the focus, winter 2015

2021 N. WESTERN AVE., L.A., CA 90027 323.856.7736 [email protected]

SAG-AFTRA Los Angeles Conservatory

Winter 2015 TH

E

BEING A PROFESSIONAL By Lee Garlington

The end of the year – or the beginning of a new one – is a great time to review and assess, and then set your intentions for 2015, both as a person and as a professional performer. Without this time-honored process, it’s almost impossible to align with your (higher) self and turn dreams into goals.

Review and Assess: Two sheets of paper. On one write, “What Worked in 2014”, and on the other write, “What Didn’t Work in 2014.” Don’t limit the lists to just career achievements (or non-achievements.) Look at everything, health, love life, family relationships, living situation, exercise, keeping commitments to yourself and others, time management, adventures, having fun, friendships, emotional wellbeing, spiritual fitness, financial stability – consider the whole package, every aspect of your life. What did you do this past year? Or not do? Put each item on one of the two lists. AND, there may be a few things that go on both lists. We have to be able to hold the polarities

- few facets of life are not, on some level, both assets and liabilities.

After you make the lists, walk away for a day, or at least a few hours. When you come back to see what you’ve written, review it with a discerning eye. Look for patterns. Are all the things that worked in one area of your life? Is most of what didn’t work related to poor time management? Are

most of your disappointments related to a lack of self-esteem? Or too much entitlement? Are the things that worked more or less important to you than the ones that didn’t work? See what you can garner from the lists. You may want to write about it – pray, meditate, talk to someone you trust, whatever works for you – and see if there’s anything there that informs the next part of this process.

Intentions for 2015: Based on what you’ve just discovered about what worked and didn’t work this past year, how do you go about setting intentions that are both realistic and yet inspirational for 2015? If one of the “not working” things was the fact that you only had five auditions this year and no jobs, perhaps it would not be “real” to set your cap for 50 auditions, starring in a film, and becoming a series regular on a hit Showtime series. That can be a dream, but what’s a more realistic yet challenging goal? Pick your numbers, the specific goals you want to realize. Do you need new representation in order to achieve that goal? What do you need to do this month, this week, this day, to make it happen?

I’m a big believer in victories. I always tell the people I coach, don’t make commitments to yourself that you’re not going to keep. We can encourage ourselves to do more when we feel the pride of having accomplished what we said we were going to do. If I tell myself I’m going to write for 20 hours this week and only get in six, I’m going to be disappointed. If I commit to 10 hours and write for 12, I’m going to feel fantastic! Proud! MOTIVATED TO DO MORE! The difference between a dream and a goal is a plan and a deadline. You can do this. Just break it all down into bite-sized pieces and make those dreams come true, one commitment at a time. Bon chance! www.leegarlingtontheactress.com

How to Register for

Classes 3

Workshop

Schedule 4

Workshop

Descriptions and

Times

5

Conservatory

Rules and

Regulations

8

IN THIS ISSUE:

“Turn dreams

into goals…

You can do this.”

http://www.leegarlingtontheactress.com

THE PRACTICAL

ACTOR

Advice from a Working Actor By Kevin McCorkle

Q: There is nothing more grating than someone who says, "So, you're the one who wants to be an actress." Now, I realize that it's not the intent of the person saying it to offend me, and that I might sound crazy, but it comes off as so extremely patronizing. It's like someone going, "Oh, how cute, she thinks she will be part of the .01% that make it. That's adorable." I realize I may be projecting my own insecurities onto their statement, but I can't help but to grit my teeth and cringe. It's probably the fact that I realize I'm nuts for pursuing a career full of the unemployed, and that for this particular path your looks matter as much as your talent. No sane person choos-es a career with as much instability as this… but by golly, I don't "want to be,” I am. I do. I work hard every day and every night -- and that's all I feel like saying, but instead I just grit my teeth, smile and say, "Yes, yes I'm the girl who wants to be an actress."

