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This FAQ is compiled from questions and answers on the CAO Kids in the Biz Discussion Forum. (Registration required to post questions on the Kids Discussion Forum.)
Q.) My 8 year old son would like to get into the acting business. I don't know anything about it and was wondering where to start, and how realistic his chances would be.
A.) As a parent are you up to this? It is a lot of hard work and takes up a lot of your time. You need a very flexible schedule. Parents do 99.9% of the work. Audition calls can come in the morning for an afternoon audition. If you turn them down they will move on to someone else. This business is not for everyone and as a parent you must be organized. You must be ready at a moments notice and be always on set with your child. Your child must be able to deal with the fact you don't get every job you go for. They agent may call five times a week or once in a while.
Your child must be ready to meet new faces, and to understand it is not play time but a job. An ideal starting age would be your child's age depending on the child's personality, availability, talent and of course luck. Now that all being said and you are still interested please read on.......
Get yourself a list of reputable agents. Not sure where you are?? If you are the Toronto area there is a list of reputable agents on the home page of this site. Some great agencies for kids in Toronto are KG talent, Edward G. (changed their name now I believe) Players (Rocky Stone), Jack Timlock, Parent Management, Noble Talent (this is to just name a few). Once you have your list of reputable agents you can submit to the children's agencies:
- A cover letter requesting representation
- Photographs of your child school pics or some nice close up shots (Do not go out and get professional headshots to submit to agents)
- A self-addressed envelope (if you need anything returned).
The letter should be business like and to the point. Include your name address, phone numbers, child's name, hobbies, sports, interests and of course anything related to the entertainment industry like dance, music and any plays your child has been in. After you send your mail out you could follow up in a week or two with a phone call to see if you can get your child in for an interview. Please remember legit agents do not charge to be on their roster. There may be a small yearly fee and that's about it.
Q.) Is it as hard for children to become union as it is for adults? What are your idea's on kids becoming union?
A.) Some kids can get their union status within a few months, weeks, or sometimes years same as an adult. A lot of times it is by chance. I have one child a full member under two years another hasn't booked a job yet. I think there are so many variables it is such a hard question to answer. With my kids one being union and one non-union the union child auditions a great deal more than the other one but that could have a lot to do with age, weight, height or ability.
Union jobs are better ( bigger budgets, better directors), regulated (by ACTRA and the CFTPA), protected and pay more. There is the right time to join and you have to figure that one out with your agent and yourself.
Q.) Is it a good thing to have agents in different major cities, for example New York and L.A., since it seems like the Canadian acting agents I know of don't usually have international offices (as for example some publishing agents do). I assume it's okay if you check with different agents that they each get the commission on the work they have directly booked.
Do the ACTRA rules and rights apply wherever our children work? So for example, on a shoot in LA, would the steward be present to represent fair play on the set? (Or their American counterpart). Any other thoughts on working out of the country?
A.) Many Canadian agents have affiliates in L.A. or New York, others do not, you'll have to ask your agent about their individual situation. ACTRA's jurisdiction only covers Canada. In the USA the jurisdiction belongs to either SAG or AFTRA. Also, if you are not an American citizen it can be extremely difficult to work in the US.
Q.) I don't really know the difference between the Fraternal and the PRS and what their responsibilities and jurisdictions cover.
A.) PRS = Performers Rights Society They hunt down residual payments and royalties. They are an arm of ACTRA national and are our saving grace since the 1996 IPA where we share in gross receipts. ACTRA FRATERNAL= a separate entity even though tied to ACTRA. Separate board of directors (voted on by Membership)
After years of hard work, the IPA negotiations set into place the provisions for the new Trust fund for kids. The trust was supposed to be in place by the end of 99 but much time and energy has been spent in making sure that it was done well. First PRS needed the blessing of gov't bodies, namely the "CHILDREN'S GUARDIAN" now renamed the provincial children's lawyer. He was sent an overview draft and commended the plan highly as it met with his approval. Then PRS took meetings with banks, ACTRA Fraternal etc. The off shoot of those negotiations was that The ROYAL Bank will monitor the funds PRS will administer the funds and ACTRA FRATERNAL will manage the investments. As far as this trio is structured the kids trust will have the same checks and balances and protections as one would have with any other scheme.
An investor ( the children or guardian on their behalf) will have 2 choices in the scheme 1.) A more aggressive fund 2.) A more balanced or bond fund ANY GUARDIAN ALREADY INVESTING FINANCIALLY will have the opportunity to present documentation to PRS showing that a minimum of 25 % of the child's earnings is in an alternative irrevocable trust . The choice will be yours... She also pointed out that administration fees will be much less then at other institutions. There will also be provisions for early withdrawals (still in draft form) but the intent is that a child who needs the funds for medical or educational , etc reasons would make application to the trust and the funds would be released. Please note even though the T's are not crossed yet nor the I's dotted the agreement was accepted as of March 13th 2000. So PRS will look at the life time earnings for each child from that date. The best news is that its almost a reality and if you and your financial wizards think you can do better for your child that will be OK too. Kids who don't have folks doing savvy investing for them will have one of the best administered funds in the country....
Q.) Does one need an agent to get into the biz, or can you just go by luck and charm? Does one have to audition for an agent...?
A.) The consensus seems that to truly become successful in this business you need an agent. In theatre you may be able to get away with attending a few open calls, etc. and representing yourself in a sense, but after a while you should look for an agent if you want to remain seriously involved. In terms of film/TV/commercials an agents seems a must; there are hardly any, if even that, open calls for opportunities there and so one needs an agent to find auditions and submit them for auditions.
Get The Agents Book from TheatreBooks or Theatre Ontario. In the major centres, which is where the TV/film work is mainly, the casting machinery is production/casting director/agent. Rarely is anyone cast outside that, except in small independent productions which advertise at colleges, Theatre Ontario and in some newspapers.
You can get small theatre and film/TV work in Toronto, etc, without an agent, but it's doubly difficult. Before an agent will look seriously at your photo/resume, it should come with an interesting cover letter, and it should look like a professional's. You need to show some reason (experience or training) why they should spend twenty minutes on finding out what sort of client you might be.
