Incognita is very excited to announce that we are having a special 20% off sale* to give you a head start on your holiday shopping!

Exclusive to IncognitaShop customers only – you can use our special 20% off coupon* for all our products at our CafePress store from November 3, 2009 to November 6, 2009 (PST) only.

This coupon is only valid if you purchase direct from cafepress.com/incognitashop – CafePress marketplace sales or purchases from other CafePress shops are not able to get this discount.  It’s exclusively Incognita customers only!

Ready to go shopping? Here’s all the information you need:

Get 20% off @ IncognitaShop*

USE COUPON CODE: incognita20
Valid from: Nov 3 – Nov 6, 2009

Visit: http://www.cafepress.com/incognitashop to start your holiday shopping rolling with this great offer!

Want to know what we have on offer? Here is a tiny sample (after all, there are over 500 designs and over 50,000 products available in store!) of the fantastic original and unique gear you can get as part of our 20% off exclusive Incognita Sale*:

Twi-Hard Women’s Long Sleeve T-Shirt Was: $25.99 Now: $20.80	Jacob Flourish Organic Women’s Fitted T-Shirt (dark) Was: $28.99 Now: $23.20	Douglas Adams Deadlines Quote Baseball Jersey Was: $23.99 Now: $19.20
Professional Drama Queen Jr. Ringer T-Shirt Was: $23.99 Now: $19.20	Film Crew Alchemy Light T-Shirt Was: $21.99 Now: $17.60	Drama Goddess Ceramic Ornament (Round) Was: $9.99 Now: $8.00
Drama Masks Throw Pillow Was: $22.99 Now: $18.40	Entrance Maternity T-Shirt Was: $30.99 Now: $24.80	Drama Masks Women’s V-Neck Dark T-Shirt Was: $26.99 Now: $21.60
Rock Star Men’s Fitted T-Shirt (dark) Was: $28.99 Now: $23.20	Alchemy of Directing Dark T-Shirt Was: $25.99 Now: $20.80	The Alchemy of Acting Jr. Spaghetti Tank Was: $22.99 Now: $18.40
The Alchemy of Music Tile Coaster Was: $9.50 Now: $7.60	Grunge Diva Women’s V-Neck T-Shirt Was: $22.99 Now: $18.40	Footlights Floosie Ornament (Round) Was: $9.99 Now: $8.00
	Grunge Stage Manager Tote Bag Was: $18.99 Now: $15.20

All our gear is going for a song at 20% off!* That’s t-shirts, tile coasters, bags, hats, mugs, clocks, calendars … you name it, we’ve got it – all themed for the creative person in your life, be it actors, writers, directors, producers, film & theatre crew, musicians and more!

We also have a large range of Christmas-themed designs available, which are also available for purchase at 20% off* our regular prices:

Drama Tree Women’s V-Neck T-Shirt Was: $22.99 Now: $18.40	Alien Santa Long Sleeve Dark T-Shirt Was: $30.99 Now: $24.80	Santa’s Helper Women’s Fitted T-Shirt (dark) Was: $28.99 Now: $23.20
Christmas Tree Journal Was: $14.49 Now: $11.60	Very Good Long Sleeve T-Shirt Was: $25.99 Now: $20.80	Santa Claus Greeting Cards (Pk of 10) Was: $20.99 Now: $16.80
Christmas Stocking Ornament (Round) Was: $9.99 Now: $8.00	All I Want … Fitted T-Shirt Was: $22.99 Now: $18.40	Christmas Angel Ornament (Round) Was: $9.99 Now: $8.00
Jolly Fat Man Dark T-Shirt Was: $25.99 Now: $20.80	Sexy Santa’s Helper Women’s Light T-Shirt Was: $21.99 Now: $17.60	I Believe Kids T-Shirt Was: $19.99 Now: $16.00
Christmas Bells Ornament (Round) Was: $9.99 Now: $8.00	Christmas Gifts Ornament (Oval) Was: $9.99 Now: $8.00	Snowman Ornament (Oval) Was: $9.99 Now: $8.00
	Candy Cane Ornament (Round) Was: $9.99 Now: $8.00

Don’t forget your code to get your discount:

Get 20% off @ IncognitaShop*

USE COUPON CODE: incognita20
Valid from: Nov 3 – Nov 6, 2009

Visit: http://www.cafepress.com/incognitashop to start your holiday shopping rolling with this great offer!

TERMS & CONDITIONS OF SALE

* Save 20% off your purchase from the incognitashop shop (CafePress.com/incognitashop), excluding shipping charges and applicable sales tax. Coupon code must be entered at check out. Promotion starts on November 3, 2009, at 12:00 a.m. (PST) and ends on November 6, 2009, at 11:59 p.m. (PST). All orders must be from CafePress.com/incognitashop (i.e., all products available from the following URL www.cafepress.com/ incognitashop). Excludes other CafePress shop or marketplace purchases, Gift Certificates, Flip Minos, SIGG bottles, CafePress Groups purchases and bulk orders. Offer cannot be combined with any other coupons or promotions and may change, be modified or cancelled at anytime without notice.

ALTERNATIVE TIMEZONES FOR SALE:

Melbourne, Australia: Tuesday 3rd Nov @ 7:00 PM – Saturday 7th Nov @ 6:59 PM
Los Angeles, USA: Tuesday 3rd Nov @ 12:00 AM – Friday 6th Nov @ 11.59 PM
London, UK: Tuesday 3rd Nov @ 8:00 AM – Saturday 7th Nov @ 7.59 AM

HAPPY (EARLY) HOLIDAY SEASON!!

PRESS RELEASE FROM INCOGNITA ENTERPRISES
November 1st, 2009

"Edward" with heart and flourish Twilight New Moon Winning T-shirt Design on Women's long-sleeved black tee

Incognita is delighted to announce that TWO of their Twilight New Moon official fan t-shirt designs won in the CafePress Twilight New Moon T-shirt Design contest (Australia)! The award-winning designs are our Edward (Cullen) T-shirt design (above) and our “Yes I Am A Twilighter” T-shirt design (below).

Incognita would like to say a huge thank you to the judging panel!  And the best bit?  You can get your very own copy of the designs on a huge range of t-shirts, gifts and more!

Click here for the Edward award-winning design and here for the Twi-Hard themed award-winning design.

We also have a range of Jacob and Bella T-shirt designs as well. Click here to see the whole line.

Just in time for Christmas! How thoughtful …

"Yes, I am a Twilighter" Twilight New Moon Winning T-shirt Design on Organic Women's T-shirt

Yes, been awol for a while from here, but that’s due to work, work and more work!  Got lots done, especially on my new store: The Shakespeare Shoppe @ Zazzle!

Further to yesterday’s post, here’s some more examples of what’s now available to purchase there in the Shakespeare “Grunge Quote” section:

Macbeth Killing Swine Quote by shakespeareshoppe
Browse Shakespeare T-Shirts

Richard III Villainy Quote by shakespeareshoppe
See other Shakespeare T-Shirts

Romeo & Juliet Name Quote by shakespeareshoppe
Browse more Shakespeare Bags

Romeo & Juliet Tomb Quote by shakespeareshoppe
See more Posters and prints at Zazzle

Romeo & Juliet Love Quote by shakespeareshoppe
Create your own Custom keychain at zazzle

And there’s plenty more where that came from!

Yep, I’m back

Very excited to be now offering all The Shakespeare Shoppe designs @ Zazzle! More examples of what’s on offer will be added here in the next few days, but here’s a taste of what’s available to purchase from our Queen Elizabeth the First Quotes section:

Elizabeth I “Golden Speech” Quote by shakespeareshoppe
View other Shakespeare Keychains

Elizabeth I Quote on Beheading by shakespeareshoppe
Browse more Shakespeare Mugs

It is a sad fact of our industry that there will be, regardless of your standing in the industry, times when work isn’t as plentiful as we’d like – on either side of the camera. And while it’s true that once we (hopefully) get to a certain point in our careers these times may not be as lean as when we first started out, most actors have a second job, sometimes a second career, to ensure that they can pay the bills and survive those gaps between gigs.

So, what are the ten most popular “other” jobs actors take on while they’re “resting”?

No. 1 – Waiting on Tables

Yes, it’s a cliche, but after a quick poll around my actor buddies, nearly all said they had waited tables at some point in their career.

Most worked in small cafes, I started waiting tables at a Music Hall, others worked for one of the large fast food joints. So, why is this form of second job so popular for actors? One word: flexibility.

