds down a full time day job as a legal secretary. She takes acting classes at night and has worked with all the “Best” acting teachers in Los Angeles.  She has taken improv and movement classes. Classes in marketing the actor and find your type. She has always called herself an actor, but now she is starting to wonder. Is it time to give up her dream?  Lets get into it!

Case Study : Read by Kenzo JettPhillip P. Phillips is a Los Angeles actor who is represented both Theatrically and Commercially in Los Angeles. His activity level is moderate, he books a decent amount, and has a relatively good relationship with his agents. No complaints. But, of course, Phillip wants to be able to quit his day job as a hotel reception desk worker, and he wants to level up. Recently, his activity level has decreased - and he is concerned. In conversations with his reps, it has been suggested Phillip needs to get new pictures. Phillip is willing to do so, but he shot new photos 8 months ago, paying $1600 – a session from which his agents chose the FOUR headshots they currently use. That session was the result of a nearly identical conversation. What can Phillip do? Find an even more expensive photographer? Refuse to invest more dollars in pictures? Get a facelift? Accept that management position at the hotel? Do headshots really matter? Let's get into it!

Case Study: Read by Sonja MobleyJoan J. Jones is a 42 year-old Los Angeles actress, who took several years off from a relatively productive career to raise her two children, who are now at an age where Joan has more freedom to audition and work. Her credits are mainly in television and commercials, although her passion is Theater. However, nothing on her resume is current, and she senses that Film and TV are the only things lucrative enough to justify the time' away from her family. She has reached out to agents she once knew, but they have expressed little interest. What should Joan do? Is she took old to have a career? Should she start over, accepting co-stars and waiver Theater?Is there an agent out there for her? How can she find them?Let's get into it.

Case Study:Peter Frankel - Read by: Joe Canale -  Peter has been a professional actor for the last 10 years. He has made most of his money in commercials with a sprinkling of theatrical jobs in between.  He has been able to pay his rent and drive a newer model car.  He gets to vacation every year and keeps his union health insurance, but in the last few years it has been harder and harder to make ends meet.  He wants to buy a house and start to build a family, but the work, while steady has not brought the same revenue in the door.  Is there more work out there he is not getting seen for?  Is it a problem with his representation or is it just impossible to make a living wage these days as a professional actor?Lets get into it!

Case Study:Omar El Dabe is an American born actor with an Egyptian heritage.  He was raised in New Jersey and went to an elite theater program.  He is versed in classical theater and has done a few commercials.  He has pretty good representation but sees that he gets into casting rooms most often to play terrorists or cab drivers.  He keeps hearing about diversity and inclusion, but what does that mean?   He doesn't seem to get in for non-ethnic roles, at least, very rarely.  Is his name too ethnic?  Is casting really that narrow minded that they can't see past it?  He has spoken to his agents, and they don't seem to have any answers so he is bringing it to Hollywood Brass Talks. Is this something Mark and Stuart K can finally agree on? Lets get into it.

Case Study:Lauren L. Lawrence moved to Los Angeles right after graduation from her MidWestern University Drama Program, and began her journey as a hopeful commercial, film, and television actress.From day one, Lauren was represented by a boutique agency. How did she land them?Well, she was approached by them at her senior showcase. They promised her the world, and she signed. After a year of loyalty, Lauren realized she and her agency were not a good match.After leaving the agency, Lauren became a regular listener of Hollywood Brass Talks.She knows about evidence of greatness, fame cards, and the dangers of co-stars and showcases.But she needs a new agent, and doesn't know any. What good is evidence if no one will watch it? How can she break through with no credits? Do cold calls really work? Was she wrong to leave her agent? Was she wrong to come to L.A.? Is there action, or just Brass Talk? Let's get into it.

