Child Actors...publicity stills, agents, et al. You outta be in pictures, kid!

I listened in amusement as a woman next to me gushed about how cute a man's kids were.

"They should be doin' commercials," she insisted.

In response, the fellow grinned and noted that he stopped into an Agent's office one day to discuss representation, but decided to forgo on the idea when the woman in charge of the children's division informed him they would need photographs - which could conceivably cost about $200.00 - or more.

The woman reacted angrily,

"That's not true. It's just a rip-off. All you need is a snapshot or two."

Wrong!

I was a theatrical agent representing child actors several years ago.

True, if you're interested in having your kids schlep around as slave labor doing extra work here and there, one or two of the local casting offices will only ask for a Polaroid (oftentimes for a small processing fee, which I disagree with) to insert into their casting files where clients peruse for nameless "bodies".

But, landing bona fide acting assignments for the young ones is much more specific than that, and the process requires the investment of at least one standard 8 X 10 glossy photograph.

This is the industry norm - for children and adults - alike.

In fact, a quality still of the "talent" amounts to a calling card. And, based on its strengths or weaknesses, the aspiring thespian may or may not get in the door.

When I was submitting performers for consideration, I was constantly amazed by the fact that one particular photo of a client would always land them an audition, while other struggling hopefuls continued to be "passed" over. So, choosing the right photographer is also a key factor in the equation.

For those of you who are not familiar with the process, it goes something like this.

Each day, ad agencies and casting directors send out casting notices with a "breakdown service", announcing parts that are auditioning by appointment only.

Agents - usually franchised by the Screen Actors Guild and AFTRA - then sift through the casting notices and select clients they deem appropriate for the assignment - based on their actual "training", "experience", and "look".

Feature roles may require more extensive credits - but - the criteria varies from director to director. It's a general consensus that stage work is a big plus, especially when Film and/or TV credits are few and far between.

Commercial casting offices are often seeking an "image" to represent a particular product, so experience may not always be a prerequisite in that arena.

A list of the names of the talent, and their overall personal stats (Height, Weight, skills, etc.) - and the accompanying photographs - are packaged up in the morning, and then sent out in the afternoon mail by special courier.

Calls for auditions may trickle in later that day or bright and early the next morning.

So, without a photograph - and especially a quality one to catch the eye of the casting director - the talent may be left out in the cold.

True, some disreputable agents may be associated with an acting school, or a photographer. In that event, stay away from them like the plague, and seek representation elsewhere.

If you hotfoot it over to SAG or AFTRA (both are situated in the same building on Wilshire Boulevard between Fairfax and La Brea) you can obtain an Agent's list. Generally, those listed on the union sheets are professional, legitimate, and above-board - unlike other scam outfits hapless parents and their kids may encounter around Tinsel town in the pursuit of fame and fortune.

In the event your child is able to secure an agent, then be sure you can be reached on short notice; after all, that is also the nature of the beast...things may be slow one minute, then move at lightning speed the next.

And, a word of advice...

Make sure your tot is actively engaged in honing their acting skills and other talents by way of vocal lessons, and acting workshops and/or classes with reputable teachers and coaches on a regular basis.

That way - when the big break comes - they'll be ready for the opportunity and won't blow it!

Break a leg!





No business like show business!

Young and Restless...streams episodes on WWW for 35th Anniversary!

After 1,000 weeks of ongoing drama, sizzling sex scenarios, and bizarre plot twists, the ever-popular daytime soap - "Young and the Restless" - celebrated its 35th Anniversary this year online.

That was good news for a handful of actors, sure to be checking their mailboxes for residual payments, in coming months.

Because the daily serials broadcast a new episode each day, performers don't generally anticipate much in the way of additional pay-outs, since the sequential story lines are rarely aired a second time.

Life is not a dress rehearsal; likewise, on a soap you get one shot at it, too.

Of course, there are a couple of exceptions.