A: “I'm the woman who is an actress,” is the only answer to this one. You are not nuts for pursuing a career of storytellers that dates back throughout the history of human beings being human. Many, many sane people choose this worthy career and make great livings while enjoying incredible adventures and raising healthy, happy families if they choose, having balanced full lives on their own or with a partner if kids are not their thing. Of course we also have our share of insanity in the brotherhood and sisterhood of actors, just like any other profession you look at. Don't buy into the cliché, don't get discouraged or over-whelmed. Enjoy the rejection that comes your way and know that every rejection you receive is not only a stepping stone to success but also a "rejection" that some other actor would love to have. Keep working day and night but make sure your work has purpose, direction, intention and is

measurable. There are a lot of actors out there who are so "busy" with work that they have no time to be an actor. Don't fall into that trap. Find successful, well balanced disciplined actors to be your friends and mentors. They are out there just waiting to help you like someone helped them. Watch plays and television and movies as a fan but also as the artist you are, knowing that what you are watching unfold is something you are capable of doing. Use the experience you have to propel yourself into the next opportunity. Be mischievous when someone treats you like that again instead of gritting your teeth. Break down and cry real tears and when they are hugging you and telling you not to be upset break out in laughter and tell them it is okay that you were just giving them an example of your acting ability. Your art is a huge part of your life. Work on it daily but also express it daily and make sure that you have a full life that compliments and brings more to the part of your life that is your art. Don't look at the percentages or "odds." If every actor did this, there would be no actors, athletes, CEO's, brain surgeons, or Presidents of the United States. Your "odds" are uniquely and specifically your own. You create them with the path you take, the relationships you build, the knowledge you acquire, the work you put in, the attitude you have, the talent you develop, the opportunities you create and the investment of time, money, heart and soul, blood, sweat and tears you pour into your passion for the career you have chosen or that has chosen you. Go out in this New Year and make things happen for yourself. Be determined that the person who made you grit your teeth and smile, will marvel and wonder at the work you accomplish in 2015 and be one of those people that say, "I always knew you could do it. Tell me how do you memorize all those lines?"

The Practical Actor is written by Kevin McCorkle.

If you wish to submit a question, please write to

[email protected] or mail them to the office at

2021 N. Western Ave., Los Angeles, CA 90027.

2

Watch for email blast updates about these and other upcoming events.

Be sure to put [email protected]

on your safe list.

RESERVATIONS FOR ALL EVENTS ARE REQUIRED

special events are overbooked to compensate for no-shows.

Please call 323.856.7736 starting up to TWO Mondays prior

(special events only) to enroll.

SPECIAL EVENTS

REGISTRATION OPENS AT EXACTLY 10 a.m. ONE WEEK PRIOR

TO THE INDIVIDUAL WORKSHOP

(TWO WEEKS FOR SPECIAL EVENTS)

CALL 323.856.7736

Monday - Friday 10 a.m. - noon and 1 - 4 p.m.

Example: If the workshop you would like to attend is on Wednesday, please call the

prior Wednesday starting at 10 a.m.

You must have your SAG-AFTRA ID number ready when you call to

reserve your space. Reservations ARE NOT

accepted via voicemail or email. Only cancellations are accepted

via voicemail or email.

All workshops are held in the Mayer Library Building (LIB) at the top of the hill (the building where

the office is located) unless otherwise noted.

LIB: LIBRARY BUILDING WB: WARNER BUILDING

(Example LIB 100 is Library Building, room 100)

F/B: FRANKOVICH BARNES SCREENING ROOM

First floor Library Building

MGSR: MARK GOODSON SCREENING ROOM

Second floor Library Building

*SEE BACK PAGE FOR MAP OF THE AMERICAN FILM INSTITUTE

CAMPUS

HOW TO REGISTER

LOCATION OF CLASSES

Tuesday,

January 13

6 p.m. - 10 p.m. “An Actors Showcase”

Twenty actors will perform scenes and redirects LIVE on the AFI

campus. Conservatory members will have a platform to show talent

abilities to up-and-coming filmmakers. All AFI fellows are invited to observe. As space is limited to twenty (20) for this

workshop, acceptance will be on a first-call, first-registered basis. The first 150 Conservatory members to

call will be entered into a pool. Then, 20 actors will be randomly

selected through a lottery process.

Please note: If you participated in the Fall Showcase, you are NOT

eligible to be entered into the lottery.