Q.) Is work for teen really reduced with braces? in terms of principal parts?
A.) Truthfully, YES. One of my top clients who books everything she gets, movie leads, series roles, and commercials and is a favourite of most of the casting directors hasn't booked, or even got a call-back since she got braces. If you don't have any serious problems you should be able to get away with a removable retainer.
Q.) If your child has done a US national commercial, how can you tell if it has finished running? (Besides the residuals not coming in anymore). It had a maximum period of use for Sept/2000. What does this mean?
A.) Really there is very little one can do other than trust the producers to be honest about the cycles they have aired the commercial in or failing that hopefully you have American friends who live in the specified territories and have them tell you if they see the spot even once after the cycle end date. Most cycles are 13 weeks of airtime. The ad agency will pay a use fee that allows the commercial to air as many times as they want in that period. The thing you hope for is that they have bought all territories.
Q.) What do CD's look for in a child's voice when auditioning for voice-overs? Clarity? Tone?
A.) My experience tells me that they are looking more for the unique voices in kids and their "natural" acting ability. Kids who memorize lines and are great at oral reading are not necessarily the kids who get the voice work. It is also very, very difficult to even get voice over auditions for kids, because there are so many women who do kids voices and get a lot of the work. This seems to be true especially for animated series that could record over a length of time and there is no worry of changing voices, sickness, etc. etc. Hope this helps.
Q.) My sister has just changed agents for her son. When she called her old agent to inform them that her son was moving to another agent they said okay that's fine and nothing else. She did give a brief explanation why, but they didn't try to persuade her to stay. Everything was cordial but unemotional. Is this normal?
A.) It is VERY normal. By the time someone decides to tell their agent they are leaving, they have usually already signed on with the new agent, so basically, why should the agent waste her/his time with someone who doesn't want to work with them any longer. Hopefully, your sister discussed any problems she had with the agent before making this decision to leave and a compromise or solution could not be reached. This is also the time of year when everyone is switching agents, especially after this very, very slow period and of course, everyone blames their agent for there being no work! P.S.: Yes, I am an agent.
And then again, I see a life lesson to be learned here. Better not to burn any bridges in this BIZ. Never know when you may meet up again professionally and in the long run it will be good for if there were no harsh words or hurt feelings.
Realize that agents, especially kids agents, are very busy. If they are not returning phone calls, first you must make sure to be clear with the receptionist as to why you need to speak to them. Secondly, they probably don't know you very well yet and need a chance to learn that you don't bother them during a stress filled day with every little thing. Make sure you ask them all the Questions you need when they call you for an audition. That will save on future calls.
Q.) Why does it seem that scam artist agents are still so successful? Is the word not getting out? I see articles in the newspapers and in magazines reminding parents to be careful. I've seen segments on talk shows. ACTRA publishes a parent handbook and yet still another major takedown occurred a few weeks ago in Toronto....
A.) I have heard of many parents who have been this gullible. Unfortunately, since these scam agents are the ones who advertise, they get the word out that they will represent children. Perhaps the policy for legit agents not being able to advertise is backfiring in this case. A lot of parents who have no connection to anyone in the business are not aware of places like ACTRA, AMIS, etc. where they can get advice, so they believe these people. Again, the only place these people can find out about legit agencies are from places they never have heard of. Some people just lose their common sense when it comes to the film industry. If you needed a carpenter you would do some research... see their work ... talk to other clients before entrusting them with your home. Kids deserve the same investment of time. Starting parents don't know where to go for advice. They look in the paper and all they see are the scam ads. Where do they go? Unless you are in the business, you have no idea what these "initial" organizations are. A lot of parents don't even know what a casting director is. A lot of parents don't even know that kids get paid. They think it is fun.
I was one of those who nothing about the biz when my child began a few years ago. I looked through the newspapers to find an agent. Of course, now I realize how stupid this was. I even set up interviews with these scam artists and went. One was even a place that had strippers on their roster I found out later. Of course they all wanted hundreds of dollars and one even told me my husband, myself and my child would have to take their $500 course. We didn't have the money so of course I said no. But I can see how easily people can be taken by these smooth talking scam artists. Eventually through reading, I heard of ACTRA and telephoned them and less than 48 hours later someone called me and in that one phone call they gave me so much information. I eventually found a very reputable agent for my child. So now, if anyone ever asks about legit agents I always refer them to ACTRA.
Q.) Can someone tell me why there are so many non-union commercials (especially toy
commercials) being done in Toronto that are for airing in the U.S. only. Why is this allowed to happen? Can't ACTRA do something about this?
A.) ACTRA has no jurisdiction over non-signatories. The more experienced children actors
are all or soon will want to be ACTRA members. Therefore, commercials that need good actors will mostly go the union route. Non-union shoots that spend millions to buy airtime do it on the backs of the workers.
Q.) When taking your child to an audition how do the casting directors expect the parents
to act?
A.) Just be yourself. What ever happens is OK. If the casting director is too busy to shmooze that day they will let you know. A friendly relationship can't serve you badly.
Q.) When the casting director does call to tell you either way, whether your child got the
part or not.... how should you react?
A.) Can't imagine a casting director in Toronto calling to say you didn't get a part. Anything you ask in order to learn about the biz is fair ... just remember you may not always get the truth. My daughter has lost roles because she is too short... too tall... too dark... too fair. If your child is booked, a quick thank you note to the CD is always nice. I would just say thank you for the audition from (child sign's note) he really enjoyed it. Mail it to them or drop it off. If your child is that interested an agent would give your child more of an opportunity to be seen by other CD's.
Q.) When getting started how do you hear about up and coming parts when you're not working with an agent, except for open casting calls in the news papers? When should you get an agent for your child?
A.) Open newspaper calls are such a long shot... If your child is truly interested in acting, I would say it is never to soon to get an agent.
Q.) I've seen babies in movies, TV shows, commercials and young kids in the same (and on stage too). When is it too early to get them started if they show an interest in things thespian? Is it better to let them learn through summer camps and the like rather than to get an agent and line them up for professional gigs?