If a segment is used in a flashback or an episode is aired overseas months after the chapter broadcasts stateside (some serials are trailing behind the U.S. airwaves because they were picked up a year or two after production began in the U.S.) there will be extra compensation for use in that market.

The sums are paltry, though; a few cents here, a few dollars there.
Basically, lunch money!

Now, you know why AFTRA and SAG (the two entertainment unions) have been kicking up such a fuss about residuals in recent days and have been hagglin' over 'em in the new contract negotiations.

When most of the soaps were originated, no one fathomed the idea of podcasting, or streaming video.

In fact, rich media was beyond the Union's realm of imagination.

And, who knows what's ahead.

But now, actors may have hit the bull's eye.

You see, the powers-that-be at Y & R, elected to celebrate the show's popularity and success by streaming segments online for nostalgic fans who want to take a trip down memory lane and reminisce about the early machinations of their favorite divas and rogues.
Now, soap opera die-hards can either tune in to CBS.com to catch 'em or surf to cable's SoapNet for a gander.

In addition, classic clips and episode recaps will be posted on The Minisode Network, which can viewed on YouTube, Crackle.com, Verizon, AOL Video, Gaia Online and Joost.


Soap teasers will be flirting, floating, and flitting all around the world- wide-web, to the joy of those who pine to bathe in the glow of their must-see soap on a daily basis.

Robert Oswaks, Exec VP of marketing at Sony Pictures Television, notes that blogs are of paramount importance in the scheme of things, too.
"Blogs are a tool for reaching fans," he notes, "The show's makers work closely with top soap news sites, which have become evangelists for us."

And, Christine Fix, editor-in-chief and Senior Producer of Soaps.com notes that fans are always looking for a consistent source of reliable information regarding their favorite sudsy dramas. Soaps.com draws a staggering 1 million visitors a month, while MovieWeb.com snags about 900,000.

That's a lot of bubbles!

Actually, I was cast to work on Young and the Restless back in the nineties.

Although I played a lowly waiter, my scene was important (yeah, I know, every actor claims that there are no small parts, only small actors!) because I delivered a message which bore all-important news about the arrival of a child.

A pivotal twist in the plot line!

I recall the booking well.

Although I didn't have my own dressing room, I shared the cozy little cubby-hole with just one other thespian. That's a fancy term for actor, by the way.

In case you weren't aware of it, when an actor has only been bestowed with one line, he wrestles with endless possibilities in his mind.

Should I say it this way or that?

When fate hands you a golden opportunity to show your stuff, you've got to get it right, after all!

A method actor might ask, "What is my motivation?"

Or, try to fathom the subtext.

Maybe the waiter in the scene got ticked off with a previous guest, so now's he annoyed, and in a huff?

Then again, maybe he's one of those snooty waiters bent on spoiling someone's romantic dinner date, just for the heck of it.

A handful of servers are "gay", so why not play it that way?

'Ya know, affect a little lisp, let the wrists flap around a bit.

Boy, it's terribly frustrating trying to get a handle on a walk-on part, believe me.

"They just want the line," the other actor whined at me pointedly.

"This is not your shot at stardom, you know," he hissed at me.

Then, just as I was about to go on stage and deliver my gem, he revealed his true colors.
"If you screw it up, they'll give the line to me."

Oh, how - "All About Eve" - of him.

My first taste of competition and jealousy in the industry.

I had one lousy little line to sputter, and this clown was trying to throw me off, so I would trip up and ruin my moment in the sun.

But, when that time arrived - about twelve hours after arriving at the CBS studios - I swaggered in on cue and uttered the words like a pro.

With little more ado, the second A.D. barked:

"Ok, let's move on."

Not even a second take? Oh well, that's show business.

Bottom line, the soaps are a "factory", just turning out product each day.

You have only to review the stats on the "Young and Restless" to figure that out.
The number of scripted pages written over the years by a team of professional writers?
An amazing 620,175.

And, some of those storylines included blessed nuptials; in fact, there were 77 walks down the aisle in total.

But, did all the loving couples make it to the altar to swear - "I do"?

