Fall 2015 la conservatory by SAG-AFTRA

Fall 2015

THE

SAG-AFTRA Los Angeles Conservatory

time to take real advantage of what it has to offer, so please be patient and kind to the office volunteers. WELCOME TO THE How Often Can I Repeat a Class: There is a three2015/2016 month interim on repeats of a class. However, if there CONSERVATORY SEASON is room, you can put your name on the waiting list for the class sooner than the three-month “repeat rule.” The following information will help our new We have a lot of great workshops, so take as many of members get the most out of the SAG-AFTRA them as you can, and know that we hope to transition Conservatory experience. For those members who to an online system in the future to make this process have previously been a part of the Conservatory, some even more convenient. of this information will be a repeat, but it never hurts Casting for AFI Fellows Projects: Hopefully, by now to hear it again. you have signed up for an iActor account and have How to Sign Up for a Class: You will be able to call in added your current pictures and resume. It’s for a class one week to the day of the class you are important that both your picture and resume are interested in attending. These classes are filled on a current, focusing on the principal jobs you’ve worked. first-come, first-served basis and we only have space Background jobs aren’t helpful for casting, so please available for 8 to 10 members for many of our leave those off. If you are selected to audition for classes. Please don’t be disappointed because you an AFI project, you will be notified via email from couldn’t get in the class of your choice due to another the Conservatory office. Please read through the member calling in first. We have a short waiting list email before calling the office to confirm you are and the office will notify you if there is room on that indeed available for the dates of the project. The AFI list. If someone cancels, you will be contacted, but directors are limited to how many actors they can please be aware that it could be at the last minute. We audition, so taking a slot for a role you are not understand that it may be difficult to get into those 8 actually available for simply takes an opportunity to 10 slots, especially at the beginning of the year. away from a fellow actor. When going in for an Everyone gets so excited that it seems like you are audition, please be professional and treat the rushing the stage at a sold-out rock concert. Please do opportunity just as you would a paying job. Show not get frustrated or even worse, give up. If you know up on time and be prepared. The AFI fellows are you are the kind of serious about their projects and they expect the IN THIS ISSUE: person who gets same from us. frustrated, go for the The Conservatory is here to help you be prepared to bigger workshops the How to Register for get work. We hope that through the classes and other 3 first few weeks (i.e. Classes members, you might connect with teachers who will voiceover, improv or a provide information that will help you attain that special event). After goal. I look forward to seeing you throughout the Workshop the rush of the first 4 few weeks, everything season, in the classes and at our events. Take Schedule advantage of the many opportunities the calms down and it’s Conservatory provides. Enjoy your experiences in much easier to get in. the classes and hopefully, as Workshop The important thing part of one or more AFI Descriptions and 5 to remember is that projects. Best wishes and the Conservatory year Times “break a leg.” consists of over 30 Ron Morgan weeks of workshops Conservatory Conservatory and other great Rules and 8 opportunities. There Chairman Regulations is more than enough

