As a manager here at Bright Artists Management, who not only works with acting pros, who have been in the business for years, but also who works with emerging actors, this question about acting-clips and demo-reels comes up pretty much on a daily basis.

Keep in mind that reps often use different marketing tools on your casting pages to get you auditions. In addition, keep in mind that casting directors who see those marketing tools are not all the same. What they want from actors differs much of the time. An example of that difference is that some casting directors of comedy shows will ask for a comedy reel, while some do not. Same with dramatic shows. Some casting directors don’t have time to look at the entire reel so they ask for a clip of an actor playing a similar role to the role listed in the breakdown. Thus, the logical answer is, actors need both clips and demos.

A strong dramatic-reel and a strong comedic-reel less than two minutes each is ideal. If you can get each reel closer to one-minute, even better. Be aware that the casting director probably isn’t trying to follow any through-story or plot line in the reel, they are just watching to see how you look and act with others on camera, so make sure the clip starts with you and the camera is focused on you. Then you can break down each reel into short 20 second clips.

Also it is very important to label your clips and demos. If you are playing a powerful lawyer in the clip, label the file: Powerful Lawyer from Law & Order. If it is a comedy reel, label the file: Comedy Reel.

It has been my experience that most actors start off with clips and slowly build their reel from the best of their clips. Also, most actors start off with just one short reel which features both comedic and dramatic work. When the actor has enough clips in each category then the actor will break the one short reel into two reels, comedy and drama.

There are many different opinions on what exactly should be on your casting pages, but pretty much everyone agrees the more professional looking material the better. Especially when it comes to your acting-clips and demo-reels. Having a professionally shot scene is always the best with good lighting and good sound. I do not suggest actors put up self-tapes from auditions or taped monologues on their casting pages, because it might give off the impression that the actor has no professional experience and that could deter a casting director from selecting the actor. I also do not suggest actors put up recordings of live plays on their casting pages because it is often too difficult to hear the actor or even focus on the actor.

For singers, a self-tape of you singing to a piano track is fine. Just make sure your singing clips are the best of your work and make sure you have a professional self-tape set up. The same applies here for live musical theatre productions as it does with live play productions. You probably should not put those on your casting pages.

Lastly, make sure you are presenting quality over quantity. One good acting clip with good lighting and good sound is better than a long unprofessional reel that does not focus on the actor or have good lighting or have good sound. Many reps will include all your media when submitting you for a role, so make sure you have your best clips and demos, thus the casting director is seeing only the best of your work.

At Bright Artists Management, our team really enjoys giving feedback on clips and demos because we understand the importance of presenting strong videos. We’ve found that prioritizing quality and professionalism in clips and demos allows our actors to standout in this competitive industry. These tips, informed by casting director’s feedback and client’s callbacks and bookings, hopefully will give you the tools and knowledge to secure auditions and book more roles.

Remember, all of us in the industry may have varying opinions, but have no doubt that we all want to work with amazing professional actors that shine in person and in their marketing tools (headshots, clips, and demos).

by Bobby Holder, Talent Manager, Bright Artists Management

Before you take that first step forward, I recommend doing your homework and checking out prospective talent agency websites and IMDbPro listings to see if they are missing your type on their rosters. Their websites can also give you an inside perspective into their missions as agencies and many of them allow you to submit directly to them.

Pro Tip: Read their submission instructions thoroughly and don’t submit unless you have all of your materials together that they are requesting. Also, if you’re not happy with your headshots, resume, clips, demos etc., wait and update them and then submit when you are ready.

Find a Talent Agent in New York (NYC)

If you’re looking for New York or Atlanta representation, I’d also recommend picking up Up-to-Date Theatricals NYC Agent Directory or South East Entertainment Directory. The NYC Agent Directory includes a quick look of WHO’S SEEKING WHO and will guide you in what age ranges and types the agencies are currently seeking.

New NY Agencies are:

Bramante Artists

Brady, Brannon and Rich – BBR Talent Agency (expanded from LA)

Osbrink Agency (expanded from LA)

Prototype Talent Agency (expanded from LA)

Swain-Thomas Agency

Newer NY Agencies:

Posche Models & Talent

Resolute Artists Agency

Any new agencies that I missed? Let me know in the comments.

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Tony Nation is a professional actor who has worked in all areas of Showbusiness. You can currently see him on HBO’s THE REHEARSAL in the pilot episode, in season 3 of THE MARVELOUS MRS. MAISEL and in an upcoming animated feature film.

by Bobby Holder, Talent Manager, Bright Artists Management

I think different managers will give you different answers to the question: When do you need a manager for your acting career?

