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
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
10 a.m. Cold Reading,
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
10 a.m. Cold Reading,
Intermediate
6 p.m. SVW: Intermediate
7 p.m. Voiceover 101
12
10 a.m. Cold Reading,
Beginning
7 p.m. Improv
13
6 p.m. SVW: Beginning
14 15
10 a.m. Headshots:
Review and Guidance
2 p.m. Social Media
Strategy
17
7 p.m. Commercial
Audition Technique
18
10 a.m. Cold Reading,
Beginning
6 p.m. SVW: Beginning
19
10 a.m. Cold Reading,
Intermediate
7 p.m. Theatrical Video
20
6 p.m. SVW: Intermediate
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
10 a.m. Cold Reading,
Intermediate
6 p.m. SVW: Intermediate
7 p.m. Voiceover 201
26
10 a.m. Cold Reading,
Beginning
27
6 p.m. SVW: Beginning
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
10 a.m. Cold Reading,
Beginning
6 p.m. SVW: Beginning
7 p.m. Actors’ Evening
3
10 a.m. Cold Reading,
Intermediate
7 p.m. Theatrical Video
4
6 p.m. SVW: Intermediate
5 6
10 a.m. Self-Taping
for Actors
8
7 p.m. Commercial
Audition Technique
9
10 a.m. Cold Reading,
Intermediate
6 p.m. SVW: Intermediate
7 p.m. Voiceover 101
10
10 a.m. Cold Reading,
Beginning
7 p.m. Improv
11
6 p.m. SVW: Beginning
12
13
10:30 a.m. General
American Accent Clinic
15
7 p.m. Commercial
Audition Technique
16
10 a.m. Cold Reading,
Beginning
6 p.m. SVW: Beginning
7 p.m. SPECIAL EVENT
Specificity-
Creating Moments
That Book Work
17
10 a.m. Cold Reading,
Intermediate
7 p.m. Theatrical Video
18
6 p.m. SVW: Intermediate
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
10 a.m. Cold Reading,
Intermediate
6 p.m. SVW: Intermediate
7 p.m. Voiceover 201
24
10 a.m. Cold Reading,
Beginning
25
6 p.m. SVW: Beginning
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.
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.
Library Building Room 101
Limit 10 students
Learn and develop effective auditioning techniques.
COMMERCIAL AUDITION
TECHNIQUE Monday nights
7 - 10 p.m.
Library Building Room 100
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.
Library Building Room 101
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.
Frankovich Barnes Screening Room (FBSR)
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.
Library Building Room 102
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)
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 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.
Library Building Room 100
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.
Library Building Room 102
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.
Frankovich Barnes Screening Room (FBSR)
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.
Library Building Room 100
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.
Library Building Room 102
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.
Library Building Room 102
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.
Frankovich Barnes Screening Room (FBSR)
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
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
SAG-AFTRA ACTING EXPERIENCE:
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.)
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 a
lead role credit in two or more projects.
ACTING TRAINING OUTSIDE
SAG-AFTRA CONSERVATORY:
Equivalent of two years or more of ongoing
classes.
ADVANCED
SAG-AFTRA ACTING EXPERIENCE:
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.
OTHER ACTING EXPERIENCE:
Three or more professional theater acting
credits (preferably Equity or Equity waiver.)
ACTING TRAINING OUTSIDE
SAG-AFTRA CONSERVATORY:
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
sagaftra.org/laconservatory
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
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.