Spring 2017 GETTING ‘HOOKED’ … AND UNHOOKED 2017 GETTING ‘HOOKED’ … AND UNHOOKED By Lee Garlington Entering into the life of the “business of show,” as I like to call

Spring 2017

GETTING

‘HOOKED’ …

AND UNHOOKED By Lee Garlington

Entering into the life of the “business of show,” as I like to call

it these days, requires developing a specific toolset for your

emotional well-being. I mean, seriously, you gotta do it. It’s a

toolkit that is different for each and every one of us thespians

because each us of has different ways in which we get

“hooked.”

What does getting “hooked” mean? It means that thing, that

experience, audition or job, that comment by a “frenemy,”

coach, agent, manager, teacher, casting director or even a

well-meaning family member that gets its claws into your

psyche and won’t let go. I envision an actual fishhook. It grabs

you, it hurts and it won’t kill you as long as you get it out.

Why does this happen? I think it’s partly because we make our

living in a way that usually involves us being vulnerable in

front of others. We are not hiding out in the background; the

camera or audience’s eyes are on us. We put all of ourselves

on the line, fully

visible, so that when

something unpleasant

this way comes, our

psyches are open. We

are available to be

hurt a little more than

the average bear.

I get “hooked” by not

getting a part I really,

really wanted to get

and was convinced I

had done such a good

job at the audition

that no one could

possibly have done a

better job. Then I

don’t get that part.

Then I get hooked.

An old tape begins to

play in my head and

my heart: I’m less than; I’m not good enough; I’m a failure;

it’s not fair; where’s mine; why, God, why? My tape is about

feeling like a victim. I’m being victimized by the business of

show.

It doesn’t happen very often — I’ve been doing this for a

thousand years now, so it better not! But every now and then,

one slips in and grabs me and I have to pick up my toolkit.

My tools for getting unhooked are the following:

1. Right-sizing. I neither diminish nor augment what I’m

feeling. I don’t make this one experience an indictment

of the horror of the entertainment industry. I don’t beat

myself up because I’m feeling disappointed and a little

sorry for myself. I own it. I experience it. I see it for what

it is: a part I didn’t get that I wanted, not one I was entitled

to.

2. Expressing my disappointment. I talk about it with my

husband or a trusted friend. I write about it. I cry.

I meditate.

3. Letting it go. I express my disappointment for a finite

time period. I don’t talk about it endlessly with multiple

parties. I get it out, I feel the feelings and then I put a lid

on it — time to put on my big-girl pants and move on.

I do have actor friends who don’t go through this. At all. They

are healthier and more well-adjusted than I am, and I secretly

hate them.

I have other actor friends who get hooked by completely

different things: a director who wouldn’t let them have that

third take; a part that was bigger in the audition than it was on

the set; feeling judged by fellow actors; feeling envious of

another actor with a “better” career; never feeling that what

they did was good enough.

Those things don’t hook me. Not today. What hooks you?

Do you ever get caught by something that hurts you or makes

you angry? What tools do you use?

I have heard for most of my life that the hallmark of emotional

sobriety is living with unresolved conflicts. There is so much

of show business that is not explained, resolved or smooth

sailing. There are tons of traps, triggers, pitfalls, and looming

disappointments and letdowns. We have to be emotionally

supple and flexible. In addition to taking classes and learning

about the business side of show business, part of your job is to

maintain your emotional well-being.

Keep that toolset handy!

IN THIS ISSUE:

How to Register

for Classes 3

Workshop

Schedule 4-5

Workshop

Descriptions 6-8

Conservatory

Rules and

Regulations

12

Just Wing It By Bill Applebaum

An actor may hear at an audition,

“Just wing it,” but what does that

really mean?

The term “to wing” can be traced

back to the late 1800s and the

London theater, when actors played a role without fully

knowing the text. They learned the best they could in

the wings and then were given assistance when they

were on stage by a special prompter who was screened

by a piece of scenery or a wing of the stage.

To “wing it” is now an idiom that means to do

something without preparation, to improvise. However,

even great improvisers never “just wing it.” People

don’t improvise in a void. They prepare. People can

and do prepare to improvise.

First, one learns the guide-

lines for what helps make

successful improvisations.

We all have heard “don’t

deny,” “yes and,” “show us,

don’t tell us.” But more

importantly, one needs to

know in what context are

you improvising?