For my management team, at Bright Artists Management, we like to represent actors at all different levels of their careers. From beginners to pros! But, there are some basics that I think every actor needs before reaching out to a manager to discuss the possibility of working together.

If an actor has a professional headshot, a polished resume, and has an updated compelling profile on the casting sites that is usually a good indication that they understand the fundamentals of the business.

Another important part of the business , that is often overlooked by many actors, is a good solid referral from a reputable industry professional. If someone who is respected in the industry is ready to refer you to a manager, that’s a good sign you might be ready for a manager!

Someone with contacts and experience has recognized your talent and is willing to vouch for you. Someone like an acting teacher, a casting director, an agent, or even an actor who is represented by the manager. Most managers that I know, build their rosters with referrals from trusted industry professionals.

All that being said, I have been known to fall in love with an actor’s talent and sign them on the spot! Sometimes I watch an actor perform and I see their potential right away. I know my team can help them! Not even knowing if the actor has any of the basics.

If you are a really good actor and a manager is willing to take a chance on you, that might be the time you need a manager for your acting career. Embrace that moment because, in this business, when someone is willing to take a chance on you like that, it is a big deal.

At Bright Artists Management we love to develop new talent. Most managers do! I think a lot of actors are so eager to get an agent, they miss out on the opportunity to work with a manager who could be their best source of development and guidance in the entertainment industry.

I think a manager should be the first member of your representation team, but I am biased of course.

No matter your level as an actor, whether you are just starting or have been working for a long time, as a voice actor, there is always time to work on your sense of play and creativity within your work.

As a voice actor and voice-over coach, I firmly believe that there is always time to work on your creativity, regardless of your age, career path, or personal aspirations as a voice actor. Creating something out of nothing but a few lines written on a page is beautiful, whether it’s your profession, hobby, or simply a dream you hold close to your heart. There is no shame in pursuing your passion; it is powerful for everyone to embrace their creativity and pursue their dreams, no matter how unconventional they seem.

I worked with an incredible voice actor with limited acting training – who was told they were not a commercial voice actor and needed more ‘play’ to do animation. An industry professional told them, “Do medical text; that is all you can do as a voice actor.” the actor held on to that for many years. This actor grew stale, tired of the disconnected work, and lost their passion as a voice actor.

That industry professional who gave this actor this unfortunate advice – is no longer in the business – but this actor still held on to this sad, non-creative belief that they were only suitable for the SOUND of their voice and not for any sense of ‘play’ as an actor.

This actor came to me recently and was giving a video game audition but believed they could not ‘play,’ so they were still trying to figure out what to do with this character and script. Once we broke down the spec and became the spec, the picture, and found that inner child sense of play, this actor suddenly found that they had so much inside as an actor that was unexpressed. They were terrific and booked the job. More recently, this actor began to work on accents and found a new level of bringing characters to life with added accents they never knew they had inside.

Over the 25 years, I have worked with many actors who saw that they had so much more to give than the limited belief of someone else’s idea of who they were as creatives. Once these actors see past the prejudice of someone they thought was credible – they open up and blossom.

You will be told many things about your shortcomings as an actor by ‘business professionals’ in your journey. They do this, so putting you in a category makes it easy to keep an eye on you. The truth is that you fit in creatively wherever YOU see yourself fitting in. You must value YOUR opinion, DEVELOP YOUR creative skills, and step over the limiting views of someone else’s negative opinions about who you are and what you are capable of doing.

I advise ‘get a second opinion’ and return to class and play. It is never too late to work on your sense of play as a voice actor, and the field of voice acting is vast and always open for you to grow and find more of yourself in any part of it that you can see yourself.

Do you have any untruths you were told by an agent, casting person, or even fellow actor that you have let go of? Comment Below!

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Written by Paul Liberti
Voice Actor and Voice Director for Animation, Audio Books,
and works as Casting Director for Animation, Audio Books, Commercial Voice Over

What Should You Do Next Now That The Strikes Are Over
by Brette Goldstein, Casting Director/Producer

Strike has ended! Hooray!

Here are some helpful tips for getting things in motion over the next few weeks!

Make sure your casting software profiles are updated and fabulous. Casting Directors are more likely to view profiles on casting software platforms first, rather than take the time to investigate a large number of individual websites, so prioritize those used most frequently in your market.