Usually you can swap shifts when you have an audition or gig come up at reasonably short notice. If you’re doing a fringe theatre gig or taking evening classes, you can usually take a day shift so you can rehearse/study at night.

You also get to practice your acting skills dealing with the general public – anyone who has done this, knows how your skills as an actor can be very helpful when dealing with a difficult customer, or if you’re just having a bad day and can’t let it show – and no opportunity to do that is a wasted opportunity.

It also doesn’t require you to study or have a degree as you can learn on the job and you can also leave the job behind you when you go home (i.e. you sign off from your shift and walk out the door, not having to take work home with you to prepare for the next day).

Note: This also includes bar work and working in a pub for all the reasons outlined above.

No. 2 – Temping

Temping – otherwise known as Casual PA or Secretarial work – is the second most popular “other” job for actors.

Again, it’s flexible – you only work when you want to work, and it usually pays better than waiting tables. However, you will need some kind of Secretarial skills set to do this job (thanks Dad for insisting I do a Secretarial Course when I left high school – as much as I disliked you at the time for making me do it!).

To undertake Temping, you have to join a Temp agency, which usually involves an interview and a few tests – such as testing your typing speed. To be a successful temp, you have to be good at adapting to a different workplace every few days or weeks (depending on the length of your temp contract), be reliable and be able to pay attention to detail.

I recommend temping as a second job, as it’s challenging and gives you a chance to use your brain in a different way to acting. I temped when I first got to London, and it’s how I ended up working full time for the BBC. I began with them as a Temp and, after working for three different executive producers, was invited to stay for a full time contract. (I also worked for the British Airways Authority (BAA) for a few weeks as a Temp, when they offered me a full time position as well, but I took the BBC’s offer for obvious reasons!).

But, it’s really only a good choice for those who don’t mind working in an office environment and who are quick at adapting to different bosses and situations. Also, there’s no guarantee you’ll get to work just for the entertainment biz – you’ll most likely also work for lawyers, accountants, government departments and other large corporations, so you need to know how to dress and behave in a corporate envionment.

No. 3 – Teaching

At #3, there’s Teaching. This covers not just teaching in schools, but also working as a Drama Tutor (ie. running your own classes). Most actors do some kind of tutoring during their career – as many of you know, I have with the “Acting Up” Masterclasses, and I know many others who are teaching in Primary and High Schools to earn their income between gigs.

The problem with working for High or Primary Schools is that you don’t have flexibility – you’re on a curriculmn and you have to be there for classes. However, I do know of teachers who manage to have an acting career AND a teaching career in “normal” schools, by having a relief teacher who takes over from them when they have acting work. But, this does cause a disruption for students, so finding a relief teacher who shares your teaching philosophy and methods is best, if possible.

The other way of teaching – running your own classes – obviously gives a bit more flexibility, but again, if you’re running weekly classes, you still have an obligation to students to be there every week. Again, you can get a second teacher to run the classes for you when you’re on a gig, but, again, make sure they fit your style and philosophy of teaching to ensure students get some continuity.

One of the reasons why I went from teaching weekly classes to weekend masterclasses is because of my increasing workload as an actor, writer and producer – only teaching weekend workshops meant my week was freed up to concentrate on my career in the ‘biz. I have stopped teaching entirely now – not necessarily forever, but for the moment – due to my not having enough hours in the day to prepare classes and teach and manage the two television projects I have on the go and undertake my acting work.

Please Note: If you’re going to teach kids, you’ll need to get a “Working With Children” certificate – it’s now a legal requirement – whether you’re running your own classes or working for someone else.

No. 4 – Working in Retail

Retail is at #4 – which surprised me, as I assumed this would have got higher in the ranks and appeared before teaching, but no, according to my poll, it comes in at #4.

I had a brief encounter with this “other” kind of work when I first started out, but it just didn’t suit me – didn’t keep my interest, really!! However, it can be great for actors as you can work part time or casually, therefore you should have some days of the week that you know are always free and you should have the option to swap shifts if you have to.

I know actors working in all sorts of retail – clothing, electrical goods, DVD rental, computers, outdoor furniture, office supplies, party supplies, etc, etc. The other bonus to working in retail is that you should get staff discounts, and if you’re working in clothing, then that can be very helpful for your audition wardrobe!

No. 5 – Telemarketing

Again, I expected this to be higher on the list, but I suspect part of the reason why it’s not is due to the amount of large corporations relocating their telemarketing divisions to India – such as Dodo, amongst others (oh, don’t get me started!!).

This job is great again for flexibility, as it’s usually done on a rotating shift basis, which means you should fit in auditions and gigs as they come up without effecting your “other” job. However, there’s been a lot in the press lately about the pressure Telemarketers face in the job, so really, this job is only good for those who enjoy selling things to complete strangers over the phone and hitting their quota of sales every week.

Related to this work is Customer Service. This job carries less pressure (you’re not selling things), but can be a little difficult as you’re likely to get some angry people calling you as well as nice ones. Really, it’s only good for those who know how to handle people and have a fairly thick skin.

No. 6 – Children’s Parties/Clowning

Children’s Parties is on this list because, while it’s related to acting (you usually play a character and get to dress up), it also involves the skill of knowing how to entertain kids – not as easy as it sounds – and possibly doing balloon art and face painting amongst other, non-actor things.

I used to be a clown. Yes, I admit it. She was 13 and called “Bubbles”. She came to life through a sketch I did for a kids concert when I was a teenager myself at the Victorian Arts Centre for the Royal Childrens’ Hospital Appeal. She stayed with me for nearly five years and appeared in the Moomba Parade in Melbourne, several festivals, many concerts and, yes, the occasional children’s party.

It’s fun work, there’s no denying it. But kids are a tough and honest audience and it is a true test of your skills as an actor. There are a few Agencies dealing with children’s party performers – and they run the whole gamut, character-wise: Pirates, faries, clowns, witches, princesses, jesters, you name it. Have a look in your local Yellow Pages or Google “Children’s Performers” or “Children’s Parties”.

Please Note: You’ll need to have a “Working With Children” certificate to do this work as well.

No. 7 – Promotional Work

Different to “Children’s Parties”, as this kind of work is done to promote a business to the general public. It can be anything from being a Grid Girl at the Grand Prix to dressing up as the Easter Bunny in the Bourke Street Mall for an Antique Jewelry store Easter Sale (yes, I did that too – the Easter Bunny, not the Grid Girl!!).

Hey, if Brad Pitt can work as a Chicken for Nandos wearing a silly costume and carrying a sandwich board, then any of us can (and have)!!

Usually hired directly by the business concerned, or sometimes through an Advertising Agency, again, it’s good for actors due to the flexibility of the hours and, if you’re in a full character suit, you’re covered up so nobody knows it’s you anyway! (Unless you’re playing the Easter Bunny in the Bourke Street Mall in a tight fitting bunny outfit with your face showing – which means you’re going to get pinched on the backside more times than you can count and propositioned on a half-hourly basis).

I’ve also done full suit work – only once, as “Pepe the Pelican” for the National Water Sports Center, which involved standing on the front of a speedboat as it moved at a fairly fast rate of knots down the watercourse – so make sure you know what’s expected of you before agreeing to taking on a contract!

No. 8 – Web Design/Graphic Design

This job is really for those who have an artistic bent (other than acting, of course!) and some technical skills. That said, there are a few actors now who are now doing this job as their “other” job, including yours truly. It gives you a chance to explore your creativity in another way, and also helps with your analytical and logical skillset as well.

Do you need to study to do this? Well … no, but that said, it doesn’t hurt to do some classes in it if you intend to make it a business in the near future. I am self-taught, but I’ve had nine years to work on my skills in this area and only began designing for others about six years ago.

I work for myself, as do many others, and so the job is great for flexibility – as you work on your own time. However, once you have a stable of clients, you do need to be organised and meet deadlines. And, as much as it sounds great to be able to work in your pyjamas, you do have an obligation to put your clients first, without impacting on your acting career, so it’s a little bit of a juggling act.

I specialise in entertainment industry clients and have a core group of clients that I design for on a regular basis. They are all fantastic people and all in the biz, so they understand when I have to duck off to a gig (or have my wisdom teeth out, as I did last month). As a result, I am as loyal to them as they are to me and enjoy my work for them – which is always important.

No. 9 – Photography

This is becoming a little more popular, but, again, not for everyone. Most actors who go into photography specialise in actors’ headshots – ensuring that they’re still in the ‘biz. It’s also a great way to network. BUT – you should only set yourself up in this aspect of the industry if you have a talent for photography. I don’t, so I don’t even bother attempting this area of work. But, others do and have run a successful sideline photography business, sometimes for years, that supplements their acting income.

