Winter 2017 WHAT’S THE CALL TIME FOR THE COACH?
was on me, and have found a way to check in with him about what he wants without being intrusive. I’m walking a fine line, being present and doing my job without getting in the way and asking annoying questions.
Here’s what I’ve learned as an actor: Being part of the “crew” is not the same as being “talent.” You get treated far better when you’re talent. As coach, there’s no chair for me, I have to find my own perch. Yesterday, freezing By Lee Garlington to death, I asked the wardrobe person if I could have a After 33 years of working as “the coat. He told me they were out of coats, maybe he could actress” each and every time I set foot on a set, my job get me a robe. It didn’t happen. I ended up borrowing a title this week was “coach.” It’s been illuminating in ways jacket from the dolly grip. I know if my job title was I want to pass on to you. talent, I would have gotten a coat! Here’s how this happened: A good friend of mine, a As an actor, I don’t spend much time at video village. successful actor, gets hired by television shows to coach As crew, that was my spot. As crew, I’ve been privy to the young actors on the set. He booked an acting job this all manner of conversation I don’t hear when I’m talent. week and recommended me to take his place for the Listening to what is going on from the director’s 13-year-old actor he currently coaches. perspective, the producer’s, the star of the show, the script I’ve coached actors on the “business of the business” and supervisor, the writer and the DP was fascinating. What I’ve coached actors for auditions, but I’d never done this. they need or want in any given moment is not necessarily I’d never walked onto a set and been expected to watch a what we’re experiencing as performers. young actor for 10 hours and work with him on his lines, The single most revealing part of this process? Watching give him suggestions the actors perform over and over in the monitors at video and encouragement, IN THIS ISSUE: village. Seeing how we shine, how we get in our own way, help him understand how we annoy the heck out of the folks at video village, what’s going on in was so enlightening. The writers, producers and directors How to Register the scene and how 3 need a very specific beat that we don’t understand because for Classes to stay present when we, as actors, are in the moment, and they, as writers, listening as well as producers and directors, are looking at the whole picture in speaking. Workshop a way that we can’t. Once again, I was reminded how 4-5 impersonal it all is. They’re not really paying attention to And yes, I’ve made Schedule a couple of mistakes. us. They’re attending to the story, the suits, the arc of the show and getting the exact color they need. Like making a Workshop to the This show is funny, not yet on the air. The kid is a pro, 6-8 suggestion young actor and Descriptions having been acting for most of his life. The set is easy and having the director relaxed, the vibe is confident — a pickup for the back nine immediately tell him is expected. This was a great gig, and I am ever-soConservatory not to do that. I grateful for what I learned this week. Rules and 12 copped to the director right away that that I’m also very clear that I prefer being an actor!
Regulations
IT’S OUR CONSERVATORY By Shaan Sharma
So, if you want to get more out of your union membership, the Conservatory is right here waiting for you. Take the classes, volunteer and dream with us. There are worse ways to spend your time than working and growing more skilled with other amazing, experienced working actors. Just look up our other committee members on IMDb. I consider myself very lucky to be working with and learning from them.
Many union members, including myself until recently, don’t really know what SAG-AFTRA does for One thing I can promise is that we are working to grow us on a daily basis. We just pay our dues and work union jobs to earn our health and pension. and expand the Conservatory like never before over the next year. Contact the office and let us know if you want But most of the actors I meet haven’t attended a member to be part of it. We’re only going to be limited by manpower. Let’s not let that limit us. Let’s make the orientation. They are awesome, informative and Conservatory the best part of being a SAG-AFTRA entertaining events, thanks to the great work of member, a shining example of what the union does for us, Conservatory Committee members Lee Garlington and but also what we do for each other. Angela Watson, and the others who put it on every month. It’s our Conservatory. Let’s act like it. I attended one recently and was blown away at how many services and opportunities are available to me that I never knew about, resources that could save me money, make me money, further my career or give me a chance to make a positive difference as part of this elite actor community. Some of you reading this came to know about the SAG-AFTRA Los Angeles Conservatory at one of these orientations. The Conservatory is the educational arm of the union, specifically founded to provide our fellow members with access to training and guidance so that you and I can be more successful.
