Spring 2015 conservatory focus

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

SAG-AFTRA Los Angeles Conservatory

Spring 2015 TH

E

The Importance of

Inspiration

By Lee Garlington

I had a discovery, an “Aha!”

moment, when I moderated the

March Actors Evening entitled, tongue in cheek,

“Actors & Money: What Could Possibly Go Wrong?”

My discovery was: I got inspired and I didn’t see it

coming.

I set up the monthly Actors Evenings with the

goal of providing panels that I would have wanted

when I was an actor just starting out, or perhaps

returning to my acting career later in life. The most

popular evenings tend to involve casting directors,

and I completely understand why. I knew when I

booked this particular panel about why money mat-

ters during tax sea-

son that it was not

going to have much

in the way of “sex

appeal.” But I also

figured there were

members of the Con-

servatory who

would, indeed, ap-

preciate the infor-

mation.

I was right.

There were about 35

of us there, and the

artists who attended

found enormous val-

ue in what my guests had to say about investing,

tax deductions, the importance of saving, financial

wellness, and the absolute necessity of knowing ex-

actly where you stand in the world, economically.

What I didn’t expect was that I, too, would be in-

spired.

I’ve worked for years on getting my financial

house in order and I am at the stage in life where

I’m comfortable. I’ve always been “good” with mon-

ey, cinched my belt during the lean years, never got

in debt, saved money for my future and made in-

vestments. I’ve also been lucky to work consistently

as an actor for the last 30 years, so imagine my sur-

prise when it hit me that those money issues--you

know, the ones we all have from childhood?--were

perhaps not as resolved as I’d thought.

I got inspired. I thought about the relationship

between time and money, the value I don’t place on

my time and my self-worth as defined by financial

solvency. I thought about how we all compare our-

selves to others, and usually not with people we

perceive as less “successful” than we are. I had a

new awareness about how and why I support vari-

ous causes and individuals. The point is, I got in-

spired. It made me think. I remembered things

about my financial reality as a child I haven’t

thought of in years. I came up with a great idea for

a character in a screenplay I’m working on. I

thought about writing this article.

Then it dawned on me: What do artists need

more than anything? We need inspiration. It can

come when you least expect it, from someplace you

weren’t even looking. We need to relish it whenever

it fills us up, because inspiration can carry us when

we need to be carried the most.

How to Register for

Classes 3

Workshop

Schedule 4

Workshop

Descriptions and

Times

5

Conservatory Rules

and

Regulations

8

IN THIS ISSUE:

THE PRACTICAL

ACTOR

Advice from a Working Actor By Kevin McCorkle

Q: Dear Practical Actor,

I just graduated from college with a de-gree in theater and I am moving to LA. I am motivated, excited and just want to get to work. Any suggestions?

Brianna from Ohio

A: “When you love what you do, you never work a day in your life.” Working as an ac-tor for the past 33 years, I have traveled to many locations, worked with amazing art-ists, enjoyed the thrill of playing challeng-ing characters as well as meeting and working with unbelievably talented people behind the camera. The work is the love, the culmination of foundation and prep-aration “the work behind the work.” An actor’s work is much more than showing up on set ready for the close up. The art of successful acting requires constant learning, dogged determination, building up thick skin, nurturing the artistic soul, improving your technique, learning new skills, evolving with changes in age and technology, research for your specific needs, team building, establishing rela-tionships, creative and financial invest-ment and much more depending on your unique career path. All of this work is done before the actor is asked to join the cast and hit their mark embodying the character to live their story. Unlike many other professions, the actor’s career is nonlinear. Success for an actor is not de-termined how you move from A to B up

the ladder of success. Your career is de-fined by your own path; created by your unique talents, work ethic, planning, op-portunities as well as artistic growth in your chosen niche. An incredible amount of time, work and effort combined with opportunity is the recipe for you to experi-ence the joy of being paid for your work. With regard to fate moving in your direc-tion, while fate certainly cannot be con-trolled, the discipline you have in your life, the choices you make, what you stand for and the people you stand by are all contributing factors in the intervention of fate. If you look at the odds of having a successful artistic and financial career, you may become discouraged and quit. In-stead focus on your foundation, prepara-tion to be the best you can possibly be. Create a personalized plan that includes your unique capabilities and situation. Give yourself incremental and achievable goals to move forward, all while measur-ing small victories and successes, adjust-ing your plan along the way. Know that even though there is a brass ring, make sure to enjoy the ride until you are ready to grab it. As time passes, you will look back on a career filled with adventure, fun, money, achievement and lifelong rela-tionships. You will be happy but not al-ways satisfied because we all know that part of being an artist is “divine dissatis-faction.” Enjoy the journey.

If you wish to submit a question, please write to

[email protected] or mail it to the office at 2021 N. Western Ave.,

Los Angeles, CA 90027.

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

Be sure to put [email protected]

on your safe list.