Improvising on stage is

different than

improvising for film/

television or for

commercials. Know what,

if any, limitations there are when you are improvising.

For example, it’s unlikely in the U.S. market one would

ever swear while improvising at a commercial audition.

However, that likely wouldn’t hold true for a theatrical

audition. Knowing that context is important, which

would then allow the actor to improvise creatively

within that audition.

Improvisation began as a way to help actors develop

characters, examine possibilities and explore the

creative process. Actors need to remember creativity is a

process, not an event. Entering a creative state takes

practice. Practicing helps suppress the need to be perfect

and, when one ceases trying to be perfect, one becomes

free to improvise creatively. That’s what classes are all

about: to practice, to learn what it feels like to be

inspired and play in the moment.

Don’t worry about trying to be funny when improvising.

That’s not what improvisation is about. Improvisers

aren’t trying to think of funny things to say. They are

listening to what their partner is saying, staying in the

moment and discovering what is happening together.

Improvisers share the experience in true ensemble

fashion, playing the truth in what is happening, while

trying to make their partner look good. If an actor does

that, then the funny will come. The funny comes from

playing the truth.

Casting directors want actors to be able to improvise to

free up their imaginations, not to be clever but to be

creative. That affords each individual to bring their

unique take on whatever role they happen to be

auditioning for. So prepare yourself. Take an improv

class. Take many. Don’t worry if you don’t think you’re

funny or if the idea of improvising terrifies you. Know

that improvisation is just about learning to trust one’s

creative impulses. Once an actor understands that,

they’ll be able to “just wing it” anytime.

ACTORS

NEED TO

REMEMBER

CREATIVITY

IS A PROCESS,

NOT

AN EVENT.

IS IT TIME TO UPDATE YOUR REEL

AND YOU ARE MISSING

AFI FOOTAGE?

You auditioned, booked the job, shot the movie,

screened the film and then …?

One of the many great benefits of the

relationship between AFI and the

SAG-AFTRA Conservatory is that you, as the

actor, are guaranteed to receive a copy of the

work you have done for the first-year AFI

cycle films.

Currently, we have hundreds of DVDs

waiting for their homes. Because of space

limitations, we cannot keep these for more than

two years, so please make sure you pick up your

copy. You may call before coming in to verify

one is waiting for pickup. Please have the name

of the film project ready when you call and then

you can come claim your footage during the

Conservatory office business hours:

Monday - Friday

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

2

“ “

CLASS REGISTRATION

IS NOW ONLINE! To see an online calendar of our classes

and find links to enroll,

please visit our website at

sagaftra.org/laconservatory

On the left side of the page click the link that says

Workshops

You must be logged into your SAG-AFTRA

account to see the online calendar and to

enroll in a class. Registration for classes and special

events will open at exactly 10 a.m. one week prior

to the individual workshop.

Example: If the workshop you would like to attend

is on Wednesday, enrollment will open the

prior Wednesday starting at 10 a.m.

Reservations are not accepted

via voicemail or email.

The SAG-AFTRA Los Angeles

Conservatory exists as a place for

actors to stretch their artistic muscles,

practice their craft and sharpen their skills.

The Conservatory also provides actors the

opportunity to build an artistic community in a

safe and relaxed setting. Overseen by

dedicated professionals, the SAG-AFTRA

Los Angeles Conservatory offers members a

means to nurture their talents, mechanics and

skills through workshops, seminars and AFI

student projects. The goal is to lead to a

better understanding of the role of the

professional actor in the business of acting and

to a more successful and productive career.

All workshops are held in the Mayer

Library Building (LIB) at the top of the hill

(the building where the office is

located) unless otherwise noted.

LIB: LIBRARY BUILDING

(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

WB: WARNER BUILDING

*See back page for a map of the

American Film Institute Campus

HOW TO REGISTER

LOCATION OF CLASSES

3

DO YOU WANT TO

AUDITION FOR

AFI PROJECTS?

