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Bob Fraser is an actor, writer, director and executive producer (show runner) on such series as Full House, Benson, The Love Boat - and more. He has also been a lecturer at AFI, UCLA, USC, SAG Conservatory, Denver University, Equity Library, Film Industry Network, Women In Film, Actors Creative Network, Actors Site, Universal Studios, and other venues. Bob has been written up in Variety, Backstage, Hollywood Reporter, The London Times, Reader's Digest, The New York Times, and dozens of other popular periodicals. His Acting Career Courses are being used by 1000's of actors all over the world:
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| Are You A Star?
If you don’t know your definition of success, how do you expect to recognize it when it happens? Believe me, if you don’t have a clear, complete, well-thought-out, picture of what your success looks like – and the courage to write it down on paper – your likelihood of succeeding is smaller than it needs to be. That’s why I dislike the phrase, “working actor.” It’s much too vague. For those of you who don’t really aspire to super-stardom, and want to know how to define yourselves, I like the phrase Kate Winslet uses - working-class actor. Working-class implies that you want to make a living. It’s more specific. It defines a result that can be understood by your brain. It encompasses the concepts of doing well, making money, having respect, being nice, etc. I’ve known dozens of working class actors who’ve become rich, after getting cast in a TV series. On the other hand ... In order to show you where most people make a big mistake in defining and planning their career, I’m going to ask you a trick question ... Are you a star? I hope you said “yes.” Because, even though ‘working class actor’ is an 'okay' definition, the real test of your commitment is your acceptance of that little word ... star. FACT: Show business, the entertainment industry, the theatre ... is all about stars. Which would you rather see? Hamlet, starring Harry Neverheardahim? Or Hamlet, with – Jodie Foster? Now you’re thinking ... Jody Foster as Hamlet. Hmmm? Possible? Sure. See? Jody Foster makes a difference. A star makes a difference. If you want success, it’s a good idea to think of yourself as a star. In order to make a living in show business, you should keep that little word 'star' in your mind. Stars get hired first. As there are star actors - there are star gaffers, cameramen, cinematographers, character actor, casting directors ... in fact, no matter what position you aspire to in our business, remember that a star - in that particular bailiwick ... usually gets first consideration. So, in order to succeed, it helps if you think like a star. This doesn’t mean that you should go around telling people you are a star - it simply means that you should represent your career (to yourself) using the word “star.” The point is simply this: do not attempt to become successful until you have devised a complete and honest definition of the success you are trying to achieve. How can you do this? How can you start thinking like a star? Start by thinking about the qualities you admire in a star. This is the way to find out what qualities you must have (or develop) to think like a star. Don’t kid yourself. Until you are mentally prepared to be a successful actor, the likelihood of success is minimal. I have never met (or read about) a single successful performer who didn’t have a glowing, full color, picture of their eventual success. THIS NEXT BIT IS EXTREMELY IMPORTANT IGNORE IT AT YOUR OWN RISK ... IMPORTANT – Wandering around in the big leagues of show biz saying, “I just want to work,” is a tactic guaranteed to cost you what you really want – until you change your tune. All professionals know what it actually takes to ‘make it’ - and the sorts of actors with whom they want to collaborate are immediately recognizable to them. Frankly, pros are immune to beggars, whiners, and those actors who have nothing but excuses for their lack of progress. Because they know that those sort of people will rarely be able to help them make a good product. They know that just wanting the job does not mean one is qualified to actually do the job. So that phrase - “I just want to work” - is a signal that they are talking to an actor who just doesn’t “get it.” Now, sit down in a quiet room and write down your dream - don't leave anything out ... and don't forget to include the word 'star.' Dialogue For 2008 Subscribers to our free e-zine, SHOW BIZ HOW-TO (for actors, writers, directors, filmmakers and most other creative people), know that one of our favorite things is to pass along useful quotes. I try to pick those that'll keep us motivated, inspired and taking action on our dream. Once in awhile I include some fun stuff. So, as we start the New Year, I thought it might be worthwhile to send you 'out there' with some classic dialogue from the movies. Just a small reminder that those who write the words are pretty darn important and those who say them make them memorable. So, here are some words that may get you thinking. Because all REAL action begins with a thought. ADVICE - "Fat, drunk and stupid is no way to go through life." ~ John Vernon in Animal House EGO - "But enough about me. Let's talk about you. What do you think of me?" ~ Bette Midler in Beaches TENACITY - "You know I started on clean up, just like you guys. But now, see, I'm washing lettuce. Soon I'll be on fries. Then the grill. In a year or two, I make assistant manager and that's where the big bucks start rollin' in." ~ Louis Anderson in Coming to America FAITH - "That's why I came. To tell everybody I set the world up so it can work. Only it's up to you. I can't do it for you. You can do it. It's only one message. Moses had to handle ten." ~ George Burns in Oh, God! POINT OF VIEW - "I identify strongly with butterflies. BLOCKING - "Look, spaghetti arms. This is my dance space. This is your dance space. I don't go into yours. You don't go into mine. You've gotta hold the frame." ~ Patrick Swayze in Dirty Dancing. SUCCESS - "How could this happen? I was so careful. I picked the wrong play. The wrong director. The wrong cast. Where did I go right?" ~ Zero Mostel in The Producers WARDROBE - "The only thing that separates us from the animals is our ability to accessorize. AUDITIONS - "You improvise. You adapt. You overcome." ~ Clint Eastwood in Heartbreak Ridge GOALS - "I want the fairy tale." ~ Julia Roberts in Pretty Woman WORK - "I race cars. I play tennis. I fondle women. But I have weekends off and I am my own boss." ~ Dudley Moore in Arthur AMBITION - "Have fun stormin' the castle!" ~ Billy Crystal in The Princess Bride VOCATION - "If you wake up in the morning and you can't think of anything but singing first - then you're supposed to be a singer." ~ Whoopi Goldberg in Sister Act 2 FATE - “Great. Great. Tall, blonde geek with glasses. Great look. Great drummer. He died in a bizarre gardening accident.” ~ Michael McKean in This Is Spinal Tap SHOW BIZ - “Trouble is part of the circus. They said Barnum was in trouble when he lost Tom Thumb. They said he was through when Jumbo died. We’re the greatest show on earth and you can’t put 1400 people out of work because the world has a stomach ache.” ~ Charlton Heston in The Greatest Show On Earth COURAGE - “After all, you know, there are worse things than death. I mean, if you’ve ever spent an evening with an insurance salesman, you know exactly what I mean.” ~ Woody Allen in Love and Death MAKING IT - “You know, you’re really nobody in L.A., unless you live in a house with a big door.” ~ Steve Martin in L.A. Story LOVE - "And remember, my sentimental friend, that a heart is not judged by how much you love, but by how much you are loved by others." ~ Frank Morgan in The Wizard Of Oz JUST FOR GIGGLES - “Oh stewardess! I speak jive.” ~ Barbara Billingsley in Airplane! So, Go forth, into ‘08, with some dialogue to quote.