Case Study:Catherine Lynn is a conservatory-trained actress who relocated to Los Angeles from North Carolina. From the moment she arrived in L.A. Catherine began hearing she had to establish a “brand”, something that was never mentioned in drama school. Catherine struggles with the concept. Does this mean she must choose comedy over action, both of which she loves? Is she stuck with the bob hairstyle she chose for ease of care? Even her name: Catherine Lynn- (she dropped her actual last name: Glick)- feels like a lack of branding, and a betrayal of her heritage. Catherine laments: “Can't I just act? And, can someone please make sense of this branding-for-actors thing?”Can we?Let's get into it.

Jerome Jeremy graduated drama school in Chicago, made a decent living for a number of years doing a combination of live theater, tv commercials, and occasional episodic and film acting work. Always eager for the advice of other professionals, Jerome was strongly advised to make the move to Los Angeles, where (he was advised) the opportunities would be exponentially greater. He didn't find that to be true. Jerome is an avid Clubhouse user, His number one question is: “How do I know if my work is good enough, and competitive with others in my category? I hear Mark & Stuart K talk about ‘evidence of greatness'; how do I know what that is? And in other rooms, they tell me I just have to keep at it, wait my turn, and keep studying. Who is right?” Is there an answer to Jerome's question? Or are we all just speculating and guessing? Let's get into it. 

Sylvia is an actress from North Carolina. She went to college and moved on to get her MFA from a prestigious college acting program.  After school she moved to New York City and landed a bi-costal agency.  She got busy and did a number of plays.  She made the transition to commercials, film and television and was able to make her living as an actor.  A great job took her to Los Angeles, and she decided to stay. Her momentum came to a bit of a stop in the new city.  While her agents in New York were passionate about her, it seems the Los Angeles crew did not see the same magic.  The auditions slowed down as did her income.  Sylvia took a day job which got in the way of some of her opportunities.  Now Sylvia is confused.  What did she do wrong?  Maybe she should have stayed in New York. How can she fix it? Let get into it.

Case Study: Gleason is an actor in the UK.  He graduated drama school in London and did a few plays around the country.  He has an agent in the UK but goes out mostly on commercials and small films.  He longs to be in the United States and getting shots at the movies and television shows shooting in the states.  He has made a few trips over here and taken acting classes and taking a few meetings.  He doesn't have a green card and he is mostly getting the “Call us when you can work” excuse from reps and producers.  His dream is America.  What should he do?  Lets get into it.

Case Study, Russell T. RussellRussell is a very talented actor, born and raised in the Los Angeles area.To hear Russell tell it, his challenge is that he is a good looking white male, and he has heard repeatedly that  “white is out”.  Not to mention the fact that his naturally blond hair puts him in a category he has been told by his agents cannot be sold. On auditions, Russell sees fewer and fewer of the ‘usual suspects' he once competed against. Instead he sees a new crop of “ethnically ambiguous” actors, and he has begun to feel hopeless. What should Russell do? Dye his hair? Change his name to something ethnically flavored? Should he move to arole behind the camera until his type comes back into vogue, or should he militantly stand and protest the changes he hears are taking place? 

Here is another Case Study.  Sinqua has had his theatrical agent for a few years.  He signed with them right out of school and they have the power to get him in the door.  He gets out regularly and has even managed to book a few things but he can't really seem to get into a groove and put together a nice string of jobs.  He also feels a bit trapped in the one and done episodic world.  He feels he auditions well and gets some call backs, but not enough to feel like he is in the game and making progress in his career.  He has asked his agents and gets a luke warm response with a lot of, “I don't know why you aren't booking” and “there is a ton of competition out there” responses.  He can't make a living doing what he wants to do and this career is starting to feel like a hobby.  Can he do anything to shake it up?  What is he doing wrong?  How do you break through to the other side?  Let's get into it!