CREATE OR UPDATE YOUR

iACTOR PROFILE TODAY

The Conservatory database for

casting is 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.

sagaftra.org/iactor-online-casting

http://www.SAGAFTRA.ORG/LACONSERVATORY

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

SPRING CALENDAR OF WORKSHOPS *PLEASE SEE DESCRIPTIONS FOR LOCATION*

APRIL 2017

MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY

1

10 a.m. Self-Taping

for Actors

3

7 p.m. Commercial

Orientation

7 p.m. Commercial

Audition Technique

4

10 a.m. Cold Reading,

Beginning

6 p.m. SVW: Beginning

7 p.m. Actors’ Evening

5


Intermediate

7 p.m. Theatrical Video

6

6 p.m. SVW: Intermediate

7 p.m. SPECIAL EVENT

Intro to Stand-Up

Comedy

7

8

11 a.m. SPECIAL EVENT

Remove the Subconscious

Beliefs Holding your

Career Back

10

7 p.m. Commercial

Audition Technique

11


Intermediate


7 p.m. Voiceover 101

12


Beginning

7 p.m. Improv

13


14 15

10 a.m. Headshots:

Review and Guidance

2 p.m. Social Media

Strategy

17

7 p.m. Commercial

Audition Technique

18


Beginning


19


Intermediate


20


21

6:30 p.m. Open Camera

*each student assigned

time slot

22

10:30 a.m. General

American Accent Clinic

2 p.m. Chakra Acting

Techniques

24

7 p.m. Commercial

Audition Technique

25


Intermediate



26


Beginning

27


28 29

4

Reservations begin one week prior to the

workshop at 10 a.m. exactly.

All workshops are

stand-alone classes.

Reservations are required for

all events and workshops.

SPRING CALENDAR OF WORKSHOPS *PLEASE SEE DESCRIPTIONS FOR LOCATION*

MAY 2017

MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY

1

7 p.m. Commercial

Orientation

7 p.m. Commercial

Audition, Technique

2


Beginning


7 p.m. Actors’ Evening

3


Intermediate


4


5 6

10 a.m. Self-Taping

for Actors

8

7 p.m. Commercial

Audition Technique

9


Intermediate



10


Beginning

7 p.m. Improv

11


12

13

10:30 a.m. General

American Accent Clinic

15

7 p.m. Commercial

Audition Technique

16


Beginning


7 p.m. SPECIAL EVENT

Specificity-

Creating Moments

That Book Work

17


Intermediate


18


19

6:30 p.m. Open Camera

*each student assigned

time slot

20

10 a.m. Headshots:

Review and Guidance

10 a.m. Chakra Acting

Techniques

2 p.m. Social Media

Strategy

22

7 p.m. Commercial

Audition Technique

23


Intermediate



24


Beginning

25


26

End of Spring

Session

27

29

MEMORIAL DAY

5

Registration for all workshops and events

is now online!

Visit our website for more details.

sagaftra.org.laconservatory

You must be signed into your

SAG-AFTRA account to view the

online calendar.

http://www.sagaftra.org.laconservatory

ACTORS’ EVENING First Tuesday of each month

7 - 10 p.m.

Mark Goodson Screening Room (MGSR)

Limit 136 students

Industry professionals appear in a seminar format to

discuss their business and answer questions.

CHAKRA ACTING TECHNIQUES Saturday, April 22

2 - 4 p.m.

-and-

Saturday, May 20

10 a.m. - noon

Library Building Room 102

Limit 25 students

Using the chakras (or the body’s natural energy centers)

to tap into what is already inherent in our body as human

beings is a way to physically, vocally and intentionally

warm up the actor’s instrument: the body. The actor will

then learn how to incorporate the chakras into their

character-building and scene work to garner rich,

connected results that happen organically. This approach

empowers the actor to shift from a “heady” approach to

utilizing the whole body and voice as a “true” instrument,

while delivering strong, concrete decisions in their prep

work.

COLD READING Tuesday and Wednesday mornings

Beginning and Intermediate rotate days

10 a.m. - 1 p.m.


Limit 10 students

Learn and develop effective auditioning techniques.

COMMERCIAL AUDITION

TECHNIQUE Monday nights

7 - 10 p.m.


Limit 14 students

Focused commercial audition training of all types: subtle

and broad comedy, commercial, improv, using the board,

process and pre-game, taking direction and redirects,

room etiquette, insider tips and more.

COMMERCIAL ORIENTATION First Monday of each month

7 - 10 p.m.

Frankovich Barnes Screening Room (FBSR)

Limit 74 students *A prerequisite to Commercial Audition Technique.