One of the better known actors, who was also a headshot photographer, is Alan Fletcher (currently playing “Dr Karl Kennedy” on Neighbours). Alan ran his photography business for years, becoming THE photographer for actors to hire for their headshots in Melbourne, until he gave the business up a couple of years ago, due to his ever-increasing acting and music workload.

Please Note: You’ll need to purchase the right equipment to do this work, so there will be some expense and outlay to set this up before you can even start.

No. 10 – Writing

And the last on our list is Writing. This covers screenwriting, playwrighting and short story, article and novel writing.

Think it’s unlikely? I know of five actors who are currently earning their living as writers AND working as actors at the same time. Two of them are writing for Australian television, one is a short story author who is being paid for her work in magazines and anthologies all over the world, one is making money writing articles for Internet magazines (or e-zines) and from her blog, and the last is making a tidy income from writing Harlequin and Mills & Boon novels (under a pen name, so no-one knows it’s her).

Obviously, for this you need the ability to write. That really goes without saying. You also need the ability to meet deadlines and be reliable – but that should be in your work ethic as an actor anyway, so that shouldn’t be too much of a stretch.

Again, you get to go to work in your pyjamas (apart from when you’re writing for TV and have to go to writer’s meetings – although, the way some writer’s dress, you might suspect that they didn’t get dressed to go out!). You also need to be able to take criticism of your work – again, something you should be used to as an actor.

To write for TV, you’ll need to write a spec (i.e. speculative) script for the series you’re angling to write for and send it into the Writer’s Dept. for their consideration. Information on how to do that is available usually on the show’s website, and if not, Google for “writing for [name of show]” or “writer [name of show]“.

If you want to write for Internet e-zines, just type “internet magazines” or “ezines” into Google and follow the links. Guidelines for submissions are usually displayed on their websites.

And, if you want to try your hand at romance novel writing, just go to the Mills & Boon website – all the info you need is here. And here’s an interview with an Australian Mills & Boon writer to give you an idea of what’s involved from an author’s point of view.

CONCLUSION

This list is in no way a comprehensive one. But, it should help actors out there who are trying to find a second income. If you have any additional suggestions that I haven’t covered – please feel free to comment below – the more suggestions the merrier!

Article Copyright © S. McLean 2007

The Internet is the best way to get your company, yourself and your film out to the general public, as we all know. So now that you’ve built and published your website, crammed full of your own brand of filmic goodness, how do you get Joe Public and the rest of the industry to drop by for a bit of a squizz?

So, you’ve read my article, Internet Indies – Join the Revolution (hope it helped!), bought your domain name, hired your designer, built your site, filled it with images, footage and information about your company and latest film project and now it’s out there for the world to see. What now?

Unfortunately, in the world of the World Wide Web, “if you build it, they will come” just doesn’t happen. With over three billion websites out there (and growing), you need to form a targeted marketing strategy to encourage people to surf by your neck of the ‘Net.

Here are some tips on what areas – online and offline – you should be looking at to entice visitors to your site.

Use your traditional stationary

This might sound terribly obvious, but you’d be surprised at the amount of filmmakers who do not list their email address and website URL on their stationary. This is a wasted promotional opportunity for your website if you don’t. Every piece of correspondence you send on official company or film letterhead is an advertisement that you are online.

Use Your Signature Function on Your Emails

Most email programs offer you a “Signature” option. This means that you can type in text (usually up to eight lines) that will automatically appear at the foot of your email, every time you send one out. Use this to list your company or film name, URL and slogan or tag line.

Eg.

Incognita Enterprises
http://www.incognitaenterprises.com
independent films … independent attitude

Issue Press Releases

From the launch of your website to the day you sell the company (well, its possible!) – issue a press release announcing the latest developments with your website and your film projects. And don’t just send them to the Arts or IT Editors of the major dailies. Also send them to the Editors that cover your company’s primary business. If you are in corporate video – send it to the Financial or Business Editor. If you are in Educational films – send it to a journalist who specialises in Education news.

Also look at online ezines and webzines that cover your company’s area of interest and send out an email to their Editors. Post on industry site forums. This strategy will generate hits from those who could become interested parties, or better yet, investors and collaborators, rather than just curious visitors.

Get Listed With The Search Engines

Although some people complain about search engine rankings and listings being too general, the majority of surfers on the Net (80.5%) still use search engines like Altavista, Yahoo, Google, Hotbot, Excite and others (and yes, most of those use Google). Therefore, don’t neglect these general search engines. There is a whole market you could miss if you do.

There are several free submission services, or you can just go along to each search engine site and submit your site manually, again for free. You’ll need to check with your designer to make sure that you’re using proper META tags such as keywords and descriptions. These tags tell search engines the content and title of each page, and are part of the web page programming.

Also, make sure you use words in your text on each page that relate to what your site’s about – i.e. be descriptive, using words like ‘film’, ‘movie’, ‘filmmaking’, etc. Also use the “Title” function for each web page (that’s the text that appears at the top of the browser when you load your page) and put keywords there in a sentence.

Eg.

Incognita Enterprises – independent film, movies, TV and theatre in Melbourne, Australia

Also don’t forget the ‘ALT’ tags on your images! Apart from being really good extra fodder for search engines, vision impaired surfers will rely on these tags to know what the images are. Be descriptive and detailed when tagging your images – if it’s a photo of you on set with some of the crew, put ‘Joe Cool director with Groovy Gaffer, Super Sound Guy and Lovely Leading Lady on the set of our latest blockbuster Unbeliveable.’ (obviously use their real names – this is another way to catch visitors who might be searching via a search engine for a particular crew or cast member).

Find other ways online to promote yourself

Start a Blog. Make daily or weekly entries about what you’re up to with your latest production. Do a kind of online production diary – this is a great way to promote yourself AND your projects. And always link back to your main site.

Join newsgroups and forums – find newsgroups to do with filmmaking or screenwriting or whatever your area of interest is and join them. Participate in discussions – do NOT simply leave your links and leave, that will get you banned and do you absolutely no good. Take time to participate with useful information, or just general chat about being a filmmaker, but use the ‘Signature’ function most forums and newsgroups have to leave your url with each post.

Get a YouTube channel.  It’s free and a great way to get the word out with trailers, promos, even full short films.

Write An Article

If you have expertise in an area that is covered by print or online media, then write an article about it, and submit it to the Editor for free publication. In the case of ezines, Editors are always interested in seeing new takes on subjects and are quite open to receiving submissions. How do you find out who is accepting what? Subscribe to as many ezines as possible in your area of interest and see what kind of articles they are publishing.

In the case of print media – buy a few different magazines and newspapers and see what kind of content they have on offer. If you have a different take on something in their subject range, write it and send it in. And don’t forget to include your email address and web site URL. You’d be surprised how much credibility having an article published will add to both your company’s and your own reputation. And how many visitors will come calling once they’ve seen you in print.

Just make sure that you really know what you’re talking about when you do this. Be sensible and realistic about the content of your article, and consider the impression you will create about yourself when writing articles or advice. And be aware that you may attract some criticism as a result of your views if they are deemed controversial.

But then again – all publicity is good publicity, they say

Originally published March 2004 © Sally McLean. All rights reserved.

What do you see your film company doing in five years?  How will you handle a failure in the movie business?  What are your goals for the future?  How do you plan for success, and failure?  All this and more comes down to making business personal – investing personal energy and goal-setting into your film business future.

While we are constantly told to keep business separate from our personal interests – before starting out with your own company, you have to do the opposite. You have to consider both, hand in hand.

What does this mean? Let’s use an example.

You’ve created a great piece of software for the film industry that is unique, original and fills a gap in the market. Or you’ve got an idea for a film, better still, you’ve got a completed script that you want to produce yourself. What do you personally want to see the business created from this product do?

Do you want to be the top company in this market, or make your money fast and get out? Are you going to use this first product to get attention for the business (yourself) and then branch out into other, related areas at a later date? Do you want to corner the market, buy up other companies that work in related areas – become the next Bill Gates, Rupert Murdoch, Harvey Weinstein or Kerry Packer?

Do you know where you want the company to be in five years? Ten years? Twenty years? Yes, its that question that we all dislike hearing in job interviews, but its asked for a reason. If you can answer that question, then it shows that you have goals, that you’re aiming for something. Whether the answer you give to your prospective boss is “Being Vice President of Distribution” or “Doing your job”, as long as you have a vision of where you, and in this case, your business, is heading, then you’ll find the going that much easier.

