Breaking into Acting For Dummies. Larry Garrison

But now with diversity coming into play, everyone has more opportunities that weren’t available before, which we discuss in greater detail in Chapter 10.

      That’s why at times breaking into show business can seem so intimidating and difficult. Until you can make money for someone else, few people will be interested in you. Agents may turn you down, casting directors may tell you no, and even acting coaches (who you pay) may tell you that you’re lacking talent in some area or another. Given all this discouragement, does an aspiring actor have any hope to make it in show business?

      Obviously, the answer is yes. Show business may like working with established stars who can (almost) guarantee them money, but the world of film, TV, and theater devours talent as quickly as talent scouts can find them. Every year, newcomers break into the ranks of show business, and every year, the public celebrates the new faces until the next new celebrity comes along.

      

You must accept rejection graciously in order to succeed.

Taking It “from the Top” — It All Begins with an Idea

      Show business is a world of dreams. Before a theater can sell tickets, before an actor can audition for a role, and before anyone builds a set or designs costumes, someone somewhere has to have an idea first.

      Ideas for TV shows or films are often ripped from the headlines — newspaper or magazine articles, or true-life stories based on current events. Other times ideas emerge from a poem, short story, novel, a writer’s dream, a cartoon, a song, or a play.

An idea by itself may be interesting, but it won’t be marketable or useful in any way. So the next step in creating a show is to turn a raw idea into a script.

      

When someone buys the rights to a story (such as a current-events, true-life story), they purchase the option to that story. An option guarantees that no one else can work with the people who sold you their story. Options typically last for a limited time period, such as one year. If the person holding an option to a story hasn’t produced the story within that time period, she can renew the option or let it expire, so someone else can buy it.

Selling an Idea

      Everyone has an idea for a good story, but what really counts is the way the story is told and packaged with actors, directors, and other professionals. In the world of film, a writer writes a script and tries to market it. In the world of television, people usually create a treatment instead of a full script. The treatment includes a short description of the story and the characters involved, and typically ranges from one to six pages in length. If you have your own treatment, make sure you register it with the Writer’s Guild or copyright it with the U.S. government, and most importantly, when you submit it a company, do it in writing. While others may have the same idea at the same time, you must be able to prove that your project was submitted to a production company to protect your property.

      

Without proof of access to your project, anyone can steal it. Be careful who you verbally pitch your project to.

      Sometimes, studios or production companies pay enormous amounts of money for a treatment — with no guarantee that the final script, based on that treatment, will be any good. Other times, a studio may pay a minimal amount of money for a treatment and wait for the entire script to be completed before spending any more money.

      

In many cases, several writers may work together to put words to an idea. Sometimes, writers may create a script in hopes that someone will buy and produce that script (called a spec script), and other times, a production company may hire writers to create a script from a story idea that they already own.

If you can write or direct, you can increase your chances of breaking into show business. Many actors got their big break by writing their own script to star in, such as Sylvester Stallone with Rocky and Matt Damon and Ben Affleck with their film Good Will Hunting. If you’re an actress and you want to direct, Regina King first-time directed and produced One Night in Miami. Other actors have written one-man shows that they perform in theaters, which is an excellent way to showcase your talent for agents and casting directors. (Chapter 7 has more tips on how you can showcase your talents and get recognized in the business.)

      

Just because a studio either options or purchases the rights to a script doesn’t necessarily mean that the script will ever get produced. Many screenplays for films circulate various studios for years before someone finally makes it into a film.

Producing a Script

      After a production company or studio buys the rights to a story idea, the next step is to produce the script, which is the responsibility of the producer. (Many producers run their own production companies and work with studios, but if a studio has an idea that they want produced, they may hire the producer who optioned the rights to the project.)

      Producing a script involves several packaging processes:

       Hiring a director: The producer hires the director. The director and the producer, and sometimes with a studio, may then work together to hire the rest of the production crew, such as a costume designer or choreographer.

       Polishing the script: Scriptwriters often rewrite the script several times, sometimes for valid reasons to strengthen the story and sometimes for trivial reasons, such as to accommodate a major star who wants a certain role expanded or altered before she will agree to play the role.

       Scouting out locations to film scenes: The producer, along with several assistants, may scout locations for filming.

       Finding and booking a place to rehearse: The director, an assistant, or the stage manager takes care of setting a rehearsal schedule. In film and television, rehearsals take place on the set. In theater, rehearsals may take place anywhere, usually because the actual set or theater isn’t available yet.

       Setting a shooting or rehearsal schedule: In film and television, the director and producer may collaborate on defining a shooting schedule. In theater, the director and stage manager may set a rehearsal schedule.

       Establishing a budget: The producer is responsible for estimating the cost of producing the film, television show, or play. (A producer may also hire a unit production manager to help with this task as well.) She must consider the cost of the shooting locations, actors’ salaries, costumes, catering, travel and lodging expenses, special effects (a fire or a snow storm, for example), and so on. Budgets are often divided into above-line and below-line costs. Above-line costs make up the expenses for the creative people including the major actors, director, and producer. The below-line costs are for the technical people needed, such as lighting technicians, makeup artists, and costume designers.

       Storyboarding each scene: For a film, an artist sketches out the way each scene will look, a process known as storyboarding. By seeing a sketch of a scene, a director can tell whether filming a scene from a specific angle will work. Finding and fixing problems on a storyboard is infinitely faster and less expensive than trying to fix the problem during filming or after the film has already been shot.

       Auditioning actors to play the various roles: Every speaking role, from the major starring roles to the smallest roles where the actor may just say one line, must be filled.