This workshop will offer a solid understanding of the

commercial side of the business and cover everything

from how commercial is different than theatrical, essence

and brand, marketing, headshots, reels, representation and

strategy. This course will cover the entire casting process

through avails and booking.

GENERAL AMERICAN

ACCENT CLINIC For non-American actors and American actors

with regional American dialects

Saturday, April 22

-and-

Saturday, May 13

10:30 a.m. - 1 p.m.


Limit 10 students Are you originally from another country and want to

master the General American accent to have more acting

opportunities in America? Are you an American actor

with a regional American dialect who would like the

option to speak neutral “Gen Am”? Get down to the nitty

gritty with Gaby Santinelli at this rapid-fire diagnostic

American accent clinic. Gaby will determine where

you’re at today with your General American accent. And

she’ll guide you toward what to do next. Please bring two

printed copies of a one-minute monologue. Alternatively,

text will be provided for participants on the day, for a

cold-reading-in-General-American experience.

WORKSHOP DESCRIPTIONS

6

We offer beginning and intermediate

classes in our Cold Reading and

Scene Video workshops.

Please read the self-selection

process carefully.

We ask that you please follow these

guidelines so that you and your fellow actors will

have the best experience possible.

Please see page 9 for the selection criteria

HEADSHOTS: REVIEW AND

GUIDANCE Third Saturday of each month

10 a.m. - 1 p.m.


Limit 74 students

*This workshop is being offered twice, it is not a

two-part class

Taught by Theo and Juliet, along with occasional special

guest CDs. They will review your current headshots,

make personal recommendations and teach the strategy

actors must have to get the most out of their photos and

marketing. Theo and Juliet have been industry-leading

headshot photographers for over 25 years. Here is your

chance to experience why.

IMPROV Second Wednesday of each month

7 - 10 p.m.


Limit 30 students

Learn improvisation skills to help make you a more

creative actor.

OPEN CAMERA Third Friday of each month

*6:30 - 9:30 p.m. (each student is assigned a

specific 30-minute time slot)


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 only), or even try

different “looks.” Please bring a flash drive to record

your work and take it home to study.

SCENE VIDEO WORKSHOP Tuesday and Thursday nights

Beginning and Intermediate rotate days

6 - 10 p.m.


Limit 10 students

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.

SELF-TAPING FOR ACTORS First Saturday of each month

10 a.m. - 1 p.m.


Limit 30 students

This workshop covers low-cost, simple techniques for

producing quality video uploads for auditions. Learn

lighting basics, producing quality audio, framing and

videography as well as file compression, size reduction

and internet delivery. Best practices for the best results.

SOCIAL MEDIA STRATEGY Third Saturday of each month

2 - 5 p.m.


Limit 74 students

*This workshop is being offered twice, it is not a

two-part class

Learn how to develop a beneficial social media presence

and incorporate it into your daily life. Will include

Facebook, Instagram, Twitter, YouTube and other

relevant platforms and outline how they can best be

utilized as an actor. For the more savvy digital marketing

actor, learn to make more efficient use of your media

platforms, including tools and techniques to use your

brand to fine-tune “fan” and “follower” engagements and

interactions. Topics will include “following” relevance in

casting, content calendars, sponsored content, timed and

precise posting, and gaining smart and interactive

followers.

THEATRICAL VIDEO First and third Wednesdays

7 - 11 p.m.


Limit 8 students

Simulated theatrical interview and cold reading on

video followed by viewing and comments. Bring a

picture and resume.

VOICEOVER Second and fourth Tuesday

7 - 10 p.m.


Limit 15 students

Voiceover 101 - Second Tuesday: An introduction to a

career in VO, covering basic mic techniques, working

with commercial copy and finding your voice.

Voiceover 201 (VO 101 a prerequisite unless a

working VO actor) Fourth Tuesday: More in-depth

techniques in the areas of animation, promo and

narration.

7

INTRO TO STAND-UP COMEDY Instructor: Matthew Moore and Corey Craig

Thursday, April 6

7 - 10 p.m.


Limit 20 students

Learn how to make your life experiences the subject of

a “killer” stand-up set! This workshop will go over

stand-up comedy basic rules including setup, premise

and stage etiquette, and everyone will have the

opportunity to test out freshly mined material before the

end of class. Taught by Cool Beans Comedy regular

host Matthew Moore and producer Corey Craig, with a

collective 20 years of stand-up comedy experience.

