The Focus, Winter 2015 by SAG-AFTRA

Winter 2015

THE

SAG-AFTRA Los Angeles Conservatory

BEING A PROFESSIONAL

“Turn dreams into goals… You can do this.”

By Lee Garlington The end of the year – or the beginning of a new one – is a great time to review and assess, and then set your intentions for 2015, both as a person and as a professional performer. Without this timehonored process, it’s almost impossible to align with your (higher) self and turn dreams into goals. Review and Assess: Two sheets of paper. On one write, “What Worked in 2014”, and on the other write, “What Didn’t Work in 2014.” Don’t limit the lists to just career achievements (or non-achievements.) Look at everything, health, love life, family relationships, living situation, exercise, keeping commitments to yourself and others, time management, adventures, having fun, friendships, emotional wellbeing, spiritual fitness, financial stability – consider the whole package, every aspect of your life. What did you do this past year? Or not do? Put each item on one of the two lists. AND, there may be a few things that go on both lists. We have to be able to hold the polarities - few facets of life are not, on some level, IN THIS ISSUE: both assets and liabilities. How to Register for 3 After you make the Classes lists, walk away for a day, or at least a few hours. When you Workshop 4 come back to see Schedule what you’ve written, review it with a Workshop discerning eye. Look Descriptions and 5 for patterns. Are all the things that Times worked in one area of your life? Is most of Conservatory what didn’t work Rules and 8 related to poor time management? Are Regulations

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

most of your disappointments related to a lack of self -esteem? Or too much entitlement? Are the things that worked more or less important to you than the ones that didn’t work? See what you can garner from the lists. You may want to write about it – pray, meditate, talk to someone you trust, whatever works for you – and see if there’s anything there that informs the next part of this process. Intentions for 2015: Based on what you’ve just discovered about what worked and didn’t work this past year, how do you go about setting intentions that are both realistic and yet inspirational for 2015? If one of the “not working” things was the fact that you only had five auditions this year and no jobs, perhaps it would not be “real” to set your cap for 50 auditions, starring in a film, and becoming a series regular on a hit Showtime series. That can be a dream, but what’s a more realistic yet challenging goal? Pick your numbers, the specific goals you want to realize. Do you need new representation in order to achieve that goal? What do you need to do this month, this week, this day, to make it happen? I’m a big believer in victories. I always tell the people I coach, don’t make commitments to yourself that you’re not going to keep. We can encourage ourselves to do more when we feel the pride of having accomplished what we said we were going to do. If I tell myself I’m going to write for 20 hours this week and only get in six, I’m going to be disappointed. If I commit to 10 hours and write for 12, I’m going to feel fantastic! Proud! MOTIVATED TO DO MORE! The difference between a dream and a goal is a plan and a deadline. You can do this. Just break it all down into bite-sized pieces and make those dreams come true, one commitment at a time. Bon chance! www.leegarlingtontheactress.com

323.856.7736

CONSERVATORY@SAGAFTRA.ORG

THE PRACTICAL ACTOR Advice from a Working Actor By Kevin McCorkle Q: There is nothing more grating than someone who says, "So, you're the one who wants to be an actress." Now, I realize that it's not the intent of the person saying it to offend me, and that I might sound crazy, but it comes off as so extremely patronizing. It's like someone going, "Oh, how cute, she thinks she will be part of the .01% that make it. That's adorable." I realize I may be projecting my own insecurities onto their statement, but I can't help but to grit my teeth and cringe. It's probably the fact that I realize I'm nuts for pursuing a career full of the unemployed, and that for this particular path your looks matter as much as your talent. No sane person chooses a career with as much instability as this… but by golly, I don't "want to be,” I am. I do. I work hard every day and every night -- and that's all I feel like saying, but instead I just grit my teeth, smile and say, "Yes, yes I'm the girl who wants to be an actress."