The Conservatory is run by a small committee of volunteers. We’re the ones responsible for designing, staffing and often teaching the classes. SAG-AFTRA provides the Conservatory with one paid employee, our amazing Program Manager Dawn Deibert, to make sure the business of the Conservatory gets done and our members are served. We can’t do it alone. This is our Conservatory. Yours and mine. Your union membership and dues and Conservatory membership fee make it possible for us to have a training home at one of the most prestigious film schools in the world: the American Film Institute. The Conservatory can be anything we dream it to be. We just have to build it together. Dawn and the committee are working very hard to expand the classes and services offered by the Conservatory, and it’s going to take a lot of work and member involvement to help get it all done.
IS IT TIME TO UPDATE YOUR REEL AND YOU ARE MISSING AFI FOOTAGE?
You auditioned, booked the job, shot the movie, screened the film and then …? One of the many great benefits of the relationship between AFI and the SAG-AFTRA Conservatory is that you, as the actor, are guaranteed to receive a copy of the work you have done for the first-year AFI cycle films. Currently, we have hundreds of DVDs waiting for their homes. Because of space limitations, we cannot keep these for more than two years, so please make sure you pick up your copy. You may call before coming in to verify one is waiting for pickup. Please have the name of the film project ready when you call and then you can come claim your footage during the Conservatory office business hours: Monday - Friday, 10 a.m. - noon and 1 - 4 p.m.
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HOW TO REGISTER CLASS REGISTRATION IS NOW ONLINE! To see an online calendar of our classes and find links to enroll, please visit our website at sagaftra.org/laconservatory On the left side of the page click the link that says Workshops You must be logged into your SAG-AFTRA account to see the online calendar and to enroll in a class. Registration for classes and special events will open at exactly 10 a.m. one week prior to the individual workshop. Example: If the workshop you would like to attend is on Wednesday, enrollment will open the prior Wednesday starting at 10 a.m. Reservations are not accepted via voicemail or email.
DO YOU WANT TO AUDITION FOR AFI PROJECTS? CREATE OR UPDATE YOUR iACTOR PROFILE TODAY The Conservatory database for casting is 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.
sagaftra.org/iactor-online-casting
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 (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
WB: WARNER BUILDING *SEE BACK PAGE FOR A MAP OF THE AMERICAN FILM INSTITUTE CAMPUS
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. 3
WINTER CALENDAR OF WORKSHOPS *PLEASE SEE DESCRIPTIONS FOR LOCATION*
JANUARY 2017 MONDAY 16
MARTIN LUTHER KING, JR. DAY
No Workshops
TUESDAY
WEDNESDAY
17 10 a.m. Cold Reading, Beginning
18 10 a.m. Cold Reading, Intermediate
6 p.m. SVW: Beginning
7 p.m. Theatrical Video
THURSDAY 19
FRIDAY
SATURDAY
20
6 p.m. SVW: Intermediate
21 11 a.m. SPECIAL EVENT 6:30 p.m. Open Camera *each student assigned time Voice: For the Actor in Scene and Song slot
7 p.m. SPECIALEVENT Audition Secrets of a Series Regular
23 7 p.m. Commercial Orientation
24 10 a.m. Cold Reading, Intermediate