REMOVE THE SUBCONSCIOUS

BELIEFS HOLDING YOUR

CAREER BACK Instructor: Kym Jackson

Saturday, April 8

11 a.m. - 2 p.m.


Limit 74 students

Why is it easy to achieve some goals while others feel

out of reach? Why do we self-sabotage? Do you ever

not follow up after meeting someone? Not learn your

lines until the last minute? Procrastinate? Beat yourself

up for over it, but still do it again the next time? Most

successful actors have learned to overcome these issues

and they move forward swiftly as a result. This

invisible force causing us to procrastinate lies deep

within the subconscious beliefs we have developed

throughout our lives. These blocks plant fear and doubt

deep in our minds and prevent us from moving forward

in the pursuit of our dreams.

TV Academy member, working actor and author

Kym Jackson will share with you proven, specific, tools

and strategies you can immediately apply to locate and

clear your subconscious blocks and align yourself

energetically so the right people, roles and

opportunities show up with ease — all the time.

SPECIAL EVENTS

SPECIFICITY - CREATING MOMENTS

THAT BOOK WORK For actors at the advanced level

(Beg. and Int. invited to observe)

Instructor: Michael D. Cohen

Tuesday, May 16

7 - 10 p.m.

Mark Goodson Screening Room (MGSR)

Limit 136 students (not all will work)

We often try to be unique and creative as actors, but

the most effective way to book work is by accessing

our authenticity and creating full, memorable moments

one after the other. This workshop, taught by

Michael D. Cohen, will invite advanced-level actors

to work at the front of the room to hone their specificity

in scene work and auditions. Beginner/intermediate

level members are encouraged to attend and

observe.

Please see page 9 for a list of criteria for the advanced

actor.

ACTORS WANTED

AFI directors and cinematographers 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 or evening,

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,

please email Dawn at

[email protected]

or call the office at 323.856.7736

8

Save the Date!

2017 Summer Intensive

July 28 - July 30

Some of our workshops and classes are

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. It is

requested that you stay in your level until

your experience changes to fit the next level.

Note: For example, if you are an intermediate-

level actor, you do not need to take the

beginning class.

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


Two or more co-star or guest star credits, and/

or four or more TV commercial credits

(include union productions before you were a

member.)


One or more professional theater acting credit

(preferably Equity or Equity waiver.)

STUDENT or AFI FILM

EXPERIENCE: Four or more credits or a

lead role credit in two or more projects.

ACTING TRAINING OUTSIDE


Equivalent of two years or more of ongoing

classes.

ADVANCED


Three or more co-star or guest star credits,

and/or five or more TV commercial credits

(include union productions before you were a

member), and/or one or more recurring guest

star credits, or three or more co-star recurring

credits, and/or one or more series regular

credits on a broadcast (ABC, NBC, CBS etc.),

streaming (Amazon, Netflix, etc.) or cable

(HBO, Showtime, etc.) network.


Three or more professional theater acting

credits (preferably Equity or Equity waiver.)

ACTING TRAINING OUTSIDE


Equivalent of four years or more of ongoing

classes.

BEGINNING, INTERMEDIATE

& ADVANCED WORKSHOP

SELF-SELECTING CRITERIA

9

10

THE

PRACTICAL

ACTOR Advice from a

Working Actor

By Kevin McCorkle

Q: I am so frustrated it seems like I’m not getting

anywhere with my career. People all around me are

booking, but I can’t seem to get past the call backs on

commercials or being “pinned” for TV and movies.

How do I break into that small percentage of actors

that make their living doing what they love?

A: You are in a space that many actors find themselves

in. The state of “overwhelm.” We look at the statistics, the

percentages, the odds and the successes that others are

experiencing and we panic, fall apart, give up, settle for

working for any job that comes along. It is a downward

spiral if we let it take over and tear us down. Most actors

experience this feeling of hopelessness and downright

despair at points in their journey, others sink into it like

quicksand and never escape the devastating effects of

overwhelm. How do we deal with it? The pressure, the

rejection, the sheer numbers and statistics that we face on

a daily basis as we “pound the pavement” seeking agents,

managers, auditions, opportunity, acceptance, approval,

validation, pay for our work, respect and much more.

When I find myself faced with overwhelm I don’t turn

to alcohol, drugs or any type of distraction that will keep

me in that state by hiding it or masking it from my

consciousness.