Due to holiday hours, registration for the showcase will begin

Monday, Jan. 6th

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WINTER CALENDAR OF WORKSHOPS *PLEASE SEE DESCRIPTIONS FOR TIMES*

JANUARY 2015

MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY

19

NO WORKSHOPS

MARTIN LUTHER KING

DAY

20

Cold Reading LIB 101

SVW: Intermediate LIB 100

21


Theatrical Video LIB 100

22

SVW: Beginning LIB 100

23

Open Camera LIB 101

24

26

Commercial Audition

Workshop LIB 100

27


Voice Over F/B


28


29


30 31

FEBRUARY 2015


2

Commercial Audition

Workshop LIB 100

3


Actors Evening F/B


4



5


6 7

9

Commercial Audition

Workshop LIB 100

10



Voice Over F/B

11


Improv LIB 102

12


13

14

16

NO WORKSHOPS

PRESIDENTS DAY

17



18



19


20

Open Camera LIB 101

21

23

Commercial Audition

Workshop LIB 100

24


Voice Over F/B


25


26


27 28

MARCH 2015


2

Commercial Audition

Workshop LIB 100

3


Actors Evening F/B


4



5


6 7

9

Commercial Audition

Workshop LIB 100

10


Voice Over F/B


11


Improv LIB 102

12


13

14

16

Commercial Audition

Workshop LIB 100

17



18



19


20

Open Camera LIB 101

21

23

Commercial Audition

Workshop LIB 100

24


Voice Over F/B


25


26


27 28

30

NO WORKSHOPS

SPRING BREAK

31

NO WORKSHOPS

SPRING BREAK

APRIL 1

NO WORKSHOPS

SPRING BREAK

APRIL 2

NO WORKSHOPS

SPRING BREAK

APRIL 3

NO WORKSHOPS

SPRING BREAK

APRIL 4

NO WORKSHOPS

SPRING BREAK

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First Tuesday of each month 7 - 10 p.m. Frankovich Barnes Screening Room (F/B) Limit 88 students Industry professionals appear in a seminar format

to discuss their business and answer questions.

Tuesday and Wednesday mornings 10 a.m. - 1 p.m. Library Building Room 101 Limit 10 students Learn and develop effective auditioning techniques.

Monday nights 7 - 10 p.m. Library Building Room 100 Limit 10 students Learn how the commercial audition process works in an on-camera workshop that simulates a real audition. Your work will be videotaped, followed by viewing and comments.

Second Wednesday of each month 7 - 10 p.m. Library Building Room 102 Limit 30 students Learn improvisation skills to help make you a more creative actor.

Third Friday of each month 6:30 - 9:30 p.m. Library Building Room 101 Limit 6 students. Students get a half hour with Director Nick Leland to work on camera. Bring a prepared monologue or scene (with another Conservatory member), or even try different “looks.” Please bring a mini DV, VHS tape or flash drive to record your work and take it home to study.

Tuesday and Thursday nights Beginning and Intermediate rotate days 6 - 10 p.m. Library Building Room 100 Limit 10 students

Please assess your level prior to calling to book your class. See page 6.

Upon arrival, you will be given a scene, paired with a partner and given instruction. You will have 30-60 minutes to work on the scene. All students then shoot the scene on camera and watch your work followed by comments and direction.

First and Third Wednesdays 7 - 10 p.m. Library Building Room 100. Limit 8 students Simulated theatrical interview and cold reading on video followed by viewing and comments. Bring picture and resume.

Generally the second and fourth Tuesday of each month 7 - 10 p.m. Frankovich Barnes Screening Room (F/B) Limit 15 students Learn various V.O. techniques for commercials, animation and narration.

Cold Reading

WORKSHOP DESCRIPTIONS *PLEASE REFER TO CALENDAR FOR EXACT DATES*

Improv

Voiceover

Theatrical Video

Scene Video Workshop

Open Camera

Actors Evening

Commercial Audition

WE ARE OFFERING BEGINNING AND INTERMEDIATE CLASSES ON

SOME OF OUR WORKSHOPS TO BETTER MEET THE NEEDS OF

THE MEMBERSHIP. PLEASE READ THE SELF-SELECTION PROCESS

ON THE NEXT PAGE CAREFULLY. WE ASK THAT YOU PLEASE

FOLLOW THESE GUIDELINES SO THAT YOU AND YOUR

FELLOW ACTORS WILL HAVE THE BEST EXPERIENCE POSSIBLE.

DON’T FORGET TO UPDATE YOUR iACTOR PROFILE IF YOU WISH TO BE

CONSIDERED FOR AFI PROJECTS

RESERVATIONS BEGIN AT 10 a.m. EXACTLY,

ONE WEEK PRIOR TO THE WORKSHOP. ALL WORKSHOPS ARE STAND-ALONE CLASSES.

Example: if the workshop you’d like to attend is on Wednesday, please call the prior Wednesday

starting at 10 a.m. 5

We have changed the Scene Video Workshop program to better meet the needs of the membership. In the past, “beginners” and “advanced” only referred to the days on which the classes were scheduled and had nothing to do with the content. Moving forward, the classes will be customized to experience levels. Please select the level that most appropriately describes your experience. We suggest that you meet three of the four criteria to join in the level. If you are unsure which level you are in, please take the beginning class to start.