Of course, the makeup folks had to pretty everyone up each day; in order to carry out that tall order, 133,000 powder puffs were used over the years.

Me? I don't recall being swiped by one.

And, after the stars and day-players were primped and preened up proper, they were squeezed into an astounding 128,625 custom-made costumes.
No wonder wardrobe staff breathe a sigh of relief when an actor can contribute his own clothes to a fitting.

In my instant case, I provided my own black dress slacks and snappy designer shoes for the waiter gig; which they paired up with a tasteful jacket cinched in at the waist - with a wide padded shoulder.

Veery flattering for my physique, I must say!

Of course, when folks stand around on stage, they gulp down coffee.

On the Y & R sets, they swilled down 166,250 gallons of it on the sidelines as dramas unfolded.

And, just imagine what it took to capture all the scintillating images and ongoing daily fluff.
2,210 video tapes were gobbled up annually to facilitate that task.

Over the years I've worked with a number of props - some novel - others not.

On this popular soap, the most obscure one was a freeze-dried tarantula.

Wonder if they've ever used a whoopee cushion or a cod-piece?

Well, someone in production would know.

Do tell!

http://www.julianayrs.com

Bold & Beautiful...the "Blond and the Bad"; set the greedy b**tards adrift!

Well, guess 'ya heard, our two sisters unions are in a big cat fight right now over jurisdictional turf!

This past week my e-mail box has been rattled by missives from the administrative heads of SAG and AFTRA, respectively, begging for support.

A bitter dispute, but there will be a resolution, no doubt.

Traditionally SAG maintained jurisdiction over all productions that were shot on film; while AFTRA kept a vigil over projects taped on video.

The three camera video process first developed by Desi Arnaz for the long-running comedy - "I Love Lucy" - is generally used for the Soaps, TV Sitcoms, and News Broadcasts.

However, a few years ago, shows like "Cheers" - although 3-camera in nature - started using film to rustle up a higher quality image for a more sophisticated night-time audience.

The sad part - for performers anyway - is that working on a project that falls under the AFTRA contract usually means less pay. Hence, the reason actors prefer the more prestigious offerings that come SAG's way.

Of course, in recent years - what with run-away production and industry expansion into Cable, Music Videos, Reality TV, and Internet rich media - AFTRA and SAG have become more competitive about the pickings; hence, the current bitter dispute which is a major departure from the past amiable stance of the two entertainment heavies.

I was quite galled, though, when I learned that part of the recent upheaval was due to the fact a posse of spoiled actors over on the "Bold & Beautiful" suddenly decided to entertain the ludicrous notion of jumping ship (fleeing the AFTRA camp) to take wing under the SAG umbrella for purely selfish greedy motivations: bigger bucks!

You know, I've always referred to that dim-witted show - deservedly so - as the "Blond & the Bad".

For good reason; after all, I know from whence I speak.

When the daytime soap first started up, a storyline featuring a catering company was crafted around one of the young nubile leads, Brooke. For several weeks, I played one of the caterers in the tawdry slow-moving subplot which went nowhere fast.

Yeah, life's a drag for the rich in Malibu, you bet!

What astounded me most were the temperaments of the young stars, who - for the most part - were dredged-up out-of-the-blue with little or no acting experience or newly-minted from some dismal acting academy east of La Brea, somewhere.

In all the years I've been in the "biz" I've rarely encountered such "ATTITUDE" among a regular cast of featured players, a lack of empathy for fellow actors, and an overall lack of professionalism.

Talk about a disregard for others; Ron Moss (Ridge) acted like he owned the show.

But, Susan Flannery - who plays the part of the matriarch to the hilt - was the absolute worst! Rarely ever content, she often haggled with the director - and more-often-than-not - threw her weight around which was considerable.

In fact, the tensions were so high on the set you could cut through 'em with a chainsaw, just maybe!

The soap tattlers are tittling that Flannery may pack it in, retire. Good riddance!

But, the problem was not just in front of the camera.