2021 N. WESTERN AVE., L.A., CA 90027

323.856.7736

CONSERVATORY@SAGAFTRA.ORG

4. The Committee. Year after year, a subcommittee of the SAG-AFTRA Los Angeles Conservatory Committee begins meeting in April to put together this event. We review all the By Lee Garlington evaluations from the previous year, invite back “This was the best the teachers that are popular, and try to Summer Intensive, ever!” cultivate new teachers and workshops to become was a refrain, to my a part of our extended Summer Intensive family. delight, that I heard over This requires ceaseless emails, phone calls, and and over during the 2015 follow-up emails and phone calls, and then some Conservatory weekend. It more. There is an enormous amount of legwork was gratifying. We, on the that goes into the weekend itself, and much of it committee, work quite hard is not glamorous. I would like to acknowledge to make sure this event our tireless troupe, alphabetically: runs smoothly, offering you what we Bill Applebaum, Michael D. Cohen, intend as invaluable classes, panels and Lee Garlington, Ron Morgan, Tim Powell, workshops. We hope every year you tell us it Bob Telford, Teddy Vincent and this year ably was “the best ever” as we continue on in our chaired by Mari Weiss. unending quest for excellence. 5. You. There would be no point to any of this if There are five components that are absolutely it wasn’t for you. Not only do you attend the essential to our success: workshops and panels, but I always sense an 1. Dawn Deibert. Her unflagging efforts on excitement, passion and appreciation that makes behalf of this enormous undertaking are hard all the time, energy and effort we put in worthfor mere mortals to comprehend. She is the while. Thank you! We rely on your evaluations to heart of our command center—coordinating let us know what’s working and what isn’t, and volunteers, dealing with every crisis, answering a your input greatly informs the content of next million questions, and taking care of the needs year’s Summer Intensive. We look forward to of the teachers, volunteers and participants with and embrace your feedback. Our purpose, as a grace and aplomb. This year she was ably committee, is to make sure we provide the best assisted by SAG-AFTRA staff Jackie Perez and we possibly can for our members. If there’s Krysten Jones. We owe all three of them an anything you would like next year that you enormous debt of gratitude for yet didn’t put in your evaluations, please don’t another fabulous weekend. hesitate to let us know. 2. The Volunteers. You gals and guys are the Now, we can all look forward to the best! From taking care of parking, lunch, the wonderful classes being offered this monitoring and assisting of each class, coming semester! answering questions, checking off endless names on endless lists, handling each and every issue that comes up, and helping avert crisis situations. We simply could not do it without your efforts. 3. The Teachers. Everyone who teaches and/or facilitates a class, panel or workshop receives $1,000 and a three-hour gift certificate to Burke Williams. OR, they all give of their time, knowledge and talent for fun and for free—you guess which one. Hint: they are volunteers as well! None of this happens without their generosity and brilliance.

RECAP AND GRATITUDE: THE SUMMER INTENSIVE

HOW TO REGISTER

SPECIAL EVENTS

REGISTRATION OPENS AT EXACTLY 10 a.m. ONE WEEK PRIOR TO THE INDIVIDUAL WORKSHOP (TWO WEEKS FOR SPECIAL EVENTS)

Tuesday, Sept. 22 6 - 10 p.m. “An Actors Showcase”

CALL 323.856.7736 Monday - Friday 10 a.m. - noon and 1 - 4 p.m. Example: If the workshop you would like to attend is on Wednesday, please call the prior Wednesday starting at 10 a.m.

You must have your SAG-AFTRA ID number ready when you call to reserve your space. Reservations ARE NOT accepted via voicemail or email. Only cancellations are accepted via voicemail or email.

LOCATION OF CLASSES All workshops are held in the Mayer Library Building (LIB) at the top of the hill (the building where the office is located) unless otherwise noted. LIB: LIBRARY BUILDING WB: WARNER BUILDING (Example LIB 100 is Library Building, room 100)

F/B: FRANKOVICH BARNES SCREENING ROOM First floor Library Building

MGSR: MARK GOODSON SCREENING ROOM Second floor Library Building

*SEE BACK PAGE FOR MAP OF THE AMERICAN FILM INSTITUTE CAMPUS

Twenty actors will perform scenes and redirects LIVE on the AFI campus. Conservatory members will have a platform to show talent abilities to up-and-coming filmmakers. All AFI fellows are invited to observe. As space is limited to twenty (20) for this workshop, acceptance will be on a first-call, first-registered basis. The first 150 Conservatory members to call will be entered into a pool. Then, 20 actors will be randomly selected through a lottery process. Watch for email blast updates about these and other upcoming events. Be sure to put conservatory@sagaftra.org on your safe list. RESERVATIONS FOR ALL EVENTS ARE REQUIRED. Special events are overbooked to compensate for no-shows. Please call 323.856.7736 starting up to TWO Mondays prior (special events only) to enroll.

