Robin Riker. A Survivor’s Guide to Hollywood: How to Play the Game Without Losing Your Soul. Studio City, CA.: Callipygian Press, 2013.
Th author warns that the entertainment industry has norms that are different from other industries. Rejection for work is common and often occurs for reasons that are not easily understood. Work is not hired based upon merit.
The author advises actors to remain positive, noting an actor’s “state of mind is the most important thing” the actor has.
The author advises actors avoid focusing on studying acting rather than applying what has ben learned.
Luck is an element in getting acting jobs, but it isn’t all luck.
The author appeared on TV with Lloyd Bridges. Bridges offered to pay for an apartment for her “no strings attached.” She turned the offer down noting “I also know a little bit about strings. Thus, I left with my integrity.”
The author advises actors be enthusiastic about their work.
Actors are advised to not become derailed by others who wish to attempt to place the focus on themselves or those who are always trying to steal scenes.
Auditions are a necessary part of acting. An actor should not be discouraged if the people giving the audition are not friendly. The author recommends asking those giving the audition a question to allow the actor to show a bit more of the actor’s personality.
An actor should realize those giving auditions are usually looking for a specific type of actor.
The author recommends wearing the same clothing for a callback as worn during an audition.
An actor may not be called for table read. This is because the producers want to save money and not pay the actor for that day.
The author recommends Los Angeles film and TV actors also appear in Los Angeles theatre. This exposes the actor to casting directors, agents, and managers. It also gives actors affirmation of their work. The dues for Actors’ Equity (circa 2013) are $1,100 or which $400 may be paid upfront with the balance paid in two years.
An agent is essential for an actor. An agent’s commission cannot be higher than 10%. Managers are not essential but often are helpful. Their percent is negotiatble and often 15% and sometimes between 10% and 15%.
Agents seldom contact their actor clients.
In 1921, the Hollywood Chamber of Commerce warned those moving to Hollywood hoping to become actors that “only one in five reach the top.”
Th author warns that the entertainment industry has norms that are different from other industries. Rejection for work is common and often occurs for reasons that are not easily understood. Work is not hired based upon merit.
The author advises actors to remain positive, noting an actor’s “state of mind is the most important thing” the actor has.
The author advises actors avoid focusing on studying acting rather than applying what has ben learned.
Luck is an element in getting acting jobs, but it isn’t all luck.
The author appeared on TV with Lloyd Bridges. Bridges offered to pay for an apartment for her “no strings attached.” She turned the offer down noting “I also know a little bit about strings. Thus, I left with my integrity.”
The author advises actors be enthusiastic about their work.
Actors are advised to not become derailed by others who wish to attempt to place the focus on themselves or those who are always trying to steal scenes.
Auditions are a necessary part of acting. An actor should not be discouraged if the people giving the audition are not friendly. The author recommends asking those giving the audition a question to allow the actor to show a bit more of the actor’s personality.
An actor should realize those giving auditions are usually looking for a specific type of actor.
The author recommends wearing the same clothing for a callback as worn during an audition.
An actor may not be called for table read. This is because the producers want to save money and not pay the actor for that day.
The author recommends Los Angeles film and TV actors also appear in Los Angeles theatre. This exposes the actor to casting directors, agents, and managers. It also gives actors affirmation of their work. The dues for Actors’ Equity (circa 2013) are $1,100 or which $400 may be paid upfront with the balance paid in two years.
An agent is essential for an actor. An agent’s commission cannot be higher than 10%. Managers are not essential but often are helpful. Their percent is negotiatble and often 15% and sometimes between 10% and 15%.
Agents seldom contact their actor clients.
In 1921, the Hollywood Chamber of Commerce warned those moving to Hollywood hoping to become actors that “only one in five reach the top.”
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