A: “I'm the woman who is an actress,” is the only answer to this one. You are not nuts for pursuing a career of storytellers that dates back throughout the history of human beings being human. Many, many sane people choose this worthy career and make great livings while enjoying incredible adventures and raising healthy, happy families if they choose, having balanced full lives on their own or with a partner if kids are not their thing. Of course we also have our share of insanity in the brotherhood and sisterhood of actors, just like any other profession you look at. Don't buy into the cliché, don't get discouraged or overwhelmed. Enjoy the rejection that comes your way and know that every rejection you receive is not only a stepping stone to success but also a "rejection" that some other actor would love to have. Keep working day and night but make sure your work has purpose, direction, intention and is

measurable. There are a lot of actors out there who are so "busy" with work that they have no time to be an actor. Don't fall into that trap. Find successful, well balanced disciplined actors to be your friends and mentors. They are out there just waiting to help you like someone helped them. Watch plays and television and movies as a fan but also as the artist you are, knowing that what you are watching unfold is something you are capable of doing. Use the experience you have to propel yourself into the next opportunity. Be mischievous when someone treats you like that again instead of gritting your teeth. Break down and cry real tears and when they are hugging you and telling you not to be upset break out in laughter and tell them it is okay that you were just giving them an example of your acting ability. Your art is a huge part of your life. Work on it daily but also express it daily and make sure that you have a full life that compliments and brings more to the part of your life that is your art. Don't look at the percentages or "odds." If every actor did this, there would be no actors, athletes, CEO's, brain surgeons, or Presidents of the United States. Your "odds" are uniquely and specifically your own. You create them with the path you take, the relationships you build, the knowledge you acquire, the work you put in, the attitude you have, the talent you develop, the opportunities you create and the investment of time, money, heart and soul, blood, sweat and tears you pour into your passion for the career you have chosen or that has chosen you. Go out in this New Year and make things happen for yourself. Be determined that the person who made you grit your teeth and smile, will marvel and wonder at the work you accomplish in 2015 and be one of those people that say, "I always knew you could do it. Tell me how do you memorize all those lines?" The Practical Actor is written by Kevin McCorkle. If you wish to submit a question, please write to Conservatory@sagaftra.org or mail them to the office at 2021 N. Western Ave., Los Angeles, CA 90027. 2

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, January 13 6 p.m. - 10 p.m.

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

“An Actors Showcase” 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. Please note: If you participated in the Fall Showcase, you are NOT eligible to be entered into the lottery. Due to holiday hours, registration for the showcase will begin Monday, Jan. 6th 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.