7 p.m. Commercial Audition Technique
6 p.m. SVW: Intermediate
25 10 a.m. Cold Reading, Beginning
26
27
28 11 a.m. General American Accent Clinic
6 p.m. SVW: Beginning
7 p.m. Voiceover 201
FEBRUARY 2017 MONDAY
TUESDAY
WEDNESDAY
JAN. 30 7 p.m. Commercial Audition, Technique
JAN. 31 10 a.m. Cold Reading, Beginning
1 10 a.m. Cold Reading, Intermediate
6 p.m. SVW: Beginning
7 p.m. Theatrical Video
6 7 p.m. Commercial Orientation
7 10 a.m. Cold Reading, Intermediate
8 10 a.m. Cold Reading, Beginning
7 p.m. Commercial Audition Technique
6 p.m. SVW: Intermediate 7 p.m. Improv
13 7 p.m. Commercial Audition Technique
14 10 a.m. Cold Reading, Beginning
15 10 a.m. Cold Reading, Intermediate
6 p.m. SVW: Beginning
7 p.m. Theatrical Video
THURSDAY 2
FRIDAY 3
6 p.m. SVW: Intermediate
4 10 a.m. Self-Taping for Actors 11 a.m. SPECIAL EVENT How to Land a Series Lead this Pilot Season
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10
11 2 p.m. Chakra Acting Techniques
17 6:30 p.m. Open Camera *each student assigned time slot
18 10 a.m. Headshots: Review and Guidance
24
25 11 a.m. General American Accent Clinic
6 p.m. SVW: Beginning
7 p.m. Actors’ Evening
16 6 p.m. SVW: Intermediate
7 p.m. Voiceover 101
20
SATURDAY
21 10 a.m. Cold Reading, Intermediate
PRESIDENTS’ DAY 6 p.m. SVW: Intermediate No Workshops
22 10 a.m. Cold Reading, Beginning
23 6 p.m. SVW: Beginning
2 p.m. Social Media Strategy
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WINTER CALENDAR OF WORKSHOPS *PLEASE SEE DESCRIPTIONS FOR LOCATION*
MARCH 2017 MONDAY FEB. 27 7 p.m. Commercial Audition Technique
TUESDAY
WEDNESDAY
FEB. 28 10 a.m. Cold Reading, Beginning
1 10 a.m. Cold Reading, Intermediate
6 p.m. SVW: Beginning
7 p.m. Theatrical Video
THURSDAY 2
FRIDAY 3
6 p.m. SVW: Intermediate
7 10 a.m. Cold Reading, Intermediate
8 10 a.m. Cold Reading, Beginning
7 p.m. Commercial Audition Technique
6 p.m. SVW: Intermediate
7 p.m. Improv
13 7 p.m. Commercial Audition Technique
14 10 a.m. Cold Reading, Beginning
15 10 a.m. Cold Reading, Intermediate
6 p.m. SVW: Beginning
7 p.m. Theatrical Video
4 10 a.m. Self-Taping for Actors 2 p.m. Chakra Acting Techniques
7 p.m. Voiceover 201
6 7 p.m. Commercial Orientation
SATURDAY
9 6 p.m. SVW: Beginning
10
11
16
17 6:30 p.m. Open Camera *each student assigned time slot
18 10 a.m. Headshots: Review and Guidance
24
25 11 a.m. General American Accent Clinic
7 p.m. Actors’ Evening
6 p.m. SVW: Intermediate
7 p.m. Voiceover 101
20 7 p.m. Commercial Audition Technique
21 10 a.m. Cold Reading, Intermediate
27 7 p.m. Commercial Audition Technique
28 10 a.m. Cold Reading, Beginning
22 10 a.m. Cold Reading, Beginning
23
29 10 a.m. Cold Reading, Intermediate
30
6 p.m. SVW: Beginning
2 p.m. Social Media Strategy
6 p.m. SVW: Intermediate
31
6 p.m. SVW: Intermediate
6 p.m. SVW: Beginning 7 p.m. Voiceover 201
REGISTRATION FOR ALL WORKSHOPS AND EVENTS IS NOW ONLINE! VISIT OUR WEBSITE FOR MORE DETAILS.
RESERVATIONS BEGIN ONE WEEK PRIOR TO THE WORKSHOP AT 10 a.m. EXACTLY.
sagaftra.org.laconservatory
ALL WORKSHOPS ARE STAND-ALONE CLASSES.
You must be signed into your SAG-AFTRA account to view the online calendar.
Reservations are required for all events and workshops. 5
WORKSHOP DESCRIPTIONS ACTORS’ EVENING First Tuesday of each month 7 - 10 p.m. Mark Goodson Screening Room (MGSR) Limit 136 students Industry professionals appear in a seminar format to discuss their business and answer questions.