A.) My child started in the biz at the age of seven. It was something believe it or not he had asked to do, and combined with his outgoing personality we figured it would be a fun experience for him. I think every child is different and perhaps one child will feel more comfortable starting younger and some maybe not until they are young adults. As a parent, I think you must base it on how you think your child will be. Being able to take direction is very important. As a parent, you have to be pretty dedicated also, driving here and there for auditions and bookings. I know of a 6 day old baby who auditioned for a job last week, but that is extreme. Ideally, a child should be old enough to understand that this is not playtime or a game, but a JOB. The ideal age for starting seems to be between the ages of 4 and 6 depending on the maturity of both the child and the parent. Did you get that, the PARENT. What child of two will tell the parent that they have thought it out and want to work in the movie industry? A lot of times the very young children you see on the screen are the children or siblings of others already working in the business
My son hit the director over the head with his teddy bear and shock.... go the part. Even though it was a good experience, we didn't take him out again for auditions until he was seven. I believe children must above all else be allowed to live a child's life. Imagine a young Michael Jackson in his limo rushing to a studio session wishing he could play red rover with his schoolmates. Don't misunderstand... I love this industry but if the only thing a child does is run home from school 5 times a week to hurry downtown for yet another audition, how can they possibly remain normal? Drew Barrymore in detox at the age of 12? There are also examples of children who grew up in this biz who like Sara Polley have grown into articulate, socially aware and politically savvy young adults. I guess the Answer is that you have to know your own child and guess what's best for them and when?
Again I remind parents.... don't be star struck. Don't forget to be a parent... protect your children and this industry can be a rewarding and magical place My son started at 3-1/2 years old. No, he didn't know about the biz nor did he ask to join. We also felt he had an outgoing personality and was very mature for his age. He is now 5-1/2 years old and is definitely still in the biz because he enjoys it. I agree with the other comments it's a big commitment on behalf of the parents.
Q.) I recently saw an ad at a grocery store for audition for one-act plays. At the bottom was the note "actor's fees required." I was wondering if this was legit or not. I'm not sure if I'm going to call them or not, because of the fact that they are posting in a grocery store. But is this normal for plays to expect an actor's fee. I'm a teen and don't think I really want to have to pay to be in a play.
A.) I am so ashamed when I hear there are people like that out there and they must be stopped. These are not legitimate productions...not legitimate artists. I have, in my early days, worked for 6 weeks on a production and received a whopping $75.00 pay and I thought I was the luckiest young actor in the world. But the last thing you do in this business is let anyone make you pay for the honour of trying to get work. You don't pay any one.... producers ...directors.... theatre companies...agents... There must be laws against such practices. That's what unions have fought so hard to protect against. Kickbacks? Key money... it's all shady. Please be smart. You can get experience in community theatres and small ground swell theatre companies. Trust your instincts.
Q.) What is the usual number of actors in a roster? I went to an talent/modelling agent today and they said that they represent 3000 actors models from babies to grandparents, is this normal?
A.) What kind of attention could this agency possibly be giving any one of their 3000 clients? In fact, many agents I know do a regular house cleaning to keep their numbers low. Quality not quantity! The criteria for "house cleaning" is not always about how much work you book. A good agent is looking at long-term goals. How much do they think they can do for you? Do you have a good relationship with them? Do they believe in your talent? Are you a good representative at auditions? Adult agents and performers do a dance until they finally find the right fit. That situation, if it is legit, doesn't function as an actor's representative so much as a service for producers. The performers are 'warehoused' not represented or promoted. They will never help you get a speaking part.
Q.) Does anyone have any good names of books out there for kids to read up on about the
"biz for kids"?
A.) Here are a few you might consider: Ramona;
Behind the Scenes of a Television Show, by Elaine Scott & Margaret Miller, Acting in Television Commercials for Fun & Profit--Expanded & Updated
by Squire Fridell, Lights, Camera, Action!: Making Movies & TV from the Inside Out by Lisa
O'Brien, An Actor Succeeds: Career Management for the Actor By Terrance Hines, Commercials: A Guide to Auditioning & Performing on Camera by Joan See, An Actor Prepares by Constantin Stanislavski, Getting the Part: How to Get Work in Theater, Films, Commercials, & TV by
Judith Searle, Next! An Actors Guide to Auditioning by Ellie Kanner, Seeking Representation: A Step-by-step Guide to Finding a Talent Agent in Canada
by Valerie Poulin, The Audition Book by Ed Hooks
Q.) I have a son who took tap he became bored very fast. He enjoyed the idea of tap but
found it moved to slow for him. He still would like to go again but not the same place. Any suggestions on how we can pick the right place for boys?
A.) My best advice and probably only advice I can give you at this time is to try and get
in touch with Bill Orlowski who founded and ran the National Tap Dance Company a few years back. I think he can be reached through the Randolph Academy for the Performing Arts where he teaches part time. While I don't think he teaches kids, he could probably recommend local schools that would be best for boys. Wondering if dance can help you child? Read: Improve your acting through dance. Also, phone dance schools and ask how many boys they have in their classes. If there is only one boy per the odd class, forget it. If a dance teacher has at least a couple of boys in a class, they are more apt to spend more time with them. Otherwise, its do all the same steps and the same style as the girls.
Q.) Some projects in the U.S. look for kids to play 16 or 17 year olds and state they MUST
BE 18, OR EMANCIPATED if under 18. What does this mean?
A.) An emancipated child is one who has legally taken over the guardianship of themselves. I know such a child star. She moved out of home and rented her own apartment and hired a lawyer to prove her ability to look after herself. The parents have no more say over her life... Obviously, this is not a step to be taken lightly. Yes, emancipation is available in Canada. And yes, it is not common. My understanding is that it becomes an option in an instance where a teenager's parents are no longer involved in the rearing of the child. (And there can be many reasons for that.)
Q.) My child has been in the biz for 2 years. I have never had an audition and I am curious what goes on behind those doors? My child has told me the odd thing, but is there an actual procedure that must be followed? Is there anything I should do to prepare my child other than wish him luck?