Shortly after the sweet casting gal Jill hastily departed to marry a rock musician, some mousy little secretary by the name of Christie Dooley crawled out from under a rock to take her reins.

After that, I never worked on the show again. Cast out, like a leper!

I have a theory that she didn't want people around who were witness to her humble beginnings; after all, the low-life schemer was inclined to weave some grand plans of her own!

In a short while - in spite of the fact she lacked the credentials - she was actually conducting acting classes and workshops for struggling actors in the Hollywood area.

Talk about the blind leading the bland.

For twenty bucks or so she'd rent herself out to actors. But the truth of the matter is that most thespians regarded her coaching skills with disdain.

If the truth be known, actors were only signing up to charm her pants off, with the specific aim of landing a plum role on the show.

Of course, Ms. Dooley was wise to the game; she not only played it to the max, but lined her sow's purse with their cash and laughed all the way to the bank, as well.

The acting workshop "scam" is one of the oldest in the business and is generally frowned upon by Agents and Union Officials in particular.

Frankly, I was appalled that head honcho William Bell - the respected producer of "B&B" and "The Young & Restless" - didn't cut her loose.

I mean, it reflected so negatively on CBS and the soaps produced there and industry standards, at best.

So, of course, look who ended up on the show?

A non-charismatic cast of no-talents.

Go figure!

I say, cut the greedy b**stards loose, and set them adrift.

We need unity in our profession now, not petty outbursts from prima donnas, with little regard for what's best for the Industry and the solid traditions of Hollywood.

Bob Barker...Lifetime Achievement Award, AFTRA

At a special ceremony last night at the Fine Arts Theatre in Beverly Hills, the American Federation of Television & Radio Artists presented Bob Barker - former host of "The Price is Right" - with a Lifetime Achievement Award.

In accepting the award, Mr. Barker noted, "...of the many awards that I have received over the years, this is the one that is most important to me."

The celebrated Game Show host has been a member of AFTRA for fifty-five years, and has always backed the Union in their efforts to protect the rights of workers in all areas of the media.

Attendees at the presentation were treated to a handful of hilarious clips from the "The Price is Right".

The popular daytime show has the unique distinction of being the longest-running game-show in Television history.

Barker was in true form last, delighting the audience in attendance with a few zesty one-liners.

At one point, he noted that at his age, he now recognized the need for Health care, for instance.

This joke was made in reference to the fact that AFTRA was the first entertainment union to secure health care benefits for their membership.

In fact, last night, UNION reps used the occasion to unveil a documentary - "Commitment to Action" - which not only celebrates AFTRA'S 75th birthday - but the Union's good works over the years.

In the doc, well-known celebrities - like Studs Terkel - spoke out vigorously in support of AFTRA'S efforts to secure worker's rights, encourage activism, and ultimately, ensure that all performers under the "umbrella" were equally protected.

While the Screen Actors Guild negotiates contractual agreements in the area of film, AFTRA maintains jurisdiction over TV Sitcoms, Soap Operas, Radio, and a portion of the new media proliferating now in the entertainment arena.

In one insightful segment, the filmmakers report how AFTRA went to bat for the first black female newscaster being discriminated against a few years ago on Channel 5.

There was also some nasty footage of early activists getting their heads cracked open, all in the name of the cause of activism in the ranks.

A behind-the-scenes look at how the TAFT HARTLEY LAW got passed was particularly educational - and inspiring.

Also known as The Labor-Management Relations Act, it is a United States Federal Law that greatly restricts the activities and power of labor unions.

The Act, still largely in effect, was sponsored by Senator Robert Taft and Representative Fred A. Hartley, Jr. and passed over U.S. President Harry S. Truman's veto on June 23, 1947, establishing the act as a law.

Labor leaders called it the "slave-labor bill".

At the time, though, then President Truman argued that it would "conflict with important principles of our democratic society".

The Taft-Hartley Act amended the National Labor Relations Act which Congress had passed in 1935.