COLD READING Tuesday and Wednesday mornings Beginning and Intermediate rotate days 10 a.m. - 1 p.m. Library Building Room 101 Limit 10 students Learn and develop effective auditioning techniques.
COMMERCIALAUDITION TECHNIQUE Monday nights 7 - 10 p.m. Library Building Room 100 Limit 14 students Focused commercial audition training of all types: subtle and broad comedy, commercial, improv, using the board, process and pregame, taking direction and redirects, room etiquette, insider tips and more.
IMPROV 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.
SCENE VIDEO WORKSHOP Tuesday and Thursday nights Beginning and Intermediate rotate days 6 - 10 p.m. Library Building Room 100 Limit 10 students 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.
THEATRICAL VIDEO First and third Wednesdays 7 - 11 p.m. Library Building Room 100 Limit 8 students Simulated theatrical interview and cold reading on video followed by viewing and comments. Bring a picture and resume.
VOICEOVER Second and fourth Tuesday 7 - 10 p.m. Library Building Room 102 Limit 15 students Voiceover 101 - Second Tuesday: An introduction to a career in VO, covering basic mic techniques, working with commercial copy and finding your voice. Voiceover 201 (VO 101 a pr er equisite unless a working VO actor) Fourth Tuesday: More in-depth techniques in the areas of animation, promo and narration.
OPEN CAMERA Third Friday of each month *6:30 - 9:30 p.m. (each student is assigned a specific 30-minute time slot) 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 only), or even try different “looks.” Please bring a flash drive to record your work and take it home to study.
We offer beginning and intermediate classes in our Cold Reading and Scene Video workshops. Please read the self-selection process carefully. We ask that you please follow these guidelines so that you and your fellow actors will have the best experience possible. Please see page 8 for the selection criteria 6
CHAKRA ACTING TECHNIQUES Instructor: Murisa Harba Saturday, Feb. 11 -andSaturday, March 4 2 - 4 p.m. Library Building Room 102 Limit 25 students Using the chakras (or the body’s natural energy centers) to tap into what is already inherent in our body as human beings is a way to physically, vocally and intentionally warm up the actor’s instrument: the body. The actor will then learn how to incorporate the chakras into their character-building and scene work to garner rich, connected results that happen organically. This approach empowers the actor to shift from a “heady” approach to utilizing the whole body and voice as a “true” instrument, while delivering strong, concrete decisions in their prep work.
COMMERCIAL ORIENTATION First Monday of each month 7 - 10 p.m. Frankovich Barnes Screening Room (FBSR) Limit 74 students *A prerequisite to Commercial Audition Technique. This workshop will offer a solid understanding of the commercial side of the business and cover everything from how commercial is different than theatrical, essence and brand, marketing, headshots, reels, representation and strategy. This course will cover the entire casting process through avails and booking.
GENERAL AMERICAN ACCENT CLINIC For non-American actors and American actors with regional American dialects Instructor: Gaby Santinelli Fourth Saturday of each month 11 a.m. - 1 p.m. Library Building Room 101 Limit 8 students Are you originally from another country and want to master the General American accent to have more acting opportunities in America? Are you an American actor with a regional American dialect who would like the option to speak neutral “Gen Am”? Get down to the nitty gritty with Gaby Santinelli at this rapid-fire diagnostic American accent clinic. Gaby will determine where you’re at today with your General American accent. And she’ll guide you toward what to do next. Please bring two printed copies of a one-minute monologue. Alternatively, text will be provided for participants on the day, for a cold-reading-in-General-American experience.
NEW WORKSHOPS HEADSHOTS: REVIEW AND GUIDANCE Instructor: Theo and Juliet Saturday, Feb. 18 -andSaturday, March 18 10 a.m. - 1 p.m. Frankovich Barnes Screening Room (FBSR) Limit 74 students *This workshop is being offered twice, it is not a two-part class Taught by Theo and Juliet along with occasional special guest CDs. They will review your current headshots, make personal recommendations, and teach the strategy actors must have to get the most out of their photos and marketing. Theo and Juliet have been industry leading headshot photographers for over 25 years. Here is your chance to experience why.