A.) Even though I have had auditions.... I also, as a parent, wish I could be a fly on the
wall. Years ago, when I asked my son who at the time was 7 years old what he did to get the job. He answered "I showed them my angel face" Go figure? My son started auditioning very early. As a toddler, I was often allowed in to the audition room. (Especially for film). Soon the casting directors started taking the children away from me to go in alone. This is the first chance the CD has to see how easily your child will take direction from perfect strangers. Normally the child will be brought in to a room that has at least one camera operator, and a session director. But the room can have as many as a dozen Advertising firm execs, clients, director, or production house folk. A tad overwhelming? Sometimes... If the CD is smart, they will bring the child in and show them their mark which is usually taped on the floor and ask the child to "stand on the mark" The camera will be focused for that MARK. So will the lights. The child will then likely be asked to show the camera both profiles and to SLATE. This means looking at the camera and saying their name, their agency and sometimes their age or height. Don't worry if the kid can't remember all that. They will as they get older. And if they don't it will probably be so cute they will get the job. Many kid's commercial auditions are for SOC (silent on Camera) roles and the director will keep camera rolling as they ask a few simple Questions... What grade are you in? What's your favourite toy? They just want to get the kids to be themselves. Remember the Kraft macaroni & cheese campaign with all those cute kids? There was no dialogue
given to the kids... just real kids doing what comes naturally.
Please be warned... the audition room is the only place I would ever allow a production company to take my child without me being present. And then I'm only outside the door. On set, you should and in my opinion always be present. If need be sit out of eye line of your child... but do NOT sit in a green room away from the action.
Q.) My child gets many auditions. We get there at least 10 minutes early to fill out the
forms and have our picture taken and then wait to be called in. And then... There are ALWAYS some mother who insist that her child must be taken in right away for various reasons, while the rest of us wait. I think that this practice is unfair. Any opinions?
A.) For the most part, kids auditions can be cattle calls. The casting directors can call in up to a hundred kids. The wait can sometimes be horrendous although better since the ACTRA sign in sheets. The more experienced the child gets the better the quality of audition. We love to see the calls where only a half dozen or so kids are called in. There is very little you can do about other pushy moms...except be patient and look after your own needs. If a mom is pushing to be seen ahead of you, you have every right to discreetly tell the assistant in charge that you also have another appointment to get to and really need to be seen as close to your time as possible. But remember sometimes conflicts occur and you may also need to be seen out of turn. I find in adult auditions that actors tend to work these things out together. Keep talking.... be honest...
Q.) I wanted to know if there is a youth theatre group at the Stratford Festival. I would
like to audition.
A.) Stratford had a "young " company. And believe me the actors were not all young , just young in their experiences with the Bard. If you follow the CAO links to the Stratford site, you will find a page on The Conservatory (the young company).
Q.) I was wondering... what are the toughest situations parents must deal with in this biz?
A.) For me it is producers who on set, and through me, ask my kids for favours (overtime)
even though they know it is against ACTRA rules to comply. Rejection is a tough one. Being on set with a parent that pays no attention at all to their child's needs (the child is usually a brat) and expects everyone to bow down to their every whim. The thing I love about adult actors is that we tend to be very supportive of each other.... very focused on getting the job done. A parents, our job is to help the child be able to do their best work as well.
Q.) What colour of clothing works well on camera for auditions? Is there any colour you
should stay away from or does it really matter?
A.) As a general rule of thumb, stay away from all white shirts unless your child has been
asked to wear one. Also avoid hard checks and black and white hounds tooth-like patterns. They strobe on camera and it's hard to watch, distracting. Simple clothes always look best on camera. Take look at your family stills. You will start to become aware of clothes that do not compete with your child's face. And look at the kind of clothes professionals put on children in commercials. As a rule, stay away from red as well. It bleeds on cheap video. In commercial auditions, stay away from large brand identification--logos, etc. And then again, in this business quot;rules of thumb" are meant to be broken. A cute red shirt might just get another kid a job and you'd hate me.
Personally, I don't know how much of a difference it makes. If they like your kid and he/she is directable has the right look, I don't think it matters the way they are dressed. I always like to dress my child so he feels comfortable. Just remember... casting directors and clients have very little imagination. Listen to your agent's advice on how to dress.
Q.) Maybe I'm wrong but I was under the impression that every agent get the same breakdowns and submit based on the breakdowns and the CD's select from the submissions. Is this correct
A.) It is also a well known fact that some CD's don't open all the packages they get....
only the ones from their favourite agency, or the one they think have the best kids. Some casting directors may only bring three kids in to read for the role, so with over one hundred agencies submitting, the chances for an audition become very difficult.
Q.) If the CD isn't sitting in on the commercial auditions who exactly is in there? I always thought they were in there so then who are the decision makers for commercials?
A.) A casting director does just that. They decide who gets to audition, that is why it is
important for your Agent to have a good rapport with all Casting Directors. For commercials, there are 3 main decision makers. The Director, The Advertising Agency and the advertiser or what is know in the business as the client. The only input a CD may have is to say a certain kid is trouble, or the mother is trouble. Talk to any commercial casting director and they will tell you they do not have anything to do with the actual decision on who gets the job, so forget about sending a casting director flowers or a thank you card when you kid gets a job. Ask your child how many people were in the room when they auditioned. A lot of times it is only a camera man, and a person running the session. In that case, the audition tape is sent to the director, who chooses who they want to see on call-backs. If there are 5 or 6 people there, then in most cases the director, the producer, the agency and the client are all there to make the decision.
Q.) Another parent told me they claim 10% of their child's earnings as "management
fees" to cover their time, gas, etc, etc. Do you know if this is allowable, and indeed deductible?
A.) If the 10% management fee is to compensate the parent for his/her time, gas and other
expenses then yes it is reasonable. But the parent then has to claim this on their income tax return. As any other business you will also have to have documentation to back up your claims if ever audited. Once your child is making enough money to worry about combined family income it is time to find a good entertainment accountant.