SAG-AFTRA LOS ANGELES CONSERVATORY COMMITTEE Ron Morgan—Chair Bob Telford—Vice Chair Bill Applebaum, Michael D. Cohen, Lee Garlington, Nicholas Leland, Kevin McCorkle, Tim Powell, Teddy Vincent, Will Wallace, Angela Watson, Mari Weiss, David Westberg Dawn Deibert—Staff Liaison 3

FALL CALENDAR OF WORKSHOPS *PLEASE SEE NEXT DESCRIPTIONS FOR TIMES* SEPTEMBER 2015 MONDAY

TUESDAY

WEDNESDAY

THURSDAY

Commercial Audition

Cold Reading LIB 101

SVW: Intermediate LIB 100

Workshop LIB 100

SVW: Beginning LIB 100

FRIDAY

SATURDAY

OCT 2

OCT 3

Voiceover LIB 102 28

OCT 1

Commercial Audition

Cold Reading LIB 101

SVW: Beginning LIB 100

Workshop LIB 100

SVW: Intermediate LIB 100

OCTOBER 2015 MONDAY

TUESDAY

WEDNESDAY

THURSDAY

Commercial Audition

Cold Reading LIB 101

SVW: Intermediate LIB 100

Workshop LIB 100

Actors Evening F/B

Theatrical Video LIB 100

FRIDAY

SATURDAY

SVW: Beginning LIB 100 12

Commercial Audition

Cold Reading LIB 101

SVW: Beginning LIB 100

Open Camera LIB 101

Workshop LIB 100

SVW: Intermediate LIB 100

Voiceover LIB 102 19

Commercial Audition

Cold Reading LIB 101

SVW: Intermediate LIB 100

Workshop LIB 100

SVW: Beginning LIB 100

Improv WB 102 Theatrical Video LIB 100

Commercial Audition

Cold Reading LIB 101

SVW: Beginning LIB 100

Workshop LIB 100

SVW: Intermediate LIB 100

HAPPY HALLOWEEN!

Voiceover LIB 102

NOVEMBER 2015 MONDAY

TUESDAY

WEDNESDAY

THURSDAY

Commercial Audition

Cold Reading LIB 101

SVW: Intermediate LIB 100

Workshop LIB 100

Actors Evening F/B

Theatrical Video LIB 100

FRIDAY

SATURDAY

SVW: Beginning LIB 100 9

Commercial Audition

Cold Reading LIB 101

11 NO WORKSHOPS

Workshop LIB 100

SVW: Intermediate LIB 100

VETERANS DAY

SVW: Beginning LIB 100

Voiceover LIB 102 16

Commercial Audition

Cold Reading LIB 101

SVW: Intermediate LIB 100

Open Camera LIB 101

Workshop LIB 100

SVW: Beginning LIB 100

Improv WB 102

Theatrical Video LIB 100 23

Commercial Audition

Cold Reading LIB 101

Workshop LIB 100

Voiceover LIB 102

NO WORKSHOPS THANKSGIVING HOLIDAY

28 NO WORKSHOPS THANKSGIVING HOLIDAY

DECEMBER 2015 MONDAY

TUESDAY

WEDNESDAY

THURSDAY

NOV 30

Commercial Audition

Cold Reading LIB 101

SVW: Beginning LIB 100

Workshop LIB 100

Actors Evening F/B

Theatrical Video LIB 100

FRIDAY

SATURDAY

SVW: Intermediate LIB 100 7

Commercial Audition

Cold Reading LIB 101

SVW: Intermediate LIB 100

Workshop LIB 100

SVW: Beginning LIB 100 Voiceover LIB 102

END OF FALL WORKSHOPS

WORKSHOP DESCRIPTIONS *PLEASE REFER TO CALENDAR FOR EXACT DATES* Actors Evening First Tuesday of each month 7 - 10 p.m. Frankovich Barnes Screening Room (F/B) Limit 88 students Industry professionals appear in a seminar format to discuss their business and answer questions.

