How to get your child or teen into Showbiz – Part 2
By Master Talent Teacher – Diane Christiansen

There are many ways to go about getting an Agent for a child or teen actor, including cold calling and/or submitting online through each Agencies website. This is the least effective way to go about this monumental task and the most daunting. There are numerous ways to go about it and enjoy it more with more successful results and we are going to address those options with you here, assuming you studied Part 1 of this 3 part series. If you have not done so, I recommend you do that now.

Part 1 is critical to your success. You need only visit MasterTalentTeachers.com to read the article or watch the video and will take only a few minutes. Without those preliminary steps, it would be difficult to proceed. Especially without training in an Acting class with a credible coach or teacher. Find the best one you can at a reasonable price and be sure to get busy! All Agents in Los Angeles only want to work with trained Actors, of any age.

The Agents and Managers that you WANT to be with generally have a pretty large and well-established roster in each category. They have their “go to” people who are bookers and who are established, so why would they sign a newbie or someone without credits? The answer is simple; they have to keep growing and expanding and “cleaning house“ each season. That means they only keep the talent that is booking after their contracts are up and if they aren’t then it’s often “bye bye”. That is where your opportunity lies. That is when the Agent or Mgr needs to call that actor they saw in a showcase, and that’s where they want to find you!

Agents know that if you have taken the time to perform in a showcase that it is pretty likely that they had to prepare with a coach in an organized setting. They know that many coaches, like myself, accept actors that have had to audition and have had a night or two of training with a coach who will help “package” them. A- list reps love that. Not only do they see you in performance mode, they also see you in a “niche” that you can play. We do everything we can to make sure you perform in a scene that represents your type or shows off your skills at maximum “castability”. This is not the easiest task for individuals on their own, but with a team to support you, it is much more fun, for both the actors and the reps attending. They get to “scout” talent and “discover” you from a reputable coach and you get to have fun performing with a coach who has your best interests at heart. Win – win! We hold 3 to 5 Agent Showcases per year in two locations and 90% of our actors sign with A list Agents when they are accepted into our showcase workshops.

Once you have been accepted, I want you to know that there are specific ways to stay in the forefront of your Agents/Managers minds. You can be obnoxious and call them or email them every week and lose them because you don’t understand “protocol” or you can contact them (after 2:30) on weekdays only when it is pertinent to your development with the Agency. Agents and Managers want to know if you are in a play or workshop and they want to know if you’ve lost a tooth or some weight. Or changed your hair color or your address and staying in touch with your reps by email or phone is best if it’s about once every 6 weeks. Knowing things like this will not only keep you in the forefront of their minds, it will also keep them saying “Now that’s a pro”. Mom or Dad or Guardian, keep in mind that once your child or teen reaches about 14, it is time for them to start doing business themselves. This not only teaches them to be business like, it keeps the relationship between talent and the reps current, so that the rep is privy to the young actors changes and growth. It helps them see who the teens are becoming, and they do change a lot during the teen years. It helps your rep know how to re-market you or submit you for roles.

So, in conclusion, work smarter, not harder. Parents will also help your kids to succeed by remembering that reps have very little time to “chat” when you call for auditions. I always tell parents to “just say yes” to auditions when reps call. Say yes and then go figure out your life. They definitely do not have time to listen to your “to do” list. So, keep it succinct and let those wonderful people get back to work on your behalf. They will never want to let you go!

How To Get Your Teen Into Showbiz Part 1
by: Diane Christiansen

This 3 part video series was designed for families who are seeking a professional career in the Entertainment Industry in Los Angeles for their children or teenagers.

Each segment, parts I, II, and III are critical steps designed to be taken with patience, dedication and a 100% commitment to producing results. If you rush these steps, you could really hurt your child or their chances of making a solid first impression. In our Industry, that would definitely be detrimental to their opportunities down the line. The last thing you want to do is send young talent into an arena that is already competitive, and leave a Casting Director or Agent with an impression that says “They were not ready.” Those first impressions are very hard to erase. That would be all they would remember once they actually ARE ready. Let’s not do that. Let’s follow some protocol here and do things right!