Q.) Should my child become an ACTRA Apprentice on her first permit and work towards
becoming a full member as soon as possible. Some agents say just keep buying permits, but don't become an apprentice so you can keep auditioning for all the non-union work out there. Others say, sure, become an apprentice, but audition and do non-union work until you become a full member. What is one to do?
A.) Depends on whether you want a future in the acting profession. If you are taking it
seriously and want better roles, you will have to become a member of ACTRA. For some, it takes a long time. Personally I'd say get you permits and become a member. Also consider the source of the advice you are getting. What is their agenda? Might not be to your benefit in the long run to listen to those who just want to squeeze what they can from you. Outside of ACTRA, you have no legal protection, unless you want to try to pay a lawyer to sue a cmpany that won't exist in 6 months. As for becoming an ACTRA APPRENTICE DOING NON UNION WORK--that is FALSE and could leave you subject to paying a fine for working for a non-signatory. When and if you decide to join the union (and that includes becoming an apprentice) you do so with the understanding that you agree to abide by all negotiated industry rules. In return you are given the full rights and protections of a proud and strong member driven association. You also receive fair remuneration for work... something that is sorely missing in non union shoots.
It is ACTRA that set in motion a procedure that includes Principles of home schools directly communicating with productions to ensure individual academic needs of students. ACTRA went to bat for kids in the biz and is looking for ways to improve the implementation of these rules. And believe me production managers have a hard time justifying $20,000 fines... Yes, that's the kind of clout the union is wielding these days. ACTRA wants to protect kids and they are serious about getting producers to comply.
Q.) If your child is a member of ACTRA in Canada, can they still do non-union jobs in the
US?
A.) ACTRA members must abide by all agreements; film, commercial, industrial. SAG
representatives support our endeavours to protect our members and we reciprocate in their jurisdiction. Your child is a professional actor and legally cannot do non union work.
Q.) Coming out of the casting offices was a woman and her child. I observed her scolding and pulling at her son's arms as they walked down the street. She was giving him the third degree on his audition. Should I have reported this to the casting director? Commented to the mother?
A.) And they thought hockey moms and dads were bad! The only thing you can do is keep quiet and never use that mother as a "role model" Best not to mention it to the casting director as the kid could be her favourite, the mother could be her sister-in-law, or the kid's agent could be her daughter. Best advice: keep thy mouth closed and support your own child! It's a fine line, isn't it? As long as she wasn't physically abusing her child, best to stay out of it.
It's difficult to get a parent to say "no" to a blatant abuse of the guidelines in the children's section of the IPA. Remember these are rules agreed upon by both ACTRA and the producers as standard for children's treatment on set. Parents can get so overzealous wanting their kids to shine in this biz that they sometimes allow outrageous things to happen to their kids just because it is a movie set... they expect too much... they push too hard.... and these same parents would allow producers to ask the impossible. Like working young children over 10 hours. Do they really think a child's career will be furthered along by allowing this abuse?
Whenever faced with odd requests from producers remember you don't have to say yes. You can ask to be given time to call your agent. I have seen catering trucks serving strawberries dipped in chocolate with premium beers chilling...on the same sets where they try and squeeze another shot out of a child who has already been on set for 10 hours. When asked to do the production a favour... go home. The ACTRA stewards are also there. Don't tell them I told you when you call late at night, but the ACTRA newsletter lists the phone numbers of all committee heads and council members. Maybe for emergencies these can be used in a pinch.
Q.) Most people say if an agent asks for money other than commission... run! However, in a brochure I picked up at ACTRA, it states, "Principal agents may ask you to cover small costs like courier fees. Such fees should be no more than $20 a month." That is an annual charge of $240 a year. That seems like a lot to me. So, which is right, don't pay money, or pay up to $240 a year?
A.) Different agencies will handle the courier/mail fees differently. One agency I was with swallowed the fees as the cost of them doing business. This is rare these days. One kids agent I know bills a yearly fee of $65, which will cover most things. If there are outstanding courier costs they will attach an itemised statement of such and deduct it off the next cheque that's cut for the child. No money up front is still a good rule of thumb. See a bill before you pay it. Know what the courier was for. That way if there are abuses you will soon know. And relax... in the overall picture the costs are not huge when a child can make thousands of dollars on a single TV spot. You may need deductions for tax time. And if you look at the courier bills you will notice that the costs are kept as low as possible by sharing the cost with all the actors being submitted.
Q.) What do children actually get paid for TV series and Film work is there a set price or
is this a negotiated fee?
A.) I have found that very seldom do kids get paid OVER SCALE for series work. However, there is an ACTRA rule that states if the production company is optioning a second or third year, then the child must get scale and a half in the first year, with a guaranteed 10% increase in each of the next years. Also, there is a weekly rate that may be paid which is less than a week of the daily rate. If you are in Toronto and your agent can get you over scale, consider yourself lucky. As it is, it is around $5,000 a week anyway. Not ALWAYS the case, but yes it is true that MOST children work for minimum rates negotiated by ACTRA. These are found in the IPA agreement, the CBC agreement, or the CTV agreement. Depends who the series is produced by. The rates will vary so why not follow the links on the canadianactor.com welcoming screen to the ACTRA site and look the rates up. And realise Minors are paid the same rates as adults. A descent wage to be sure.
Q.) My child has been in the business for about two years now. He has mainly done commercial and print work. He has asked about getting involved in film work. He is enrolled in spring classes for drama. Is there anything else I can do as a parent without seeming too pushy? After all, he is only ten.
A.) Let your son's agent know in a light-hearted way that your son has asked about getting involved in Film. That's all you need to do. If the job opportunities arise and the agent feels he can handle real dialogue and emotions... he will be seen. Remember film is a different game than selling soap but if your son is comfortable in front of a camera, he has a good start. And yes let's not be too impatient about our 10 year olds whose careers haven't taken off yet. Too many 45 year olds still waiting for a break.
Q.) I was the lead last year in our high school play. After the play, several people suggested to my parents that I get involved in acting. What is the best way to get started?