RESERVATIONS FOR ALL EVENTS ARE REQUIRED

Special events are overbooked to compensate for no-shows.

Please call 323.856.7736 starting up to TWO Mondays prior

(special events only) to enroll.

SPECIAL EVENTS

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

TO THE INDIVIDUAL WORKSHOP

(TWO WEEKS FOR SPECIAL EVENTS)

CALL 323.856.7736

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

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

prior Wednesday starting at 10 a.m.

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

reserve your space. Reservations ARE NOT

accepted via voicemail or email. Only cancellations are accepted

via voicemail or email.

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

the office is located) unless otherwise noted.

LIB: LIBRARY BUILDING WB: WARNER BUILDING

(Example LIB 100 is Library Building, room 100)

F/B: FRANKOVICH BARNES SCREENING ROOM

First floor Library Building

MGSR: MARK GOODSON SCREENING ROOM

Second floor Library Building

*SEE BACK PAGE FOR MAP OF THE AMERICAN FILM INSTITUTE

CAMPUS

HOW TO REGISTER

LOCATION OF CLASSES

. Saturday, April 11 11 a.m. to 2 p.m.

Perfect your singing, acting

and auditioning skills. Actors can expand their skill set by adding singing. Even actors who do not consider themselves singers can learn to use the voice they have. The workshop will show how to work on the acting of a song, vocal technique, or perfecting the combination of the two depending upon the needs of the individual. Paul Bogaev is a Grammy and Emmy Award-winning music director, producer and arranger whose film credits include the Oscar-winning Chicago, Nine, Dreamgirls, Across the Universe, Mulan and The Lion King. Among his many Broadway credits are Aida (Grammy Award), Tarzan, Bombay Dream, Sunset Boulevard, Les Miserables and most recent-ly, Spiderman. TV credits include Cinderel-la, Annie (Emmy Award) and South Pacific. Paul is currently working on the develop-ment of Pretty Woman as a Broadway mu-sical.

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SPRING CALENDAR OF WORKSHOPS *PLEASE SEE DESCRIPTIONS FOR TIMES*

4

APRIL 2015

MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY

MAR 30

NO CLASSES

SPRING BREAK

MAR 31

NO CLASSES

SPRING BREAK

1

NO CLASSES

SPRING BREAK

2

NO CLASSES

SPRING BREAK

3

NO CLASSES

SPRING BREAK

4

NO CLASSES

SPRING BREAK

6

Commercial Audition

Workshop LIB 100

7

Cold Reading LIB 101

Actors Evening MGSR

SVW: Beginning LIB 100

8


Improv WB 102

9

SVW: Intermediate LIB 100

10 11

13

Commercial Audition

Workshop LIB 100

14


Voice Over LIB 102


15


Theatrical Video LIB 100

16


17

Open Camera LIB 101

18

20

Commercial Audition

Workshop LIB 100

21



22


23


24 25

27

Commercial Audition

Workshop LIB 100

28


Voice Over LIB 102


29


30


MAY 1 MAY 2

MAY 2015

MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY

4

Commercial Audition

Workshop LIB 100

5


Actors Evening MGSR


6



7


8 9

11

Commercial Audition

Workshop LIB 100

12


Voice Over LIB 102


13


Improv WB 102

14


15

Open Camera LIB 101

16

18

Commercial Audition

Workshop LIB 100

19



20


Improv LIB 102


21


22

23

25

MEMORIAL

DAY

OFFICE CLOSED

NO WORKSHOPS

26


Voice Over LIB 102


27


28


29 30

END OF

SPRING SESSION

First Tuesday of each month 7 - 10 p.m. Mark Goodson Screening Room Limit 88 students Industry professionals appear in a seminar format

to discuss their business and answer questions.

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

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

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

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

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

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

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

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

Generally the second and fourth Tuesday of each month 7 - 10 p.m. Library Building Room 102 Limit 15 students Learn various V.O. techniques for commercials, animation and narration.

Cold Reading

WORKSHOP DESCRIPTIONS *PLEASE REFER TO CALENDAR FOR EXACT DATES*

Improv

Voiceover

Theatrical Video

Scene Video Workshop

Open Camera

Actors Evening

Commercial Audition

WE ARE OFFERING BEGINNING AND INTERMEDIATE CLASSES ON

SOME OF OUR WORKSHOPS TO BETTER MEET THE NEEDS OF

THE MEMBERSHIP. PLEASE READ THE SELF-SELECTION PROCESS

ON THE NEXT PAGE CAREFULLY. WE ASK THAT YOU PLEASE

FOLLOW THESE GUIDELINES SO THAT YOU AND YOUR

FELLOW ACTORS WILL HAVE THE BEST EXPERIENCE POSSIBLE.