So, decide on where you want your business to be placed and what it will be doing long term. Make that your ultimate destination for the business. Then set smaller goals along that timeline. Start with where do you want the company to be in a year. Then in two years, then in three, and so on. Write it down. Put it up on your office wall, or near your computer. Put it somewhere where you will see it and be reminded of where you are going. Each goal is like a milestone along the road to success, so treat them as such.

Next, consider what you personally want from the success of your business. Why do you want to create and run this business? Is it for financial independence? Because you believe in the product or service? You want to be your own boss? Fulfill a dream? Retire early, buy a yacht and sail to the Carribean? Take over the world?

Whatever you expect personally from your business is just as important as what you personally want for your business. The combination of the two means that you are personally connected to what you do, you have emotionally invested in the success of your business, and so an enthusiasm for what you do is created that is contagious. Also, when the going gets tough, being committed to your business, for whatever reason, gives you a greater chance to overcome the hurdles you will face more easily, than if you’re just doing it “because it sounds like a good idea”.

The next thing you have to do is look at your risk tolerance. This is where you need to be clinical and distanced from the personal considerations for a while. This is where you need to assess just how prepared you are emotionally, financially and professionally in case your business is put in risk – for any reason. If the business failed, would you cope emotionally? Would you be able to wear a financial loss? Would you be able to weather any storms on the horizon? Because there’ll be a few.

When looking at your tolerance for risk, be hard on yourself – allow yourself to picture the worst case scenario and imagine how you’ll react. Talk to your bank manager or accountant to make sure that you’re safeguarded as much as possible financially, should the worst occur. And be honest. There is no point going into a business venture if you’re not prepared to take the risks that go with it. No start-up runs smoothly. If it’s not problems with paying tax on time, then it’s setbacks with the product, or issues with funding, or anything else you can think of. As they say, “The best laid plans of mice and men, etc, etc”.

Once you’ve realistically assessed how you’ll handle any of the risks, and you’ve decided that you can handle anything thrown at you, you can put that aspect aside and not think about it again, knowing that you’re secure no matter what occurs. Then you’re ready to seriously start planning your business goals, writing your business plan, buying office furniture and getting in a Feng Shui expert.

Of course, goals and attitudes can change, and they should be flexible to allow for unforeseen opportunity and sometimes misfortune. But if you keep your ultimate goal in mind, and personally invest yourself and your goals for your business, in your business, and finally – are persistent and determined, then your success is already one step closer to reality.

Originally published May 2004 © Sally McLean. All rights reserved.

Yep, we filmmakers all have to start somewhere, and for most of us that’s at home in our bedroom, loungeroom, or, if we’re really lucky, our home office. Here are a few Golden Rules on how to run your budding film empire from the comforts of your living space – from one who’s been there.

The Golden Rules of Working From Home

The following is a list of Dos and Don’ts when operating a film production company from home, taken from my time doing just that …

DON’T

Ever admit that you run the office from your home. Actors and potential crew members will be thrilled at the thought they can catch you night or day – and although most have a bit of respect for your privacy – some are very persistent!

Fall into the habit of putting work off just because you don’t have to leave your house to go to the office. It is very easy to find a thousand other things to do (wash the car, weed the garden, play with the dogs, vaccum the lounge room, etc) rather than write that new scene or phone that distributor.

Stay indoors all day. I know that contradicts the previous “Don’t”, but all things in moderation. Exercise and fresh air will do more for you than another cup of coffee!

Have your office in a main room of the house. Believe me, trying to come to grips with the upmteenth script re-write/hold a meeting/take an important phone call while your brother/mother/husband/wife/girlfriend/whatever is watching television, on the phone to a friend or practicing their new ballroom dancing steps only a few feet away, is an impossible situation to be in – no-one’s concentration is that good!

Let members of the family answer the phone unless they treat it like a business line. Your younger brother answering with “Yo, brother! How’s it hanging?” will not go over well with an agent in the UK.

Work twenty-four hours a day, seven days a week. Although in this industry there are occasions where we have to work crazy hours with no time off – in a less stressful period, give yourself a couple of days off a week. Just because you are working from home, doesn’t mean you should constantly be working.

DO

Get yourself into a routine each working day, set around the times you best work. eg. if you work best at five in the morning – start your working day then, by maybe organizing lists of things to do, working on the script, schedule, legal documents, etc – then at nine o’clock you can begin to make contact with the outside world. Of course, sometimes, when working on projects that have international links, you need to be working at odd times to fit in with other time zones. Plan your day, day-to-day if you have to, but have a basic routine you stick to. This will make completing tasks easier and utilize your time more effectively.

Arrange meetings at other venues. If you have a meeting with, for example, your director to update them on what’s new on a project, arrange to meet them at their place of work, or maybe even a café (if the discussion isn’t going to be too sensitive!) I often used meet my co-producers and story consultants at a café in Melbourne in the early afternoon, to work on new suggestions for the current script – it’s informal, relaxed, and you don’t have to wash the coffee cups after they leave! Obviously some meetings will have to be had at your home, but it’s good to get out of the house and experience the outside world from time to time.

Eat proper meals and take coffee/herbal tea/fruit juice breaks. Unless you are still working without a computer (which means you won’t be reading this anyway!), you’ll need to take regular breaks to stretch and rest your eyes, as well. Too many hours sitting at a desk at the one time can result in back problems, leading to headaches, poor eyesight and circulation difficulties, which means you will work less effectively. The joy of working from home means that you can choose when and for how long these breaks will happen – just make sure they do. If you look after your health, you’ll look after your films.

Remember to socialise. I managed to go nearly two months in 1998 without seeing another human being, except my family, because I was intensely working on the sixth draft of my feature film. People were calling to organize social events and I kept putting them off. This is fine, as long as eventually you take the time off to see friends. Writing, especially, can be an isolating experience, and it is important to put your head up every now and again to see what’s happening in the rest of the world. “All work and no play … etc, etc.”

Keep your cool with the rest of your household. If you are sharing a house, don’t forget it’s also a living space for other people, as well as your business. I used to struggle with this rule from time to time, but compromise is the name of the game. If your sibling/parent/flatmate/spouse has organized to have friends over on their day off, and you are going to be disturbed by loud music, constant rings on the doorbell or (worst scenario) people constantly putting their head around the door to say hi and then sitting down to discuss their budding acting career, new script, or (worse still) wanting a copy of Robert Carlyle’s photo from your files for their sister, then arrange a meeting at another venue at that time, or decide to take the day off yourself (if you can). However, you may be one of those extremely tolerant people who copes with constant intrusion and noise – if you are, you’re a better person than me! (NB. I don’t mind discussing friends of housemates acting careers or scripts, but I don’t give out any actor’s photos from my files!)

These are just some basic rules that are handy to follow when in the fairly common situation of working from home in the film industry. They are in no way exhaustive, but are a general guide. With the age of the Internet, email and the good old telephone, more and more film and television people are taking this option. The benefits far outweigh the disadvantages, and sometimes you can get more done from your home office than the conventional office in a studio or office block. I hope this has helped, and if not, amused, you. If you have any other helpful hints on this subject, please get in touch, and I will include it in this list!

Happy Homeworking!

Originally published February 2004 © Sally McLean. All rights reserved.

Still loving Skreened! Ethically responsible, let you set your own profit margin AND extra printing room on their tees and bags.  LOVE Skreened!

For those who’ve been following this blog, you’ll know that I’ve been busy adding new designs to The Shakespeare Shoppe @ Skreened – and here are three more!

Cymbeline Worms Insult (B&W)

As You Like It Strangers Insult (B&W)

Henry IV Hellfire Insult (B&W)

Skreened have introduced “Categories” to their shops now as well, which makes it easier for shopkeepers to organize their shops into some kind of order.  All of these t-shirts are now in the “Shakespeare Insults” section, with the other two categories (for now) being “Shakespeare Folio Covers” and “Shakespeare Quotes” (more will be getting added as I get time to add new designs there).

I’ve also opened a new shop @ Skreened – PhotoDaze. This shop is a bunch of designs, quotes, etc for photographers.  Both shops are still having designs added to them, but here are a few from PhotoDaze as well:

Silent Photography Quote T-shirt

Treasury of Memories Quote Tote Bag

Photographer Montage T-shirt

So, I now have three shops – The Shakespeare Shoppe (for lovers of Shakespeare), PhotoDaze (for photographers) and Incognita Store (for actors, writers, directors and all showbiz folk) @ Skreened – and still loving working with the team there!