A.) Getting started in the biz is something you have already done. A lead in a high school play is a fabulous start. Every experience as an actor is a stepping-stone to the next challenge. While in High school, try to take any age appropriate workshops... improvisation classes, movement, music. What interests you? See as much theatre as you can and check out classes attached to a professional theatre or a government run theatre program. In addition, keep your ears and eyes open for open casting calls. These will be posted in and around theatre companies or the equity board. Don't be afraid of searching out projects with "young directors" or "writers" just for the experience. Experience experience experience. Get as much as you can. Next thing you know you will be inviting an agent to see you in one of your shows and as they say the rest will be history. One should always dream...
Q.) I'm a young apprentice member, and wanted to know the advantages of being an ACTRA member. I can't do non-union work now, but can I do student films?
A.) As an ACTRA apprentice you have all the rights and protections of a full member which means that when you work on a set you will be treated fairly and equitably. Think of the hard fought battle ACTRA just won in the IPA for Actors long-term participation. Yes ACTRA members are now participating in Gross Receipts. And yes sometimes your art is as important as your rent. Check with an ACTRA steward re doing a student film. In the past, I know some institutions (The Film Centre, Ryerson?) have had agreements in place with ACTRA to allow for young directors and actors to work together on projects. Some institutions do not. What ACTRA asks of the schools among other requirements is that a log be kept of the time worked and the money the actor should have been making at union wages. This serves two purposes. Firstly, the filmmaker learns the reality of filmmaking. When you pay for film, you must also pay for talent. And if the young filmmaker actually does make a smash box office hit, then the talent will also share in the returns.
Remember as an apprentice, you don't want to work outside the agreement. Encourage the student filmmakers or schools you want to work with to dialogue with your Union. The rules are there to protect us. I've seen heavy fines levied against performers. Keep talking anything is possible.
Q.) What seem to be the busy times for auditions.
A.) Traditionally the early part of the year can be slow but every year can have something new to offer. When the crews around town are busy building sets it could mean a busier time than normal. The weather, the exchange rates all sorts of things play into the equation. The one thing you can count on in this business is that you can't count on anything.
Q.) Back in April sometime in the new agreements I remember reading the new protections for child performers, including guaranteed tutoring time and when a young performers lifetime income reaches $5000.00 25% future earnings will be placed in trust with ACTRA until they turn 18. I heard this was to come into effect in Sept. 99. I have heard nothing more on this matter. Anyone out there heard anything more on this?
A.) I work as an actor in Toronto but also as an On-Set Liaison officer for ACTRA. This means I go out to film sets as a representative of ACTRA to gather information for the Stewards and to provide member education. To answer your question, the new Independent Production Agreement does include a clause providing for 25% of a minor's income above $5000.00 to be held in trust by the ACTRA Performer's Rights Society until the minor reaches the age of majority. This has been in force since September of 1999. The new IPA doesn't make any changes to Tutoring, but the IPA already includes a requirement that if a minor misses three or more days of school in a week or nine or more days in a year, than a tutor must be provided by the Producer. For more information, contact a steward at ACTRA, an OSLO on the set (there usually is one when children are present), or Myra Fooden, chair of the Children's Committee at ACTRA. There is also a helpful pamphlet published by ACTRA entitled: Parent's Guide for Child Performers. You can pick it up at the ACTRA office or ask them to mail you a copy. And if you do have a child working in a speaking role, the A.D. will often, if asked, give you a copy of the minor's section of the IPA.
Q.) On a lot of the US kids discussion boards there is talk about kids having managers and agents. I guess the manager is the one hounding the agent rather than a mom. Is this common in Canada or do mom's fill this role?
A.) Managers are not common up here in Canada. Neither is a star system that might warrant such an animal. At least not until a career becomes so unwieldy that such an overview is needed. When the time is right a manager is just the ticket. (at another 20 - 25% off gross). In Canada, it is quite common for agents to act as managers especially when it comes to burgeoning kids careers. Who ever you get to help look out for your interests make sure you trust them and that there is an open line of communication. And remember above all else that you are the parent and your job is to look out for the safety and welfare of your child. I love this business but sometimes there is a lot at stake financially and unscrupulous folk might not have your family's interests at heart. Feel comfortable about the projects you and your child are involved with. It's OK to say no to agents, producers, projects. It's OK to be interested in the choices being made for your child. Until you have a manager you trust to make these choices with you, it's your job.
Q.) How much time should I give my agent before booking my son off on a vacation. Is a week ample time? It not like he is so overwhelmed with auditions.
A.) Unless the producers are lined up waiting to offer your son leads in projects, take whatever time you need to maintain a real family life. Remember, agents work for you. Just be open about your plans. Let the agent know you are thinking of going away and be specific about dates as your plans firm up. That's the best you can do. The agent will appreciate the forewarning and your child won't miss out on anything important. If someone calls about your kid your agent will know the availability constraints and things will sort themselves out accordingly.
Q.) If your child gets an audition for a lead in a film or play, should you hire an
acting/vocal coach for them?
A.) Wow. Tough Question. My immediate response is no. A young child can only be taught to be comfortable at being themselves on camera. Let the directors and producers meet the real kid. Not a propped up, trained seal. Acting coaches will be brought on to a set by the production company if needed. This of course is not good advice if a special skill is needed such as an accent or musical abilities. You can get a child prepared for that as best you can. Keep the pressure off a child if you can. A comfortable kid is the best prepared in the world.
Q.) If a child has done commercials only should they have a demo reel of these?
A.) As a family keepsake you may want to collect as much tape of a child's work as possible but, if you are asking whether a commercial demo reel is an important tool for getting more work? No, it is not. I have never heard of a commercial reel being needed to secure a foothold. Casting agents already are very aware of the work on air. Agents talk to casting agents and make them very aware of a child's success in commercial campaigns. On a go see, a vital engaging child see is the best marketing tool.
Q.) If your child was in a commercial, booked as an extra and once the commercial airs you can see your child. Would this qualify as an upgrade? What would determine extra from principal in say a classroom scene?