Cold Reading Tuesday and Wednesday mornings 10 a.m. - 1 p.m. Library Building Room 101 Limit 10 students Learn and develop effective auditioning techniques.

Commercial Audition

Scene Video Workshop Tuesday and Thursday nights Beginning and Intermediate rotate days 6 - 10 p.m. Library Building Room 100 Limit 10 students Please assess your level prior to calling to book your class. See page six.

Upon arrival, you will be given a scene, paired with a partner and given instruction. You will have 30 to 60 minutes to work on the scene. All students then shoot the scene on camera and watch their work followed by comments and direction. WE ARE OFFERING BEGINNING AND INTERMEDIATE CLASSES ON SOME OF OUR WORKSHOPS TO BETTER MEET THE NEEDS OF THE MEMBERSHIP. PLEASE READ THE SELF-SELECTION PROCESS ON THE NEXT PAGE CAREFULLY. WE ASK THAT YOU PLEASE FOLLOW THESE GUIDELINES, SO THAT YOU AND YOUR FELLOW ACTORS WILL HAVE THE BEST EXPERIENCE POSSIBLE.

Monday nights 7 - 10 p.m. Library Building Room 100 Theatrical Video Limit 10 students Learn how the commercial audition process works First and Third Wednesdays in an on-camera workshop that simulates a real audition. Your work will be videotaped, followed by 7 - 10 p.m. Library Building Room 100. viewing and comments. Limit 8 students Simulated theatrical interview and cold reading on Improv video followed by viewing and comments. Bring picture and resume. Third Wednesday of each month 7 - 10 p.m. Voiceover Warner Building Room 102 Limit 30 students Generally the second and fourth Tuesday Learn improvisation skills to help make you a more of each month creative actor. 7 - 10 p.m. Library Building Room 102 Open Camera Limit 15 students Learn various voiceover techniques for Third Friday of each month commercials, animation and narration. 6:30 - 9:30 p.m. Library Building Room 101 RESERVATIONS BEGIN Limit 6 students. Students get a half hour with Director Nick Leland AT 10 a.m. EXACTLY, to work on camera. Bring a prepared monologue or ONE WEEK PRIOR TO THE scene (with another Conservatory member only), or even try different “looks.” Please bring a flash drive WORKSHOP. ALL WORKSHOPS to record your work and take it home to study. ARE STANDALONE CLASSES.

DON’T FORGET TO UPDATE YOUR iACTOR PROFILE IF YOU WISH TO BE CONSIDERED FOR AFI PROJECTS.

Example: If the workshop you’d like to attend is on Wednesday, please call the prior Wednesday starting at 10 a.m. 5

SVW WORKSHOP SELF-SELECTING CRITERIA The Scene Video Workshop classes are customized to experience levels. Please select the level that most appropriately describes your experience. We suggest that you meet three of the four criteria to join in the level. If you are unsure which level you are in, please take the beginning class to start. This is not a consecutive program. Note: It is requested that you stay in the level until your experience changes to fit the next level. Also, if you are an intermediate level actor, you do not need to take the beginning class. We do not have any advanced classes scheduled at this time. However, a master class will be scheduled at a future date.

BEGINNING  SAG-AFTRA ACTING EXPERIENCE: Background work and/or one TV co-star role and/or two TV commercial credits (include union productions before you were a member)  OTHER ACTING EXPERIENCE: None or limited to community theater  STUDENT or AFI FILM EXPERIENCE: None or up to three credits  ACTING TRAINING OUTSIDE OF SAG-AFTRA CONSERVATORY: None or limited to one year or less of training

INTERMEDIATE  SAG-AFTRA ACTING EXPERIENCE: TV–Has two or more TV co-star or guest star credits, and/ or four or more TV commercial credits (include union productions before you were a member)  OTHER ACTING EXPERIENCE: One or more professional theater acting credit (preferably Equity or Equity Waiver)  STUDENT or AFI FILM EXPERIENCE: Four or more credits, or a lead role credit in two or more projects  ACTING TRAINING: Equivalent of two years or more of ongoing classes

