Spring 2015 conservatory focus by SAG-AFTRA

Spring 2015

THE

SAG-AFTRA Los Angeles Conservatory

ue in what my guests had to say about investing, tax deductions, the importance of saving, financial wellness, and the absolute necessity of knowing exactly where you stand in the world, economically. What I didn’t expect was that I, too, would be inspired.

The Importance of Inspiration By Lee Garlington I had a discovery, an “Aha!” moment, when I moderated the March Actors Evening entitled, tongue in cheek, “Actors & Money: What Could Possibly Go Wrong?” My discovery was: I got inspired and I didn’t see it coming. I set up the monthly Actors Evenings with the goal of providing panels that I would have wanted when I was an actor just starting out, or perhaps returning to my acting career later in life. The most popular evenings tend to involve casting directors, and I completely understand why. I knew when I booked this particular panel about why money matters during tax season that it was not IN THIS ISSUE: going to have much in the way of “sex How to Register for 3 appeal.” But I also Classes figured there were members of the ConWorkshop 4 servatory who Schedule would, indeed, appreciate the inforWorkshop mation.

Descriptions and Times

Conservatory Rules and Regulations

I’ve worked for years on getting my financial house in order and I am at the stage in life where I’m comfortable. I’ve always been “good” with money, cinched my belt during the lean years, never got in debt, saved money for my future and made investments. I’ve also been lucky to work consistently as an actor for the last 30 years, so imagine my surprise when it hit me that those money issues--you know, the ones we all have from childhood?--were perhaps not as resolved as I’d thought. I got inspired. I thought about the relationship between time and money, the value I don’t place on my time and my self-worth as defined by financial solvency. I thought about how we all compare ourselves to others, and usually not with people we perceive as less “successful” than we are. I had a new awareness about how and why I support various causes and individuals. The point is, I got inspired. It made me think. I remembered things about my financial reality as a child I haven’t thought of in years. I came up with a great idea for a character in a screenplay I’m working on. I thought about writing this article.

Then it dawned on me: What do artists need more than anything? We need inspiration. It can come when you least expect it, from someplace you weren’t even looking. We need to relish it whenever I was right. it fills us up, because inspiration can carry us when There were about 35 we need to be carried the most. of us there, and the artists who attended found enormous val-

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

323.856.7736

CONSERVATORY@SAGAFTRA.ORG

THE PRACTICAL ACTOR Advice from a Working Actor By Kevin McCorkle

Q: Dear Practical Actor, I just graduated from college with a degree in theater and I am moving to LA. I am motivated, excited and just want to get to work. Any suggestions? Brianna from Ohio A: “When you love what you do, you never work a day in your life.” Working as an actor for the past 33 years, I have traveled to many locations, worked with amazing artists, enjoyed the thrill of playing challenging characters as well as meeting and working with unbelievably talented people behind the camera. The work is the love, the culmination of foundation and preparation “the work behind the work.” An actor’s work is much more than showing up on set ready for the close up. The art of successful acting requires constant learning, dogged determination, building up thick skin, nurturing the artistic soul, improving your technique, learning new skills, evolving with changes in age and technology, research for your specific needs, team building, establishing relationships, creative and financial investment and much more depending on your unique career path. All of this work is done before the actor is asked to join the cast and hit their mark embodying the character to live their story. Unlike many other professions, the actor’s career is nonlinear. Success for an actor is not determined how you move from A to B up

the ladder of success. Your career is defined by your own path; created by your unique talents, work ethic, planning, opportunities as well as artistic growth in your chosen niche. An incredible amount of time, work and effort combined with opportunity is the recipe for you to experience the joy of being paid for your work. With regard to fate moving in your direction, while fate certainly cannot be controlled, the discipline you have in your life, the choices you make, what you stand for and the people you stand by are all contributing factors in the intervention of fate. If you look at the odds of having a successful artistic and financial career, you may become discouraged and quit. Instead focus on your foundation, preparation to be the best you can possibly be. Create a personalized plan that includes your unique capabilities and situation. Give yourself incremental and achievable goals to move forward, all while measuring small victories and successes, adjusting your plan along the way. Know that even though there is a brass ring, make sure to enjoy the ride until you are ready to grab it. As time passes, you will look back on a career filled with adventure, fun, money, achievement and lifelong relationships. You will be happy but not always satisfied because we all know that part of being an artist is “divine dissatisfaction.” Enjoy the journey.

If you wish to submit a question, please write to conservatory@sagaftra.org or mail it to the office at 2021 N. Western Ave., Los Angeles, CA 90027.