A.) If you have any Questions at all about upgrades, the ACTRA stewards are there to help. They can request a tape of the commercial from the production house or you might already have one you snagged yourself off the tube and will view it with you to decide whether an additional payment is required. The difference between a Principle and an extra or Background Performer is very clear. The principle actor has lines. SOC is an actor who is "silent on Camera". A Background performer in commercials should by definition not be recognizable and you're right performers are often upgraded to a residual bearing category.
Q.) My kids were doing well, but auditions have slowed to a trickle. Should I consider
switching agents?
A.) Agents work for you. But let's not get into a frame of mind where one always blames
agents for a lean year. There are so many variables. The best thing you can do is foster an open line of communication in order to understand what is really going on. Do this by first making sure the agent gets to know your child. Drop him or her in for a chat after school. Share important non-business events. School, sport, music lesson successes etc. If they know who your KID is there is a better chance of them finding a suitable audition for them. You can find out whether your child is being submitted for age appropriate roles. Are the roles even out there this season? If yes, then why is the child not getting auditions? Do they need to do a round of go sees? Do they need to wait a while for them to grow more comfortable with the whole audition process? If an agent is not communicating with you about your concerns then it is time to move on. But there are some fabulous kids agents and if you are with a good one I say give it a chance.
A.) As an agent for kids in the biz, I really see the relationship as more of a partnership, with the agent and the parents working together with regards to the child's career. I have had over zealous parents treat me as a servant "I work for them, remember" and find this attitude very unhealthy and unproductive. Indeed, if I work for them, what reward do I get for the time, telephone calls, couriers etc. etc. (all the costs of representing the child that I bear) until such time as the child gets work. Please be a little more respective of the time the agent invests in representing these kids who start with little or no experience but with great expectations (usually by the parents). Just had a child actor leave me after one year of representation. The child averaged two auditions a week for the year, all great auditions for film, voiceover and TV along with the regular commercial spots, and me--the agent--was blamed for the kid not getting work.
A.) Some parents you will have a great relationship with others you will not. I communicate with my child's agent regularly. You should be able to place your trust in your agent as they do with you. I believe like you it is a partnership and as agents and parents, we must work together to develop the child to their full potential. It will not matter how hard you work with some parents there is some that will always think that the grass is greener on the other side of the fence.
Q.) If you are ACTRA I'm under the impression you are not required to audition for extra
roles unless you are required to have a special skill.
A.) I believe in the past "Go sees" were not uncommon for background work. For commercial BG work you just let them know on your sign in sheet that you are willing and they call you. For film BG work there are special BG casting agents. You register with them.
Q.) I'm an ACTRA member. I heard that if you do too much extra work people will only see you as an extra when you audition for roles. Is this true? My new agent doesn't want me doing anymore extra work. Is this the reason why?
A.) Commercial background work can be very lucrative in lean times. And no one sees you or
holds it against you. As a film or TV actor I'm afraid your agent is right. If your agent thinks you are ready to be considered for better roles than you will do better not to let casting agents think of you as a background performer. Why not give your agent a chance to do their thing. If you get really strapped for $$ you can always reconsider the decision later... but I have a feeling they might know a good thing when they see it
Q.) If a child is just starting out and has booked only a few SOC commercials, don't you think doing extra work also will help them gain experience?
A.) If it is a good experience than yes I agree every opportunity to get in front of a camera is useful. Then again, I know some of you won't like to hear this, but there is an unofficial caste system in film and television. Things are getting better because of the hard negotiating team at ACTRA but realistically the lower you are on the call sheet the lower the treatment by production. Not all ADs (assistant directors) are like this but I have seen too may abuses of children on sets to feel comfortable with a young child enduring the Background performer style treatment. I allowed my son to accept an commercial BG job a few week ago and all went very well. But in episodic and film I have seen too many BG performers held in dark airless holding rooms, fed less than appropriate meals and basically rounded up like cattle. Is that a an experience you want your young child to have?
Q.) I have read a lot about student films. How do you find out about these films if they are casting for children? Can child ACTRA members book these to build their resumes?
A.) Some film schools have agreements with ACTRA some do not. It's always best to check
with an ACTRA steward before accepting any out of the ordinary booking. I can't imagine many student films are being produced with child performers. The directors by definition are new to the game and I assume they would want as experienced actors as possible on set. A great performance can make or break a project.
Q.) Is it a good idea to send out resumes and pic's to casting directors your child hasn't
been called into as yet?
A.) Does your child have an agent? If so, I strongly suggest you check out any proactive move with them. An unsolicited picture and resume might be a good idea with some casting agents but frowned upon by others. Unless there is a specific non-typical role to fill most casting agents will trust talent agents for suggestions. Open calls are rare.
Q.) For the past 6 months, my ten year old daughter has been auditioning and attending call-back and coaching sessions (run by the casting director) for the production of The Lion King. She qualified in all aspects of their requirements but at the last call-back we were told that my daughter was too tall (she had not grown one inch during this whole period) and that they had chosen an Asian actor for the older version of the character and since my daughter was black, she was not right for the part. While both my daughter and I totally understand the rejection in this business (she has been performing professionally since she was 3) we do not understand why the casting directors put parents and children through these exercises with absolutely no respect for the time and cost involved. Is there no way that casting directors can be forced to do their homework, and know what they are looking for BEFORE they set out to do it?
A.) I can understand that this process is very trying, to say the least. The short Answer is that there are probably fifty variables in the casting process such as this one. And the short Answer is that your daughter is talented and certainly seriously considered for the production but they just didn't yet know how they would make it all fit together. It sounds to me that they were quite honest with you as to why they went the way they did. Chances are they did not find a black actress to play the older version of the character who was as strong as they had hoped. Nonetheless, this is part of the deal as you must know already. To get there, you must have emotional commitment to the part. And for that reason you will also 'grieve', like or not.
How fantastic to know that your daughter is good enough to make the final cuts on such an important and high calibre job. Getting to meet Julie Taymor at her age is no small accomplishment. I have always told my children your job is to do a good audition. And that's all you can do. The rest is out of your hands. And a good audition will always pay you back in the future. You won't know when but.... The casting director will be more likely to call her in again. The director or musical director will remember her as a talented girl they really liked but eventually couldn't hire because the mix wasn't right and they will call her in for another project. Tell your daughter the experience will serve her in good stead. She's done very well.