The smartest and most supportive parent will do as much research online as they can before you forge ahead, including finding out who the best coaches are to start with. Especially since Training is first on the ‘to-do’ list. That includes reputable classes and private coaching with the best coaches you can find. I always tell beginning families to book one hour with me to do the following; Use half an hour to evaluate your child and use the other half hour for yourself. Knowledgeable parents come with a list of questions that I can answer and guide you to become that parent that is knowledgeable and helpful, as opposed to clueless and detrimental. Agents tell me that 75% of their decision to sign young talent is the parent. So, you need to be coachable and remember – knowledge is power!
Second, you will need good headshots. I recommend photographers who the Agents keep at the top of their lists. This way, once you are sending them out or using them in Agent Showcases, you will be ready to go and most likely not have to shoot again once signed.

Third – Demo Reels! In the beginning, you won’t have much to put on your reel, so we find 2 great monologues, usually one minute in length, dramatic and comedic, to start. That coupled with an Actors ‘Slate’ and any footage you may have is enough until you build your reel.
Once you have a good theatrical and commercial headshot, a demo reel, and some training, I encourage you to join ActorsAccess.com and begin to submit your child for non-paying work such as student films at colleges such as USC, UCLA, CAL ARTS, Chapman, Brooks and several others in the LA area. This will not only give you credits to add to the resume, but also give you more for your demo reel. But the real advantage is to begin working on camera and learning how a set works. This experience will bring an incredible wealth of knowledge to your young actor prior to being on set for a paying job.

So let’s review our first steps:

• Training
• Headshots (usually a Coach knows the best ones!)
• Demo Reels and Actors Slate
• Join ActorsAccess.com
• Work in Student Films

Once you have completed these 5 steps you will be ready for Part II of this 3 part series, Finding an Agent!! Join us next month for this critical step on you and your child’s journey to success!

Just when you thought you had learned everything about the emotional journey an Actor must master, we go and add another layer of technical knowledge into the mix. Camera shots! Unless you study filmmaking as well as Acting, you won’t know about shots and frames unless you spend a lot of time in an on camera class or on set, watching, learning and grasping all of those buzz words the Director and the crew are using to describe the shots they are setting up and using to shoot each scene.

Yet, it actually begins at the audition. Fortunately, the audition is generally a medium shot or close up of you and all you really need to know is where your frame is. Many young Actors don’t worry about it much at all. In our classes, we are only on camera once a month and we are not able to address technical terms as much as we learn “actor” terms. Therefore, we’ll describe a few shots to simplify the majority of what any Actor needs to know to deliver his or her emotional work effectively on any shoot without worrying too much about the vast number of camera shots commonly used. The exact terminology varies between production environments but the basic principles are the same.
Let’s begin with a description of the “Wide Shot.

WS (Wide Shot)

The subject takes up the full frame, or at least as much as comfortably possible.

AKA: long shot, full shot. Full shot is another name for wide shot or long shot. It shows the subject fully, from head to toe (in the case of a person).
Full shots using the 4×3 aspect ratio tend to include the subject and very little else. In wider aspect ratios it’s common to include more points of interest than just the subject, otherwise the extra space may appear empty or wasted.

Very Wide Shot (VWS)

The very wide shot is much closer to the subject than an extreme wide shot, but still much further away than a wide shot. The subject is visible here but only just (in this case it’s a boy leaning against the fence). The emphasis is very much on placing him in his environment.

This often works as an establishing shot, in which the audience is shown the whole setting so they can orient themselves. The VWS also allows plenty of room for action to take place, or for multiple subjects to appear on screen.

The Extreme Wide Shot (EWS)

In the extreme wide shot, the view is so far from the subject that s/he isn’t even visible. The point of this shot is to show the subject’s surroundings.
The EWS is often used as an “establishing shot” – the first shot of a new scene, designed to show the audience where the action is taking place.
It is also useful in scenes where the action is very spread out. For example, in a war movie an extreme wide shot can show the scale of the action.

The EWS is also known as an extra long shot or extreme long shot (acronym XLS).

In Actors terms, you are able to show a lot about your character through body language and movement in the WS.

Here is an explanation of the Close Up.

CU (Close Up)

A certain feature or part of the subject takes up the entire frame. In the close up shot, a certain feature or part of the subject takes up most of the frame. A close up of a person usually means a close up of their face (unless specified otherwise).

Close-ups are obviously useful for showing detail and can also be used as a cut-in.