SELF-TAPING FOR ACTORS Instructor: Tim Powell First Saturday of each month 10 a.m. - 1 p.m. Library Building Room 102 Limit 30 students This workshop covers low-cost, simple techniques for producing quality video uploads for auditions. Learn lighting basics, producing quality audio framing and videography as well as file compression, size reduction and internet delivery. Best practices for the best results.
SOCIAL MEDIA STRATEGY Instructor: Ryan Walker Saturday, Feb. 18 -andSaturday, March 18 2 - 5 p.m. Frankovich Barnes Screening Room (FBSR) Limit 74 students *This workshop is being offered twice, it is not a two-part class Learn how to develop a beneficial social media presence and incorporate it into your daily life. Will include Facebook, Instagram, Twitter, YouTube and other relevant platforms and outline how they can best be utilized as an actor. For the more savvy digital marketing actor, learn to make more efficient use of your media platforms, including tools and techniques to use your brand to fine tune “fan” and “follower” engagements and interactions. Topics will include “following” relevance in casting, content calendars, sponsored content, timed and precise posting, and gaining smart and interactive followers. 7
SPECIAL EVENTS AUDITION SECRETS OF A SERIES REGULAR Instructor: Wendy Davis Tuesday, Jan. 17 7 p.m. - 10 p.m. Frankovich Barnes Screening Room (FBSR) Limit 74 students In a special event moderated by Lee Garlington, Wendy Davis, star of Lifetime Television’s hit series, Army Wives (117 episodes), is going to share her audition secrets with you! What if you could get a proven audition-technique developed by a series regular that will not only help you love auditioning again, but also gets real results? Join Wendy and co-instructor Lilach Mendelovich for this powerful, interactive workshop. Wendy will share with you the exact step-by-step audition secrets she used to go from a struggling actor to a series regular on a hit show — and how you can too.
VOICE: FOR THE ACTOR IN SCENE & SONG Instructor: Bob Garrett Saturday, Jan. 21 11 a.m. - 1 p.m. Frankovich Barnes Screening Room Limit 74 students Join us for a seminar with vocal performance coach Bob Garrett focusing on the process of incorporating singing in acting roles when required. Bob’s clients include Jessica Lange and Drew Barrymore (Grey Gardens), Channing Tatum (Hail Caesar), Rebel Wilson (Pitch Perfect), Gerard Butler (Phantom of the Opera), Judy Davis and Tammy Blanchard (Me and My Shadows: Life with Judy Garland ), Vanessa Hudgens (Grease: Live), Kathy Bates (American Horror Story) and countless other artists. This seminar will cover vocal techniques through exercises and discuss how to utilize the voice to create the character’s true essence in scene and song. As actors, we understand that not all of our characters speak in the same range of our voices. Bob will discuss how to find your character’s voice and how to create the emotional arc of the character by treating a song’s lyrics as a monologue and how to utilize your body to express the scene and song’s intention. With Bob’s technique, you can use your creative juices and imagination to create a moving performance by understanding how the voice works, how you can put your own stamp on creating your character and making your authentic voice heard. Singers and non-singers are encouraged to attend.
HOW TO LAND A SERIES LEAD THIS PILOT SEASON Instructor: Joseph Pearlman Saturday, Feb. 4 11 a.m. - 2 p.m. Mark Goodson Screening Room (MGSR) Limit 136 students With nine clients having booked starring roles this past year, Joseph Pearlman will show you what it takes to land a series lead this pilot season. Joseph is an acting coach for Hollywood celebrities, musicians and comedians — he helps his clients launch their careers and reach Oscar potential. Joseph works with artists like Zooey Deschanel, Skylar Grey, Sherri Shepherd, Michael Welch and Julian Sands, and he also coaches presenters for all the major award ceremonies, including the Oscars, Emmys, Grammys, Golden Globes and Independent Spirit Awards. With the highest percentage of clients booking roles in the industry, Joseph helps actors go into the room and get the part. You’ll leave every session having experienced an undeniable acting breakthrough and transformation.