The punctuation of the above headline is optional. For instance, you might read it: "Acting: Like, You Are A Business..." (and the "dude" would also be optional). Or you might see it as: "Acting Like You Are: A Business." (Isn't punctuation fun? I hope you think so, because we writers believe that the really good actors see it as the "notation" of the score. You know the score, right?) Well, if you know the score, the headline needs only a period. Period. (Stop me, before I punctuate again!) The point of the headline is simply this: Too often we actors get so caught up in the sub-atomic details of our 'inner lives,' our insatiable desire to perform and the lengths to which we will go to satisfy that itch, oftentimes our financial distress, and our recent lousy experience with the business Ð that we tend to neglect our real lives. Take it from an old fish, who has traversed these waters for 4 decades, in real life it is an absolute necessity to view your acting career as your business. (A small business to be sure, but it has the potential to grow into a rather large small business. Okay, no more parentheses.) And, as naturally as weight follows Krispy Kremes, we must conclude that in order to have a successful small business, we are probably going to have to learn some skills that will help us in ... ("Anyone? Anyone? ... Bueller?") BUSINESS. (I just can't help myself.) In any event, it is very important to "get" the idea that your business is much like any other small business: Your goal is to have a group of satisfied customers. So you must learn how to Ð first, attract new customers Ð and second, keep your old customers satisfied. Other actors, production companies, agents, managers, casting folks -- well, everybody else in this business Ð are OTHER BUSINESSES, with whom you hope to do business. They are the suppliers, sales people, distributors, contractors and publicity units and their employees. They are not the customers. The actors' customers are the audience. Forget this (or argue with it) at your own risk. Since we story tellers are the "world's second oldest profession." I've always thought we should bear that in mind Ð as we go about trying to sell our story telling capabilities to other businesses. A good story-teller delivers a group of customers. The bigger the customer-base we bring to the table, the more our business is going to flourish. The more satisfied customers spreading our name by word of mouth, the better. This brings up the second rule of sustaining a "going concern:" Keep improving the product. You are the product, so... I think the rest of that sentence is self-explanatory. Public relations, sales, advertising and referral business contacts are four fundamental areas in the success of any small business. These things are what bring you business. They are all important to sales. You will probably have to start out doing these things on your own. Public relations is mainly about being nice. Charming. Memorable -- in a good way. Sales start with: Dependable. Why do you think you hear "It's dependable" on so many commercials. Dependable (on time, off book, in the zone) is a big part of the sales pitch. "Delivers the goods." Delivery is another big advertising pitch for good reason. "Easy to work with." this is a good beginning but the key phrase here is; "A JOY to work with." Since this is a collaborative business - you will need to collaborate. Advertising is a scientific enterprise. Since your headshot and resume (and your online presence) can be tested for effectiveness Ð you should test. For instance, direct mail advertisers (unsolicited sales letters) consider 3% a minimum effectiveness number, so it follows that we should consider our unsolicited direct mail the same way. If you are not getting called in 3 times for every 100 headshots (or other mailings) you send -- maybe it's time to try another headshot or mailer. So, test. Which means you have to keep accurate records. Like sitting down and counting and listing and math and stuff. Referral business contacts. This is the sole reason to act without getting paid money. Student films, some equity-waiver theatre, and actor-collective productions are okay, IF you are meeting and working with people who are better than you are. If you are the best in the group, you'd better move on Ð because YOU are the business contact for them. The best way to make business contacts is to be involved in your own life and your own business. Like love, business contacts begin in the strangest of places. You meet people at the gym, the museum, the Krispy Kreme store. Don't be anxious, or grasping, or needy Ð or just like love you can "go too fast." So, in order to handle the elemental business things, all you have to do is be nice, dependable, a joy to work with, an advertising number cruncher, a memorable collaborator, and minding your own business Ð while still having an outside life. If this is not how you naturally behave, and you can't develop these habits -- well, there are other businesses where being nice and a joy to work with isn't important -- like ... morgue attendant, maybe? No, no, wait! I've got it! A punctuation checker. Just kidding. I know you. You'll pay attention to business, because as we've already established; you know the score.
I recently got an email (one of dozens I've gotten on this subject) asking me if I could - "explain the difference between an agent and a manager and which would be better for me to sign with - to get my career going?" Here's my answer: Dear Actor, Neither an agent or a manager can help you "get a career going." The concept that a powerful man or woman can step in and help you skip all the hard work involved in starting an acting career - is a "fairy tale." There is no short-cut to the top of show business (or even to the middle for that matter). There's also no Great Pumpkin or Easter Bunny. If it could be done this way, then agents and managers would simply pick any actor out of the thousands of headshots they get every week and turn them into stars. It cannot be done this way - which is why agents are so unresponsive to unsolicited headshot mailings. The good ones are pros and they're not going to waste their valuable time trying to accomplish what they know cannot be done. Their businesses are similar - but not the same. One sells a product. The agent is a sales person for the product known as YOU. Sales people (agents) judge their how well their business is going by how much money they make. A really good sales professional likes to make lots of money. If your product is not saleable (one that people aren't ready to buy yet) then a sales person won't make a lot of money selling it (you). Not surprisingly, agents are coldly business-like about this part. Until you've managed to start your career yourself (making money as an actor) don't expect any really good sales people to be interested. Managers are just what the word implies. The manage things. Mailings, bookings, transportation, job offers, promotion - the day to day business of YOU. (But keep in mind that in most markets, they are precluded by law from seeking work for you.) The top managers are usually the top managers because they manage very successful careers. In the past two decades the professional manager class has had its own difficulties with an influx of "bottom feeders." The worst of these are outright crooks, whose only goal is to separate you from you money or your credit card with no intention of helping you in any way. Almost as bad are the ineffectual show biz hangers-on who rent offices and go about the business of "signing" practically anyone who walks through their door - then what they do is they send out your pictures to every little thing listed in the Breakdowns. It's just postage. Since these folks are generally clueless themselves, they will submit you for stuff you aren't right for. This is a good way to get labeled as a "clueless" actor by the casting people. Many young actors are fooled into thinking that they must have a manager, any manager - that it's "good business". It isn't. In reality you are signing an agreement to give someone 25% (or more) of your income after YOU successfully ESTABLISH YOURSELF as an actor who makes money. Bottom feeders spend a great deal of their business day writing threatening letters to collect money from actors who have realized their mistake and don't want to pay 25% of their income for someone to do ineffective mailings. The big boys (and girls) in the management game, are just like agents when it comes to money. They want to manage a "going concern" and they spend all their time looking for the next "big thing." Think about that. Professional managers make a boatload of money when they manage to sign on with a Vin Diesel or J-Lo - isn't it reasonable to assume that they are LOOKING ALL THE TIME. In fact, they hire people to look - they've got part-time, secret lookers on their payroll. Believe me, If you have what they want - if you are a going concern with a name that you've made for yourself - they know their managing skills will take you to a whole new level (making LOTS of money) and they get a big chunk of a LOT - then, believe me, they will seek you out. 3. Most importantly, as long as you continue to believe that your main job is looking for someone else to help you "build" your career -- you won't be spending enough time doing the crucial things you need to do yourself to build your own career. This is a very bad tactic which results in frustration, wasted years and, ultimately, failure to achieve what you want. If you don't concentrate on doing your part it's unlikely that you will ever build your business into something big enough to be noticed by a good agent or a good manager. In other words, by all means keep looking for a sales staff, and a management team - but don't neglect your business while you're doing it. Hope that helps.