A close-up of a person emphasizes their emotional state. Whereas a mid-shot or wide-shot is more appropriate for delivering facts and general information, a close-up exaggerates facial expressions which convey emotion. The viewer is drawn into the subject’s personal space and shares their feelings.

A variation is the chocker shot is typically framed on the subject’s face from above the eyebrows to below the mouth.

ECU (Extreme Close Up)

The ECU gets right in and shows extreme detail. It is in this shot the Actor “saves” their emotional work for, especially when required to cry or reveal their emotional state. I call it the “juice”.

Variation: Choker

Remember…if you over do the emotion on your wide shots, you may not have enough left by the time you get to your close up/s. Therefore I recommend saving the “juice” for your close ups.

Most Actors pride themselves on having a dazzling paint box filled with emotions that range in a number of shades, which they can use to paint their roles with and change frequently. Many imagine they have few limits, whether their sensibilities are based in Theatrical training or Film work, most of them believe they can “play anything”. However, from that idea to actual execution is another point entirely. Depending on the training and how well versed an Actor is in his or her characters, there seems to be a general misinterpretation of “Style”. Style, in my opinion, needs to be erased from the Actors language.

Once an Actor begins to think about his “style”, he usually gives up working subjectively and starts to think objectively, and that in itself is where his damage begins. Although most Actors love to make adjustments from role to role, script-to-script, I have found that the minute they begin thinking about changing their natural style, they suddenly become stiff and unbelievable. Who wants to watch that, Actors showing us their work at doing a new “style”?

I have chosen five Teen Actors who are training with me at my various locations in the L.A. area, all at various places in their careers and training. They have been asked to not only demonstrate their different styles, but also to offer you their concepts of how adjusting their styles on a script to script basis lands with them when asked, whether it be for an audition, a role that they have booked or a role for class. I thought their answers were poignant and interesting.

Miranda May (15) was asked, “What happens to you, a stand up comedienne, and often cast in comedic roles when you get a Disney script?”

Miranda states, “When I look at a Disney script, I think ENERGY, I think HAPPY. As opposed to say and ‘E.R.’ audition which is more real”.

Mason Alexander (15) was asked, “Since you are a Nickelodeon Actor on both iCarly and Bucket & Skinners Epic Adventure, what do you do when you get a Soap Opera audition?”

Mason says, “When I receive contrasting scripts, I ask myself, ‘ What do I need to do personally to find that character in myself?’

Zach Callison (14) was asked, “What do you, a Disney Actor, do when a Feature Film script comes in from your Agent?”

Zach offers, “Having done a lot of Disney, I’m now excited when I get to adjust and tone down my work for a Feature Film role.”

Dani Jacoby (18) was asked, “Since you are primarily a Host and busy commercial actress, what do you do when you get an episodic or dramatic script?”

Dani states, “I love episodic because you can show your range and go deep and expand yourself.”

Marcus O’Dell (15) was asked by Diane, “I know you love doing sketch comedy characters and impersonations, but what do you do with a script from a big Feature Film like “The Social Network” in class?”

Marcus said, “ Never copy a celebrity’s performance in your scene study, always find your own interpretation, make it your own”.
All of the Actors had intelligent approaches to this topic of adjusting your style and that has a lot to do with their experience and training. They are smart actors. However, I have this to offer any actor approaching something out of their comfort zone, or some style other than their natural style. Shift your focus from the ‘style’ of the script, which you need to be aware of every time you pick up a script, to the ‘behavior’ of your character in each script. Consider these behavior choices as you approach your character:

• Posture – How does my character stand, walk or move?
• Speaking patterns – What does my character sound like or say?
• When does this particular character internalize and when would they express things outwardly?
• Work from the inside out and from the outside in.
• Find the vulnerabilities inside the Life of your characters and inside yourself.

It is important for the actor to understand why the characters chose to behave as they do. They have chosen based on their life style in each script, whether it is a modern day character or a period piece. Style then becomes very simple.

Rarely do you see a four page resume and a mile long list of awards at the age of 14. However, if your name is Joey Luthman, you do. This prolific young actor embodies the same belief system as the late, great Lucille Ball, who’s motto was “Do Everything you can “…as an Actor. Joey lives by the same rule. Prior to making his mark as one of Hollywood’s most promising young actors, in between bookings, would go back and do another student film for USC or UCLA, just to stay in work mode.