Dionne is a 30 year old actress in Los Angeles.  She moved here after graduating from a small liberal arts college in the Midwest.  She got with a small theatrical agency and started to book a few co-stars a year.  She did theater around LA for no money but really felt a part of the acting community.  An agent saw her in a show and wooed her away from her agency.  The agent was a bit more aggressive, and Dionne managed to add a few more co-stars to the resume.  She booked her first guest star role after about 5 years and with the rate of auditions coming in was never able to really get any traction.  Her agent got her a few more co-star auditions and she managed to book a recurring co-star as part of the squad room on a cop show.  Now she is 8 years into her journey with 10 co-stars on guest star and a recurring role on her resume.  The only auditions coming to the table are more co-stars.  Does she take them and make a small living as an actor?  Should she say no to the co-star auditions and hold out for the guest stars?  Will there be enough guest star auditions to make it feasible?  Is this the way to build a career?  Lets get into it.

Today we have Keio - Keio has been in Los Angeles for two years, having moved from the Austin market after a dozen jobs in Texas.  He recurred on a series.  Did a couple small roles in bigger movies shot in Austin and did a fair share of local commercials.  His Austin agent sent him to an agency they were affiliated with in Los Angeles and Keio has kept working the last two years in LA.  He has a few commercials under his belt.  One that has allowed him to not need a survival job.  He has done a few co-star roles on network television and just did his first guest star for a show on Netflix.  He is happy with his agency, but is wondering if it is time to add a manager to the team?  Trade up to a bigger agency?  Stay the course?  Let get into it.

Anna is a 32 year old actress from New Jersey.  She moved to New York City right after high school and got her first agent, a commercial agent, from a showcase she did at her acting school.  The agent got her out right away and she actually booked her first audition.  A national network commercial for McDonalds.  This got her a SAG card. (It was just SAG at that time)  She went on to book two more commercials in her first year. A regional bank spot and another network commercial for Pepsi.  She was able to give up her waitress job she had gotten upon arriving in the city and was even able to save a bit.  The commercials kept coming over the next few years and by 25 she was working 5 to 10 spots a year and making a good living as an a commercial actress in NYC.  She changed agents midway through her run and went with one of the bigger agencies and that seemed to work out well as her income increased from better negotiations and a contract to be the spokesperson for a chain of regional furniture stores.  Her career was going great, but now Anna wants to expand into the film and television world.  Up until now she has made some halfhearted attempts to get a theatrical agent, but to no avail.  Her commercial agency has a strong legit department, but she can't seem to get them to take a chance on her.  How does she break through?  Does she have what it takes to work in that part of the business and why won't someone give her the chance when she is a proven money maker?

Michael is an extremely talented 28 year old actor, relocated to Los Angeles from his hometown of Akron Ohio. Michael is well trained and educated.  He attended a reputable drama school and even got a real NY/Hollywood showcase after graduation.  He knows that if he wants to build a career in film and television, LA is the place to be. He is shocked at the tremendous difference in the cost of housing and living expenses in Los Angeles, but is committed to his craft and his dream of becoming g a working actor.His advisors have all agreed that finding an agent is Michael's highest priority. He has acquired headshots, resumes, and a list of reputable agents. He has done repeated mailings, including postcards and invitations offering free tickets to the theater piece in which he is currently starring – but few have responded. The two meetings he has been offered went well, but he has received no offers to sign.Michael is discouraged, weary, and, to be honest, angry; and has actually uttered the words “I can't get an agent.”Despite an avalanche of well meaning advice, Michael is still asking “How do I get an agent?” Let's get into it.

Cynthia is an actress from NY who has moved to LA.  She got an agent and has had a steady stream of activity from her agency.  She has gotten new headshots and has met with her agent and they have chosen a new picture.  After a bit of time the activity has started to slow down.  She feels she has given good auditions and there were a handful of casting directors that have been calling her in.  Now the auditions have slowed to a trickle and she is befuddled and doesn't know what to do.  Should she get new headshots?  Change agencies?  Go into the retail shoe business?  We have some thoughts, Lets get into it.Instagram: https://www.instagram.com/hollywoodbrasstalks/Twitter: https://twitter.com/HWBrassTalks