With a brand spankin’ new day and time, don’t miss these Pacific Northwest actors on an all new “Grimm“ tonight at 10PM on NBC. And be sure to tune in on Tuesday nights as the exciting second season draws to a close in the next few weeks!
With its original air date last week preempted by news events, don’t miss these Pacific Northwest actors on an all new “Grimm“ tonight at 9PM on NBC. And you won’t have to wait long for the next all new episode, because “Grimm” moves to Tuesday nights at 10PM starting April 30th. Mark your calendars!
If you’re an actor in Oregon and you want more film and TV productions to shoot in our state, we need your help right now, so get out those headshots and resumes and a Sharpie!
Please follow the instructions below and share this with all the Oregon actors you know.
This is in support of our efforts to expand OPIF, the Oregon Production Incentive Fund, which is responsible for the huge increase in production in Oregon over the past few years. If our bill passes (HB2267), the fund will DOUBLE, meaning twice as much work for all of us. Time is of essence.
1. First, go to http://ompa.org/events and RSVP for our Industry Day on Thursday, May 2nd at the State Capitol.
This is the crux of our campaign to increase Oregon’s film incentive program and we need a HUGE turnout to demonstrate to legislators how badly we want it.
Clear your schedule and plan to stay the whole day, if you possibly can. If not, at least plan to be on the steps of the Capitol Building in Salem on May 2nd from 12:45-1:45 pm for our rally and photo op. We need the crowd to be MASSIVE. Be there and bring friends, but be sure to RSVP first.
2. Get out TWO headshots and resumes and TWO manila envelopes.
3. Address one of the envelopes to:
Senator Richard Devlin
900 Court St. NE, S-211
Salem, OR 97301
4. Address the other to:
Representative Peter Buckley
900 Court St. NE, H-272
Salem, OR 97301
5. Make sure each of your headshots is stapled back-to-back to your resume.
6. Hand write a truthful personal note about how you have benefited from film & TV production in Oregon.
Write on the resumes themselves or on sticky notes attached to the resumes.
- “Thanks to Grimm, I got braces for my kid. Please support HB2267.”
- “I’m still receiving residual checks from Twilight. Please support HB2267 and expand our incentive program.”
- “I haven’t had to move to Hollywood, thanks to Oregon’s film incentive program. Please support HB2267.”
- “I want to work more in my home state. Please support HB2267 and expand OPIF.”
- “2012 was Oregon’s busiest year yet for film & TV production. Let’s keep building this clean, green, creative, high-tech industry.”
- “Look at all the credits on my resume from projects that shot in Oregon! Help build the momentum and expand OPIF. Support HB2267.”
Devlin’s District Map:
Buckley’s District Map:
7. Put one headshot/resume in each envelope.
8. Put $1.12 in postage on each envelope and MAIL THEM NOW.
Senator Devlin and Representative Buckley are co-chairs of the Oregon Legislature’s Ways & Means Committee. Their support of the expansion is critical. We want to bombard their offices with hundreds of headshots and resumes prior to Industry Day on May 2nd.
9. Share this blog post with all of the Oregon actors you know, via social media, email and word of mouth.
Click the share button, copy and paste the URL, or get on the phone now.
THANKS FOR YOUR HELP. Together we can blow the lid off of Oregon production, creating more jobs for all.
PS: If you’re not an actor, but you work in the Oregon film & television industry, you can mail letters to the same effect to Devlin and Buckley. Include your production resume and a personal note. Be sure to mention if your home or business are in their districts.
Let’s do this!
Okay, that’s not entirely accurate. But it isn’t far from the truth either. I learned this while working at my first casting job at a London office that specialized in international features and mini-series.
Before the days of electronic submissions, we assistants were in charge of opening the daily mail and sorting through the stacks of headshots. Every available desk was piled high with manila envelopes. The casting associates would rip them open, glance briefly at the photos, and throw them into the appropriate pile according to role and project, or into the “Reject” pile.
As a recent convert from the acting world, I would flip the headshots over and peruse the resumes, much to their amusement.
“No one reads the resumes!” one of the associates chortled.
“But this guy went to the Royal Academy of Dramatic Arts! He has worked with Peter Brook!” I raised one poor actor’s resume, horrified.
“Let me see,” she countered. I showed her. “Nah, he’s a reject. Toss it.”
I took her cold reaction like a stab to the chest for all my years of acting and for all the actors I knew who were pining for a film career. Placing him gently in the “Reject” pile as if it were his final resting place, I bit my tongue and vowed never to become so jaded.
I’ve learned a bit since then. Now, I realize that she recognized most of those actors from prior auditions or from film and television appearances. She knew they needed to be of a certain caliber for the producers to consider them. Her many years of experience enabled her to make quick judgments.
Nevertheless, her comment stuck with me because I discovered there was truth in it. No one reads resumes, even when they do read them. What they actually do is scan them.
That’s right. Just as people scan headlines when reading the news, casting directors and other industry folk scan actor resumes and only absorb the information they’re looking for.
When we glance at your resume, we’re looking for things we recognize: A production company, a director’s name, a well-reputed acting coach, etc. We’re also looking for credits that stand out. A guest star role on a network show carries more weight than one on an unknown web series (although that is quickly changing with the rise of high-quality web productions. If your web series is garnering 10 million hits an episode, you might want to include a parenthesis to that effect).
The key is to keep your resume crisp and clean so that our eyes go straight to the most important details. Put your credits by and large in chronological order (without listing dates; those only date you), pushing your more impressive ones towards the top where they’re more visible.
If the director is well known, but the production company isn’t, be sure we see who the director is. By the same token, if the studio is highly reputed, but the director is a newbie, ensure that the studio’s name stands out. If you’ve yet to land any impressive credits, make certain that you’re training with the best of the best.
I still feel a little pang whenever an actor’s hard work goes unrecognized, but nowadays I understand the need for speed in the casting process. Like my former colleagues, I’m now able to glean much of the information I’m looking for with a quick glance at the page. You can help by giving us things we can scan and internalize quickly. Short and sweet wins the day.
This article was adapted from one of Lana’s Tools for Actors newsletters. Subscribe here!
Recent projects include NBC’s Grimm, now in its second season, and 64 episodes of TNT’s Leverage. Gus Van Sant, Robert Benton, Guillermo Arriaga, Catherine Hardwicke and Tim Robbins figure among past film clients. Commercial accounts include Nike, Apple and Nintendo, and international campaigns from Shanghai to Santiago.
Lana is a member of the Casting Society of America and the International Casting Directors Network. She frequently lectures across the U.S. and abroad, most recently at The Actors Platform in London, IfiF Productions in Vienna, The Acting Studio in Berlin, Studio Bleu in Paris and Prague Film School.
Complete her survey to be entered into a contest for a free career consultation here.
She has been featured in The Hollywood Reporter, USA Today, MSNBC.com, MTV.com, AccessHollywood.com, and Wired, among others. Follow her on Twitter @lanaveenker.