I would like to thank Daniel and the team @ Skreened for their continuing hard work on providing a great service and for being so open to talking with their shopkeeper community.  They’re setting a great example in client/business relations for all POD’s

With films such as The Blair Witch Project utilizing the power of the internet, why aren’t more independent filmmakers taking advantage of this incredible marketing opportunity?

The World Wide Web. Informative, innovative and a marketing dream. And, therefore, one of the best tools an independent filmmaker can have. Independent film making has become a thriving part of the entertainment industry. And now, with the advent of the Internet, independent filmmakers have a wealth of information at their fingertips – literally – to help them stay informed and keep up-to-date with both film making news, techniques and each other.

But apart from providing a great information resource for our community, the Internet also furnishes a cost-effective and wide-spread marketing and networking opportunity, via the wonder of web sites.

Not long after I started Salmac Productions, I began to experiment with web design. Salmac ended up online in late 1997, and since then I have met, shared ideas with and formed close working relationships with dozens of other filmmakers from all over the world, some of whom now collaborate with Salmac on several projects. Via Salmac’s web site, I have had innumerable opportunities that I would never have discovered without this kind of world-wide exposure.

So I was surprised to discover that I am in the minority in Australia in my all-embracing attitude towards the web and all it offers the independent film industry. Various objections were voiced as to why other filmmakers don’t use the Internet effectively, but the two most common reasons were a lack of understanding on how to use it effectively, or a lack of interest.

As independents, who need to be open to every opportunity to learn and grow, this is almost inexcusable.

I may not have learned what I know overnight, but if I had shared this fear of the new or sense of total apathy, I would never have been able to ask Patrick Stewart (Star Trek’s “Jean Luc Picard”) questions during an appearance at Entertainment Asylum (whose interview chat room is now offline, unfortunately), which gave me the advantage of finding out his specific interests and then tailor a script to his tastes that he subsequently agreed to consider. Or meet several of my invaluable crew who came to me through visiting my web site. Or generate interest in co-productions with other independents in Canada, Britain and the US, due to being online.

And to take it further – we may never have been able to experience ground-breaking films such as Star Wars if George Lucas didn’t take the risk with, or the interest in, new technology. I mean, he’s now put nearly every aspect of his epic film series on the net to date, which gives all of us the opportunity to, in turn, learn from him … In marketing terms, the Internet is the equivalent to CGI – only a lot easier to master.

Now that independent film making is becoming big business, we have to think like business people.

Gone are the days where you can run an independent film company just on the smell of an oily rag, a couple of dollars and the romantic notion of suffering for your art, while not looking beyond the end of your nose. Companies such as Living Spirit Pictures (UK), Furious Films (Aust.) and Artistic License Films (US) are just a few examples of independents who have used their online presence to build on their offline success. Many have gone before us, many will follow, but the ones who endure are those who grow and adapt and never stop learning and taking risks.

So, the best advice I can give to new independent filmmakers is this: use the Internet – one of the greatest networking mediums currently in existence – creatively and with savvy.

Join news groups concerning film making, subscribe to newsletters from other independents and studios, visit every website you can that covers independents and film making (and bookmark the ones you find useful), email other independents you come across on the net just to say hello – and get a website to showcase what you’re doing and who you’re doing it with. Trust me, it works.

Oh, and don’t listen to anyone who says you can’t do it – believe in your dream, for anything is possible … YOU just have to believe it and then work towards it. And the ‘Net is one way to help you make it happen.

Originally published May 1999 © Sally McLean. All rights reserved.

Please note: This does not in any way constitute a replacement for informed legal or taxation advice. The author is not a lawyer or accountant.  You should always get proper advice from a qualified source before committing to any business structure.

Boring as it sounds to those of us who live to be creative, if you’re about to launch into producing your own film, you’re going to need to look at what kind of business structure will be behind it – as investors will be doing exactly the same thing. Here is a brief rundown of the different kind of company and legal structures available in Australia that may help to give you a better idea of what’s available.

You’re about to start your own business, you’ve got a great idea for a new film or film industry service, you have put together your business plan, and are about to approach investors to get the money.

All of that is well and good, but what kind of business are you going to run?

By that, I don’t mean what are you going to offer in the way of services or genre of film, I mean what kind of legal company structure are you going to put in place? Are you a sole trader? A limited company? A partnership? Are you going to start as one and end up as another? Do you see where I’m going with this?

You might think that you need to get your film up before worrying about all this legal company stuff, but, trust me, sorting out your type of business will only help you with getting your funding.

If you’re a bit vague on what all this means, let’s have a closer look at company structure – it will save you a lot of headaches and uncertainty (and legal problems) if you start looking at this now, rather than later.

What Are You?

Sole Trader
When most businesses start, they begin with one person doing everything, operating under a business name. This is known as being a Sole Trader. This is a perfectly fine way of doing business initially. Many businesses start in this capacity. But if you want to go on to be a bigger player, you will need to look at eventually changing the type of business you are running, for both legal and tax reasons.

Even at Sole Trader level, you should register and secure your business name. If you are running your business under your own name, no registration is required, but it is still recommended. This is done via the Business Names Registrar – an office of which you’ll find in any capital city.

Advantages:

• low cost and immediate establishment when starting up;
• complete control of the business;
• all financial returns coming straight back to you;
• minimal account keeping and no complex legalities to wade through;
• because of the nature of sole trading, you can work from home, therefore reducing overheads; and
• you can claim all expenses on tax (from petrol used to get to clients, to half the home phone bill if operating from home).

Disadvantages:

• If the business goes bust – so do you. You, as the owner, have unlimited liability – this means that whatever happens financially, you are personally responsible. The law doesn’t see a difference between you and your business when you are a Sole Trader;
• You are taxed as an individual, not a business – so, as your business brings in more money, you therefore pay more tax;
• Although working for yourself sounds wonderful, the reality is something altogether different – holidays and time off become nearly impossible, as you alone are responsible for all projects the business takes on;
• you are responsible for all management decisions. If you don’t have all the skills necessary to run all areas of your business, or have a friendly mentor you’ve found for yourself for advice, then your business may suffer;
• The ownership of the business can’t be transferred unless you sell it; and
• you may find that your larger competitors can offer more flexibility and more of a range of services than you, due to the kind of business structure they have adopted.

Running a Sole Trader business can also be a disadvantage when trying to attract investment. Most venture capitalists want a company structure in place – i.e. A Board of Directors, limited liability and more than one person signing the business checks. If you’re serious about running your business in the film industry, it’s okay to start as a Sole Trader, but plan to upgrade your structure within a few months of commencing operation.

Partnership
So there’s two or more of you who want to go into business together. This would be known as a Partnership. Obviously. Under this structure, you’d share the costs of the business and therefore the profits. But be cautious if you intend to go into a Partnership with a friend, family member or spouse. The pressures of business invariably puts a strain on Partnerships at some stage – make sure that the ground rules are clear if you also have an emotional connection to your business partner. Also make sure that both of you are bringing different and complimentary qualities to the business, you’re both committed to it’s success, and prepared to put in the work to achieve it.

NEVER go into a partnership on a “Gentleman’s Agreement” – in other words, a handshake or verbal agreement. That is just inviting trouble down the track – as much as you may feel that your sister/uncle/brother-in-law/best friend would never do you wrong – put an agreement in writing. It saves any misunderstanding, disputes or confusion later on. It also sets the terms clearly as to what each partner is responsible for and how the profits and costs are divided up. This should be drawn up by a solicitor, with all parties’ signatures on the dotted line. Even if you don’t sign an agreement, if you are operating as a Partnership, you are answerable to the Partnership Act in your respective State.

Advantages:

• You operate much the same way as a Sole Trader
• Low start up costs;
• flexibility of work times;
• you have a greater skills base, due to having a partner who compliments your own skills with different ones;
• you share the costs of tax;
• your financial accounts are not open to the public; and
• with two or more of you, you can have some time off occasionally.

Disadvantages:

• If you fall out with your partner, you fall out of your business. With two or more involved with equal status, that means two or more potentially different opinions in how the business should be run, which could lead to the business failing if no resolution is found;
• If your partner doesn’t meet their share of costs, so putting the business in the heavy debt bracket, you can be hit by creditors for the money owed by your partner. Legally, you are your brother’s keeper in this scenario;
• You have to share the profits; and
• if one partner decides to go – you can’t just transfer the business to another partner, you have to dissolve it. (however, you can avoid this by putting a clause in your Partnership Agreement that states an alternative arrangement in this event).

Again, investors will be cautious about backing a Partnership (for most of the reasons outlined above).