Are your pics truly representative of who you are NOW? (After a few years, a global pandemic which may have included possibly homeschooling your children for the better part of a year or more…you catch my drift.)

Is your primary photo that your reps use the primary photo you’d like them to use? (This usually comes as a surprise to actors when they see what their reps are using as a primary headshot.)

Is your resume updated, easy to read, and free of spelling, punctuation, and grammatical errors?

Are you making smart, clever use of your bio box on Actors Access? What about the “About” line on Casting Networks? Perhaps more about that on a future blog. (Or check my IG reels..I know I’ve created a reel on that topic. It’s there on the grid somewhere.)

Does your Media truly teach US how to cast YOU? Is it a true reflection of where your Wheelhouse meets your Wishlist meets your Market? (Think about registering for my Way Beyond Type class at Actors Connection for more on this.)

Is all of your media – clips, reels, audio tracks, etc. – labeled well? If I am taking a look at all of your media at once, is it overwhelming in terms of quantity and/or vague labeling, or would I be able to go directly to the clip I need or am in the mood to see? (In my particular case/taste it will most likely always be a single-cam comedy clip.)

Do your special skills reflect your current proficiency?

Next!

Be conscious, empathetic, and specific in your communication. Casting Directors are coming up for air post-strike. They’re also being inundated with “Hey! Strike’s over! Keep me in mind!” emails. Here are some tips on email communication:

Make email updates relevant to the recipient. For example, if you’re sending an email to a casting director that primarily casts network procedurals, they’re likely to be less interested in your latest commercial or VO demo reel. Send them what you think will inspire them to call you in for what they are casting now. This ultimately may mean segmenting your email list.

I would also recommend treating emails like postcards from way back when. You didn’t expect a reply to a postcard for the most part, right? I’d even kick it up a notch by closing your emails with a dash of empathy. You could say something to the effect of, “I know how busy you must be right now. Please don’t feel like you need to respond whatsoever. Just dropping a line to check in with you and touch base. Have a great Thanksgiving if we don’t connect beforehand!” Something like that. If you acknowledge that you’re not a fire that needs to be put out – knowing that our inboxes often feel exactly like that – and that there’s no need to write back, I can’t speak for others but I know I would write back if I had a few minutes! Why? Because you get it! Also, empathy rocks.

If you’re emailing a casting director, consider sending a self-tape or clip of something that shows that you work in the world of whatever they are casting.

Also, think long term when it comes to building relationships. The first thing that comes to mind for me is being smart when it comes to inviting industry to shows, readings, screenings, etc. Let’s say you’re doing a show downtown. A new play. You get through tech and first preview. It’s just ok. The writing is fine, but not fantastic and the cast is a little uneven. You’re great…of course you’re great! But there are some parts, including the set, that, well, aren’t.

Here’s my advice.

Tell the casting director that already knows and likes you that you just finished a run of a show but chose not to invite them to this one because you weren’t sure it would be their cup of tea. You just want to let them know you played a really compelling leading role in a recent production of a new play. You didn’t want them to come see a show that overall was a little uneven. You know they like your work and you want to respect their time.

That is a gift. And rarely, if ever, happens. Try it! It’s one great way to build and foster a professional relationship over time.

Next!

If you’re looking for representation, keep your eye out for agents and managers who have moved to new companies or started their own. Finding representation might be challenging right now. Reps will want to focus on the clients for whom they’ve been unable to get work due to the strike. There may be few reps that are champing at the bit to bring on new clients right now.

That said, it is very possible that folks got laid off during the strike and will be moving to new offices when work picks up, or even venturing out on their own. And guess who’s all over that? ACTORS CONNECTION! They will bring reps in for workshops and seminars. Look out for “New to this office!” in the workshop header. You’ll need to register quickly as these workshops are in high demand. I wouldn’t wait, though. And here’s why.

This is a generalization, but I think two things happen when we get a new job.

1. We are relatively excited about the opportunity and change of scenery.

2. We do what we can to “make it our own”. This may mean signing or freelancing with new folks. Also – and again, this is a huge generalization – many of us lose that initial glow and enthusiasm after a few months at a new job.

Register early for these workshops. They will fill up quickly, and once a rep has signed on new actors, they may need to take a pause and focus on their roster. Get in while the energy is high!

That’s my advice for now! Keep an eye on my IG @brettegoldstein. Lots and lots of tips there. Keep kicking butt and taking names! I’m on your side!