WINTER CALENDAR OF WORKSHOPS *PLEASE SEE DESCRIPTIONS FOR TIMES* JANUARY 2015 MONDAY 19

TUESDAY

WEDNESDAY

THURSDAY

FRIDAY

Cold Reading LIB 101

SVW: Beginning LIB 100

Open Camera LIB 101

SVW: Intermediate LIB 100

Theatrical Video LIB 100

Commercial Audition

Cold Reading LIB 101

SVW: Intermediate LIB 100

Workshop LIB 100

Voice Over F/B

NO WORKSHOPS MARTIN LUTHER KING DAY

SATURDAY 24

SVW: Beginning LIB 100

FEBRUARY 2015 MONDAY

TUESDAY

WEDNESDAY

THURSDAY

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

Commercial Audition

Cold Reading LIB 101

SVW: Intermediate LIB 100

Workshop LIB 100

SVW: Beginning LIB 100

Improv LIB 102

Voice Over F/B 16

NO WORKSHOPS

Cold Reading LIB 101

SVW: Beginning LIB 100

Open Camera LIB 101

PRESIDENTS DAY

SVW: Intermediate LIB 100

Theatrical Video LIB 100

Commercial Audition

Cold Reading LIB 101

SVW: Intermediate LIB 100

Workshop LIB 100

Voice Over F/B

SVW: Beginning LIB 100

MARCH 2015 MONDAY

TUESDAY

WEDNESDAY

THURSDAY

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 9

Commercial Audition

Cold Reading LIB 101

SVW: Intermediate LIB 100

Workshop LIB 100

Voice Over F/B

Improv LIB 102

SVW: Beginning LIB 100 16

Commercial Audition

Cold Reading LIB 101

SVW: Beginning LIB 100

Open Camera LIB 101

Workshop LIB 100

SVW: Intermediate LIB 100

Theatrical Video LIB 100

Commercial Audition

Cold Reading LIB 101

SVW: Intermediate LIB 100

Workshop LIB 100

Voice Over F/B

APRIL 1 NO WORKSHOPS SPRING BREAK

APRIL 2 NO WORKSHOPS SPRING BREAK

APRIL 3 NO WORKSHOPS SPRING BREAK

APRIL 4 NO WORKSHOPS SPRING BREAK

SVW: Beginning LIB 100

31 NO WORKSHOPS SPRING BREAK

NO WORKSHOPS SPRING BREAK

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 6.

Upon arrival, you will be given a scene, paired with a partner and given instruction. You will have 30-60 minutes to work on the scene. All students then shoot the scene on camera and watch your 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. Second Wednesday of each month 7 - 10 p.m. Library Building Room 102 Limit 30 students Learn improvisation skills to help make you a more creative actor.

Open Camera Third Friday of each month 6:30 - 9:30 p.m. Library Building Room 101 Limit 6 students. Students get a half hour with Director Nick Leland to work on camera. Bring a prepared monologue or scene (with another Conservatory member), or even try different “looks.” Please bring a mini DV, VHS tape or flash drive to record your work and take it home to study.

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

Voiceover Generally the second and fourth Tuesday of each month 7 - 10 p.m. Frankovich Barnes Screening Room (F/B) Limit 15 students Learn various V.O. techniques for commercials, animation and narration.

RESERVATIONS BEGIN AT 10 a.m. EXACTLY, ONE WEEK PRIOR TO THE WORKSHOP. ALL WORKSHOPS ARE STAND-ALONE CLASSES. 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 We have changed the Scene Video Workshop program to better meet the needs of the membership. In the past, “beginners” and “advanced” only referred to the days on which the classes were scheduled and had nothing to do with the content. Moving forward, the classes will be 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 theatre  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 theatre acting credit (preferably Equity or Equity Waiver)  STUDENT or AFI FILM EXPERIENCE: Four or more credits, or lead role in two or more  ACTING TRAINING: Equivalent of two years or more of ongoing classes.  ACTING TRAINING: Equivalent of two or more years 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

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

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 and 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

LETTER FROM THE CHAIR Dear Conservatory Members, As we begin the New Year, I need to bring to your attention some troubling news—we have had another camera stolen from the studio. Until the recent two thefts, we had never had any such violations over the past 40 years and therefore have been able to keep our classes and program up and running week in and week out. So, having these recent two incidents is disheartening to say the least. We will get past this recent theft but I need all of you to be on watch and responsible so that our equipment is safe and we can continue to effectively serve our members. Enough of that for now. We have been having open spaces in our classes, which means your chances of reserving space is good. I know sometimes it takes time to get through on the phone, but based on the available spaces there is often room, so keep calling. Also, put your name on waiting lists (if available) since many people have been getting in the classes this way. Also, AFI Cycles are up and casting so if you haven't signed up for iActor, get it done so the fellows can see your information including reels. This is a great way to get new work for your reel. If you get cast in a project, treat it just like you would paid work because that’s what it may lead to as these fellows’ careers progress. As a side note—remember that showing up on time means being early, so if you get an audition or cast, it's not just your time but the whole crew and cast’s, and they don't have unlimited time or money and only a short production schedule to get the work done. So please be respectful of their time and others. Take a hold of your careers in the New Year and I wish all of you great success. Ron Morgan LA Conservatory 7

SAG-AFTRA LOS ANGELES CONSERVATORY Rules and Regulations

Membership subscription is $35 per annual season and is nonrefundable.

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 3 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.

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 Angles 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.

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.

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 co-operation 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

FAX: 323.467.6456

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