This week I'd like to pass along some words of wisdom from seven very sharp people who have all made their way up the ladder of Show Biz success by following their own advice (and probably the advice of each of the others). First up is George Burns who made his living in Show Business for about 85 years (not a bad run), who reminds us of the first law of success in this timeless classic: "I'd rather be a failure at something I love than a success at something I hate." George Burns This is crucial: You must love what you are doing if you ever hope to be successful at it. About 97.6% (Fake Statistics R Us) of actors do not have a problem here. We all love it. Next in the pantheon is Will Rogers, who is probably the most beloved American entertainer of all time. With his inimitable Oklahoma twang, he reminded us that loving it was not quite enough, all by itself. You also had to do something about it. "Even if you're on the right track, you'll get run over if you just sit there." Will Rogers Like all great remarks, this one cuts right to the heart of most career problems. I don't think I'm talking out of school when I suggest that most of us (actors) have a big streak of lazy. That is something we all have to work to overcome -- if we want the big brass ring. I know I did. This third bit of advice comes from Uncle Miltie (The Man Who Made Television). Milton Berle spent his whole life in show biz (his mother started taking him to auditions before he could walk) and he imparts another critical factor -- a big piece of the puzzle: "I'd rather be a could-be if I cannot be an are; because a could-be is a maybe who is reaching for a star. I'd rather be a has-been than a might-have-been by far; for a might-have-been has never been, but a has-been was once an are." Milton Berle This is about sticking to it. If you think putting a time limit on realizing your dream is a good tactic, Uncle Miltie cleverly tries to convince you that you are taking a step up ... on the wrong ladder. But then there is this brilliant bon mot from the typewriter of the great playwright, author and screenwriter, Ben Hecht. "Time is a circus ... always packing up and moving away." Ben Hecht Oh, yes, it goes very quickly Ð so the sooner you get started the better off you are. Don't let the grass grow where you're standing. Do something right now. Well, finish reading, then do something. Time is moving away. Now, comes one of my favorites of all time -- from one of the classiest of the classic movie stars: "Do your job and demand your compensation, but in that order." Cary Grant I love the fact that Cary Grant calls it a job and then he ties it immediately to the money. For most of us, that is really the ultimate goal Ð acting for a paycheck. Keep that in mind every morning when you wake up. BTW, complaining that it's hard won't make it easier. Making money will start to happen when you decide that's what you want Ð and channel all your efforts in that direction. Getting paid to act is a big step up ... on the right ladder. If you are willing to learn from a school teacher, here's one who became famous as a humorist some 50 years ago, who wrote books and was a regular presence on early TV: "You must learn from the mistakes of others. You cannot possibly live long enough to make them all yourself." Sam Levenson What this means in simple terms is read books, watch biographies, make an effort to find out how others have succeeded Ð then "copy" their successful strategies while trying to avoid the pitfalls they stumbled upon before you came along. The great thing about doing this part yourself is that you will only "copy" those methods that fit with your desires and needs. You won't be in the position of having to accept someone else's version of success. You can customize your plan for your own comfort level. And this is my favorite exhortation by one of the great humorists and writers of more contemporary times: "Contrary to popular opinion, the hustle is not a new dance step ... it is an old business procedure." Fran Lebowitz Listen to Fran. Show Business is an old business. It's a darn good idea to use those old business procedures to succeed at it. Hustle. Love it. Work it. Just Do It. Try, try again. Hey, I got a million of 'em.