Company
Most people refer to their Sole Trader business as a Company, but they’re no such thing. A Company (also known as a Pty Ltd Company) is a totally separate entity from the person running it – legally and financially. All profits go to the shareholders (owners), but all losses remain with the Company, due to it’s limited liability status. Therefore the shareholders (owners) are not personally liable for losses incurred. But, if you’re on the Board of Directors, that’s another matter, as the Directors can be held personally responsible for the losses, if it is seen that they acted in dereliction of their directorial obligations.

If you are going to form a Company, you’ll need to register it with the Australian Securities and Investments Commission (ASIC). They will then give you an Australian Company Number. You will then need to apply to the Australian Taxation Office for an ABN (Australian Business Number) as well. You’ll also require a Constitution. This is a job for the solicitors, and is legally required for every Company in Australia. If you’re forming a new Company, it can take up to six weeks to get all the paperwork through.

Alternatively, you can buy a Company “off the shelf”. This involves purchasing a Company that already exists, but is no longer trading. Although cheaper in the initial purchase, you still have to operate under that existing Company’s name and may have to change the Constitution, which involves legal fees.

This is the best kind of business structure for those of us in the film biz.

Advantages:

• You are not personally liable for any losses;
• You get a better tax rate as a Company;
• As a Director of the Company, you can become an employee of the Company, so getting a regular wage;
• If one Director leaves the Company, it will continue regardless;
• You can also transfer the Company’s ownership, or sell it;
• Also, a Company can keep some of it’s profits in order to expand, and not be taxed on those profits; and
• losses can be carried forward forever and claimed as a tax deduction in any financial year.

Disadvantages:

• when forming a Company, you have to legally establish it, which means fees and lots of paperwork;
• Registering a Company usually costs between $1300 and $2500, depending on the complexity of the legal paperwork and the fees charged by solicitors and accountants;
• You have to comply with Corporations Law, which means professional advice (and fees);
• the paperwork required each quarter is time-consuming at best;
• As the Company is a separate entity, it also has to file separate tax returns to the ATO and reports to the AISC (it also requires a separate ABN and Tax File Number); and
• all Company records are available to the public.

A distinct advantage with owning a Company, is that investment is a lot easier to secure. Investors perceive that you have taken your business seriously, have a ‘checks and balances’ system in place, and so are reassured that their investment is more protected than if you were a Sole Trader or Partnership.

Limited Company
A Limited Company (also known as a Limited Liability Company) differs from a normal company in one thing only – it is a Listed Company (on the ASX) and therefore a public company, as opposed to a Company which is private.

A Company becomes a Listed Company once it begins to sell shares in the Company. This process is again time-consuming and costly and is usually only done when it is deemed necessary to “float” the Company for a greater income. This is usually a second phase stage of company structure.

Advantages:

• Gives you a greater capacity for profit
• Gives you “Listed Company” status
• A wider shareholder base

Disadvantages:

• Costs involved in “floating” the company
• A wider shareholder base that you are answerable to

Incorporated Association
An Incorporated Association (also known as a non-profit organization or Charity), is governed by separate legislation to that of profit-making concerns. It is usually undertaken by community groups or charities, and is a voluntary undertaking.

The purpose of becoming an Incorporated Association is to create a separate entity from the Association’s members, which protects the members from being liable for any debts or liabilities the Association might incur, as well as the costs of closing the Association. It works in much the same way as a Company or Trust, but with one major difference – the members of the Association are only free from liabilities incurred by the Association if it doesn’t participate in any kind of trade, or make a profit.

You’ll need a core of five members to form an Association. You must then issue a notice to all members calling a meeting, 21 days before the date of that meeting. The members then vote at this meeting to nominate a legal adult (over the age of 18) to incorporate the Association, agree on the stated purpose of the Association and sanction the rules of the Association. That all done, you then need to register the Incorporated Association with the relevant Government department (for example, in Victoria, you would register it with the Office of Fair Trading and Business Affairs).

Advantages:

• Limited liability to members of the association
• A more informal legal set up than a Company or a Trust

Disadvantages:

• You cannot make a profit
• You must work with a committee

This kind of entity is best used for a research project, or a similar venture that you do not expect will make money. If you wish to make a profit, then look to forming a Trust or Company.

Trust
A Trust is a more complex business structure which is created to generate its own income. It’s function is to hold property or income for selected beneficiaries. This is done by the creation of a Trust Fund. All income from the business goes into the Fund, which then becomes the owner of the properties and profits (capital). From there, people or companies (the beneficiaries) are appointed to receive the Trust Funds as income. There are two kinds of Trust Funds – discretionary or a unit trust. Discretionary involves net income decided by the trustee allocated to beneficiaries. A Unit Trust distributes income in direct relation to the beneficiaries’ unit holdings in the Trust.

Advantages:

• Trusts do not pay tax on their profits, as long as those profits are wholly distributed to the trust’s beneficiaries;
• If the Trust has a Company as trustee, it is granted limited liability; and
• The Trust’s financial records are not available to the public.

Disadvantages:

• complicated legal and financial framework need to be set in place, and regulations to adhere to;
• A Trust cannot offset it’s losses against any other income from the beneficiaries; and
• a Trust cannot keep profits to expand without attracting heavy tax penalties.

Conclusion
Whatever your choice of company structure, remember that once you commit to running a business, you are also committed to a legal and financial framework that you must adhere to. Which is why you need a good accountant and business advisor as well!

Originally published June 2004 © Sally McLean. All rights reserved.

Article #7 in “The Business of Acting” series.

Firstly, what is a “Freelance Actor”?

Basically, this means an actor without representation – i.e. an actor who does not have an agent.

Before I really start, let’s quash three of the myths around freelancers:

Myth No. 1
“Being a freelancer as an actor means you’re not good enough to have an agent”

FALSE

Many actors I know have in the past or are currently freelancing. I can think of three right now who are currently working full time in Australian television as lead characters in major series who don’t have an agent. I can think of another two who landed lead roles in film while they were freelancers. And several other actors, who work consistently in the industry, putting in strong and creative performances every time, who are all freelancers. And I was also a freelancer for a couple of years, and still managed to get paid work as an actor. In fact, I landed my first major UK credit in a BBC mini-series as a freelancer.

So, really, whether you have an agent or not – it has nothing to do with whether you can do the job.

Myth No. 2
“Actors who freelance are just part-timers and don’t take their career seriously”

FALSE

Being a freelancer means that you have to work twice as hard on your career as an actor who has an agent. As a freelancer, you’re totally on your own. You don’t have an agent accepting briefs from casting directors and then submitting you for the roles – you have to find out what’s casting and who’s casting and submit yourself. You don’t have an agent to look over your headshots and help you make a decision, or guiding you on what credits to include on your CV and what to discard – you have to use your own judgement. You don’t have an agent supporting you in your career ambitions and behaving like a sounding board – you need to find someone else who has the industry experience to help out, or rely on your own resources … see what I mean?

That’s not to say that you won’t be able to find experienced people to turn to when making decisions about your career, but you will not have a built-in, one-stop-shop (i.e. an agent) to help you achieve your acting goals. You have to learn to be self-sufficient, innovative, self-reliant, organised, do lots of research about the industry and, above all, be completely committed to your career.

Really, you should be organised, innovative, do lots of research about the industry and be committed to your career, even if you have an agent (as discussed in this article), but you have to be doubly so as a freelancer if you want to succeed in gaining work.

Myth No. 3
“Casting Directors won’t see freelance actors for auditions”

FALSE

After a quick phone around to the Melbourne Casting Directors working in film and television (and a couple of Sydney ones), the general consensus is that freelance actors are welcome to send in their CV’s and headshots – just like any represented actor does. There is no distinction between whether you are freelancing or not.

To quote one Casting Director “We need to know who’s out there for work and there are many actors working in the industry who don’t have agents. We wouldn’t be doing our job if we didn’t accept submissions from freelance actors”.

I also put in a call to a couple of the professional theatre companies to ask the same question. They cast slightly differently (usually through general audition rounds at a certain time of year), but again, do not differentiate between freelance and represented. ALL actors, no matter whether they have an agent or not, are welcome to submit for the general audition rounds. Most professional theatre companies have their own websites, so to find out how to submit to them, Google the company’s name, visit their sites and then follow their submission instructions.

So, now that’s out of the way, let’s get down to tin tacks.

The following advice can be utilised by represented actors as well as those who do not have agents.

YOU ARE A BUSINESS

Yes, it’s true – as an actor, you are not just a creative, you are a business. Ergo, you are a business person – whether you are a freelancer or a represented actor. Be professional, be organised and be committed to your business.