ACTORS WANTED AFI cinematographers and directors are often looking for actors to volunteer and assist in various classes and workshops on the AFI Campus. Although no footage is given from these classes, you have the opportunity to work alongside and network with some of the best up-and-coming filmmakers in the industry. Many times, actors are needed for a few hours during the day, but in those hours, great relationships are often formed and it can also be a fantastic learning opportunity for you to gain more insight into the world of filmmaking from the other side of the camera! If you are interested in being submitted or called upon when these needs arise, please email Dawn at conservatory@sagaftra.org or call the office at 323.856.7736

MISSION STATEMENT The SAG-AFTRA Los Angeles Conservatory exists as a place for actors to stretch their artistic muscles, practice their craft and sharpen their skills. The Conservatory also provides actors the opportunity to build an artistic community in a safe and relaxed setting. Overseen by dedicated professionals, the SAG-AFTRA Los Angeles Conservatory offers members a means to nurture their talents, mechanics and skills through workshops, seminars and AFI student projects. The goal is to lead to a better understanding of the role of the professional actor, in the business of acting, and to a more successful and productive career. 6

Union protections for actors have been fought for and preserved by those who came before us and were taken advantage of and exploited. Residuals, safe working conditions, reasonable working hours, hot meals on sets, Coogan accounts for minors, health insurance, pension benefits, limits on commissions by agents for work, safe and comfortable travel to work out of town, along with safe accommodations and many other basic benefits allow for a career that By Kevin McCorkle is financially sound and physically safe. Without your union, most of these rules and protections Q: “There seems to be a would go away. Any time you work off the card ton of non-union work out there and some of you chip away at these rights that were hard it pays pretty well. Sometimes they even offer ‘SAG-AFTRA rates.’ fought for and painfully won. If enough erosion happens to destroy our union, the situation will I’ve only done a couple of SAG-AFTRA jobs. get worse and worse. With no standard and no What is the harm if I do a few non-union jobs checks and balances, even these tempting offers to help pay the bills?” of non-union paying union scale (or higher) will A: The climate has changed a bit since I disappear and everyone’s career, except for the ventured into the world of professional acting elite one percent, will become a hobby. Don’t be 33 years ago. There has been an evolution, from fooled and don’t be tempted to take the bait. It three networks and a few cable channels to is a trap that will destroy your future and the hundreds of channels, Internet distribution, future of all actors. streaming, digital video recording and more content than can be imagined. One thing that hasn’t changed is the desire to take advantage of actors. Many actors would gladly work for free in order to do what they love to do.

THE PRACTICAL ACTOR

Advice from a Working Actor

Actors are free to create their own practice spaces getting together with peers much like bands rehearsing, actors can create their own content to develop a reel representative of their work and actors create non-profit intimate shows much like athletic teams preparing for a big game or match. When it comes to a for-profit model of work with creative artists that have successfully made money, it is important to examine the work offered and determine if you are being exploited and taken advantage of. The business side of acting is as important as the artistic side. If you want a successful career instead of a hobby, then you need to protect yourself and allow your union to protect you. “No” is a very powerful word in your life and in your career. Saying “yes” to an exploitive non-union job harms not only your career, but the careers of others. Some of the “buyout rates” offered may sound enticing but without workplace protections, contributions to health and pension, and in the case of commercials, a non-perpetuity clause, you may be harming your career in the long run.

DO YOU WANT TO AUDITION FOR AFI PROJECTS? CREATE OR UPDATE YOUR iACTOR PROFILE TODAY!