If you've spent any time waiting to audition Ð with dozens of other actors going in before you Ð you know what it is to feel the ebb and flow of that crucial feeling of confidence. Confidence is the actor's special need. We all know, almost as if by osmosis, that it is the key to everything. Confident actors win auditions. Confident actors win audiences. Confident actors are more successful actors. Confidence is coin of the realm in show business. We know it. Our problem is that no one is explaining how we can become confident. Sure, we've heard all the stories - Lincoln lost every election, Edison tried over a thousand times to invent the light bulb, Harrison Ford struggled for over a decade -- yeah, yeah, we know. We get it. Persistence. But, the thing those stories don't tell us is... HOW? How did Lincoln, Edison and Ford face all that failure and remain confident? Did Lincoln stand in front of a mirror chanting that he was worthy while people told him to go back to his log cabin. Did Edison wear a t-shirt that said, "What I really want to do is invent?" Did Ford recite life-affirming haikus every morning of the ten years he worked as a carpenter -- and watched lesser actors rise to stardom? We already know they DID it ... we just don't know HOW they did it. How people become confident is left out of these damn stories. We already know that we should be confident people Ð but would someone, please, show us HOW to do that? Well, as it happens, someone has written a book that is a seminal work in this area. (IMHO) Her name is Rosabeth Moss Kanter, she's a professor at Harvard Business School, and her book is called (cleverly enough) "Confidence" (Crown Business Press, 2004). As most of you know, I usually "plug" my own book (I know, I know, more than I should) but this time I'd like to urge all actors to get a copy of Ms. Kanter's book. Kanter has taken the time to investigate the "how" of confidence and written it down in a clear, straight-forward way. She started by interviewing lots of athletes and business leaders and in the resulting study she has managed to organize and illustrate the behaviors, habits, attitudes, skills and core beliefs of highly confident people. (That highly confident people are highly successful is a given ... again, we know it.) The good news? Anyone can become confident. The bad news? It takes a lot of work. 'Pick me up" platitudes are fine, but the real work involved, in order to become confident, is what sets the pro apart from the 'wannabe.' Ms. Kanter's premise is that confidence is not simply a frame of mind or attitude, but a collection of habits, characteristics and behaviors that set events in motion in one of two directions; winning and losing. Winners act and react to their world in one way Ð and losers in another. Most importantly she points out that there are concrete, identifiable, signposts along the way Ð signposts which determine what path you are on. For instance: Confidence that isn't supported by hard work and realistic expectations is nothing but wishful thinking. Success comes with its own problems of sustaining and improving results. Confidence is complicated and cannot be taken for granted. There are different kinds of confidence for different kinds of attainments. And those are just a few of the important insights that are illustrated by real-world examples in this study. In order to help as much as I can, in a short article, here's a short list of habits I've paraphrased from the book. Habits that you will always see in confident (and therefore successful) -- oh, let's say ACTORS, for instance: 1. Confident pros are open to criticism or suggestions. 2. Confident pros are honest about their own abilities and limitations. 3. Confident pros seek the advice and input of others. 4. Confident pros learn from their mistakes. 5. Confident pros set realistic goals, and have realistic expectations. 6. Confident pros are willing to work hard to achieve their goals, and DO. 7. Confident pros take personal responsibility for their fate. 8. Confident pros embrace new challenges and take reasonable risks. 9. Confident pros replace bad habits with good habits 10. Confident pros EXPECT good things to happen. The opposite side of the theatrical mask is the perennial wannabe, who almost always exhibits precisely the wrong habits and behaviors. 1. Wannabe's react defensively to criticism 2. Wannabe's are not honest about their abilities or limitations. 3. Wannabe's shun the advice or input of others. 4. Wannabe's tend not to learn much from their mistakes. 5. Wannabe's set unrealistic goals and have unrealistic expectations. 6. Wannabe's use problems (it's hard) as an excuse not to try. 7. Wannabe's blame others for things that go wrong. 8. Wannabe's avoid new challenges and want to play it safe. 9. Wannabe's repeat self defeating habits over and over again. 10. Wannabe's expect the worst and often get it. If you are interested in learning about the "how" of confidence I recommend Ms. Kanter's book unreservedly. This is a book every actor who wants good instruction on having confidence and keeping it Ð should read. One caveat: what might look easy to do, on the surface, is often the hardest thing to actually attain. But, I'm confident you already knew that.
One tool every actor must have in the tool kit, at all times, is a polished, prepared monologue. (Or 2) In fact, very successful actors learn and practice several -- to be ready for different sorts of audition circumstances: In office, on stage, at a rehearsal hall, on-camera, etc. What every actor wants (and needs) is a "killer" monologue. So here are the first steps in my M.O. (modus operandi) when it comes to finding and performing a "killer." First, think outside the box. It seems to me that many of these books I see at Samuel French with titles like 50 Monologues for Actors or Monologues For Women, are used to death. In other words, everyone has heard and seen the monologues from the monologue books dozens, if not hundreds, of times. I could be wrong about this -- but I'm probably not. This makes this material "iffy" in terms of it's professional (or collegiate level) usefulness. You need something to "hook" the kind of viewer you will be performing in front of. Usually a hard-bitten pro. I would suggest that your goal is to find something that nobody else is doing. Something casting directors, agents, managers, directors and acting school admission people haven't seen over and over again. With real work, you could probably come up with something they've NEVER seen before. This is good because they will then be paying attention to the TOTALITY of your presentation. It's hard to be picky when you're "hooked." It's your job to "hook" them. Start by searching in places other people are not searching. (Here's a hint: There are no undiscovered Shakespearean monologues.) There are many possible sources for monologues that are off the beaten path. For instance, I recently saw a small piece on the net, ostensibly written by an 8 year old called "Explaining God." One of my newsletter subscribers has two young boys who are actors and so I sent this along to her as possible monologue material. As it turns out, she had seen the piece several times in her email box, but had not thought of it as a monologue. She (and her boys) loved it. I'm sure the casting people will love it too. Here are some good places to look for material: Court TV. Some of these trials have some fascinating characters "in extremis." Get out the tape recorder and adapt. Books. One great thing about novels is that the characters often talk at length and when they do Ð it's usually something dramatic. Old movies. Again, the writers of the older films were allowed to go on a bit. Use your recorder to capture these gems. Interviews. There are many newspaper and magazine stories where the subject is interviewed and tells a good story. Or even do your own interviews with people (with the trusty tape recorder). Ask them how they met their spouse. What childbirth was like. What did they do in the war. An often overlooked source of first person writing is the autobiography. If you're looking for a funny monologue you could do worse than finding the books written by funny people and digging for gold. Drama and memory pieces are even more available in the great bulk of autobiographies. While you look, keep in mind