DO YOUR RESEARCH

Start building an industry library. If I look up to my shelves here in the office I can see a copy of the Encore Directory, my file containing my research on independent producers and directors, several books to do with the craft of acting including Stella Adler, Cicely Berry, Peter Brook and Dean Carey, a whole shelf of plays by various known and lesser known playwrights, the current editions of IF Magazine, Encore Magazine and Empire magazine, a copy of the current Contacts (UK entertainment directory), several DVD’s that I’m yet to watch that feature actors or directors I want to know more about (I tend to watch about four DVD’s a week on average) and several autobiographies of actors I admire (David Niven’s “The Moon is a Balloon” is a particular favourite!).

Now, that’s just one bookcase – I have four in my office, plus two filing cabinets. And that’s not counting the amount of information and material I have on my computer to do with my business as an actor (several e-books and my own research on production companies, directors and my contact lists of casting directors, etc).

If you intend to be successful in this business, educate yourself about this business. Find out who’s producing what, who’s directing what, read as much as you can about the business and watch as many films (including the “making of” featurettes) as you can. Watch as much Australian television as you can as well – it helps to know the names of current directors and producers. Keep up to date contact lists and keep a tab on the rumour sites about the biz, such as darkhorizons.com and aintitcool.com. While both those sites are very US based, with the amount of US productions coming out to Australia, it doesn’t hurt to keep up with what’s rumoured to be going into production over there.

You’ll also find lists of Casting Directors online. A good place to start is rehearsalroom.com – just go to “The Working Actor” link. To find contact info for directors and producers, I’d recommend getting one of the Australian Entertainment industry directories – Encore (http://www.encoremagazine.com.au/) or The Production Book (http://www.productionbook.com.au/) – both are subscriber online services, or you can buy the books.

Ultimately – a well-informed business person is a successful business person.

KEEP YOUR SKILLS SHARP

Do workshops and courses to do with the acting craft as regularly as you can afford. It’s a great way to keep your skills sharp and learn new ones, as well as network with fellow actors. Pick your courses carefully, speak to other actors to find out which teachers they recommend, go to any information nights teacher’s offer about their classes and if they offer a free class, then do it to see if it’s the sort of thing you’d like to attend. Some teachers offer prospective students the chance to observe a class before signing up – ask if that’s possible.

HAVE YOUR PROMOTIONAL MATERIALS UP-TO-DATE

Every business needs business cards, as should you, and every actor should have their headshot not only as a 10×8, but also as a postcard. You should also have a website (For suggestions on building a website, see previous article: TOOLS OF THE TRADE: Your Website).

Business cards should have your name, contact phone number and postal address (get a post office box, if you don’t have one already). Also include your email address and website. Some actors also include a small photo, which helps people remember what you look like as well.

Always have your business cards on you – in your handbag or filofax or whatever – ready to hand out if you meet someone in the biz that wants to know how to contact you. Have postcards (which also include your contact info under your photo) in your acting asenal to keep Casting Directors informed of what you’re up to (more on that later). And have a website – not only is it a good way to showcase yourself generally (you can put up a photo gallery, showreel, full CV, biography, etc), you can point casting directors, producers and directors to it when submitting for work to give them more information about you and your previous work.

DO SHORT FILMS, STUDENT FILMS AND PROFIT-SHARE THEATRE

Apart from adding credits to your CV, it’s a great way to network and meet other actors and emerging directors and producers. You may not get paid for this work, but it is also a good arena to build your screen experience. The Tropfest Film Festival generates a lot of short films in the lead up, so sign up to their website, where auditions begin to be posted by filmmakers around July/August (or when the Tropfest signature item is announced) – http://www.tropinc.com/. Other free sites that list short/student film auditions year ’round are filmnet.org.au and rehearsalroom.com, which also lists theatre auditions – http://www.rehearsalroom.com/auditions/audbase.htm.

Paid audition services are many and varied, but I always recommend ArtsHub.com.au, as it also lists “day” jobs for actors, as well as some auditions.

KEEP CASTING DIRECTORS INFORMED

ALWAYS TYPE YOUR CV AND COVER LETTER when sending them to Casting Directors. Sounds simple, but the amount of illegible hand-written material that still crosses Casting Director’s desks and usually ends up in the bin, is just astounding. (For suggestions on CV writing for actors, see previous article TOOLS OF THE TRADE: Your CV). Also – do not write to them on scraps of lined notepaper, fill the envelope with heart-shaped glitter or write with a silver pen, amongst other things. Think I’m joking? These methods have actually been employed by some actors and only serve to annoy the Casting Director receiving them.

Both theatre and film and television Casting Directors said the same thing during my quick calls to them – send them your CV and headshot, by all means, but please do not send in your headshot and CV to them unsolicited more than once very six months (once a year for theatre companies). The exceptions to this rule are when you have a new headshot or a substantial (i.e. five or more) amount of new credits on your CV.

However, all Casting Directors I spoke to (both stage and screen) said that they liked to know what actors were doing, so when you have a theatre production you’re appearing in, let them know by sending them a flyer for the show or a postcard with the details of the production. Put a note on the back of the flyer, letting them know that a complimentary ticket is available to see the show, but do not expect a reply or even that they will be able to attend.

This may sound a bit harsh, but when you take into consideration the amount of plays actors do in a co-op or profit share capacity a year (I once did six of them in twelve months), then multiply that by the amount of actors working in the business, you’ll see how many shows Casting Directors are asked to see and how it would be physically impossible for them to see every show they were asked to. Be content with the knowledge that by just sending them a flyer, you’re putting your name back in front of them and they know that you’re working. If they come to see the show, that’s a big bonus.

Also, let Casting Directors know when you’ve landed a role in television or in a professional feature film – just a simple note with the date and time the episode will be airing or when the film will be released. Let them know if a short film you’ve done has won an award or will be screening to the public. Don’t get verbose, just a couple of lines, including the details of the film/play/TV show on the back of a postcard will do.

I did have a few Casting Directors say that they prefer actors email them with updates. It’s a little hard to tell who prefers email to notes or postcards – I’d suggest looking up the various Casting Agents via Google to find out if they have a website and then have a look at their actor submission guidelines.

The one thing that all Casting Directors said was PLEASE keep them informed about any change in your contact information if you’re freelancing. If you change your contact phone number, just drop them a line to let them know. Same with your email address. You’d be surprised, but this is the one issue Casting Directors have with freelancers – out of date contact information. The amount of actors who’ve lost out on auditions because they didn’t let the Casting people know that they’d changed their phone number is truly heartbreaking.

BE PROFESSIONAL IN ALL YOUR DEALINGS

You are a business. Have I made that clear enough? And as a business you are only as good as your product – you. You are also judged by your product and customer service – again, you. Always be professional in all your dealings with everyone. From the assistant to the Executive Producer – treat everyone with respect and as one professional to another. Always present yourself as a professional – from the way you package your CV and headshot to your meeting with Casting Directors and actually working on set. If you are not professional, you won’t be seen as such and you won’t get work.

CONCLUSION

Sadly, I’ve realised that there’s too much about freelancing to include in one article. That said, I’ve tried to cover as much as I can about this aspect of being an actor in this short forum.

A lot of it is common business sense. Some of it is specific to this industry. All of it is doable. Being a freelance actor isn’t an easy road, but it can be a successful one – if you remember to treat yourself as a business and are prepared to put in the extra time, effort and work.

Article Copyright © S. McLean 2007

Article #6 in “The Business of Acting” series.

You and your agent

During my time as a drama tutor, I used to hear the following comment a lot. And I mean A LOT. What was the comment?

“I have an agent, but I’m not getting any auditions. I don’t think they’re working hard enough for me.”

Now, I’m sure there are many actors out there nodding their heads in agreement. But before you get on your self-righteous high-horse, I’m going to tell you what I used to tell my students when they made this kind of remark.

“Your agent is only one half of the equation.”

Are you staring at the screen blankly about now? Well, let me enlighten you.

You and your agent are in business … TOGETHER. This means that you are BOTH equally responsible for YOUR career. In other words, you have to help your agent GET you those auditions as much as they are expected to keep submitting you FOR those auditions.

It’s the simple law of partnership, people – and you are, whether you understand this or not, in partnership with your agent.

WHAT DOES AN AGENT DO?

Let me take a moment to clarify what an agent does. A Theatrical Agent (as they’re called in Australia and the UK – they’re also referred to as a Talent Agent in the USA) receives briefs from Casting Directors, Producers and Directors looking for actors for television, theatre and/or film projects they’re needing to cast. The Theatrical Agent then looks through their books and matches the talent (ie. the actors) they represent with the briefs they receive according to look, age and experience required by the Casting Directors, Producers and Directors for the job.