I accept the overwhelm and decide to take it on, crush it,

deny it the ability to paralyze me or even slow me down. I

take an honest look at where I am, what I am doing, what I

am capable of and how I can destroy overwhelm in a

practical, strategic and consistent manner.

Overwhelm is all about perception. Where you want to be

as opposed to where you are and the steps, action, work

and opportunity you need to get there. When you begin to

compare yourself to others who are far more successful or

“ahead of you,” then you are only looking at part of the

equation. You are living in a state of want, need and

sometimes even entitlement. To see the big picture, you

also have to look at those who are less successful than you

are … those who are behind you. If you see the whole

picture, then you know that you are somewhere in between.

In order for you to escape overwhelm you must

acknowledge your strengths, advantages and capabilities

and use them to move forward. It is equally important to

determine your weaknesses, challenges and deficiencies,

and focus on changing them to prevent them from holding

you back.

Writing down a list of pros and cons is a good way to start

the process of championing what you have, who you are

and what you can change to put yourself in a better

position to succeed at what you love. Once you begin to act

on it, you can transform the feeling of being overwhelmed

into managed purpose and determination. The odds that

seemed so insurmountable will disappear into a perspective

of possibility. The percentages that seemed so great against

you will begin to tip in your favor. The feeling of weakness

and incapability will transform into empowerment and

skill.

If overwhelm is stopping you or slowing you down, try

writing down what you are grateful for, what makes you

special, what advantages you have already manifested

toward your success (living in Los Angeles and being a

member of one of SAG-AFTRA, the most powerful and

beneficial unions, are two items on the list that put you

ahead of thousands of other actors). Don’t overwhelm

yourself with the list; make it 10 points or less at first.

Next, write down 10 things or less that you could do to

improve your chances of being a successful actor. Now do

those things for at least 30 days before you write your next

list of 10 and 10. Watch your attitude shift and your career

move forward in ways you never thought were possible.

REGISTRATION FOR ALL

WORKSHOPS

AND SPECIAL EVENTS

IS ONLINE

Visit our website at


Be sure you are logged

in to your SAG-AFTRA account

Click “Workshops”

to see an online calendar.

Reservations are required for all

events and workshops.


11

THE SAG-AFTRA

LOS ANGELES

CONSERVATORY

COMMITTEE

The Conservatory is run by a team of

committed volunteers who form the

SAG-AFTRA Los Angeles

Conservatory Committee. They are

responsible for directing the programs,

panels and events at the Conservatory

and put a great deal of time and

commitment into making this great

entity of ours run strong. We want

to take this opportunity to introduce

them to you.

JANE

AUSTIN

KEVIN

MCCORKLE

BILL

APPLEBAUM

LEE

GARLINGTON

MURISA

HARBA

NICHOLAS

LELAND

TIM

POWELL

GABY

SANTINELLI

SHAAN

SHARMA

WYNTER

SPEARS

BOB

TELFORD

TEDDY

VINCENT

WILL

WALLACE

ANGELA

WATSON

MARI

WEISS

Kevinmccorkle.com

http://www.SagAftra.org/iActor/nicholasleland

http://www.AngelaWatson.com

http://www.michaeldcohen.com/

By joining the SAG-AFTRA Conservatory you have taken an

aggressive and positive step in advancing your career.

Congratulations! We hope you’ll make the most out of your

experience here by participating in our workshops and special events,

volunteering, and contributing your talents to AFI directing and

cinematography classes, as well as, of course, the first and second-year

films. AFI is a two-year masters program and, with our SAG-AFTRA

agreement, first-year students, called “fellows,” are required to use

SAG-AFTRA Los Angles Conservatory members.

GETTING THERE

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 Avenue, turn left

(north). The AFI campus

is halfway up the hill on

the left. Turn into the

driveway 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 Angeles Conservatory

office, continue driving

further up the hill. As you

veer left, you’ll see a white

two-story building, the

Mayer Library Building.

The SAG-AFTRA

Conservatory office is

located in the Library

Building, room 100, on

the ground floor at the

north end of the building.

Documents

Spring 2017 GETTING ‘HOOKED’ … AND UNHOOKED 2017 GETTING ‘HOOKED’ … AND UNHOOKED By Lee Garlington Entering into the life of the “business of show,” as I like to call