SPECIAL EVENTS

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

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 Most 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

Saturday, April 11 11 a.m. to 2 p.m. Perfect your singing, acting and auditioning skills. Actors can expand their skill set by adding singing. Even actors who do not consider themselves singers can learn to use the voice they have. The workshop will show how to work on the acting of a song, vocal technique, or perfecting the combination of the two depending upon the needs of the individual. Paul Bogaev is a Grammy and Emmy Award-winning music director, producer and arranger whose film credits include the Oscar-winning Chicago, Nine, Dreamgirls, Across the Universe, Mulan and The Lion King. Among his many Broadway credits are Aida (Grammy Award), Tarzan, Bombay Dream, Sunset Boulevard, Les Miserables and most recently, Spiderman. TV credits include Cinderella, Annie (Emmy Award) and South Pacific. Paul is currently working on the development of Pretty Woman as a Broadway musical.

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.

SPRING CALENDAR OF WORKSHOPS *PLEASE SEE DESCRIPTIONS FOR TIMES* APRIL 2015 MONDAY MAR 30

TUESDAY MAR 31

NO CLASSES SPRING BREAK

WEDNESDAY

THURSDAY

NO CLASSES SPRING BREAK

2 NO CLASSES SPRING BREAK

FRIDAY 3

NO CLASSES SPRING BREAK

Commercial Audition Workshop LIB 100

Cold Reading LIB 101

SVW: Intermediate LIB 100

Actors Evening MGSR

Improv WB 102

SATURDAY 4

NO CLASSES SPRING BREAK

SVW: Beginning LIB 100

Commercial Audition Workshop LIB 100

Cold Reading LIB 101

SVW: Beginning LIB 100

Open Camera LIB 101

Voice Over LIB 102

Theatrical Video LIB 100

MAY 1

MAY 2

SVW: Intermediate LIB 100

Commercial Audition Workshop LIB 100

Cold Reading LIB 101

SVW: Intermediate LIB 100

Commercial Audition Workshop LIB 100

Cold Reading LIB 101

SVW: Beginning LIB 100

Voice Over LIB 102 SVW: Intermediate LIB 100

MAY 2015 MONDAY

TUESDAY

WEDNESDAY

THURSDAY

Commercial Audition Workshop LIB 100

Cold Reading LIB 101

SVW: Beginning LIB 100

Actors Evening MGSR

Theatrical Video LIB 100

FRIDAY

SATURDAY

SVW: Intermediate LIB 100

Commercial Audition Workshop LIB 100

Cold Reading LIB 101

SVW: Intermediate LIB 100

Open Camera LIB 101

Voice Over LIB 102

Improv WB 102

SVW: Beginning LIB 100

Commercial Audition Workshop LIB 100

Cold Reading LIB 101

SVW: Intermediate LIB 100

SVW: Beginning LIB 100

Improv LIB 102 Theatrical Video LIB 100

MEMORIAL DAY OFFICE CLOSED NO WORKSHOPS

Cold Reading LIB 101

SVW: Beginning LIB 100

Voice Over LIB 102 SVW: Intermediate LIB 100

END OF SPRING SESSION

WORKSHOP DESCRIPTIONS *PLEASE REFER TO CALENDAR FOR EXACT DATES* Actors Evening First Tuesday of each month 7 - 10 p.m. Mark Goodson Screening Room 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. Warner 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 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. Library Building Room 102 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.

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 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 lead role in two or more  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

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, We are now going into the final session of classes and workshops for the 2015 Conservatory season. We have replaced the stolen camera; the new camera will now be used in classes. Keep an eye out to help us keep our new equipment. You still have time to sign up for classes such as commercial audition, cold reading, the scene video workshop and/or theatrical video class which you have not been able to attend. There is usually more space available in the last session, so sign up now. We also have some specialty classes that you may have previously missed like improv or voiceover that will give you techniques to improve your auditions and help with performance professionalism. You also can sign up for the open camera class, which gives you 30 minutes of camera time that enables you to see what your work looks like and take a copy home on your own flash drive. Lastly, remember we also have the Actors Evenings and special events where guest professionals from the industry will share their experiences and knowledge, business practices and acting techniques. Don’t forget to keep your iActor updated so if an AFI Fellow looks at it they will see your best work and updated information, including current pictures. Speaking of pictures, make sure that the pictures you are using look the way you do now. All casting directors want to see that the person walking in the room is the same person they saw in the picture they have been viewing. You still have time to take advantage of what you joined the Conservatory for—to help stretch your artistic muscles, sharpen your skills and practice those skills. We’re here to help you be more professional and give you tools to get that next job. It’s up to you to do what it takes to be ready when the phone rings for your next audition and the Conservatory is here to help you in that endeavor. Ron Morgan 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 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 “noshow” 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.

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Members who have broken any of these rules, or who have been cited for unbecoming conduct 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 master’s program and with our SAG-AFTRA agreement, first-year students, called fellows, are required to use SAG-AFTRA Los Angles Conservatory members.

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 cooperation in helping to make the SAG-AFTRA Los Angeles Conservatory a great place for actors to work and learn together.

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.

2021 N WESTERN AVE.

PHONE: 323.856.7736

CONSERVATORY@SAGAFTRA.ORG

LOS ANGELES, CA 90027

FAX: 323.467.6456