the three main things every performance monologue MUST contain: Story. Character. Emotional impact. In fact, the successful monologue will be just like a successful movie or play. It will contain a beginning, a middle and an end. A good way to accomplish the mind-set of a good monologist is to start thinking like a comedian. A well structured joke contains all the elements of a full length entertainment. Remember, you've got two minutes, (or less) so make the best of every second. Story. Don't make the mistake of thinking that the viewer has any information up front. They don't. So your choice has to contain the entire story. The opening line or two should set up the whole piece. Hook us. Give us the back story. Tell us who the character is. The next line or two should present the dilemma, the conflict. The end should always be a "snapper." The punchline of a monologue is extremely important. Keep looking until you find a good one. I'm not talking "joke" here. I'm talking about the "exit" line. "The button." The last thing you say (and do). Character. It's critical to realize that the closer the character is to you, the better the result of your monologue will be. If you're a teen-ager, the character should be a teen-ager. If you're a bald old man ... well, if you're a bald old man, I'm sure you get the idea. The other important point about character is this: You are a human being. You qualify as a character. Don't forget that. Emotional Impact. The key to a successful monologue is its ability to evoke an emotional response in the viewer. This can be sadness, anger, happiness, memory, laughter, etc. And allow me to repeat; it's terribly important that the piece you pick has an impact on ... the viewer. Too many actors look for something that allows them to act out an emotional state. This is a bad tactic. The emotion of the actor is not "the goods." It's how the viewer reacts that counts. Watching you cry or emote in my office is not going to be that interesting. If, however, I cry (or laugh) while watching your "presentation," you win -- Big Time. Ignore this important "sales" tactic involved in the choosing of your monologue material -- at your own risk. Performance. I suggest that you find some good "in one" performances and study them. A few I would suggest are "Mark Twain Tonight" with Hal Holbrook, the Whoopi Goldberg play (the one where she was discovered) and Bill Cosby "By Himself." Richard Pryor also has some amazing techniques and he is very much worth studying. In fact, if you want to really get good at doing monologues, you should make a study of all the "one man shows" that were good enough to end up on tape or DVD. Don't forget that the entire purpose of your monologue is to show off your "chops." It might be a good idea to work on those "chops" Ð so do your homework. Which means ... Practice. It is not sufficient to memorize the words and think you've accomplished the job. As with any performance you should rehearse until it becomes second nature. Do yourself a big favor and try out your choices on other people. Find a friend you trust (not a 'critic') and get feedback. Return the favor by watching your friend's monologue. Team up, collaborate, and get better results. Let's review: Choose wisely. Think outside the box. Tell a story. Reveal a character. Evoke an emotion in the viewer. Have a "closer." Practice and perform. Repeat. As with any of the tasks facing an actor, doing this right isn't easy. In fact, it's pretty hard. But if you want to have a successful monologue you've got to be willing to do the hard work. Your monologue is one of the few chances you will get to impress a casting director or agent Ð it's your job to make sure it's spectacular. And success will always be a result of the work you put in to make it a polished professional package. Work hard at it. Take the amount of time it takes to do it properly. The "amazing" results of hard, careful, work -- cannot be stressed enough. Now get out there and hunt down that "killer." And ... be careful out there.
As those who've gotten my course know, I exhort all actors to make a choice in their professional lives (at some point) to decide that they are in the business of acting for money. Acting for the fun of it is a great joy Ð but it's no substitute for a paycheck earned on the boards (which means on a stage or sound-stage). But how do you do it? Let me tell you how I did it and hopefully give you a sort of blueprint to follow. Throughout my career, if I wasn't offered a job -- I made my own job. (There's going to be a lot of work involved - to follow this plan - so just be warned.) I've literally made half the money I've made in my life by "putting on a show." For instance during my early years in NYC, when Equity roles were few and far between, I started a children's theatre. I found a carriage house in the courtyard of a building on W. 45th St. and my wife and I converted it to a small theatre. We put on plays for kids and we charged for tickets. We made a nice living -- and so did the actors who worked with us. (For those of you in NYC that was the start of The Courtyard Playhouse - some 40 years ago.) Even when I was booked for a TV show or film, that children's theatre kept bringing in a steady income. Why? Because there was (and still is) very little COMMERCIAL children's theatre being done. By that I mean theatre that actually appeals to the audience it is intended to serve -- kids. To this day it is a virtually untapped market in most good-sized cities. And any small group of actors can get together and do it. You don't have to be in LA or New York to do it. It does require a lot of work - and it's not to be taken up lightly -- but for a way to make money while acting, it's great. Why not put on plays for an adult audience, you ask? To be blunt, it's a tougher crowd. And the competition - even in a small city like Minneapolis or Atlanta - is abundant and daunting. But the best reason is that the kids audience is a real audience. Folks with kids are looking for your product. Kids will enjoy it (or not -- depending on your ability to entertain). And the skills you develop in front of a paying audience will become a cherished resource. Not to rile anyone up, but most folks have learned to avoid the kind of plays that are generally being produced in some 'hole in the wall' theatre. From the actor's perspective this is not a good situation. Because in many cases the production ends up playing to an audience of other actors or industry people, friends, relatives, critics from the throw-away papers ... and only the occasional paying customer. You cannot learn your craft by playing to a reluctant, hyper-critical or blindly accepting audience. So that's my first suggestion: Put on a show where you can make money. Look for an under-served audience. Another kind of show, which takes a lot of work and a lot of sales ability - is the Industrial Show. Almost every company of size in the US (and probably all over the world) has occasion to put on a 'show' from time to time. These companies are always on the look-out for a self-contained show they can 'hire' to entertain the employees at a dinner, or cozy up to the customers at a convention, or simply to develop a good relationship with the public. These shows can be musicals, comedies, spectaculars, even little 'kitchen' dramas as long as they have a point that the company wants presented. This sort of venture requires someone with writing ability ... but actors are the essential ingredient. Again, this is not an easy thing to accomplish - but the steps are clear and the competition is not as fierce as network television and major motion pictures. I spent several years producing and acting in this area - and I made a lot of money. A lot. Corporations have very generous budgets for this sort of thing. The terrific upside of either of these kinds of productions is that you are playing for a paying audience - something that is central your goals. This is a good habit to get into. Remember, if the audience isn't eagerly paying for the show - you probably won't be getting a pay-check. I have a lot more to say about the tactics for making money with your acting - but they will have to wait for another article - I'm late right now. I'm taking my niece to a children's show. Ten bucks for her ... fifteen bucks for me. I hope it's a good show.