This is not a consecutive program. NOTE: It is requested that you stay in the level until your experience changes to fit the next level. Also, if you are an intermediate level actor, you do not need to take the beginning class.

We do not have any advanced classes scheduled at this time. However, a Master Class will be scheduled at a future date.

BEGINNING

SAG-AFTRA ACTING EXPERIENCE: Background work and/or one TV co-star role and/or two TV commercial credits (include union productions before you were a member)

OTHER ACTING EXPERIENCE: None or limited to community theatre

STUDENT or AFI FILM EXPERIENCE: None or up to three credits

ACTING TRAINING OUTSIDE OF SAG-AFTRA CONSERVATORY: none or limited to one year or less of training

INTERMEDIATE

SAG-AFTRA ACTING EXPERIENCE: TV – Has two or more TV co-star or guest star credits, and/or four or more TV commercial credits (include union productions before you were a member)

OTHER ACTING EXPERIENCE: One or more professional theatre acting credit (preferably Equity or Equity Waiver)

STUDENT or AFI FILM EXPERIENCE: Four or more credits, or lead role in two or more

ACTING TRAINING: Equivalent of two years or more of ongoing classes.

ACTING TRAINING: Equivalent of two or more years of ongoing classes.

MISSION STATEMENT The SAG-AFTRA Los Angeles

Conservatory exists as a place for

actors to stretch their artistic muscles,

practice their craft and sharpen their

skills. The Conservatory also provides

actors the opportunity to build an

artistic community in a safe and relaxed

setting. Overseen by dedicated

professionals, the SAG-AFTRA Los

Angeles Conservatory offers members

a means to nurture their talents,

mechanics and skills through

workshops, seminars and AFI student

projects. The goal is to lead to a better

understanding of the role of the

professional actor, in the business of

acting, and to a more successful

and productive career.

SVW WORKSHOP

SELF-SELECTING CRITERIA

ACTORS WANTED AFI cinematographers

and directors are often

looking for actors to

volunteer and assist in

various classes and

workshops on the AFI

Campus. Although no

footage is given from these classes, you

have the opportunity to work alongside

and network with some of the best

up-and-coming filmmakers in the

industry. Many times, actors are needed

for a few hours during the day, but in

those hours, great relationships are often

formed and it can also be a fantastic

learning opportunity for you to gain more

insight into the world of filmmaking from

the other side of the camera!

If you are interested in being submitted

or called upon when these needs arise,

please email Dawn at

[email protected]

or call the office at 323.856.7736

6

SAG-AFTRA LOS ANGELES

CONSERVATORY COMMITTEE

Ron Morgan- Chair Bob Telford– Vice Chair

Bill Applebaum Michael D. Cohen

Lee Garlington Nicholas Leland Kevin McCorkle

Tim Powell Teddy Vincent Will Wallace

Angela Watson Mari Weiss

David Westberg Dawn Deibert– Staff Liaison

DO YOU WANT TO AUDITION FOR AFI PROJECTS?

CREATE OR UPDATE YOUR

iACTOR PROFILE TODAY!

For the first time, the Conservatory database for

casting will be online! We have joined forces with iActor and all Conservatory

members wishing to be considered for AFI projects MUST have an

iActor account. Click the link to create or update yours today.

www.sagaftra.org/iactor-online-casting

LETTER FROM

THE CHAIR Dear Conservatory Members,

As we begin the New Year, I need to bring to

your attention some troubling news—we have

had another camera stolen from the studio.

Until the recent two thefts, we had never had

any such violations over the past 40 years and

therefore have been able to keep our

classes and program up and running week in

and week out. So, having these recent two

incidents is disheartening to say the least. We

will get past this recent theft but I need all of

you to be on watch and responsible so that our

equipment is safe and we can continue to

effectively serve our members.

Enough of that for now. We have been having

open spaces in our classes, which means your

chances of reserving space is good. I know

sometimes it takes time to get through on the

phone, but based on the available spaces there

is often room, so keep calling. Also, put your

name on waiting lists (if available) since many

people have been getting in the classes this

way.

Also, AFI Cycles are up and casting so if you

haven't signed up for iActor, get it done so the

fellows can see your information including

reels. This is a great way to get new work for

your reel. If you get cast in a project, treat it

just like you would paid work because that’s

what it may lead to as these fellows’ careers

progress. As a side note—remember that

showing up on time means being early, so if

you get an audition or cast, it's not just your

time but the whole crew and cast’s, and they

don't have unlimited time or money and only a

short production schedule to get the work

done. So please be respectful of their time and

others.