He certainly didn’t need another credit on his resume. He simply loves the Actors work. He is such a bright young talent as well as a bright beam in the Universe. He is what I call “The Package”. He has talent, a great all American look, a huge heart, a great team and a wonderful family as well as an abundance of ideas, goals and humility. Pretty great combination platter I’d say.

Not only does Joey work in every medium the Industry has to offer, he also maintains a healthy level of “giving back” to the community. Talk about being “in the flow”, Joey really gets it. Lately he has participated in the following Charities that he is dedicated to, such as; “Nutts 4 Mutts”, “Kids 4 Kids 5K Run/Walk”, “Karaoke with Homeless Shelter in Van Nuys”, 5K Run/Walk for St. Jude Children’s Hospital and
Ronald McDonald House in LA, “A Star in You”, with ‘A Perfect World Foundation’.

In the last 4 years, Joey has won every coveted award available to young talent in Los Angeles. His accomplishments include;

30th Annual Young Artists’ Awards 2009 on March 29, 2009
Nominated for 3 Young Artists’ Awards, for WEEDS, Stars & Suns and Private Practice…

Joey WON 2009 YOUNG ARTIST AWARD for Best Performance in a TV Series ~ Guest Starring Role ~ for Private Practice, ABC.

“Weeds” Episode 4.4 on Showtime

“Lil’ RockStarz” Album NOW available in stores: Best Buy, Target, Walmart

“Last Meal” @ Palm Springs Int’l. Film Festival June, 2009

“Forget Me Not” in Theatres November, 2009

“The Father” available on DVD February 2010

“Private Practice” Episode: “Worlds Apart” on ABC aired May & June 2009

“The Diane Christiansen Annual Scholarship Award” 2007

Joey claims his dream is to be like one of his inspirations, Ron Howard one day and to someday work with Tom Hanks or Jim Carrey. We have no doubt that in his rise to Fame & Fortune, that he will do just that. Joey always keeps his word and when a young man can do that with his schedule, I predict a lot more success coming his way. It has been such an honor coaching this gifted young man, I feel fortunate to be on this path with him.

30th Annual Young Artists’ Awards 2009 on March 29, 2009
Nominated for 3 Young Artists’ Awards, for WEEDS, Stars & Suns and Private Practice…

Joey WON 2009 YOUNG ARTIST AWARD for Best Performance in a TV Series ~ Guest Starring Role ~ for Private Practice, ABC.

“Weeds” Episode 4.4 on Showtime June 1st, 2009 @ 10:00 PM

“Lil’ RockStarz” Album NOW available in stores: Best Buy, Target, Walmart

“Last Meal” @ Palm Springs Int’l. Film Festival June, 2009

“Forget Me Not” in Theatres November, 2009

“The Father” available on DVD February, 2010

“Private Practice” Episode: “Worlds Apart” on ABC airing May &June 2009

Mock Auditions are the most preparatory portion of on camera training and although I am not a firm believer of being on camera every week, I feel adding mock auditions once a month is perfect for fine tuning the young Actors audition technique.

Today we will concentrate on what happens once the Actor is in front of the camera and ready to begin the audition. We will discuss the eight critical steps in front of the camera. They are:

1. The Slate & Camera Frame
2. Eye Contact
3. Comfort with script
4. Readjusts
5. Taking Direction
6. Collaborating
7. Props & Miming
8. Moment before & moment after