I am frequently asked what I think is the most important ingredient in a successful performing career -- talent, looks, connections or having the right agent. My answer is that those things can be helpful but none of them are crucial to the successful pursuit of an acting career. In fact, when it comes to making your dream a reality -- I believe that WILL-POWER is king. Here's why: Back in '64 when I first wandered Broadway with my headshots and resumŽs, I met a man who taught me the meaning of will-power. I was newly arrived from the "sticks" and I jumped into the actor's life immediately Ð I got a job proof-reading the Manhattan phone book. When I wasn't at my J.O.B., I was at an audition. I got Backstage early on Thursday morning and spent every off work hour going to all the open calls for Broadway shows, Off-Broadway shows, off-off, touring groups --practically anyplace actors lined up looking for work. The first thing I noticed about all these auditions was that I saw a lot of the same people at every open call. It soon became clear to me that I was not alone in my quest for a paying acting job -- that a lot of actors got Backstage early on Thursday morning... etc. After several unsuccessful auditions, I began to realize that 'making it' was not going to be an walk in the park. Of course I was talented! Heck, I was the best actor to ever come out of Cheyenne, Wyoming. Everybody there said I was going to be a famous actor someday. So I was stunned by all the VERY talented actors I was seeing at every audition. I was a decidedly small worm in The Big Apple. But I had reason to be optimistic, because there were also a lot of actors I was seeing at the open calls, who weren't really competition -- I mean, some of them must have been delusional -- they were so-o-o NOT talented. Which brings me to the man who taught me a great lesson. He was a tall, strange dude with long unkempt hair. He always carried two shopping bags full of food, headshots, clippings, scripts, candy bars and second hand clothes. This is before folks were called "homeless" -- but he would definitely have fit the description. His auditions always consisted of the same "act." No matter what kind of show he was trying out for, he would get up in front of everybody, put on a silly hat, wrap a scarf around his neck, haul out a battered, out of tune ukulele and sing. He would sing one of the recent hit songs from a Broadway show, in a horrible falsetto voice. In those days he was murdering songs like "Cabaret" and "Hello Dolly." At every open call, when his name was called out, most of the other actors in the long line would groan and grouse Ð this clearly untalented BUM was taking up THEIR valuable audition time. The casting people just sighed. He was always there. It was an "OPEN" call. They had to deal with it. He would sing his horrible song, get many unwanted laughs, be dismissed with a loud "NEXT!" and then endure a spate of mean spirited remarks from his fellow actors, as he left the building. "Stop wasting your time." "You stink." "You have no talent." But this guy ignored his fellow performers and just kept showing up. He was always the same: Awful. And nothing anyone said to him had any effect on his behavior. He didn't get better. He didn't comb his hair or clean his clothes. His singing got worse, if that's possible. But he kept showing up. I must admit I felt the same way about this guy as most of of the other actors. I wasn't vocal about it, but we were all so talented and we weren't getting anywhere -- what made this guy think he stood a chance? Then, as sometimes happens with people who write, I became fascinated by this character. I was curious about what made him tick. What kept himcoming back? He was never going to "make it"-- everyone could see that. So, I made it my business to chat with him. I discovered that all this pathetic guy wanted, in the whole wide world, was to be in show business. He was passionate about it. He just purely loved performing. I also found out that he had been going to open calls for close to 7 years. 7 years! To me, the idea of 7 years of failure was very scary. Could I do it? Would I end up like this guy -- who was clearly not the brightest bulb on the tree? Maybe I was delusional, like him, and everyone was laughing at MY pathetic auditions. But, I kept going to open calls -- and so did he. A little way down the road, I got in an off-Broadway show. The show ran 3 months. When I went back to pounding the pavement -- the guy was still showing up at every audition. Then I went South on a dinner theatre tour. 4 months later I came back to the city and, yes, he was still showing up. Then I got a national tour and was gone for half a year. That's right, when I got back he was still popping up at every open call. I chatted with him again. I asked him directly whether he ever felt that his desire to be in show business was a hopeless cause. (As I thought it was.) He said, "No. I will never give up, because it's all I want. I know it's a just matter of time. All it takes from me is the will-power to keep trying." I probably chuckled -- in those days I didn't believe in "will-power" or any other mumbo jumbo. I believed in talent and agents and connections. But mostly, I believed in talent. His "will-power," in the face of eight and a half years of rejection, just didn't make sense to me. Then, I got cast in a long running musical, did a couple of commercials and got an agent. I wasn't going to open calls anymore -- and so, I never saw this guy at an audition again. CUT TO: 1970, some 5 years after these events, my wife and I had bought a theatre in South Dakota. That's where we were, watching TV one night, when suddenly -- there he was! On television! He was a guest star on Laugh-In. I was stunned. He looked exactly like he'd looked years ago at all those open calls. And he was doing the same act! He strummed his bedraggled old ukulele and sang in his off-key falsetto. Then, as the months went by, he appeared on Carson, then Merv Griffin, and he became a regular on Laugh-In. His face was on magazine covers. His name was immediately recognized. He went on to become a world-wide celebrity. One of his TV appearances still holds an all-time high rating record. This strange, unkempt man had gotten what he wanted. It took almost 13 years Ð but he was in show business, he was famous, he was making the big bucks Ð and, believe me, he had not become talented, good-looking or connected in the meantime. In other words, his "will-power" had conquered all those seeming obstacles to his success -- and he had reached his stated goal. That's how Tiny Tim taught me that knowing what your really want and will-power are more important tools in the actor's kit-bag than a genetic gift, like talent or looks. So, the answer I give is this: I believe it's critical to your dreams of success that you have a clear goal and the will-power to beat the rejection. (Which IS going to happen to you -- whether you are talented or not.) And, BTW, you remember those actors who complained and made remarks about Tiny Tim wasting their time? I've never heard from any of them again. They didn't "make-it." Probably because they were JUST talented.