Take a hold of your

careers in the New

Year and I wish all

of you great success.

Ron Morgan

LA Conservatory

7

http://www.sagaftra.org/iactor-online-casting

By joining the SAG-AFTRA Conservatory you have taken an aggressive and positive step in advancing your career.

Congratulations! We hope you’ll make the most out of your experience here by participating in our workshops and special

events, volunteering, and contributing your talents to AFI directing and cinematography classes, as well as of course, the first and second

year films. AFI is a two-year Masters program and, with our SAG-AFTRA agreement, first year students, called Fellows, are

required to use SAG-AFTRA Los Angles Conservatory members.

We are located on

the campus of

The American

Film Institute

2021 N. Western Ave.

Hollywood, CA 90027 If you are heading east on

Franklin Ave., turn left

(north). The AFI campus is

halfway up the hill on the

left. Turn into the drive-

way and go up the hill

(past Immaculate Heart

High School). The first

building on your left is the

Warner Building where

many auditions for student

films are held. To get to

the SAG-AFTRA Los Ange-

les Conservatory, continue

driving further up the hill.

As you veer left, you’ll see

a white two-story building,

the Mayer Library Build-

ing. The SAG-AFTRA

Conservatory office is

located in LIB 100 on the

ground floor. The studio,

classroom and the

Frankovich/Barnes

screening room are

also located on the

ground floor.

2021 N WESTERN AVE.

LOS ANGELES, CA 90027

PHONE: 323.856.7736

FAX: 323.467.6456

[email protected]

WWW.SAGAFTRA.ORG/

LACONSERVATORY

SAG-AFTRA LOS ANGELES CONSERVATORY

Rules and Regulations 1. Membership subscription is $35 per annual season and is non-

refundable.

2. You must be a paid-up SAG-AFTRA member in good standing. However, only those who reside in the Los Angeles area may participate in the AFI projects. Conservatory membership be-gins when your application is received and processed, and will continue through July of the following year.

3. If you are unable to attend a workshop or attend an audition, you must call the office in advance if possible. Cancellations will be honored until 10 a.m. the following day. If you fail to cancel, a “no-show” will appear on your record. After one "no- show", you cannot take the missed workshop for three months. If you get 3 no-shows, you will be prohibited from taking ANY workshops for three months.

4. Workshops are closed 15 minutes after the scheduled start time. Latecomers may not be allowed into the class and may be recorded as a no show. Please be courteous of others and be on time.

5. Workshop leaders will announce the applicable rules and regu-lations of each particular workshop at the start. If a member breaks any rules, the Committee reserves the right to remove the member from the workshop and or the Conservatory.

6. Members who miss an audition for any AFI project without calling to cancel will lose the right to audition for the remain-der of the semester. The SAG-AFTRA Conservatory office will notify members that they have two weeks to explain their ac-tions in writing. If a letter is received, the Conservatory Com-mittee or its designees will accept or deny the excuse. Incidenc-es deemed unexcused will result in the member being marked ineligible for any and all casting consideration by AFI fellows for the semester. Members may appeal the decision by request-ing an appearance before the committee as detailed in section 7 below. Repeat occurrences may jeopardize membership in the Conservatory.

Members who have broken any of these rules, or who have been

cited for conduct unbecoming will be notified in writing of the grounds for dismissal. The member has the right to a hearing before the Conservatory Committee and will be provided a description of the process in advance of their appearance.

a. If the member elects to have a hearing, it is the member’s responsibility to contact the office at 323.856.7736 within 10 days, or as otherwise instructed, from the receipt of the Com-mittee’s letter. Members who do not appear before the Com-mittee will have their membership canceled.

b. Hearings shall be held at SAG-AFTRA offices before no fewer than seven Conservatory Committee members at the next scheduled Committee meeting.

c. The decision of the Conservatory Committee is final. Appeals may be requested within 10 days of the receipt of the Commit-tee’s decision. Appeals must be sent to the SAG-AFTRA Los Angeles Executive Committee.

SAG-AFTRA members are expected to conduct themselves in a professional and respectful manner at all times. This includes, but is not limited to, their fellow members, the

SAG-AFTRA volunteers and staff, as well as the AFI fellows and staff. We appreciate your co-operation in helping to make the SAG-AFTRA Los Angeles Conservatory a great

place for actors to work and learn together.

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the focus, winter 2015

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