1. The slate is the way you state your name & age. If over 18, you do not state your age. The Actor must gaze into the camera lens as if their funniest friend is there and just said something funny that only the 2 of them share. Then say “Hi” (warmly), smiling, then first name, (pause) last name, going down on the end of last name. This clearly gives the viewer of the audition tape the chance to really hear the Actors name. Then say “and I am 11 years old” (or actual age), smile. No Agencies, unless asked.
2. Eye contact must be established with the “reader” which is sometimes the Casting Director. You must always connect by memorizing your first line.
3. I compare being Comfortable with your script to using a video game controller. It must be out of the way with very little focus on it, keeping your focus on the reader so you can listen & react when their line is spoken. Remember, you are also being filmed listening. Being memorized helps. Regardless, you must ALWAYS take the script into the room with you and hold it.
4. Readjusts are notes or suggestions the casting Director gives the Actor once you have read. This is how they find out if you can take direction. NEVER argue with this, just show them you can understand what they ask for, make the adjustment in your head, then deliver the new read with their note.
5. Taking Direction is the most important thing you will do in the room. Simply take the notes the CD offers you. It is the CD’s job to see if you are easy to work with, now show them you are.
6. Collaborating is so important and the way you collaborate is what separates the pros from the green rookies. Once the CD offers you a different way to do the lines (readjust), acknowledge that you heard it by saying, “Got it”. If you did not understand what they wanted, ask again. They want you to do well, or they would not have bothered with the redirect. Communicate clearly and simply.
7. Props and pantomiming at an audition are considered a bad habit. The only time you will ever mime something in the audition is when it is absolutely critical to the read. Never touch, kiss or approach the CD, remember to stay in frame.
8. Your Moment Before and Moment After establish your character and give you a few seconds to settle into the scene and to stay in it after the scene, when the camera is still rolling. Ask yourself, what is my character doing the moment before the scene starts? After the last line, make sure you stay in character and react to what has just happened as the character would.

Follow these eight lessons in the audition room, and you will appear to be well trained. When we do Mock Auditions in class, I have each of your scene partner’s act as the reader when you are on Camera. This helps you understand that this is your time and what better way to arm yourself than with knowledge and preparation for your 1 – 5 minutes in the room that can change your life forever?

In an age of truly terrific young actresses, Shelbie Bruce emerges with a body of work that is specific and commanding. Today, at 17 years of age, she gives riveting performances, much like she did in the blockbuster hit film “Spanglish.” At 10 years old, she joined Adam Sandler in her break out role as Christina Moreno in a bi-lingual, emotionally charged tour de force that earned her the coveted ‘Best Actress’ statue at the Young Artists Awards, as well as a Heritage Award.

Master Talent Teacher for kids and teens, and Shelbie’s Acting Coach, Diane Christiansen, interviews Shelbie and goes directly inside this very accessible young talent to find out what makes her tick. This “In the Moment” in depth interview helps us understand the process and the path of Hollywood’s young talent.

Diane asks: What made you want to be an actress originally?

Shelbie: I was 4 years old when my mom and I would walk through the mall and see this little modeling class going on and I would always say, “Mom, mom! I want to do that! I want to be like those girls!” And she would say, “NO!” She wanted teachers and my Dad wanted athletes, but after awhile my mom thought, “Hey, you know, let’s try it.” One thing led to another and we got an agent and moved [to Los Angeles]. Now this is our home and I am doing what I love to do. Never in a million years did I think this was actually the career I would have.

Diane: Tell me about the audition process for the film “Spanglish”

Shelbie: It was one of the longest processes. It was about 6 months of auditioning and screen testing…amazing experience. I’ve never been through anything like that before. They were amazing people to work with. It really molded me into the acting business because at that age you don’t really know what your style is and I think “Spanglish” is what created that for me.

Diane: How old were you at that time?

Shelbie: I was ten when I auditioned. I turned 11 on set, then 12 right after the movie came out. It was a whole 3 years of the process.

Diane: What was it like working with Adam Sandler?

Shelbie: He is the funniest man and he’s really really humble. He was definitely a father figure for me and the other kids on set. He was always really helpful.

Diane: What do you love most about acting?

Shelbie: I love how vulnerable I can be. I love that it allows me to express myself. Whenever I’m sad, I’ll do a sad scene in class and it allows me to get it all out in a way that I am living my dream.

Diane: What would you say is the single most important thing you’ve learned about acting?

Shelbie: As hard as it may be to be vulnerable, that’s the one thing that makes a good actor. When you’re willing to put everything on the line for a role, it makes it genius. Its true vulnerability I’ve learned from you! I’ve never been that vulnerable, except in your class. I’ve always been very tough, but recently I’ve learned how to be vulnerable in my scenes and that’s what makes them true.

Diane: How important has ongoing training been for you?

Shelbie: It’s one of those things that you love to do and you’re passionate about that also requires extra effort! You have to put in the time. A tennis player practices every day on the courts. Singers like Celine Dion practice for an hour every day and before a show.”