Make sense so far?

The Theatrical Agent then puts together a submission of all the actors they represent that match the brief and sends it off to the Casting Director, etc for their consideration. Once the Casting Director has chosen the actors they wish to audition, they contact the Theatrical Agent to let them know who they’re interested in seeing.

The Theatrical Agent then contacts the actors concerned and gives them all the information. Should the actor be successful at the audition and land the part, the Theatrical Agent is then responsible for negotiating pay, going through the contracts with a fine tooth comb and getting any clauses queried or changed as required and ensures that the actor is best taken care of. Then, once the job is done, the Theatrical Agent is responsible for getting the payment from the Production Company that employed the actor and then passing the monies onto the actor (less the Theatrical Agent’s commission).

Now, this is a very basic idea of what a Theatrical Agent does and is the minimum an agent is expected to do. Some go the extra mile and have all their actors on their website with CV and headshots, continually establish and maintain good relationships with those in the business of casting actors, keep their ear to the ground regarding upcoming projects and lobby for their talent to be seen, etc, and those agents are worth their weight in gold, because they are taking their business (and, therefore, yours) seriously and are showing themselves to be a true professional.

WHAT AN AGENT DOESN’T DO

What an agent doesn’t normally do is go out and find or create you work. That is the job of a Manager. In Australia, very few Theatrical Agents are also Managers, and you usually only have an Agent/Manager when you’ve hit a certain level of profile in the industry. Managers are the ones who go out and actively find you the work by networking with and lobbying Producers and Directors on your behalf, sometimes speak to writers/directors about creating a project for you, etc – continually let the world know that you exist as an actor. They also charge accordingly for their services and have a smaller “stable” of actors than a Theatrical Agent.

On the whole, you’ll find most Managers in Australia usually charge anywhere between 25% to 40% (and this is a conservative estimate) of an actor’s earnings and sometimes charge a fee as well (it really depends on the Manager). On the other hand, Theatrical Agents in Australia are supposed to charge between 10% to 15% of the money you earn as an actor in return for the work they do for you (for commercials it can be between 20% and 25%). That still might sound like a lot, but when you realise that the average Guest Role on Australian TV for one day’s work is currently about $360 (before tax), that means that your agent is only getting $36 to $54 for putting in what amounts to LOTS of hours of work on your behalf.

A guide to put this in perspective is this: on average – and this is just my estimate from my experience working as a Theatrical Agency Assistant a while back – it takes a Theatrical Agent about 5-8 hours of work per actor per successful job (depending on length of negotiations and how much legal work is involved for the job). That works out (for 5 hours work) to $7.20 per hour on a commission rate of 10% for an actor’s one day Guest engagement. Could you imagine working for $7.20 an hour??? I didn’t think so. And, if the actor ISN’T successful at the audition, then the agent has still put in a couple of hours work WITHOUT PAY. Think about that for a moment.

The one thing that is frowned upon in Australia is a Theatrical Agent charging a fee for actors to be on their books. The Theatrical Agent earns their money through commission taken from work gained by their actors. Therefore, everything they do FOR their actors is an investment IN their actors and, as a result, in their own business.

Can you see now why your agent wants you to work as much as you do?

WHAT ARE YOUR RESPONSIBILITIES AS AN ACTOR?

So, what do you do if you don’t have a Manager, but you do have an Agent? You become your own Manager and work IN TANDEM with your Agent.

How do you do that? By making sure you have a website that you keep updated. Getting new headshots done when you require them (ie. when you change your hairstyle, lose weight, gain weight, etc). Keeping your CV updated. Sending out your headshots and CV’s to Casting Directors, Directors and Producers on a regular basis (about once every four to six months is the guide for Australia – I’ve heard US Casting Directors suggesting that you do it over there once every two months – but don’t try that in Oz, you’ll just annoy them). Going to industry functions and meeting and networking with those who are in the business of casting actors. Do short films. Do student films. Do fringe theatre – a CV with current credits is easier for your agent to sell than a CV with credits four years old.

And train, train, train! If you haven’t gained any roles in a while, showing that you’re still working on your skills through recognised drama short courses and workshops definitely helps (and it also helps with that dreaded question “So, what have you done lately?” in auditions! See previous article “The Audition Survival Guide” for audition tips including how to handle that question!).

In Australia you should also have a listing on AT2 and Showcast (and now in The Players Directory – run through AT2). In the UK you should be in The Spotlight and in the USA, The Players Directory. If you can’t be found online (and in the hard copy book versions) in one of these major directories by Casting Directors, you make your Agent’s job A LOT more difficult when responding to briefs. And if you are already in these directories – keep your listings updated and update your photo if you have a new one as well.

You should also take care of your appearance. YOU are the product and so your appearance is VERY important. Look after your teeth, hair, skin and nails. Eat healthy foods and EXERCISE. It will make you feel more energised and you’ll maintain good health – and you’ll need that for the career you’ve chosen.

And keep your agent informed as to what you’re doing. Most agents are very busy, so emailing them with updates, rather than phoning them, is the best idea. Also, if you write it down in an email, they’ll likely remember it better than if you just talk to them. Make sure you give them copies of your current headshot and CV. Make their job of submitting you for work easier by giving them the best product you can be and by seeing yourself in PARTNERSHIP with them in the business of your career.

If you’re doing all of the above and you’re still not getting anywhere, then look at your headshot first. It’s easier to change your headshot than your agent. Make sure it looks like you and is current. If that isn’t the problem and you’re still doing everything possible to help your agent get you auditions, then maybe it is time to find another agent. Sadly, not all agents are good agents. BUT – if you’re NOT doing everything I’ve suggested, then changing or harassing your agent will not change what’s happening with your career – you first have to look at your own efforts towards making your career work before placing the blame at the feet of your over-worked and sadly (in many cases) under-appreciated business partner – that is – YOUR AGENT.

FINAL WORD ON THE ACTOR/AGENT RELATIONSHIP

WARNING: In Australia you should only ever have ONE Agent representing you. It is NOT a good idea to be on more than one Agent’s books, unless, for example, you have a Theatrical Agent who doesn’t do modeling jobs, but you also model – therefore it is possible for you to have a Modeling Agent as well. But you should always check with your current agent before embarking on this road. I know of a few actors who thought they could get around this rule by having two agents representing them in the same field (ie. acting), but based in different States (ie. one in Victoria and one in NSW). THIS IS NOT DONE!! It will only cause confusion amongst Casting Directors (now with the Internet, casting briefs can come from anywhere in Australia or anywhere in the world and if you’re with two agents who both put you up for the same job and you get it – who gets the commission??), you will upset BOTH agents – and in a majority of cases this will ensure that you will be perceived by the industry generally to be untrustworthy and unprofessional. DO NOT DO THIS if you want a long-term career in this business.

The ONLY time having two Theatrical Agents is okay is when they deal with different territories for work. For example, I have an Agent in Australia and an agent in the UK. My UK agent deals with any briefs that come from the UK and are filming in the UK and my Australian agent deals with briefs that come from Australia and all other territories (ie. USA, Asia, New Zealand, etc). Both my agents know about each other and both have agreed to this situation. This means that, in my case, there are THREE business partners in my business and each one of us expects to be treated with respect and as a member of a team.

Because that’s what you and your agent are.

Article Copyright © S. McLean 2007

The excitement is building in this household for the release of “Harry Potter and the Half Blood Prince” – and to whet your appetite a little more, here’s a featurette for the film courtesy of Muggle Hub:

Richard III Villainy Quote T-shirt @ Skreened

Keeping up with my “other” job of t-shirt design, here’s the latest from “The Shakespeare Shoppe” – this Richard III Quote t-shirt – “And thus I clothe my naked villainy with old odd ends stolen out of holy writ, and seem a saint when most I play the devil.” – William Shakespeare, Richard The Third

There’s been a run of interest on these original Shakespeare designs over @ Skreened – which is great, as you won’t find these designs anywhere else.  All the Shakespeare Shoppe @ Skreened designs have been adapted for Skreened’s larger design area, so all designs are different variations on what you’ll find at Zazzle & CafePress (where we have additional Shakespeare Shoppe stores).

I’d particularly like to thank DogWalkBlog for their really lovely write-up about my Macbeth “Killing Swine” quote t-shirts and Shakespeare Insults tees  AND for buying a few as well!  It’s good to find fellow Shakespeare nuts out there