ACTORS WANTED AFI directors and cinematographers 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 or evening, 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, please email Dawn at conservatory@sagaftra.org or call the office at 323.856.7736
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BEGINNING, INTERMEDIATE INTERMEDIATE & ADVANCED WORKSHOP SAG-AFTRA ACTING EXPERIENCE: Two or more co-star or guest star credits, and/or SELF-SELECTING CRITERIA four or more TV commercial credits (include union productions before you were a member.)
Some of our workshops and 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. It is requested that you stay in your level until your experience changes to fit the next level. Note: For example, if you are an intermediatelevel actor, you do not need to take the beginning class.
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.
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 OUTSIDE SAG-AFTRA CONSERVATORY: Equivalent of two years or more of ongoing classes.
ADVANCED SAG-AFTRA ACTING
EXPERIENCE:
Three or more co-star or guest star credits, and/or five or more TV commercial credits (include union productions before you were a member), and/or one or more recurring guest star credits, or three or more co-star recurring credits, and/or one or more series regular credits on a broadcast (ABC, NBC, CBS etc.), streaming (Amazon, Netflix, etc.) or cable (HBO, Showtime, etc.) network. OTHER ACTING
EXPERIENCE:
Three or more professional theater acting credits (preferably Equity or Equity waiver.) ACTING
TRAINING OUTSIDE SAG-AFTRA CONSERVATORY: Equivalent of four years or more of ongoing classes.
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THE PRACTICAL ACTOR Advice from a Working Actor
Can’t never could, Won’t never will, Don’t never does. Fill your life with positivity and work incrementally every day to achieve the success you hope and dream for. Let those times you hear “no” be the path toward the “yes” that will change your life. Create your own vocabulary list and plan for your new year, a new outlook for your career and see where it will lead you.
By Kevin McCorkle
Q: How can I make resolutions for the new year that will help me as an actor?
A: It is a new year full of possibilities, opportunities and growth. As actors, we are storytellers, artistic entrepreneurs and creators of change through the performances we deliver. The building blocks we use, when broken down to the most basic form, are words. Without the words we use, there is little reference or support to the images on the screen or even the live performance. Words have meaning, import, resonance and clarify every story we tell. This is not only true in the art of acting but in building the foundation, structure and substance of your career. Start this new year refining, defining and recreating the way you think and talk about your career and profession. Pick words from A to Z that illustrate your outlook, your actions and the practical steps you will take to make this the best year for your career. Wake up every morning striving, not struggling. Refuse to accept the notion that opportunity is limited by knowing that you are capable of creating and sustaining endless opportunity for yourself. Declare your independence by allowing others to help and work with you but not requiring it. Reach out to others with help, encouragement and support rather than waiting and hoping for them to come to you. There are so many clichés and notions about actors that are universally accepted but are proven unfounded by those who refuse to accept them. Declare yourself to be part of the group of actors who are capable, confident and successful. Then use your words and actions to make this possibility a reality for yourself.
REGISTRATION FOR ALL WORKSHOPS AND SPECIAL EVENTS IS NOW ONLINE Visit our website at the link below. sagaftra.org/laconservatory Be sure you are logged in to your SAG-AFTRA account Click “Workshops” to see an online calendar. Reservations are required for all events and workshops.
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THE SAG-AFTRA LOS ANGELES CONSERVATORY COMMITTEE
MURISA HARBA
BOB TELFORD
NICHOLAS LELAND
TEDDY VINCENT
JANE AUSTIN
TIM POWELL
WILL WALLACE
KEVIN MCCORKLE
GABY SANTINELLI
ANGELA WATSON
BILL APPLEBAUM
SHAAN SHARMA
MARI WEISS
LEE GARLINGTON
WYNTER SPEARS
REED YOUNG
The Conservatory is run by a team of committed volunteers who form the SAG-AFTRA Los Angeles Conservatory Committee. They are responsible for directing the programs, panels and events at the Conservatory and put a great deal of time and commitment into making this great entity of ours run strong. We want to take this opportunity to introduce them to you.
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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.
GETTING THERE 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 Avenue, 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 office, 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 the Library Building, room 100, on the ground floor at the north end of the building.