29 U.S.C.A. 141, specifically states that the NLRA was enacted to,

"To promote the full flow of commerce, to prescribe the legitimate rights of both employees and employers in their relations affecting commerce, to provide orderly and peaceful procedures for preventing the interference by either with the legitimate rights of the other, to protect the rights of individual employees in their relations with labor organizations whose activities affect commerce, to define and proscribe practices on the part of labor and management which affect commerce and are inimical to the general welfare, and to protect the rights of the public in connection with labor disputes affecting commerce."

The amendments enacted in the Taft-Hartley Act added a list of prohibited actions, or "unfair labor practices", on the part of unions to the NLRA, which had previously only prohibited "unfair labor practices" committed by employers.

The original Taft-Hartley Act prohibited jurisdictional strikes, secondary boycotts and "common situs" picketing, closed shops, and monetary donations by unions to federal political campaigns.

Union shops were heavily restricted, and states were allowed to pass "right-to-work laws" that outlawed union shops.

Furthermore, the executive branch of the Federal government could obtain legal strikebreaking injunctions if an impending or current strike "imperiled the national health or safety," a test that has been interpreted broadly by the courts today.

Over the years, there has been a push to merge the Screen Actors Guild with AFTRA.

One of the stumbling blocks of the plan appears to be an elitist view by a handful of members at the Screen Actors Guild.

Unlike SAG - where an actor must have a UNION job to join the Guild - AFTRA has an open-door policy.

"Any person off the street can join AFTRA," old-timers are often heard to lament to anyone within earshot.

I am in accord with the open-door policy, personally, because I am vehemently opposed to "closed shops".

I believe that everyone should have the right to work; moreover, in my view, competition is healthy.

The dedicated, hard-working few, will always work...because it is in their nature to do so.

After hearing the comments of some of the panelists at the Fine Arts Theatre - who spoke after the Documentary screened to loud applause - this would appear to be so.

A handful of AFTRA Members - an airborne news reporter, a former talk-show host, a soap actor, and a voice-over specialist - made a number of excellent points about the UNION, its value, and the need for more dues-paying members to get involved.

For the record, I have been an AFTRA member for over twenty years...having worked on TV Soaps such as "General Hospital" and "The Young & Restless"...on popular TV Sitcoms such as "Saved by the Bell" and "Silver Spoons"...and hit comedy shows on Fox like "In Living Color".

But frankly, I do have a bone to pick.

Although reps are supposed to drop down to the set to check on working conditions - I recall that a couple of the Television reps - Chris V. Hagstrom and Kathy Ewers, in particular - often neglected to meet their obligation.

Actors complained that calls on the telephone often went unanswered, because Hagstrom, Ewers, and others - were conveniently unavailable.

When it came to disputes over overtime, special business, and penalties...reps appeared to side up to the production companies.

On occasion, when SAG was picking up shows which normally would have been under AFTRA jurisdiction, the reps were also known to kow-tow to the "suits" to hold on to their small pickings...looking out for their own jobs, perhaps?

In addition, I was often put off by the horrendous attitude of AFTRA employees like Lauren Bailey, who were not only a tad slow to saunter to the telephone - but more-often-than-not - acted like they cared less...in spite of the fact the calls were made with the deliberate aim of resolving issues pertaining to benefits, residual checks, whatever.

Maybe if I was in management, or on the AFTRA Board of Directors - instead of a lowly actor - these three pig-headed employees at AFTRA would have treated me with a little more respect.

If you ask me, Union reps like the ones aforementioned, sold us down the river years ago - and just maybe - it's their fault we're in the pickle we're in today with producers.

For this reason, I wholeheartedly urge that members DO get involved, as they were requested to do last night...if only to keep a watchful eye over paid AFTRA employees who appear to be only concerned about their own backsides - not that of any relatively-unknown actor pulling down less than $15,000.00 a year.

For my taste, AFTRA employees are too clubby, prone to play favorites, and too-often engage in too much questionable politicking for their own good.

Just the facts, man.