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

CONSIDERED FOR AFI PROJECTS

RESERVATIONS BEGIN AT 10 a.m. EXACTLY,

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

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

starting at 10 a.m. 5

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

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

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

BEGINNING

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

OTHER ACTING EXPERIENCE: None or limited to community theater

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

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

INTERMEDIATE

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

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

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

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

MISSION STATEMENT The SAG-AFTRA Los Angeles

Conservatory exists as a place for

actors to stretch their artistic muscles,

practice their craft and sharpen their

skills. The Conservatory also provides

actors the opportunity to build an

artistic community in a safe and relaxed

setting. Overseen by dedicated

professionals, the SAG-AFTRA Los

Angeles Conservatory offers members

a means to nurture their talents,

mechanics and skills through

workshops, seminars and AFI student

projects. The goal is to lead to a better

understanding of the role of the

professional actor in the business of act-

ing, and to a more successful

and productive career.

SVW WORKSHOP

SELF-SELECTING CRITERIA

ACTORS WANTED AFI cinematographers

and directors are often

looking for actors to

volunteer and assist in

various classes and

workshops on the AFI

campus. Although no

footage is given from these classes, you

have the opportunity to work alongside

and network with some of the best

up-and-coming filmmakers in the

industry. Many times, actors are needed

for a few hours during the day, but in

those hours, great relationships are often

formed and it can also be a fantastic

learning opportunity for you to gain more

insight into the world of filmmaking from

the other side of the camera!

If you are interested in being submitted

or called upon when these needs arise,

please email Dawn at

[email protected]

or call the office at 323.856.7736

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SAG-AFTRA LOS ANGELES

CONSERVATORY COMMITTEE

Ron Morgan- Chair Bob Telford– Vice Chair

Bill Applebaum Michael D. Cohen

Lee Garlington Nicholas Leland Kevin McCorkle

Tim Powell Teddy Vincent Will Wallace

Angela Watson Mari Weiss

David Westberg Dawn Deibert– Staff Liaison

DO YOU WANT TO AUDITION FOR AFI PROJECTS?

CREATE OR UPDATE YOUR

iACTOR PROFILE TODAY!

For the first time, the Conservatory database for

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

members wishing to be considered for AFI projects MUST have an

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

www.sagaftra.org/iactor-online-casting

LETTER FROM THE CHAIR

Dear Conservatory Members, We are now going into the final session of clas-ses and workshops for the 2015 Conservatory season. We have replaced the stolen camera; the new camera will now be used in classes. Keep an eye out to help us keep our new equipment.

You still have time to sign up for classes such as commercial audition, cold reading, the sce-ne video workshop and/or theatrical video class which you have not been able to attend. There is usually more space available in the last session, so sign up now. We also have some specialty classes that you may have pre-viously missed like improv or voiceover that will give you techniques to improve your audi-tions and help with performance professional-ism. You also can sign up for the open camera class, which gives you 30 minutes of camera time that enables you to see what your work looks like and take a copy home on your own flash drive. Lastly, remember we also have the Actors Evenings and special events where guest professionals from the industry will share their experiences and knowledge, busi-ness practices and acting techniques.

Don’t forget to keep your iActor updated so if an AFI Fellow looks at it they will see your best work and updated information, including cur-rent pictures. Speaking of pictures, make sure that the pictures you are using look the way you do now. All casting directors want to see that the person walking in the room is the same person they saw in the picture they have been viewing.

You still have time to take advantage of what you joined the Conservatory for—to help stretch your artistic muscles, sharpen your skills and practice those skills. We’re here to help you be more professional and give you tools to get that next job. It’s up to you to do what it takes to be ready when the phone rings for your next audition and the Conservatory is here to help you in that endeavor.

Ron Morgan

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

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

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

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

year films. AFI is a two-year master’s program and with our SAG-AFTRA agreement, first-year students, called fellows, are

required to use SAG-AFTRA Los Angles Conservatory members.

We are located on

the campus of

The American

Film Institute

2021 N. Western Ave.

Hollywood, CA 90027 If you are heading east on

Franklin Ave., turn left

(north). The AFI campus is

halfway up the hill on the

left. Turn into the drive-

way and go up the hill

(past Immaculate Heart

High School). The first

building on your left is the

Warner Building, where

many auditions for student

films are held. To get to

the SAG-AFTRA Los Ange-

les Conservatory, continue

driving further up the hill.

As you veer left, you’ll see

a white two-story building,

the Mayer Library Build-

ing. The SAG-AFTRA

Conservatory office is

located in LIB 100 on the

ground floor. The studio,

classroom and the

Frankovich/Barnes

screening room are

also located on the

ground floor.

2021 N WESTERN AVE.

LOS ANGELES, CA 90027

PHONE: 323.856.7736

FAX: 323.467.6456

[email protected]

WWW.SAGAFTRA.ORG/

LACONSERVATORY

SAG-AFTRA LOS ANGELES CONSERVATORY

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

refundable.

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

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

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

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

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

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

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

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

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

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

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

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

place for actors to work and learn together.

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Documents

Spring 2015 conservatory focus