For the first time, the Conservatory database for casting will be online! We have joined forces with iActor, so all Conservatory members wishing to be considered for AFI projects MUST have an iActor account. Click the link to create or update yours today. www.sagaftra.org/iactor-online-casting

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SAG-AFTRA LOS ANGELES CONSERVATORY Rules and Regulations

Membership subscription is $35 per annual season and is non-refundable. You must be a paid-up SAG-AFTRA member in good standing. However, only those who reside in the Los Angeles area may participate in the AFI projects. Conservatory membership begins when your application is received and processed, and will continue through July of the following year. If you are unable to attend a workshop or attend an audition, you must call the office in advance, if possible. Cancellations will be honored until 10 a.m. the following day. If you fail to cancel, a “no-show” will appear on your record. After one “no- show,” you cannot take the missed workshop for three months. If you get three no-shows, you will be prohibited from taking ANY workshops for three months. Workshops are closed 15 minutes after the scheduled start time. Latecomers may not be allowed into the class and may be recorded as a no-show. Please be courteous of others and be on time. Workshop leaders will announce the applicable rules and regulations of each particular workshop at the start. If a member breaks any rules, the committee reserves the right to remove the member from the workshop and/or the Conservatory. Members who miss an audition for any AFI project without calling to cancel will lose the right to audition for the remainder of the semester. The SAG-AFTRA Conservatory office will notify members that they have two weeks to explain their actions in writing. If a letter is received, the Conservatory Committee or its designees will accept or deny the excuse. Incidences deemed unexcused will result in the member being marked ineligible for any and all casting consideration by AFI fellows for the semester. Members may appeal the decision by requesting an appearance before the committee as detailed in section 7 below. Repeat occurrences may jeopardize membership in the Conservatory. Members who have broken any of these rules, or who have been cited for conduct unbecoming will be notified in writing of the grounds for dismissal. The member has the right to a hearing before the Conservatory Committee and will be provided a description of the process in advance of their appearance. a. If the member elects to have a hearing, it is the member’s responsibility to contact the office at 323.856.7736 within 10 days, or as otherwise instructed, from the receipt of the committee’s letter. Members who do not appear before the committee will have their membership canceled. b. Hearings shall be held at SAG-AFTRA offices before no fewer than seven Conservatory Committee members at the next scheduled committee meeting. c. The decision of the Conservatory Committee is final. Appeals may be requested within 10 days of the receipt of the committee’s decision. Appeals must be sent to the SAG-AFTRA Los Angeles Executive Committee.

By joining the SAG-AFTRA Conservatory, you have taken an aggressive and positive step in advancing your career. Congratulations! We hope you’ll make the most out of your experience here by participating in our workshops and special events, volunteering, and contributing your talents to AFI directing and cinematography classes, as well as of course, the first and second-year films. AFI is a two-year Masters program and, with our SAG-AFTRA agreement, first-year students, called Fellows, are required to use SAG-AFTRA Los Angeles Conservatory members.

We are located on the campus of The American Film Institute 2021 N. Western Ave. Hollywood, CA 90027 If you are heading east on Franklin Ave., turn left (north). The AFI campus is halfway up the hill on the left. Turn into the driveway and go up the hill (past Immaculate Heart High School). The first building on your left is the Warner Building where many auditions for student films are held. To get to the SAG-AFTRA Los Angeles Conservatory, continue driving further up the hill. As you veer left, you’ll see a white two-story building, the Mayer Library Building. The SAG-AFTRA Conservatory office is located in LIB 100 on the ground floor. The studio, classroom and the Frankovich/Barnes screening room are also located on the ground floor.

SAG-AFTRA members are expected to conduct themselves in a professional and respectful manner at all times. This includes, but is not limited to, their fellow members, the SAG-AFTRA volunteers and staff, as well as the AFI fellows and staff. We appreciate your cooperation in helping to make the SAG-AFTRA Los Angeles Conservatory a great place for actors to work and learn together.

2021 N WESTERN AVE. LOS ANGELES, CA 90027

PHONE:

323.856.7736

CONSERVATORY@SAGAFTRA.ORG WWW.SAGAFTRA.ORG/ LACONSERVATORY