I recently got a letter from a young actor in Kentucky. She told me that an agent in Atlanta had said that she was definitely cut out to be an actor. That she had "the look." But that she would need classes and pictures which the "agency" would provide -- for a fee. Then, a friend of hers, who has been acting "for years" told her that she wasn't very talented and that without talent she would waste a lot of time and money chasing after a dream. That talent was the main component of successful actors. The actor got two pieces of bad advice. The first piece of advice was from a scammer (IMHO). The second was mean spirited, uninformed and just plain wrong. Webster's Unabridged Dictionary defines 'talent' thusly: 1. a gift committed to one's trust to use and improve; from the parable of the talents, in St. Matthew; hence any natural faculty, ability or power. 2. a special, superior ability in an art, mechanics, learning, etc. While I agree in theory with Webster -- there is a common misconception among some 'helpful' agents, teachers, and talent managers that somehow there exists a "natural" actor gene -- or in Webster's definition "a special superior ability." Since most human beings act -- behaving, emoting, reacting, listening and slipping in and out of attitudes every day (all skills of a professional actor) -- why is it that these "special superior abilities" are rarely quantified nor explained? The idea that some people should just forget it because they aren't talented or that others should go ahead because they have "the look" -- needs to be dispelled by those of us who know the truth about what it takes to have a professional career. I never address the question of whether someone is cut out for the business of acting because I have learned through long hard experience that I don't know who is and who isn't going to succeed. I don't really believe that anyone can say. There are just too many variables. As William Goldman put it, "Nobody knows." This much I do know, I have seen actors who were clearly 'talented' end up teaching second grade and people with little or no discernible ability, go right to the top. Telling a young (or even not so young) actor that it's all about "talent" or "looks" is not only not correct, it's not very kind. When I first decided I wanted to be an actor, I couldn't act a lick. And I'm far from a babe magnet. But I've made millions in this business. My point is simply this: Any "reason" to go ahead or give up should be questioned thoroughly -- from all angles. Common sense tells us that if acting were all "natural" ability there would be no need of acting teachers, coaches or "acting tracks" at colleges. Of course, acting is not an easy business. It is more difficult than most professions because it sometimes takes years to establish a career. But the gap between 'talented' and 'not talented' is so slim as to be indiscernible Ð that's a fact. As everyone knows, who reads my stuff, I try to make it very plain that this is really hard work. Few achieve stardom. More actors can achieve a career, but it is still a small percentage of those who think they'd like to act. Not all of the successful actors on screen and stage are "natural talents" or good looking. Some are just better at the business part or they manage to stay at it longer than others. As I point out in my course, there are specific steps you must take to have any hope of success. And the first step is to rid yourself of all the "walls" you build up Ð or allow others to build Ð that keep you away from your dreams. As with all dreams (whether it be sports, music, architecture, medicine, poetry, dance or having the biggest ball of string in the world) it won't become real without action on your part. If you believe that there are "reasons" you will or won't succeed, you won't do what needs to be done. That's why -- You Must Act! Here's a letter I got recently that really drives home the point: "... and the one thing that I hate is that many people say, "I can't draw." "I can't sing." Bull! One can do whatever he/she loves to work at doing. "Take Eric Burnes, the lowest paid player on the Oakland A's baseball team. I grew up playing ball with him and let me tell you, coaches would put him anywhere the ball would not go. They even tried him as catcher, maybe he wouldn't drop a fly ball there. "My point - he loved the game. "I couldn't understand, because I got tired of the game, I did not love it. But Eric prevailed, playing years in the minor leagues, making no money, I mean nothing, those players are lucky to have their laundry done! The key to success is Ð no regrets no matter where you end up! It's the journey that you should love." Peter B. Peter's right Don't accept "reasons" to pursue or give up your dream without a complete investigation into whether those "reasons" are real or someone else's illusion of reality. The truth is: REALITY IS NOT OPTIONAL.
One of the questions I get asked frequently relates to something that most actors face in their interviews with agents and casting directors. Here's how a typical letter reads; Dear Bob, I met with an agent yesterday and the first thing she said was "Tell me about yourself." So I told her what my credits were, where I went to school, people I knew in the business and so on. She didn't really listen. She said she'd let me know. I already know. She's not interested. What did I do wrong?" Q: What do I say when they say, "Tell me about yourself." Me: Whatever you do, DO NOT recite your resume, where you went to school and so on. Always keep in mind the kind of work you want to do ... story telling. In the case of an agent, you are interviewing a prospective salesperson for your business. It's your job to convince a thoroughly professional salesperson (an agent) that representing your product (you) is going to produce a lot of income. The agent's income depends on finding, representing and selling the best story tellers he can find. An agent learns quickly how to spot the 'comers' and ignore the 'wannabes.' The sole criteria is this: "Is this actor a good story teller?" The observable reality? No agent can tell if you are a good story teller unless she sees you telling a story. That opening gambit Ð "tell me about yourself" Ð is an agent's way of saying; 'tell me a story.' If you don't comply with this request, agents become like five year olds; 'tell me a story, tell me a story, tell me a story.' These repetetive requests come in the guise of: "I see you went to Carnegie Tech." "So, you're from Connecticut." "Oh, you worked with Burt Reynolds." When you hear this kind of thing it's just the agent trying to get the 'test drive' started. They want you to tell them a story. Okay, now that you know what's really going on, it's time to discover what your response should be Ð the next time you hear those words; "Tell me about yourself." What you should do is ... TELL A STORY. Go through your real life experiences and start creating narratives about yourself. If you have to bend the truth a bit to keep the interest up, then so be it. Fiction is our business. (Don't make up credits or relationships.) For instance, let us suppose that you have only one credit in a community theater production of "Sally Of The Sawdust" Ð and you only had two lines as Cannonball Bill. The beginning of your story might be something along these lines: "Well, I made my first entrance on to a stage in an unusual way Ð I was shot from a cannon." (This is what we in the fiction business call a "grabber.") Now spin out a story where there's a little suspense, a little joke, a little pay-off of some kind; "One night we had an understudy who was supposed to say one line after I got shot onto the stage. He was supposed to say. "Hark I hear the cannon roar!" He was pretty nervous because he'd never been on stage before. Anyway, when I got shot out of the cannon with a large bang, the understudy was startled and he said, "What the hell was that?" Don't forget the drama! This is a scene you are painting for the agent. Play it. Tell a story. A beginning. (The grabber) A middle. (An interesting thing happened) And then the end. "So I thought to myself, someone of my caliber could go far in show business." (Groan) Alright, not the best joke Ð but the point is this; tell a story that keeps the agent interested in the outcome and you'll go a long ways toward convincing the agent that you are a 'comer.' By the way, when I say "create a narrative," I'm not talking about lying Ð I'm talking about taking the stories in your own experiences and make them memorable. Dramatic! Hilarious! Exciting! Suspenseful! Now practice telling your stories in such a way that the agent can't wait for the next line. Believe me, once you "hook" an agent with a well-told story, you will get what you came for; representation. In other words, sell the salesman. The same advice goes for casting directors. They are the personnel department of the company you hope to work for. The same idea applies. Tell a story. 1. Get several good stories in your repertoire. 2. Practice telling them. This is basic, bottom-line preparation. If you don't have stories to tell, you are going to suffer through a lot of needless rejection. So the next time you hear, "Tell me about yourself." you know all you have to do is be prepared to tell a story. Make it a good story, practice telling it, listen for the cue line and go. Your positive results will soar. One more thing Ð you can observe how other actors and performers "tell stories" by tuning in to the celebrity interview shows. Some are good at it and some are not so good. (I'm sure you'll see the difference.) But they're all trying ... to 'tell me a story.'