Q.) How long is the audition process for a TV series?
A.) Enjoy the process. The longer they keep wanting you to come back, the more your chance to get the part. The best piece of advice I could give is not to change, or get coaching, or dramatic advice from an outsider once the process has begun. What they saw, (and liked) at the first audition is what they liked. The audition process is as varied as there are numbers of producers. I have noticed thought that the more money being spent the more call-backs there can be. I suppose there is more at risk and the powers that be want to make sure.
If they still aren't sure but keep calling you back in that is a good thing. You are still in the running. I go so far as to try to wear the same clothing for call-backs. There is a physiological factor at work. If the liked you well enough to call you back and you come in looking the same that will trigger the good good feelings they had about you.
Q.) Can a person (teenager) from the East Coast be represented by someone from Toronto? If so, does it happen very often? Also, if so, how does a person go about finding the "right" agent when they do not know the area well?
A.) PART 1 - New York Agents In the U.S.A. all Agents have to be licensed/sanctioned by SAG so a Canadian Agent cannot negotiate a U.S. contract. It would be difficult for you to get a New York agent, unless you have working papers/green card. However, it would be easy to get picked up by a New York Manager. Some Canadian Agents work in tandem with some U.S. agents and thereby "share" clients, and commississions, which is the best route to go rather than paying double commissions. Most talent in the US have a manager (15% commission) and an agent (10% commission) for a total of 25%.
PART 2 Lead Time for roles. We wish. They give us very little advance. This week I submitted a kid on Monday aft.- they called me Tuesday afternoon with an audition time for Wednesday afternoon with 11 pages of sides to memorize.
Q.) If I want to submit to an agent for possible representation, is there anyway to do it over the internet, through email? I could either attach my photos to the file, or provide a link for the agent to look at my photos at. If this is an acceptable process, where can I find agent's email addresses?
A.) If you go to the main CAO (www.canadianactor.com) site, and click on Agents, you'll find links to agent listings. I know the Toronto agents listings include email addresses if the agency has provided one. It seems that a good number of them have. If you're not in the Toronto area, you could check the other links and see what's available. Good luck! And that's exactly how we just hooked up with our current agent.
Q.) Can you purchase the agents book on-line any where and have it shipped to your home?
A.) The agents book is a listing of Agents (for talent, extras, and models) in Toronto and surrounding area put together by AMIS (Acting Modelling Information Service). It contains information about agencies that agree to have their contact information posted; and from my understanding whenever AMIS receives a serious complaint regarding any agency they remove them from the book, so for the most part the book contains legitimate agencies. As well it contains so information about photographers, and other necessary services and some information about what is involved in participated in "this business."
Call TheatreBooks 1 800 361 3414 or Theatre Ontario 416 408 4556 I imagine either will take your VISA number and mail you a copy. Their URLs are www.theatrebooks.com & www.theatreontario.com.
Q.) Has anyone ever sent their kidz headshots direct to CDs even though they have an agent already? If so, what was the reaction, good bad or indifferent? Did anyone get work for their kidz in the biz this way?
A.) This is not normally done. I wish we would hear about a good experience but .. CDs consider themselves too busy and too powerful. An agent is needed to get your child seen by a CD. AN agent somehow legitimises your child in their eyes. This of course is very different then the theatre world where Artistic directors welcome unsolicited resumes and head shots from actors.
Q.) Just wondering if anyone knows -- When a child is slating, does it matter whether they say their last name or not? I guess I'm really asking why do they even ask them these questions?
A.) To see how they respond to questioning by a stranger, how well they take direction, and perhaps find out how shy they are. slating is very very important, IT IS THE FIRST IMPRESSION! Or if they lose or misplace the audition sheet with the contact information on it and think he is absolutely perfect for the job they have his name and his agency on tape.
Q.) How much do commercials usually pay per day?
A.) A union commercial will pay around 500- 600 a day and then depending on the markets? national, regional etc you will get paid around 500 - 800 or so for the first cycle and then another payment every 13 weeks for the life of the commercial. My son can pull in around $4-5,000 for a national Canadian spot that runs a year. An American spot that also runs in a lot of markets can pull in as much as almost 10 times that. It all depends on markets and length of the campaign.
Q.) How long does it take to get paid after one has finished a job? IE: film, TV, video or
print.
A.) ACTRA union jobs in film TV or FILM payments are to be in the union offices within 15 working days... Then it is up to the time it takes the union and then your agent to process the fee normally within a month Print jobs can take anywhere from 3 - 6 months
Q.) My daughter is very nervous when demands are placed on her, 'can you do this for me please' which I know is the name of the game, BUT I can also see how badly she wants to do this, she was so excited when I told her that they wanted to sign her. She gets nervous but watching her I can see that she tries so hard to suck it up and just do it, sometimes with success sometimes not. The thought of telling her that I don't think this is for her is a terrible one. What I'm not sure of is if this is something that she can work through and if the fact that the agent wants to sign her anyhow says that she sees something that I don't?
A.) What have you got to lose except a few months of your daughter being asked to expand her horizons and in the best case scenario she will learn some valuable life skills. If you are attentive to your child's needs ( as it seems you are) and keep an eye on how she is handling things I am sure you will get her out if it really seems to be harming her psyche. I suspect she will surprise you. Some of the finest actors I know hate auditioning and still feel pressured under those situations. It doesn't mean she isn't capable. You will find out. I would give my daughter a chance to surprise me. .
Q.) Do you think hiring a manager for your child would be beneficial in anyway??? I know some Mum's in Canada that have started the trend. Just curious of opinions on this? And if I was interested anyone have any suggestions on where to find one???
A.) IMHO a manager for kids is not needed unless the child makes enough $$ per year to warrant the extra handling and extra expense. Remember a manager takes 20% of the gross and if you follow the American model this is often on top of the agents 15% .
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