One of the basic premises of all marketing (a fancy word for selling) is the USP. This stands for Unique Selling Proposition. For instance Avis "Tries Harder," or Pepsi "Hits the Spot." I like to promote an idea to actors, called the UCP or Unique Character Presentation. Beat the casting directors to the punch -- decide on your "type" yourself. Learn the basic types -- and how they are sold -- and then choose what fits you best. Pay particular attention to that word "unique." It means that the product must be differentiated from other, similar, products. Here are the types -- and the components used to sell them -- in hopes that this list will help you develop your own Unique Character Presentation. (I'll also give a few examples of actors who have used each type in building their career. Take particular note of how widely varied two people in the same type can be): THE INNOCENT - A person whose goal and core desire is happiness, who fears being punished for doing something wrong. This person's strategy is to do things the "right" way. This approach requires faith and optimism -- so THE INNOCENT is expected to reflect goodness, morality, simplicity, nostalgia -- the child. Selling this image generally requires a romantic, traditional approach. Or in some cases, mystical, saintly or dreamy. (David Schwimmer, Meg Ryan) REGULAR GUY (GAL) - This is person whose goal and core desire is belonging and connecting with others. The strategy is to have a "common touch," be a "down to earth" person with solid virtues. This type is known for his realism, empathy and lack of pretense. This is the "good ol' boy," the girl next door, the working stiff, the solid citizen, the good neighbor and the regular Joe. Selling this image requires differentiating from elitist, powerful people and stressing the everyday functionality of this sort of person. (Ray Romano, Sandra Bullock) THE EXPLORER - This sort of person wants to experience a better, more authentic, more fulfilling life. Conformity and the feeling of being trapped are what THE EXPLORER is avoiding. The strategy is seeking new things, escape from the everyday, autonomy, ambition and being true to one's inner life. Selling an image like this is done with individuality, differentiation, 'new and exciting' are words to keep in mind. This is the seeker, the wanderer, the pilgrim. A Pioneering spirit. (Ellen DeGeneres, Johnny Depp) THE SAGE - This is the type of person whose goal and desire are to use intelligence and analysis to find the truth and understand the world. Not wanting to be duped, misled or ignored, THE SAGE uses information, knowledge and self-reflection to reach the goal of the truth. Selling the sage is mostly a matter of projecting expertise, philosophy, good planning, solidity, a professional image. The mentor, the teacher, the guru. (Leonard Nimoy, Oprah Winfrey) THE HERO - A constant in the telling of stories, THE HERO is the person who believes to their core that where there's a will, there's a way. The goal and main desire is to prove one's worth through courage. The strategy here is strength and competence. From the superhero to the team player -- the warrior to the winner --this person wants to improve the world with his mastery of fear. Selling this image is somewhat complicated as several of the other types can cross over to this role. But, straightforwardness is a mainstay. Clear-eyed and capable. No reluctance to go into the unknown. This is someone we can depend on. (Sylvester Stallone, Linda Hamilton) THE OUTLAW - This type wants to change what doesn't work for themselves, generally through revenge or revolution. This person is a misfit, a wild man (or woman) who rebels against the norm. The strategy here is to disrupt, destroy or shock. Selling THE OUTLAW is mostly a matter of breaking with convention. Words to keep in mind are radical, outrageous, the "dark side." Social outcast. Reactionary. Rebellious. (Al Pacino, Kathy Bates) THE MAGICIAN - This person's goal is to make dreams come true through a fundamental laws of how the universe works. The main strategy is to develop a vision and live by it. Always looking for the "win-win" situation. Appearing as the visionary, the inventor, shaman, medicine man, or charismatic. Selling this image is projecting a transformative nature. Specialness, spirituality, and ability to effect the outcome. This can be a "new age" approach. (Lucy Liu, Jon Voight) THE LOVER - People of this type have a goal of relationships through intimacy and experience. The strategy of THE LOVER is to be passionate, grateful, appreciative and committed -- to become more emotionally or physically attractive. This person can be a spouse, a friend, a partner or a team builder. Selling this image is a matter of being outer directed and able to please others. A comfortable "belonging" -- differentiates THE LOVER from other types. (Aaron Eckhart, Drew Barrymore) THE JESTER - With a goal of having a good time and "kidding" the world, THE JESTER plays, makes jokes, can be the trickster. Never wants to be boring or to be bored. A strategy of puncturing self importance, creating fun and live in the moment is what differentiates this person from the "herd." Selling this image requires a welcoming, trustworthy, friendly approach. Truthful, open to change, easy to know are ideas that important to being this person. (Adam Sandler, Queen Latifah) THE RULER - The goal of 'the boss' is to create a prosperous family, community or team. Success is a result of this person's core desire to control the situation. The strategy is to exercise power, leadership, responsibility and authority to achieve a greater end. Selling this image is all in the areas of confidence, stability and trust. Differentiate from "regular" people. (Judi Dench, Alan Alda) THE CAREGIVER - This type cares and protects other selflessly. The strategy of THE CAREGIVER is doing things for others with compassion and generosity. The parent, helper and supporter are people that fall into this category. Selling this image is about family, team, health, education -- helping. Differentiate from selfish people. (Frances McDormand, Keanu Reeves) THE CREATOR - This is a person who wants to give form to a vision and to create enduing value. The strategy here is to develop artistic control, culture, skills and to express her own vision using creativity and imagination. Selling this image requires innovation, self expression, and artistry. Differentiate from unimaginative, banal and usual. (Steve Martin, Bette Midler) As you can see, there are many types and even more strategies for projecting the image that sells. Add to that, the ability of some actors to combine some types and you have, literally, thousands of choices. For instance, Harrison Ford is the regular guy hero, Robin Williams is the jester creator, Julia Roberts is the innocent explorer, and Sarah Jessica Parker is the lover caregiver. In fact one of the transitions every actor makes in a career is the expansion of their basic type -- to include elements of other types -- which, in turn, extends their staying power. So the question is not "What type are you" as much as it is, "What's your Unique Character Presentation?" Now all you have to do is look at yourself in an objective way and align your marketing efforts with your natural tendencies. It's up to you to choose, or you can wait for someone else to decide for you - which might take a long time. Be the creative hero in your own career.
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INDEX Are You a Star? (3/4/08) Dialogue for 2008 (1/1/08) Acting Like You're a Business Agent? Manager? Do It Yourself? The 7 Steps to Acting Career Success Acting Career: A Confidence Game Acting Career: The Killer Monologue Acting Career: Acting for Money Acting Career: Talent 2 - Will-Power 10 Acting Career: What If I'm Not Talented Acting Career: Talking to Agents. It Helps If You Know The Answers Acting Career: You Are A Unique Character - It's Your Product |